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“A real winner”: Gibson Hummingbird Studio EC & Hummingbird Standard Rosewood EC review
By David Mead published
Gibson refreshes one of its most iconic acoustic designs with three new cutaway models. Will these latest ’Birds fly or simply fail to take off? Let’s take a look
“Full of classy-sounding effects”: Fractal Audio VP4 review
By Trevor Curwen published
Fractal Audio puts its Axe-Fx III effects in a conveniently sized stage-ready floor unit – could it be the only effects unit you need?
“One of the best compact wireless systems you can buy”: Xvive A58 Guitar Wireless System review
By Michael Astley-Brown published
The successor to Xvive’s best-selling U2 wireless system offers a wealth of upgrades and impressive performance
"Grants you access to serious guitar tones, crystal-clear vocals, and bags of volume, all in a lightweight, portable package": Positive Grid Spark Edge review
By Daryl Robertson published
Positive Grid targets buskers and performers on the move with the ultra-portable Spark Edge
Walrus Audio Mako M1 MKII High-Fidelity Modulation Machine review
By Jonathan Horsley published
A studio-quality greatest hits of modulation, now with a two-inch OLED screen
“Sonic wizardry at its finest”: Electro-Harmonix POG3 review
By Trevor Curwen published
Updated and enhanced, this latest version of the POG takes its pitch-shifting and tone-shaping possibilities to the limit
“A unique and frankly inspiring instrument”: Cream T Astra Custom ‘Decades’ review
By Dave Burrluck published
The Astra ‘Decades’ aims to stand apart from the generic Tele-style guitar. So if you want more sounds, not to mention pickup swapping, you just might fall for its charms – Dumbucker included…
"This could well be Harley Benton's most impressive electric guitar platform yet when it comes to value": Harley Benton ST-Modern HSS review
By Rob Laing published
Can a more affordable version of its 2024 success story raise the bar for Benton?
“Plentiful bass, well rounded trebles, bags of toneful volume”: Atkin Dust Bowl 0012S & 00014 review
By David Mead published
Alister Atkin’s UK workshop pays homage to the stripped-back, no-frills instruments that were available in the USA nearly a century ago when money was tight but roots music was blooming
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