
Joe Satriani, Thurston Moore, Molly Tuttle, Tommy Emmanuel, John Doe, Lzzy Hale, Kurt Vile, Wayne Kramer, Chris McQueen, and eight more of today’s greats discuss the contemporary players who give them the shivers.
Guitars heroes don’t just play guitar. They live it, breathe it, and love it. And their lifelong fandom extends not only to the instrument but to the players they share it with. We asked 17 of today’s most interesting, inventive guitarists in a wide span of genres about their favorite peers. Their answers are thoughtful, heartfelt, and fascinating—providing insight into not only who they admire but the qualities in their heroes’ playing that inspire them, which in turn reveals much about what they love about guitar. So, plug in and read on!
Buddy Miller on Marc Ribot
Snarky Puppy’s Chris McQueen on Isaiah Sharkey
Gilad Hekselman on Mike Moreno
Photo by ShervinLainez
Baroness’ Gina Gleason on Big Thief’s Adrianne Lenker
Photo courtesy of Abraxan Hymns
Photo by Larry DiMarzio
Joe Satriani on Steve Vai
Photo by Joseph Cultice
Photo by David Robinson
Baroness’ John Baizley on Converge’s Kurt Ballou
Photo courtesy of Abraxan Hymns
Photos by Janis Tillerson (left) and Chris Sikich (middle)
X’s John Doe on Kevin Smith, Kelli Mayo, and John Bazz
Photo by Autumn De Wilde
Kelli Mayo from Skating Polly only uses three strings on her custom Fender, but that’s all she needs. She follows the punk-rock ethos where anything is possible. I truly love her fearlessness and innovation. I play chords on electric bass and she does, too—maybe that’s why I like her.
John Bazz from the Blasters is an old friend and contemporary, but every time I see him play, I want to be him. He simplygets it. He finds new ways to say something in rock ’n’ roll or roots music that may have already been said. I don’t know any other bass player who has broken two strings in a night playing with his fingers and mounted a bottle opener on his P bass.
Photo by Bob Hakins
Kirk Fletcher on Chris Cain
Photo by Jonathan Ellis
I saw Chris the first time when I was 19 at B.B. King’s Blues Club in Universal City. I played in the opening band, and I remember him being so nice and paying me a compliment. I had no idea what I was about to witness. Chris took the stage and my life was never the same again. I was heavily into Larry Carlton and Robben Ford, as well as B.B. King and Albert King. I viewed those as two different worlds until I heard Chris. He’s not a copy of these guys but created his own signature. I think one of the big things is his effortless fluidity and horn-like phrasing. And the sweetest bends in the business. As a performer he is just top notch. His wit and sense of humor makes you forget about this crazy world.
Photo by Linda Harvey
Kurt Vile on Dallas and Travis Good
Photo by Jo Mccaughey
Dallas is the psychedelic one, and Travis, the older one, is very traditional. A show-stopping trick is that they can grab each other’s guitars and play each other’s frets. Dallas, the more psychedelic one, is like a brother to me, if my brother was the same age and we weren’t twins. Whereas Travis is definitely like the older brother that you truly look up to because it’s just unbelievable how much soul and speed he has. He plays a Gretsch-style with the Bigsby. It just pours through them both.
They’ve backed up everyone from Neil Young to Neko Case. We’ve worked together and we plan to work together more. They are the realest things out there today. They do plenty of contemporary guitar things, but I feel like they’re just not affected or altered whatsoever by the modern age, which is what I try to do as well. So, it’s just traditional but not like retro or pastiche, either, because they’re influenced by things like punk and the Gun Club, and modern things as well. They’re influenced by their surroundings, but I feel like a lot of music is affected by computers. It’s very hard not to be. Their shows are just unbelievable to see, it’s beautiful.
I’m inspired and I’m also influenced by them. I take some things from them. Their music gives me chills, in the same way that draws you to your favorite bands and records. Whatever punches you in the gut … somewhere between the guts and the heart, or both—their music does all those things.
Leni Stern on Mike Stern, Shane Theriot, and Derek Gripper
Photo by Sandrine Lee
Shane Theriot is my favorite groove master! I love the songs he writes, the way he combines New Orleans grooves with modern lines and harmony. It’s truly unique and very guitaristic. He has a super-recognizable touch on the guitar. I know it’s him in three notes. He produced Dr. John’s last album and is also one of my favorite producers.
Derek Gripper is a nylon-string guitarist from Cape Town, South Africa. Aside from having a revolutionary approach to playing Bach—in open tunings!—he has adapted West African kora music to the guitar. Some of these songs are older than Bach! It’s a largely unknown, mesmerizingly beautiful repertoire. I have studied with him for the past two years. Check out One Night on Earth, his ninth recording.
Lzzy Hale on Rebecca and Megan Lovell of Larkin Poe
Photo by Jeremy Ryan
Photo by Alysse Gafkjen
Molly Tuttle on David Rawlings
Photo by Kaitlyn Raitz
Photo by Joey Martizen
Robert Randolph on Gary Clark Jr.
Photo by Jim Arbogast
Photo by Chris Kies
Thurston Moore on James Sedwards
Jimi Hendrix breaks all the rules while having an impeccable grasp of every critical aspect of guitar playing in the instrument’s history. I use the present tense because his playing remains alive and well, and will always inform anyone looking to liberate themselves from any hint of constriction. Outliers like Derek Bailey, Keith Rowe, Glenn Branca, Lydia Lunch, Pat Place, Greg Ginn, Arto Lindsay, Lee Ranaldo, Rudolph Grey, and Masayuki Takayanagi also informed me for their resistance to critical expectations for genuine guitar skills mixed with an inherent respect for exhibition of advanced traditional technique. That balance betwixt the experimental—where the focus is sheer bloody-mindedness—and “proper” guitar playing is where I found the most sentient intrigue. Equal value could come from the Ritchie Blackmore-infused shredding of Lita Ford or the abstractions of free-jazz noise players like Sonny Sharrock, Henry Kaiser, Eugene Chadbourne, and Davey Williams.
Meanwhile, a few years ago I was introduced to James Sedwards by my sweetheart, Eva [Prinz]. She claimed a young gent on the floor just below her flat lived, breathed, and ate guitar from morning till eve. James reminded me we had first met when he and a mate snuck into the artists’ area at the 1991 Reading Festival, where Sonic Youth had played with Mudhoney, Nirvana, and Iggy Pop. James had been all of 15 years old, and he would subsequently devote attention to not only the majesty of James Patrick Page but also to noise-guitar destruction, both playful and serious. By 1998 he’d been recognized at Wembley’s National Guitarist of the Year competition, which heralded him as having, “the perfect blend of technical expertise and inventiveness,” and in 2003 he came in second place as judged by Brian May and Mr. Page himself, playing Led Zep’s “Immigrant Song” at the U.K. Riffathon guitar competition.
I knew none of this when I met the lad the second time. But when I relocated to London in 2014, James was the first musician I thought of working with. He’s a full-blown rock ’n’ roll shredder with the seemingly effortless fretboard mastery of J Mascis and Nels Cline. I asked him to employ some semblance of that lead-guitar action on a few tracks for my 2017 album, Rock n Roll Consciousness, and what transpired was mind-blowing. He would basically destroy on the very first run-through. But James isn’t looking, as far as I can tell, for guitar-hero worship. He’s looking for the glory of genuine transcendence. James’ controls are set for the future, not only on our 2019 release, Spirit Counsel, but with his Nøught project—which is an incredible display of his restless interest in high-energy shred and as good a place as any to hear his excellence.
Photo by Jan Anderson
Tommy Emmanuel on Jack Pearson
Photo by Erik Nielsen
Vinnie Moore on Randy McStine
Photo by Martin Hutch
Randy’s a real tasty and musical player and very diverse stylistically. He’s got quite a bit of technique, but always plays something that’s right for the song, with a lot of vibe that is harmonically interesting. He’s really good with subtleties like micro bends, dynamics, and little nuances such as sliding into notes à la Jeff Beck. Randy’s ideas are interesting, and he’s got some great original material on his releases. He also fronts a three-piece band called the Fringe, as guitarist and lead vocalist, and does a lot of solo gigs playing acoustic guitar and singing. There are a lot of videos online where you can hear him doing experimental stuff with acoustic guitar that’s manipulated in unusual ways with reverb and noise, as well as looping. I like his touch and tone a lot, and I would definitely recommend checking him out online or, even better, live.
Photo by Shannon Kringen
Wayne Kramer on Jeff Beck
Photo by Jeff Brinn
Beck was pushing the limits of traditional guitar playing more than any rock musician I’d ever heard up to that time. He held the key to open the door to where the electric guitar was going for me. His technical ability was head-and-shoulders above anyone else—and still is. The record Having a Rave Up with the Yardbirds revealed a future full of new music played by new musicians for a new audience, and I wanted some of it.
The MC5 was deeply influenced by this record and together we learned almost every song. The “rave up” parts were my favorite. When the band would turn the tempo over and play in double time while ignoring the key structure and just playing the guitar as a noisemaker. It was the sound of liberation. Beck prepped me for free jazz. Finally! I knew where I was going with my music. It’s a fact that music imprints on a young person’s brain during puberty in a way that is completely different from the rest of your life. The combination of raging hormones and a lust for life drilled these records into my very soul. They put me on a path that, with a few exceptions, has given me the most amazing life in music. I am doubly blessed to have lived during this period in history and still have the excitement for music I had then. It’s 61 years later and Having a Rave Up still gives me goosebumps.
- Rig Rundown: Gilad Hekselman - Premier Guitar ›
- Rig Rundown: Kurt Ballou - Premier Guitar ›
- Kirk Fletcher's Ultimate Bling Blues Guitar - Premier Guitar ›
- 10 Young Guitar Guns to Know - Premier Guitar ›
- Larkin Poe’s Rebecca and Megan Lovell on Making the New Blood Harmony ›
- Dave Alvin: “The Guitar Is a Magical Thing” ›
- Larkin Poe's Rebecca Lovell & Megan Lovell Rig Rundown Guitar Tour - Premier Guitar ›
- The Rig Rundown Crew Sounds Off on Rolling Stone's "Iffy" List of 250 Greatest Guitarists - Premier Guitar ›
- R.I.P. Wayne Kramer, MC5 Guitarist ›
- Isaiah Mitchell Guitarist For Earthless & the Black Crowes - Premier Guitar ›
- Which Zep Album Still Schools Metal Engineer Kurt Ballou After All These Years? - Premier Guitar ›
- Kirk Fletcher on The Dixie Hummingbirds' "Bedside Of A Neighbor" - Premier Guitar ›
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
The shredder and son of legendary artist Frank Zappa gives a tour of his up-to-date gear, including a complex stereo switching system, four racks of pedals, and some of his father’s favorite guitars.
Dweezil Zappa was always going to end up being an incredible guitarist. His dad, Frank Zappa, is celebrated as one of the most talented and creative guitarists in history, and by age 12, Dweezil was recording music produced by Eddie Van Halen. (Little surprise that he’s covering Van Halen’s 1981 stunner “Push Comes to Shove” lately.) He’s been a bona fide guitar star ever since, releasing seven original solo records, six tribute records, two LPs with his brother Ahmet Zappa, and guesting on recordings across the music universe.
Ahead of his gig at Memphis’ Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappa’s Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PG’s John Bohlinger a boot-to-bonnet look at his current road setup. There’s a lot of ground to cover between his and his father’s catalogues, and Dweezil loves the challenge, which he meets with a mix of his own gear and some special vintage assists courtesy of his dad.
Brought to you by D’Addario.Shut Up ’n Play Yer Les Paul
This coveted Gibson Les Paul Custom, featured on the cover of Frank’s 1981 record Shut Up ’n Play Yer Guitar, came out on the road this tour. Dweezil says that around 1986, his dad swapped in Dan Armstrong-made ceramic pickups. At one point, Frank installed a second input to try to use the guitar as a synth controller, but it didn’t track well enough to continue the experiment.
Along with the standard controls, the guitar includes switches to turn on different parts of the onboard preamp, which boosts the signal and adds plenty of gain. A rotary knob controls a wired-in parametric EQ set up to emulate different settings along the sweep of a wah pedal. Dweezil didn’t get much of the lowdown from his father on the complex operations; it was more trial-and-error. “You just have to turn knobs until you find something that you like,” he says. He connects to his rig with ZZYZX SnapJack magnetic cable connectors.
Rockin' with Roxy
Also out on the Rox(postroph)y tour is Frank’s iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, it’s got a preamp circuit to boost the signal, a sweepable EQ, and can achieve acoustic, piezo-adjacent sounds. The preamp configuration in this one is red-hot; it dishes out tons of gain.
Signature Shabat
For Strat-style tones, Dweezil calls on his signature Shabat Lynx DZ, which has been used to dial in his cover of “Push Comes to Shove.” Per Shabat, it has a “body-mounted HSS configuration with a push/pull phase shift on the middle pickup, simplified single-knob layout, custom-cut 3-ply parchment/gold pickguard, and … a Vega-Trem VT1 tremolo."
The Lynx DZ is constructed with an alder body and a quartersawn hard maple, medium-C-profile neck with a 25.5" scale length. It’s loaded with Lollar Special S and Lollar El Rayo pickups, and the middle Special S is wired for phase shift. The Lynx, as well as the SG and Les Paul, are strung with Optima Gold-Plated 2028 FZ Frank Zappa strings (.008–.046), and struck with D’Addario .50 mm celluloid picks. (Dweezil likes them for pick slides.)
On the Ground
Zappa keeps a significant board at his feet, which he controls with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each side in front of him, plus a wah and expression pedal.
The row of pedals perched atop the pedalboard includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing “Nanook Rubs It”), and a 29 Pedals FLWR.
In the Rack
On our 2013 Rig Rundown, Dweezil was using the Fractal Axe-Fx II, and this time around, he’s upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a “Clown Vomit” fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Wrapping up the rig is the bottom rack, which again runs to both sides. It carries most of Zappa’s exquisite dirt sounds, thanks to a Union Tube and Transistor Tsar Bomba, Chase Bliss Automatone Preamp MKII, Goochfx Dirty Hippie, Tru-Fi Two Face, Foxrox Electronics Paradox TZF2, and a Paul Trombetta Design Rotobone that … somewhat reasonably apes a trombone sound. Paul Trombetta, we salute you.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
“The new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,” said Kepma USA president Tony Moscal. “With their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instruments—all at an entry-level price.”
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenix™ Series offers four configurations to suit every player’s preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every player’s needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFex® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepma’s FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepma’s neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepma’s commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma ¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether you’re a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shure’s patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyne’s combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineers’ need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.