
Black Duck are drummer Charles Rumback and guitarists Douglas McCombs and Bill MacKay.
The members of the Chicago-based super trio spent decades pioneering improvised and instrumental rock music. Together, they’ve caught lightning in a bottle with their debut album.
Chicago trio Black Duck’s self-titled debut album is an absorbing collection of atmospheric, even cinematic, Midwestern-noir. The band’s three linchpin instrumentalists—guitarist Bill MacKay, guitarist/bassist Douglas McCombs, and drummer Charles Rumback—conjured the bulk of the music out of studio improvisations, played with a relaxed, nuanced flair that fans of each of these notable free-ranging musicians will recognize.
Lemon Treasure
McCombs is known as a founding member of post-rock pioneers Tortoise, as well as the leader of instrumental Americana group Brokeback. He’s also the longtime bassist for influential alt-rock outfit Eleventh Dream Day. MacKay’s ventures, meanwhile, include guest stints with McCombs’ Eleventh Dream Day and duo collaborations with the likes of banjoist Nathan Bowles, alongside a sequence of solo albums, plus two intricate instrumental LPs made with songwriter-guitarist Ryley Walker. Rumback, who met MacKay in college, also recorded two excellent instrumental discs with Walker, and has released several albums as a leader, too. Perhaps the most compelling is 2020’s standout, June Holiday (featuring extraordinary Windy City pianist Jim Baker). Improvisation has been Black Duck’s initial focus onstage, and studio improv yielded most of the tracks on the new album. But three hook-laced compositions—one brought to the session by each member of the band—serve as sonic tent poles for Black Duck. Inviting opener “Of Lit Backyards,” written by McCombs, is a loping, lyrical number that McCombs describes as “sort of Roy Orbison meets Tom Verlaine.” “Delivery,” MacKay’s growling contribution, builds to something much darker and more volatile, as if Link Wray scored a spaghetti Western shootout. Rumback’s pensive “The Trees Are Dancing” could be the most compelling of the three, with beautiful guitar melodies unspooling over a stalking bassline and clapping drums. Even though each began as a solo composition, McCombs points out that these tracks all ended up as group arrangements when realized for Black Duck.
Bill MacKay's Gear
Black Duck improvises a lot of their music, but guitarist Bill MacKay says there’s usually a theme that their songs center on.
Photo by Jim Summaria
Guitars
- 1975 Fender Thinline Telecaster with Fender humbuckers
- 1976 Gibson Les Paul Custom
Amps
- 1970 Fender Princeton Reverb
Pedals
- • Wampler cata
- Pulp ThroBak Overdrive Boost
- Boss RV-3
- Death By Audio Reverberation Machine
Strings, Picks, & Slides
- Ernie Ball, mixed set of Power Slinky and Regular Slinky (.011-.046)
- Ernie Ball Power Slinky (.011-.048)
- Gibson XH Extra Heavy Standard Pick (1.17 mm)
- Dunlop Gator Grip (1.14 mm)
- Dunlop Gator Grip (1.50 mm)
- Diamond Bottlenecks Pill Bottle glass slides
McCombs, who moved to Chicago in 1980 from small-town Illinois, describes the music community of his adopted city as “having a real openness to adventure.” Black Duck, he says, is a product of its environment. “The various creative music scenes in Chicago, whether jazz and improvisation or electronic music or rock or whatever, sort of intersect in a general swirl of creativity,” he says. “When we first started performing out as a band, we played the Constellation, a progressive, European-style venue here that has a genre-less aesthetic that we all identify with. Eventually, we played the Big Ears Festival in Knoxville, where I think we fit in well as an improvising group.”
Starting out in the ’80s, McCombs was inspired by punk rock, and his band Tortoise earned its renown for studio experimentation. “Bill and Charles have more experience as live improvisers than I do,” he explains. “But the main idea behind Black Duck, for me, was to further develop my guitar playing through improvisation in a group setting, to expand myself as a musician. The three of us don’t rehearse that much or even have a whole lot of discussion, having cultivated our musical rapport on stage. We try to keep things instinctual, intuitive, open. From the first, the trio felt like it had the potential to get really expansive or be more intimate—the music seems to have a lot of pliability.” McCombs says there’s room for Black Duck to “get more ‘out,’” but the more “‘inside’” sound of Black Duck is just what happened when they went into the studio.
McCombs plays a Fender Jazzmaster on the record, as well as an Allparts Baritone Telecaster to fill out the bottom end on various tracks, such as “Delivery.” He also overdubbed bass on a few songs with his Guild B-30 acoustic bass guitar. “I’ve never been one of those players in search of the perfect guitar,” McCombs says. “I’ve always been someone who tended to adapt to my instruments. My gateway to the guitar from bass was a Fender Bass VI in the ’90s, which I played a lot in Tortoise and Brokeback. I then went to my Jazzmaster out of my love for Verlaine and his sound. The scale of it felt comfortable coming from bass, and I also love the versatility of the Jazzmaster’s pickup sounds. As for my baritone Tele, it adds more low-end to a two-guitar band. I also love the Duane Eddy twang you can get from it.”
“The various creative music scenes in Chicago, whether jazz and improvisation or electronic music or rock or whatever, sort of intersect in a general swirl of creativity.”—Douglas McCombs
MacKay, a Pittsburgh native who settled in Chicago in 1998, can play with what McCombs calls “a real rock guitar feel, that Stones-y, chooglin’ thing you can hear in ‘Delivery,’ a method that tends to be more chordal than my note-y approach. Our styles are complementary, I think.”
MacKay agrees that he and McCombs occupy different territory. “Douglas is a very different guitarist than, say, Ryley Walker,” says MacKay. “I tend to bob and weave a lot with Ryley, whereas Doug and I will play in more delineated rhythm and lead roles. Or if I’m doing a slide thing, he’ll be pulsing, as happens in ‘Lemon Treasure’ on the album. You can also get an idea of our guitar weave really well on the improv ‘Second Guess.’ We’re both fans of full-frequency guitar playing. As a bassist, too, Doug is keenly aware of the bottom even when he’s playing guitar. His baritone instrument helps with that, of course. Having some low-end emphasis in there means that the music can resonate with a listener’s body as well as their minds.”
Douglas McCombs' Gear
The three members of Black Duck say they’re experiencing an uptick in performing opportunities for improvised music recently, including Big Ears and other notable festivals.
Photo by Evan Jenkins
Guitars/Bass
- 1964 Fender Jazzmaster with Mastery bridge
- Allparts Baritone Telecaster with Fralin pickups and Bigsby tremolo
- 1970s Guild B-30 acoustic bass guitar
Pedals
- Alan Yee Last Temptation of Boost
- Fulltone Full-Drive2
- ZVEX Woolly Mammoth
- Lehle Mono Volume
- Moog Moogerfooger MF-104Z
- EarthQuaker Disaster Transport
- TC Electronic Ditto Looper
- Electro-Harmonix Freeze Sound Retainer
- Moog Moogerfooger MF-102 Ring Modulator
Amps
- 1960s Ampeg B-18N Portaflex
- Victoria Victorilux 3x10 Combo
Strings, Picks, Cables
- D'Addario EJ21 XL Jazz Light (.012-.052), with wound G string for JazzMaster
- D’Addario baritone sets
- Dunlop Orange Tortex picks
- Divine Noise guitar cables
MacKay says Black Duck sounds different than anything the three musicians might do on their own. Having three distinct perspectives bouncing around creates more possibility. “Charles and I know the mutual directions we can go down and follow each other,” says MacKay. “With Doug in the mix, it makes things more combustible.”
Black Duck’s music is spontaneous, but there’s some semblance of order to the spontaneity. “Improvisations seem most successful to me when they have something of a compositional quality,” says MacKay. “With this band, we’re not starting from complete abstraction like more jazz-oriented improv groups. One of us will have a theme or a motif we can center on. For the improvised piece ‘Thunder Fade That Earth Smells,’ I brought out a bit of a riff that I had played before, something heavy and fuzzy that could play off the more ethereal sections. I like having an unheard riff in my back pocket like that, and seeing how the other guys react to it.”
MacKay plays a “pretty stock” 1975 Fender Thinline Telecaster on Black Duck, “except that it has Fender humbuckers, which are powerful,” he explains. “It’s a dream guitar to play, with a lot of great tones beyond the usual Telecaster twang. You can get clear, clean tones, but the pickups are hot, so the Tele can be pushed into some dirty sounds. It’s a partial hollowbody, so it has some real resonance, too. It has been my main performing guitar for a long while.” MacKay also plays a ’76 Les Paul Custom that he’s had for decades. “It’s all stock, except for a new wall cord,” he says. “The Gibson is an excellent all-around instrument, as it has both warmth and bite, with so much color.”
“I’ll see an instrumentalist perform and it sparks something in me. That experience can sort of clear the connections and allow new energy to come through. To me, that’s a kind of transcendence.”—Bill MacKay
MacKay’s key effects pedals for Black Duck included a ThroBak booster (which “is based on the Colorsound Overdriver, for that vintage Jeff Beck/David Gilmour sound”), a Wampler cataPulp (“for nice distortion tones, based on the Orange Rockerverb amp”), and a Boss RV-3 reverb/delay (“which I’ve used for every show and album for more than 20 years”). As for McCombs, he summons an array of atmospheres via his board of delay, fuzz, overdrive, and looper effects, which include Alan Yee’s Last Temptation of Boost pedal (with more details in the gear list below).
The simplicity of the album cover belies the depth of creativity and improvisational transcendence in Black Duck’s recorded debut.
At 43, Rumback is the youngest of the trio, having moved from his native Kansas to Chicago in 2001. McCombs credits the drummer’s “intense knowledge of rhythm and the way his playing balances solidity with a sense of restraint” with building out Black Duck’s sound, and MacKay adds that Rumback “has his own voice on the drums.” “He totally is himself on his instrument, which is easier said than accomplished,” says MacKay. “He places beats with his phrasing in such an individual, personal way. With drums as much as guitar, phrasing is like breathing. It’s a subtle but potent aspect of music.”
Instrumental acts may never be on Top of the Pops, but MacKay takes heart in “how much instrumental music there seems to be, quiet or loud, on festival bills.
“There seems to be an openness to abstraction in music these days,” he says. “Words and the human voice have their own special expressive power, of course, but I think there’s a space in instrumental music where listeners can find themselves. I know that I’ve been in a rut sometimes, but I’ll see an instrumentalist perform and it sparks something in me. That experience can sort of clear the connections and allow new energy to come through. To me, that’s a kind of transcendence.”
YouTube It
Here, a recording of a live set at a record store in Milwaukee captures Black Duck at their most raw and powerful.
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This legendary vintage rack unit will inspire you to think about effects with a new perspective.
When guitarists think of effects, we usually jump straight to stompboxes—they’re part of the culture! And besides, footswitches have real benefits when your hands are otherwise occupied. But real-time toggling isn’t always important. In the recording studio, where we’re often crafting sounds for each section of a song individually, there’s little reason to avoid rack gear and its possibilities. Enter the iconic Eventide H3000 (and its massive creative potential).
When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
The luthier’s stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metal—it is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While it’s comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its components—an uneasy alliance of materials and craftsmanship. When it works, it’s glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why you’ll occasionally catch one tapping on a rough blank, head cocked like a bird listening. They’re not crazy. They’re hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitar’s voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate what’s already there, and there’s little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but here’s the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesn’t mention. Don’t even get me started about the unrepeatability of “hand-scatter winding,” unless you’re a compulsive gambler.
“One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.”
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone control’s usefulness. It’s subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 “vintage-spec” caps, just to see if they can “feel” the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but they’re quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
It’s All Connected
Then there’s the neck joint—the place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitar’s overall design. There are so many choices, and just as many opportunities to miss the mark. It’s like driving without a map unless you’ve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitar’s greatness doesn’t come from its spec sheet. It’s not about the wood species or the coil-wire gauge. It’s about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But that’s the mystery of it. You can’t build magic from a parts list. You can’t buy mojo by the pound. A guitar is more than the sum of its parts—it’s a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Two Iconic Titans of Rock & Metal Join Forces for a Can’t-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
Thu Sep 18 – Alpharetta, GA – Ameris Bank Amphitheatre*
Sat Sep 20 – Charlotte, NC – PNC Music Pavilion
Sun Sep 21 – Franklin, TN – FirstBank Amphitheater
Wed Sep 24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri Sep 26 – Holmdel, NJ – PNC Bank Arts Center
Sat Sep 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Mon Sep 29 – Toronto, ON – Budweiser Stage
Wed Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Thu Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Sat Oct 04 – Cincinnati, OH – Riverbend Music Center
Sun Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Fri Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Sun Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Tue Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Wed Oct 15 – Wheatland, CA – Toyota Amphitheatre
Sat Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sun Oct 19 – Los Angeles, CA – Kia Forum
Wed Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Thu Oct 23 – Albuquerque, NM – Isleta Amphitheater
Sat Oct 25 – Austin, TX – Germania Insurance Amphitheater
Sun Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock “classic” tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100’s overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier “mid gain” tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
“Seven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,” said Mark Tremonti.
“Today, I’m beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Can’t wait for you all to plug in and experience it!”
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classic’s lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the original’s bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
“The Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,” said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.