With ultra-high action, a scalding tone, a jackhammer rhythm hand, classical melody and dynamics, and mad production skills, the guitarist scales his personal “Mount Everest.”
“Stay out of the kitchen; call Chicken Magician,” chimes Hate Eternal’s Erik Rutan. He’s in the green room of the White Eagle Hall in Jersey City, New Jersey, as he reminisces about that catchy slogan from his last day job. Given that the guitarist/vocalist/producer hails from the town of Red Bank, less than an hour from the venue, it’s not surprising that he got a little nostalgic.
“The funniest thing about it is that I had, like, 50 Chicken Magician T-shirts at one point, because the owner insisted that I always wear one. Of course, I came to work and I never wore it, I never wore the hat, I didn’t want anything to do with it,” Rutan recalls. “He’d be like, ‘Where’s your hat and shirt? You’re not representing the company.’ I’d say, ‘Oh, it’s laundry day.’ He’d be like, ‘Don’t worry, I got two more for you.’ So, at some point, I had a ton of them, but when I moved to Florida, I got rid of them. Now it’s a regret. If I only had one of those Chicken Magician shirts.”
While the loss of his fried chicken emporium T-shirts might be a small regret, the trade-off proved to be enormous. He moved to the Sunshine State to record and tour with Morbid Angel, and that move shifted his career into extreme overdrive. Shortly after that, Rutan formed Hate Eternal in 1997, handling guitar and vocals for the band. Along the way he’s managed to play on three more Morbid Angel albums. But that’s just the tip of the iceberg. He is a seriously prolific dude!
Rutan, who studied production at N.Y.C.’s Institute of Audio Research, also made a huge splash in the production world after his work on Cannibal Corpse’s iconic 2006 album, Kill. Since then he’s become the producer of choice in the death metal world, shepherding three more Cannibal Corpse albums in addition to working on tons of recordings by genre leaders like Agnostic Front and Nile.
Hate Eternal’s latest, Upon Desolate Sands, is a perfect example of Rutan at his peak, as both producer and performer. The album features dynamics and classically inspired melodicism not often found in the death metal genre. Several songs are played way down from Rutan’s usual C# tuning (C#–F#–B–E–G#–C#) to drop G# (on 7-string), adding to the massive sound. In addition to the expected heaviness, Upon Desolate Sands features reflective pieces like “For Whom We Have Lost,” the instrumental that closes the album, which was written about two members of Rutan’s family who recently died.
Premier Guitar caught up with Rutan just hours before Hate Eternal hit the stage for a death metal mega-concert also featuring Cannibal Corpse and Harm’s Way. Amidst the chaotic backdrop of Cannibal Corpse’s soundcheck, Rutan discussed making Upon Desolate Sands, his classic metal influences, and his ability to shred with action so ridiculously high that it’s been dubbed “Mount Everest.”
Upon Desolate Sands is Hate Eternal’s seventh album. Has anything changed in your approach to writing for the band?
When I started Hate Eternal, I had this somewhat narrow-minded vision of creating this really extreme and aggressive sound. I’ve expanded that a bit, with more dynamics. That’s probably the only thing. I’ve always had a melodic side, as well. I grew up in a classical family. I was inspired by a lot of classical music.
in my music.”
Who played what?
My dad played cello, my sister and grandmother played classical piano, and I played violin as a child. I was so young that I didn’t take to it right away. As I got older, in my teens, I really grew to appreciate classical music: guys like Andrés Segovia and John Williams. When I first started playing guitar, it was guys like Eddie Van Halen, Randy Rhoads, Yngwie, and, of course, I loved Slayer and Metallica. James Hetfield was a big influence—from metal to thrash to wanting to create something a little bit more aggressive, which ended up becoming death metal.
Were passages like the harmony-guitars/bass-sans-drums ending in “Vengeance Striketh” and the intro to “For Whom We Have Lost” inspired by your classical background?
I don’t read or write music. I have a really good ear, which obviously lends itself to what I do as a producer. I definitely attribute a lot of my harmonization and counterpoint to classical music: listening to Beethoven, Bach, Mozart, and Vivaldi. Every weekend my dad would have me sit and listen to composition after composition. And also, like, Iron Maiden and Judas Priest—those two bands were the kings of harmony. Metallica, too. Those three bands, metal-wise, completely inspired me with harmonization-meets-classical—double tracking solos and quadruple tracking rhythms, or triple-tracking stuff, sometimes. A lot of that is from Randy Rhoads. I always heard he did that on Diary of a Madman and Blizzard of Ozz, which were some of my biggest guitar-influence records.
On the outro to “All Hope Destroyed,” you take a blistering solo over an interesting textural backdrop.
It’s funny, you know, sometimes things just happen spontaneously. I had this vision of one guitar ringing out more like setting a background, and then this other guitar is kind of going freestyle. I just had this idea of one guitar in the middle just going for it.
TIDBIT: Erik Rutan says he expanded the core sound of Hate Eternal on his trio’s new album by exploring more wide-ranging dynamics—something he learned to appreciate by listening to classical music.
How did you approach the mix to get that solo to stand out against the other parts that had a similar timbre and range?
Panning is always key. Throughout my career, my solo tone has always cut through, as well. I’ve always had a really nice solo tone. Part of it is just in the fingers, the hands, how I play. I like a cleaner tone. I like Marshalls.
You also have really high action on your guitars.
I do have high action.
How were you able to play so fast on things like the solo on the new album’s “All Hope Destroyed” with such high action?
I don’t know, man. It just started when I started learning guitar. I really focused on rhythm playing—consistency and being tight. It’s very rare to have high action and do a lot of soloing. It doesn’t really work. But for rhythm guitar, I play very percussively, and it sits well. For solos, I guess I just got used to high action. So many guitarists overlook the importance of rhythm, and James Hetfield was a big influence on me, because his rhythm hand was ridiculous. Like Master of Puppets. When I heard those records when I started playing guitar, all that tight rhythm playing inspired me. I focused on rhythm for a good year or two before I even started soloing, just so I could really get it tight. When it came to soloing, I worked on that, too, and I just got used to the higher action.
I do play extremely hard and my action is so high that techs call it “Mount Everest.” Even my luthier, Scooter Davis, of Granville Guitars, which resides in my studio—he sets up all my guitars, amps, and everything—is always amazed at how high my action is. It just feels comfortable and I love to get pure tone. I’ve lowered it a little bit over the years, because I was like, “This is ridiculous.”
It seems like your sound isn’t ultra high gain, but a lot of gain is later generated by the force of your attack.
It really is. That’s the thing with a lot of higher-gain amps that sometimes I miss. I have a studio, so I own 14 or 15 amps. I have 5150s and ENGLs. Right now, I use a Dual Rec with a JCM800 live, because I like that combination.
Rutan used a ’91 Ibanez Universe and a ’91 Gibson Explorer to track Hate Eternal’s new album. Morbid Angel’s Trey Azagthoth gave the Universe to Rutan for his birthday in 1993, and it’s still one of Rutan’s go-to guitars.
Photo by Alex Morgan
I saw on your Facebook feed that you recently got a new JCM800 and, after a long search, it was only the second one that actually got your stamp of approval. What are you looking for in an 800?
I’ve had seven or eight of them over my whole career. I’ve had 50-watters, different years. I’ve had modded 800s. But I have this one 800—it’s a ’97 reissue from Guitar Center, and they made 200 of them from original parts, from the factory in England. And it’s the one I’ve had for 15 years. I love it to death. It just might be a coincidence that it came from that year, but I compare everything to that amp. So when Scooter told me there was another one of those models online…. Well, it’s taken me 15 years to actually find another one for sale, so I bought it immediately. It does sound different from my baby at home, but now I can leave my baby at home, untarnished.
This 800 I found on Reverb—what I wanted to do was have an effects loop in there. Scooter put in a loop made by Metropoulos. I didn’t want to tarnish my original amp. I love it the way it is, and it’s been my studio mainstay for so many records—Hate Eternal and other records. Actually, I think we used that 800 for solos on the last Cannibal Corpse record. So this one, I wasn’t married to yet. We got [the loop] in and it didn’t really change the sound. It sounds awesome.
Was the mod invasive?
Uh, invasive enough in the sense they had to drill holes into the back. It’s not really going back to normal. It’s in—once you do it, you’re done! I was keeping my fingers crossed.
Do you run your Boss RV-3 through that effects loop?
I do, yeah. I’ve had tons of rack gear and rack effects, but one day I just said, “You know what, I think I’m going to go back to the basics and just use some pedals.” I got my Morley wah, I got my EQ and reverb, and the effects loop is so good in the Marshall. I used to have an EQ boost. I have my Maxon, my noise suppressor, my tuner, my Radial splitter into my 800 and Dual Rec, two different Marshall cabinets, one with Greenbacks and one with 75-watt Celestions.On the record, I used an 800 with a JMP for rhythm, an 800 for solos, and the Boogie and a Fender Twin reverb for extracurricular stuff, I like to call it—some cleaner and more atmospheric things.
It’s interesting that you prefer passive pickups to active ones.
Part of it is because of the dynamics of passive pickups. This leads to the same reason I love Marshalls. I love to be able to push it and back off it. I’ve gone through an array of different pickups. Right now I’m actually using Gibson Dirty Fingers in the bridge.
You were previously using Seymour Duncan Customs in the bridge?
I was, but I tracked the new album with my Ibanez Universe and my ’91 Gibson Explorer from the Morbid days. It just sounds ridiculous, with the mahogany body. It’s really one of my favorite guitars, rhythm-wise. The Gibson Dirty Fingers sound amazing there. For solos, I’ve been using the Bill Lawrence L-500s for a long, long time now. Dimebag used those back in the day, and his solo tone was legendary.
It sounds like you’re tuned down to G# on songs like “For Whom We Have Lost.” Is that the Ibanez Universe?
Yeah. That guitar has a real neat history. It was Trey [Azagthoth] from Morbid Angel’s guitar. He wrote Covenant with it, and he gave it to me for my birthday in ’93. He could see I’d bought a couple of Universes, and I needed one for touring. I wrote some songs for Domination on it, so I’ve toured with it for two records. It’s an original white Universe, and I think they only made 800, so it’s special.
For years, I’ve wanted to implement that tuning, but nothing came naturally to me. I don’t force anything, but for this record I just started messing with it. I was playing with it for, like, two months, but nothing was coming so I was thinking, “Maybe it’s not in the cards.” Then one day I was writing, and the next thing I knew, I wrote three songs with it: “For Whom We Have Lost,” “Nothingness of Being,” and “Upon Desolate Sands.” They added such a neat texture to the album, and live those songs have gone over so well.
Guitars
’91 Gibson Explorer with Gibson Dirty Fingers in bridge and Bill Lawrence L-500 in neck slot (C# tuning)
’91 Ibanez UV7PWH Universe with Gibson Dirty Fingers and Bill Lawrence L-500 (G# tuning)
Early 2000s B.C. Rich USA Custom Ironbird (C# tuning)
Amps
Marshall JCM800 ’97 reissue
Marshall JCM800 ’97 reissue modded with Metropoulos Zero Loss FX loop kit
Marshall ’79 JMP
Mesa/Boogie Dual Rectifier
Fender Twin Reverb
Marshall Classic Straight 4x12 (Celestion Greenbacks)
Marshall 1960 Straight 4x12 Cabinet (75-watt Celestions)
Effects
Maxon OD808
Maxon ST-9 Pro+ Super Tube distortion
Maxon OD-9 Pro+ Overdrive
Morley Steve Vai Bad Horsie wah
Boss NS-2 Noise Suppressor
Boss TU-2 Tuner
Radial splitter
Boss RV-3 Digital Reverb/Delay
Strings and Picks
D’Addario NYXL (.011–.056 and .011–.068)
Jazz III Black Tortex 1.35 mm
Do you get into a different headspace when you’re producing?
When I’m producing, I’m really narrow-minded. When I’m working on an album I’m not thinking about creativity, as a musician. My life stops at that point and I’m focused on the band I’m producing. You know, bands like Cannibal Corpse are very prepared. I'll throw out ideas and melodies but that doesn’t mean it always passes.
If someone doesn’t go for an idea that you really believe in, do you fight for it or just move on?
I'll fight for it. But by the same token, my whole focus on producing, really, is trying to bring out the authenticity of the band and the sound of the band. I really focus on trying to get the best performance I can, and that’s because I come from an older time. I grew up recording analog, and now we’re in a digital/analog world. So I’m always focused on trying to capture the most authentic tones and the best performances that I can get, and I push them to get that. But at the end of the day, I work for the band, first and foremost, and I want to make them happy. People ask sometimes, “Do you have a sound?” And I say, “My sound is bringing out the sound of the band.” I’ve been fortunate enough to work with everyone from Cannibal Corpse to Agnostic Front to Madball to Mountain Goats. So I’ve had variants of different styles of music. They’re all very unique, so I focus on bringing out their uniqueness.
You’ve spoken often about having a troubled childhood, yet you’ve been called the “nicest guy in death metal.” Does music help you deal with negative emotions?
My childhood was very challenging. I faced a lot of adversity to get where I’m at. Music really saved me in so many ways, because, before music, I was in trouble in every which way—whether it was with school, or altercations, or legal troubles, even, as a juvenile. When you grow up with an aggressive nature because of surroundings in your family and things … music gave me a way to express that. When I first started playing guitar, I just loved heavy aggressive music. Take all of this and put it into that. And it’s made me much happier. It’s been therapeutic, and not just with anger or rage, but sadness and grief. Like, “For Whom We Have Lost” was written about two massively important people in my life that passed away last year.
“For Whom We Have Lost” has no vocals. Did you feel that the music alone could express your sentiment better than words in that case?
It was all heart, all soul. The interesting thing about that song is the main solo passage that goes from beginning to the end, and even the solo in the middle of the song, was all done in one evening of grieving. It was my way of expressing that grief, and the solo is one take. I kept it and I didn’t even try to redo it. I first recorded it at home a few nights after one of these losses. The rest of the song came around another significant loss in my family. So it came at two different times and merged into one song, and has a lot of deep meaning to me.
It’s a powerful way to end the album.
It is. For me, music has always been the one way I could express myself when I didn’t know how. I wasn’t given the tools in my youth to express myself. Music also has helped me in my everyday life to become a healthier, more positive person by expressing all this negativity in my music. I’ve been doing this for 30 years, and a couple of years ago I had my first Guitar World feature, and it was so special. Just like to be in Premier Guitar. For me, it’s one of the most amazing accolades I could ever get as some kid that was 15 jamming to Black Sabbath.
I have pretty lofty goals. People would tell me, “You’re kidding yourself. Get a real job, you’re living a pipe dream.” But I never doubted myself. I just focused on the task at hand, and that was because of personal need to have something to grasp onto, to focus on, to get me out of the mire that I felt like I was totally submerged in. To be able to sing and play guitar in my own band, to record my own record, and this tour—touring with Cannibal Corpse, who I’ve produced four albums with, and to play with Hate Eternal, with our new record out…. This is one of the best times in my whole life. I’ve got a lot to smile about.
Captured live at the Senate in Columbia, South Carolina, on November 2, 2018, here’s the first show of Hate Eternal’s tour in support of Upon Desolate Sands. This full-length concert shows Erik Rutan in top form, armed with his trusty, red B.C. Rich Ironbird.
Updates feature PRS DMO and McCarty III pickups, EQ mini-toggles, Phase III tuners, and expanded color options.
PRS Guitars announced the continuation of its 40th anniversary celebration with two new models and several specification updates across their Maryland, USA-made electric instruments. New models include the Standard 24 Satin and Swamp Ash Special, while the new specs in multiple lines include PRS DMO and McCarty III pickups, EQ mini-toggles, Phase III tuners and expanded color options.
2025 marks the 40th Anniversary of PRS Guitars. After announcing SE Series updates in October and officially kicking off their 40th Anniversary celebration this past November with the introduction of the 40th Anniversary Private Stock Dragon and Custom 24 limited-edition instruments, this month's launches are the next in a schedule of many product announcements to be made throughout the year.
“Our mission hasn’t changed since day one in my first Garrett workshop - we want to build the best tools for musicians to do their jobs,” said Paul Reed Smith, founder & managing general partner of PRS Guitars. “But, as the saying goes, ‘windshields are larger than rearview mirrors for a reason.’ We do not want to spend our anniversary only looking back. We want to keep advancing our craft and adding value to our instruments by focusing on details we believe matter to musicians.”
New Models: Standard 24 Satin and Swamp Ash Special
When a young Paul Reed Smith was raising money to start his business, he traveled the East Coast with two guitars: a PRS and a PRS Custom. The PRS was an all-mahogany guitar that would later come to be called the PRS Standard. For 2025, the company is introducing a version of that pre-factory instrument in its Core line. Featuring a “sinky” satin nitro finish and the new PRS DMO pickups, the PRS Standard 24 Satin is a powerful, roadworthy workhorse. Its full, warm, organic tone is maximized not only by the finish, but thanks to the Phase III locking tuners with brass shafts, proprietary bone nut, and design of the PRS patented tremolo.
The Swamp Ash Special bolt-on model is also making a comeback for 2025 but with an updated electronics layout. Its swamp ash body is equipped with a versatile hum/“single”/hum pickup configuration. Two 58/15 LT pickups flank a PRS Narrowfield in the middle position, which adds a single-coil bite – without the hum. Paired with a volume, tone, 5-way blade switch, and dual mini-toggle coil-tap switches (for the first time on this model), the Swamp Ash Special has a total of twelve sound combinations. Overall, the PRS Swamp Ash Special features tight low-end, bright but mellow high-end, and a welcome twangy tone that can reach “hot country,” blues and jazz territory.
New Pickups
Most notably, PRS is introducing two new pickup models in its Core lineup: PRS DMO and McCarty III treble and bass pickups. Through hands-on research into beloved vintage pickup models to advancements in signal analyzation and “tuning” technology, these pickups incorporate every detail of pickup knowledge PRS has gained in recent years of R&D.
PRS DMO (Dynamic, Musical, Open) pickups are more modern-sounding and have a “wide open” sound with vocal character, meaning they deliver clear, pleasant-sounding tones across a wide range of frequencies (bass to treble) in each pickup. While McCarty III pickups are vintage-inspired humbuckers that bring a vocal clarity to their full, warm tone. PRS DMO’s will be found on the Custom 24, while McCarty III’s will be found on McCarty, Hollowbody, Special and Studio models.
EQ Switch Feature
On select models, PRS has also updated the spec on their dual mini-toggle switches from coil-taps to EQ switches. EQ mini-toggles act as tuned high-pass filters when engaged (in the up position), removing shelved low-end and allowing the high frequencies through for more clarity and musical highs. This spec will be found on the Custom 24-08, Modern Eagle V and S2 Custom 24-08.
“These EQ switches were developed with and first featured on the Private Stock John McLaughlin model in 2023. Both John and I felt that they offered a different, but just as versatile, sound that played a significant role in the musicality of that guitar. I am happy that we are now extending this feature into more models,” said Paul Reed Smith.
Phase III Tuner Expanded Offering
The entire S2 Series and select Bolt-On models are also being updated with Phase III tuners. Designed from scratch in 2012 to be wholly different from Phase II’s, Phase III tuners were originally introduced on PRS’s Core line. Notable features of these tried-and-true tuning machines include a handsome open-back design, highly usable gear ratio, unplated brass shafts, overall lightweight construction, and PRS’s proprietary wing button.
PRS has also introduced new colors across their lineup, including Aurora Borealis and Black Gold on select Core models, Egyptian Gold and Platinum Metallic on the Myles Kennedy signature Bolt-On, five new colors on the NF 53, including Matcha Green and Jasper Smokeburst, and three new satin colors on the Fiore, including Lilac Satin, Hibiscus Satin and Amaryllis Satin.
All of these specification details are aimed to make better guitars for musicians. Beyond these foundational updates, PRS Guitars is planning a year full of new product and limited-edition introductions. Stay tuned for those updates over the coming months.
For more information, please visit prsguitars.com.
Vola Guitars collaborates with guitarists Pierre Danel and Quentin Godet to announce the all new J3 series to their line of signature guitars.
With both Pierre Danel and Quentin Godet rising to the forefront of the heavy music scene, they have caught fire with distinct approaches and undying tenacity. Furthermore, their involvement with Vola Guitars has led to brand growth as a direct result of their endeavors. Equipped with Bare Knuckle pickups, 27” scale length, Gotoh hardware, and crafted with precision. "These two unmistakable designs are meant to be extensions of their handlers, catalysts for creative expression."
Features include:
• Country of Origin: Handmade in Japan
• Scale Length: 27" Extended Scale length
• Construction: Bolt-on neck with new contour heel
• Body: Alder
• Fingerboard: Roasted Maple
• Neck: Roasted Maple neck with 3x3 Vola headstock
• Nut: 48mm * 3.4T Graphtech nut
• Frets: 24 Medium Jumbo Stainless Frets
• Inlay: Custom Luminlay Kadinja with Luminlay side dots
• Radius: 16" Radius
• Pickups: Bare Knuckle™ Bootcamp Brute Force HSS
• Electronics: 1 Volume (Push/pull : Add neck Pickup switch) 1 tone 5 way switch 1 mini switch (On-On-On: series/parallel/ coil tap)
• Bridge: Gotoh NS510TS-FE7 tremolo
• Tuners: Gotoh SG381-07 MG-T locking tuners
• Strings: Daddario XTE1059 10-59
• Case: Vola Custom Series Gig Bag (included)
The Vola Oz and Vasti J3 Series are the culmination of Vola’s dedication to designing top quality instruments for demanding players, without sacrificing the beauty that invites a closer look. Street price $1,749 USD. Vola Guitars now sells direct! For more information on this model and more, visit www.volaguitars.comAdding to the line of vintage fuzzboxes, Ananashead unleashes a new stompbox, the Spirit Fuzz, their take on the '60s plug-in fuzz.
The Spirit Fuzz is a mix of the two first California versions of the plug-in fuzz used by Randy California from Spirit, Big Brother & The Holding Company or ZZ TOP among others, also maybe was used in the "Spirit in the Sky" song.
A handmade pedal-shaped version with less hiss and more low-end with modern fatures like filtered and protected 9V DC input and true bypass. Only two controls for Volume and Attack that goes from clean to buzzy fuzz with some fuzzy overdrive in-between, also it cleans well with the guitar's volume.
The pedal offers the following features:
- Two knobs to control Volume and Attack
- Shielded inputs/outputs to avoid RF
- Filtered and protected 9VDC input
- Daisy-chain friendly
- Popless True Bypass switching
- Low current draw, 1mA
Each of the Hornet 15 Li amplifiers is designed to leverage Mooer's digital modeling technology to provide 9 preamp tones based on world-renowned amplifiers.
This modeling amplifier comes in two colors (White, Black), each of which is paired with its own carefully curated selection of preamp models.
The modulation dial can be adjusted to choose between chorus, phaser, and vibrato effects, whereas the delay dial facilitates analog, tape echo, and digital delay. Also, the reverb unit includes room, hall, and church emulations, making sure that there is an atmosphere and effect chain that works for any practice scenario.
A unique feature of this amplifier is how it can be used in two modes: “Live” and “Preset” mode. When using Live mode, guitarists will be able to browse the device's built-in preamp tones, which they can then enhance if they wish to throw the effect units. In contrast, the "Preset" mode allows users to save these effects and dynamic parameter changes into each preset, enabling them to customize them without overwriting the originals.
As any good amplifier should, the Hornet 15 Li is complete with industry-standard features, such as three-band EQ adjustment dials, volume and gain dials, a 1/4" guitar input, and both an auxiliary input and headphone output. However, MOOER has gone above and beyond to pack the amplifier with several special features; for example, this modeling amp boasts separate tap-tempo buttons for both the modulation and delay units, in addition to a dedicated tuner button and function, allowing guitarists to use the device's screen to ensure their guitar tuning is precise. What's more, the Hornet 15 Li also supports Bluetooth input, meaning that any guitarist can stream their favorite songs and backing tracks directly to the amplifier, making practice sessions and rehearsals easier than ever.
Arguably, the most impressive feature of the Hornet 15 Li is the fact that, in addition to being powered by a mains supply, it can also operate on battery. The device is built with an integrated 4000mA.h lithium battery, empowering guitarists to practice guitar on the go for hours–even when there’s no power source nearby. Combining this with how the amp weighs just 2.9kg and comes with a built-in handle, it’s clear that MOOER had portability and convenience in mind when designing this product.
Features:
- Available in 2 colors (White, Black), each with its own selection of classic preamps
- 9 high-quality preamp models, each captured through MOOER’s MNRS technology (controllable through the 9-way tone rotary switch)
- Modulation effects unit (chorus, phaser, vibrato) and dial
- Delay effects unit (analog, tape echo, digital) and dial
- Reverb effects unit (room, hall, church) and dial
- Three dials for three-band EQ adjustment (treble, mid, bass)
- Gain and master volume dials
- Live/Preset mode toggle switch
- Tap tempo buttons and features for modulation and delay effects
- 15 watts of rated power, ideal for practicing
- Digital screen for displaying functional and tuning information
- Built-in digital tuner
- ¼” guitar input
- 3.5mm auxiliary input
- 3.5mm headphone output
- Bluetooth support for high-quality audio input playback, perfect for backing tracks
- Convenient handle for easy transportation
- Rechargeable 4000mA.h lithium battery for portable play
- Power switch for easy on/off control
The Hornet 15 Li is available from distributors and retailers worldwide now.