Editor for a Day Winners: On NAMM, Nashville, and Who to Not Piss Off at PG
Mason Stoops and Lindsey Hastings are back from their trip to NAMM and divulge the dirty details on hanging with PG staff, the stress of being in front of the camera, and the gear that caught their eyes at the show.
Letās be frank. We were a bit shocked that our video, the video filmed 12 hours before, edited four hours before, and submitted 10 minutes before the deadline, actually won the Premier Guitar Editor for a Day contest. This isnāt because weāre fantastic procrastinators (well maybe a little), but because we doubted that we could actually win.
At 20, Mason has been playing guitar for six years and going to Winter NAMM for four of them. Itās definitely fair to say that when that time of year comes around, heās more excited than at Christmas (and Mason does enjoy a good Christmas). Even though I am not a musician myself, I have visited the convention several times with my father throughout my adolescence. Fun as it was, I never categorized the experience to be more than a mild enjoyment that came and went. However, dating someone like Mason sort of takes that perspective and tosses it in the garbage.
To call Mason a gear freak is a pretty complete understatement. I have never met anyone who stayed up late thinking about guitars and pedals, and who knew so much about them, down to the tiniest detail, that complete strangers sought him out for advice. Yet itās not just the knowledge base that matters, he truly cares about playing more than anything, and itās hard not to learn and gain an appreciation for it to when youāre around him.
Masonās completely sweet and outgoing personality could make NAMM fun for anyone, and because of him I have met some of the absolute coolest people in the world. I may not be a musician, but now I certainly love the industry. It is because of this that I was 100 percent behind him to take a shot at the competition only hours before the deadline.
This is why finding out that we won was so surreal. It was incredibly touching to know that so many people we loved wanted to help Mason win, and it was worth every ounce of effort. I had an incredible week in Nashville, and found the music community overwhelming and heartwarming. Getting to know everyone from Premier Guitar and other builders at the show was a blast, and I am so grateful for the friends I have made. -- Lindsey Hastings
Iāve been told that I should definitely visit Nashvilleāand probably move thereāsince I started playing guitar. Musicians like Hank Williams, Mississippi John Hurt, Tony Rice, Doc Watson, and Carl Perkins are spoken about and listened to so little in Orange County and L.A. that unless youāve discovered them on your own, youād never even know they existed. But these are the musicians that I first fell in love with, and who continue to influence my playing. I figured that I would find my way to Nashville one day, but it was not a priority. If it werenāt for winning this contest, I wouldnāt have known what I was missing.
Nashville has been everything that I wanted to see and hear, but 1000 times more awesome. The amount of fantastic music that is playing everywhere at any given time is really crazy, and surprising for a musician who isnāt used to it. My second night in town, bluegrass player Chris Henry told me, āEveryone out here is great. Even the guy serving you coffee is a better guitar player than you.ā Itās hilarious, but itās true. In L.A. most people think they are better than you, but in Nashville they actually are. Itās intimidating sure, but the benefits of this environment far outweigh that.
Because Nashville is the music city, I was a bit shocked when I went to the first day of NAMM. Summer NAMM is one room at the convention center, a gigantic room yes, but only one. I am used to Winter NAMM where you have five or more gigantic rooms and itās almost like going through airport security to even enter the building. In a way, though, it was nice to experience the small side. I could spend a lot more time talking to friends that I knew, and there wasnāt this huge anxiety that I was missing something. Having spent three days on the floor, here are five pieces of gear that really stuck with me:
1. Earthquaker Devices Talons Overdrive
Letās face it, every builder has their own take as to what the perfect overdrive sound is, leaving us players with maybe a few too many options to choose from. I always find myself having to choose between personality and versatility when Iām picking out an overdrive, but Earthquakerās new Talons pedal is one of the first that strongly gives me both. It has a super interactive EQ that I had a blast experimenting with, and its drive knob can go all the way from a clean boost to an all-out āswarm of hornets armed with chainsawsā distortionāall while still sounding completely unique and totally Earthquaker. I cannot wait to get one on my board!
earthquakerdevices.com
2. Renovo Amp Works Stomp Blox Pedal Boards and Tejas Amp
A newcomer to the industry, the brother duo at Renovo Amp Works brought along their new Stomp Blox Modular pedalboard system that allows you to add or take away from the size of you pedalboardāone of those ideas that the more I thought about it, the more possibilities opened up. What really impressed me though, was their new Tejas Class-A tube amplifier. It just sounded like nothing else Iāve heard, and in a really good way. It had an amazing balance of edge and warmth that to me sounded like some crazy Vox/Supro/Blackface Fender hybrid. I went back several times throughout the show to play through it, each time hoping to pin-point its voice, but no matter how valiant my efforts, I just couldnāt. Itās just a really stunning amplifier, with a sound all itās ownāI loved it!
renovoampworks.com
Renovo Amp Works Tejas
3. Wampler Tweed ā57 Overdrive
Thereās no doubting that Brian Wampler (pronounced WHOMpler, as many YouTube commenters have let me knowā¦repeatedly) of Wampler Pedals is one of the best out there when it comes to designing pedals, but with this NAMMās introduction of the Tweed ā57, heās once again raised the bar on what a overdrive pedal can be. I had the opportunity to listen to the incredible Ford Thurston play through one for the PG demo video, and I donāt think Iāve ever heard any pedal nail the cranked tweed amplifier sound so perfectly. Plus, with features like the Input Simulator switch, (a switch that lets the pedal react like the different input types available on amps of that era) there is really nothing else like it on the market. Use it as a gritty vintage sounding overdrive, or put it at the end of your effects chain to turn any amplifier into a tweed machine!
wamplerpedals.com
4. CEC Amps
Another up and comer in the industry, CEC Amps brought out all three of their models to this Summer NAMM, and I was equally blown away by all of them. Craig Wildenradt is the main man behind CEC, and I was really impressed by the passion and innovation he puts into each of his amps. The Toll-Free Express is a 10-watt lunchbox-style amplifier that has an incredibly huge, warm, and articulate sound even with the volume barely turned upāyouād never guess it was the size of your toaster by listening to it. The Suckerpunch 15 is a class A, KT88-powered, 15-watt amp that not only sounds great, but it features an extremely usable set of Drive and Sustain knobs, that when used together, can get you totally authentic British or American sounding distortion. The Brigand, CECās Flagship model, is an absolute tone monster unlike any amplifier Iāve ever played through. Craig took me through this twin-channeled 80-watt beast, and while I was initially overwhelmed by the number of knobs and features this amp carried (Iām usually more of a āvolume and toneā kind of guy), it was quickly clear that not one knob was there without good reason, and they all lend themselves to what were some of the most clever and usable features Iāve seen on a tube amp. What impressed me the most though, was that all of CECās amps were so incredibly transparent sounding that even when I switched from one Strat to another of identical features, Craigās amps were so articulate that they brought out the differences between the two guitars so intensely that they sounded like two completely different instruments. It was mind-blowing!
cecamps.com
The CEC Suckerpunch15 MKII
5. Boicebox Pedalboards
Boutique Pedalboards seem to be the next big thing hitting the market these days. Much like the guitar industry, some are touting expensive and flashy woods, finishes, and features, while others are going for straight functionality with no extras. Boicebox is the first pedalboard company Iāve seen to really offer both. Made out of 3-ply carbonized bamboo, theyāre both good-looking and extremely durable. They come with awesome features like built-in jacks for both your instrument cables and power, as well as a hinged upper tier made of aircraft-grade aluminum that flips open so you can easily access and mount your power supply insideābrilliant! Plus, when youāre done gigging, just attach the hard top, and the pedalboard becomes itās own case, equally brilliant! Like I said, just a perfect combination of features and functionality. Wish I had one!
boicebox.com
***
The experience was also made different by seeing it through Premier Guitarās eyes. It was crazy to see how intense a tradeshow can be when you are under the pressure of trying to cover as much as humanly possible. Running from booth to booth and trying to coordinate interviews with the builders is hard enough, but if youāre walking around with Rebecca, you also have to stop every few paces so guitar nerds can drool at her and take pictures. Plus, I am used to just being the demo guy who doesnāt have to say a word. Being the interviewer, however simple it may seem, is actually hard. You think you can say those three sentences without stumbling, but you canāt.
Brent Mason + a crowd + a camera crew = not intimidating at all. Photos by LP Hastings.
However intimidating being an interviewer was, it actually brought up an idea that I hadnāt really thought much about before. As Lindsey and I watched the first few videos with us on camera, we were worried that people thought we looked like idiots, but instead any negative feedback was aimed at the products and not us. This was definitely a relief to some degree, but it was also frustrating that viewers were so critical of new productsāas if something out of the box, unique, and weird was a bad thing. Yes, of course some products that show at NAMM are crazy and would never catch on, but why people are so harshly criticized for trying something different is beyond me. People thought Leo Fender was off his rocker when he introduced the first Broadcaster (later renamed the Telecaster), and I imagine that if the internet existed then he would have received the same degrading commentsājust maybe with a few more occurances of phrases like āsquare,ā ādipstickā, and āwhy, I oughta.ā
I think that these really weird, off the wall, sometimes great and sometimes not so great ideas are a key element of NAMM, and weāre truly lucky that such a place exists to showcase them. What other industry is so open to anyoneās innovations and has the capacity to reach almost anywhere in the world and affect people in a positive light?
Lindsey checks out the WhiteLight Design Ergotar and YouTube comments spin out of control.
Even though Summer NAMM is significantly smaller and less of an event than Winter NAMM. It gives more room to really get to know people, and you have time to see everything. Plus, Nashville is a far greater support to musicians than Orange County or L.A. and having everyone meet up in that environment is much more beneficial than hanging out around Disneyland.
If thereās anything to be said here, itās this: I love NAMM. I absolutely love it. There are, and always will be imperfections and side-effects, but as in life, be open minded. Having the opportunity to hang out with the PG staff was incredible, and I can now confirm that yes, indeed, they are as cool as they seem. If you are to be the next Editor for a Day, I have only one piece of advice. When interviewing someone, do not, under any circumstances ask anyone how they are doing. Steve, the cameraman will in fact, punch you square in the face.
Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
āWhat a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,ā said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. āI couldnāt be more proud to still be here 40 years later.ā
With nearly 1,400 of the whoās who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. āThe guitars are great. You canāt last 40 years if the guitars arenāt great,ā said Mayer. āMany of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say āTheyāre too nice.ā Whatās too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes ā¦ bad intonation? The product is incredible.ā
Black Sabbath to Reunite for First Time in 20 YearsāOzzy Osbourneās Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: āWhile other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.
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 fatherās 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 heās covering Van Halenās 1981 stunner āPush Comes to Shoveā lately.) Heās 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 Memphisā Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappaās Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PGās John Bohlinger a boot-to-bonnet look at his current road setup. Thereās a lot of ground to cover between his and his fatherās 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 DāAddario.Shut Up ān Play Yer Les Paul
This coveted GibsonĀ Les Paul Custom, featured on the cover of Frankās 1981 record Shut Up ān 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 didnāt 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 didnāt get much of the lowdown from his father on the complex operations; it was more trial-and-error. āYou just have to turn knobs until you find something that you like,ā 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 Frankās iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, itās 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 āPush Comes to Shove.ā Per Shabat, it has a ābody-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 ā¦ 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. Itās 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 (.008ā.046), and struck with DāAddario .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 āNanook Rubs Itā), 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, heās 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 āClown Vomitā 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 Zappaās 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 ā¦ 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.
āThe new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,ā said Kepma USA president Tony Moscal. āWith their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instrumentsāall at an entry-level price.ā
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 youāre 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 Fenixā¢ Series offers four configurations to suit every playerās 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 playerās 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 AcoustiFexĀ® 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. Kepmaās 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: Kepmaās 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 Kepmaās 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 youāre 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 Ā¾ 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 youāre 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.