"A 1992 red electric guitar with mahogany neck, maple top, and diamond shaped pearl inlay on the fingerboard. No serial number. Played by Slash this guitar while recording the track ""Loving the Alien."" on the Velvet Revolver recording the album ""Contraband."""
Taylor Guitars, the leading global builder of premium acoustic guitars, today announced a major expansion of its SOMOS Collection®, adding six new double-course models designed for Latin music styles and broader sonic exploration. The release includes three new Bajo Quinto (10-string) and three Doce Doble (12-string) guitars across the 100 Series, 200 Plus Series, and 200 Deluxe Series, making the collection more accessible to a wider range of players. All six models are available now at authorized Taylor dealers worldwide and on TaylorGuitars.com.
“With the SOMOS Collection, we’re celebrating our musical and cultural connections that define our home in Southern California and Baja California,” said Andy Powers, Chief Guitar Designer and CEO at Taylor Guitars. “These new Bajo Quinto and Doce Doble models support the growing demand for instrument innovation and quality in Latin American music, bringing new textures and tonal possibilities to guitarists worldwide.”
Latin-Inspired Sound and Style
The SOMOS Collection® was first introduced as a family of Latin-inspired acoustic instruments that reflect Taylor’s Southern California roots and the diversity of its musical community. “Somos,” meaning “we are” in Spanish, evokes unity, identity, and shared expression.
Each new model features a cutaway Dreadnought body, onboard electronics, a slim, easy-playing Taylor neck, and C-Class bracing, a variant of the company’s patented V-Class® bracing, engineered to enhance volume, sustain, and intonation. D’Addario custom string sets for their respective tunings, and an offset bridge-pin and string-ramp setup that boosts the resonance and responsiveness without the string interference typical of traditional 10- or 12-string designs.
Model Highlights
100 Series – 150ce Bajo Quinto / 150ce Doce Doble
The most price-friendly entries in the SOMOS Collection, the 100 Series models channel a clean, traditional aesthetic with a natural matte finish, black binding, dot inlays, and chrome tuners. Torrefied spruce tops paired with layered sapele backs and sides deliver warm, classic tone with powerful punch and articulation. Includes gig bag and either EMG ACS soundhole humbucker pickup (Bajo Quinto) or Taylor’s ES2 electronics (Doce Doble). Starting at $899 USD.
200 Plus Series – 250ce Plus BLK Bajo Quinto / 250ce Plus BLK Doce Doble Boasting bold blacktop finishes, white binding, and Italian acrylic accents, these models make a stark visual statement perfect for any performer. Layered maple back and sides add brightness and projection, complemented by a solid torrefied spruce top for balance and volume. Outfitted with AeroCase protection and a choice of EMG ACS pickup (Bajo Quinto) or ES2 electronics (Doce Doble). Starting at $1,599 USD.
200 Deluxe Series – 260ce-K DLX Bajo Quinto / 260ce-K DLX Doce Doble Crafted with figured, layered Hawaiian koa back and sides and a solid koa top, these guitars combine a bold, shimmering tone with showstopping visuals. A gloss shaded edgeburst finish, gold tuners, and Sentinel fretboard inlays make these guitars destined for the stage. Each includes a Taylor Deluxe Hardshell Case, and EMG ACS or ES2 electronics. Starting at $2,099 USD.
A Modern Take on Tradition
The requinto-style Doce Doble reimagines the unison-strung 12-string format long favored in regional Mexican and Latin music, producing lush, chorus-like textures suited for any genre. The Bajo Quinto, a mainstay in Norteño and Tejano ensembles, offers five double courses tuned in fourths (A-D-G-C-F), creating a bold, rhythmic foundation that complements both bass and accordion accompaniment.
The new SOMOS Collection instruments are already being played by leading artists and producers shaping the sound of contemporary regional music, including Angel Aispuro and Edgar Rodriguez; Juan Bojorquez (“El Pony”) of Fuerza Regida; Carlos Torres with Peso Pluma; Jorge Tapia with Natanael Cano; Joaquin Ruiz of Grupo Firme; Alan Nieblas from Alta Consigna; and Gil Leyva with Junior H.
“For me, the Taylor bajo quinto and doce doble have really helped me find new ways to express myself,” said Joaquin Ruiz, guitarist for Grupo Firme. “They’ve inspired me with their fresh sound and unique approach. Just like music evolves, there’s a real need for instruments to keep up with that change.”
Crafted Across Borders
The new SOMOS Collection models are built in the company’s state-of-the-art Tecate, Baja California, Mexico manufacturing facility, just across the border from its El Cajon, California headquarters. The Tecate plant, which has produced Taylor’s 100 and 200 Series guitars for decades, plays a central role in the company’s focus on craftsmanship, sustainability, and broader access to the highest-quality instruments.
“The SOMOS Collection is literally and spiritually built on both sides of the border,” Powers added. “It’s a reflection of who we are – ‘somos’ – as makers, musicians, and neighbors.”
The six new SOMOS Collection models are avao;ab;e starting at $999 USD street price (150ce) and ranging up to $1,699 USD (260ce-K DLX).
Double dip in the modulation whip with Keeley's new twin phaser.
Most effects modify the amplitude of the signal like a distortion or compressor pedal. Others modify the timing of signals like delay and reverb. Guitar phasing is achieved by blending your original signal with a frequency domain altered version of the signal. The frequency modified component can be thought of like an EQ pedal that is rhythmically adjusted. As a result, when the two signals are combined you get the instantly recognizable sound of a... phaser.
There's no better way to make your guitar sound spacey, psychedelic, or "liquid". Phasers and vibes have that instantly recognizable dreamy and other-worldly tone. The Oaxa Phaser gives you double the fun with two independent phasers. Two phasers with slightly different LFO speeds can lead to dramatic and inspiring multidimensional layers and textures. The Oaxa Phaser offers you ten stage, four stage, and uni-vibe phasing all with just three large vintage-style knobs. Alt features offer you a one-knob compressor and an additional low-end depth control. The dual phasers in Oaxa can be run in series or parallel. With true stereo processing and built on our award winning Core series platform, it's perfect for creative stereo effects loops. The Oaxa Phaser sounds so good you'll swear it's analog. It's ideal for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
Versatile Phasing Options: Switch between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes with just three intuitive knobs for effortless control.
True Stereo Power: Run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop, creating expansive, studio-quality soundscapes.
Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch, making every note sing.
Analog Soul, Digital Precision: Built on our award-winning Core series platform, Oaxa delivers the rich, organic warmth of an analog phaser with modern reliability.
Keeley Electronics has launched the Oaxa Phaser, an advanced-yet-user-friendly pedal featuring two independent phasers, each controlled by a dedicated footswitch.
The Oaxa Phaser offers a three-position toggle for selecting 10-stage, 4-stage, anduni-vibe phasing, controlled with three easy-to-grab knobs. The dual phasers in Oaxa can be run in series or parallel, with true stereo processing. Built upon Keeley’s acclaimed Core series platform featuring large vintage-style knobs and pilot light, it’s perfect for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
The Oaxa pedal’s Alt features offer even more sonic flexibility: in Alt mode you can access a one-knob compressor and an additional low-end depth control, and its Alt setting for the three-way toggle switch allows you to select 6-stage, 4-stage or 2-stage phasing.
Oaxa features include:
Two independent phase circuits, each with its own footswitch
Versatile Phasing Options: A three-position toggle switch allows you to select between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes
Alt setting for the three-way toggle allows you to select 6-stage, 4-stage or 2-stage phasing
Simple and intuitive three-knob operation with Rate (controls the speed of the effect), Depth (controls the width of the phaser sweep) and Feedback (The amount of output added back to the input of the phaser, often referred to as “color”)
True Stereo Power: Stereo inputs and outputs – you can run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop
Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch
Selectable true bypass or buffered bypass modes
Uses external power 9-18V - 130mA with standard center negative jack
Built in the USA
Keeley’s Oaxa Phaser carries a street price of $199. For more information visit rkfx.com.
Building upon a legacy of sonic innovation, Mr. Black proudly unveils the Tri-Chorale – a lush, three-voice chorus inspired by the legendary Southern California designs of the mid-1980s.
At its core, the Tri-Chorale features three independent delay lines modulating in perfect harmony to create a rich, organic shimmer that feels alive under your fingers. Sharing a common LFO but offset in time and phase, these delay triplets breathe unprecedented depth and dimension into the classic chorus sound—elevating it to new, breathtaking territory. Sometimes, the sum is greater than its parts, and the Tri-Chorale proves it.
Key features:
Three independent modulated delay lines
Full, lossless wet/dry mix control
Wide range of LFO speeds
Pedalboard friendly footprint
True-Bypass
Powered by “Industry Standard” 9VDC
The Tri-Chorale carries a MAP of $199.95 and is handmade, one-at-a-time in Portland, Oregon U.S.A.
Henri and Bill Cash, the brotherly guitar duo behind Los Angeles glam-rock band Starcrawler, linked with PG’s John Bohlinger before their gig at the Pinnacle in Nashville to show off some rose-colored rock tools. Check out highlights of their dazzling setups below, and tune into our full Rig Rundown to scope the full details.
This China-made Gretsch Electromatic Double Jet has just a single TV Jones Power’Tron Plus pickup, but beneath the hood, it’s also got a Rangemaster-style treble-boost circuit (as does another 3-string Electromatic that Henri plays). Henri traced out and applied sparkle-pink paper to give the guitar its memorable finish.
This pink powerhouse is tuned to open G.
Flying Bigsby
Daniel Slusser of Slusser Guitars in San Luis Obispo, California, built this custom V-style according to Henri’s requests, borrowing from a design by Japanese builder Saraso Ju. It’s made from pine from Home Depot, bound with leather, and outfitted with a Bigsby and a Filter’Tron pickup for Gretsch groove.
Triple Threat
Cash runs his dry signal to either this Satellite Amplifiers Neutron head or Vox AC15 combo, and his effects go to the Magnatone Twilighter Stereo on the right.
Henri Cash’s Pedalboard
After a pair of Boss TU-3s and a Boss ES-8 switcher, Henri’s board has a pair of DigiTech Drops, TC Electronic Shaker, R2R Electric Preamp, Boss GE-7, MXR Carbon Copy, Way Huge Red Llama, custom “Lamb’s Head” fuzz designed by Henri and Desi Scaglione, EarthQuaker Devices Tentacle, EQD Bit Commander, and Strymon Flint. A Lehle P-Split sends his signal to either the Neutron/AC15 and the Magnatone.
Tweaked Tele
Bill’s main axe is this heavily modified Fender Noventa Tele, with a Curtis Novak P-90 and a Glaser B-bender system.
Slide Away
For slide parts, Bill uses this GFI Expo pedal steel.
Souped-Up Super
Bill plays through this modded Fender Super Reverb Reissue. The tweaks included inserting a 5E3-tweed-Deluxe-Style circuit in first channel that switches to a handwired Super Reverb-style circuit in the second channel so he can use the tweed channel on guitar and clean black-panel tone on pedal steel. It was inspired by a mod he saw Colleen Fazio did to a friend's Bassman where she changed the first and second channel to be channel switching as well.
Bill Cash’s Pedalboard
On his sprayed-painted pedalboard, Bill runs a Boss TU-3, custom “Lamb’s Head” fuzz by Henri and Desi Scaglione, Way Huge Red Llama, Way Huge Conquistador, MXR Micro Amp, DigiTech Drop, Catalinbread Belle Epoch, MXR Reverb, MXR Tremolo, EarthQuaker Devices Levitation, Electro-Harmonix C9, and a Nocturne Brain Mystery Brain.
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