Check here for some of the latest and greatest acoustics in 2022!
The PRS SE P20 is a parlor-sized acoustic with a
big voice. Boasting traditional parlor features
like sweet, midrange tone, historic vibe, and easy
portability, the PRS SE P20 also brings a unique
voice to players. The PRS hybrid “X”/Classical
bracing locks down the back and sides while
allowing the top to freely vibrate, allowing the
PRS SE P20 to project with even, bold tone, while
the all-mahogany construction provides an organic
warmth to the guitar. Its smaller size keeps
playing fun and comfortable for hours, so whether
writing, recording, or performing the P20 is sure
Available in three satin finishes with herringbone
rosettes and accents, PRS SE Parlor acoustics look
as good as they sound. Other high-quality features
include a solid mahogany top, ebony fretboard and
bridge, bone nut and saddle, as well as PRS
trademark bird inlays and headstock design.
The Advanced Acoustic series represents an important step forward in the long and storied tradition of the acoustic guitar. In what amounts to a fully reimagined acoustic experience, these instruments were designed from the ground up to deliver a richer, brighter, and louder tone, with an unprecedentedly wide dynamic range. With slightly larger than typical proportions, Ibanez decided to name this new body shape the “Grand Dreadnought.” This reinvented design achieves a superb, powerful sound, and thanks to the extensive consideration given to the ergonomics, it’s extremely comfortable to play. The Advanced Acoustic series pushes the acoustic guitar to new heights in a way that promises an exciting experience for all players.
Left-Handed Guitarists: mid-priced acoustic-electric with an Ergonomic Armrest seeking partner to make beautiful music.
“Wow, the armrest really helps keep from cutting off blood circulation when I’m practicing and feels like I’m playing a smaller instrument. Responds nicely both to some intimate playing, and has nice character when you hit it a little hard; it responds with a good full low end and is still crisp and clear.” ~ Sean Harkness, NYC
The NATURA G550RCEL is a Left-handed acoustic-electric featuring an Ergonomic Armrest for comfort. The G550RCEL is a solid Spruce top Grand Auditorium Cutaway with weight reducing Low-Mass bracing. It has a voice that is focused and harmonically complex and suitable for left-handed players looking for the volume of a full-sized instrument and the comfort of a smaller body. A Glass-fibre reinforced neck ensures a lifetime of neck stability.
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We love metal at Gator – both the head-banging and physical types. While our metal stands are great for the stage and studio, they don’t always blend into their environment. Sometimes you need something more elegant and adaptable to the overall vibe of
your living room or studio furniture, which is exactly what the Elite Guitar Hanging Stands by Gator Frameworks provide – simplicity with an aesthetic to match any home or studio décor. These stands satisfy all types of players by providing a comfortable fit for most electric, bass and acoustic guitars. Show off your collection with style!
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The Grace Design BiX preamp shares the exact same DNA of its bigger siblings, FELiX2 and ALiX, but with an intelligently streamlined feature set and a price that puts it in reach of any performer, whether on your way to the coffee shop or the Megadome. BiX delivers maximum clarity and detail for any plugged in instrument, with dead simple controls – input gain, high and low shelving EQ, and a 10dB variable boost circuit, with footswitches for mute and boost. I/O includes instrument input, separate send and return insert jacks, an unbalanced line output, and a balanced ISO DI output on XLR. And BiX is pedalboard friendly, with a 9VDC power input and a compact, rugged low-profile chassis. Visit www.gracedesign.com for complete details.
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Mojotone will manufacture and market over 60 of their speaker cabinets and amp kits as “Licensed by Fender.”
This partnership marks Fender's recognition of Mojotone’s dedication to its craft, quality of products, and dependability of knowledge. Beginning November 29th and ranging from $327 - $1,016.
Amplifiers were among the first products to wear the official Fender seal. A qualified electronics technician by trade, Leo Fender developed his iconic amplifiers during the mid-1940s putting innovation at the forefront. To this day, Leo’s influence and innovative spirit can still be heard in today’s amps, as that same iconic, clean Fender tone continues to color new music around the world. As a result, the process for completing the exclusive licensing deal required Fender to carefully audit Mojotone’s amplifier kits, wiring diagrams, electronics, hardware, construction methods, and more to ensure this innovation carried on through the partnership. Mojotone’s many years of intense research, quality production, and favorable reputation solidified the deal.
Mojotone has always been determined to provide its customer base with the most sought-after parts with their insider industry-knowledge. They have spent the last 25 years helping musicians recreate what they deem to be the most famous and easily-recognized tones and aesthetics in the music industry. When purchasing Mojotone products, like Fender products, customers can be assured of unmatched quality and craftsmanship.
For more information, please visit mojotone.com.
On Loggerhead, Miles Romans-Hopcraft chops and dices his own improv jam sessions—sampling his personal archives to create a new synthesis of hip-hop, jazz, grunge rock and more, all wrapped in a punk ethos.
South London artist Miles Romans-Hopcraft works under the moniker Wu-Lu. His pseudonym is a play on the Amharic word for water, wuha, but modified to avoid confusion with the Busta Rhymes track, “Woo-Hah!! Got You All in Check.” It’s a fitting handle, too, in that, like water, it’s indicative of Wu-Lu’s form-fitting, genre-fluid adaptability.
Romans-Hopcraft lives at the intersection of hip-hop, free improv, and grunge—imagine a Frankensteinian mashup of DJ Shadow and Slipknot, but looser—and crafts songs built from the lo-fi samples he rips from his extensive personal archive of tapes, mostly of open-ended jam sessions, that he then uploads to an Akai MPC sampler and drum machine.
South London—the triangle of Brixton, New Cross, and Lewisham, which sits south of the touristy city center along the River Thames—looms large in Romans-Hopcraft’s world. Owing, in part, its musical pedigree to the Trinity Laban Conservatoire of Music and Dance located a stone’s throw from the New Cross Gate tube station, the neighborhood is the epicenter of the city’s vibrant and bustling new music scene. It’s also Romans-Hopcraft’s home turf.
Wu-Lu - South (Official Video) ft. Lex Amor
“It just happened that everyone happened to be in Lewisham somehow,” he says, marveling at the near miracle of growing up in the right place at the right time. “I went to the studio, and I saw Nubya Garcia [critically acclaimed saxophonist and bandleader], Joe Armon-Jones [keyboardist for Ezra Collective, Nubya Garcia], and Oscar Jerome [solo artist] up there, and I was like, ‘What are you lot doing up here? My grandma lives here, and my auntie lives around the corner. That’s why I’m here.’ Lewisham is a far part of South London to be in, but people are here because it’s cheap to live. Before my generation came through, there was a whole instrumental scene in South London with bands like United Vibrations, Polar Bear, and Acoustic Ladyland. A lot of people outside of South London started taking notice of what was going on and a lot of it gets coined as the ‘South London Jazz Scene,’ but the way I see it, it’s just instrumental music: people using their talent to be able to improvise in a feeling that they have.”
Romans-Hopcraft’s rich musical background is more than a matter of just living in the right neighborhood. His father is trumpeter Robin Hopcraft (most recently a member of Soothsayers, but with an extensive history playing Afrobeat, reggae, and jazz), and he’s also got an identical twin brother, Ben, who’s an accomplished artist as well (formerly Childhood, and now Insecure Men, Warmduscher, and something in the works under Sean Lennon’s direction). Plus, he’s closely associated with a coterie of artists like songwriter and guitarist Lianne La Havas, saxophonist Garcia, Black Midi drummer Morgan Simpson, and many others.
“A lot of people outside of South London started taking notice of what was going on and a lot of it gets coined as the ‘South London Jazz Scene,’ but the way I see it, it’s just instrumental music: people using their talent to be able to improvise in a feeling that they have.”
LOGGERHEAD, Romans-Hopcraft’s full-length debut, is an amalgamation of his experiences and aesthetic. “South,” the album’s lead single, is a slow crescendo that layers an acoustic guitar, raw hip-hop groove, and dub-style vocals before finally exploding at the chorus with a bloodcurdling scream (and featuring an outro rap from Lex Amor). “Times,” featuring Simpson, could, at points—both texturally and, maybe, because the Big Muff features so prominent—be at home on a Dinosaur Jr. record, if not for the tight, groove-centric drumming. And the eerie and melodic “Broken Homes” is a nuanced showcase for Wu-Lu’s songcraft, although, again, buried under layers of feedback and noise.
The whole album is like that. Intense, overwhelming, and constructed from scratch through an arduous process of scrolling through files and tapes, finding bits—be those inspired jams or someone dropping a cymbal—and then, slowly, honing those into complete, evocative, emotional masterworks.
“It might not even be part of a song,” Romans-Hopcraft elaborates about his crate-digging approach to samples. “It might be a drum break, or it might be something that was recorded on the wrong mic. It might be that I was playing guitar, ran into the control room, fiddled around, and when I listened to it later, discovered that when I put down my guitar, I was touching the guitar mic—and that would then become a whole inspiration for a completely different song. I can probably still go back into all those jams and pick out different stuff and make different music from that.”
Wu-Lu’s debut album isintense, overwhelming, and constructed from scratch through an arduous process of scrolling through files and tapes, finding bits—be those inspired jams or someone dropping a cymbal—and then, slowly, honing those into complete, evocative, emotional masterworks.
For example, the aforementioned “Times” started out as a birthday jam session with Simpson. “We were playing some beats—I was playing along with him—and someone in another room was filming us on their phone and sent me the video,” he says. “I heard this little ‘weee-weee’ sound and I was like, ‘That would be a sick idea.’ Morgan was playing something similar to what that was. I listened to that video intently. I programmed a drum beat on my MPC that I thought would work, built up a whole track, and eventually decided to re-record it [with Morgan]. On that tune I played all the guitars, the bass, all the synthesizers, and everything apart from the drums. But I programmed that beat beforehand. I told Morgan, ‘This is what I want you to play, but obviously add your feel to it.’”
Sampling your personal archives has other benefits as well. “Like avoiding royalties,” Romans-Hopcraft says, maybe slightly tongue-in-cheek … but only slightly. “I once asked about using a sample for something on a mixtape and they quoted some crazy, crazy price. I was like, ‘No more of this,’ and I started sampling myself. Plus, I like being able to look through stuff. The track ‘Blame’ came from being in the studio, doing long late-night jam sessions, and then having a few hours of jams I needed to look through to see what I could pick out. I sampled things, pulled stuff out of it, and then started remixing and overdubbing.”
Wu-Lu’s Gear List
Wu-Lu often builds his compositions around an initial sample from his own jam sessions, but the feeling from that original jam session is key to the song’s final form—even live.
- Fender Player Plus Meteora
- Fender Marauder IBL
- Roland Jazz Chorus JC-120
- Pearl Duo Reverb
- Electro-Harmonix Big Muff Pi
- JOYO JF-01 Vintage Overdrive
- Electro-Harmonix Stereo Memory Man with Hazarai
- Electro-Harmonix The Worm (wah/phaser/vibrato/tremolo)
- Boss RV-6 Reverb
Strings & Picks
- Rotosound Strings (.011–.048)
- Dunlop Tortex Green Picks .88 mm
But that freeform, loose, experimental approach ends once the song is completed. When it comes to reinterpreting those tracks live, Romans-Hopcraft plays what’s on the record. “I stick pretty loyal to the recording,” he says. “The live band setup is drums, bass, two guitars, and vocals—everyone’s on vocals—and also another drummer, but his kit isn’t a traditional drum kit. It’s like an MPC with loads of samples taken from the songs. For example, if we’re playing ‘Blame,’ that’ll be a drum break from the original track that I sliced into pieces where he can play the samples like a drum kit. It’s the original sounds, but he can play it.”
Romans-Hopcraft’s production techniques may be sample-centric and high tech, but he creates his music with inexpensive instruments and tools. “All my stuff is basically from car boot sales,” he says. A car boot sale is an English yard sale (“car boot” is British slang for “trunk”), and he’s amassed a bevy of inexpensive amps, old-school synths, and multitrack tape machines.
“All my stuff is basically from car boot sales.”
He favors Fender-style guitars, and their bolt-on necks and distinctive jangle is central to Wu-Lu’s sound. He runs them through a thick layer of fuzz, and, at times, will divvy that up between multiple amps. “I got a headphone splitter and plugged my output into that and then split my signal into like three different amps,” he says. “But the main thing I use is the Big Muff and this mini green pedal—a JOYO Tube Screamer-like pedal—that I got on Amazon for £15, which is like a high-gain pedal.”
But, more than anything, Romans-Hopcraft’s music is about the vibe. A composition may be a studio creation built up from an initial sample, but, even many iterations later, the mood from that original jam session is key.
“It might be that I was playing guitar, ran into the control room, fiddled around, and when I listened to it later, discovered that when I put down my guitar, I was touching the guitar mic—and that would then become a whole inspiration for a completely different song,” Wu-Lu says.
Photo by Machine Operated
“‘Broken Homes,’ the last song on LOGGERHEAD, is a real special one,” he says, reflecting on the song’s mood and origins. “We made that in lockdown, and it was just me, my boy Jae [Jaega Francis McKenna-Gordon] on the drums, and my boy Tag [Tagara Mhiza] on bass. We went to jam in this pub that was empty—because it was Covid lockdown—and it was half six in the morning and we were about to go to bed. But my friend Jae was like, ‘Let’s just play one more time—one more time—let’s have a vibe one more time.’ That was the beginnings of ‘Broken Homes.’ We recorded the whole thing to tape. It was a 20-minute thing that I edited down and reworked. My twin brother, Ben, helped me finish it—there were moments in it where I thought, ‘These are really good moments, but something’s not hitting’—and my brother, being a songwriter, suggested adding little ideas in how to change the arrangement to make it feel full. I was like, ‘Alright,’ and it was finished.”
That commitment to a song’s emotional, somewhat mystical, origins, coupled with a hyper-focused work ethic, is definitive of how Romans-Hopcraft operates. And, like most of his story, he also attributes that to his South London neighborhood.“
A lot of what I got from a lot of the people that I’ve met along the way is the thing I think they got out of college, which is learning how to practice,” he says about the many local graduates of the Trinity Laban Conservatoire he knows. “It’s learning how to be productive with your practicing, and that’s what I’ve applied to my own stuff, too. I’m like, ‘I’m not the greatest guitar player or bass player—I can hold my own for my own thing—but I’m going to learn how to make the MPC groove or take bits and create that into something.’ I took that and applied it to my own craft. And I had the support of all the other people around me as well.”
Wu-Lu - live from The Room
Kick off the holiday season by shopping for the guitar player in your life at Guitar Center! Now through December 24th 2022, save on exclusive instruments, accessories, apparel, and more with hundreds of items at their lowest prices of the year.
We’ve compiled this year’s best deals in the 2022 Holiday Gift Guide presented by Guitar Center.