Pro hardware, unusual circuit tweaks, and killer playability lend new twists to the P-90 solidbody template.
Light and very comfortable to play. Creative tonal options. Excellent hardware.
P-90s may be too hot or bright for some. Middle pickup not as articulate as expectedāand surprisingly difficult to activate on the fly.
$1,229
Vola Guitars JZ FRO
volaguitars.com
For nearly 10 years, Vola Guitars' Japan-made instruments stood out for their somewhat unorthodox features, quality execution, visual vibes that walk the line between traditional and modern, and mid-level prices that rival industry heavyweights. In the companyās varied line of 6- and 7-string guitars (and 4- and 5-string basses), the JZ FRO is more on the traditional end. Yet it still stakes out its own territory in terms of style and performance.
Subtle Upgrades
Volaās most distinctive aesthetic feature is undoubtedly the bodyline scoop/flourish near the rear strap button. On the JZ FRO, it lends a dash of elegance and sophistication to an outline that might otherwise seem too literally Jazzmaster-like, while the handsome roasted maple neck, swooped reverse headstock, and nonstandard pickup scheme help make it clear this isnāt your average offset. Itās a classy, understated look even in the modelās flashier aged-copper and shell-pink hues. But look closer and youāll note appointments that a lot of seasoned guitarists will appreciate, including Luminlay position markers, stainless steel frets, and a direct-to-output circuit bypass switch situated between the volume and tone knobs.
Slicing and Then Some
Itās not often you see a solidbody outfitted with a pair of humbucker-sized P-90s anda Strat-style middle pickup. The P-90s are alnico 5 units measuring 9.5k and 10.5k ohms resistance. To avail you of this circuitās numerous tones the JZ FRO incorporates a deceptively simple-looking control array. Thereās a lone tone knob, a traditional 3-way selector, and a master volume that pulls up to bring the S-style middle pickup into the mix. In this mode, with the pickup selector down, you get the bridge and middle pickup, in the middle you get all three pickups, and in the up position you get the neck and middle pickups. (More on mid-pickup tones in a minute.)
The P-90s are pretty hot, with a lot of punch and zing. In fact, the bridge pickupās leanness and the neck pickupās gristliness sometimes evoke Gibson P-100s.
With the JZ FRO routed through a Celestion Ruby-outfitted 6973-powered combo set to a bit of grind, I loved the bridge pickupās tough airiness. Thereās a detailed, vintage-esque character, and it gets toothier as you pair it with a boost or dirt pedal to drive an amp hard. Compared to the vintage-spec Curtis Novak P-90s in my Les Paul Special, the Volaās bridge pickup is a little less warm and brawny, but also probably a bit more malleable and adaptable to different genres, especially if youāve got a lot of effects in your signal path. The neck pickup is similarly powerful, though its contrasts with a traditionally voiced P-90 feel less apparent.
How about that middle pickup? Paired with the bridge unit, it yields funky, Strat-like quackāa tone youāre not going to get with most dual P-90 guitars. Accent them with a wiggle of the super smooth-operating Gotoh trem, and the Strat allusion is even stronger. Mind you, all this tone variation is available beforeyou activate the tone-circuit bypass. It acts like a powerful onboard boost: Everything is louder, hotter, and leaner.The Verdict
Vola deserves big kudos for packing so many unique features into a guitar that feels and plays this nicely at such a reasonable price. The novel tone-circuit bypass could help you cut through a dense mix or boost your solo even when youāre away from your pedalboard. That said, in some positions I found it sounded a little strident or hi-fi, and the fact that the circuit-bypass mode renders the volume knob useless makes it something of an all-or-nothing proposition. The added middle pickup expands tonal possibilities beyond P-90 norms, but donāt expect the same type of added clarity youād get from a Stratās middle pickup. Even so, the JZ FROās exceptionally smooth performing hardware and excellent craftsmanship make playing a breeze and a pleasure, and its VFP90 pickups pack a mix of power, clarity, and flexibility that make it a great choice for biting rock and thick, bristling blues tones.
Hereās how 21 killer players from the past year of Rig Rundownsāincluding Justin Chancellor, Zakk Wylde, MonoNeon, Carmen Vandenberg, Sturgill Simpson, Jason Isbell, and Grace Bowersāuse stomps to take their sounds outside the box.
TOOL'S JUSTIN CHANCELLOR
Justin Chancellorās Pedalboard
If you ever catch yourself playing air guitar to Tool, youāre probably mimicking Justin Chancellorās parts. āSchism,ā āThe Pot,ā āForty Six & 2,ā āH.,ā āFear Inoculum,ā āDescending,ā āThe Grudge,ā and plenty of others feature his buoyant bass riffs.
What stomps does he run his Wal, StingRay, and Fender basses through? Glad you asked. His setup is either a bass playerās dream or nightmare, but for someone as adventurous as Chancellor, this is where the party starts.
Youāll notice many of his pedals are available at your favorite guitar store, including six Boss boxes, an Ernie Ball Volume Pedal, and MXR Micro Amp. Crucial foot-operated pedals are in blue: the Dunlop JCT95 Justin Chancellor Cry Baby Wah with a Tone Bender-style fuzz circuit (far left) and DigiTech Bass Whammy (middle). He really likes using the Tech 21 SansAmp GT2 for distortion and feedback when the Whammy is engaged or heās playing up the neck. Covering delays are three pedalsāhe has the pink Providence DLY-4 Chrono Delay programmed to match drummer Danny Careyās BPMs in āPneuma,ā which slightly increase during the song from 113 ms to 115 ms. The Boss DD-3s are set for different speeds with the one labeled āFasterā handling āThe Grudgeā and the other one doing more steady repeats. Thereās a pair of vintage Guyatone pedalsāthe Guyatone VT-X Vintage Tremolo Pedal (Flip Series) and Guyatone BR2 Bottom Wah Rocker (a gift from guitarist Adam Jones). The Gamechanger Audio Plus pedal is used to freeze moments and allow Justin to grab onto feedback or play over something. The Boss GEB-7 Bass Equalizer and Pro Co Turbo RAT help reinforce his resounding, beefy backbone of bass tone, while the MXR Micro Amp helps goose his grimy rumbles. The Boss LS-2 Line Selector is a one-kick escape hatch out of the complicated signal chain for parts of āSchism.ā The Wal and Music Man stay in check with the TU-3S tuner, a pair of Voodoo Lab Pedal Power 2 Pluses help bring things to life, and everything is wired up with EBS patch cables.
STURGILL SIMPSON AND LAUR JOAMETS
Sturgill Simpsonās Pedalboard
Alt-country veteran Sturgill Simpson packed light for his latest run. His board bears just a Peterson Stomp Classic tuner running into a Fulltone True-Path ABY-ST, which splits his signal to his two Magnatone Panoramic Stereo amps. āI wouldnāt use a tuner if I didnāt have to,ā he chuckles. The LILY P4D beside the splitter lets him control his mic signal to cut interference from onstage noise.
Laur Joametsā Pedalboard
For his main board, Laur Joamets packs a little heavier than his boss. The platform, made by West Coast Pedal Board, carries a Peterson StroboStomp, Greer Amps Arbuckle Trem, sRossFX fuzz/overdrive, MXR Booster, T-Rex Replica, sRossFX germanium octave pedal, TC Electronic Viscous Vibe, Dunlop EP103 Echoplex, and Source Audio True Spring Reverb. An MXR Tap lets him tap in delay tempos. He has a second pedalboard, as well, for his Stage One steel guitar. It goes into a Peterson StroboStomp HD, then on to a Greer Black Tiger and Goodrich Sound Company volume pedal, before hitting his Magnatone Varsity Reverb and a custom-built Fender brown-panel Deluxe clone he calls āthe Charmer.ā
PANTERAāS ZAKK WYLDE AND REX BROWN
Zakk Wyldeās Pedalboard
When Panteraās bassist Rex Brown and singer Phil Anselmo decided to fire the band up again, the choice of fellow road dog Zakk Wylde on guitar seemed perfect. Hereās what Wylde had on the floor and in the racks for the bandās February date at Nashvilleās Bridgestone Arena.
His signature arsenal of effects seen here includes a MXR Wylde Audio Overdrive, MXR Wylde Audio Phase, Wylde Audio Cry Baby wah, and a Dunlop ZW357 Zakk Wylde Signature Rotovibe. The lone box that isnāt branded Wylde is a standard fare MXR Carbon Copy. Offstage, his rack is home to a MXR Smart Gate and MXR Wylde Audio Chorus thatās always on. Both are powered by a Voodoo Lab Pedal Power 3 Plus. Another drawer holds a Radial BigShot I/O True-bypass Instrument Selector, Lehle Little Dual II Amp Switcher, and a Radial BigShot EFX Effects Loop Switcher.
Rex Brownās Pedalboard
This tour was the first time Rex Brown used a switching system. His stage board sported a Dunlop JCT95 Justin Chancellor Cry Baby Wah, a 2000s Morley Pro Series II Bass Wah, Origin Effects DCX Bass Tone Shaper & Drive, a MXR M287 Sub Octave Bass Fuzz, and a Peterson StroboStomp HD. The brain of everything in the rack and onstage is the RJM Mastermind GT. And to help āmove mountains,ā Rex has a Moog Taurus III.
MSSVāS MIKE BAGGETTA AND MIKE WATT
Mike Baggettaās Pedalboard
Mike Baggetta has some core pedals in MSSV, his indie supergroup with legendary bassist Mike Watt and drummer Stephen Hodges. His arsenal includes a Creepy Fingers Hold Tight fuzz, an Electro-Harmonix Ring Thing, a Wilson Effects Freaker Wah V2, an EHX Deluxe Memory Man, and a Red Panda Tensor. The signal flows from his Benson amp into the Tensor, which he uses for glitch sounds, harmonizing, and overdub mode, among other feats. His Memory Man adds spaceāthe final frontier.
Mike Wattās Pedalboard
Mike Watt puts his signature Reverend Wattplower bass into a Broughton Audio high-pass filter, an EarthQuaker Devices The Warden optical compressor, and a Sushi Box Effects Finally tube DI that functions as a preamp. Thereās also a TC Electronic PolyTune.
MONONEON
MonoNeonās Pedalboard
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true Ampeg stack, and just four stomps. Almost all of his stomps have been zhuzhed up in his eye-popping palette. Heād used a pitch shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. āWhen I started playing with Prince, he put the Whammy on my pedalboard,ā Thomas explains. āAfter he passed, I realized how special that moment was.ā MonoNeon also uses a Fairfield Circuitry Randyās Revenge, a Fart Pedal (in case the Fairfield ring mod isnāt weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
GRACE BOWERS
Grace Bowersā Pedalboard
Grace Bowers is one of the freshest new guitar stars to emerge in the past year. She has the essential fixinās for her classic rock tones: a Dunlop Crybaby Wah, Grindstone Audio Solutions Night Shade Drive, EarthQuaker Devices Tone Job, MXR Phase 90, MXR Phase 95, and Boss DD-2. Bowers powers them with a Voodoo Labs Pedal Power ISO-5.
GREEN DAYāS JASON WHITE
Photo by Raph Pour-Hashemi
Jason Whiteās Pedalboard
Long-time touring member Jason Whiteās stable is dominated by his Gibson Les Pauls and ES-335s. A Shure wireless system sends his signal to a rack set-up with an ISP noise gate, just in case Whiteās P-90s are picking up a lot of noise. From there, it hits a Dunlop Cry Baby and DVP1XL, then a MIDI-controllable RJM Effect Gizmo, which handles Whiteās effects: an MXR Reverb and Poly Blue Octave, Strymon TimeLine and Mobius, API Select TranZformer GTR, and a Custom Audio Electronics 3+SE Guitar Preamp, which gets engaged for clean tones and small combo sounds. A Lehle Dual SGoS Switcher and Fishman Aura DI Preamp handle changes with the piezo-equipped guitars. A Strymon Zuma provides the juice.
BONES UKāS CARMEN VANDENBERG
Carmen Vandenbergās Pedalboard
Carmen Vandenberg covers a lot of ground with her Bones UK guitar sounds, and sheās got a carefully curated collection of stomps to span the territory. Her guitar first hits an Ernie Ball Cry Baby before running through the rest of the pedals: a Boss TU-3, Fulltone OCD, Supro Drive, Pigtronix Octava, EHX Micro POG, Supro Chorus, Blackstar Dept. 10 Boost, EarthQuaker Devices Dispatch Master, MXR Carbon Copy Deluxe, Catalinbread Belle Epoch, and Boss NS-2. A Live Wire Solutions ABY manages the signals on their way to her signature Blackstar CV30s.
BLACK PUMASā ADRIAN QUESADA, BRENDAN BOND, AND ERIC BURTON
Adrian Quesadaās Pedalboards
Adrian Quesada loves tremolo and reverb, and uses a Strymon Flint for both. His other main stomp is the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Also along for the tour: a Line 6 Echo Park, a Catalinbread Echorec, a Boss GE-7 Equalizer, a Catalinbread Belle Epoch, and an EarthQuaker Devices. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper. Thereās also a JAM Pedals Ripple two-stage phaser, and a TC Electronic PolyTune2 Noir keeps his guitars in check. Thatās all on board one.
His second board includes a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on hereāStrymon Ojai, JHS Mini A/B, and TC Electronic PolyTuneāhandle switching, tuning, and power.Brendan Bondās Pedalboard
Three pedals get the job done for Mr. Bond: an Acme Audio Motown D.I. WB-3 passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
Eric Burtonās Pedalboard
Frontman and guitarist Eric Burton is the bandās lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal: a Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedalsāa DigiTech Mosaic to mimic a 12-string for āOCT 33ā and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
JASON ISBELL AND SADLER VADEN
Jason Isbellās Pedalboards
Jason Isbell could open a huge gear shop just by clearing off his boards and racks. First off, he has a complex wet/dry/wet setup that is parsed out via a RJM Mastermind, with two Magnatone Twilight Stereo combos carrying the all-wet effects. Thereās also a Radial JX44v2, which serves as the core signal manager. Above it, on the rack, is an Echo Fix Chorus Echo EF-X3R. Moving up the rack, one drawer includes an Ibanez DML10 Modulation Delay II, EarthQuaker Devices Tentacle, and a trio of stereo-field-only effects: a Boss MD-500, Strymon Volante, and Hologram Electronics Microcosm. Another level up, youāll find a Chase Bliss Preamp Mk II, Chase Bliss Tonal Recall Delay, Chase Bliss Dark World Reverb, Chase Bliss Condor EQ/Filter, Chase Bliss Gravitas Tremolo, Chase Bliss CXM-1978 Reverb (stereo-field only), Keeley 30ms Automatic Double Tracker, gold Klon Centaur, Analog Man Sun Lion Fuzz/Treble Booster, Analog Man King of Tone with 4-jack mod, Keeley 4-knob CompROSSor, Pete Cornish OC-1 Optical Compressor, EHX Micro POG, Analog Man ARDX20 Delay, and a trio of Fishman Aura Spectrum DIs.
Sadler Vadenās Pedalboard
Isbellās 6-string sparring partner Sadler Vadenās pedalboard chain starts with a Dunlop Clyde McCoy Wah, then a Lehle volume pedal, which feeds the Gig Rig. He uses a Line 6 M5 with a Dunlop expression pedal for a lot of modulation effects. Other pedals include a Crowther Prunes & Custard, Nordvang No.1, an Analog Man Dual Analog Delay, Comp, and King of Tone, a Strymon BlueSky, and a Greer Lightspeed. Every effect is isolated into the Gig Rig. The board has four outputs, two for each side of his 3rd Power British Dream, one for a Marshall plexi, and one that goes to an aux line and splits to a Vox Pacemaker. The auxiliary line is as a backup in case Sadlerās amps go down. It consists of a Strymon Iridium into a Seymour Duncan Power Stage that goes to FOH. And finally, his acoustic pedalboard sports a Shure wireless running into an ART Tube MP/C preamp into a L.R. Baggs Venue DI, with a Radial Engineering Bigshot selector.
MICHAEL LEMMO
Michael Lemmoās Pedalboard
Rising star player Michael Lemmo relies on his stomps for tone sculpting, but he doesnāt need much to get the job done. His signal hits a Korg tuner, followed by an Xotic EP Booster, Bearfoot FX Honey Bee OD, Red Panda Context, Boss DD-7, and TC Electronic Ditto. Theyāre all juiced by a Truetone 1 Spot Pro CS7.
HELMETāS PAGE HAMILTON
Page Hamiltonās Pedalboard
Page Hamilton used to travel with a full Bradshaw rig with rack gear, but heās reduced things to a pair of Eventide H9 units and a handful of Boss boxesāa PS-5 Super Shifter, a MT-2W Metal Zone Waza Craft, a TS-2 Turbo Distortion, a NS-2 Noise Suppressor, and a FB-2 Feedbacker/Booster. A couple of Peterson Stomp Classic tuners keep his ESP Horizons ready, and a Boss ES-5 Effects Switching System organizes all his sounds and settings.
BARONESSā JOHN BAIZLEY, GINA GLEASON, AND NICK JOST
John Baizleyās Pedalboard
The Baroness frontmanās board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronics FX Overhive and Pro Co RAT add sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleasonās Pedalboard
Gleasonās favorite drive these days is the EQD Zoar. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machinesāthe Strymon TimeLine, EQD Space Spiral, and Boss DD-3āhandle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 finish the line-up.
Nick Jostās Pedalboard
The bassistās board is powered by an MXR Iso-Brick, with an Ernie Ball Volume Pedal and Boss TU-3 pulling utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
WOLFMOTHERāS ANDREW STOCKDALE
Andrew Stockdaleās Pedalboard
When we walked into Nashvilleās Eastside Bowl for this Rig Rundown with Wolfmotherās alpha canine, Andrew Stockdale, it sounded like he was playing his SG through a Marshall stack at head-ripping volume. Nope! Stockdale was blasting skulls apart with a Line 6 HX Stomp doing the heavy tonal lifting. The rest of his boardās layout is a Snark floor tuner, an EHX Micro Synth (a Wolfmother staple), an Xotic AC Booster, an EHX Micro POG, a Dunlop Cry Baby 535Q Multi-Wah, a Boss TR-2 tremolo, a CIOKS DC5 power supply, and Shure GLXDC+ wireless.
FEARLESS FLYERS' CORY WONG AND MARK LETTIERI
Cory Wongās Pedalboard
Through a Shure GLXD16 wireless system, Cory Wong flows his guitar into his Neural DSP Quad Cortex, which runs a beta version of his Archetype: Cory Wong plugin, based off of a melding of a Dumble and a Fender Twin. The signal hits an onboard envelope filter and rarely used pitch shifter, then exits out the effects loop into a Wampler Cory Wong Compressor, Jackson Audio The Optimist, and a Hotone Wong Press. The signal goes back into the Quad Cortex, where thereās a preset phaser, stereo tape delay, and modulated reverb, plus a freeze effect. Two XLR outs run to front of house, while two run to Wongās Mission Engineering Gemini 2 stereo cabinet.
Mark Lettieriās Pedalboard
Mark Lettieriās signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieriās signature), Pigtronix Octava, and a Dunlop DVP4, all powered by a Strymon Ojai. A TC Electronic TonePrint Plethora X5 pedalboard handles coordination and switching between the devices.
SLASHāS BLUES BALL BAND
Slashās Pedalboard
āI havenāt had a pedalboard in front of my feet since the ā80s,ā Slash told us. But with the Blues Ball tour, he kept it simple, stomping his own boxes. His chain includes a Peterson StroboStomp, Dunlop Cry Baby, MXR CAE Boost/Line Driver, Ibanez TS9 Tube Screamer, MXR EVH90, BBE Soul Vibe Rotary Simulator, Boss DD-3 Digital Delay, and MXR Uni-Vibe, with everything powered by a Voodoo Lab Pedal Power 2 Plus. All pedals are taped down with their settings dialed in. When his signal leaves the board, it hits a Whirlwind Selector A/B box, where it splits off between his amps and his Talk Box rig.
Tash Nealās Pedalboard
Tash Neal keeps a modest pedalboard at his feet: a DāAddario Chromatic Pedal Tuner, Dunlop Cry Baby, XTS Custom Pedals Precision Multi-Drive, EHX Green Russian Big Muff, and a Fender Waylon Jennings Phaser, powered by a T-Rex Fuel Tank.
RANCIDāS MATT FREEMAN
Matt Freemanās Pedalboard
Bassist Matt Freemanās signal goes wireless into one of his Avalon U5 Class A Active Instrument DI and Preamps, and then through a Way Huge Pork Loin Overdrive, set to give his Bassman a good push.
CHRISTONE āKINGFISHā INGRAM
Kingfishās Pedalboard
Kingfishās signal starts with a Shure Wireless BLX4, which hits a Boss TU-3w Chromatic Tuner. From there, the route is a Dunlop Cry Baby Mini Wah, a Marshall ShredMaster, and a Boss DD-3 Delay. The pedals live on a Pedaltrain Nano board and were assembled by Barry OāNeal at XAct Tone Solutions.
DIXIE DREGSā STEVE MORSE
Steve Morseās Pedalboard
Steve plays through a pair of 3-channel Engl Steve Morse signature 100-watt ampsāone wet, one dryābut his pedal chain is relatively simple: a Keeley Compressor, two Ernie Ball volume pedals, two TC Flashbacks, a TC Electronic Polytune, and a foot controller for his Engls.
Dig into the details of new gear from EHX, Gibson, Martin, Dumble, Collings, EVH, and more!
Check back for daily updates from the convention.
Martin D-3 Millionth
Martin D-28 Billy Strings and D-X2E Billy Strings
The big news from the Martin press conference was the release of a pair of new signature models from Billy Strings. The D-28 Billy Strings was based upon his 1940 D-28 with a unique 25ā scale length, custom nut, and modified low oval satin neck. Itās a pro-level model that will street for $3,799. The D-X2E Billy Strings has a MSRP of $899 and still features the same scale length and custom nut, but also includes Martinās E1 electronics, and a hemp softshell case.
Mooer AudioĀ GS1000 Intelligent Amp Profiling Processor
Mooer Audio have fine-tuned and updated their sleek GS1000 Intelligent Amp Profiling Processor that now allows guitarists around the world to emulate their favorite gear with immense precisionāspecifically, for distortion pedals, preamps, amplifier heads, and cabinets.
Huss & Dalton TD-R Trey Hensley Signature
Third Man Hardware & Eventide Knife Drop
The Third Man Pedal Universe (TMPU) gained another member via this collaboration with Eventide. Itās part fuzz, part octaver, and part synth. It will rattle the rafters and create some of the dirtiest fuzz and growls you can imagine. One of the highlights of the show so far. Itās available now for $299.
Collings 71 Model
Collings brought a brand-new solidbody model to this yearās show. The 71 model introduces not only a new offset body shape, but their first 6-in-a-line headstock. The neck feels smooth and fast and can be customized with T-style pickups from Lollar, Throbak, or Ron Ellis. Thereās even a push-pull tone control for series/parallel switching.
Ernie Ball & Cory Wong StingRay II
Ernie Ball announced a new collaboration with Cory Wong called the StingRay II. Cory wanted more humbucker flavors in his arsenal, so these models feature his signature HT pickups, roasted maple neck, and stainless steel frets. They start at $2,999 with the Deluxe version listing for $3,299.
Carr Skylark Special
Boutique amp builder Steve Carr has teamed up with Ken Haas from Reverend guitars at NAMM this year, providing the combos for those who want to sample the diverse range of Reverendās guitars. Among the amps is an updated version of Carrās successful Skylark model, the Skylark Special, with a new rectifier structure, 2-ply construction for 5 pounds less weight and improved resonance, a deeper reverb, a 12-watt attenuator, and a wider hi/lo range. It aināt cheap, at $3390 for the combo, but itās badass!
Seymour Duncan Powerstage 700 Bass
Seymour Duncan unveiled the newest addition to its popular Powerstage workhorse pedal series ā¦ for bass. The Powerstage 700 Bass is a power amp with huge headroom thatās designed for use with modelers and has a rich menu of functions: drive, level gain, multi-band EQ, master volume, and EQ bypass, presence, frequency. The tag is, aptly, $700.
Seymour DuncanĀ Joe Bonamassa Greenburst Stratocaster Set
Seymour Duncan and blues-rock hero Joe Bonamassa continue their decade-long collaboration with Strat pickups based on the set from Joeās own fabled 1964 refin-ed Strat he calls the Greenburst. These are exacting reproductions of that guitarās stock grey-bottom pickups, made for tone hunters, and carry a $375 MAP. Theyāve got period-correct wiring and staggered alnico 5 magnets, and sound notable punchy with a higher output. The first 500 come in limited edition packaging signed by JB himself.
Dunable Stregas
Huss & Dalton 30th Anniversary
Mesa/Boogie 90s Dual Rectifier
Gibson Murphy Lab Heavy Aged Acoustic Collection
VegaTrem VT1
VegaTrem brought a new tool to the trade show with the introduction of the VT1 Evolution that works for all the Floyd-Rose freaks to give you all the dive-bomb debauchery, but with a flick of a switch, you had a blocked trem that lets you easily slide into drop-D tuning or open tunings for slide. It's a piece of machined metal, but the ingenious design will help gigging guitarists cover a lot of ground on any given set without any guitar changes.
L.R. Baggs AEG-1
With its remarkable acoustic properties, L.R. Baggs was able to successfully amplify the AEG-1 with their most accurate system yet ā the revolutionary HiFi Duet. Equipped with their award-winning HiFi Bridge Plate Pickups and studio-quality Silo Microphone, the AEG-1 is versatile for any stage, big or small.
Cole ClarkĀ True Hybrid Thinline Grand Auditorium
If you can't decide between acoustic or electric, Cole Clark has you covered with their striking True Hybrid Thinline Grand Auditorium with a nitrocellulose blue top. The Hybrid is entirely made from sustainable tonewoods: AA grade Australian blackwood (top, back & sides), Queensland maple (neck), and ebony (bridge & fretboard). The thinline is loaded with all Cole Clark electronics starting with their PG3 acoustic pickup system and a H-S-S magnetic pickup set. And a three-way toggle engages (electric/both/acoustic).
NUX MG-300
NUX updated their MG-300 modeler with a MKII unit that now includes a 25 amps, plus a bunch of effects like a noise gate, two compressors, 13 overdrive & distortion sounds, a wah, two EQs, 14 modulations, seven delays, and five reverbs. And if that wasn't enough, you can create and store up to 24 user-loadable IR slots to freely create your own unique tones.
NUX Amp Core Studio & Drive Core Deluxe MKII
Cherub Pix Tune Tuner
If you're tired of the boring tuning game, Cherub Technology's new Pix Tune clip-on tuner offers 16 vibrant display modes that includes draining a soccer goal or swishing a basketball when getting your string in the sweet spot. It has a stainless steel clamp (with rubber pads) to make sure it's snug on your instrument's headstock for a good fit and better tune.
Ren Ferguson Slop Shoulder Dreadnought
Mayones Duvell DT6 & DT7
Magnatone Starlite
Gibson J-45Ā
Gibson Warren Haynes Signature Les Paul
Thorn Soundlabs Assorted Pedals
Fluence Greg Koch Gristle-Tone ST Signature Pickup Set
Fishman introduced a new set of Greg Koch signatures, the Gristle-Tone ST Strat-style trio, at NAMM 2025, as part of its Fluence series. They are remarkably hi-fi sounding, with exceptional definition, clarity, and punch. And while they come stock in Kochās latest Reverend Signature model, the Gristle ST, you can get āem from Fishman for your S-style axe at $269 (street) per set. PS: You gotta watch the demo video!
Boss Tube Amp Expander
Radial Engineering Highline Passive Line Isolator
Naw, this aināt a DI. Itās Radialās NAMM-fresh Highline passive line isolator, which comes in mono ($179 street) and stereo ($249), and uses premium Jensen transformers to preserve your signalās pure sound. The Highline takes 1/4" cable (with XLR outs) for connecting amp simulators or pedals to your amps or a DAW. Itās compact and pedalboard friendly, and the Mono version sums stereo sources down to mono. The Stereo can take four 1/4 ā inputs and deliver a stereo signal, but it can also sum stereo sources down to mono. And it fits snugly under a pedalboard.
Darkglass Kaamos
Darkglass deals in the dirty arts and the new collaboration with Taylor Swift bassist Amos Heller is no exception with the Kaamos that blends a powerful distortion with octave-down tones. Real-time routing controls let you shape your signal path with easeāstack effects in series for rich saturation or run them in parallel for intricate, layered textures. A movable effects loop, configurable in three distinct positions, opens up new possibilities, while a dedicated sub-octave output unlocks creative multi-amp setups. Every detail is precision-engineered to put you in complete control of your sound.
Godin Artisan
Godin Guitars Multiac Nylon Oceanburst
Godin Connaisseur
Spector NC-4 Frank Bello
Spector Doug Wimbish Euro 4
Blackstar DA100 Ruby
Blackstar worked with Doug Aldrich ā a man with a heart full of tone ā to create the DA100 Ruby (named after his young daughter) that was unleashed this week at NAMM. A major highlight was the OD Voice function that delivers a vintage, hot-rodded Plexi-style punch with the flick of a switch. Additionally, they fine tuned the midrange to provide a chest-thumping resonance that makes every power chord hit with authority. The enhanced effects loop is now fully footswitchable, controlled by the included 5-way foot controller. The matching 4x12 is packed with Celestion Vintage 30 speakers. Here's what Doug had to say about the experience working with Blackstar: "It feels like Iāve spent my entire life chasing the perfect tone. Over the years, Iāve owned dozens of amps ā from modern to boutique, modded to vintage classics. Most of them were tube amps, and each had something special, but I was always searching for more. Iāve been lucky to build great relationships with many amp companies and received several offers to create a signature amp. Yet, I never fully committed. I just wasnāt 100% sureā¦ until now.ā
Red Panda RD-1
Red Panda is known for complex, creative pedals, and that trend didn't stop with the release of their RD-1 Pitch Delay, which is a simplified version of their beloved Raster. This reduced Raster still does QUITE a bit, but offers a streamlined control set that focuses on still being a stellar digital delay that allows you to rip a hole in space and time with a frequency and pitch shifter that can be placed inside or outside of the feedback loop. You can shift all repeats by the same amount, or endlessly up or down. It's a trip worth the lowered-cost of admission!
GMI Public Address Systems 33F6
It wouldn't be NAMM without a few surprises. One we stumbled upon today was the GMI Public Address Systems 33F6 that was designed in collaboration with guitar great Troy Van Leeuwen of Queens of the Stone Age. It uses new, old-source components and gives TVL everything he's loved in old Peavey, Marshall & Fender amps. The 35W, two-channel head has four inputs, a solid-state rectifier preamp with a fully-tube power amp section (6L6). It's also outfitted with a Lar-mar style post phase inverter master volume and defeatable tone stack.
Cort X700 Mutility II
Shredmaster Hedras showed us his new Cort X700 Mutility II signature that has an American basswood body (with an ergonomic double-cutaway design), a roasted 5-piece maple-and-walnut neck, a compact 25-25.5" multi-scale setup, a roasted maple fretboard, a GraphTech TUSQ nut, and rips thanks to Fluence Open Core Modern humbuckers.
DigiTech Whammy 5Ā
Many musicians have used and abused the various versions of DigiTech's Whammy pedal, but bass badass MonoNeon has taken the pitch shifter to new heights (and lows). DigiTech took notice and they worked with the funkmaster on a tweaking the Whammy 5 with revamped detune settings that give you distinct options for pitch-bending and harmonizing not found on the standard model. The new hypersonic mode sends your sounds straight to three octaves above input. The three octave range applies to both dry and octave modes to create an expanded, electrifying pitch palette. And best of all, it's optimized for use with both electric guitars and basses.
DigiTech HammerOn
DigiTech is synonymous with pitch shifting. At the 2025 NAMM show they introduced the HammerOn Instantaneous Pitch-Shifter that melts into your technique just like a traditional guitar or bass hammer on/pull-off. There's a total of 27 total pitches to choose from, ranging from 2 octaves up to 2 octaves down. The sequence mode allows for user-configurable 2-, 3-, and 5-note progressions. Trust us when we say this pedal is gonna raise some eyebrows and open new dimensions.
Kernom Elipse
Are you indecisive on your modulation application? Would you like to blend them? Well, Kernom has your solution with the impressively versatile Elipse is a modulation taproom with harmonic tremolo, rotary, chorus & vibrato, flanger, phaser, and vibe settings. The mood knob doesn't just select the effect, but you can blend them as you twist the knob. The all-analog, digital-controlled pedal secret sauce is in the swirl that blends a slow phaser with any modulation effect to create rich, multidimensional tones. If you can't find a sound in there you don't like, you don't have a pulse.
Kyser Capo
If you see a curl on your capo, you know it was made by Kyser in Texas. They did a unique thing by bringing production to NAMM and showed how they make their acoustic guitar capos. There's only a few parts on their capos, but they're all high-grade components that make a secure, snug, dependable hug on your guitar's neck.
Reverend Guitars
Hotone Ampero II Stage
Hotone brought their Ampero II Stage modeler to NAMM and let us test out its capabilities that include over 100 pedal models, 90 amp models, 68 cab models, 60 Hotone original effects models, 20 classic Celestion speaker IRs, and 300 presets. It has a built-in stereo looper with 60 seconds (max) recording time and undo/redo function. There are eight assignable footswitches with multicolor halo LEDs, with two working modes and customization support.
Kepma K3 Plus
The new K3 Plus series is a line of incredibly playable bolt-on models that offer features aimed at the beginning playerāmost notably the $199 price tag. each model has a slimmer neck for easier playing and AcoustiFex K-10 electronics that include built-in effects and Bluetooth capabilities.
Tubesteader Pedals
One of the new discoveries at the show was this line of amp-in-a-box pedals, each centered around a 12AX7 preamp tube. All the major food groups are covered from '50s tweed to D-style, and more. Each pedal is built to order and range from $300-$350.
Supercool Pedals
The sound of the classic ProCo Rat pedal has been the central point of so many great guitar tones. Supercool Pedals has taken inspiration from that and expanded into a deeper version packed with features. In addition to an active 3-band EQ there's also a turbo switch that instantly takes you one of the most popular variations of the classic circuit. They are available now for $199.
Tsakalis Phonkify
The latest iteration of Tsakalis' expansive envelope filter is a pure funk machine. All the classic '70s-era sounds are packed in there, but with three separate filters, you can get so much more out of it. Both the octave and filter are switchable, and with effect order switching you can really push the limits of out-of-this-world wah sounds. It will be available in March for $229.
Fender Prestige Performer
EVH Wolfgang Trans Amber
EVH's custom shop was quite busy as well. As an unapologetic fan of '90s Van Halen, the finish on this Wolfgang Trans Amber brings back so many memories. Along with the basswood body and Quilt Maple arched top, it has 22 stainless steel frets, EVH Floyd Rose bridge, and Wolfgang Black and Creme Zebra humbuckers. Streets at $5,800.
Dumble "Woody" Amp
EHX Pedals
Two-Rock Silver Sterling Signature
Jack White x Third Man Pedals
Divided by 13 JRT 9/15
Fred Taccone recently retired and he wanted Divided by 13's legacy to continue but had to find the right fit. The Two Rock team jumped at the chance and are now carrying on the designs (and probably some new ones in the future that are a bit more British flavored). We heard a bit from the JRT 9/15 that is essentially two amps in one. This is accomplished by switching between 9 watts, utilizing a pair of 6V6 tubes in Class A to deliver the warm, rich tones of vintage 1950s American amps, and 15 watts with a pair of EL84 tubes in Class AB for a bright, chimey top-end and complex, musical breakup, reminiscent of 1960s British designs. The JRT 9/15 preamp drives two 5879 pentodes in tandem, each with its own independent volume control. These circuits are voiced for dramatically different responses: one provides more top-end presence and later breakup, while the other offers lower headroom with an emphasis on low-mid frequencies, delivering a dense, rich tone.
Novo Voltur B6
One of the standout models from Novo was this Voltur B6, which is their version of the classic Bass VI setup. Itās well balanced and lightweight, but really growls with the Lollar-designed gold foil pickups. They are up for pre-order now for $4,499.
Ashdown Rootmaster 500 EVO III
If you're a bassist looking for power, versatility, and portability, the Ashdown Rootmaster 500 EVO III might be the ticket. The lightweight heavyweight offers Ashdown's thunderous tone, featuring a comprehensive EQ, Ashdown sub harmonic generator, compression control, and variable valve emulated drive. Designed for reliability, it's a tool built to last a lifetime with responsible design. The EVO III also includes the Analogue Cab Sim Di output, balanced D.I., and customizable filters for your monitor mix.
Collings D1 A HC
Tsakalis Mothership
The great Greeks at Tsakalis Audioworks brought an impressive powerhouse pedal that works with three major functions: tube overdrive, preamp & cabinet simulation. It has two completely independent channels, each featuring a four-band EQ, two different gain/volume sections, three selectable gain-stages and three selectable cabinet simulations. Plus, there's a serial mono effects-loop for your external effects, MIDI in and free access to Tsakalis Audioworksā full free online library of carefully selected and curated digital cabinet simulations. Its two independent channels provide a huge range of tones from warm or sparkling cleans all the way to high gain tube-driven dirt. The two ECC83 (12AX7) tubes, run at a comfortable 240 Volts, providing touch sensitivity, headroom and plenty of gain and tube sag as required.
Ā Sterling by Music Man & Ernie Ball
Danelectro Guitars
Snark Crazy Little Thing
If you blink, you'll miss it (or lose it), but Snark somehow minaturized the clip-on tuner to a button-sized package with the development of Crazy Little Thing!
IK Multimedia TONEX Cab
Audio creation specialists IK Multimedia showcased two strong new entries in their TONEX modeling and effects product line at NAMM: the powered TONEX Cab and the Joe Satriani Ltd. Edition TONEX One pedal. The lux-sounding cab, which ships in April but is available for preorder at $699 streetā$100 less than the MAPāis full range, flat response with a custom 12" Celestion and a Lavoce 1" high-performance compression driver. Itās built to enhance the sonic vibe of amp modelers, and kicks out the jams at 350-watts via audiophile-grade power amps. The sound pressure level is 132 dB, so thereās plenty of punch, response, and definition. The control set includes a programmable 3-band EQ, a mike and live dial for tone, an easy-to-use preset dial, and a custom IR loader with 8 onboard presets. There are XLR and AUX outs, itās MIDI controllable, has old-school tilt-back legs, wood construction, and swappable grille cloths. Plus, it comes with AmpliTube 5 SE, TONEX SE, and TONEX Cab Control Software.
IK MULTIMEDIA Joe Satriani Ltd. Edition TONEX One Pedal
IKās literally shiniest new NAMM offering is the Joe Satriani Ltd. Edition TONEX One pedal. Itās got an eye-catching chrome finish with 3-band EQ and a center control for volume, gain, gate, and reverb. Satchās work on the pedal included hauling 26 of his own amps into the studio to sculpt 20 preloaded preset tones for this pedalboard-friendly mini. The presets are customizable, and itās powered via 9V DC or a USB-C and runs at 120 mA. The dynamic range cruises up to 123 dB, there are ultra-low-noise 24-bit/192 kHz converters, and the library of 40,000 TONEX sounds can be accessed via USB. At less than 2" wide and 4 ā long, it is a mighty mite. The stomp ships in February and is tagged at $229.
Cream Guitars
Hereās what Bruce Springsteenās righthand man brings to the bandās stadium gigs.
In preparation for his cover story on Stevie Van Zandt, PGcontributor Mark Finkelpearl got a backstage tour of the E Street Bandās guitars at Baltimoreās Camden Yards before their September 13 show. Hereās a look at the gear that Van Zandt brings on tour.
Van Zandtās āNumber Oneā Strat is a vintage-style ā80s-built reissue with a purple paisley pickguard custom-made by Asbury Park luthier Dave Petillo. Van Zandt likes to keep a boost at his fingertips, so itās loaded with an Alembic Stratoblaster circuit.
Van Zandt takes six Rickenbackers on the road. Seen here are his two one-of-a-kind-finish Rickenbacker 1993Plus models in candy apple purple and SVZ blue, a fireglo, and his candy apple green Fab Gear 2024 Limited Edition ā60s Style 360. Also on hand is a fireglo 360/12C63, a gift from guitar dealer and collector Andy Babiuk to Van Zandt that stays in open E.
Next to āNumber Oneā is Stevieās Gretsch Tenessean with a custom Dave Petillo pickguard and a Vox Teardrop thatās on long-term loan from Andy Babiuk. In the background is a Petillo-customized Fender Jaguar.
Dave Petillo creates custom pickguards for many of Van Zandt's guitars. āThe pickguards that I build for Stevie are all clear acrylic plastic, just like Gretsch did in the old days,ā he says. āTheir pickguards were clear, and they would paint the underside. Itās the same process that I use for Stevieās Rickenbackers.ā The luthier hand draws the artwork using a computer, and then laser prints each design at a facility in North Carolina. He explains that no two Rickenbacker pickguards are ever drilled precisely the same way, so each finished guard must be custom-fitted.
However, Van Zandt's Rickenbacker Fab Gear 2023 Limited Edition ā60s Style 360 has a pickguard created by a dedicated fan who totally understands the vibe.
Tech Ben Newberry shows off Van Zandtās Soulfire guitar, custom built by Petillo, which the guitarist mostly uses in his Disciples of Soul band but will occasionally appear on E Street stages.
Van Zandt plays through two Vox AC30 amps housed off-stage at tech Ben Newberryās station, and a pair of Vox cabinets join him on stage.
Van Zandtās pedals are offstage, too, not at his feet. Stevie only gently colors his tone. He uses three Durham Electronics pedals: the Sex Drive, the Mucho Busto, and a Zia Drive. The guitarist learned about Durham pedals years back when he produced guitarists Charlie Sexton and Doyle Bramhall IIās Arc Angels record in 1992. Newberry explains that the Sex Drive is ābasically always on.ā
The pedalboard rounds out with an Ibanez Tube Screamer, a Boss Space Echo, a Boss TR-3 Tremolo, and a Boss Rotary Ensemble to simulate Leslie speaker sounds, and an Electro-Harmonix Satisfaction fuzz.
Just offstage, Newberry follows his pedal-switching script using a Voodoo Labs Ground Control Pro switcher to trigger Van Zandtās effects.
John Doe and Billy Zoom keep things spare and powerful, with two basses and a single guitarāand 47 years of shared musical historyābetween them, as founding members of this historic American band.
There are plenty of mighty American rock bands, but relatively few have had as profound an impact on the international musical landscape as X. Along with other select members of punkās original Class of 1977, including Patti Smith, Richard Hell, and Talking Heads, the Los Angeles-based outfit proved that rock ānā roll could be stripped to its bones and still be as literate and allusive as the best work of the songwriters who emerged during the previous decade and were swept up in the corporate-rock tidal wave that punk rebelled against. Xās first three albumsāLos Angles, Wild Gift, and Under the Big Black Sun-were a beautiful and provocative foundation, and rocked like Mt. Rushmore.
Last year, X released a new album, Smoke & Fiction, and, after declaring it would be their last, embarked on what was billed as a goodbye tour, seemingly putting a bow on 47 years of their creative journey. But when PG caught up with X at Memphisās Minglewood Hall in late fall, vocalist and bassist John Doe let us in on a secret: They are going to continue playing select dates and the occasional mini-tour, and will be part of the Sick New World festival in Las Vegas in April 12.
Not-so-secret is that they still rock like Mt. Rushmore, and that the work of all four of the foundersābassist, singer, and songwriter Doe, vocalist and songwriter Exene Cervenka, guitarist Billy Zoom, and drummer D.J. Bonebreakāremains inspired.
Onstage at Minglewood Hall, Doe talked a bit about his lead role in the film-festival-award-winning 2022 remake of the film noir classic D.O.A. But most important, he and Zoom let us in on their minimalist sonic secrets.Brought to you by DāAddario.
Gretsch A Sketch
Since Xās earliest days, Billy Zoom has played Gretsches. In the beginning, it was a Silver Jet, but in recent years heās preferred the hollowbody G6122T-59 Vintage Select Chet Atkins Country Gentleman. This example roars a little more thanks to the Kent Armstrong P-90 in the neck and a Seymour Duncan DeArmond-style pickup in the bridge. Zoom, who is an electronics wiz, also did some custom wiring and has locking tuners on the guitar.
More DeArmond
Zoomās sole effect is this vintage DeArmond 602 volume pedal. It helps him reign in the feedback that occasionally comes soaring in, since he stations himself right in front of his amp during shows.
It's a Zoom!
Zoomās experience with electronics began as a kid, when he began building items from the famed Heath Kit series and made his own CB radio. And since heās a guitarist, building amps seemed inevitable. This 1x12 was crafted at the request of G&L Guitars, but never came to market. It is switchable between 10 and 30 watts and sports a single Celestion Vintage 30.
Tube Time!
The tube array includes two EL84, 12AX7s in the preamp stage, and a single 12AT7. The rightmost input is for a reverb/tremolo footswitch.
Set the Controls for the Heart of the Big Black Sun
Besides 3-band EQ, reverb, and tremolo, Zoomās custom wiring allows for a mid-boost that pumps up to 14 dB. Not content with 11, it starts there and goes to 20.
Baby Blue
This amp is also a Zoom creation, with just a tone and volume control (the latter with a low boost). It also relies on 12AX7s and EL84s.
Big Bottom
Here is John Doeās rig in full: Ampeg and Fender basses, with his simple stack between them. The red head atop his cabs is a rare bird: an Amber Light Walter Woods from the 1970s. These amps are legendary among bass players for their full tone, and especially good for upright bass and eccentric instruments like Doeās scroll-head Ampeg. āI think they were the first small, solid-state bass amps ever,ā Doe offers. They have channels designated for electric and upright basses (Doe says he uses the upright channel, for a mid-dier tone), plus volume, treble, bass, and master volume controls. One of the switches puts the signal out of phase, but heās not sure what the others do. Then, thereās a Genzler cab with two 12" speakers and four horns, and an Ampeg 4x10.
Scared Scroll
Hereās the headstock of that Ampeg scroll bass, an artifact of the ā60s with a microphone pickup. Doe seems to have a bit of a love/hate relationship with this instrument, which has open tuners and through-body f-style holes on its right and left sides. āThe interesting thing,ā he says, āis that you cannot have any treble on the pickup. If you do, it sounds like shit. With a pick, you can sort of get away with it.ā So he mostly rolls off all the treble to shake the earth.
Jazz Bass II
This is the second Fender Jazz Bass that Doe has owned. He bought his first from a friend in Baltimore for $150, and used it to write and record most of Xās early albums. That one no longer leaves home. But this touring instrument came from the Guitar Castle in Salem, Oregon, and was painted to recreate the vintage vibe of Doeās historic bass.