Get close-up looks at new tone toys from Walrus, Eventide, Collings, Mythos, Orange, and more.
Eastman Guitars SB-55
Last year, Eastman Guitars debuted its first semi-hollow. (Check PG.com for our in-depth review.) At this NAMM, there's an update to the Romeo model. Now the axe is available with a T-style Seymour Duncan Vintage Stack pickup in the neck and a Seymour Duncan ’59 in the bridge instead of two ’buckers. It's got a solid spruce top and mahogany laminate back and sides, and a maple neck with ebony fretboard. The tag's $2,340. Also from Eastman—the SB-55 double- and single-cut with a bridge Lollar ’50’s Spec dog-ear P-90 and a single no-load tone pot that removes itself from the signal when up on 10. That's $1,490 MRSP.
Paul Reed Smith also continues to evolve as a guitarist, and delivered a compelling take on Jeff Beck’s interpretation of “Cause We’ve Ended As Lovers” at the PRS 40th Anniversary Celebration during this year’s NAMM.
After 40 years at the helm of PRS Guitars, our columnist reflects on the nature of evolution in artistry—of all kinds.
Reflecting on four decades in business, I don’t find myself wishing I “knew then what I know now.” Instead, I’m grateful to still have the curiosity and environment to keep learning and to be in an art that has a nonstop learning curve. There’s a quote attributed to artist Kiki Smith that resonates deeply with me: “I can barely control my kitchen sink.” That simple truth has been a guiding principle in my life. We can’t control the timing of knowledge or discovery. If profound learning comes late in life, so be it. The important thing is to remain open to it when it arrives.
I look at what’s happened at PRS Guitars over the last 40 years with real pride. I love what we’ve built—not just in terms of instruments but in the culture of innovation and craftsmanship that defines our company. The guitar industry as a whole has evolved in extraordinary ways, and I’m fortunate to be part of a world filled with passionate, talented, and good-hearted people.
I love learning. It may sound odd, but there’s something almost spiritual about it. Learning isn’t constant; it comes in stages. Sometimes, there are long dry spells where you can even struggle to hold onto what you already know. Other times, learning is sporadic, with nuggets of understanding appearing here and there that are treasured for their poignancy. And then there are those remarkable moments when the proverbial floodgates open, and the lessons come so fast that you can barely keep up. I’ve heard songwriters and musicians describe this same pattern. Sometimes, no new songs emerge; sometimes, they trickle out one by one; and sometimes, they arrive so quickly it’s impossible to capture them all. I believe it’s the same for all creatives, including athletes, engineers, and everyone invested in their art.
Looking back over 40 years in business and a decade of preparation before that, I recognize these distinct phases of learning. Right now, I’m in one of those high-gain learning periods. I’ve taken on a teacher who is introducing me to concepts I never imagined, ideas I didn’t think anyone could explain—things I wasn’t even sure I was worthy of understanding. But when he calls and says, “Have you thought about this?” I lean in, eager to absorb, not just to learn something new for myself, but because I want him to feel his teaching is appreciated, making it more likely that the teaching continues.
“Learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it.”
Beyond structured teaching, learning also comes through experience, discovery, and problem solving. We recently got our hands on some old, magical guitars, vintage pickups, microphones, and mic preamps. These aren’t just relics; they’re windows into a deeper understanding of how things work and what the engineers who invented them knew. By studying the schematics of tube-mic preamps, we’re uncovering insights that directly influence how we wire guitar pickups and their electronics. It may seem like an unrelated field, but the many parallels in audio engineering are there if you look. Knowledge in one area has a ripple effect, unlocking new possibilities in another.
Even as I continue learning, I recognize that our entire team at PRS is on this journey with me. We have people whose sole job is to push the boundaries of what we understand about pickups, spending every day refining and applying that knowledge so that when you pick up a PRS guitar, it sounds better. More than 400 people work here, each contributing to the collective advancement of our craft. I am grateful to be surrounded by such a dedicated and smart team.
One of my favorite memories at PRS was at a time we were deep into investigating scale lengths on vintage guitars, and some unique pickup characteristics, when one of our engineering leaders walked into my office. He had just uncovered something astonishing and said, “You’re not going to believe this one.” That excitement and back-and-forth exchange of ideas is what keeps this work so rewarding.
As I reflect on my journey, I see that learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it. I get very excited when something we’ve learned ends up on a new product. Whether lessons come early or late, whether they arrive in waves or trickles, there is always good work to be done. And that is something I just adore.
PG contributor Tom Butwin demos seven direct boxes — active and passive — showing off sound samples, features, and real-world advice. Options from Radial, Telefunken, Hosa, Grace Design, and Palmer offer solutions for any input, setting, and budget.
Grace Design m303 Active Truly Isolated Direct Box
The Grace Design m303 is an active, fully isolated DI box, delivering gorgeous audio performance for the stage and studio. Our advanced power supply design provides unbeatable headroom and dynamic range, while the premium Lundahl transformer delivers amazing low-end clarity and high frequency detail. True elegance, built to last.
Rupert Neve Designs RNDI-M Active Transformer Direct Interface
Compact design, giant tone. The RNDI-M brings the stunning tone & clarity of its award-winning counterparts to an even more compact and pedalboard-friendly format, with the exact same custom Rupert Neve Designs transformers and discrete FET input stage as the best-selling RNDI, RNDI-S and RNDI-8.
Telefunken TDA-1 1-channel Active Instrument Direct Box
The TDA-1 phantom powered direct box uses high-quality components and classic circuitry for rich, natural sound. With discrete Class-A FET, a European-made transformer, and a rugged metal enclosure, it delivers low distortion and a broad frequency response. Assembled and tested in Connecticut, USA, for reliable performance and superior sound.
Hosa SideKick Active Direct Box
The Hosa SideKick DIB-445 Active DI delivers clear, strong signals for live and studio use. Ideal for guitars, basses, and keyboards, it minimizes interference over long runs. Features include a pad switch, ground lift, and polarity flip. With a flat frequency response and low noise, it ensures pristine audio.
Radial JDI Jensen-equipped 1-channel Passive Instrument Direct Box
The Radial JDI preserves your instrument’s natural tone with absolute clarity and zero distortion. Its Jensen transformer delivers warm, vintage sound, while its passive design eliminates hum and buzz. With a ruler-flat response (10Hz–40kHz) and no phase shift, the JDI ensures pristine sound in any setup.
Radial J48 1-channel Active 48v Direct Box
The Radial J48 delivers exceptional clarity and dynamic range, making it the go-to active DI for professionals. Its 48V phantom-powered design ensures clean, powerful signal handling without distortion. With high headroom, low noise, and innovative power optimization, the J48 captures your instrument’s true tone—perfect for studio and stage.
Palmer River Series - Ilm
The Palmer ilm, an upgraded version of the legendary Palmer The Junction, delivers studio-quality, consistent guitar tones anywhere. This passive DI box features three analog speaker simulations, ensuring authentic sound reproduction. Its advanced filter switching mimics real guitar speaker behavior, making it perfect for stage, home, or studio recording sessions.
Learn more from these brands!
In a career defined by evolution, Joe Bonamassa is ready to turn the page once again. The blues-rock virtuoso has just announced Breakthrough, his most adventurous and genre-blending studio album to date, out July 18th via his own J&R Adventures.
At the heart of the announcement is the release of the album’s powerful title track—“Breakthrough' —a soulful, hard-hitting anthem about letting go, moving forward, and finding your fire again, available today on all streaming platforms.
Crafted across multiple continents and infused with a world’s worth of inspiration, Breakthrough marks a bold new chapter for Bonamassa—one that leans on fiery solos, emotionally rich storytelling, groove-driven arrangements, and stylistic exploration. Produced by longtime creative partner Kevin Shirley (Iron Maiden, The Black Crowes, Journey), the album was shaped by sessions in Greece, Egypt, Nashville, and Los Angeles, resulting in a vibrant sonic tapestry that shifts effortlessly from funky blues and Texas swing to acoustic ballads and swaggering hard rock.
Joe Bonamassa “Breakthrough” - Official Lyric Video
Watch the official lyric video for "Breakthrough" by Joe Bonamassa
“I think this album, Breakthrough, marks a shift in the styling of Joe Bonamassa’s recording output,” says Shirley. “While there are plenty of guitar solos on this record, his emphasis has been on songs primarily. Each time Joe undertakes a new recording project, he seems to access a different part of his vast library of music genre from the jukebox-in-his-head! This album is a round-the-world musical trip—from Little Feat funkiness to Texas swing, from hard rock power to acoustic singer/songwriter-style songs.”
The newly released single “Breakthrough,” co-written with longtime collaborator Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), captures the emotional core of the record—an uplifting anthem about transformation, persistence, and letting go of the weight that holds us back. With gritty vocals, melodic guitar lines, and lush instrumentation, the track embodies Bonamassa’s signature blend of power and finesse while ushering in a bold new direction.
“Breakthrough” follows the success of Bonamassa’s recent singles “Still Walking With Me” and “Shake This Ground,” both of which hinted at the adventurous spirit behind the full album. “Shake This Ground” delivered a moody, introspective edge, while “Still Walking With Me” leaned into warmth, gratitude, and classic soul. Each track reflects a different facet of Bonamassa’s evolving songwriting approach, rooted in emotional honesty and anchored by his unmistakable guitar work.
The album announcement caps a stretch of extraordinary momentum for Bonamassa. Next up, Bonamassa recently began his extensive *European Spring Tour, followed by a June run with his powerhouse supergroup Black Country Communion* (featuring Glenn Hughes, Jason Bonham, and Derek Sherinian). After another round of summer dates across Europe—including sold-out shows in Ireland—he’ll return stateside for his just-announced* 2025 U.S. Summer Tour*, a limited amphitheater run featuring stops at The Greek Theatre, Red Rocks, and more iconic venues.
With over 50 albums, 28 #1 Billboard Blues albums, and a lifelong commitment to evolving the genre, Bonamassa shows no signs of slowing down. Whether headlining iconic venues, mentoring rising artists through Journeyman Records, or supporting music education via his Keeping the Blues Alive Foundation, Bonamassa continues to shape the future of blues-rock with every note.
For more information on Breakthrough, tour dates, and VIP packages, visit jbonamassa.com.
Our columnist practices a little acoustic channeling while communing with nature.
When playing, try to bring the resistance down to zero.
“You are not a drop in the ocean, you are the entire ocean in a drop.” —Rumi
I’ve been listening to a controversial podcast called The Telepathy Tapes, which explores telepathy demonstrated by mostly non-verbal autistic young people. Citing rigorously controlled studies, the podcast claims that non-verbal youth with autism are able to tell exactly what their mothers, caregivers, and teachers are thinking while in another room—be it random numbers, photos, anything … 10 out of 10 times in a row. The pod also shares stories where teachers and parents of these same kids relate examples of the kids knowing what’s going on in the parents’ or teachers’ lives when they are apart. It reminds me of the so-called “Remote Viewing” programs the U.S. military and CIA ran from 1970 to 1995—the chief difference being that the kids are totally accurate while the military remote viewers consistently failed.
Some of the kids describe telepathy gatherings, where anywhere from two to over a thousand autistic youth in separate locations regularly meet. They call it “talking on the hill.” While linked together through this telepathy, kids share information about books, movies, science, music, anything that interests them. The Telepathy Tapes suggests that this tapping into a collective consciousness could explain the savant child who sits at a piano and plays Beethoven or blues without any training or experience. The savant didn’t learn piano; the savant is tapping into something.
Most scientists stay away from anything that smells of the paranormal. In neuroscience, the prevailing view is that consciousness is a result of the brain’s metabolism and interactions between neurons; it begins and ends in the brain. But I suspect for our tribe (musicians), we know that there’s way more to the world than what we can see or measure.
Years ago, I wrote a column about how musicians playing together experience paranormal events on stage. You know, that musician magic where improvising players in an open jam simultaneously hit identical triplets while not even looking at each other, or lock into super-tight, unrehearsed complementary or unison melodies. Musician ESP is a phenomenon all players experience on some level if you play long enough with the people you connect with. It defies logic, but when you experience it, you know it’s not a coincidence. It’s a mindmeld without touching or trying. That’s when music goes from formulaic to truly magical. That’s the stuff that hits you on a deeper level, perhaps because it comes from a deeper place.
“When I am playing at my best, I am less about control, more about flow.”
I’m not sure how improvisation works for you, but I suspect it’s like my system. I’ve spent a lifetime learning patterns: some I’ve taken from others, some I’ve stumbled upon myself. When I’m taking a solo, much of what I’m playing is an amalgam of patterns, riffs, and melodies I’ve played many times before, but arranged together on the spot. So, does that even qualify as improv? What I try to do is step out into new territory, but there’s not a lot of terra incognita left. These riffs and patterns are the vocabulary we’re using to communicate. Authors or great orators are, for the most part, using the same words and ideas we all use. They are just really good at arranging them. Likewise, there are great musicians using the same riffs and licks we all have, they just string them together really well. But there’s a big difference between speaking a universal truth from your heart and repeating a variation of a cliche.
Pat Metheny has a song called “It Starts When We Disappear,” from 2021’s Side-Eye NYC (V1.IV). Over the course of 13 minutes and 48 seconds, you hear Pat and his band disappear and music takes over. I spoke to my friend and sometimes bandmate, Chris Harrah, about this, and he calls it “bringing the resistance down to zero,” an analogy he cooked up that hints at his physics background. Chris explains it like this: “You hear the music from something bigger, like a current through a circuit, and we (our minds, bodies, etc.) are the resistor; our goal as musicians is to get that resistance down to zero, when the music flows directly out of you. You could even say the ‘source,’ aka where the music comes from, is the current. My goal is to bring the resistance down to zero, resulting in no drop in voltage (source).”
When I am playing at my best, I am less about control, more about flow. Less about achieving, more about being. I’m not thinking, I’m not even sure I’m there. Gravity is invisible, but nobody doubts it exists. A magnetic field stretches far beyond the magnet, invisible but definitely there, like magic. Wherever you are, you are surrounded by invisible radio transmissions for phones, wi-fi, radio, television, etc. I suspect there are fields from our minds that stretch far beyond our body, reaching out. I want mine to tap into music.