A guitar made entirely out of AirCarbon, a new material that combines strong layers and aims to create a lighter, more open sound.
Shanghai, China (October 22, 2019) -- Lava Music has unveiled the new Lava Me Pro acoustic/electric guitar at the 2019 Shanghai Music Instruments Exhibition.
The Lava Me Pro is a portable carbon fiber guitar designed for live performers. It provides the elevated acoustic sound quality of a professional performance at a fraction of the size. Earlier, this guitar had won the IDEA design award in the US- AirCarbon is an all-new structural material for the soundboard of the Lava Me Pro. It combines the strong carbon fiber layers and the lightweight honeycomb structure together. The AirCarbon is 30% lighter than the standard carbon fiber that has the same stiffness. With a gentle pluck, you can produce a bright dynamic & open sound.
- L2 Pro is the electronic system which Lava Music collectively worked with L.R. Baggs to maximum the live performance capability of the guitar. The system comes with a build-in preamp, as well as the reverb, delay and chorus. With the Turbo button, player can enhance the volume & tone within a simple push. And of course the L2 Pro comes with the original FreeBoost feature. So artists don’t have to carry the pedals to rehearsal, even go on tour.
- All-new Gravity structural design uses the soundboard as the top of a 3-dimensional object, then adds the volume and gravity with the design of optimization, the body grows into a both strong and thin shape. Which contribute to the reliability and portability for the Lava Me Pro, that allow people can perform and travel to be effortless.
- For the body design, they used a high-density AirSonic material. With the carbon fiber bar & aluminum structure build-in to the neck. So the player can enjoy the playing without worrying about the weather conditions.
Lava Me Pro designed to provide the guitarist a professional stage performance guitar. For the other core components, such as the bridge, nut and saddle, are made with high-stiffness polymer materials, which also play important roles in the transmission of sound vibration. Its portability allows musicians to record and perform anywhere.
For the Lava Me Pro now is available for $1299 on Amazon or directly at their website.
Watch the company's video demo:
For more information:
Lava Music
The Velvet Sledgehammer is Mayfly’s first heavy distortion pedal.
It uses an overdriven LM308 op-amp with 1N4148 clipping diodes, followed by an adjustable filter circuit. This is followed by an active midrange control with 12db of boost or cut. This allows you to scoop or boost your mids adding a whole lot of flexibility to a classic distortion design.
If you were to say “Hey! That sounds like a RAT with an active midrange!”, you would not be far off. But it’s that midrange control that makes this pedal so much better sounding than a typical RAT clone. You can scoop it for a metal tone, but I especially like to boost the mids with higher distortion settings. A typical RAT can get pretty fizzy when you crank the distortion, but boosting the mids gives a lot of body back to your sound. Either way (I’m going to use a big cliché here) with the active midrange control your palette of tones expands onwards towards the horizon. ;)
The name “Velvet Sledgehamer” and the motorcycle artwork are both inspired by a motorcycle model known for its sophistication, grace, and for having so much power it would lift the front wheel instantly when you twisted the throttle. The Velvet Sledgehammer distortion pedal has the same kind of feel. Crank on the distortion knob and it will make you feel like you can wheelie all the way down the block.
• Heavy distortion pedal.
• Active midrange control with 12db of boost/cut (center position is flat).
• Two pole adjustable filter control.
• Distortion and volume controls.
• Full bypass.
• 9VDC, 28mA.
MAP price: $145 USD ($199 CAD).
Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
“What you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.”—Alexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system won’t reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate “realistic” audio experience. I wonder if sometimes that’s misguided.
My exposure to the audio hobby came early, from my father’s influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in “high end” audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, I’ve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitarists—except the prices are now beyond what I’d imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, you’ll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems I’ve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If you’ve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. I’ve found myself wondering if the people on those audio boards—who have spent many tens or even hundreds of thousands of dollars on their home systems—have ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasn’t been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. It’s a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
I’m not convinced, but just the same, I’ll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
The series features three distinct models—The Bell,The Dread, and The Parlor—each built to deliver rich, resonant acoustic sound with effortless amplification.
Constructed with solid Sitka spruce tops and solid mahogany back & sides, the Festival Series offers warm, balanced tone with incredible sustain. A Fishman pickup system, paired with hidden volume and tone control knobs inside the sound hole, ensures seamless stage and studio performance.
Grover 16:1 ratio tuners provide superior tuning stability, while D’Addario strings enhance clarity and playability. Each guitar comes with a heavy-padded gig bag, making it a perfect choice for gigging musicians and traveling artists.
Key Features of the Festival Series Guitars:
- Solid Sitka Spruce Top – Provides bright, articulate tone with impressive projection
- Solid Mahogany Back & Sides – Adds warmth and depth for a well-balanced sound
- Fishman Pickup System – Delivers natural, high-fidelity amplified tone
- Hidden Volume & Tone Control Knobs – Discreetly placed inside the sound hole for clean aesthetics
- Grover Tuners (16:1 Ratio) – Ensures precise tuning stability
- D’Addario Strings – Premium strings for enhanced sustain and playability
- Heavy-Padded Gig Bag Included – Provides protection and convenience for musicians on the go
Mooer Prime Minimax M2 Intelligent Pedal boasts 194 effects models, 80 preset slots, MNRS and third-party sample file compatibility, an 80-minute looping module, internal drum machine, high-precision tuner, Bluetooth support, and a rechargeable lithium battery.
Over the last few years, Mooer has released several Prime multi-effects devices, including the Prime P1, P2, S1, and most recently in 2024, the Prime Minimax M1. Excitingly, the company is kicking off 2025 with a brand new addition to the Prime family–the Prime Minimax M2 Intelligent Pedal.
Within this small multi-effects device, a whole lot of functionality is packed in, including an impressive 194 effects models, including overdrive, preamp simulators, cabinet models, delays, reverbs, modulation effects, etc., and more. In typical Mooer style, though, the company took things a step further by offering limitless flexibility through the support of its in-house MNRS sample files, as well as third-party IR sample files. Essentially, this means that users can download additional tonal emulations and effects from the Mooer Cloud and third-party sources to the device, which they can then save across 80 preset slots.
As with some past models in the Prime series, the M2 sports a convenient touchscreen design, facilitating easy browsing through the devices banks of presets. However, guitarists are not limited to interfacing with the pedal in this way, as it also features two footswitches, both of which can be used to switch between presets in each bank. There is even a MIDI jack built into the device, enabling users to connect their MIDI controllers to extend the control functions, and the MOOER F4 wireless footswitch support is also supported. Essentially, these augmentation options facilitate additional footswitches to ensure switching preset tones is always as quick and seamless as possible within any workflow.
While the Prime M2 Intelligent Pedal is primarily designed for effects and tonal simulations, it also comes packed with an array of other useful features. For example, it contains a looping module with a hefty 80-minute capacity, in addition to 10 recording save slots to ensure that any looping creations can be kept for future use in performances. Similar to past looper modules in Mooer's products, users are also free to overdub their recordings and even undo or redo their overdubs, offering a lot of real-time flexibility for creating loop-based musical structures.
As if the addition of a looper wasn’t enough, this feature is also synchronizable with an internal drum machine and metronome, a combination that includes 56 drum grooves and 4 metronome varieties. Ultimately, it’s a reminder that Mooer clearly recognizes and wishes to solve the struggles that musicians have when attempting to produce precise loops while staying in time. Upon commencing recording, the drum machine can produce four initial beats to serve as a count-in cue, and of course, this can be combined with the device's tap-tempo control for dynamic use. Best of all, this feature can also be applied to modulation and delay effects, ensuring that they work perfectly in time with any performance.
Extra features are included to complete this all-in-one pedal, including a high-precision tunerwith fully customizable frequency ranges. Guitarists can even leverage the M2’s built-inBluetooth input support, allowing them to practice, jam, and even produce looped musicalstructures over their favorite backing tracks, band prototypes, and musical pieces.
Perhaps unsurprisingly for existing Mooer product users, the Prime M2 also boasts an impressive variety of audio routing systems. As was previously mentioned, that includes Bluetooth input, as well as industry standards such as dual-channel stereo output, perfect for stereo delay and modulation effects. It also supports headphone output for those who wish to practice in silence, and even OTG recording, which means that guitarists can record their creations directly to their smartphone whilst on the go.
Speaking of on-the-go, Mooer is continuing its recent portable-play focus with the Prime M2Intelligent Pedal, as it is fitted with a built-in rechargeable lithium battery with a battery life of up to 6 hours. Ultimately, this means that even a lack of local power sources won’t get in the way of rehearsals and live performances. Combined with the pedal’s lightweight and small build, it truly is an ideal addition to the pedalboard of any traveling musician.
Overall, the Prime M2 Intelligent Pedal is set to be an impressive new addition to the Prime series. It features augmented functionality when compared to past models, yet still in a minimalist and easy-to-use package, keeping the size small and light yet still packing in footswitches, a touch screen, and other flexible control systems.
Features:
- 194 built-in effect models and tonal emulations
- 80 preset slots for storing downloaded MNRS and third-party sample files
- Compatibility with the MOOER Cloud tone-sharing platform
- Built-in 80-minute looping module
- Record, overdub, pause, delete, and playback functions for looping
- Internal drum machine module, stocked with 56 drum grooves
- 4 unique metronomes
- Synchronization between drum machine and looper
- Convenient count-in cue function support from the metronome
- High-precision and customizable tuner module
- 2 multi-function footswitches
- 1.28-inch touchscreen interface
- LED digital display
- LED charge indicator
- Portable USB/OTG recording
- Direct compatibility with the MOOER prime mobile APP and MOOER Studio desktop software for preset management
- Bluetooth 5.0 audio playback
- 3000mAh integrated lithium battery with up to 6 hours of use time
- DC 5V/2A power supply and charging
- 3 hours charging time
- Low weight of 228g
- Compact, at 74mm (L), 125mm (W), and 49mm (H)
- Sample rate of 44.1kHz
- Bit depth of 24bit
- Compatible with MOOER F4 wireless footswitch
- 3.5mm MIDI port
- Mono TS ¼” input
- Stereo TS ¼” output
- 3.5mm headphone output
- Power switch button
The Prime Minimax M2 Intelligent Pedal will be available from the official distributors or retailersworldwide.
For more information, please visit mooeraudio.com.
