As we get farther and farther away from the dawn of electric guitars, we naturally lose some of the innovators along the way. They’re the pioneers and groundbreakers on whose shoulders we stand, but forgotten geniuses deserve a spot at the table of recognition alongside the household names. And so today, in the wake of his recent passing, I want to honor Japanese guitar builder Yuichiro Yokouchi.
Yokouchi-san with a Fujigen-built bass.
Photo courtesy of Shoji Yokouchi
While his name might not glide off our Anglo-Latin tongues, Yokouchi-san’s profound impact on music still reverberates today. He founded Japan’s Fujigen-Gakki company, which made and still makes some of the finest guitars in the world. Fujigen posted a memorial across social media which read in part, “It is with profound sadness that we announce the passing of our founder, Yuichiro Yokouchi, at the age of 98. With the ambition to become Japan’s finest guitar manufacturer, he named our company after Mt. Fuji—an enduring symbol of the highest standard. Through his dedication and vision, he realized that ambition, laying the foundation for our company to become a world-class guitar manufacturer representing Japan.”
I was fortunate enough to have met the man several times, and instead of repeating some of the common facts about him (and all his deserving accolades), I’d rather share some of my own first-person accounts, in no particular order.
Yokouchi-san reminded me of Leo Fender! If you compare their pictures side by side, one could make the argument that they might be long-lost brothers! And when you consider both men’s musical accomplishments, the idea isn’t that far-fetched. Plus: Neither man could play guitar!
Yokouchi-san lived on the same property his whole life. Located in Matsumoto City, his original family home still stands on the property, along with other buildings—including the original Fujigen factory, which used to be a cow barn! In fact, Yokouchi-san transitioned from farmer to violin maker, and finally to guitar maker, because his children were taking violin lessons using the Japanese Suzuki method.
Yokouchi-san reminded me of Leo Fender! If you compare their pictures side by side, one could make the argument that they might be long-lost brothers!
He always wanted to eat dried, marinated grasshoppers with me—mostly to laugh at my facial expressions. He was a good-natured fellow, very kind and generous. I have piles of his gifts in my studio. I also sent many Fujigen-made guitars back to Japan to be displayed at his home.
The Tulio EB bass.
Fujigen is the nicest guitar factory I’ve ever seen. Neat, orderly, and efficient, the facility is known for high-quality instruments. Heck, they even play classical music in the wood-drying rooms. It’s no coincidence that it’s located in Matsumoto City, known for its history of fine wood craftsmen.
Yokouchi-san kept everything, including old records, parts, and correspondences, from 60 years ago. By sorting through his records, I was able to fill in a lot of blanks when it came to Japanese guitar making.
Yokouchi-san’s sons went into the guitar business in his footsteps, and ushered Fujigen through some golden eras. Like their father, they knew everybody! During one of my visits to Japan, the Yokouchi family gathered people for an employee reunion. There were former workers there from all over!
Yokouchi-san wrote a book about his life story, and was considered a true success in his country, particularly in post-WWII Japan. He enjoyed a level of fame that drew many visitors from around the world. He greeted them all with his jovial smile, and often spoke to people in their native language. His English was excellent.
In an effort to jumpstart his company in the early 1960s, Yokouchi-san travelled to New York City by himself, with several demo guitars slung over his shoulders. He walked around the city trying to sell them, but at the time, he only spoke Japanese. Things didn’t go well. When a family saw him weeping on the street, they took him in, which led to the first U.S. sales of Fujigen-Gakki guitars!
There are so many other anecdotes that I’d love to fit in here, but in the end, it’s all about Yokouchi-san’s legacy, which are the electric guitars he brought into the world. To honor the man, here’s a photo of one of his first electric guitars, a Tulio EB bass. Can you see the Fender connection there? I’m telling you—long-lost brothers. Cheers to the guitar-making greats!
This spring, the revered death metal band Dethklok—the very definition of TV turned reality, after the band jumped from the show Metalocalypse onto real stages nearly two decades ago—has been on tour with Swedish melodic death-metal giants Amon Amarth. Last month, they blew the roof off of Fenway’s MGM Music Hall, and PG’s Chris Kies joined Dethklok leader Brendon Small, bassist Pete Griffin, and tech Robb Philpotts before the gig for this new Rig Rundown. We’ve gathered a few highlights below; watch the video for the complete picture.
Small’s main machine is this early-2000s Gibson Explorer with jumbo frets and Burstbuckers. It’s tuned to C standard with D’Addario strings (.011–.052), and he plays with Dunlop Tortex Sharp .73mm picks.
Zebra
Small also travels with this Ernie Ball Music Man Jason Richardson Cutlass in custom matte black, which has white stock Ernie Ball pickups and Lumenlay side dots.
Brendan Small’s Rig
Small uses a Neural DSP Quad Cortex for all of his core tones, which come from a Peavey 5150 amp model. He keeps two Dunlop expression pedals on hand: one for volume control, one for wah and whammy effects.
Question and Answer
Brosh’s primary picker, at right, is her signature Ibanez guitar, dubbed “the Answer.” Introduced earlier this year, this RG-style electric has a basswood body, maple neck with exclamation mark inlays, and a Lo-Pro Edge trem system. It carries EMG H1 and S1 passive pickups, and Brosh plays it with Ernie Ball Burly Slinky strings (.011–.048) and Dunlop Big Stubby 3mm picks.
The Ibanez RG5170B Prestige at left is a backup, primed with active pickups.
Nili Brosh’s Rig
Brosh runs through a HeadRush Flex Prime unit, programmed with rhythm and lead patches.
Up Against the Wall
Griffin’s go-to bass is his Dingwall D-Roc Standard (left) with fanned frets, tuned to C standard. The Dunable on the right is on hand for backup service. Griffin uses Dunlop Heavy Gauge (.055–.115) strings and Dunlop Flow Standard 1.14mm picks.
Pete Griffin’s Rig
Like Small, Griffin runs through a Neural Quad Cortex, primarily using a patch modeled on his Ashdown amps. Also on his board are a Dunlop Justin Chancellor Cry Baby wah, a Sushi Box FX Finally tube DI, and a top-secret prototype of a distortion stomp that will be coming out in the future.
Ernie Ball Music Man proudly announces the new John Petrucci Majesty Premium Select, a refined evolution of the groundbreaking Majesty platform designed in collaboration with Dream Theater guitarist John Petrucci. Built to deliver uncompromising performance on stage and in the studio, the Majesty Premium Select represents the pinnacle of craftsmanship, innovation, and tonal flexibility.
Shaped by decades of touring and recording experience, the Majesty Premium Select reflects Petrucci’s preference for a mahogany neck-through-body design paired with alder wings and a thick maple top, creating exceptional depth, sustain, and articulation with the clarity needed to cut through any mix.
Engineered for ultimate playability, the guitar features a 24-fret ebony fingerboard with stainless steel frets for effortless precision and durability, along with glow-in-the-dark side position markers for maximum visibility in low-light performance environments.At the heart of the Majesty Premium Select are John Petrucci’s Signature DiMarzio Rainmaker andDreamcatcher humbuckers, delivering the powerful, articulate tones synonymous with Petrucci’s signature sound. A piezo-equipped Music Man floating tremolo system expands the instrument’s sonic range with convincing acoustic-style textures, while stereo and mono output options offer enhanced routing flexibility for live and studio applications.Additional performance-focused features include an onboard 20+ dB gain boost for instant leaden hancement and dynamic tonal control.
The John Petrucci Majesty Premium Select is available in 6, 7, and 8-string configurations in five stunningfinishes:
Carnelian Red
Ka’anapali Dream
Mystic Dream
Purple Nebula II
Strawberry Moon
The new Majesty Premium Select is now available through authorized Ernie Ball Music Man dealersworldwide. For more information, visit www.music-man.com.
As any gear fiend knows, there are rabbit holes deep enough to swallow the curious whole. Hardcore Big Muff heads inhabit one such den, because a Big Muff is many things. It’s evolved often, sometimes in very small increments—and that’s what makes it the perfect object of obsession. Those little differences yield tangible results. A ram’s head really does cut more than a Sovtek “Civil War.” A triangle-type is abrasive in a completely different, more focused kind of way than an op amp Muff. They also feel different under the fingers. I’m more inclined to write a sludgy riff and dig into Robert Fripp sustain moves when I use a Sovtek than I am with a ram’s head, which, for all its capacity for articulation, brings out a janglier, more detailed type of fuzz. Little differences, yes. But each Big Muff is a very unique experience—particularly when you play loud.
So a tip of the cap to Electro-Harmonix, JHS, and the original king of Big Muff design, Bob Myer. Each had a hand in bringing the Big Muff 2 to life. Myer drew up the original dual-op amp concept in the 1970s. It lay dormant until JHS’ Josh Scott found the schematic in an archive dig with Myer. Electro-Harmonix heard the real differences in tone and built the thing. What they’ve collectively brought together is, at least to this Big Muff fiend’s ear, a unique and compelling tone tangent.
Stretches in the Low-Mid Zone
The essence of the Big Muff Pi 2’s subtle yet profound difference is a low-mid distortion response that—alongside triangle, civil war, and ram’s head types—give it a wider-view, less compressed sound and feel in that frequency. It shares the same muscular, massive underpinnings as all Big Muffs, and there is crossover between the Big Muff Pi 2 tone profiles and those of other types. But strum a first position A-major chord and you’ll notice that the more open low-mid range gives the Big Muff Pi 2 a distinct growl. It’s throatier. There’s even some rasp in the high-mid range. But it’s also smooth at many settings. And the combination of its guttural qualities, rasp, and smoothness adds up to a real balance that gives chords articulation and makes solos sing.
“The combination of the Big Muff’s guttural qualities, rasp, and smoothness adds up to a real balance that gives chords articulation and makes solos sing."
Its agreeability extends across guitar and amp types, too. A Rickenbacker with Hi-Gain pickups and a AC15-style circuit sounded wrecking ball-devastating in terms of scale and aggression, but also walked a fine line between open and compressed that let melodic nuance shine through. A Jazzmaster and piggyback Fender Bassman sounded fantastically huge and rich, too. Extracting extra sustain via feedback and heavy vibrato sounds especially insane with this pairing—full of overtones and outsized cello timbres colliding with garage-punk wails. Even an SG, for all the mass it added to the AC-style and Bassman pairings, maintained a sense of poise—overtone detail illuminated, space left for melodic creation.
The Verdict
It bears mentioning again that there is Venn-diagram style crossover between all classic Big Muff voices, and the Big Muff Pi 2 is very much part of that family cluster. If I had to pick a most distinct tone combination that sums up the Big Muff Pi 2 voice I’d probably say something like, “The cut of a ram’s head with the smoothness of a Sovtek.” But that would be an oversimplification that fails to tell the whole story. In functional and practical ways, the Big Muff Pi 2 impresses mostly for its balance. A less committed fuzz observer may not understand why the differences in the Big Muff Pi 2 are a big deal, even while toggling between equally, uniquely great Big Muffs to hear its extra-oxygenated low-mid range and purr. But for anyone who knows how these slight differences can shift the mood of a song, riff, or lead—and how distinct each one feels under the hands—the Big Muff Pi 2 voice is an intriguing option. Especially at an $122 street price that, for a Big Muff fan, verges on theft.
Electro-Harmonix
Big Muff Pi 2
Fuzz Guitar Pedal with Volume, Tone, and Sustain Controls
PRS Guitars today announced two new models joining the SE catalog: the SE Ed Sheeran Hollowbody I Piezo Baritone and the SE Hollowbody I Piezo. Also included in today’s product release are limited runs of two new coverings on both the HDRX and Sonzera amps.
“2026 is the 25th anniversary of the SE Series, and we are proud to introduce these two new additions to the catalog,” said PRS Guitars COO, Jack Higginbotham. “We’ve enjoyed advancing and evolving this series of guitars, our designs, our processes, and the amazing partnerships we have. Our work with Cor-Tek and their dedicated PRS factory at P.T. Cort in Indonesia continues to produce improved products with each new launch.”
SE Ed Sheeran Hollowbody I Piezo Baritone
In January of this year, PRS launched the SE Ed Sheeran Cosmic Splash Limited Edition. The exact same model but now in catalog colorways instead of Cosmic Splash, the SE Ed Sheeran Hollowbody I Piezo Baritone is available in exclusive finishes Kaleidoscope and Pink Ombre, along with Orange Tiger Smokeburst. This model will also feature birds on the fretboard.
“Metal guitarists will absolutely shred on this, jazz guitarists will love this, and it will be able to fit into so many great scenarios. For all the guitar people out there who look at me as not an electric player, don’t let the person behind the guitar fool you. This is an incredible instrument and will fit in many, many guitar players’ collections,” said Ed Sheeran.
Designed in collaboration with Ed Sheeran, the 27.7" scale length model is built with a maple top and mahogany back, and features a fully hollow body with a center-block design for added resonance and controlled feedback. Equipped with PRS 85/15 “S” pickups and a PRS/LR Baggs piezo system, the guitar offers the ability to blend the piezo’s acoustic voice with electric power or isolate either signal for stage or studio flexibility.
“Artists are such an important part of our product development,” continued Higginbotham. “The relationships we have with new artists is one of the amazing, energizing, motivational, inspirational things that we get to do as a company. Developing this guitar with Ed Sheeran is a great example of what these types of relationships are, and how we can collaborate with a world-renowned artist to create something new. Further, it highlights how the SE Series in general is studio and stage ready for even the biggest artists.”
SE Hollowbody I Piezo
Similar to the SE Ed Sheeran Hollowbody I Piezo Baritone, the SE Hollowbody I Piezo also features a maple top, mahogany back, and fully hollow body with a center-block design, along with 85/15 “S” pickups and the PRS/LR Baggs piezo system, but with PRS's classic 25" scale length instead of the longer 27.7" baritone scale length.
“The beauty of working with Lloyd and LR Baggs is that when we are facing a challenge, even a significant design challenge, we have always been able to find a perfect solution working together. This guitar is a fantastic example of what happens when you have real partnerships with 100% of the group like-minded and on a quest to do something special. Everyone involved at every level has the goal to deliver to musicians an experience that we would want as a player. We are trying to give somebody a thing that we would want to get. It’s all about what’s best for the instrument and the player. That’s a big reason why our partnership with LR Baggs is working,” continued Higginbotham.
This model is also related to the SE Hollowbody II Piezo, SE Hollowbody Standard Piezo, and SE Hollowbody Standard, but this version features a carved top. When it comes to the player’s side of the guitar, the slimmer, contoured “flatback” design of the SE Hollowbody I melds the back design of a solidbody electric guitar with the rich, open tone and airy acoustic depth of a hollowbody. The classic feel of the carved back is a more traditional design for hollowbodies that comes from the way acoustic guitars are built. Whereas the flatback has more of a modern feel as it sits against the player. This slimmer back design allows for a little more brightness in the tone as well. The SE Hollowbody I Piezo is made with a solid mahogany back and a solid maple carved top, along with 85/15 “S” (uncovered) pickups. Those details give this guitar a more modern presence and a sound all to its own. It is available in Lake Blue and Orange Tiger Smokeburst.
Amps
<p>For players looking for some understated flash in their rig, the Sonzera 20 combo and HDRX 20 amps, and HDRX 1x12 cabinet are now available in extremely limited editions of two new coverings: Indigo (with Wheat grill cloth) and Black Paisley. The number of pieces range from 75 to 200 worldwide, depending on model and colorway.</p><p>For all of the latest news, visit <a href="https://email.prsguitars.com/c/eJxczDluwzAQAMDXiKWwF5dkwSKN_7E8FAuIY4Gio-8HcLr0g2m5BsRAxfWMISSCkGJ09yyagKmoWdQYUyobVAgtUq8BInS3ZwJS8JhQSUnXoOxVBLH34tFsETjG-fnap41zrc-H-8r3OY-FPxa6LXS7rmv9J0b-7tcxnu1V5_kO-mPv44-8xczirZokk8KykWgpTShsyK0U5MRuZmJI0NSYY9Dq0aCKafORmyps3v1k-g0AAP__-Z5JRg" target="_blank"><u>www.prsguitars.com</u></a> and follow @prsguitars on Instagram, TikTok, Facebook, X, and YouTube.</p>
![Rig Rundown: Dethklok [2026]](https://www.premierguitar.com/media-library/image.jpg?id=66769279&width=1245&height=700&quality=70&coordinates=0%2C0%2C0%2C0)
