Your guide to more than 100 new product announcements, plus teasers and rumors.
The Winter NAMM show will take place from January 24 - 27, 2013. For the uninitiated, NAMM is the musical instrument industry's biggest U.S. trade show—meaning much of the guitar gear you'll be lusting over in 2013 will be announced here. Like always, PG will be on-site, bringing you daily coverage including photo galleries, video demos, our editors' picks, news releases, and more. Here are the best ways for you to keep up with what's new at the show:
•Sign up for our email updates:We'll send out nightly newsletters packed with everything we'll be doing at the show.
• Like us on Facebook: Our editors will be adding photos with detailed captions throughout the day—it's the go-to place for up-to-the-minute news.
• Follow Us on Twitter: Same as Facebook, but for the Twitter folks.
• Subscribe on YouTube: Get notifications for each of our demo videos as we upload them.
• Bookmark premierguitar.com/namm: All of our coverage will be compiled in one single location on our website.
However, you don't have to wait until next week to see what's new. We've compiled everything we know—and are at liberty to share—in the following pages so you can get a jump on your NAMM fix. Let us know in the comments what you're dying to hear demos of, and we'll do our best to shoot them for you.
Electric Guitars
Acoustic Guitars
Amps
Effects
Accessories
Bass Gear
(A special thanks to bloggers iHeartGuitar, Guitar Noize, Gearphoria, and Effects Database for the heads up on some of the news!)
Electrics
D’Angelico Expands Brand With Introduction of Four New Standard Archtop Reissues, a D’Angelico Bass and Limited Edition USA Masterbuilt Series The limited run USA Masterbuilt Series is being built for D’Angelico by Premier Builders Guild. Read more... | |
Epiphone Announces New TV Silver Collection The collection features the world famous Les Paul Standard, the Les Paul Custom PRO, the 1966 G-400 PRO, the Explorer PRO, the Wilshire PRO and the Thunderbird-IV Bass. Read more... | |
Fender Custom Shop Introduces the Ritchie Blackmore Tribute Stratocaster Guitar Limited to 2013 production, the guitar is a meticulously crafted replica of the black Fender Stratocaster Blackmore played with Deep Purple in the early ’70s. Read more... | |
Fender Custom Shop Unveils 2013 Custom Collection The offerings include eight guitars and two basses. Read more... | |
Fender Introduces 2013 Select Series Models Fender adds a Jazzmaster, Thinline Tele, HH Tele, SH Tele, and Active Jazz Bass to its Select Series. Read more... | |
Fender Introduces New Additions to the Pawn Shop Series in 2013 Additions include the Pawn Shop ’70s Strat Deluxe, Pawn Shop Super-Sonic, Pawn Shop Mustang Bass and Pawn Shop Bass VI. Read more... | |
Framus Announces New Models for 2013 The Wolf Hoffman signature model, Panthera 8-string, AK 1974 S, 24-fret Diablo, and 5/168 Golden Strato De Luxe comprise Framus' 2013 lineup. Read more... | |
GJ2 Guitars Announces Zora and Glendora Models A bolt-on version of their Arete, a new single-cut in collaboration with No Doubt's Tom Dumont, and Habanero pickups. Read more... | |
Godin Announces 2013 Models for Winter NAMM The 40th Anniversary Norman B20 acoustic and the Limited Edition Anniversary Godin Acousticaster join the Godin Montreal Premiere, MultiUke, 5th Avenue Composer GT, and more. Read more... | |
Gretsch Introduces the Custom Shop G6118T 130th Anniversary Electric Guitar The guitar is a striking beauty with its two-tone gloss nitrocellulose lacquer finish in Metallic Gold on the top and Black on the back and sides, with multiple silver-sparkle bindings. Read more... | |
Gretsch Introduces Billy Duffy White Falcon The guitar features period-correct ’70s Baldwin-era styling, pure White gloss nitrocellulose lacquer finish, V-shaped Falcon headstock, Silver Sparkle binding, custom wound hot "Black Top" Filter’Tron pickups with three-point adjustable ’70s-style metal bezels and Duffy’s preferred Bigsby tailpiece. Read more... | |
Gretsch Introduces the New Anniversary, Professional Collection, and Center Block Model Guitars In celebration of Gretsch’s 130th anniversary, the iconic guitar company is releasing two limited anniversary models. Read more... | |
Höfner Launches Gold Label Guitars and Basses Hofner Gold label Guitars are single instruments or very small runs of high quality instruments handmade in Germany by our master luthiers. Read more... | |
Kauer Guitars Introduces the Starliner Electric Guitar Doug Kauer set out with a simple goal, to build a guitar that would appeal to traditionalists without sacrificing the aesthetic and ergonomic benchmarks of the Kauer Daylighter. Read more... | |
MTD Introduces the Kingston Rubicon Electric Guitar The first electric guitar from bass builder Michael Tobias. Read more... | |
Peerless Releases the Retromatic Guitar A new line of small-bodied, thinline guitars. Read more... | |
Perri Ink Guitars Announces Christina Perri Signature Model and Show and Tell The new Perri Ink "Show & Tell" was designed in part to pay homage to the band and record that gave company owner Nick Perri his start in the music industry. Read more... | |
PRS Artist Package Now Available on Electric Guitars, Acoustic Guitars, and Amplifers New for 2013, PRS Guitars is expanding the popular Artist Package program to include select models across their full Core product line of electrics, acoustics, and amplifiers. Read more... | |
PRS Guitars Introduces Neal Schon Signature Models Neal Schon of Journey is joining the PRS family of artists with two distinct signature models: the NS-14 and NS-15. Read more... | |
PRS Introduces "Paul's Guitar" and "Paul's MDT" Amplifier Designed to Paul Reed Smith’s exacting specifications and built to match his own gear. Read more... | |
PRS Guitars Releases Brent Mason Signature Model Brent worked with Paul Reed Smith for several years to arrive at this unique model that meets the need for a versatile and reliable, recording and gigging instrument. Read more... | |
PRS Reintroduces SC245 and Custom 22 The Paul Reed Smith SC245 is a vintage-inspired Singlecut perfect for more traditional single-cutaway players. Read more... | |
PRS SE 245 Soapbar Brings Single-Coil Sounds Back to PRS’s 2013 SE Lineup Adaptable to nearly any musical style, PRS SE Soapbar pickups provide additional midrange growl and tight bass response not normally associated with traditional single coils. Read more... | |
Red Rooster Guitars Launches Rat Rodster and Crop Circle West Coast-based Red Rooster Guitars’ new retro-inspired Rat Rodster and Crop Circle models tap into the fashion and excitement of vintage cars and rock & roll. Read more... | |
Reverend Guitars Introduces the Stu D Baker Electric Guitar Reverend Guitars took the bats and sideburns off of the Unknown Hinson Signature Model, took it out of the Coffin case, and came up the Stu D Baker. Read more... | |
Roland Announces the G-5A VG Stratocaster Built in the Fender factory in Corona, California, the G-5A is a 100-percent authentic American Standard Stratocaster guitar. Read more... | |
RS Custom Guitars Introduces the new Red Special Model Guitars for 2013 The LL25 features a 25" scale with 24 frets 2-1/8" spacing at the bridge. A deeper body at 1.75" A wider neck with no Zero fret. Read more... | |
Schecter Announces 2013 Guitar Line Damien Platinum 6, Kenny Hickey Signature, TSH Classic, Hellraiser C-1 FR S, PT Fastback-II, Hellraiser 006, Banshee 6 FR, Corsair Special Edition, Damien Platinum 8, S-1 Custom II, Omen Active 8, and Solo Custom III. Read more... |
Rumors
- We've heard there are an astounding 20 new models from Jackson Guitars—including new configurations of signature models for guys like Chris Broderick and David Ellefson—and a lot of options for 7- and 8-string players.
- We don't have official news and specs, but Fano has posted photos of their new Starcaster-inspired GF6 on Facebook
- DBZ Guitars is launching an entire new line for 2013 and has photos on Facebook
- Reverend Guitars has been trickling out teasers for new models on their Facebook page as well.
- We hear Dean Zelinsky will be on site talking about his latest project, but details are slim at this point.
- The EVH Striped Series was briefly posted on the EVH site and picked up by blogs. We have confirmation that it's coming and the pictures look pretty good.
- AXL will be unveiling variations on the PG Award winning USA Bulldog.
- We expect a closer look at the striking Ernie Ball Music Man Armada.
- There are John Petrucci models a plenty over at the Sterling by Music ManFacebook page.
Acoustics
Ashdown Introduces New Acoustic Amp Range Comprising of the AA-100, 100-watt Acoustic Combo, the AA-40-Cube, 40-watt Acoustic Combo, the AA-Power-Cube 40, 40-watt powered extension cube and the AA Preamp Pedal. Read more... | |
Bedell Guitars Announces 1964 and Coffeehouse Series Acoustics The 1964 and Coffeehouse Series are designed to give a vintage look, sound and feel to capture the era. Read more... | |
Breedlove Announces New Passport Series Instruments New Travel, 12-String and Bass Guitars join this popular and affordable line. Read more... | |
Cordoba Announces Boutique Luthier Series and Acoustic Fidelity System Aimed at players looking for an all solid, concert level instrument at a reasonable price. Read more... | |
Eastman Guitars Announces Acoustics, Archops, and Electrics for NAMM 2013 The lineup includes Traditional Series acoustics and ukuleles, archtops, thinline electrics, mandolins, and more. Read more... | |
Gretsch Welcomes 5 New Instruments to its Roots Collection An eclectic family of banjos, mandolins, resonator guitars, ukuleles and Rancher acoustic guitars that evoke the feel and look of the era before the company made its entry into the electric guitar world in the 1950s. Read more... | |
L.R. Baggs Introduces the Lyric Acoustic Microphone Without a pickup, Lyric's microphone accurately transports your guitar's actual voice to a live audience for the most realistic and inspiring sound you will ever experience. Read more... | |
Martin Announces the 00-42S John Mayer Custom Signature Edition Mayer and Martin join forces again to create a follow up to last year’s custom model that is more affordable and accessible to meet high customer demand. Read more... | |
Martin Expands Authentic Series and Retro Series for 2013 Also new for 2013 are Artist Custom Signature series models for John Sebastian and Isreal "12" Kamakawiwo'ole. Read more... | |
Martin Introduces the D-35 Seth Avett Custom Signature Edition C.F. Martin offered founding member of indie rock darlings The Avett Brothers the opportunity to design his version of “the perfect guitar.” Read more... | |
Takamine Introduces New Hand-Crafted Pro Series 4, 5, 6, and 7 Models Takamine’s Pro Series instruments are built with the performer in mind, and feature the renowned Palathetic pickup. Read more... | |
Takamine Introduces New Hand-Crafted LTD2013 "Peak" Models This year’s design theme is “Peak”, developed from a perspective of Takamine’s ongoing quest for continuous improvement and a reflection of the summit of the Takamine acoustic experience. Read more... | |
Tanglewood Launches Solid-Top Nashville IV Series in North America Two body shapes will be offered: a Dreadnought (TND) and a Folk style (TNF). Read more... | |
Walden Guitars Announces Baritone Acoustic Guitar Series: B-1 and B-1E The B-1 and B-1E (Electric) are based on the Grand Auditorium body shape, have a 26 ¾” scale, a Sitka Spruce soundboard with Rosewood back and sides. Read more... |
Rumors
- Recording King will be busy with Dirty Thirties series of Dust Bowl-era-inspired guitars and a 6-string banjo for guitar players, as well as 16" lower bout Jumbo models and a 12-fret slope shoulder.
Amps
ASG Amps Launches “Hybris” All-Tube Amplifier at Winter NAMM Artist Series Guitar and CEC Amplification have teamed up to create ASG Amps, with the intent to bring a fresh and original, USA-made alternative to the world of affordable all-tube guitar amplifiers. Read more... | |
Ashdown Launches New Classic Tube Magnifiers Perfect for smaller gigs, the CTM 100 pairs the CTM 300 preamp with an all-tube, 100-watt power section. For home/ studio use, the CTM 15 offers 15 watts of stunning tube tone in an unbelievably compact head. Read more.. | |
Burriss Amps Introduces the Dirty Red v2 Amplifier The new Dirty Red v2 maintains all the qualities of the original with added ability to convert the primary channel to play a warm, clean tone. Read more... | |
Chandler Limited Introduces the GAV19T Guitar Amplifier As a cathode biased, class A, all-tube, 19-watt guitar amp designed in the vein of classic English amplifiers, the GAV19T delivers a big, vintage sound. Read more... | |
Fargen Amplification Announces John Lennon Signature Amp Line The line launches with limited edition Artist and Imagine amps, followed later by a production version of the amps and two effects pedals. Read more... | |
Fender Releases the Custom Series '57 Bandmaster They faithfully reproduced the classic 5E7 circuit, which pumps about 26 watts through three 10" alnico-magnet speakers, and enlisted Jensen to help create the P10R-F driver (a Fender exclusive), which is voiced for warm, sensitive response. Read more... | |
Hayden Launches New Mofo Range of Heads, Combos, and Cabinets Combining new looks, increased features and a very special ‘magic eye’ tube creates a range that stands out from the crowd more than ever. Read more... | |
ISP Technologies Introduces the Stealth Power Amp The Stealth is based on analog class A/B amplifier design for excellent sonic and saturated clipping performance. Read more... | |
Jet City Announces the 20HFlex Amp The all-tube 20HFlex head features a unique programmable front panel that they're calling FLEX technology. Read more... | |
Kemper Profiling Announces the Profiler PowerHead and the Kemper Profiler Rack The Kemper Profiler PowerHead adds a built in 600 Watt power amp to the Kemper Profiler concept and turns the former recording solution into the most versatile guitar amplification system ever. Read more... | |
MI Amplification Announces New Amp Combos The new models are the Apache, Aquarius, Crystal Lattice, and Dutchess. Read more... | |
MI Audio Unveil Flex SmartAmp The new amp combines vacuum tube circuit with iOS digital control. Read more... | |
Orange Amplification Launches New Custom Shop 50 It has a vintage flavour much in the same way as its predecessor the Retro 50 of which the circuit is based upon. Read more... | |
Orange Amplification Launches Twin Channel OR100 Amp The OR100 incorporates for the first time on an ‘OR’ series amp; twin channels, as well as a valve driven FX loop, foot-switchable boosts and independent EQ. Read more... | |
Port City Amps Releases the Brit 50 The Brit 50 nails the hot-rodded, British voiced amplifier that we all know and love. Read more... | |
PRS Custom Amp Designs Introduces the 2-Channel Custom Amplifier Additional CAD features for the 2-Channel Custom include: solo boost, reverb assign, presence control, switchable power amp bass boost, switchable mid shift, and 3 button LED footswitch. Read more... | |
Randall Introduces Diavlo Tube Amps Diavlo means ‘devil’ in Italian and any dish with its namesake is always the hottest on the menu. Read more... | |
Randall Introduces the Thrasher Series Amps This is about metal, all about metal. Old School to New School to No School. Read more... | |
Randall Introduces RG Series and RG13 Pedal/Amplifier The new RG Series returns to the original high performance FET circuits that Don Randall founded the Randall company on. Read more... | |
Roland Announces the CUBE Lite Guitar Amp and iOS Interface/App Combining great COSM guitar tones, iOS interfacing, and a quality 2.1 Channel audio system, the CUBE Lite Guitar Amplifier lets you play and record at home along with your iPhone, iPad, or iPod touch. Read more... | |
Schecter Releases Initial Details on Hellraiser Amps The division will be launching with two amps, the Hellraiser-100 full stack and Hellraiser 2-12 combo, designed by amp guru James Brown. Read more... | |
Traynor Launches YBA1-Tribute Head to Celebrate their 50th Anniversary in 2013 The new limited edition 50th Anniversary 40-watt all-tube Traynor YBA-1 Tribute head is owes its heritage and tone to the original while being updated for a whole new generation of guitar players. Read more... | |
Two-Rock Introduces BI-ONYX, Sensor, and Studio Pro Plus Amps Two-Rock Amplification, a leading boutique amplifier performance brand, announced three new models for 2013, each created to address an important player need. Read more... |
Rumors
- Orange has made a very big deal about a world first, revolutionary groundbreaking innovation. That's literally all of the information we have—we're just putting it in "amps" because that's our best guess. We'll be covering their press conference live at 11 a.m. on Thursday, January 24.
- Tone King has teased the 20th Anniversary Imperial LE with a built-in Ironman attenuator on their Facebook page.
- Carr Amplifiers has been blogging about their new Impala on their website. The amp is inspired by the Blackface Bassman and will be on display at NAMM.
- Marshall will have something new with one of their most iconic endorsers' names on it. We'll probably also check out the latest headphones they announced at CES.
- Seems Yamaha isn't done with their amp line yet.
- 65Amps will be showcasing the Producer 6L seen on their weekly webcast as well as possibly expanding the Red Line to another perennial favorite of the brand.
Effects
Big Joe Stomp Box Company Adds Wah and Volume Pedals The B-602 Volume features a uniquely buffered, true bypass active design with 3-position function switch. Read more... | |
Boss Announces TE-2 Terra Echo, DA-2 Adaptive Distortion, and MO-2 Multi Overtone Each of the pedals feature Roland’s new and innovative Multi-Dimensional Processing (MDP) analyzes audio signals in many dimensions and applies ideal effects to each. Read more... | |
Cara Guitars Announces the ClapTone Pedal The ClapTone peda puts Fender's Mid-Range Boost in a stompbox. Read more... | |
Diablo FX Announces Sound Control 6 Wireless Guitar FX Control Pedal The Sound Control system is the first wireless all-in-one effects pedal management system which enables guitar players to turn on and off multiple analog or digital effects in one stomp. Read more... | |
Earthquaker Devices Debuts Disaster Transport SR and Warden Optical Compressor The Disaster Transport Sr is the much anticipated and updated reissue of the limited run Ghost Disaster pedal, while the Warden is an optical compressor with a feature set usually reserved for studio grade units. Read more... | |
EC Custom Shop Announces the Super Switcher Featuring 8 effects loops. Read more... | |
Electro-Harmonix Announces HOG2 and HOG2 Foot Controller Sophisticated new algorithms improve the quality of the ten generated octaves and harmonics as well as the Freeze function. Read more... | |
Fender Releases Competition Series Effects Pedals Distortion, Drive, Chorus, and Delay round out the affordable lineup. Read more... | |
Hartman Electronics Announces Silicon Crystal Valve and Germanium Crystal Valve Fuzz Pedals The pedals are inspired by the Solasound SupaTonebender and the Vox Tonebender. Read more... | |
Hayden Introduces New Dr. Green Guitar FX Pedals The line includes fuzz, distortion, boost, delay, and compression. Read more... | |
ISP Technologies Introduces the Theta Preamp Pedal The Theta Preamp PEDAL brings the full performance of the High Gain section of the Theta amplifier and Theta Rack-mount Preamp down to a foot pedal based Preamplifier pedal. Read more... | |
Jacques Pedals Releases Trinity Wah The pedal is a combination envelope filter, auto wah, and wah wah in one compact pedal and unique dome foot controller. Read more... | |
Lightning Boy Audio Introduces the Bolt Bender Tube EQ Bolt Bender is the ultimate in transparent equalization for electric instruments. It features a passive Baxandall EQ circuit with bass and treble controls. Read more... | |
Modkits DIY Verb Deluxe Features include both Dwell and Mix controls, allowing the dry signal to be blended with the processed signal from just a hint of reverb to deep, cavernous echoes. Read more... | |
Osiamo Releases New Mooer Micro Effect Pedals in US With 12 new models, the Mooer micro line now features 36 pedals. Read more... | |
TC Electronic Releases the Ditto Looper A one-knob simple looper with 5-minutes of looping and undo/redo function. Read more... | |
T-Rex Introduces Møller 2 and Sweeper 2 Pedals The Møller 2 delivers the same classic analog overdrive that made its predecessor one of T-Rex’s most sought-after pedals. Read more... | |
ZT Amplifiers Releases Extortion Expressive Distortion The Extortion Expressive Distortion offers both pure analog and DSP-enhanced signals in one pedal. Read more... |
Rumors:
- Mad Professor has a YouTube demo up of their forthcoming Amber Overdrive.
- Eventide will have something new, and that's all we're at liberty to say, but it's very cool—of course it is, it's Eventide.
- J. Rockett Designs' Guthrie Trapp Signature Overdrivehas a few demos online already but they're also touting new pedals in design with Mark Samson (of Matchless fame) including a DC30 one blogged about back in September.
- Source Audio will be showing off their Soundblox Pro Poly-Mod Filter, which voices their popular Bass Envelope Filter pedal for guitar as well as the Orbital Modulator, which has phase, flange, chorus, and tremolo for guitar and bass.
- Wampler Pedals has been going absolutely nuts on their Facebook page with a new prototype signature dual overdrive pedal entitled the Dual… something. It's not Keith Urban, and it's not fuzz.
- Caroline Guitar Co's Kilobite Kickstarter has doubled its goal, so it's a pretty solid bet we'll be seeing this lo-fi delay at the show. Their secondary goal of $12,000 is very, very close, meaning the pedal will likely also now include a Mr. Black Pedals modulation control in the circuit.
- Mojo Hand FXjust posted a photo of the Rook Royale on Facebook.
- VHT will expand their pedal offerings with a new tremolo/reverb pedal.
- Joe Bonamassatweeted a photo of a new signature MXR pedal of some sort.
- Dunlop/Way Huge designer Jeorge Tripps tweeted a photo of an diminuitive Fuzz Face.
Accessories
Blue Microphones Announces the Nessie Adaptive USB Microphone Nessie adapts in real time, applying professional studio processing, combined with a built- in pop filter and internal shockmount to produce expertly finished sound, without the need for additional mixing or editing. Read more... | |
Diago Announces Pedalboard Accessories They include a Commuter softcase pedalboard and pedal risers. Read more... | |
Diago Introduces the Patchfactory Solderless Patch Cable System The Diago Patchfactory kits allows you to build custom length patch cables, without additional tools or specialist skills. Read more... | |
Eminence Introduces the 8" Patriot 820H and Patriot EPS-12C Guitar Speakers Featuring a hemp cone, 1” voice coil and lightweight 15 oz. ceramic magnet. Read more... | |
Evidence Audio Introduces the SIS (Screw In Solderless) Plug The SIS Plug offers a musician the chance to create and re-create trustworthy connections with the Monorail patch cable without the need for a soldering iron. Read more.. | |
Graph Tech Introduces Ratio Tuned Machine Heads A half turn equals one semitone change on all strings, making the tuning process easier and quicker. Read more.. | |
Grundorf Introduces New ABS Series Amp Racks Designed to house everything from amps, processors, patchbays, and more. Read more.. | |
Hipshot Products Introduces the Universal Mount Plate This device allows players and luthiers to upgrade their guitars with Hipshot’s Griplock and Classic guitar tuners without drilling, screwing or irreversibly modifying their instruments. Read more.. | |
IK Multimedia Announces the iRig HD iRig HD is a high-quality digital guitar/bass/instrument interface that allows users to plug their guitar or bass into their iPhone, iPad, iPod touch or Mac. Read more... | |
IK Multimedia Introduces Music Accessories for Android, iOS A comprehensive collection of high quality cables designed to cover all possible audio signal routings for users of smartphones, tablets, MP3 players and laptops. Read more.. | |
La Bella Strings Introduces 760T White Nylon Tape Would Bass Set Unlike the classic 760N set, the 760T White Nylon Tape Wound set is made with a transparent nylon wrapped over stainless steel underlays. Read more... | |
Nordstrand Pickups Releases the Shush Puppy Pickups The Shush Puppy is the culmination of over 6 years of R&D combined with a desire to provide players with an uncompromising single coil tone without the noise. Read more... | |
Orange Announces 3rd Generation Upgraded OPC Upgraded to a 3rd Gen Intel i7 processor and doubled the maximum 8GB of RAM to a massive 16GB. Read more... | |
Positive Grid's JamUp Pro XT adds AirTurn Wireless Pedals for iOS Guitar Effects JamUp Pro XT users will be able to use AirTurn's two or four pedal BT-105 Bluetooth controllers to switch between dozens of studio-grade amp and stomp box effects hands-free. Read more... | |
Railhammer Pickups Launches the Chisel Neck Model The Chisel Neck model pickup is designed for hard rock and metal players. Read more.. | |
Rotosound Introduces New Guitar Slides The new 2mm thick slides are available in glass, steel and brass and come in two lengths 60mm and 40mm. Read more.. | |
Schaller Introduces GrandTune Tuning Machines 18 : 1 gear ratio supports precise and velvet- smooth tuning. Read more... | |
Sony Announces the New DWZ Series of Digital Wireless Technology Featuring affordable 2.4 GHz technology, the DWZ Series wireless systems offer musicians solid-gold 24-bit linear PCM digital audio performance, robust transmission and easy channel selection. Read more... | |
TASCAM Announces the TH-02 Multi-Use Studio Grade Headphones These high-powered headphones produce pristine highs, clear mid-range, and rich low end. Read more.. | |
Towner USA Releases Down Tension Bar The bar is designed to be used in contribution with the after-market installation of Bigsby Tailpieces to add to the intonation of the guitar setup giving more control over the break angle of the strings. Read more... |
Bass Gear
Aguilar Announces "Soapbar"-Shape Bass Pickups Your guide to more than 75 new product announcements, plus teasers and rumors.These pickups will be available in a variety of 4, 5 and 6-string standard soapbar sizes. Read more... | |
Ashdown Introduces New Lightweight ABM Models with the NEO Range Using the iconic ABM preamp coupled with a very special, 400-watt, lightweight power section, bass players can enjoy pure Ashdown ABM tone in a compact and lightweight package. Read more... | |
Ashdown Launches New Dr. Green Bass FX Pedals The line includes Bass Fuzz Distortion, Bass Octave, Bass Envelope Filter, Bass Reverb, and Bass Compression. Read more... | |
Cara Guitars and Gene Simmons Team up for the Limited Edition Chrome Axe Each instrument is individually chromed and custom built. Read more... | |
EBS Announces Billy Sheehan Signature Drive The new pedal is based on the concept of mixing together a clean signal with a distorted to be able to preserve low frequencies and find balance between distortion and definition. Read more... | |
Jens Ritter Releases R8-Concept Bass and Blue Dragon Guitar The two stunning instruments join his line of hand-crafted German guitars and basses. Read more... | |
Jim Dunlop Releases the MXR M83 Bass Chorus Deluxe Pedal The MXR Bass Chorus Deluxe is powered by pure analog bucket-brigade technology. Read more... | |
Pigtronix Debuts Bass Pedal Line Pigtronix introduces the Bass Envelope Phaser, Philosopher Bass Compressor and Bass FAT Drive pedals for Winter NAMM 2013. Read more... | |
PRS Guitars Launches New Core Bass Line Paul Reed Smith and Gary Grainger began collaborating on what would become Private Stock Gary Grainger basses a decade ago. Read more... | |
RockBass by Warwick Announces New Models for 2013 A made-in-China Star Bass, a Triumph Upright Bass, Vampyre Darklord, W-body, and RockBass Corvette 5-String. Read more... | |
Schecter Unveils Nikki Sixx Signature Bass “It was important to all of us to design a bass that would feel right as well as sound amazing in the hands of all players, not just me," Sixx says. Read more... | |
Traynor Introduces the Small Block Bass Amp Line for 2013 Loaded with essential features including Active and Passive level instrument inputs XLR DI output, a versatile four band EQ with an additional low frequency expander, a player can dial in any tone quickly and easily. Read more... | |
Warwick Announces New Bass Amps and Cabs for 2013 The LWA 1000 is a 6-lb, 1000-watt monster. Read more... | |
Warwick Announces Streamer CV and Thumb BO Ltd Basses The main goal of developing the Streamer CV was to combine modern precision with features of the past. Read more... |
Rumors
- Lakland will debute a 30" scale Skyline Hollowbody bass and spalted maple Skylines, according to a preview on Facebook.
- Sterling by Music Man has previewed a fretless Rayon their Facebook page.
Day 6 of Stompboxtober is here! Today’s prize? A pedal from Revv Amplification! Enter now and check back tomorrow for the next one!
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
The Revv G3 revolutionized high gain pedals in 2018 with its tube-like response & tight, clear high gain tones. Suddenly the same boutique tones used by metal artists & producers worldwide were available to anyone in a compact pedal. Now the G3 returns with a new V2 circuit revision that raises the bar again.
Beauty and sweet sonority elevate a simple-to-use, streamlined acoustic and vocal amplifier.
An EQ curve that trades accuracy for warmth. Easy-to-learn, simple-to-use controls. It’s pretty!
Still exhibits some classic acoustic-amplification problems, like brash, unforgiving midrange if you’re not careful.
$1,199
Taylor Circa 74
taylorguitars.com
Save for a few notable (usually expensive) exceptions, acoustic amplifiers are rarely beautiful in a way that matches the intrinsic loveliness of an acoustic flattop. I’ve certainly seen companies try—usually by using brown-colored vinyl to convey … earthiness? Don’t get me wrong, a lot of these amps sound great and even look okay. But the bar for aesthetics, in my admittedly snotty opinion, remains rather low. So, my hat’s off to Taylor for clearing that bar so decisively and with such style. The Circa 74 is, indeed, a pretty piece of work that’s forgiving to work with, ease to use, streamlined, and sharp.
Boxing Beyond Utility
Any discussion of trees or wood with Bob Taylor is a gas, and highly instructive. He loves the stuff and has dabbled before in amplifier designs that made wood an integral feature, rather than just trim. But the Circa 74 is more than just an aesthetic exercise. Because the Taylor gang started to think in a relatively unorthodox way about acoustic sound amplification—eschewing the notion that flat frequency response is the only path to attractive acoustic tone.
I completely get this. I kind of hate flat-response speakers. I hate nice monitors. We used to have a joke at a studio I frequented about a pair of monitors that often made us feel angry and agitated. Except that they really did. Flat sound can be flat-out exhausting and lame. What brings me happiness is listening to Lee “Scratch” Perry—loud—on a lazy Sunday on my secondhand ’70s Klipsch speakers. One kind of listening is like staring at a sun-dappled summer garden gone to riot with flowers. The other sometimes feels like a stale cheese sandwich delivered by robot.
The idea that live acoustic music—and all its best, earthy nuances—can be successfully communicated via a system that imparts its own color is naturally at odds with acoustic culture’s ethos of organic-ness, authenticity, and directness. But where does purity end and begin in an amplified acoustic signal? An undersaddle pickup isn’t made of wood. A PA with flat-response speakers didn’t grow in a forest. So why not build an amp with color—the kind of color that makes listening to music a pleasure and not a chore?
To some extent, that question became the design brief that drove the evolution of the Circa 74. Not coincidentally, the Circa 74 feels as effortless to use as a familiar old hi-fi. It has none of the little buttons for phase correction that make me anxious every time I see one. There’s two channels: one with an XLR/1/4" combo input, which serves as the vocal channel if you are a singer; another with a 1/4" input for your instrument. Each channel consists of just five controls—level, bass, middle, and treble EQ, and a reverb. An 11th chickenhead knob just beneath the jewel lamp governs the master output. That’s it, if you don’t include the Bluetooth pairing button and 1/8" jacks for auxiliary sound sources and headphones. Power, by the way, is rated at 150 watts. That pours forth through a 10" speaker.Pretty in Practice
I don’t want to get carried away with the experiential and aesthetic aspects of the Circa 74. It’s an amplifier with a job to do, after all. But I had fun setting it up—finding a visually harmonious place among a few old black-panel Fender amps and tweed cabinets, where it looked very much at home, and in many respects equally timeless.
Plugging in a vocal mic and getting a balance with my guitar happened in what felt like 60 seconds. Better still, the sound that came from the Circa 74, including an exceedingly croaky, flu-addled human voice, sounded natural and un-abrasive. The Circa 74 isn’t beyond needing an assist. Getting the most accurate picture of a J-45 with a dual-source pickup meant using both the treble and midrange in the lower third of their range. Anything brighter sounded brash. A darker, all-mahogany 00, however, preferred a scooped EQ profile with the treble well into the middle of its range. You still have to do the work of overcoming classic amplification problems like extra-present high mids and boxiness. But the fixes come fast, easily, and intuitively. The sound may not suggest listening to an audiophile copy of Abbey Road, as some discussions of the amp would lead you to expect. But there is a cohesiveness, particularly in the low midrange, that does give it the feel of something mixed, even produced, but still quite organic.
The Verdict
Taylor got one thing right: The aesthetic appeal of the Circa 74 has a way of compelling you to play and sing. Well, actually, they got a bunch of things right. The EQ is responsive and makes it easy to achieve a warm representation of your acoustic, no matter what its tone signature. It’s also genuinely attractive. It’s not perfectly accurate. Instead, it’s rich in low-mid resonance and responsive to treble-frequency tweaks—lending a glow not a million miles away from a soothing home stereo. I think that approach to acoustic amplification is as valid as the quest for transparency. I’m excited to see how that thinking evolves, and how Taylor responds to their discoveries.
The evolution of Electro-Harmonix’s very first effect yields a powerful boost and equalization machine at a rock-bottom price.
A handy and versatile preamp/booster that goes well beyond the average basic booster’s range. Powerful EQ section.
Can sound a little harsh at more extreme EQ ranges.
$129
Electro-Harmonix LPB-3
ehx.com
Descended from the first Electro-Harmonix pedal ever released, the LPB-1 Linear Power Booster, the new LPB-3 has come a long way from the simple, one-knob unit in a folded-metal enclosure that plugged straight into your amplifier. Now living in Electro-Harmonix’s compact Nano chassis, the LPB-3 Linear Power Booster and EQ boasts six control knobs, two switches, and more gain than ever before.
If 3 Were 6
With six times the controls found on the 1 and 2 versions (if you discount the original’s on/off slider switch,) the LPB-3’s control complement offers pre-gain, boost, mid freq, bass, treble, and mid knobs, with a center detent on the latter three so you can find the midpoint easily. A mini-toggle labeled “max” selects between 20 dB and 33 dB of maximum gain, and another labeled “Q” flips the resonance of the mid EQ between high and low. Obviously, this represents a significant expansion of the LPB’s capabilities.
More than just a booster with a passive tone, the LPB-3 boasts a genuine active EQ stage plus parametric midrange section, comprising the two knobs with shaded legends, mid freq and mid level. The gain stages have also been reimagined to include a pre-gain stage before the EQ, which enables up to 20 dB of input gain. The boost stage that follows the EQ is essentially a level control with gain to allow for up to 33 dB of gain through the LPB-3 when the “max” mini toggle is set to 33dB
A slider switch accessible inside the pedal selects between buffered or true bypass for the hard-latch footswitch. An AC adapter is included, which supplies 200mA of DC at 9.6 volts to the center-negative power input, and EHX specifies that nothing supplying less than 120mA or more than 12 volts should be used. There’s no space for an internal battery.
Power-Boosted
The LPB-3 reveals boatloads of range that betters many linear boosts on the market. There’s lots of tone-shaping power here. Uncolored boost is available when you want it, and the preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.
“The preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.”
I found the two mid controls work best when used judiciously, and my guitars and amps preferred subtle changes pretty close to the midpoint on each. However, there are still tremendous variations in your mid boost (or scoop, for that matter) within just 15 or 20 percent range in either direction from the center detent. Pushing the boost and pre-gain too far, particularly with the 33 dB setting engaged, can lead to some harsh sounds, but they are easy to avoid and might even be desirable for some users that like to work at more creative extremes.
The Verdict
The new LPB-3 has much, much more range than its predecessors, providing flexible preamp, boost, and overdrive sounds that can be reshaped in significant ways via the powerful EQ. It gives precise tone-tuning flexibility to sticklers that like to match a guitar and amp to a song in a very precise way, but also opens up more radical paths for experimentalists. That it does all this at a $129 price is beyond reasonable.
Electro-Harmonix Lpb-3 Linear Power Booster & Eq Effect Pedal Silver And Blue
Intermediate
Intermediate
• Learn classic turnarounds.
• Add depth and interest to common progressions.
• Stretch out harmonically with hip substitutions.
Get back to center in musical and ear-catching ways.
A turnaround chord progression has one mission: It allows the music to continue seamlessly back to the beginning of the form while reinforcing the key center in a musically interesting way. Consider the last four measures of a 12-bar blues in F, where the bare-bones harmony would be C7-Bb7-F7-F7 (one chord per measure). With no turn around in the last two measures, you would go back to the top of the form, landing on another F7. That’s a lot of F7, both at the end of the form, and then again in the first four bars of the blues. Without a turnaround, you run the risk of obscuring the form of the song. It would be like writing a novel without using paragraphs or punctuation.
The most common turnaround is the I-VI-ii-V chord progression, which can be applied to the end of the blues and is frequently used when playing jazz standards. Our first four turnarounds are based on this chord progression. Furthermore, by using substitutions and chord quality changes, you get more mileage out of the I-VI-ii-V without changing the basic functionality of the turnaround itself. The second group of four turnarounds features unique progressions that have been borrowed from songs or were created from a theoretical idea.
In each example, I added extensions and alterations to each chord and stayed away from the pure R-3-5-7 voicings. This will give each chord sequence more color and interesting voice leading. Each turnaround has a companion solo line that reflects the sound of the changes. Shell voicings (root, 3rd, 7th) are played underneath so that the line carries the sound of the written chord changes, making it easier to hear the sound of the extensions and alterations. All examples are in the key of C. Let’s hit it.
The first turnaround is the tried and true I-VI-ii-V progression, played as Cmaj7-A7-Dm7-G7. Ex. 1 begins with C6/9, to A7(#5), to Dm9, to G7(#5), and resolves to Cmaj7(#11). By using these extensions and alterations, I get a smoother, mostly chromatic melodic line at the top of the chord progression.
Ex. 2 shows one possible line that you can create. As for scale choices, I used C major pentatonic over C6/9, A whole tone for A7(#5), D Dorian for Dm9, G whole tone for G7(#5), and C Lydian for Cmaj7(#11) to get a more modern sound.
The next turnaround is the iii-VI-ii-V progression, played as Em7-A7-Dm7-G7 where the Em7 is substituted for Cmaj7. The more elaborate version in Ex. 3 shows Em9 to A7(#9)/C#, to Dm6/9, to G9/B, resolving to Cmaj7(add6). A common way to substitute chords is to use the diatonic chord that is a 3rd above the written chord. So, to sub out the I chord (Cmaj7) you would use the iii chord (Em7). By spelling Cmaj7 = C-E-G-B and Em7 = E-G-B-D, you can see that these two chords have three notes in common, and will sound similar over the fundamental bass note, C. The dominant 7ths are in first inversion, but serve the same function while having a more interesting bass line.
The line in Ex. 4 uses E Dorian over Em9, A half-whole diminished over A7(#9)/C#, D Dorian over Dm6/9, G Mixolydian over G9/B, and C major pentatonic over Cmaj7(add6). The chord qualities we deal with most are major 7, dominant 7, and minor 7. A quality change is just that… changing the quality of the written chord to another one. You could take a major 7 and change it to a dominant 7, or even a minor 7. Hence the III-VI-II-V turnaround, where the III and the VI have both been changed to a dominant 7, and the basic changes would be E7-A7-D7-G7.
See Ex. 5, where E7(b9) moves to A7(#11), to D7(#9) to G7(#5) to Cmaj9. My scale choices for the line in Ex. 6 are E half-whole diminished over E7(#9), A Lydian Dominant for A7(#11), D half-whole diminished for D7(#9), G whole tone for G7(#5), and C Ionian for Cmaj9.
Ex. 7 is last example in the I-VI-ii-V category. Here, the VI and V are replaced with their tritone substitutes. Specifically, A7 is replaced with Eb7, and G7 is replaced with Db7, and the basic progression becomes Cmaj7-Eb7-Dm7-Db7. Instead of altering the tritone subs, I used a suspended 4th sound that helped to achieve a diatonic, step-wise melody in the top voice of the chord progression.
The usual scales can be found an Ex. 8, where are use a C major pentatonic over C6/9, Eb Mixolydian over Eb7sus4, D Dorian over Dm11, Db Mixolydian over Db7sus4, and once again, C Lydian over Cmaj7(#11). You might notice that the shapes created by the two Mixolydian modes look eerily similar to minor pentatonic shapes. That is by design, since a Bb minor pentatonic contains the notes of an Eb7sus4 chord. Similarly, you would use an Ab minor pentatonic for Db7sus4.
The next four turnarounds are not based on the I-VI-ii-V chord progression, but have been adapted from other songs or theoretical ideas. Ex. 9 is called the “Backdoor” turnaround, and uses a iv-bVII-I chord progression, played as Fm7-Bb7-Cmaj7. In order to keep the two-bar phrase intact, a full measure of C precedes the actual turnaround. I was able to compose a descending whole-step melodic line in the top voice by using Cmaj13 and Cadd9/E in the first bar, Fm6 and Ab/Bb in the second bar, and then resolving to G/C. The slash chords have a more open sound, and are being used as substitutes for the original changes. They have the same function, and they share notes with their full 7th chord counterparts.
Creating the line in Ex. 10 is no more complicated than the other examples since the function of the chords determines which mode or scale to use. The first measure employs the C Ionian mode over the two Cmaj chord sounds. F Dorian is used over Fm6 in bar two. Since Ab/Bb is a substitute for Bb7, I used Bb Mixolydian. In the last measure, C Ionian is used over the top of G/C.
The progression in Ex. 11 is the called the “Lady Bird” turnaround because it is lifted verbatim from the Tadd Dameron song of the same name. It is a I-bIII-bVI-bII chord progression usually played as Cmaj7-Eb7-Abmaj7-Db7. Depending on the recording or the book that you check out, there are slight variations in the last chord but Db7 seems to be the most used. Dressing up this progression, I started with a different G/C voicing, to Eb9(#11), to Eb/Ab (subbing for Abmaj7), to Db9(#11), resolving to C(add#11). In this example, the slash chords are functioning as major seventh chords.
As a result, my scale choices for the line in Ex. 12 are C Ionian over G/C, Eb Lydian Dominant over Eb9(#11), Ab Ionian over Eb/Ab, Db Lydian Dominant over Db9(#11), and C Lydian over C(add#11).
The progression in Ex. 13 is called an “equal interval” turnaround, where the interval between the chords is the same in each measure. Here, the interval is a descending major 3rd that creates a I-bVI-IV-bII sequence, played as Cmaj7-Abmaj7-Fmaj7-Dbmaj7, and will resolve a half-step down to Cmaj7 at the top of the form. Since the interval structure and chord type is the same in both measures, it’s easy to plane sets of voicings up or down the neck. I chose to plane up the neck by using G/C to Abmaj13, then C/F to Dbmaj13, resolving on Cmaj7/E.
The line in Ex. 14 was composed by using the notes of the triad for the slash chord and the Lydian mode for the maj13 chords. For G/C, the notes of the G triad (G-B-D) were used to get an angular line that moves to Ab Lydian over Abmaj13. In the next measure, C/F is represented by the notes of the C triad (C-E-G) along with the root note, F. Db Lydian was used over Dbmaj13, finally resolving to C Ionian over Cmaj7/E. Since this chord progression is not considered “functional” and all the chord sounds are essentially the same, you could use Lydian over each chord as a way to tie the sound of the line together. So, use C Lydian, Ab Lydian, F Lydian, Db Lydian, resolving back to C Lydian.
The last example is the “Radiohead” turnaround since it is based off the chord progression from their song “Creep.” This would be a I-III-IV-iv progression, and played Cmaj7-E7-Fmaj7-Fm7. Dressing this one up, I use a couple of voicings that had an hourglass shape, where close intervals were in the middle of the stack.
In Ex. 15 C6/9 moves to E7(#5), then to Fmaj13, to Fm6 and resolving to G/C. Another potential name for the Fmaj13 would be Fmaj7(add6) since the note D is within the first octave. This chord would function the same way, regardless of which name you used.
Soloing over this progression in Ex. 16, I used the C major pentatonic over C6/9, E whole tone over E7(#5), F Lydian over Fmaj13, and F Dorian over Fm6. Again, for G/C, the notes of the G triad were used with the note E, the 3rd of a Cmaj7 chord.
The main thing to remember about the I-VI-ii-V turnaround is that it is very adaptable. If you learn how to use extensions and alterations, chord substitutions, and quality changes, you can create some fairly unique chord progressions. It may seem like there are many different turnarounds, but they’re really just an adaptation of the basic I-VI-ii-V progression.
Regarding other types of turnarounds, see if you can steal a short chord progression from a pop tune and make it work. Or, experiment with other types of intervals that would move the chord changes further apart, or even closer together. Could you create a turnaround that uses all minor seventh chords? There are plenty of crazy ideas out there to work with, and if it sounds good to you, use it!