Boss announces new products featured at NAMM 2025, including the VG-800 V-Guitar Processor, GX-10 Guitar Effects Processor, and WAZA Tube Amp Expander Core.
VG-800 V-Guitar Processor
Driven by the latest generation of Boss V-Guitar technology and the Serial GK divided pickup, this pedal is designed to allow players to completely transform their sound at the push of a button. Advanced modeling provides the ability to play different stringed instruments together or on isolated strings, explore alternate and down tunings, and go even further with all-new sounds not possible with traditional instruments. It’s now easier than ever to access V-Guitar power, thanks to the VG-800’s pedalboard-friendly size.
The V-Guitar approach leverages sophisticated Boss modeling advancements to realize a world of new musical potential. Coupled with the Serial GK divided pickup, the VG-800 recreates a variety of electric guitars, acoustic guitars, and basses, plus instruments like sitar and banjo. Users can also play synth tones—including a spot-on emulation of Roland’s GR-300 from the early ’80s—and travel to undiscovered territory with the unique VIO type and its bowed attack characteristics.
The VG-800 comes loaded with great preset sounds, ready to play on their own or inspire new creations. It works equally well with bass, providing a dedicated mode with bass-optimized processing algorithms and 150 independent memories.
The intuitive VG-800 menu structure makes it easy to build virtual instruments with deep customization tools that include string behaviors, instrument style, pickup position, resonance, and much more. Each string’s pitch and panning are adjustable, enabling alternate tunings and ultra-wide sounds. And with the unique Dual Guitar and Dual Bass options, players can create supercharged platforms with two independent instruments.
The VG-800’s onboard switches and diverse external control options unlock inspiring performance possibilities. With a single press, the user can change the instrument type or tuning, bend the pitch of individual strings to create pedal steel, “B-bender,” and other unique effects, or smoothly morph between instrument types, each with a discrete signal processing chain.
The VG-800 delivers a massive amount of creative power in a compact size that flows into any setup. Along with its instrument modeling functions, it’s filled with advanced signal processing derived from flagship-level BOSS multi-effects. Amps and effects can be applied to two modeled sounds and the dedicated guitar input. Send and return jacks are also available to patch in mono and stereo pedals.
With its USB audio/MIDI interface, the VG-800 is a powerhouse recording tool for computer music production. Versatile multi-channel routing lets the user capture the stereo mix or record two modeled instrument sounds and the direct guitar input to separate DAW tracks. It’s even possible to separately record the unprocessed string sounds from the GK divided pickup, then pipe them back into the VG-800 for “re-guitar” or “re-bass” processing. Speedy pitch-to-MIDI conversion is also supported to trigger software-based instruments with a guitar or bass.
Boss Tone Studio (macOS/Windows) allows users to edit memories, adjust system settings, import speaker IRs, and manage setups for different playing applications. Boss Tone Exchange is also accessible within the software, providing access to professionally created Livesets and sound sharing with the global BOSS community.
A Serial GK pickup is required to access the advanced modeling features on the VG-800. There are user-installable Serial GK guitar (GK-5) and bass (GK-5B) pickup models for external mounting, plus Serial GK kit options for permanent installation within instruments.
Availability & Pricing
The new BOSS VG-800 V-Guitar Processor will be available for purchase at authorized U.S. BOSS retailers for $649.99 in February.
GX-10 Guitar Effects Processor
Boss showcases the GX-10, a powerful new amp and effects processor for guitar and bass. Equipped with the core sound engine and color touch display from the acclaimed GX-100 released in 2022, the GX-10 offers players the same inspiring experience in an even more portable footprint. Adding in multi-mode footswitches, an integrated expression pedal, and USB audio connectivity, the GX-10 seamlessly transitions from nightly stage performing to desktop recording, song creation, and daily practice sessions.
The GX-10 delivers a universe of ultra-responsive tones in a travel-ready size. There are 23 guitar amps and nine bass amps to choose from, including high-gain X-Ultra, X-Optima, and X-Titan types crafted with the latest BOSS modeling technologies. Players can color sounds with 170 different effects, including overdrives and distortions, mod effects, delays, and reverbs, plus dedicated bass effects and Boss classics like Slow Gear, Octave, Slicer, and more.
The GX-10 enables fast sound creation with an inviting color touch display and four dynamic parameter knobs. Up to two amps and 15 effects are supported in each memory, and it’s easy to change effect order and create series or parallel routings by dragging blocks with a finger on the screen. Send/return jacks are available to integrate favorite pedals or an amp’s effects loop into the GX-10 signal flow.
The GX-10's clever control options provide versatile real-time sound adjustment possibilities while performing. Multiple control modes and user-assignable settings offer maximum flexibility with just three footswitches. By default, the expression pedal toggles between volume and wah and activates the tuner when the pedal is pulled back. But it can be customized to control nearly anything using the GX-10’s assign matrix.
Boss Tone Studio allows users to edit sounds and load their own speaker cab IRs from a Mac or Windows computer. The GX-10 also supports the optional Bluetooth Audio MIDI Dual Adaptor, which unlocks on-the-gig wireless editing via the mobile version of the app.
Boss Tone Studio includes additional tools to organize GX-10 sounds for different gigs and playing situations. It also provides direct access to Boss Tone Exchange, an online platform for downloading professionally created sounds and sharing GX-10 Livesets with the global Boss community. GX-100 Livesets are fully compatible with the GX-10 as well. In addition, there’s a built-in USB-C audio interface for capturing high-quality guitar tones in music production apps on computers and mobile devices.
Availability & Pricing
The new Boss GX-10 Guitar Effects Processor is available now for purchase at authorized U.S. Boss retailers for $399.9.
WAZA Tube Amp Expander Core
A powerful recording and practice solution for tube-based guitar amplifiers. Based on the popular WAZA Tube Amp Expander, this new model offers a streamlined footprint and many powerful enhancements focused on direct recording applications. The advanced Boss Tube Logic design approach harnesses the complete output of a connected tube amplifier, supported by premium cab emulation and studio processing to craft impactful, mix-ready guitar tracks. The WAZA Tube Amp Expander Core also features an integrated 30-watt reactive drive power amp, allowing users to hook up a speaker cabinet and enjoy “sweet spot” amp tones at home-friendly levels.
A tube-based guitar amp sounds and feels its best when the volume is cranked and its power section is really working. Unfortunately, the levels produced are usually unmanageable for anyone without an isolation booth or very forgiving neighbors. The WAZA Tube Amp Expander Core solves this issue, allowing the user to drive their amp while capturing the speaker output with a reactive load that accurately emulates combo and stack-style speaker behaviors. This isolated signal can then be used for direct recording and low-volume playing situations.
The companion editor software provides a studio playground for shaping the raw amp sound within the WAZA Tube Amp Expander Core. Users can choose from 22 BOSS cabinet emulations and five classic mic types (two available simultaneously), then dial in the ideal blend with position, distance, and level controls. Alternatively, it’s possible to use up to two speaker cab IRs at once, either from the 10 included Celestion Digital IRs or 64 selections loaded into the unit from a personal IR library.
The WAZA Tube Amp Expander Core contains powerful tools to help achieve world-class recorded tones with no engineering experience required. The Mix Assist function applies one of three sound contour curves with variable transient control, making it easy to record parts that blend perfectly within mixes. There’s also an immersive Air Feel feature that uses Boss spatial technology to recreate the inspiring “amp-in-room” tone that guitarists love.
Effect processing plays a vital role in shaping great studio guitar tones. The WAZA Tube Amp Expander Core features a series/parallel loop for inserting external mod and ambience effects, positioned after the amp’s distortion for the clearest sound. High-quality internal processing is also available to apply compression, EQ, delay, and reverb within the unit. Users can organize custom setups in the editor—including cab choices and effects—and assign 10 favorites for instant access with the Rig knob on the front panel.
The WAZA Tube Amp Expander Core’s versatile connectivity provides many ways to use rig setups. Players can record directly to music production software over USB or patch into a mixer or audio interface with the stereo XLR output jacks. It’s also possible to hook up an external speaker cabinet (4/8/16 ohms) for daily practice or monitor through headphones with Air Feel for an inspiring spatial experience. The optional Bluetooth Audio MIDI Dual Adaptor adds wireless capabilities, allowing players to jam with music streamed from a smartphone and use the mobile version of the editor to tweak rigs and load IRs.
Availability & Pricing
The new Boss WAZA Tube Amp Expander Core will be available for purchase at authorized U.S. Boss retailers for $699.99 in February.
Katana-Mini X
The latest addition to the Katana series. While its footprint is small, its sound is anything but. Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboardBluetooth® for streaming music from a smartphone.
Availability & Pricing
The Katana-Mini X is available for purchase at authorized U.S. BOSS retailers now for $149.99.
More info: boss.info. Visit BOSS at NAMM: The Roland Studio, Room 202, Level 2.
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Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”
Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Grammy Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable and prolific guitarists, vocalists, songwriters, and producers of the modern era. Gibson is proud to announce its partnership with Warren Haynes for the release of his first signature guitar, the Gibson Warren Haynes Les Paul Standard. The Warren Haynes Les Paul Standard from Gibson is available worldwide now at the Gibson Garage Nashville and London, at authorized Gibson dealers, and on Gibson.com.
“I’ve always been a Gibson guy—I got hooked on that sound as a teenager and have been playing them ever since,” says Warren Haynes. “Needless to say, I’m honored to be partnering with Gibson to release my Signature Les Paul Standard. Being traditionally a humbucker guy, I’m really loving the hum-free P-90s. It’s a really cool tonal change, and the boost offers even more tonal options. I’m really enjoying playing this guitar on stage and looking forward to using it in the studio. I’m equally psyched that other guitar players will now have the opportunity to own and play one as well.”
Warren Haynes effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature playing style. Renowned and highly regarded for his work in rock, blues, and Americana music through his work with the Allman Brothers Band, as a founding member of Gov’t Mule, the leader of The Warren Haynes Band, a solo artist, and as a session guitarist and sideman for numerous famous friends and groups. As one of music’s most treasured storytellers, Haynes and his artistry have led to thousands of memorable performances and millions of album and track sales. A master of multiple styles and genres, Warren has also shared his expertise with other players via multiple instructional videos. A self-described “Gibson man,” Warren has used several Gibson models throughout the years, including his cherished ’61 ES-335™, among others.
The new Warren Haynes Les Paul Standard is another standout, with features tailored specifically to Warren’s preferences, including a mahogany body with a plain maple cap, a 60s Cherry finish, a mahogany neck with a chunky 50s vintage profile like all of Warren’s favorite Les Pauls, a rosewood fretboard with acrylic trapezoid inlays and 22 medium jumbo frets, a pair of P-90 DC pickups that deliver hum-free performance with all the sonic nuances of traditional P-90 DC pickups, and a 15 dB boost that can be activated via a mini toggle switch. The quick-access battery compartment is mounted into the control cover on the rear, and the guitar will still function, even if the battery dies, by simply flipping the mini toggle switch to the off position.
Bearing the traditional looks and feel of a 50s-era Les Paul coupled with modern features like hum-free P-90 DC pickups and an onboard boost, the Warren Haynes Les Paul Standard bridges modern and traditional and is a great choice for players who, like Warren, want both a traditional appearance and modern functionality in one outstanding guitar.
Last fall, Warren Haynes released his fourth solo album, Million Voices Whisper, via Fantasy Records. Haynes sounds as energetic and focused as ever on the self-produced album, powering through an 11-song set of soulful blues-rock, his first solo collection in nearly a decade. Accompanying Warren on the collection are members of his current all-star band, including John Medeski on keyboards, longtime drummer Terence Higgins (of the Dirty Dozen Brass Band), and Gov’t Mule bassist Kevin Scott. Million Voices Whisper also features guest appearances from his Allman Brothers Band compatriot Derek Trucks, whose unmistakable guitar sound toughs up three tracks on the album that were co-produced with Haynes, and his Last Waltz tour co-stars Lukas Nelson and Jamey Johnson, who are featured on the forceful “Day Of Reckoning.” Joining Haynes in the studio for the first time since the final sunset of the ABB, one of the featured tracks with Trucks on guitar is “Real Real Love,” a song initially co-written with Gregg Allman that Warren finished in Allman’s style and methods as if Gregg were singing it to honor his friend.
Buzzing through the chart-topping album is the question of how to make things better—in love, in life, in the world—led by Haynes’s soaring vocals and the poignancy of his six-string mastery. Million Voices Whisper opens with “These Changes,” a co-write with Trucks, leading into “Go Down Swinging,” co-written with Johnson, which features a horn section and a Van Morrison vibe. Then, there’s the soulful power ballad “Till The Sun Comes Shining Through,” driven by Warren’s impassioned vocals and slide guitar skills. The expressive pipes of touring backup singer Saundra Williams are also heard on multiple tracks, including the lead single “This Life As We Know It,” which reached Top 15 on the Americana singles chart and Top 40 at Triple A radio. Among the four bonus tracks on the deluxe CD version is a new version of the Trucks-Haynes composition “Back Where I Started” featuring Warren on lead vocals and slide guitar and the power trio of Haynes, Nelson, and Johnson covering the CSNY classic “Find The Cost Of Freedom” into an extended version of “Day Of Reckoning.” Million Voices Whisper combines the eloquent musicianship of a triple-threat blues-rocker with the glowing spirit of a vital creative artist at the peak of his powers.
For more information, please visit gibson.com.
Gibson Warren Haynes Les Paul Standard Electric Guitar - '60s Cherry
Gary is not exclusively a destruction machine. Its distortion/overdrive section is a very streamlined take on EarthQuaker’s Gray Channel, a versatile DOD 250-derived double distortion. Like any good circuit of the 250 ilk, Gary’s hard clipping OD/distortion section bites viciously in the high- and high-mid frequencies, supported by a tight, punchy low-mid output. You can play anything from balanced M.O.R. studio crunch to unhinged feedback leads with this side of Gary. But it’s the envelope-triggered pulse-width fuzz—which most of us will hear as a gated fuzz, in many instances—that gives the Gary its werewolf duality. Though practice yields performance patterns that change depending on the instrument and effects you use around the Gary, its fuzz ultimately sputters and collapses into nothingness—especially when you throw a few pitch bends its way. The cut to silence can be jarring, but also compels a player to explore more rhythmic leads and choppy riffs that would sound like sludge with a Big Muff. The Gary’s unpredictable side means it won’t be for everybody, but its ability to span delicioso distortion and riotous splatter fuzz in a single unit is impressive.
EarthQuaker Devices Gary Automatic Pulse Width Modulation Fuzz/Overdrive Pedal
