
The vintage Diamond models offer kitsch—and a strange charm.
I’ve had so many guitars pass in and out of my house that I often forget some of the cool little gems that I’ve owned. And I mention gems because, during a recent pawnshop crawl, I happened upon one of the cool, old Aria Diamond guitars with the rhinestone “gem” inlay. Finding these Diamond guitars back in the day was like hitting the guitar lottery! You just felt lucky with a diamond-head guitar.
Most players probably associate the Aria and Arai name with high-quality electrics from the late ’70s and early ’80s. Some of the later Aria Pro guitars are the stuff of legend and were made with the finest wood by the finest builders in the city of Matsumoto. But of course, I flock towards the kitschy diamond. Give me the cheap stuff!
I actually met the owner of Aria, Shiro Arai, back in 2015 when I visited the Aria factory. There was a small retail store/museum out in front, and as I entered, there was Arai plucking on a classical guitar. We began talking and sat there for a few hours in a lounge area. Guitar playing was a passion for him, and unlike many other guitar-factory founders, he could actually read music and was an accomplished player. He also had several vintage classical guitars displayed there, and man … did he have a cool collection. He also smiled a lot, which is a quality I look for in people these days. He was living a joyful existence, surrounded by the things he loved.
Aria guitars were always decent instruments out of the box, and that was mainly because, as a player himself, Arai felt it was important to have good quality control and good setups from the factory.
Arai started his company back in 1956 as a general import/export business, but soon he was focusing almost exclusively on guitars. He even became the Japanese importer of major guitar brands such as Framus, Guild, Rickenbacker, and Epiphone. Aria guitars were always decent instruments out of the box, and that was mainly because, as a player himself, Arai felt it was important to have good quality control and good setups from the factory. As a youth in the ’80s, I used to see tons of Aria guitars, and they seemed rather popular.
Using Aria as his company brand name, Arai utilized the famous Matsumoku factory for just about all his electric guitars. The earliest Aria electrics appeared around 1966, and several models featured the ultra-cool diamond logo, complete with a faux gem! From the get-go, Aria guitars were almost all copies or models that drew design inspiration from Gibson, Fender, Mosrite, Höfner, and Rickenbacker. But hidden at the low end of the price range was the strange 1532T. With an offset design, a sweeping lower bout, and exaggerated double cutaways, the guitar was unlike any other Aria guitar. This weirdo lasted into the 1970s, when almost every Japanese electric maker was focused on copies.
The 1532T has 21 frets and a Gibson scale. Aside from the body design, most of the components are standard Matsumoku fare. The two pickups are fine-sounding units—powerful single-coils that sound phenomenal. It’s operated with one volume and one tone knob, and its pickup switch is a 3-way toggle. The adjustable bridge works well, but sometimes has some sort of hard-plastic string guides. What really shines on these 1532T guitars is the tremolo, which was used on this model and the Mosrite copies (dubbed as the 1702T). Among the 1960s Japanese electric guitar makers, tremolo units were not that great as a whole. But this unit on the 1532T is fantastic, with great touch sensitivity and return (maybe it was those plastic bridge saddles?).
I think I’ve only owned a few other Diamond guitars, but that recent pawnshop visit reminded me how fun it is to find cool, old stuff. You gotta get out there, people! Maybe you’ll hit the lottery? You never know.
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Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.