The new models include two John Petrucci signature models and active basses
John Petrucci Signature Models
The success of the original JP50 model made way for the new JP100 and JP60 models, with new upgraded appointments. “I’m so happy to be part of the Sterling by Music Man family! The new JP100 continues in the tradition of amazingly beautiful, high quality instruments at friendly and affordable prices.” - John Petrucci
JP100-TBK John Petrucci Signature Trans Black features:
-Deluxe quilt maple top
-Transparent black finish
-“BFR” style body shape
-24 jumbo frets
-JP “Shield” Inlays
-JP “Dome” knobs
-2x hi output Sterling Modern pickups
-Sterling JP Bridge
-Locking tuners
-25.5 “ scale
-10-46 Ernie Ball Reg Slinky Strings
-Inspected and Set up in Orange, CA USA
-MSRP $898, Street $629
-Includes heavy duty gig bag
JP60-BKM John Petrucci Signature Black Metallic features:
-Sculpted basswood body
-Deep black metallic finish
-24 jumbo frets
-JP “Shield” Inlays
-JP “Dome” knobs
-2x hi output Sterling Modern pickups
-Sterling JP Bridge
-Locking tuners
-25.5 “ scale
-10-46 Ernie Ball Reg Slinky Strings
-Inspected and Set up in Orange, CA USA
-MSRP $779, Street $549
-Includes heavy duty gig bag
Ray34CA Classic Active basses
Last year Music Man introduced their Classic StingRay basses featuring vintage style appointments to the iconic bass. Sterling by Music Man introduces a mid range priced version that packs a ton of value and classic vibe.
The swamp ash body is slab cut (no belly or forearm contours), available in Mint Green or 3 Tone Sunburst finishes. The Music Man designed parts include: Classic voiced 2 band active preamp, Classic voiced Humbucking pickup, heavy duty top load bridge w/ stainless steel saddles.
The neck is finished in a glossy darker tinted hue. A slim 38mm nut width makes for an ultra comfortable playable neck. Vintage styling, classic vibe aimed at the value minded player who seeks old school looks with modern features.
Ray34CA Classic Active bass features:
-Slab cut swamp ash body
-Maple neck w/ maple or rosewood fingerboard. (MG-RW, 3TS-MP)
-Glossy tinted neck finish
-Slim 38 mm nut width
-Music Man designed preamp, pickup and bridge
-Top load bridge w/ stainless steel saddles
-34” scale
-Ernie Ball Reg Slinky Bass strings 45-100
-Heavy duty gig bag included
-MSRP $941 Mint green finish, $984 3TS finish, Street $659 Mint green finish, $689 3TS finish
For more information:
Sterling by Music Man
The legendary German hard-rock guitarist deconstructs his expressive playing approach and recounts critical moments from his historic career.
This episode has three main ingredients: Shifty, Schenker, and shredding. What more do you need?
Chris Shiflett sits down with Michael Schenker, the German rock-guitar icon who helped launch his older brother Rudolf Schenker’s now-legendary band, Scorpions. Schenker was just 11 when he played his first gig with the band, and recorded on their debut LP, Lonesome Crow, when he was 16. He’s been playing a Gibson Flying V since those early days, so its only natural that both he and Shifty bust out the Vs for this occasion.
While gigging with Scorpions in Germany, Schenker met and was poached by British rockers UFO, with whom he recorded five studio records and one live release. (Schenker’s new record, released on September 20, celebrates this pivotal era with reworkings of the material from these albums with a cavalcade of high-profile guests like Axl Rose, Slash, Dee Snider, Adrian Vandenberg, and more.) On 1978’s Obsession, his last studio full-length with the band, Schenker cut the solo on “Only You Can Rock Me,” which Shifty thinks carries some of the greatest rock guitar tone of all time. Schenker details his approach to his other solos, but note-for-note recall isn’t always in the cards—he plays from a place of deep expression, which he says makes it difficult to replicate his leads.
Tune in to learn how the Flying V impacted Schenker’s vibrato, the German parallel to Page, Beck, and Clapton, and the twists and turns of his career from Scorpions, UFO, and MSG to brushes with the Rolling Stones.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.
Trey Anastasio unveils plans for a special solo acoustic run starting in March, 2025.
The tour gets underway March 8, 2025 at Springfield, MA’s Symphony Hall and then visits US theatres and concert halls through early April. Real-time presales begin Wednesday, December 4 exclusively via treytickets.shop.ticketstoday.com. All remaining tickets will go on sale to the general public on Friday, December 6 – please check venues for on-sale times. For complete details, please see trey.com/tour.
TREY ANASTASIO - SOLO ACOUSTIC TOUR 2025
MARCH
8 – Springfield, MA – Symphony Hall
9 – Boston, MA – Wang Theatre at Boch Center
11 – Wilkes-Barre, PA – The F.M. Kirby Center
12 - Rochester, NY - Kodak Hall at Eastman Theatre
14 – Columbus, OH – Mershon Auditorium
15 – Milwaukee, WI – Riverside Theater
16 – Nashville, IN – Brown County Music Center
18 – Chicago, IL – Orchestra Hall
19 – Kansas City, MO – Uptown Theatre
21 – New Orleans, LA – Saenger Theatre
22 – Birmingham, AL – Alabama Theatre
23 – Nashville, TN – Ryman Auditorium
26 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
28 – Clearwater, FL – Ruth Eckerd Hall
29 – Savannah, GA – Johnny Mercer Theatre
30 – Charleston, SC – Gaillard Auditorium
APRIL
1 – Knoxville, TN – Tennessee Theatre
2 – Greenville, SC - Peace Concert Hall
4 – Washington, DC – Warner Theatre
5 - Red Bank, NJ - Count Basie Center for the Arts
More info: TREY.COM.
The new Mark IIC+ 1x12 Combo and Head are authentic recreations of Mesa Boogie's original models.
The new MESA/Boogie Mark IIC+ in head and 1x12 combo formats isavailable worldwide at authorized MESA/Boogie dealers, and on www.mesaboogie.com.
The Mark IIC+ is pure “Vintage Boogie” and based on the original Mark II (now called the MarkII-A) design, the world’s first “Dual Mode” amplifier containing independent performance modes dedicated to clean and overdrive sounds. The IIC+ model represents the 3rd generation of that game-changing single channel/dual mode layout and includes all the refinements made to that
original format over its nearly five influential years. It was also the last model in its family, as the subsequent model would contain three performance modes and be dubbed the MARK III.
The IIC+’s single row of controls is shared by its two modes (preamps), one for Rhythm(clean) and one for Lead (overdrive). Independent, though still interactive, sets of gain and volume controls help optimize each gain structure while shared Tone controls handle the broad stroke voicing. Fine-tuning of the sounds is accomplished by the PULL SHIFT voicing features – some Mode specific – fitted to the simple controls and further shaping via the on-board 5-Band Graphic EQ.Though the “Q” of the individual Bands (Slider Pot frequencies) is fairly wide around their CenterPoints, they provide a surprising degree of surgical-level sculpting quickly and musically.
The Rear Panel of the C+ provides the important features that keep this amp as relevant as ever 40 years after its initial run. Global PRESENCE and REVERB controls are centered foreasy navigation from the Front in stage environments. A series, tube buffered Effects Loop provides a seamless interface for your time-based processing. The Power Select switch at the far right (left from the Front) allows for your choice of the full 75 watts of “SIMUL-CLASS” power for richness, authority, and max headroom or “CLASS A” for 25 watts of reduced power and low end along with easier, smoother power clip at lower volumes. One 8Ohm and two 4 OhmSpeaker Outputs provide for a wide array of cabinet impedance matching. And though not a compensated Direct Output for Consoles or Interfaces, a SLAVE tap off the speaker outputs captures the entire sound of the amp – preamp and power section – to produce a non-compensated feed for IRReaders or external processors that might even serve an era-appropriate “dry/wet/wet” rig.
Out of production for four decades, we welcome back this icon and celebrate its impact on the incredible guitar heroes and timeless recordings they made during one of rock guitar’s biggest decades. The Mark IIC+ legacy is one we don’t take lightly or for granted and recreating it in today’s world with today’s available components and rigorous worldwide Compliance Regulations was no easy feat. However, we are just as proud and excited about this iteration as we were about the first one that was produced for less than two years, four decades ago.