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As one of the greatest riff masters of all time, James Hetfield needs gear that performs as monstrously as he does—picks included. When he came to Dunlop looking for a pick to meet his high standards, we worked closely with him to create a solution that keeps up with and even enhances his performance.

We used the Flow Standard Pick 1.0mm as our starting point. The thrash titan put it through a full battery of tests on the road and came back to us with the tweaks and adjustments he needed to make it just right. First, we incorporated the Black Fang Pick's blended beveled edges for a super snappy attack that rings out with bright articulation, ensuring that every note and chord makes an impact through all that speed and gain. Next, we made it a bit heavier, going to 1.14mm—not normally available in the standard Flow Pick line—for the perfect balance between mass and articulation. Lastly, we enhanced the grip, creating a custom pattern so that the pick stays put when Hetfield digs in.

“The White Fang Pick has amazing grip when sweating from heavy riffing, and a smaller profile to go faster,” he says. “Plus, the white is easier to see when they get thrown into the crowd.”

Take charge of your technique with the JP Trinity Pick. We started with the Jazz III’s size for its lightning fast maneuverability, and we added the shoulder contours of the Flow Pick for their excellent handling. For even greater control, we broadened the back end of the pick to create a small triangle—perfect for choking up nice and tight. The resulting pick offers an entirely new playing experience that’s smoother, faster, and more disciplined than ever.

“This pick has helped me reach new levels of speed and accuracy,” John says. “The quick-release edges allow me to execute difficult, complex licks with ease, and the three-sided shape provides superior handling. The rigid Ultex® material makes for an incredibly smooth attack and a noticeably fuller and sweeter tone.”

The Swollen Pickle Jumbo Fuzz is now in its third iteration and continues to provide ample amounts of signal saturation from a pedalboard-friendly housing. Aside from the usual Loudness, Sustain and Filter controls, the Scoop and Crunch switches can be used to alter the midrange character and compression intensity. Conversely, flipping both the Scoop and Crunch switches down returns the pedal to a classic three-knob Swollen Pickle setup.

This pedal combines the tone-sweetening magic of the Echoplex® Preamp with a three-band EQ and midrange frequency adjustment so that you can dial in the perfect bass tone to punch up a solo, boost your signal in a live mix, sculpt more edge into the sound of a passive bass, and more.

This pedal can be powered by a Dunlop ECB003 9-volt adapter, or the DC Brick™, Iso-Brick™, and Mini Iso-Brick™ power supplies (not included).

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Sundragon is the result of a collaboration between Jimmy Page, Perry Margouleff and Mitch Colby. It is a faithful recreation of the amplifier Jimmy Page used exclusively to create the groundbreaking sounds on Led Zeppelin 1 and other notable recordings. To celebrate the 50th anniversary of Led Zeppelin, Jimmy would like to present Sundragon, an amplifier that gives guitarists the opportunity to enjoy the sounds he created to shape the future of Rock and Roll.

It’s time to rethink what an acoustic-electric guitar can do. Do you want to play leads all the way up the neck? Do you want to play longer? Play louder? Now you can with the SC-13E, a super-comfortable, easy-to-play acoustic-electric from Martin.

The first thing you’ll notice is the revolutionary new cutaway. With our patent-pending Sure Align® Linear Dovetail Neck Joint neck system, we removed the heel, providing full access to all 20 frets. No more contorting your hand to reach the high notes. Now you can comfortably play the entire fretboard.

If all that access isn’t enough, the asymmetrical body provides balanced output, so you get more gain before feedback. Don’t worry about playing loud on stage. Now you can turn it up.

The SC-13E is a performing guitarist’s dream. It is equipped with a new, low-profile velocity neck that ergonomically accommodates your hand, giving it the While the SC-13E is designed to be plugged in, don’t be fooled—it’s still a Martin—so it sounds amazing unplugged. Whether you are on stage, in studio, or just strumming at home, the SC-13E removes the restrictions of the conventional acoustic-electric guitar. Now you can play your way, any way, without limits.

The Ibanez PIA (meaning Paradise In Art) is the result of another fruitful collaboration between Ibanez and Steve Vai. It's immediately apparent that this ornate instrument is an evolved version of the Vai’s familiar JEM series of instruments. For the PIA, Ibanez have tweaked a number of features to elevate it to new creative heights.

Stratocaster® guitars were almost impossible to find in England in the late 1950s and early 1960s, so when George Harrison actually found one in a shop during the pre-fame early days of the Beatles, he meant to get it but was scooped by the guitarist for Rory Storm and the Hurricanes (whose drummer went by the stage name Ringo Starr).

A few dizzying years later, when the sessions for Beatles Help! album got under way in early 1965, Harrison had better luck—he and John Lennon sent roadie Mal Evans out to get one for each of them, and Evans soon returned with a matching pair of Sonic Blue Strat® guitars. Harrison’s guitar, serial number 83840, still bore a decal from a music store where it was purchased at one point—“Grimwoods; The music people; Maidstone and Whitstable”. Thus, Help! marks the first appearance of a Stratocaster in Beatles music; heard in the low drone throughout that album’s “Ticket to Ride” and in the solo for “You’re Going to Lose That Girl.” Near the end of 1965, both Strats were put to even more prominent use on groundbreaking album Rubber Soul, most notably on the ringing chordal solo in “Nowhere Man”, and again on mid-1966’s Revolver.

In 1967, sometime between the end of the Sgt. Pepper’s Lonely Hearts Club Band sessions and the June 25 live worldwide telecast of “All You Need is Love”, Harrison took up paint and brush himself to give his Stratocaster a multicolored psychedelic dayglo paint job. It also appeared prominently in the “I Am the Walrus” segment of 1967’s Magical Mystery Tour film. The guitar remained a favorite of Harrison’s for the rest of the decade, and by December 1969 Harrison had painted “Bebopalula” on the upper body, “Go Cat Go” on the pickguard and “Rocky”—the guitar’s nickname—on the headstock.

The Custom Shop is now both honored and thrilled to introduce a faithful recreation of Harrison’s “Rocky” Stratocaster. Master Builder Paul Waller examined and measured the original in exacting detail—body, neck (with a rare asymmetrical “C” profile), pickups, wiring, and everything else right down to Harrison’s famous DIY paint job. Even the “Grimwoods” decal remains in place on the back of the headstock. With these features and more, it’s an amazing and meticulously crafted Custom Shop tribute to a truly magical guitar played and loved by one of rock’s greatest guitarists.

For heavy, molten metal riffage, the Jim Root Jazzmaster® V4 delivers crushing detuned tone with a bold new look. We worked closely with the towering Slipknot guitarist to create a brutal-sounding signature Jazzmaster model that complements his heavy playing style—right down to its signature Daemonum™ open-coil EMG® active pickups, shred-worthy 12” radius fingerboard with jumbo frets, sparse control layout and more.

The Jim Root Jazzmaster II dispenses with frivolities such as a vibrato, rhythm circuit, tone control – only crucial essentials remain: a volume control, a 3-way switch and a hardtail bridge, making this guitar a single-purpose weapon of mass destruction. Featuring a mahogany slab body for crushing lows and mids, brilliant Polar White satin finish, maple neck with bound ebony fingerboard and pearloid block inlays, this devastating machine delivers brutal tone with a striking new look.

Dapper and bold – the Uptown Strat® commands attention when it enters a room. Static White lacquer highlights and accentuates the slab mahogany body, a bound and block inlaid rosewood fingerboard radiates class and a pair of chrome DoubleTap™ humbucking pickups draw the eye. Featuring a 24.75” mahogany neck with 22 medium-jumbo frets and a 9.5” radius, 2-point Synchronized Tremolo System, and individual volume and tone controls for each pickup, the Uptown Strat is as versatile as it is unique.

Understated elegance – the elusive quality of an exquisitely crafted tool, produced of the finest components and designed to do one thing exceedingly well – the Spark-O-Matic Jazzmaster® is a high-performance no-nonsense rock-n-roll machine with unlimited range.

The custom 3-piece body features a mahogany core and chambered ash wings, delivering warmth, sustain, and resonance – and is beautifully highlighted by the nitrocellulose lacquer finish in 3-color sunburst. Meanwhile, the satin lacquer maple neck with 9.5” radius, 22-fret rosewood fingerboard ensures smooth, effortless playability.

The high-performance engine at the heart of the Spark-O-Matic is a calibrated triple set of chrome-covered Seymour Duncan SM-1N and SM-3B Mini-Humbuckers. Paired with a 5-way switch, these tightly-tuned and punchy pickups are pure joy to shift through – going from smooth growl to full-throttle roar.

The American Pro Jazzmaster bridge and classic offset vibrato tailpiece is smooth and expressive, with a tasteful range of motion. ClassicGear™ tuners offer timeless good looks and a modern 18:1 gear-ratio for precise tuning accuracy and stability.

Luxurious in its appointments, elegant in its simplicity, the Spark-O-Matic Jazzmaster delivers just what you need to achieve sonic bliss.

Boutique appointments, offset elegance, and Stratocaster® versatility come together in this extraordinary instrument with looks, tones and playability that are out of this world.

Ravishing in Transparent Faded Seafoam Green, the figured flame maple top-on-bound slab Jazzmaster® body is a bold, beautiful twist on a classic design, evoking high-class jazz guitars and delivering substantial tones and resonance. Complemented by a silky-smooth one-piece rosewood neck with 9.5” radius and 22 Narrow Tall frets, it plays like a dream with looks to match.

Despite its unconventional beauty, the heart of this head-turner is pure Fender. With three Texas Special Stratocaster pickups and a 2-point American Pro Strat® bridge, the Strat Jazz Deluxe delivers proven tones and playability – versatile enough to cover almost any genre and familiar like an old friend.

Includes custom COA and Surf Green Parallel Universe II Deluxe Hardshell case.

For this iteration of the Troublemaker Tele Deluxe, Fender has opted to go with a bold Olympic White finish and flashy gold hardware to match that premium price tag. Other highlights include a modern C solid mahogany neck with ebony fretboard and a pair of Double Tap humbuckers with individual push-pull volume controls.

Fender’s original Parallel Universe series caused a bit of a stir when it was released a couple of years ago, but now it’s back with a bang; welcome to Parallel Universe II! This Fender Parallel Universe II Tele Magico is presented in a Transparent Daphne Blue finish with Pearloid pickguard, pickup surrounds, binding and fretboard inlays. Other unique features include a Thinline Swamp Ash body, Flame maple neck and fretboard, Twin custom-designed Gold Foil pickups and 3-Saddle Custom "Cut-Off" Vintage-Style Telecaster Bridge. Supplied in a Deluxe Hardshell Case.

Originally launched in the late 80s, the Heavy Metal (HM) Stratocaster is making a limited-run reappearance this NAMM. Designed with the most technical players in mind, this beast features a narrow C neck, a 25-inch scale, 17-inch-radius fretboard – maple or rosewood – and 24 jumbo frets. As you’d expect, it features a Floyd Rose Special recessed bridge for those epic dive bombs. A HSS pickup configuration wraps things up, ensuring you have a wide palette of tones at your disposal.

If you’re looking for a compact acoustic guitar with a big voice and a stunning visual appeal to match, look no further than the GS Mini-e Koa Plus. Built with back and sides of layered Hawaiian koa with a solid koa top, this model’s clear, articulate sound is right at home whether you’re practicing on the couch or making music with friends. An attractive finish treatment draws out koa’s lush visual beauty, while built-in electronics make it easy to plug in and play wherever your musical path takes you. It ships with a sturdy Aerocase for reliable, safe transportation.

The Line 6 POD Go pairs traditional controls with a large color LCD to let players interact with virtual amps, stomps, and cabs in new and meaningful ways. Whether you're running live FX into a stage amp, recording and re-amping through modeled amps and cabs, or outputting rich Helix-derived tones directly from the stage to the PA, the POD Go has you covered. The price and simplicity of the POD Go tailor this floor processor to players who have been on the fence about diving into the Line 6 ecosystem; despite boasting a premium HX Family sound library — the Blackface, Plexi Lead, Treadplate, and all your favorites are here — there's only a short learning curve standing behind the POD Go and total integration with your rig. Who knows? Once you experience the freedom of gigging out with nothing but the guitar on your back and the Line 6 POD Go at your feet, you may never drag an amp out of your practice space again.

Sunn O))) and EarthQuaker Devices are pleased to bring you the compact, pedalboard-friendly version of the Life Pedal distortion. This is the same exact circuit as the WILDLY popular limited run version that was released in early 2019 but with the addition of expression pedal control over the octave blend and Flexi-Switch® Technology on the relay-based true bypass footswitches. Limited to 2,500 units worldwide.

The Teisco Distortion is gain with attitude and here to satiate all your drive needs. With strong British flavor, five knobs, two toggle switches and two independent channels, this box provides plenty of EQ possibilities and endless amounts of gain on tap. Use the MORE channel by itself as a clean-ish boost, or stack it with the distortion circuit for — you guessed it — MORE. The MUSCLE toggle switch adds yet another gain stage for even more glorious clipping.

We had a 1962 Candy Apple Red bass that was sadly stolen from the Bass Center in Wapping, the neck however has always been a favourite and over the years we have used it in various forms from T-Basses to Lodestones. This one has a much more classic aesthetic and little less out there in terms of design. We love it and think you will to, with its oiled neck and premium hardware this instrument is perfect. A final set up and quality control takes place in the UK before hitting the road. Our basses only further offer an insight into our passion for bass.

Using Hipshot Tuners, Wilkinson Bridges these basses have been made using the best possible materials for professional use on the road, at home or in the studio the Ashdown range of basses have been built to stand the test of time.

Well you can’t beat a P-Bass it was right in 1957 and with some minor refinements our ARC is as it should be today. With Dan’s knowledge of basses and his eye for detail our basses are finished to his high standards. With a custom wound split humbucker our ARC delivers rich familiar tones deep yet articulate.

Using Hipshot Tuners, Wilkinson Bridges these basses have been made using the best possible materials for professional use on the road, at home or in the studio the Ashdown range of basses have been built to stand the test of time.

With a P & J Pick Up configuration the Saint is an all round go to bass. Good balance and distinctive looks sets the Saint out from the crowd. Available in an array of colours and options including finger board wood finish.

Using Hipshot Tuners, Wilkinson Bridges these basses have been made using the best possible materials for professional use on the road, at home or in the studio the Ashdown range of basses have been built to stand the test of time.

The Double Shot is a scaled-down version of Ashdown’s Triple Shot Tri Band Bass Overdrive. The Roast knobs control the amount of distortion applied to the corresponding EQ band, determined by the Dark (bass) and Light (treble) knobs

Bassists can use the Sub Harmonic Generator to control the amount of bend between the clean and sub harmonic signals, adding a subtle fullness to the tone or giving it a full-out synth effect.

Touted as a “filthy but glorious distortion”, the Retro Drive features the same three-knob control layout as most dirtboxes of yesteryear. The pedal incorporates a British-voiced circuit that comes with a bold and distinctive sound.

Ashdown has combined two boost types – a full-range boost and a treble boot – into a single pedal enclosure. Each boost has its own independent knob to control the amount of gain that gets fed into the signal.

Like it's big brother, the CTM-300, our CTM-100 takes it's sonic cues from the classic valve heads of the past and pairs its 100W all-valve design with modern features, construction and reliability.

Built tough for life on the road Built tough the CTM-100 head is housed within an 18mm Marine grade birch ply cabinet that features heavy duty flip style handles and an internal fan to keep things cool. This is an amplifier that is built to last using only the finest components to ensure years of trouble-free performance night after night.