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The 1963 classic favoured by The Who, Lynyrd Skynyrd, Cheap Trick and more is back. Highlights of this bass include new ProBucker Bass humbuckers and a vintage leaning 60s Thunderbird Tune-o-matic bridge and Claw tailpiece.

The Les Paul Junior kicks it old-school with the single P-90 Dogear pup configuration. It has a mahogany body and neck, the latter of which features a Vintage 50s profile. Other features include Epiphone Deluxe Vintage tuners and Lightning Bar wraparound bridge.

Similar to the ES-335 but with a reduced body size, the ES-339 PRO features a laminated maple body with a solid center block. Features of this guitar include a 1960s SlimTaper D-shape mahogany neck and a pair of Epiphone Alnico Classic PRO humbuckers.

The Dot Deluxe is a limited-edition guitar with flame maple veneer body and top, with a solid mahogany neck with a SlimTaper D profile. Other highlights include a pair of Alnico Classic humbuckers and Grover Rotomatic tuners.

Epiphone has brought back the beloved ES-335 “Dot”. It features a laminated maple body with a 1960s SlimTaper D-shape mahogany neck. Hardware includes a LockTone Tune-o-matic bridge with a stopbar tailpiece and Grover tuning machines. Tone is provided by two humbuckers: an Alnico Classic Humbucker (neck) and Alnico Classic Plus Humbucker (bridge). Pickups are managed by individual volume and tone knobs and a three-way toggle switch.

ROOMS is a stereo, multi function digital reverb capable of searing volume, gated walls of sound, and long, trailing reverberant ambiances with an intuitive array of controls designed with live mood-bending in mind.

ROOMS was designed to the highest standards of flexibility and audio fidelity. A studio-quality mixer section provides independent DRY and FX controls over six meticulously programmed reverb algorithms; ROOM, DIGIT, PEAK, GATE, WAVE, and GONG. Each different verb is capable of a universe of sounds, and ROOMS is here to help you explore them.

ROOMS' creative I/O switching and dual-mono dry signal lines allow for a wealth of possible mono and stereo configurations, making it easy to route signals for parallel processing or stereo amplifier setups.

Williams also added an exotic wood model with this Custom Shop Soloist SL2. Its cooked ash body comes with a ziricote top and titanium hardware. The guitar is set-neck, and comes loaded with maple-bobbinned Guitarmory Orian Pickups. An inlaid maple Jackson logo on the headstock and ziricote reverse sharkin inlays on the ebony fingerboard complete the guitar’s flairs.

Williams continues his multi-scale streak, also introducing a brand-new bass shape in the form of the 5-string, multi-scale Hellion Bass, finished in neon yellow.

He explains: “I thought having multi-scale on a five-string bass would be a good idea because when you get to that low B string, it’s such a thick gauge of string and low tuning that it flops around a lot. The idea of the multi-scale aspect of it is to balance that tension so that you have an instrument that plays, feels and performs better.”

The 24-fret bass comes with a single Seymour Duncan Quarter Pound Jazz Bass bridge pickup.

This custom creation by Joe Williams is a neon-pink multi-scale 7-string might make a perfect gift for a guitarist, as it’s pretty unlikely they already have anything remotely matching that desription close. Its alder body comes with a 24-fret quatersawn maple neck, an ebony fingerboard, and a HH configuration of a DiMarzio The Tone Zone 7 and Air Norton 7 pickups.

The last Rhoads of the collection, this guitar boasts a 27-fret through-neck, and a nebula-esque finish, also found om the sharkfin inlays.

It’s loaded with Two Bare Knuckles, an Aftermath humbucker in the bridge and a Trilogy Suite single-coil neck pickup for a mix of aggression and vintage snap.

Chris Broderick’s signature creation sports a mahogany body topped with an eighth-inch flame maple cap, finished in a Trans Black finish with flame maple binding and pinstripes. The 24-fret quartersawn maple neck comes with a 12”-16” compound radius and an ebony fingerboard. Broderick’s own custom pickups, Planet Waves Locking tuners and a 7-string Floyd Rose tremolo complete the guitar.

Designed by Periphery’s Misha Mansoor and built by Dave “Red” Nichols, this So-Cal HSS guitar features a heavily relic’ed Daphne Blue finish and a classic white pickguard. The caramelized flame maple bolt-on neck comes with a 20” radius caramelized flame maple fretboard, with maple inlays outlined in ebony and 22 jumbo stainless steel frets.

In the bridge position is a Bare Knuckle Ragnarock humbucker, while the neck and middle are loaded with Misha Mansoor single-coils.

This guitar has been on tour with Slipknot guitarist Mick Thomson, in support of their latest album We Are Not Your Kind. His signature Jackson Soloist comes in a custom Carbon Fiber finish, recreated by Mike Shannon here limited edition run.

It also features a mahogany Soloist body, through-body maple neck, a 12”-16” compound radius ebony fingerboard with 24 frets and block side markers. It’s driven by Thomson’s signature Seymour Duncan EMTY Blackouts in the bridge and neck.

This guitar, built by master builder Dave “Red” Nichols, has been and painted by Craig Fraser with a 2 Minutes To Midnight graphic from Iron Maiden’s 1984 album Powerslave.

Maiden guitarist Adrian Smith explains,“When I was standing here at NAMM last year, me and my missus were talking and thought it would be fun to something with an Iron Maiden theme. I’ve never done it before. We do a song 2 Minutes to Midnight and that seemed like a logical thing. I love the guitar. I call it my hooligan guitar because it is stripped down – no nonsense, one pickup. Sounds great, actually plays great. I just wish I could use it for one more song. Of course it’s got the 2 Minutes logo, beautifully painted on there, and I just love the guitar – apart from the fact that it looks really cool.”

With a slightly more restrained design sensibility, the Jackson Custom Shop Limited Edition Signature Phil Collen PC1 Black Walnut sports a mahogany body capped with an eighth-inch claro walnut top. The caramelized bolt-on maple neck is topped with a 24-fret compound radius ebony fingerboard. The guitar is loaded with a DiMarzio Super 3 humbucker in the bridge, a DiMarzio HS-s single-coil in the middle position, and a PC1 Sustainer Driver pickup in the neck.

It’s impossible to think of a gig situation this guitar wouldn’t suit. Joining together a Jackson Soloist and a Charvel San Dimas, it comes with a spark;y hot-rod finish and, of course, two necks. The Jackson side of things is neck-through, sporting a compound radius and 24 frets.

The Charvel half is a bolt-on maple neck topped, also with a 12”-16” compound radius fingerboard but only 22 frets. The Jackson is HH, while the Charvel is HS.

Honouring Randy Rhoads, who led Jackson to the iconic Rhoads V, this guitar comes in a White Sparkle finish with chrome hardware and a chrome pickguard. Chrome covers also adorn the TB-6 and SH1N Seymour Duncan pickups. For some dive-bombing tremolo action, there’s a Floyd Rose Original tremolo.

This V’s alder body is loaded with a Seymour Duncan Custom Trembucker TB-5 humbucker in the bridge and Seymour Duncan ’59 humbucker in the neck. It also sports a quartersawn maple through-neck with a rosewood fretboard, and comes finished in Snow White Pearl.

The original J0001 design was for a while attributed to a request from Judas Priest guitarist K.K. Downing, however as Jackson master builder Mike Shannon explains this turned out to be apocryphal: “[The original] J0001 was in the logbooks written in as K.K. Downing’s guitar,” explained Shannon. “And I had (Megadeth bassist) David Ellefson verify with Downing that he actually never had or played this guitar. How it got in the logbooks that way, I’m not sure. But the player, as far as I know who has it, is a guy named Jay Reynolds.”

Engineered by Tube Screamer designer Susumu Tamura, the SD-9SH boasts the same three-knob layout (distortion, tone and level) as its predecessor, but with Henderson-suggested improvements, which include reducing the treble response and shifting the center frequency of the shelving filter in order to accentuate lower mids.

At 15 watts, the Tube15 comes with enough juice to handle smaller venues and rehearsal situations. Like the Tube5, the single-ended Tube15 can also be switched down to one watt for greater saturation at bedroom-friendly levels. The single channel amp comes with a standard three-band EQ section as well as separate gain and volume knobs. Other features include an upgraded 12-inch Celestion Seventy speaker, an onboard reverb which can be toggled via an optional footswitch and effects loop. The Tube15 Celestion triples the preamp tube complement of the Tube5 to a trio of 12AX7s and swaps the single 6V6 power tube for a pair of EL84s.

The Tube5 is a singe-ended five-watt single channel amp that comes with an eight-inch Celestion Super Speaker. The front panel features a minimalistic two-knob layout for volume and tone. The runs at five watts at full power but can be switched down to a more bedroom-friendly one watt. The lower wattage allows users to full realise the single-ended nature of the Tube5 by cranking it without risking excessively loud volumes. A lone 6V6 resides in the power section while a 12AX7 powers the preamp.

We don’t have to convince you that vintage P90 pickups are special. You already love their thick mid-range grittiness and growl, their creamy single-notes, and their harmonic bloom.

The only drawback has been that P90s are noisy.

DiMarzio’s challenge was to create a hum-canceling pickup that fit into a P90 cover yet retained the classic nuance, sound, and appearance of a Fifties P90.

Our patent-pending design breaks new ground in guitar pickup development, and uses four coils to give you a P90 without the hum. So go ahead and crank up your amp without fear of the hum.

The Fantom P90™ comes in three styles: Soapbar, Dog Ear, or mounted into a full-size humbucking cover.

Say goodbye to the days of multiple pedalboard setups and hassles of constantly rearranging and rewiring your board! The new Gruv Gear LYNK modular pedalboard lets you build your custom length board with its ingenious “lynkable" panels, so you bring only the effect pedals you need for the gig. The LYNK will even offer a wireless rechargeable power supply (sold separately) to keep your digital and analog pedals juiced up for hours without a power outlet, reducing cable clutter and trip hazards.

Each lightweight aluminum panel is a generous 12" wide x 17" deep, and the connectors have threaded feet to let you adjust your LYNK to the perfect angle.

Axiom includes two amp simulations channels (with pre and post effects) that can be mixed together or used alternatively like a real amp. You can choose your amp models from hundreds of presets or launch the amp editor to build your own, with complete control over the tone. Additional input and master sections let you adjust the tone at the input and the output of Axiom, with 4 additional effect slots each and an integrated high precision tuner. A brickwall limiter also protects the output from overshoot.

Axiom includes 44 built-in effects that can be loaded in any of the 32 plug-in slots, including a built-in version of Late Replies for creative delays and reverbs, and a built-in version of Destructor to add your own distortion pedals, cabinets or additional amp simulations.

Blue Cat's Axiom is not limited to its built-in effects: these slots can also host third party Audio Unit, VST or VST3 plug-ins: you can use your favorite plug-ins anywhere in the signal chain and expand Axiom's capabilities.

And because playing alone is not so much fun, we have added a tools section with 3 additional slots to load virtual instruments: add a metronome, a drum machine, sequencer or your keyboardist's favorite synthesizer there to get it mixed with your guitar.

If you are looking for amp simulation software without the effects, see the Destructor plug-in. For a plug-in host & multi-effects processor without amp simulation, check out Blue Cat's PatchWork.

Hot Tuna is a very simple yet powerful plug-in: you can freely adjust the amount of dimming, an indispensable feature for live gigs!

The reference frequency can be changed (from 430 to 450 Hz), when non-standard tuning is required.

Most of the processing is performed in the background, so that the tuner does not impact the performance of the real time audio engine of the host.

All in all, it is a very simple plug-in that will keep you safely in tune!

This plug-in is also available as a built-in effect inside Blue Cat's Axiom, the multi effects processor for guitar and bass.

Mad Professor Fuzz 32 will deliver the tone of the best vintage fuzzes without the well known shortcomings. Fuzz 32 has added output so you can easily surpass the unity gain and boost your signal too even with the mildest amounts of fuzz. The added tone control, which you don’t see in vintage fuzzes, is very handy for brightening up the tone of a mild fuzz or taming down the over-the-top amounts of fuzz. Turning the tone control all the way up to the max will get you those bright and in-your-face kind off tones too when desired. One of the advantages also in the Fuzz 32 circuit is the possibility to place a buffer in front of it. This highly awaited feature makes it possible to place the Fuzz 32 anywhere in you signal chain, use it with wireless systems and experiment with boosters in front of it, as a few examples!

Designers at Mad Professor also innovated a really clever way to stabilize the Fuzz 32 circuit in a way that the vintage-germanium-transistor-consisting circuit is not as delicate to changes in temperature as the circuits are in old fuzzes. Vintage fuzzes are known to have a lot of tone variation depending on surrounding temperature. You can also power up the Fuzz 32 with the same 9V (negative tip) power supply you are using with most of your other pedals too.

Also something new in Mad Professor Fuzz 32 to the pedals alike, is the added boost, which makes the pedal much more versatile in the levels of fuzz compared to the vintage ones.

To many guitarists (including many here at Sweetwater), the original Z Wreck amplifier is the definitive Dr. Z guitar amplifier. And with the Z Wreck Jr. 15-watt tube head, you get that legendary touch response and sonic range with the convenience of a master volume control. It's the same post-phase inverter volume circuit found in Dr. Z's Nova, Jetta, and MAZ amps, acclaimed for its ability to dial down volume without compromising tone and harmonics. And by using the same turret board construction and aircraft-grade aluminum chassis as the original Z Wreck, the Dr. Z Z Wreck Jr. is ready to stand up to a lifetime of gigging and recording.

Entering production 10 years ago, the original Z Wreck amplifier has reached somewhat of a legendary status among Z players, being a hallmark collaborative effort between Dr. Z, the late amplifier guru Ken Fischer of Trainwreck Amps, and country music star Brad Paisley. All three combined their thoughts and wishes for a perfect stage-worthy amp then launched the Z Wreck, a design that has become a “halo product” for Dr. Z.

Yet being a non-master volume amp, reining in the Z Wreck’s robust volume has always been a concern for working musicians who require a controllable sonic footprint for smaller venues and less raucous gigs, but demand the tactile response and dynamic expressiveness found the amp. Controlling the loudness without compromising the character and harmonic overtones of the original Z Wreck formula became the challenge Dr. Z took up over nearly a year of development.

The new Z Wreck Jr. answers all concerns. As a half-powered sibling of the original Z Wreck, the Z Wreck Jr. introduces a post-phase inverter master volume circuit into the design ideal for studios, small clubs, and worship venues. Now the magical place between chiming clean and blooming overdrive the Z Wreck was lauded for is at the player’s fingertips at any volume level, be it full bore on stage or at home in the practice room. This master volume circuit shares a similar design to the master volume players have been raving about over the last few years that are found in our MK. II series of MAZ amps, the JETTA, and the NOVA.

The Z Wreck Jr. retains the attention to detail, reliability, and quality of workmanship found in all Dr. Z amps, using the exact same turret board construction and aircraft grade aluminum chassis of the original amp. We use the same reissue Tung Sol preamp tubes and NOS military grade 6n14n power tubes, as prescribed by Ken Fischer and true to the Trainwreck DNA. A 5Y3 rectifier tube controls the touch sensitivity and blooming response of the amp by reproducing the plate voltages found at the “comfort” setting in the original Z Wreck, making for a truly addicting playing experience.

Featuring a more price-conscious cost than its larger counterpart, the Z Wreck Jr. is available in head or top-mounted 1×12 combo, the same dimensions as the standard Z Wreck but at a back-saving weight of 44 lbs. It is loaded with a Celestion Greenback 12” speaker, heard on a myriad of classic recordings over the past half a century.

Evolutionary or revolutionary? That would be for you to decide, but what is beyond any doubt is the 5 string, 27 fret Brocken5-BASS is the most comprehensive, complete and extraordinary bass guitar that Caparison has ever developed.

A perfect balance between functionality and exuberant design, precise engineering and cognitive creativity. The unique and carefully considered quadripartite body construction, featuring a Maple core – flanked by two wings of Australian Black Wood, crowned with a select Black Walnut top, gives a full and well-rounded sonorous quality. The fundamentals are strong and defined and the clear harmonics ring out with a bell like quality.

The slim and fast Maple & Walnut 5-Piece constructed neck, with a super smooth Kalimantan Ebony fretboard makes for an almost effortless playability with easy access to all 27 frets. The inclusion of twin internal titanium support rods provides the neck with solid and reliable stability too.

Celebrating 40 years of bass innovation, G&L is releasing a very limited Ruby Anniversary Edition of its iconic L-2000 bass designed by Leo Fender.

This Custom Shop edition sports an Okoume body with a 3A quilted maple top and a highly figured roasted maple neck. The L-2000 bass features Leo Fender’s powerful MFD pickups, Tri-Tone active/passive preamp and Saddle Lock Bridge.