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Fender Custom Shop has unveiled the sleek, one-of-a-kind Stratocaster 1, inspired by the Saleen 1 super sports car.

The Stratocaster 1 was a collaboration between Fender Custom Shop and Saleen Automotive, and was born out of Master Builder Ron Thorn’s love for fast cars.

The Stratocaster 1’s standout feature is its single humbucking pickup that’s housed beneath a tinted plexiglass window, mirroring the aesthetics of the Saleen 1’s mid engine. The guitar also comes with a unique control system: floor-based pedals in place of conventional switches and knobs. The Stratocaster 1’s volume and tone control are housed in a separate pedalboard unit, which also comes with an additional wah modulation.

The hot-rodded guitar also features carbon fibre shell for its back and sides, paired with a hand-carved maple top, finished in a striking Saleen Candy Apple Red. An alder centre core and a quarter-sawn maple neck paired with a three-ply carbon fibre fingerboard make up the rest of the more obvious features of the Stratocaster 1.

The Acoustic GiG begins with Carl Martin’s award winning Compressor/Limiter circuit. Individual controls for compression and level allow for simple and easy operation.

Next, is the well known and highly respected Vintage Style Echo with controls for level, tone, repeat and tap-tempo, plus the ‘Dotted 8th Note’ switch for the most beautiful musical echo.

The Reverb is a new Analogue/Digital Hybrid, tailored after the vintage-style spring reverbs so suitable for guitar. A beautiful, shimmering, yet warm reverb with the added bonus of becoming a more modulation/chorus/reverb texture at higher settings.

The Boost simply allows you to cut though the mix with a crystal clean volume increase of up to 15dB for your solos. No change in your tone, and no increased ‘quackiness’ from your piezo pickups!

To gain maximum EQ shaping, we found it necessary to include a high quality semi parametric EQ. We incorporated this section directly from Carl Martin’s famous 3 Band Parametric Pre-Amp which allows for the specific shaping of tone from your guitar and pickup.

To avoid potential feedback, practice has show the use of a phase inverter circuitry to be very efficient… so of course the Acoustic GiG has a Phase Shift switch.

To complete the Acoustic GiG, we have incorporated a tuner and a overall mute switch.

On the back panel are all the needed connections,1/4” input, unbalanced ¼” output, high quality balanced XLR out with ground lift, an insert section placed right after the boost and before the EQ section, and 9V DC input with a direct DC output if you find the need for an extra pedal.

Light pedal is the world’s first analog optical spring reverb system that uses infra-red optical sensors to harvest the full tembral and harmonic range of a spring reverb tank.

It takes a lot of energy to transfer an audio signal across the length of a vibrating spring. by the time the source audio signal reaches the spring tank’s output transducer, most of its nuanced harmonic content will be lost converted into mechanical energy.

This is why spring reverbs have such a particular sound, since what you end up hearing is largely the spring’s own resonant frequencies. The light pedal uses extremely sensitive optical pairs, placed at specific regions of the spring to detect very nuanced movements on the spring’s surface, as sound-waves travel through it.

This method opens up a much wider range of frequencies, harmonics, overtones and textures that are otherwise lost in the mechanical reverberation process. Using optical sensors also opens doors to some new effects types, such as optical reverb tremolo, optical reverb modulation and optical harmonic shimmer.

The result is a wide variety of analog reverb sounds ranging from classic to experimental to pure magic.

Marshall's model 1959 Super Lead is one of a select group of iconic guitar amps that, arguably, helped to define the sound of an era. Softube's plug-in version, painstakingly modelled using a definitive example from Marshall's own historic collection, was originally developed for the UAD platform but has been made available now in native format, compatible with all major DAW hosts. The modelled signal chain includes a period-correct Marshall 4x12 and miking courtesy of UK engineer Tony Platt — a man renowned for getting the best out of the Marshalls of, among others, AC/DC and Iron Maiden.

Eric Johnson already had his 1954 "Virginia" Stratocaster® when he recorded Tones* and the Platinum Ah Via Musicom**, groundbreaking albums that made him a hero to music fans and guitarists alike. To this day, Eric continues to release brilliant music, tour constantly and is, to the electric guitar community, a savant and widely followed tastemaker. In 2020, for the first time, Eric's 1954 Virginia Stratocaster will be replicated by both Fender Custom Shop and the Fender Corona Production line in limited numbers. With its rare rift/quartersawn sassafras body, lacquer finish, custom wiring and more, the Eric Johnson 1954 Virginia Stratocaster will thrill players and collectors alike with its distinctive look and exceptional tone.

Rainger FX are inviting you to take part in an experiment in tone-shaping discovery…. This mini-pedal makes no sound at all until you pour liquid into it – any kind at all – and the various qualities of that liquid decide the amount – and to some degree the quality – of the distortion, and also the amount of treble and bass. What you use to do this is entirely up to you – any sort of mixture you can dream up!

The pedal is simplicity itself; it has a volume knob, and a small watertight container mounted in the top panel; unscrew the lid, get pouring – and analyse! Then, when you’ve got your own unique sound, screw the lid on tightly and you’re ready to go. (Finger tight is fine – but don’t get too forceful as some liquids can give a sticky-ness over time that makes the lid harder to undo) .

To start again with experimenting, just open the lid and wipe out the container with a paper towel. You’ll hear the guitar sound crumble away to nothing, but as the new liquid hits the container the resulting new sound appears.

CompIQ TWAIN is a precision tool for dynamic audio processing of bass and guitar signals, which gives tremendous control over compression parameters and then some.

It features adaptive auto attack & release timing presets and independent compression controls for knee, threshold, ratio, and make-up gain – on each band. It can work as a dual-band compressor/limiter with variable crossover point, or as a stacked compressor with separate controls for each analog engine – at the flick of a switch. In either mode, harmonic saturation can be injected on each of the dry line band’s, and then be mixed to taste with the wet compressed line for perfect tonal balance. Separate gain reduction displays make the compression effect visible, so you can always know how hard or soft the lows and highs are processed.

The Bass Cub II is 110 watts of pure tone in a “shoebox” size package. It is so light, that it can be lifted with one finger!

Over the past 2 years, Phil Jones Bass has researched into a better amplifier to power the original bass Cub. As a result The Bass Cub 2 has far greater transient attack from improved loudspeaker cone acceleration, greater dynamic range, and lower harmonic distortion. The improved amplifier design also has an upgraded power supply able to provide a rock-solid stable voltage and current to feed the amplifier.

In addition, PJB researched into a better loudspeaker, specially engineered for the BASS CUB 2 that gives a wider and smoother frequency response using our unique “Chrome-Dome” technology. It will provide increased headroom and speed to capture every nuance of bass playing, from gentle fingerstyle to hardcore slapping.

Two independent channels can accept two instruments or one microphone. It also has a stereo input for a Drum machine or iPod/MP3 player. Play along practicing can be accomplished through the two internal speakers or headphone jack.

The Bass Cub II’s dimensions are 12”W x 11”D x 7.8”H and it weighs 15.5 lbs. It produces 110 Watts Class D amplification with digital switch-mode power supply. A soft cover is included.

With these features and great sound there is no longer an excuse you cannot practice.

It can sit on the floor or on top of a desk. Two independent channels can accept two instruments or one microphone. It also has a stereo input for Drum machine or iPod/MP3 player. Practicing can be done with the 2 internal speakers or headphones.

It can sit on top of, and be connected with a PB-300 250W active cabinet, making a 350W powerful stack.

The Midnight Train is fuzz reimagined. Dark. Mighty. Powerful.

Take your own midnight journey with this potent guitar effects pedal. The Midnight Train pays homage to the Civil War Big Muff. It maintains all of the classic character, depth, and wonder of the original with a few added bonuses.

You'll soon be getting tones that mimic the greatness of bands who have mastered the almighty fuzz.

Prepare yourself for plenty of sustain and some fat low end.

You'll quickly learn why this type of pedal is "always on." Compression pedals simply make you sound better when dialing in those sweet clean tones. Get more control, and achieve amazing sustain.

The Anvil compressor pedal will thicken your signal and allow you to limit the peaks in your playing. It's a must-have on any pedalboard especially if you are looking for a well-balanced sound.

Thanks to our revolutionary, FlexFit™ technology, the pad used on the capo arm of the D’Addario Pro Plus Capo mimics the way the anatomy of the human finger functions when fretting a string--so you never have to worry about unwanted buzzing, muted strings, or intonation issues caused by varying capo pressure. With minimal overall pressure every string rings clear, clean, and in tune. The Pro Plus is designed to function perfectly on virtually all guitars, including flat fingerboard classical guitars, all the way to vintage electrics with a 7” fretboard radius.

Advanced active noise cancelling technology blocks out the noise, letting you focus on what matters most – the music. Engineered for an all-day listening experience, they boast up to 30 hours of wireless playtime with active noise cancelling and up to 45 hours without, meaning you’ll never miss a beat.

Whether your acoustic guitar is a parlour, dreadnought, or grand auditorium the FLY 3 Acoustic will give you more. From filling out your sound to reach more people, or angled back to act as a personal monitor, its natural sound reproduction will enhance your performance. The two switchable EQ shapes give you either a flat response or a mid-cut with some low and high boost, and the built in echo effect adds a natural ambience to make playing a pleasure. As with FLY products they have great battery life and the option to add the FLY 103 Acoustic powered cabinet to create a stereo 6 Watt set-up. Also available in the popular pack format including the FLY PSU-1. Get a fuller bodied sound now, with FLY 3 Acoustic.

Want access to TC Electronic’s entire TonePrint library? The PLETHORA X5 gives it to you, plus a whole lot more, in a stereo multi-FX pedal that’s jam-packed with player-friendly features. The PLETHORA X5 stores a lot — a lot — of effects under its streamlined, easy-to-use layout. Not only do you get five FX slots, with up to 75 TonePrints in each slot, you can store up to 127 custom pedalboards using any combination of effects. MASH footswitches supply real-time expressive control over your effects, while an expression input enables you to take command of any effect or add a volume pedal anywhere in your signal chain. Beyond that, an FX loop with customizable routing allows you to integrate external stompboxes or connect to your amp using 4-cable method. The PLETHORA X5 includes all of the essential features you demand, such as a tuner, noise gate, cab sim, tap tempo, and MIDI connectivity. Complete with TonePrint App editor compatibility and Bluetooth connectivity, the TC Electronic PLETHORA X5 belongs at the heart of your guitar rig.

The BFR Stingray 5 Special’s lightweight okoume body comes in a sparkly ‘Ginger Burst’ finish, with a matching headstock. The back of the neck also matches the finish, and it’s all complemented by chrome hardware and a black pickguard.

The BFR Valentine comes in a natural walnut flame finish, complimented by a bold white pickguard and double body-binding. The roasted, figured maple neck comes with a decorative herringbone inlay running along its back length. And topping things off, each guitar is hand-signed by James Valentine.

The BFR Majesty comes in Jester red, while the body is embedded with a spalted maple shield in the centre. This houses two double-cream humbuckers, which match the cream binding on the neck. This bright binding compliments an ebony fretboard, embedded in the first fret with a Music Man Logo.

Kiesel Guitars is excited to team up with acclaimed guitarist Marc Okubo to create the signature MO7X 7-string guitar. The MO7X is based on the popular DC700, with Marc's preferred options and features, such as a Kiesel/Hipshot tremolo, swamp ash body with raw tone finish, and reverse pointed inline headstock. And, like all Kiesel Guitars instruments, it's made in the USA!

Kiesel Guitars has teamed up with noted guitarist Will Swan to create the Will Swan Signature WS6S Carved Top. Based on the popular CS6 California Carved Top, the WS6S has a limited set of options chosen personally by Will to suit his personal tastes and playing style. Like all Kiesel Guitars Custom Shop instruments, the WS6S is a superior quality, USA-made instrument that's loaded with features usually only found on guitars twice it's price.

The new John Patitucci Signature Strap combines the classy look of supple leather with the comfort of neoprene. The understated design was developed with the legendary jazz bassist and ergonomics expertise of Dr. Randy Kertz, a notable health expert in the music industry who aids musicians in maximizing their longevity and playing comfort. The result is a handsome 3” wide strap coupled with Gruv Gear’s proprietary length adjustment system, and proudly finished with the Patitucci name stamp on the back.

Are your cyborg bodies ready? You’ve asked us for this for a while – so we’re giving you what you want! MEGABYTE™ builds on our acclaimed KILOBYTE™ legacy with two old school lo-fi digital chips for more delay time, tap tempo, trails or true bypass, and a nastier, dirtier runaway havoc. All with a straightforward (at least for us) and intuitive, immediately rewarding control setup.

Less time menu scrolling, more time rock and rolling.

We’ve added the most requested features from our customers’ wish lists while making sure we kept the qualities that they loved. This includes a fun and functional tap-tempo with three subdivisions, double the delay time (up to 1200ms) for better noise handling and range, easily switchable trails or true bypass options, and a nastier *Havoc™ paired to the tap switch to go with the +21db drive preamp and modulation for the delay side. On the inside of the pedal are controls for a 100% dry-kill for production work and a maximum headroom option on the havoc/oscillation side.

A fabulous standard-tuned 12. The 24.1"scale along with compensated zero-fret make for "True Twelve" intonation and amazing playability. Chambered poplar body mahogany neck standard-tuned 12-string. 2 Seymour Duncan vintage rails pickups.

Guild’s most iconic electric guitar is now available to a whole new range of players. Expanding on the double cut body shape made famous by the Guild Starfire, the Starfire I DC features semi-hollow body construction utilizing a mahogany center block for reduced feedback and clear sustain. Retaining the airy, crisp tone you would expect from a semi-hollow body, The Cherry Starfire I DC features an elegantly arched mahogany top, back, and sides; while the Pelham Blue model features an elegantly arched maple top, back, and sides. The 24 3/4” scale length and modern thin “U“ neck profile provide a fast, smooth playing neck, while the 18th fret neck-to-body joint provides easy access to the upper register of the fretboard. Premium Guild Vintage 18 tuners with 18:1 gear ratio and Tune-o-matic bridge ensure the strings are accessible and in tune. Rich, vintage tone is injected by Guild’s own HB-2 Alnico II humbuckers, and the push-pull coil splitting feature allows for singing, single coil tones from either pickup. All of these features come standard on the Starfire I platform. Available in Cherry Red. For those looking for something a little extra, the Starfire I DC GVT comes equipped with Guild’s vibrato tailpiece featuring a roller tension bar for additional tonal versatility. Available in Pelham Blue.

The Oceans 11’s big brother with even more reverbs and functionality. It features two simultaneous, independent, stereo reverb engines, series and parallel control for the dual reverbs, 24 presets and advanced I/O allowing for stereo in/out or mono send/return with pre and post reverb options. The pedal also includes a new Tide Control for stereo image alteration, a Lo-fi Control, an infinite attenuation control and an input jack for external expression and 3-button footswitch control.

A Tails switch provides a choice of whether the reverb effect fades out naturally or stops immediately when the pedal is switched to bypass. In most settings the pedal is also capable of producing infinite reverb which can be played over with a different reverb effect. Comes equipped with a standard EHX 9.6DC200mA power supply.

Have you always wanted a wah planted in your tone garden, but didn’t want to give up the real estate for such a simple effect? Well, check out the Hosta Wah Filter! It’s an analog wah circuit with digital control. The analog circuitry is based off the most well known wah in history, complete with a genuine red fasel inductor.

You are given direct control over 4 parts of the analog wah circuit: Level, Gain, Frequency, and Q. The Level, of course, controls the overall amount of output from the pedal. The Gain controls the gain of the first transistor stage of the filter. The Frequency switch allows you to pick between 3 different center frequencies, with the middle being the standard wah frequency. Q adjusts how tight the peak of the filter is. Choose a high Q for a more quacky sound or a low Q for a less severe filter.

To control the wah, the pedal has 3 different modes: Auto, Fixed, and Envelope. Each of these modes is controlled by the Tap/Ramp footswitch as well as knobs A and B, which also have secondary functions that can be accessed by holding the On/Hold footswitch.

In Auto mode, the wah is controlled by an LFO. A controls the speed and B controls the shape of the LFO. There are 4 different shapes and the shape is continuously variable, so you can also get anything in between the 4 shapes. The Tap/Ramp switch can be used for tap tempo or ramping. The tap tempo has 4 different subdivisions (quarter, dotted eighth, eighth, and triplet eighth) which you can cycle through by holding both footswitches for 3 seconds. By holding the Tap/Ramp switch, you can ramp the speed of the LFO to a different speed and when you release, it will ramp back to the original speed. The speed you ramp to is chosen by the secondary parameter of A, while how fast the ramp happens is chosen by the secondary parameter of B. In this mode you can also use an expression pedal to control the speed of the LFO.

In Fixed mode, the position of the wah filter is chosen by control A, or an expression pedal if one is connected. The Tap/Ramp footswitch can be pressed to move the wah to a second position, as chosen by the secondary parameter of A, and it will move at the speed chosen by control B. Whether the Tap switch latches or momentarily holds the secondary wah position is controlled by the secondary parameter of B (set to the left for non-latching, and to the right for latching). In this way, you can use the Hosta like a traditional wah, but controlled via the tap switch, rather than an expression pedal.

The last mode is Envelope mode, in which the wah is controlled by the intensity of the guitar signal, much like an envelope filter. In this mode, control A sets the threshold of the envelope detection and control B sets the sensitivity of the envelope detection circuit. You can then use the Tap/Ramp switch to toggle between filter up and filter down.

A few more extra features are available. One is the Exp/Tap jack, which allows you to either use an external tap connection to control the Tap/Ramp functions or an expression pedal (signal tip). An internal switch allows you to choose between expression and tap. Note: DO NOT plug in a TS cable for tap if you have the switch in expression mode, as it could damage the pedal. You can also choose whether the pedal defaults to on or off on power up by holding the On footswitch while plugging in power.

Whether he’s performing with AAL or one of his other projects; Mestis and T.R.A.M., Javier is a thoughtful player who knows what he wants, and most importantly – why he wants it. That thoughtfulness led Javier on a quest that led him to Fishman Fluence, and to the creation of his signature pickup set. Javier’s pickups are unique among other Fluence artist sets in that they reflect his desire for warmer passive tones, smooth musical top-end, and organic dynamics. And, like all Fishman Fluence pickups, the Javier Reyes signature set is Multi Voice and free from the hum, noise and frustrating inductance issues that plague even the most coveted wire-wound pickups.

Forget about having only four or eight blocks to work with. The MOD Dwarf's Quad-core 64 bit ARM CPU running at 1.3GHz offers no restrictions on the number of units you can use or the way you patch your signal. Would you like three delays, four pitch-shifter, five distortions and three amplifiers in the same patch?

No problem. Your patches, your rules.