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This is the Norman Line’s 12-string acoustic-electric model – originally designed for Serge Fiori of Quebecois progressive rock group, Harmonium. The B50 12 Natural SG Element sports a solid flame maple back and Sitka spruce top, along with a flame maple neck and Richlite fingerboard. LR Baggs’ Element pickup system rounds up the spec sheet. (from guitar.com)

This acoustic-electric dreadnought sports a Canadian wild cherry body, a solid Sitka spruce gloss top, and a silver leaf maple neck with a rosewood fingerboard. In terms of hardware and electronics, this guitar makes use of a Graph Tech saddle and nut, as well as a built-in Custom Godin QIT system, which boasts a EQ and frequency control range that’s been contoured to provide rich and full sound.

Like the Cherry Bomb, this mini-jumbo acoustic-electric features a Canadian wild cherry body, Sitka spruce top and silver leaf maple neck. Despite its “mini” tag, the guitar’s scale length is 25.5 inches and its nut is a slim 1.72 inches wide. This model comes equipped with a Fishman Sonitone preamp system for amplification, and is finished in a semi-gloss cherry burst.

The B18 Parlor Cherry Burst GT Q-Discrete, also known as the “Cherry Bomb”, is a small-sized acoustic with a huge sound! Strum away on its compact Canadian Wild Cherry Body and you will be amazed! The body is topped with a Solid Sitka Spruce Glossed Top, and joined by a conformable Silver Leaf Maple Neck and Rosewood Fretboard. The B18 Parlor Cherry Burst comes equipped with a Q-Discrete System, so you can find your voice in the crowd and turn it up when needed with the conveniently placed volume and tone knobs on the guitars’ top. Available options are compact Gig Bag or Parlor Deluxe TRIC Case. The B18 Parlor Cherry Burst GT Q-Discrete…made to push sonic boundaries!

We took your feedback and made our most comfortable and versatile headphones yet. Features include up to 27 hours’ run time, foldable design, on-headphone audio control, optional wired audio cable and discrete, built-in microphone for video/phone calls, along with support for Google Assistant & Apple Siri.

RockBoard PedalSafe Protective Covers are THE solution against drinks spilled out onto the stage as well as rain showers at open air festivals. Available for nearly all effects pedal formats in a perfectly fitting product variant, the clever design is tailored to the requirements at live performances. This means that the footswitches can be activated without any hindrance, the controls’ settings are visible but secured against unintended adjustments. With integrated QuickMount mounting plates, the system safely fastens into the slot grid of RockBoards – super tight but versatile enough for quick setup changes. Alternatively equipped with our universal pedal mounting plates, PedalsSafe is compatible with the pedalboards of most manufacturers.

The vintage ones cost more than your first car! This painstaking reissue features our Vintage 50’s Lipstick® Pickups, adjustable bridge, and other cool vintage touches.

Enjoy studio monitor sound in your headphones with Re-Head, a unique head-response plugin. Re-Head uses a head response model to recreate the effect of your head and skull on the audio coming in from your speakers. Together with stereo processing, impulse response treatment, EQ and more, Re-Head takes care of the most common problems associated with headphone use in professional work: unnatural sound and ear fatigue.

12 String Fling! If music is your life, meet your new life support system! German carved F hole Alder body with our classic Lipstick® Pickups. More warmth, more jangle, more twang than any 12 string ever. You can’t put it down. A sheer delight!

When offering a cool semi hollow electric guitar like a Colt, we knew it would open some demand. We listened and now off this gorgeous piece with enough horsepower to burn up any stage. Loaded with DMT designed pickups, a Piezo, and dual passive outputs, what else could you need? How about a real Bigsby bridge to put it over the top. This is the perfect guitar for anyone who like that warmth and flare of classic Rock and Roll to the complex Travis picking masters. Maple Neck and Body for depth and brightness balanced with an Ebony fingerboard to take the edge off with endless electronic options puts this guitar ahead of the herd.

The Blastripper parallel distortion/fuzz pedal is limited to just 40 units worldwide and the sale goes live on Reverb on 15 May. The pedal has three footswitches, one for each side of the effect, fuzz and distortion, plus a third footswitch that activates a gated boost for the distortion. Both sides of the parallel distortion have volume and gain knobs, with a red mix knob in the middle that blends between either side. The fuzz side also gets its own separate volume and tone controls.

The Amber Overdrive Custom is derived from Mad Professor’s Golden Cello – which boasts a distinctly stacked fuzz-stortion quality. But one of the more esoteric features of the Golden Cello was an onboard tape echo effect; which was appreciated by single-pedal players, but puzzled players with large pedal boards. What to do with a delay so early in a signal chain? The Amber Overdrive consolidates this matter by focusing on its drive section, derived from the Golden Cello. Albeit this time, this iteration of the circuit sports increased harmonic definition, presence and an increased output.

Modifications to the Stone Grey Distortion have kept today’s hi-gain players in mind, introducing to the original’s Sabbath-like tone some more modern characteristics. Specifically, adjustments have been made to increase the pedal’s gain, and to further notch its midrange. These adjustments were made inspired by “the sonic characteristics and touch sensitivity of a tight high quality 100-watt tube amplifier.” Mad Professor has said that this custom edition of the Stone Grey Distortion is ideal for players of rock and metal genres – adding that an“open minded hard rocker” would be pleasantly surprised at the pedal’s low gain capabilities.

The Big Tweedy Drive has been adjusted to accommodate some lower powered tweed characteristics, adding a slight amount of gain and compression, as well as a bigger low-end. The changes overall were made to add to the pedal’s range of tweed-territory tones – which can span high-powered gain to low and subtle drive.

Following up from customer feedback, the Dual Blue Delay now sports a revamped Short section, which is now designed to replicate its Deep Blue Delay pedal. This adds the ability to achieve darker sounding slapback echo – akin to some tones that Matt Schofield might use, according to the company. Modifications have also been made to clean up some of the low-end of the device’s Long section effect path, which can be used to “set the delay level high without the fear of overwhelming delay.” Finally, a new multi-head configuration – inspired by the Echorec’s 7th position – has been introduced, which now serves as the default setting, with the original version still toggleable.

Since its original release in 1964, the Mustang Bass has been one of Fender's most enduring bass designs, finding its way into the hands of bassists ranging from The Rolling Stones to My Chemical Romance. This updated version of the short-scale underground hero adds the power of our venerable P Bass® and J Bass® pickups to the traditional Mustang design for flexible, thunderous bass tone with smooth playing feel and slick visual style.

Since 1964 the Mustang model has been bringing Fender sound and style to the stage and the studio in the hands of trend-setting players ranging from Nirvana to The 1975. Upgraded with performance-oriented features, this new Mustang sports classic style with modern electronics in an ultra-comfortable short-scale form that's easy to play all night long.

Firstly, the Player Duo Sonic. This comes in both a dual-single coil configuration, and in a humbucker/single coil version. Both feature a C-shaped maple neck completing a relatively short 24-inch scale-length, with a 22-fret, 9.5-inch radius maple or pau ferro fretboard, depeding on finish choice. Both also sport a Six-saddle string-through hardtail Strat bridge, a master volume control, a master tone control and a three-way pickup switch. The humbucker model has a coil-split option too, meaning you still get that bridge-single-coil twang.

Invaders Amplification has launched the 720 Britt, a 20-watt dual-channel amplifier that, as its name suggests, is aimed at recreating that signature British amplifier voice. The hand-wired amplifier’s two channels come in the form of a Clean and a Drive channel, with the Clean channel approaching that classic crunch tone on higher gain settings, and the Drive channel ranging between medium overdrive to soaring high-gain.

Tweaking the platform of our Fault overdrive/distortion, we’ve carved out room for greater gain range, voice control, and clipping options in the Fault Version 2. The Fault remains a great overdrive with footswitchable second gain stage and three band EQ, and now excels as a clean boost and tweakable high gain distortion as well.

What’s up Brotato chip? You are probably reading this expecting a sonic description or a comparison to whatever classic amp it is supposed to be. Is it another Tube Screamer derivative? It could be a little of all of those but it isn’t and we have no clue how to describe it other than it is freakin killer. It sounds great through every amp we played it through and it sounds great with all styles of pickups and guitars. Buuuuut, we know everybody needs that reference so the best we can do is tell you it is very smooth, chewy and cuts through a mix. You can play country, rock, jazz or blues and it maintains an amazing feel.

ASTEROIDE lets you sample a note you’re playing by hitting a footswitch, the sampled note is memorized and played back following the input envelope. You can add lower and higher harmonics to give the sampled note a fat bass sound or organ like timbre.

You can sample two notes by switching into DUAL mode. Sampled notes will be played back as a chord.

ASTEROIDE can be useful if you want a simple bass line following your playing dinamically or create harmonically complex riff or chord progressions. Can be used in conjunction or as an alternative to loop recorders in some situations, altough loop recording lets you record and play back complex music patterns, they always suffer from the limitations and constraint of time, with ASTEROIDE you can go free on improvisation and timing of your playing.

The Gold-OC8 Nylon is the very first GOLD series Classical guitar with top-tier woods, materials, technology, and craftsmanship. Cort’s modern take on the oldest form of guitar, the GOLD-OC8 Nylon is built with Solid Engelmann Spruce (first to be used on Gold Series) for rich and full midrange, and is equipped with top of the line Fishman Flex Blend system.

“This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time,” wrote JHS on Sovtek’s Mike Matthews Red Army Overdrive; the inspiration behind the Crimson.

The sonic characteristics of the original, when compared to other Soviet Big Muffs, are said to be warmer, clearer and more defined. This is reflected in JHS’ Crimson, which is said to be an exact replica of Scott’s own Red Army OD. On this pedal, the special JHS Mode adds an extra boost to mid frequencies – which could be used to achieve fuzzy, soaring leads.

As you’ve probably guessed from the name, the Smiley is an ode to Ivor Arbiter’s legendary Fuzz Face pedal – the very same wielded by Jimi Hendrix as his fuzz of choice. This faithful adaptation replicates the silicon-era Fuzz Faces, carrying the behaviours and tones of the original. It even cleans up as the guitar’s volume control is rolled back. On the Smiley, the JHS Mode switch puts a spin on the original’s fuzz tones, send them into high-gain/gated-fuzz territory.

The Bender is a callback to the 60s introduced Sola Sound Tone Bender – specifically referencing a 1973 MK3 Silver/Orange “Onomatopoeia” version in Scott’s possession. The Bender sports three germanium transistors that bring the “touch, feel and response” of the original; while also incorporating some modern silicon-transistor-style accuracy. This model’s special JHS Mode boosts its gain and mid frequencies, giving you a quick way to cut through a mix.

Paying homage to Univox’s Super-Fuzz – the Supreme is an octave fuzz pedal that thickens up guitar signals considerably. Described as “an Octavia Fuzz that woke up on the wrong side of the bed”, this pedal is said to be immensely loud and delivers a vibrant fuzz tone that mimics an early 1972 edition of the Super-Fuzz.

For the second release in Monty’s signature series, we are delighted to have teamed up with the veritable guitar legend that is Bill Steer. Perhaps the most influential British Metal guitarist of the last 30 years, Bill is best known as a founder member of the band Carcass and as an early guitarist with the band Napalm Death. For his exceptional playing and musical innovations, Bill is widely regarded as one of the best metal guitarists in the world and is a true pioneer in the grindcore and death metal genres. Not a man content with being merely a master of the metal, Bill is also an incredible blues-rock guitarist, exhibiting both his guitar and vocal his talents in his band Firebird.

Bill asked us to make him a set of pickups that matched a high-output bridge pickup with a slightly less aggressive vintage-voiced neck pickup. In particular, he wanted both pickups to keep plenty of top-end sparkle and clean up really well. Simply put, he wanted a set of pickups as versatile as he is, able to cover a massive range of tones. Designing a bridge humbucker that fulfilled all these requirements meant departing from the typical formula; high output Humbuckers often end up using ceramic magnets and very thin wire, both of which keep things nice and tight at high gain but often make the pickup very flat and brittle as you turn down. We’ve used an Alnico 6 magnet instead, matching power with alnico warmth. We’ve also used an offset between the two coils, helping keep clarity and responsiveness despite the thinner wire. The neck pickup is a slightly more traditional affair, essentially an overwound version of our PAF pickup with an Alnico IV magnet, with a wonderfully full, thick sound that never loses clarity.

The PRS SE P20E is a parlor-sized acoustic with a big voice. The PRS P20E features all-mahogany construction, and has an organic, warm voice. Featuring PRS hybrid “X”/Classical bracing, which allows the top to freely vibrate, the SE P20E projects with even, bold tone. Its smaller size makes playing for hours fun and comfortable and allows for more convenient transport.

Parlor-sized acoustics can be miscategorized because of their size but make no mistake this is a professional-grade instrument. Plug in, and the Fishman GT1 pickup system delivers dynamic, organic tone, so whether writing, recording, or performing the P20E is sure to impress. This electronics system features an undersaddle pickup and soundhole mounted preamp with easy-to-access volume and tone controls, which essentially transforms what some may consider a “couch guitar” into a workhorse stage instrument.

Available in three satin finishes with herringbone rosettes and accents, PRS SE Parlor acoustics look as good as they sound. Other high-quality features include a solid mahogany top, ebony fretboard and bridge, bone nut and saddle, as well as PRS trademark bird inlays and headstock design. PRS SE Parlor acoustics come with a gig bag and are strung with 12-53 strings.

The PRS SE P20 is a parlor-sized acoustic with a big voice. Boasting traditional parlor features like sweet, midrange tone, historic vibe, and easy portability, the PRS SE P20 also brings a unique voice to players. The PRS hybrid “X”/Classical bracing locks down the back and sides while allowing the top to freely vibrate, allowing the PRS SE P20 to project with even, bold tone, while the all-mahogany construction provides an organic warmth to the guitar. Its smaller size keeps playing fun and comfortable for hours, so whether writing, recording, or performing the P20 is sure to impress.

Available in three satin finishes with herringbone rosettes and accents, PRS SE Parlor acoustics look as good as they sound. Other high-quality features include a solid mahogany top, ebony fretboard and bridge, bone nut and saddle, as well as PRS trademark bird inlays and headstock design. PRS SE Parlor acoustics come with a gig bag and are strung with 12-53 strings.