Without a doubt, 2025 has been Guitar World’s busiest for reviews, with a growing team of experts to test a huge variety of instruments, amps, pedals and software.
That’s reflected in this Gear Of The Year rundown – there’s just been so many highlights to cover. As well as our highest-scoring Platinum Award reviews, we have also asked our team to name their own personal highlights and it’s made for an inspiring collection that we hope you’ll enjoy. It’s also a good opportunity to reflect before we begin what’s sure to be a great 2026 for releases.
Platinum Award winners
We start our haul of 2025 favourites with the undisputed champions – the gear that was awarded 5/5 in every category to receive a coveted Guitar World Platinum Award. It’s a diverse elite group too, with classic and forward-thinking design represented.
Strandberg Boden N2 Original
The first of two well-deserved Platinum releases from the super Swedes
Matt Owen: “There have been only two pieces of gear that I’ve reviewed that have made me fundamentally rethink my approach to the guitar. The first was the Neural DSP Nano Cortex last year. In 2025 it is the Strandberg Boden N2 Original – a next-gen headless build from Ola Strandberg, which has opened my eyes to an entirely new way of playing the instrument.
“Headless guitars have enjoyed a meteoric renaissance over the past few years and it seems likely the N2 models, which overhauled the flagship Boden design, could represent another watershed moment for their fortunes. Never have I played a guitar that feels so effortlessly comfortable, so easily playable. The EndurNuck profile and contoured body may sound alien, but they sure as heck don’t feel it. The guitar fit me like a glove, and was unlike anything I’d played before. It helped the new tweaks – including the updated Fishman pickups – sounded so absurdly versatile, too.
“For what it’s worth, while Strandbergs may be seen as inherently prog-y guitars, the N2 changed my perception of that. I’d have no qualms playing this in my indie folk rock band. I said it in my review, and I’ll say it again: every guitar player needs to experience this at some point.”
Read more: Strandberg Boden N2 Original review
ToneWoodAmp2
If only more sequels were as good as this
Rob Laing: “Great ideas don’t mean much to guitarists without the execution, and the second ToneWoodAmp knocks it out the park for me on both fronts. Firstly it’s accessible to anyone who has an electro-acoustic guitar, even if that means a cheap soundhole pickup you’ve bought later. Secondly, it opens up a world of inspiring effects that are generated through the guitar’s body and out of its soundhole.
“Where ToneWoodAmp has really gone even further this time is with the design and added features. It now has a USB-C rechargeable battery that lasts longer, but its companion app (and honestly sometimes I groan when I see hardware that uses apps) is actually really good and unlocks the preamp side, which is a whole other story. It’s a toolbox of EQ shaping and feedback taming that’s really tailored for empowering live acoustic players.
“I think you’ll not just play your acoustic guitar more with this, but you will play better-sounding gigs too.”
Read more: ToneWoodAmp2 review
Epiphone Bonehead Riviera
The best of the Oasis trilogy
Dave Burrluck: “Not only is this Riviera the most Oasis-relevant guitar of the recently launched trio, it’s the most affordable too. As a modern repro of a design that was launched back in 1958 as the Gibson ES-335 it’s not bringing anything new to the table either but that’s not the point. It’s simply a celebration of a guitar that launched a phenomenon and, as Bonehead states, is still in his hands today.
“Step away from the Bonehead/Oasis connection, however, and this Riviera remains a very good and very functional ES-335-alike. The playing, the songs and the style are down to you!”
Read more: Epiphone Bonehead Riviera review
Fender American Professional Classic Stratocaster
A new Fender series – with old values
Dave Burrluck: “While this new American Professional Classic platform doesn’t reinvent Fender’s decades-old designs, this Stratocaster is not only crisply made but really hard to put down.
“It’s a well-sorted fluid player while the ‘hot vintage’ Coastline pickups kick in a little additional fullness that works extremely well on rockier amp voicings without really losing any of the classic Fender voice played clean. No fuss: it’s a superb and well-priced working tool with a well-considered vintage/modern blend.”
Read more: Fender American Professional Classic Stratocaster review
Warm Audio Throne Of Tone
This best of both drives?
Paul Riario: “For me, Boost mode is the true highlight here — whether you’re in King or Blues voicing — and an ideal springboard to begin carving out a noteworthy tone. And even if the ToT doesn’t fully capture the “it” factor of the original King of Tone, I stand by my assertion that the Throne of Tone comes imperceptibly close as a near-sonic replication of it, complete with all its nuanced goodness. And that’s enough for me to say, it’s a keeper.”
Read more: Warm Audio Throne Of Tone pedal review
PRS S2 Mira 594 Satin
A USA-made PRS at a surprisingly palatable price
Dave Burrluck: “While many of us have admired the superb craft of PRS’s USA-made guitars over the past four decades, not everyone has enjoyed the inevitable cost, not to mention the often opulent presentation. Well, if that’s you then this new S2 Mira 594 might have your name on it. It’s a stripped-down down bare-bones guitar but doesn’t cut any corners that matter and has a wide range of pretty classic humbucker and single coil voices that ooze quality.”
Read more: PRS S2 Mira 594 Satin review
Tone King Imperial Tri Tube Preamp
The Tone King scales down in size – and price!
Connor Flys: “It does complex things in a simple way, and does them incredibly well. Its feature set is comprehensive and its sounds are stunning. If you think of it merely as ‘a pedal’, you might decry its price tag – but if you view it as an ultra-flexible way into the Tone King sound for a quarter of the price, and a fraction of the size and weight of the amp it’s based on, then what a compelling prospect this is.”
Read more: Tone King Imperial Tri Tube Preamp review
Strandberg N2 Boden Standard
Strandberg’s other N2 is much more than standard
Phil Weller: “Unlike Matt, I’ve been a Strandberg convert for five years. Similarly, though, it was revolutionary for my playing too. The angular EndurNeck immediately made sense, its tones proved versatile, and its portability unmatched.
“For me, the arrival of the N2 Boden Standard underscores everything that makes Strandberg’s builds outstanding. The next generation of its slightly more budget-minded version – although $1,799 isn’t exactly cheap – offers some choice improvements, while doubling down on its greatest features.
“Its refined forearm contour and thinner body somehow make it an even more superbly cosy instrument, and its buttery playability is even better. From the very first note I played, it felt like we’d spent a lifetime together already, and putting it down was difficult.
“The EGS Series 7 tremolo sees tuning stability even more rock solid, but the change that had me grinning the most is the addition of Seymour Duncan‘s beastly Sentient/Pegasus humbuckers, in place of own-brand designs. They feel like the perfect match for a Strandberg, juxtaposing the space-age design with a more earthly quality, and offering more than just djent tones – this is a guitar that’s suitable for just about any gig you throw at it.”
Read more: Strandberg N2 Boden Standard
TWA Source Code
The Tube Screamer’s designer evolves the blueprint
Paul Riario: “I personally find the Source Code essential when paired with single coils in delivering that robust and stinging SRV-tone with snap. And alternatively, with humbuckers, it acts just the same, albeit with more brawn. What’s neat is the Source Code’s slight compression manages to let the pedal breathe, resulting in a wide-open response. How good is it? Put it this way: I don’t use a Tube Screamer often, but if I did, the Source Code is the one I’ll be grabbing.”
Read more: TWA Source Code review
PRS SE NF 53
A PRS for non-believers?
Who cares where it’s made, this is a workingman’s tool pure and simple: any guitar player could use one
Dave Burrluck: “If you just think PRS make guitars for well-heeled doctors and dentists you might have to change your opinion here. Bird inlays aside there’s zero bling and this comes across as a real working guitar that could sit in pretty much any style you can muster.
“It might appear bare-bones to some but there’s nothing basic about the build, feel or sounds or the tuning stability. Who cares where it’s made, this is a workingman’s tool pure and simple: any guitar player could use one, which might well qualify it as the most essential guitar yet of 2025.”
Read more: PRS SE NF 53 review
Boss XS-1 Poly Shifter
Boss‘s R&D pays off big time in a compact pedal
It was the underdog XS-1 that, for me at least, proved the real winner of a project Boss has spent years working on
Phil Weller: “With the XS-100, pedal heavyweights Boss presented the first like-for-like rival to the long-undisputed pitch-shifting king, the DigiTech Whammy. Yet, even with crystal clear pitching and an expansive eight-octave range, its digital menu felt a little convoluted and undermined its magic.
“So it was the underdog XS-1 that, for me at least, proved the real winner of a project Boss has spent years working on. Arriving in the standard Boss pedal format, it doesn’t quite have the same roster of features, but the incredibly accurate, artefact-free shifting – which puts DigiTech and Neural DSP to shame – remains. That makes it a brilliant tool for the stage, but I found its Balance dial delighted me the most. From adding a little discordance to chugs, through to subtle and not-so-subtle octaver grit, I find that it reshapes the effect in a litany of exciting ways.
“That’s seen it join my live rig alongside my Whammy. It does away with the extraneous nonsense and instead serves up an easy-to-use and very dynamic pedal that does far more than its comparatively diminutive form had me assume.”
Read more: Boss XS-1 Poly Shifter review
Electric guitars
Gretsch Synchromatic Falcon
The iconic bird for less outlay
Daryl Roberston: “For as long as I can remember, I’ve always loved Gretsch’s White Falcon. This ostentatious, giant hollow body is dripping with retro charm and is a timeless classic in my mind. Now, despite my love of the model, I’ve never really come close to purchasing one. Unfortunately, this beautiful guitar comes with a rather large price tag to match its enormous outline.
It’s clear that Gretsch threw everything they had at this guitar
“Well, that is until now. I was beyond excited when Gretsch announced that they were finally making an affordable Falcon, and when I got my hands on it, it more than lived up to my sky-high expectations. Boasting the typical 2.5-inch deep maple body with a semi-acoustic bracing, an ebony fingerboard, and a real bone nut, along with a Bigsby B60 and a set of Hi-Fidelity Filter’Tron pickups, it’s clear that Gretsch threw everything they had at this guitar.
“For me, the maple neck had a very comfortable, soft C profile. It also features that classic 25.5” scale length and a flat 12” radius. Honestly, it’s a model that fits my hands perfectly, and I found it difficult to put down. More importantly, it had the sound to match. That iconic Gretsch spank was available in spades, with a bright and characterful tone that seemed to eat country licks for breakfast.”
Read more: Gretsch Synchromatic Falcon review
Jet Guitars JJ-300 P90
Setting a new benchmark for affordable guitar value
Neville Marten: “Sure, the pickups aren’t what you’d get in instruments from Anderson, Eggle, Schecter or other ‘boutique’ makers, but they offer a range of classy tones that suit each instrument well. And, as Jet itself says, these guitars are eminently pimpable.
“More than anything else, though, the overall quality on display here took us totally by surprise. Had we been told the guitars cost £600, £800 or even £1,000 we would have had no reason to doubt it.”
Read more: Jet Guitars JJ-300 P90 review
Jackson Pro Plus Series Signature Misha Mansoor Juggernaut ET6
The ever-excellent Evertune finds a perfect match
“As someone who has the privilege of regularly reviewing guitar gear, it’s a rare thing indeed when something comes along and completely subverts my expectations of what a guitar should be. From a purely aesthetic perspective, the Jackson Pro Plus Series Signature Misha Mansoor Juggernaut ET6 is just another sharp-edged super-Strat with dual humbuckers and a pointy headstock, but my experience playing it was revelatory.
“The epicenter of that experience is the EverTune bridge, which is one of those mechanisms that is slowly revolutionizing the electric guitar in the same way that the Floyd Rose did when it rose to popularity in the 80s. Rather than being an apparatus for guitar histrionics, the EverTune is all about machine-like precision in the pursuit of a cure to tuning instability.
“The EverTune doesn’t care about the environmental conditions, how far you bend the strings, how hard you push down with your fretting hand, nor how forcefully you dig in with your pick. It doesn’t even care what tuning you’re in. Once set up, it stays in tune and is perfectly intonated all across the fretboard, which makes playing the Juggernaut ET6 an otherworldly experience, and one that has stuck with me all year.”
Gibson Les Paul Studio Session
A lighter Les Paul that blurs the lines for what a Studio model is
Daryl Robertson: “Personally, I can’t help but feel the Studio line is becoming a little bloated and confusing. With a quad of models all presenting slight variations on a common theme, it could be argued that Gibson should streamline the offering to a standard Studio, which retains its traditional appointments, and the Studio Session, which offers players something a little more contemporary, without straying too far from Gibson’s well-trodden path.
There’s now an even stronger argument to be made that the entire line could be distilled down to just this single guitar
Heck, Gibson’s own marketing calls the new Studio Session “The One,” so there’s now an even stronger argument to be made that the entire line could be distilled down to just this single guitar – something I’d totally be on board with if I’m honest.
“The Session successfully combines all the best elements from each of the other Studios, such as vintage styling and sound, modern playability, and a firey top that belongs on a Standard, and for that reason, I think it’s by far the best value Studio Gibson currently offers.”
Read more: Gibson Les Paul Studio Session review
Orangewood Del Sol baritone
A different approach to baritone that delivers
Matt McCracken: “Baritone guitars can be cumbersome creatures when you first pick one up, the extended scale length providing an added challenge for even the most experienced guitarist. This wasn’t quite the case when I picked up the Orangewood Del Sol Baritone, which, despite the initially monstrous feeling 27.5-inch scale, has a 43mm nut to keep the neck proportions closer to those of a regular electric guitar.
The P-90s are superbly voiced for the instrument, complementing its bassy tendencies with a mid-range focus
“Yes, some adjustment is required, but once I got used to it, I found myself flying across the neck without much thought to the additional scale length. The hefty 13-72 gauge strings might imply a skew towards the low end, but the semi-hollow body proffers an airy intelligibility, even when playing open chords near the nut.
“The P-90s are superbly voiced for the instrument, complementing its bassy tendencies with a mid-range focus. The phase switch unlocks an additional tone element that cuts through nicely when playing with a full band, and it brilliantly straddles the line between bass and guitar, with fingerpicking unlocking the round, and warm tones of a bass, while digging in with a pick delivers rock and roll guitar tones with some serious heft.”
Read more: Orangewood Del Sol review
Acoustic guitars
Bourgeois Slope D Standard T/S
Masterful
David Mead: When faced with the idea that it’s possible to get an extremely high-quality instrument for a fraction of the price of a bespoke handmade affair, you’d be right to be cynical.
“After all, we know that if something seems too good to be true, it often is just that. But that’s not the case here. Bourgeois and Eastman have managed to produce a guitar that sounds far more expensive than its price tag would indicate.
“Seek one out – but hold onto your socks, because they’re likely to be blown off!”
Read more: Bourgeois Slope D Standard T/S review
LR Baggs AEG-1
Amplified acoustic guitar sound levels up
Neville Marten: “It’s several hundred more than even a US-made Fender Acoustasonic, but while there’s no magnetic pickup for those electric tones, O really like the simpler, uncompromising proposition the AEG-1 offers.
“It’s hard to successfully describe ‘tone’, but if you’re a gigging acoustic guitarist you need to get down to your nearest dealer to try an AEG-1 soon. I think you’ll be bowled over.”
Read more: LR Baggs AEG-1 review
Taylor 314ce Studio
A serious US Taylor for less
Jamie Dickson: “Combined with Taylor’s slinky playability, the ES2 makes the 314ce a serious live performance tool. Overall, it adds up to a rather charming package that, while not cheap, is fairly priced (with premium gig bag included), crisply built and shines like a gem on the live stage.”
Read more: Taylor 314ce Studio review
Fender Standard Acoustasonic Telecaster
The Acoustasonic finally finds a more universal price point
Rob Laing: “This feels and plays very much like the Acoustasonics I’ve enjoyed in the past and I’m glad more people will be able to sample that. There’s nothing directly comparable in terms of quality and combination in this price range either.
“So let’s take stock. You lose the Fender nice soft case of the Player, the Fishman ‘imaging’ and overdriven voices and arguably, based on my experience, a better unplugged performance. But honestly, I don’t feel that adds up to $600. Perhaps it will for others. But I would choose these Standard models over the Player options if I were new to the Acoustasonic. And they make fantastic house guitars too.”
Read more: Fender Standard Acoustasonic Telecaster review
Martin GPE Inception Maple
Martin’s progressive spirit thrills here
Jamie Dickson: “Anyone buying a high-end guitar knows it’s often a game of diminishing returns. But with the Maple GPE Inception, Martin offers something new, compelling and powerful – and if it speaks to you, you’ll find yourself in possession of a real thoroughbred.”
Read more: Martin GPE Inception Maple review
Guitar pedals
Hotone NC-200 Verbera reverb
An unexpected delight from Hotone
Daryl Robertson: “When it comes to guitar tones, I like to keep things simple. Give me bold, in-your-face rock tones, minimal effects, and loads of saturation. So, as you can probably guess, I’m not usually the dreamy-reverb type. But then the Hotone NC-200 landed in my hands, and, well, everything changed. I found this dual-engine reverb to be genuinely inspiring, and it had me rethinking my current approach to stompboxes.
It had me rethinking my current approach to stompboxes
“Packed with both real spaces, thanks to IR convolution, and some seriously clever algorithmic reverbs, this pedal pretty much covers every reverb vibe you could ever want. And while the sounds are definitely top-shelf, it was the ease of use that truly won me over. I’ve never met a pedal with this many features that was also simple to use. With so much packed inside, I braced myself for a headache, but nope, every knob is clearly labeled, and those colorful LED rings keep you in the loop so you always know what you’re tweaking.
“So, I’d say if the idea of jumping into the world of modern reverb pedals freaks you out a little, give the Hotone NC-200 a shot. I haven’t found another pedal that’s this packed with sounds and features and this intuitive.”
Read more: Hotone NC-200 Verbera reverb pedal review
Boss RT-2 Rotary Ensemble
A little leslie
Alex Lynham: “This is an excellent-looking, intuitive pedal. Luckily, it also has sounds to match, and enough versatility to earn its space on even a tight pedalboard.
“There’s not much to tell between the modes – a wasted opportunity perhaps – but there are excellent sounds in here. It’s a best-in-class rotary emulation and a serviceable Uni-Vibe style effect. Does it perfectly match the deep phase tone of the Uni-Vibe? No, but it’s close enough.”
Read more: Boss RT-2 Rotary Ensemble review
Strymon EC-1 Single Head dTape Delay
The kings of filtering vintage inspiration through DSP know-how
Daryl Robertson: “One of the standout features for me is the tape age dial. It’s incredibly valuable for fine-tuning the delay sound. By adjusting this dial, I can simulate the natural wear and deterioration of vintage tape, which adds subtle variations and character to the repeats. I love how I can create everything from crisp, clear delays to more textured, lo-fi sounds, depending on how far I push the dial. This flexibility makes the EC-1 not only versatile but also deeply satisfying to use.
“Simply put, the Strymon EC-1 is a fantastic delay pedal that really shines when it comes to sound quality. It really nails those classic tape delay vibes and isn’t afraid to model the uglier side of the machine, too.”
Read more: Strymon EC-1 Single Head dTape Echo pedal review
Crazy Tube Circuits Venus
Dual engine ambience
Trevor Curwen: “While all of the reverbs are available for individual use, it’s the stacking of two together that’s going to be the attraction here for players who like to get creative. With the pick ’n’ mix selection of both traditional and esoteric reverbs (256 combinations with R1 and R2 used together!), there’s plenty of scope to craft some unique ambient textures.
“The Mirage positively celebrates being intuitive and hands-on with no menus. Its routing flexibility, creative sonic potential and performance options could make it a solid reality on your pedalboard.”
Read more: Crazy Tube Circuits Mirage review
TC Electronic Dittoo 2 Looper
A update worth waiting for
Matt McCracken: “As far as single-button loopers go, the TC Electronic Ditto 2 stakes its claim to take over from the OG Ditto with aplomb. It doesn’t do a huge amount different to the original, but the addition of the companion app and clever ‘loop snap’ function definitely make it a great looper for beginners or those who just need simple functionality for their practice regimen or live playing.”
Read more: TC Electronic Ditto 2 Looper review
Modeling and recording
Line 6 Helix Stadium XL Floor
A new flagship impresses onstage
Pete Emery: “The original Helix made quite a splash when it was first launched back in 2015, and is arguably one of the pieces of gear that made digital modeling commonplace in the rigs of working guitar players. So, following up on it was always going to be a tough job, but in 2025, Line 6 successfully managed to do exactly that with the Helix Stadium XL.
The tones feel more responsive under the fingers compared to the old Helix
“Featuring Line 6’s all-new Agoura amp modeling technology as well as upgraded inputs, the tones feel more responsive under the fingers compared to the old Helix, but the highlight for me is just how easy the unit is to use.
“With a responsive 8” high definition touch screen and wireless connectivity, plus successful features carried over from Helix, like the Scribble Strips and Mini Encoders, getting up and running with the Stadium takes no time at all. Having gigged it as part of the review process, I’d argue that this is the easiest modeler to use live.”
Neural DSP Archetype: John Mayer X
Your plugin is a wonderland
Pete Emery: “Most of us will not be able to get the real amplifiers modeled here, so it’s a real treat to be able to recreate those tones within the plugin at sensible home-friendly volumes, even considering the streamlined controls of the Headroom Hero and Signature 83. With the included pedals, Neural has convincingly recreated the important parts of John’s rig.”
Read more: Neural DSP Archetype: John Mayer X review
Neural DSP Archetype: Misha Mansoor X
2025 wasn’t just about John Mayer for Neural
Phil Weller: “It felt inevitable that Captain Djent, Misha Mansoor, would get a signature guitar plugin with Neural DSP sooner or later. As a big fan of Neural DSP plugins, the feature laden release was exciting news, and as it was installing, I was licking my lips at its prospects, but I found there to be some pleasant surprises.
Its clean amp is a pedal platform chameleon
“It’s worth noting, from the off, that pretty much everything it does, it does to the Finnish firm’s exactingly high standards. But there are two features that see me returning to the plugin instead of its stablemates, a-la Archetype Gojira and the Nameless Suite.
“Its clean amp is a pedal platform chameleon; capable of crystalline cleans to crushing distortions and everything in between, taking whatever pedals and effects I throw at it superbly. Its Laser pedal is a toy box of weird noise-making delights, and its Chaos pedal is great for adding a little more spice to heavy guitar tones.
“While I was a little disappointed by its Lead amp, and haven’t enjoyed its Glitch pedal as much as I’d expected to, it still stands as a hugely versatile plugin, and it’s become a valuable part of my day-to-day usage.”
Read more: Neural DSP Archetype: Misha Mansoor X review
Blackstar Polar Go
An inspired Blackstar left-turn
Rob Laing: “This was a big key to inspiration for me this year, and quite unexpected an move from Blackstar – a brand mostly associated with electric guitar. While it had entered the interface market with the previous Polars, a mobile version with onboard condenser apps must have caught plenty of people off guard. Including me. A bigger surprise was just how good the results sound.
This is my favourite gear surprise of 2025
“If you’re an acoustic musician or a podcaster this is an incredible tool for your phone. The app allows you to dial in a preset to save to the device or edit on the fly, with huge reverb scope. The results became the base for some recordings of my own songs I’d been putting off tracking, which is crazy considering I was recording vocals and acoustic guitar live through the Polar Go. This is my favourite gear surprise of 2025. “
Read more: Blackstar Polar Go review
Universal Audio Paradise Guitar Studio
A heavenly amp collection at the click of a trackpad
I think this could be a great intro for players who are new to plugins
Rob Laing: “I really struggle with option paralysis when it comes to digital modeling, so the more curated approach of UA with its cabs and less-is-more amp models appeals to me. The Paradise Guitar Studio encapsulates that, rounding up the individual Dream, Ruby and Lion amp plugins I’ve become familar with, but adding in the Woodrow and Enigmatic too, alongside UA’s excellent effects and studio tools.
“The user interface is really user-friendly (I think this could be a great intro for players who are new to plugins) and the sounds are a tour de force of classic amps, with inspiring presets that are a great jumping off point for ideas. You could make great records with this, or just have fun exploring.”
Guitar amps
Orange Baby 100 Series
A triple threat
Martin Smith: “The tone these amps produce is classic Orange, with all the top-end presence and low-end grind that you’d hope for. The Class A/B power section has a responsiveness that is inviting and familiar to seasoned valve amp users, requiring little-to-no time to get used to.
“Here, Orange has distilled its distinctive tone and styling into a no-faff, highly practical gig solution for modern use. The sound is as impressive as expected and I can imagine them becoming perennial darlings of travelling bands and sound hire companies alike with good justification.”
Read more: Orange Baby 100 Series review
Fender Super ’62
New combo, old school thrills
Martin Smith: “This brown-panel classic is the perfect vessel to navigate lesser-plundered sonic waters between the tweed crunch and the black-panel twang, to a place where volume meets saturation with boatloads of gooey, vintage vibe. All aboard the good ship Super. Bon voyage!”
Bad Cat Mod Shop Black Cat 30
A testament to the late Mark Sampson’s brilliance
Martin Smith: “This bolder, louder version of the classic Black Cat amplifier retails for a couple of hundred dollars more than the original and is well below the cost of the Hand Wired series. For this outlay you get a tighter, louder and gutsier tone from an already stellar-sounding amp.
“All in all, this initial Black Cat Mod Shop edition is a hugely desirable combo befitting of both Bad Cat and Mark Sampson’s legacy.”
Read more: Bad Cat Mod Shop Black Cat 30 review
Victory V40 The Duchess MkII
The Brits deliver again
Pete Emery: “When I’m out gigging and have the chance to move some air on stage, I’m often running an amp as a pedal platform to show off a carefully curated board. This is exactly what the Duchess range from Victory Amplification is built for.
My favourite pedal platform amp
“The first version of the Duchess was well received, and deservedly so, with stellar clean and edge-of-breakup sounds. Rather than mess with a winning formula, the MKII range builds on this with some tweaks inspired by Victory’s renowned MK amps.
“These tweaks included changes to the Mid and Voice switches. In the Duchess MKII, these are three-position switches that allow the amps to be adjusted to suit any pedalboard setup, leading the Duchess MKII to be my favourite pedal platform amp.”
Read more: Victory V40 The Duchess MK II Deluxe Combo and Lunch Box head review
Blackstar ID:X 50
A lot of amp for the money
Matt Owen: “From a design perspective, the overhauled control panel is subtle but effective and lends itself to a genuinely intuitive and inspiring playing experience. The tones are up to scratch, the extended features are impressive – especially CabRig – and it’s well positioned as an at-home amp that can cater to bedroom practice, recording and small gigs.
“In the end, the discourse surrounding whether the ID:X can take the Katana’s crown seems redundant. It is, in its own right, an excellent and competitively priced modeling amp that will no doubt be the right tool for many players.”
Read more: Blackstar ID:X 50 review
Laney LFSUPER60-112 Combo
Light in weight, heavy on solid-state value
Martin Smith: “Here’s an amp that I thoroughly enjoyed using. Its ability to speak with a valve-like voice at stage levels in a package that’s liftable with one hand is something many of us could only have dreamed of in my younger days.
“The flawless integration of the effects and speaker emulation is a testament to Black Country Customs’ efforts, too.”
Read more: Laney LFSUPER60-112 Combo review
Vox AC30X, AC15X and AC4 Hand-Wired
Re-engineered and iconic
Martin Smith: “While boutique amp makers have built a variety of amplifiers inspired by or based on the Vox circuit – widening the palette in a variety of ways with a plethora of expanded features – Vox itself has managed to reformulate its own unique DNA with this handsome family of Hand‑Wired amplifiers.
These amps are still significantly cheaper than well-known US boutique offerings
“The addition of spring reverb and effects loop, expanding the possibilities for delay and modulation effects, is well implemented without any impediment to the core sound. The design and build quality is impressive, and the efforts Vox R&D has put into replicating the power section performance of the originals, with less interference, has paid off sonically.
“The retail price is significant in comparison to that of the more modest Custom models in the Vox catalogue, but these amps are still significantly cheaper than well-known US boutique offerings.”
Read more: Vox AC30X, AC15X and AC4 Hand-Wired review
Bass gear
Darkglass Anagram
Stuart Williams: “There are many reasons to love the Anagram, starting with the fact that it’s a pretty comprehensive set of sounds, aimed at bassists first. This corner of the market has been dominated by the Line 6 HX Stomp, which includes many strengths, but there’s no denying that it was designed with guitar players in mind.
The Anagram flips this on its head to create a well-stocked (for the most part) unit that delivers quality first.
“The most appealing thing about the Anagram is its do-it-all nature. From incredibly high-quality tones and features for practicing on headphones, studio use or as a ‘fly rig’ solution with very few compromises, it delivers.”
Read more: Darkglass Anagram review
Tobias Growler IV
Connor Flys: “When it comes to my favourite instrument this year, I loved the Epiphone 1960 Les Paul Special, and the Strandberg Boden N2 was nothing short of a revelation. But the one that sticks in my mind, months later? The Tobias Growler. Such a fantastic, comfortable bass to play, and the unique preamp design is a master stroke. I also love that it revives a cool old model with an interesting story.”
Read more: Tobias Growler IV review
EarthQuaker Devices Chelsea Low End Fuzz Driver Pedal
Alex Lynham: “While it’s a versatile pedal, the Chelsea particularly shines on bass, which makes sense, as that’s how it’s used in LCD Soundsystem. Still, on guitar it’s no slacker, and if you want a uniquely-voiced version 6 Big Muff then look no further.”
Read more: EarthQuaker Devices Chelsea Low End Fuzz Driver Pedal
MXR Bass Synth
Connor Flys: “It’s been a jam-packed first year of review-writing for me; coming up with favourites has been a challenge. Complicating matters further, I’ve been writing about both guitars and basses, meaning an even wider array of things to choose from.
“My favourite pedal of the year was very nearly the superb Fortin Meshuggah preamp, which could demolish a row of houses with a single ‘djent’. But the one that really wowed me, to the point where I’ve decided it’ll one day become part of my own setup, was the MXR Bass Synth. Remarkable to see how much Dunlop and Ian Martin Allison managed to squeeze into such a small box, and the sheer adjustability and quality of the sounds was amazing.”
Read more: MXR Bass Synth pedal review
Shergold Telstar Standard Bass
Stuart Williams: “Not all bassists are guitarists, but let’s be honest, all guitarists consider themselves some-time bass players, don’t they?
“The Telstar lends itself perfectly to this application, whether it’s for use at home, on the stage or for recording, it’s bursting with staple sounds. So are many other basses, but Shergold has managed to bring something to the table that checks most of the boxes.
“It sounds great, bridges the gap between guitar and bass-playing very nicely, and its done so with heaps of character from the visual design points, tonal offering and overall styling.”
Read more: Shergold Telstar Standard Bass SBT14 review
Squier Classic Vibe Telecaster Bass
Connor Flys: “This bass’s speciality is providing fat, rich, vintage-tinged low-end in spades, which ought to earn it an audition given its competitive price tag. It’s also a well-built, great-looking instrument that’s immensely likable. Keep an eye out for the Telecaster Bass – maybe we’ll see it hit more stages in the coming years.”
Read more: Squier Classic Vibe Telecaster Bass review
