Both models feature a Mahogany body with a bolt-on Roasted Maple neck, a Rosewood fingerboard, 22 jumbo frets, and a 24.75-inch scale length. The neck has a Thin “C” profile, a 14-inch fingerboard radius, and White Pearloid block inlays. Hardware includes Schecter tuners, a Tune-O-Matic bridge with a Stopbar tailpiece, and black metal dome knobs.

Electronics are identical across both guitars, with a pair of Schecter ’78 humbuckers featuring black metal covers. Controls consist of master volume, master tone, and a three-way toggle switch.

The Charcoal Satin model pairs its Mahogany body with an Ash top, while the Blood Burst version gets a Flamed Maple top. Both feature black one-ply binding and black hardware.

At $499.99, the E-1 Standard models offer a relatively accessible entry point into Schecter’s single-cut lineup. Get ’em here.

The Frankenstein Custom is a faithful reproduction of the pickup found in Eddie’s iconic Frankenstein guitar from 2006. The Frankenstein Plus takes that original design in a hotter direction, offering increased output, harmonics, and sustain. Developed and approved by Eddie in 2013, it’s aimed at players looking for a little more firepower.

Meanwhile, the Frankenstein Classic draws inspiration from the early P.A.F. pickup tone heard across the first six Van Halen records. Like the other two models, it was developed and approved by Eddie himself.

Seymour Duncan’s relationship with Eddie dates back to the late 1970s, with the company’s Custom Shop meticulously reproducing the Frankenstein pickup in the early 2000s. The collection eventually expanded to include the Plus and Classic variations, representing different stages of Eddie’s tone evolution.

The new finishes bring some of the most recognizable guitar graphics in rock history to the pickup collection, giving players a few more ways to get that Frankenstein look alongside the familiar sounds. Get ’em here for $199 each.

Tracker+ and Tracker Mini users get access to an Open Synth SDK, which allows the community to develop additional synthesizer engines. The first additions are CHIP and DIRT, the latter a wave-shaping and distortion synth. All three devices also receive a modular sample editor effect and generator system, supporting up to 128 installed plugins with as many as 12 parameters each. Six reference plugins are included, covering tools like stereo delay, multi-mode filtering, and kick generation.

Another major addition is wavetable envelope and LFO modulation across seven instrument parameters, including volume, panning, cutoff, wavetable position, granular position, granular length, and finetune. Users can also load their own wavetable shapes, while new step effects provide additional control over wavetable envelopes and granular length.

The update also introduces hybrid SD card sample streaming for longer samples, reducing sample RAM usage by streaming audio directly from the card. Performance Mode now allows users to toggle between Sample Tracks and MIDI/Synth Tracks, while Slice and Beat Slice instruments gain a Play Thru option.

There are plenty of smaller but meaningful improvements, too. Dedicated Micro-move and Volume columns free up both pattern effect slots, Chance conditions gain additional sequencing options, and users can install custom color themes and fonts. The firmware also improves live recording, MIDI clock stability, audio rendering, project loading and saving, and real-time audio performance.

Get the Polyend Tracker here.

The Model 112 is the smaller rehearsal-oriented option, delivering 440 watts through a 12-inch woofer and a 1-inch compression driver with a 90-degree horn. The woofer handles 400 watts, while the compression driver gets 40 watts. Its frequency response spans 40Hz to 20kHz, and the cabinet weighs 21.7kg.

For larger performances, the Model 210 steps things up with 550 watts RMS through two 10-inch woofers and a 1-inch tweeter. Its bi-amp system delivers 510 watts to the woofers and 40 watts to the tweeter, with a 35Hz–20kHz frequency range and 2.5-way configuration. The 31.7kg cabinet includes a top-mounted handle, side transport handles, and removable casters.

Both amplifiers accommodate line-level instruments like synthesizers and drum machines, as well as guitar and bass preamps. They also share a four-channel onboard mixer, a microphone preamp on channel one, and a three-band Baxandall master EQ.

Connectivity includes Bluetooth 6.0 audio streaming, stereo linking for connecting a second amplifier, stereo XLR and 6.3mm outputs, and a stereo 6.3mm headphone output with dedicated volume control. Both models feature Tolex covering and vintage-style grille cloth.

The Moog Model 112 and Model 210 are available now for $799 and $999, respectively.

The Voclas’ vocal processing lineup includes EQ, Compressor, Morph, Double, Boost, Harmony, FX, Delay, and Reverb. The Morph module is particularly extensive, offering AT-Tune pitch correction alongside Vocoder, Talkbox, Robot, and Monster voice effects. Meanwhile, the Harmony module supports up to three simultaneous harmony voices, with four generation modes: Manual, Guitar Recognition, MIDI Recognition, and AI Automatic Vocal.

The FX module adds Wah, Tremolo, and Auto-Filter options, while multiple Delay and Reverb algorithms provide additional space and dimension. The EQ module also offers everything from straightforward presets to more detailed adjustments.

Beyond vocal processing, the Voclas includes a dedicated guitar chain with Clean Amp, Overdrive Amp, and Acoustic simulations. A built-in looper allows users to build layered performances, while flexible output routing makes it possible to assign vocal and instrument channels to different outputs.

The Voclas also supports external footswitches, expression pedals, and MIDI devices, alongside Bluetooth audio playback and USB audio. A color touchscreen with a mixer-style interface and a dedicated footswitch display handle on-device control.

Get the Hotone Voclas here for $499.99.

The Katana-25 features a custom 8-inch speaker and BOSS Tube Logic technology, which pairs the speaker with a reactive analog power section to deliver the dynamic response and feel associated with tube amplifiers. Its open-back cabinet is designed to produce a fuller sound despite the amp’s relatively small footprint.

Players get six amp characters covering everything from clean and acoustic-electric tones to high-gain metal, alongside more than 60 effects from the BOSS library. Up to five effects can be used simultaneously, with deeper editing available through the BOSS Tone Studio app.

The amp also includes 20 ready-to-play presets and 10 additional slots for custom sounds. Its onboard controls allow players to save and recall Tone Setting memories, adjust basic amp and effect parameters, use the built-in tuner, and set delay tempos without opening the app.

Katana-25 also features onboard Bluetooth for streaming music and connecting to BOSS Tone Studio. The app provides access to additional sounds through BOSS Tone Exchange, detailed effects editing, and a Session feature that lets players browse YouTube videos and set song timeline points to automatically trigger different amp memories while playing.

A Power Control switch offers full-power operation or a half-watt mode for quieter playing without sacrificing the amp’s intended response. Players can also expand their setup with optional FS-series footswitches, the FS-1-WL Wireless Footswitch, or EV-1-WL Wireless Expression Pedal. Get the Boss Katana-25 here for $199.99.

Chief among those is the new Preset Generator, which can take an audio reference and turn it into a playable, fully editable Massive XL patch. Stem separation is included as well, allowing producers to isolate elements of source material before turning them into something new.

There’s also a new Mutator and Randomizer for generating variations on existing sounds. Mutator uses similarity-aware changes while allowing users to preserve elements they already like, while individual modules can be randomized independently.

Native Instruments has also improved Massive’s Morpher and Animator tools, allowing movement to be performed, locked, transferred, and reused across presets. New Starting Point Templates provide factory defaults for jumping into sound design without necessarily beginning from scratch.

The synth’s sound library has grown considerably, with more than 100 new wavetables, including material from the original Massive and classic PPG wavetable content, alongside more than 100 new noise tables. Users can also create custom wavetables from imported samples and sample libraries.

Built-in effects include Native Instruments’ Raum, Replika Shimmer, and Tape Wobble, while polyphonic aftertouch support expands the synth’s expressive capabilities with compatible controllers.

Massive XL also puts a greater emphasis on making complex modulation easier to follow. Modulators are animated in real time, modulation sources affecting individual parameters can be quickly identified, and users can reveal all active modulation sources across a patch. The modulation environment includes drag-and-drop assignment, sidechain routing, envelopes, LFOs, Performers, Trackers, and 16 assignable macros.

Massive XL is available now for $199, with an introductory price of $99 through December 31. Massive X owners can upgrade for $69, or $49 during the introductory period, while owners of the original Massive can crossgrade for $129, or $79 through December 31.

The Spark Cab 2 packs 140 watts of Class D power, driving a 10-inch woofer and two 1-inch tweeters. Its full-range, flat-response design aims to deliver clean, balanced sound without coloring the tones produced by your amp models, presets, and patches.

Positive Grid has also revamped the cabinet’s interior construction and acoustics, moving to a premium wooden housing while upgrading the electronics, conversion stage, and signal path. The company says the refined cabinet voicing keeps the sound cleaner at higher volume levels.

Connectivity is another major part of the Spark Cab 2’s design. It features a dedicated 3.5mm stereo input for Spark amplifiers, two XLR/TRS combo inputs for microphones and line-level signals, and a balanced XLR Line Out with ground lift for connecting to a PA or another Spark Cab 2. USB-C and DC outputs can also power compatible Spark units, including the Spark Mini, Spark Go, Spark Pedal, Spark 2, and Spark 40.

The rear panel includes dedicated Speaker Volume and Line Out controls, along with a Contour control for shaping the sound. All of that is housed in a stage-ready wooden cabinet designed to remain relatively lightweight and portable.

Get the Spark Cab 2 here for $399.99.

As with their full-sized counterparts, the Plumes Jr. is aimed primarily at guitar while the Blumes Jr. is designed with bass, synths, and other low-frequency instruments in mind. Both retain the familiar Level, Gain, and Tone control layout despite moving everything into considerably smaller enclosures.

The biggest change comes from a new three-way toggle offering LED, op-amp, and MOSFET modes. The MOSFET option replaces the silicon clipping found on the standard versions and is designed to provide a more dynamic response and richer drive character.

The LED mode keeps the pedals’ familiar clipping option intact, while the op-amp setting operates without clipping for another flavor of drive.

Beyond that, the whole appeal here is pretty straightforward: these are compact versions of the Plumes and Blumes with an extra clipping option. The smaller footprint should make either one considerably easier to squeeze onto an already overcrowded pedalboard, while the Blumes Jr. Mod could be especially useful for bass, synths, baritone guitars, and other low-tuned instruments.

Both the EarthQuaker Devices Plumes Jr. and Blumes Jr. Mod are being produced as limited runs, so presumably they won’t be hanging around forever. Get the Plumes Jr. and Blumes Jr. Mod here for $129.99 each.

The new lineup consists of the Prophecy Victory FR, Les Paul Baritone, Les Paul, SG, and Flying V. Despite the different body shapes, there’s a common platform running throughout the series, including thermally aged and graphite-reinforced one-piece Maple necks with Epiphone’s new Hyperglide profile, bound Ebony fingerboards with a 10- to 14-inch compound radius, and 24 stainless steel frets.

Every model also comes loaded with a pair of custom-voiced Fishman Fluence pickups developed specifically for the Prophecy Series. The electronics provide three voices covering modern active humbucker tones, vintage-inspired PAF-style sounds, and single-coil-style tones.

Epiphone has mounted the pickups using its new DAPS, or Dual-Axis Pickup Stabilization, system. The body-anchored design eliminates traditional pickup rings while keeping the pickups parallel to the strings and allowing for height adjustment.

The Victory FR features a 25.5-inch scale, Mahogany body with a figured Flame Maple veneer, Floyd Rose 1000 Series tremolo, R3 locking nut, and Grover locking tuners.

For anyone looking to go lower, there’s the 27-inch-scale Les Paul Baritone. It ships with .012-.060 strings and is set up with tunings like B standard in mind. The regular Prophecy Les Paul moves to a 25.5-inch scale and combines an Ultra Modern weight-relieved Mahogany body with a Maple cap, figured Flame Maple veneer, contoured heel, and rear belly carve.

The SG and Flying V also feature 25.5-inch scales. The SG pairs a Mahogany SG Modern body with a Maple cap and figured veneer, while the Flying V gets a figured Flame Maple veneer, LockTone Modern bridge, through-body tailpiece, and locking Grover tuners.

All five models feature black nickel hardware and satin finishes, and each ships with a Protector Ultralite case. Each model in the Epiphone Prophecy Series runs $1,499, and you can shop ’em all here.