Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
Norse Guitar Feeds
“It was hell”: Steve Lillywhite on producing The Rolling Stones at their most divided
Grammy-winning producer Steve Lillywhite has opened up about one of the toughest studio experiences of his career, describing his time working with The Rolling Stones as “hell”.
Speaking on the Word in Your Ear podcast, Lillywhite reflects on producing the band’s 1986 album Dirty Work – a record made during one of the most tumultuous periods in the Stones’ history.
According to the producer, tensions between Mick Jagger and Keith Richards at the time were running so high that the two barely interacted in the studio.
“I worked with Keith and Mick when they were not talking to each other at all,” Lilywhite recalls [via UCR], noting that the pair spoke to one another for “maybe one hour out of the whole time that we were making the record.”
“It was hell,” he adds. “They literally weren’t [in the same room].”
With the band’s two creative figureheads keeping their distance, Lilywhite found himself stuck in the middle, relaying messages back and forth between them: “I would have one come up to me go ‘blah blah blah blah. And I would go and say [the message] to the other one. And he would go, ‘You tell him, blah blah blah blah.’”
“I say I was [American diplomat] Henry Kissinger.”
Despite the challenges, the producer says the experience left a lasting mark on how he approaches recording sessions. One key lesson? Keep the studio doors open.
“I learned this from The Rolling Stones: Never stop people coming into the studio. Always have an open-door policy,” he says.
“When people come in, and they listen to something, I sort of hear it through their ears. So there might be something that I’m, subconsciously, I’m thinking it’s not quite right, but it hasn’t come to the conscious yet. Whereas when someone’s in there listening, and I’m playing them a rough mix, I go, ‘Got it. Now I know what we have to change.’”
The post “It was hell”: Steve Lillywhite on producing The Rolling Stones at their most divided appeared first on Guitar.com | All Things Guitar.
Sharon Osbourne in talks with Live Nation to revive Ozzfest: “It was something Ozzy was very passionate about”
Sharon Osbourne has revealed she’s in early discussions about resurrecting Ozzfest, the iconic metal festival she co-founded three decades ago alongside her late husband, Black Sabbath legend Ozzy Osbourne.
Speaking in a new interview with Billboard, the longtime manager – who guided Ozzy’s solo career for decades – confirms she is “talking to [concert promoters] Live Nation” about bringing the event back, with a tentative return pencilled in for 2027. While Ozzfest built its reputation on heavy music, Sharon explains that the revived edition could incorporate artists outside the traditional rock and metal sphere. “I’d like to mix up the genres,” she says.
“It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people,” she adds. “We really started metal festivals in this country. It was [replicated but] never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”
Launched in 1996 after Lollapalooza declined to book Ozzy, Ozzfest began as a short run of dates in Phoenix, Arizona and San Bernardino, California. Ozzy headlined the inaugural shows, backed by a bill stacked with heavy hitters including Slayer, Danzig, Biohazard and Sepultura.
From there, the festival quickly evolved into a proving ground for the next generation of heavy acts. Slipknot, Limp Bizkit and System Of A Down were among the now-household names that appeared on the tour around the time of their debut releases.
Ozzfest eventually expanded beyond the US, spawning international editions in the UK, Germany, Belgium and Japan. Its last outing was a one-off event in Inglewood, California in 2018.
Sharon previously spoke about the festival’s disappearance in 2023, attributing its cancellation after over two decades to “greedy” management.
“We made a profit. But it was not like – we couldn’t retire on it,” she said on The Osbournes Podcast. “And managers and agents wanted more and more and more, and it just wasn’t cost-effective anymore. We stopped because it just wasn’t cost-effective.
The post Sharon Osbourne in talks with Live Nation to revive Ozzfest: “It was something Ozzy was very passionate about” appeared first on Guitar.com | All Things Guitar.
In pictures: the stunning, cool and downright weird guitars of the Grammy Awards 2026
While most people are tuning into the Grammy awards for the fashion, the celebrities or the chaotic potential for someone to go off-script in an acceptance speech, here at Guitar.com we’ve got our eyes peeled for one thing, and one thing only – guitars.
Despite the ever-present grumbling about the lack of overt guitar-centric artists in the big hitter categories, the ceremony itself is always a reminder that regardless of how prominent it ends up being in the studio recording, the guitar remains a uniquely potent weapon in the live arena – and there were plenty of eye-catching guitars on stage throughout the many superstar performances.
What was particularly interesting about this year’s crop was how many weird and leftfield instruments we noticed on the Crypto.com Arena stage across the evening – so often the ceremony is wall-to-wall Fender, Gibson and occasional Martin, but 2026 was certainly a little more diverse in that regard.
Let’s dive in to some of our most notable highlights from the show.
Justin Bieber’s Yamaha RGX
Photo by Kevin Mazur/Getty Images for The Recording Academy
Where else can you start really than with the most eye-catching performance of the night, where Biebs himself decided to pair some blue silk boxer shorts with an… 1980s Yamaha RGX?!
Yep, it’s weird man. We certainly didn’t have Bieber becoming the world’s most notable standard-bearer for obscure Asian-made SuperStrats of the late shred era, but here we are. Nice colour too!
María Zardoya’s Fender Mustang
Photo by Kevin Winter/Getty Images for The Recording Academy
The frontwoman of bilingual indie-pop The Marías is usually seen wielding a Fender Duo-Sonic, but for the band’s performance – a celebration of their nomination in the Best New Artist category – she traded up for a seriously cool black Mustang.
Interestingly, the headstock looks like the ‘Mustang’ part of the decal has been worn or sanded off, implying that this might be a vintage or at the very least well-loved guitar.
Bruno Mars’ Gibson Les Paul Custom
Photo by Kevin Mazur/Getty Images for The Recording Academy
Mars had the distinction of performing twice during the Grammy ceremony, including opening the festivities with the performance of his Record Of The Year-nominated duet with former Blackpink member Rosé, APT.
Despite being a honoured as a Fender signature artist just over a year ago, Mars opted to perform on the evening using a classic ‘Tuxedo’ Gibson Les Paul Custom – it certainly fit the vibe of the black tie performance nicely.
Leon Thomas’ custom mirror Strat
Photo by Kevin Winter/Getty Images for The Recording Academy
Fender has some form for producing custom guitars for artists to use for the Grammys – remember H.E.R.’s transparent Strat for the 2019 ceremony? – and rising R&B phenom Leon Thomas clearly noticed as he traded in his usual sunburst Strats for something altogether more unique to celebrate his six nominations (and two wins).
While the lighting of the performance probably didn’t show it off to its full magnificence, Thomas rocked a custom mirror-finished HSS Strat, with matching headstock and pickguard. Good luck keeping the fingerprints off that one.
Slash’s flamey black Les Paul
Photo by John Shearer/Getty Images for The Recording Academy
Gibson’s most loyal and long-term endorsee playing one of the innumerable Les Pauls Gibson have probably sent to him over the years isn’t exactly headline news, but most of the Cat In The Hat’s current signature line-up sit squarely in the ‘autumnal’ colour palette.
The guitar he used to perform in the Grammys tribute to the late great Ozzy Osbourne was certainly not that – instead it was a dark, almost black, burst with a lovely flamed maple top underneath. A fitting guitar to pay tribute to the Prince Of Darkness, but might we see this being added to the Slash Les Paul line-up soon too? Don’t bet against it.
Andrew Watt’s Jaydee Custom
Photo by John Shearer/Getty Images for The Recording Academy
Over on the other side of the stage to Slash for the Ozzy tribute was Grammy-winning producer, guitar nut and veteran rock star whisperer extraordinaire Andrew Watt. But rather than go down the obvious path and pick up a Gibson SG for the performance, Watt came out using something that only true guitar nerds and Sabbath aficionados would recognise.
Back in the late 70s, a Birmingham-based guitar tech and luthier called John Diggins built Tony Iommi a guitar. That SG-shaped guitar – ‘Old Boy’ – would become one of Iommi’s most famous and beloved instruments, while Diggins would continue building guitars and basses under the Jaydee Custom Guitars brand for the next 40 years.
Diggins died suddenly in 2024, prompting Iommi to pay tribute to his skill, and call him “a very dear friend”. For the Grammy performance, Watt walked out with a white, relic’d Jaydee SG – paying guitar nerd tribute both to Iommi himself, but also the luthier whose work he relied on for so many years.
Lukas Nelson’s Gibson Byrdland
Photo by Kevin Winter/Getty Images for The Recording Academy
Performing at the In Memorium segment alongside fellow country stars Reba McEntire and Brandy Clark (who was herself sporting a lovely battered old Martin 000), Nelson stole the guitar show somewhat with a suitably classy big Gibson.
The Byrdland is something of a rare duck in the Golden Era Gibson stakes. Introduced in 1955 as a thinner-bodied version of the L-5, it was the basis for the more stripped down ES-350T that Chuck Berry made his own, and then later got a Florentine cutaway and became Ted Nugent’s guitar of choice. Nelson’s black version has the original cutaway, and might be a 1970s version.
Wyclef Jean’s Taylor T5
Photo by Johnny Nunez/Getty Images for The Recording Academy
One of the highlights of the ceremony saw Fugees legends Lauryn Hill and Wyclef Jean reunite to lead an all-star tribute to two sadly missed musical legends we lost in 2025 – D’Angelo and Roberta Flack.
Jean was playing guitar as part of the performance and brought out a lesser seen but still revolutionary piece of guitar history – the hybrid electric-acoustic Taylor T5z.
Raphael Saadiq’s Minarik Diablo
Photo by Johnny Nunez/Getty Images for The Recording Academy)
It’s not often that you write the words ‘Minarik guitars’ and ‘Grammy awards’ in the same sentence, but we have former Prince bassist and Grammy-winning producer Raphael Saadiq to thank for this one.
While Minarik’s bizarre shapes and gaudy visuals make the brand great fodder for ‘what the hell is that?!’ videos from the NAMM show floor, Saadiq’s choice to play this for the D’Angelo/Flack tribute was actually a very poignant one. D’Angelo was a fan of the Diablo model, and regularly used a pearled-out custom model on stage – Saadiq’s decision to rock this more demure one in tribute is a lovely way of acknowledging D’Angelo’s guitar impact.
The post In pictures: the stunning, cool and downright weird guitars of the Grammy Awards 2026 appeared first on Guitar.com | All Things Guitar.
Justin Bieber played an obscure, cheap 80s guitar at the Grammy Awards 2026 for some reason
Justin Bieber probably isn’t the first name on your list when you think of celebrity guitar guys, but the pop star’s choice of guitar for his performance at the 2026 Grammy Awards might indicate he’s more One Of Us than you might expect.
The majority of the attention garnered by Bieber’s performance of his nominated-song Yukon focused on the fact that it was stripped down in pretty much every way you can imagine – the one-time teen heart throb performing the song solo wearing just a pair of silk blue boxer shorts – but our well-honed guitar sense was more interested in what he had slung over his shoulder.
The Grammys are prime real estate for the big guitar brands, who no doubt bend over backwards to ensure that artists performing at the globally televised event are using their gear – remember Fender producing a custom transparent Stratocaster for H.E.R to use in the Grammys (and later the MTV Music Awards) a few years back? – but clearly nobody told Biebs.
Because for this most high-profile performance, the lefty guitarist chose to use a… purple Yamaha RGX?! Yep, this obscure relic of the pre-Pacifica days of Yamaha courting the 80s shred market somehow ended up on stage at the Grammy awards in 2026.
It’s not like it’s an expensive guitar either – while there aren’t a lot of them still in circulation, you can currently find various examples for sale in other colours in various states of disrepair for sub-$500. It’s hard to fully tell what specific RGX model it is from the performance, but the pickup and knob configuration would imply it’s a RGX 612S.
Primarily made in Taiwan in the mid-to-late 80s – though some models for the Japanese market were made in Japan – the RGX 612S has everything you’d expect a pre-grunge SuperStrat to offer. That meant a HSS configuration (with coil split bridge bucker), bulky Yamaha RM-Pro locking tremolo system, basswood body with maple neck and rosewood board, and of course that eye-catching violet finish.
Bieber has been pictured playing guitars many times of course – but it’s always previously been fairly unremarkable fare from Fender, Martin or Gibson. The RGX 612S is the sort of leftfield curio that implies that he’s at least more of a considered guitar buyer than we might have otherwise expected. Or maybe he just likes the colour, who can say.
Photo by Kevin Winter/Getty Images for The Recording Academy
More evidence for Bieber’s guitar interest can also be found on the floor for the performance. In what is probably overkill for a performance where he loops a single 20-second guitar part, he’s got the big boy Boss RC-600 Loop Station – with its ability to playback six simultaneous stereo phrase tracks – holding things down. And as if that wasn’t enough, he’s got it all running into a first-generation Neural DSP Quad Cortex – did you not have time to upgrade to the QC Mini before the show, Justin?!
While playing a random and rare Yamaha guitar from the 80s by no means confirms Bieber as a Guitar Guy of course – but it certainly makes us wonder about it a lot more than we did before the performance. The colour is perhaps the most notable part of it – violet-finished RGX guitars from this era don’t appear very often, and there aren’t currently any for sale on Reverb. We did notice that one sold 10 years ago though that was in SSS configuration – has Bieber been keeping it in the stash all that time and routed it out for a full-sized humbucker?! We just don’t know.
The post Justin Bieber played an obscure, cheap 80s guitar at the Grammy Awards 2026 for some reason appeared first on Guitar.com | All Things Guitar.
Watch: Slash, Duff McKagan, Andrew Watt, Chad Smith and Post Malone lead fiery Ozzy Osbourne tribute at the Grammys
The 68th Grammy Awards briefly turned into a metal arena last night, as an all-star lineup paid tribute to the late Ozzy Osbourne with a thunderous performance of Black Sabbath’s War Pigs.
Taking the stage at Los Angeles’ Crypto.com Arena, Slash, Andrew Watt, Duff McKagan, Chad Smith and Post Malone joined forces for the Paranoid classic, complete with towering walls of pyro and an audience that included Osbourne’s wife Sharon and their children.
Guitar fans were treated to a particularly memorable moment during the solo section, with Slash and Watt trading licks side by side and Malong joining in to help Watt with a burst of finger tapping.
The chemistry onstage felt fitting, given that every musician involved had previously worked with Osbourne in some capacity. Malone famously duetted with the Sabbath frontman on Take What You Want and It’s a Raid; Watt served as executive producer on Ozzy’s final two albums – Ordinary Man (2020) and Patient Number 9 (2022) – while Slash featured him on 2010’s Crucify the Dead. McKagan and Smith also contributed to Osbourne’s later solo work.
As the band powered through the song’s closing section, screens behind them displayed images honouring other recently lost figures from the rock world, including ex-Kiss guitarist Ace Frehley, Mick Ralphs, Anthony Jackson and producer Roy Thomas Baker.
WAR PIGS
A tribute to Ozzy Osbourne – Slash, Duff McKagan, Chad Smith, Andrew Watt and Post Malone#GRAMMYSpic.twitter.com/d8ey3tWfzv
— Jen
(@TheGNRGiirl) February 2, 2026
Elsewhere in the ceremony, Osbourne’s legacy surfaced again when Yungblud picked up the Grammy for Best Rock Performance. He shared the award with Nuno Bettencourt, Frank Bello and Adam Wakeman for their rendition of Sabbath’s Changes, recorded at last year’s epic Back to the Beginning farewell concert.
Yungblud, who had formed a close bond with Osbourne in recent years, embraced Sharon Osbourne onstage before delivering an emotional speech.
“To grow up loving an idol that helps you figure out your identity, not only as a musician but also as a man, is something that I’m truly grateful for,” he said. “But then to get to know them and form a relationship with them, honour them at their final show and receive this because of it, is something that I and I think we’re all finding so strange to comprehend. We fucking love you, Ozzy!”
Osbourne died in July 2025 at the age of 76, just weeks after his final onstage appearance at Back to the Beginning.
The post Watch: Slash, Duff McKagan, Andrew Watt, Chad Smith and Post Malone lead fiery Ozzy Osbourne tribute at the Grammys appeared first on Guitar.com | All Things Guitar.
Strymon Olivera review – a notoriously lo-fi delay effect gets the hi-fi treatment
$259/£259, strymon.net
The beauty of modern digital effects is that you can recreate the sounds of arcane vintage devices without worrying about operating noise, reliability issues… or having to understand how those kooky old things actually work.
Take the Strymon Olivera: the online manual even includes an illustrated guide to the inner workings of a real oil-can echo, and I’ve studied it closely, but I still can’t fully get my head around what’s going on in there. What I do know is that, in the hands of Strymon’s engineers, a delay can be grubby and strange without being a pain to live with. Quite the opposite, in fact.
Image: Press
Strymon Olivera – what is it?
This much is clear enough: an oil-can echo is so called because it uses a spinning disc inside a metal can as its medium, lubricated by oil; the record/playback heads, meanwhile, are chunks of conductive rubber. Doesn’t sound like the last word in audio fidelity, does it? But, as with tape delay, it’s the imperfections that make it so appealing – and ripe for digital emulation.
Strymon’s effort follows the compact format of its Brig and EC-1 delays, with the same five knobs and three-way mode switch. In this case the switch is for selecting either or both of the playback heads, and the knobs include modulation rate and intensity. The added modern features include stereo output, MIDI and expression pedal control, plus a range of secondary functions – notably adjustable tone on the repeats, true or buffered bypass, and analogue or digital dry-through.
Incidentally, ‘oil-can’ is being used as a compound modifier here so I’m hyphenating it, if you don’t mind. We don’t have to abandon the basics of grammar just because Strymon has, do we?
Image: Press
Strymon Olivera – what does it sound like?
It’s well made, it’s easy to use and it isn’t unduly hissy – in other words, it’s a Strymon. The effect itself, however, will make you swear you’ve plugged into something cobbled together out of old dishwasher parts in a strange-smelling garage.
The ‘lo-fi’ aspect of this delay is comprised of three separate elements: tonal filtering, overlapping echoes, and a nice bit of wobble. So first of all, while the dry signal stays crisp, the repeats are decidedly dark. You can brighten them up to an extent, but Strymon has elected to stay within the bounds of authenticity here rather than really opening things up.
Some overlapping occurs even with only one playback head engaged, the effect beginning to trip over itself a little after the first couple of repeats. It’s rather nice, and surely won’t clutter up your sound because the attack is so soft. Engaging both long and short playback heads together adds more rhythmic complexity, with the repeats still starting out fairly clean and spaced out but then gradually dissolving into a reverby mush.
The modulation is a gentle pitch vibrato, which sounds more like chorus once it’s blended with the dry signal. This adds a tasty bit of depth to the sound, especially if you’re running the Olivera in a stereo setup using a TRS cable. The stereo picture isn’t hugely expansive, though, and there’s no ping-pong option for splitting the two heads left and right.
There is, however, an option for controlling as many knobs as you want with an expression pedal. The manual includes detailed instructions for setting this up – but I just plugged my Moog EP-3 straight in, maxed out the ‘regen’ knob with my toe down and let the saturated self-oscillating chaos begin. It’s a riot… but, this being Strymon, a thoroughly disciplined riot.
Image: Press
Strymon Olivera – should I buy it?
Let’s take a step back: is this effect different enough from tape delay that you need to own both? I’d say probably not, but it’s certainly a viable alternative with a character of its own. Beyond that question, what you are getting with the Olivera – impeccable audio quality aside – is a bunch of potentially handy added features that cheaper oil-can emulators can’t offer. So if you like playing in stereo, or creating ferociously snowballing squawks and screeches with an expression pedal, it could be a canny purchase.
Image: Press
Strymon Olivera alternatives
More affordable options than the Olivera include the Catalinbread Adineko ($209.99/£199.99) and JHS 3 Series Oil Can Delay ($99/£99); a more expensive one, with some soundscapey skills thrown in, is the Old Blood Noise Endeavors Black Fountain Stereo ($329/£299).
The post Strymon Olivera review – a notoriously lo-fi delay effect gets the hi-fi treatment appeared first on Guitar.com | All Things Guitar.
On the Bench: A Vintage Watkins Dominator
I’ve always been drawn to the aesthetics of vintage guitar amplifiers. From the control panel details to the Tolex and grill cloth, the visual beauty of old electronics never fails to captivate. British amps in particular catch my eye. Historically, they have played an important role in the evolution of rock ’n’ roll music. Visually, they stand out with bold color schemes and funky textures. I’m thinking of amps from manufacturers like Vox, Selmer, and Orange.
There are a few key factors that sonically differentiate British vs. American guitar amplifiers. British amps often use EL34 or EL84 tubes in the output sections, whereas American amps typically use 6L6 or 6V6. In addition to the tube configuration, the supporting circuit design colors the guitar signal. British amps sound warm with emphasis on the mids, while American amps are clean and sparkly. Think of the Beatles’ saturated guitar tones vs. the twangy, sparkly surf guitar we hear on Dick Dale records.
One British amp that stands out comes from a company named Watkins. Charlie Watkins entered the audio manufacturing world in 1954, when he began producing guitar amplifiers, and later went on to design some iconic PA systems under the name WEM (Watkins Electric Music). One of the most fabulous amplifiers I’ve had on my bench for repair lately has been a Watkins Dominator.
The Watkins Dominator is notorious for its shape and color. The amp is V-shaped in the front, with a pair of 10" speakers angled outward. I believe the intention there was to have a broader spread of sound, and it certainly sets the amp apart. It sports bright turquoise Tolex with cream and gold accents. Many customers of mine have locked eyes on the Dominator as they scan the shop for goodies.
This amp is an early version of the Dominator, which was manufactured into the early 1960s. The best way to tell is the control panel design—earlier Dominators have a black panel with gold stripes. Using a pair of EL84 output tubes, the amp pumps out roughly 17 watts. It has 2 channels, with each channel featuring dedicated volume and tone controls. The second channel has depth and speed controls for the tremolo as well.
This particular amp had been refurbished with new electrolytic capacitors. The original Elac speakers had also been swapped out for Celestion G10s, which is considered an upgrade. Celestion speakers boast dynamic richness and enhance the nuances of the amp’s circuitry. The original Elac speakers are known for their clean headroom and hi-fi accuracy.
The amp needed a new power transformer, which I sourced from Mercury Magnetics. It is a universal power transformer, which means it can be wired up to be used for different input voltages in different countries. The original power transformer for this amp was set up for European 220–240V AC wall voltage. The replacement transformer can accommodate either the 100–120V AC for U.S. voltage or the original U.K. voltage.
The mounting of the power transformer in earlier Dominators is unusual. It’s installed upside-down on the underside of the angled chassis, with a wooden beam attached to the cabinet providing additional support.
Once the new power transformer was installed, I fired up the amp to give it a sound test. Immediately, I noticed how creamy and warm it sounds. The tremolo is surprisingly deep. I heard some intermittent crackling in the tremolo circuit and traced it to a faulty connection on one of the oscillator capacitors. Finally, there were some noticeable microphonics coming from the EL84 output tubes. I have a stockpile of matched NOS tubes, so I picked a lovely pair of Baldwin EL84s to use as a replacement.
The amp’s owner also wanted me to tweak the tone circuit to brighten things up. I don’t always take on modification requests, but in this case adjusting the tone circuit was minimally invasive. This change comes early on in the circuit, after the signal has gone through the first stage of amplification. I installed a 500 pF capacitor between the input and wiper of the volume control to enhance the top end of the guitar signal. This adds some sparkle to the top end and allows the guitar to cut through the mix a bit more.
The Watkins Dominator is not only a visual delight, but also offers some nice versatility for the guitar player. With luscious cleans at moderate volumes and growling distortion at high volumes, it does just about everything that folks look for in British amplifiers. It’s a great example of a well-made amp that can stand the test of time.
New From Acoustic Guitar— ‘Fingerpicking the Great American Songbook’
Totally Wycked Audio Source Code Review
When Japanese engineer Susumu Tamura designed the Maxon OD808 overdrive, he could hardly have known that it and its export twin, the Ibanez TS808 Tube Screamer, would become perhaps the most influential and, probably, imitated pedals in stomp box history. In fact, upon its introduction in 1979, the Tube Screamer, whose smooth sound is characterized by a bass roll off, midrange bump, and slight high-end attenuation, was not an instant success. But as the pedal was adopted by players as disparate as Stevie Ray Vaughan and Kirk Hammett, it gradually became a ubiquitous presence on pedalboards of all persuasions.
Tumura, a guitarist himself, spent several of the intervening decades working on wireless designs. In recent years, however, he began modifying Tube Screamers for Japanese guitar stores. But now in his seventies, he found the pace—almost 1,000 pedals annually—exhausting. Why not, he thought, just make a pedal that incorporated all his refinements? Enter the TWA SC-01 Source Code, which is exactly that. Handmade in the U.S., the SC-01 features improvements on the TS design, including 18V operation via an internal regulator, a +6 dB boost, an op amp that claims to inject “complex harmonics and an amp-like feel,” and, most importantly, a “Bite” control that can mix in asymmetrical, tube-like clipping to the symmetrical clipping-based sound of the original.
Source in Session
Using a Stratocaster and Fender Princeton Reverb as my test platform—a made-for-Tube Screamer rig if there ever was one—I first determined whether the Source Code could speak traditional Tube Screamer by A/B-ing it with a recent Ibanez TS-9 reissue. It does, producing tones indistinguishable from the traditional circuit when the bite control is at zero. That said, if your take on Tube Screamers has always been, “if it could only just…,” you’ll find that the bite knob opens up a whole new world. Goosing it adds the extra measure of sizzle, zing, and teeth that more common iterations of the design always lacked. And adjusting the balance of the drive and bite controls dials in an enhanced and expanded range of overdrive tones that truly transcend the original TS.
The Verdict
Whether you deploy Susumu Tamura’s latest refinement of the TS circuit to hit the input of an amp that’s already breaking up or as your primary source of overdrive, you won’t be disappointed. It offers all the essence of the original, but it’s the extra oomph and range that impresses.
Why Ariel Posen Chose Freedom Over Fame
The velvet-voiced, smooth-slide-playing solo artist details his journey from sideman to frontman, shares the his approach to designing a fresh Strat model, explains how a forced reset reshaped his career path, of course, he and host John Bohlinger share a few jams.
Luthier on Luthier: Ben Wilborn
On this episode of Luthier on Luthier, I’m joined by guitar maker Ben Wilborn. Based in Reno, Nevada, Ben brings a musician’s perspective to his designs, drawing on his background in performance and composition to build instruments that are focused on tone.
For episode 110, Ben shares the origins of his business and discusses how his instruments have evolved through prototype testing, data collection, and hands-on experience at the bench.
https://www.wilbornguitars.com
Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by the Looth Group, Dream Guitars and StewMac.
Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.
The post Luthier on Luthier: Ben Wilborn first appeared on Fretboard Journal.
Noah Kahan found global acclaim with his Stick Season album – and he’s just announced its followup
Singer-songwriter Noah Kahan has announced his highly anticipated fourth album The Great Divide, kicking things off with its first single and title track, out now.
Arriving 24 April via Island/Mercury Records, The Great Divide finds Kahan reflecting on his rapid-but-deserved rise to global acclaim in recent years, which was supercharged by his 4x Platinum 2022 album Stick Season. That album’s title track was a breakout single which earned him numerous Grammy nominations, billions of streams, and even sold-out shows at Madison Square Garden and Boston’s Fenway Park.
Produced by Kahan’s Stick Season collaborator Gabe Simon and Grammy-winning producer Aaron Dessner, The Great Divide was recorded at a secluded farm outside Nashville, Gold Pacific Studio in Nashville and Dessner’s famed New York studio, Long Pond.
“The last five years have been the single most challenging, complicatedly beautiful, and life-altering of my career,” Kahan explains.
“I was somewhere I understood, and suddenly I was somewhere completely foreign. I was living in the opportunity I always wanted but felt disoriented and unsure of whether I deserved it.
“Writing for this album was a balancing act of trying to go back in time and move forward in the same moment. Songwriting has always been the way I reflect on my life, and I hope these songs show you a glimpse of what this journey has looked like.”
You can listen to the album’s lead single and title track below. A music video will be premiering during Mastercard’s 2026 commercial break at the Grammy Awards, airing this Sunday, 1 February on CBS.
The post Noah Kahan found global acclaim with his Stick Season album – and he’s just announced its followup appeared first on Guitar.com | All Things Guitar.
Brian May says Queen won’t tour the US again: “It’s not what it was. Everyone is thinking twice about going there at the moment”
Queen wrapped their last US tour back in 2023, but guitarist Brian May says they have no plans to head stateside again any time soon on account of it being too “dangerous” to do so.
In a new interview with the Daily Mail, May explains the band’s decision not to tour America again for the foreseeable future.
“America is a dangerous place at the moment, so you have to take that into account,” May says. “It’s very sad because I feel like Queen grew up in America and we love it, but it’s not what it was.”
Queen have toured extensively in America throughout their career, performing hundreds of times in the mid-to-late-‘70s and early-80s, and with singer Adam Lambert since 2014.
But, Brian May adds: “Everyone is thinking twice about going there at the moment.”
May’s comments come amid heightened tensions in the US as thousands protest against ICE – United States Immigration and Customs Enforcement – following the killings of Renee Good and Alex Pretti at the hands of ICE agents.
Many musicians have spoken out against ICE and Donald Trump in recent weeks, including Green Day, Neil Young, Moby, Duran Duran, Billie Eilish, Sabrina Carpenter and Bruce Springsteen, the latter of whom recently released a new single, Streets of Minneapolis, in protest against ICE and Trump.
Elsewhere, Brian May recently commented on the state of things, saying if people spent more time being creative, the world would be a better place.
“I feel despondent about the world of humans,” he said. “It keeps me awake at night. The cruelty, the ignorance, the lies, the rewriting of history. I think an understanding and love of art and music make it impossible to be the kind of person who wants to go out and be cruel to others.
“There’s so much suffering in the world, why would we want to add to it? We’ve lost the ability to discuss things and respect other people’s point of view, we have a horrendous polarisation. If people spent more time looking at the stars and making music, none of this would be possible.”
The post Brian May says Queen won’t tour the US again: “It’s not what it was. Everyone is thinking twice about going there at the moment” appeared first on Guitar.com | All Things Guitar.
Historic Gathering Celebrating the Future of Global Music Industry at 2026 NAMM Show
NAMM (The National Association of Music Merchants), the largest global not-for-profit music trade organization, celebrated 125 years of NAMM at The 2026 NAMM Show — a powerful week that concluded on Jan. 24 and set the music industry’s narative for years ahead. Featuring five days of incredible education, live concerts and special events, alongside three days of extraordinary exhibits and brand activations, this year’s show featured 1,650-plus exhibitors representing over 5,400 brands and more than 200-plus educational sessions for NAMM member communities.
The 2026 NAMM Show highlighted innovative music technologies, product introductions and trends that will shape the future of the music industry during a five-day-long platform for networking, connections and meetings that are critical for uniting and growing music makers globally.
“The 2026 NAMM Show once again delivered an incredible week of unity and energy for our global NAMM members, showcasing products, partnerships and networking for the entire music industry,” said John Mlynczak, NAMM president and CEO. “NAMM continues to be the global stage for our industry to announce groundbreaking products, establish transformative partnerships and gain valuable education that drives success for our industry for the rest of the year.”
NAMM SHOW 2026 BY THE NUMBERS
- 60,000+ show attendees, including 8,760+ international attendees from 122 countries, regions and territories
- 1,650+ exhibitors representing 5,400+ brands, which is 25% more than 2025
- Nearly 15,000 artists demonstrating and endorsing products and brands
- 200+ education sessions with 550+ speakers
- 1,600+ media, influencers and content creators reaching over 200+ million followers, which is 50% more than 2025.
NAMM SHOW 2026 SET LIST HIGHLIGHTS
Product Launches
The NAMM Electronic Press Kit, an online book of product and show announcements, tripled in size from 2025, with nearly 400 brands and companies using the platform to launch new products at The NAMM Show.
NAMM Global Media Day
Now in its third year, NAMM’s Global Media Day featured iconic brands spanning music, sound and entertainment technology categories to announce more than 500 ground-breaking products and business news to an exclusive media/creator/podcast-only audience of 750-plus guests.
NAMM Events and Awards Shows
Providing the platform for some of the industry’s best awards shows and live events, The 2026 NAMM Show saw sold-out crowds all week long, starting with the TEC Awards, followed by The Bass Awards Show, She Rocks Awards and The Parnelli Awards. Each show catered to a thriving professional community that gathered to honor the best of the best in each category.
Looking Back on NAMM, 125 Years Later
NAMM has been consistently guided by the best minds in the music business, who share a common desire to grow the industry and music making. Ever since 1901, NAMM leaders have come together, even as competitors, to ensure their association is helping the entire industry expand. The 125-year timeline is fully digitized and available to everyone on NAMM.org
NAMM’s Music for Life Honor Awarded to Industry Icon Rick Beato
NAMM presented globally acclaimed producer, educator, musician and YouTube creator Rick Beato with its highest honor, the Music for Life Award, in recognition of his lifelong contributions to music and commitment to inspiring music makers. In an exclusive Thursday morning Q&A with NAMM President and CEO John Mlynczak, Beato discussed his early musical influences, the music products that have helped define his career and the future of the music business in the age of AI.
NAMM’s Grand Rally for Music Education
NAMM rallied the industry around its mission Saturday morning, highlighted by magical moments with Grammy Award-winning artists Victor Wooten and Chad Smith. The session, hosted by John Mlynczak and Julia Rubio, brought the audience to its feet with inspirational performances, conversations and messages, as well as live performances from Roots of Rhythm.
The NAMM Foundation
In honor of our 125th “NAMMiversary,” and the upcoming 250th anniversary of the United States, the NAMM Foundation — with a generous $125,000 matching donation from Chris Martin, past chair of NAMM — announced at the 2026 show a total of $250,000 in funds to give back.
The Return of NAMM NeXT Europe and New NAMM NeXT Latin America
Coming off the success of last year's inaugural event, NAMM NeXT Europe will return and NAMM NeXT Latin America will debut in 2026. These NAMM NeXT events are one- to two-day leadership conferences that will gather our industry to focus on how we can grow the industry and address common challenges.
The 2027 NAMM Show is already in the works for January 26-30, 2027, at the Anaheim Convention Center. Booths with early bird rates and discounts are available now at NAMM.
Cort Guitars Introduces the G290 Modern Electric Guitar
Cort Guitars announces the G290 Modern, a new electric guitar designed for players looking for a contemporary, high-performance instrument that delivers tonal flexibility, premium components, and modern playability in a single platform. Available now directly online and through select retailers worldwide, the G290 Modern reflects Cort’s approach to purposeful design, pairing upgraded materials with carefully selected electronics and hardware to meet the demands of today’s guitarists across genres and performance environments.
The G290 Modern features a bolt-on poplar body, paired with a roasted maple neck for enhanced stability and response. The neck is carved into Cort’s slim Ergo V profile and measures 25.5" (648mm) in scale length, with a neck thickness of 21mm at the first fret and 23mm at the 12th fret. A roasted maple fingerboard with a 12"–15.75" compound radius supports smooth playability across the neck, while 22 tall medium-jumbo stainless-steel frets provide durability and a consistent feel. Black dot inlays are complemented by luminous side dots for improved visibility on dark stages. A Graph Tech® Black TUSQ nut with a width of 1 21/32" (42mm) completes the neck design.
Electronics on the G290 Modern are built around an HSS pickup configuration designed for tonal versatility. A Seymour Duncan® TB4 humbucker in the bridge position delivers punch and clarity, while Cort® Voiced Tone VTS-63 single-coil pickups in the middle and neck positions provide balance, articulation, and sparkle. Controls consist of a single volume knob, a single tone control with push-pull coil-splitting functionality, and a five-way selector switch, allowing players to move quickly between a wide range of sounds.
Hardware appointments on the G290 Modern reflect its performance-focused intent. The guitar is equipped with a Cort® CFA-III S tremolo bridge, Cort® staggered locking tuners, and chrome hardware throughout. Strings are factory-installed D’Addario® EXL120s, and a two-way adjustable truss rod with spoke nut allows for precise setup adjustments. The instrument is offered in Pale Graphite (PGR), Dusty Rose (DRS), and Military Beige (MBG) finishes, with a matte neck finish for a smooth playing feel.
For more information on the G290 Modern electric guitar, visit www.cortguitars.com.
Street Price: $699.99 USD
Epiphone Unveils the All-New Inspired by Gibson Collection
Epiphone today announces a refreshed and expanded lineup within the Inspired by Gibson Collection, delivering elevated playability, upgraded hardware and electronics, and refined body contours across a suite of classic, Gibson-inspired instruments. Designed to bring authentic design DNA to players at every level, the 2026 collection blends timeless style with modern reliability, premium feel, and refined performance, making these guitars perfect for every player and every stage.
The refreshed Epiphone lineup spans some of the most iconic silhouettes in guitar history, including the Explorer™ 80s EMG, Firebird™, Flying V™ 70s, Les Paul™ Special Double Cut, Les Paul Special Double Cut Figured, Les Paul Junior™, SG™ Special P‑90, Les Paul Standard 50s, Les Paul Standard 60s, and SG Standard. Each model has been thoughtfully updated with rosewood or ebony fretboards, high‑quality hardware and electronics, and improved body contours and specifications—delivering the unmistakable feel of a classic with the performance demands of today’s stage and studio.
The Epiphone Inspired by Gibson lineup is now available worldwide at Gibson Garage locations, via authorized Epiphone dealers, and on Epiphone.com.
To complement these refreshed builds, Epiphone introduces a bold finish palette that honors heritage while inviting self-expression. Available colors include Classic White, Wine Red, Vintage Sunburst, Maui Blue, TV Yellow, Cherry Red, Bourbon Burst, Ocean Water, Goldtop, Washed Cherry Sunburst, Ebony, and Iced Tea Burst. Whether you’re stepping into the spotlight, tracking in the studio, or rehearsing for the next tour, there’s an Inspired by Gibson model—and a finish—that’s‑ unmistakably yours.
“Epiphone has always been about opening doors,” says Lewis McKinney III, Brand Manager of Epiphone. “Inspired by Gibson brings real heritage into the hands of players who want more than the look—they want a guitar they can count on, in any situation, every time they plug in. This all-new collection stays true to that mission: guitars that feel right, sound right, and show up, always.”
These refreshed Epiphone models bring classic tones and familiar feel together with contemporary reliability—ideal for gigging artists, studio professionals, and emerging players alike. The result is a lineup that honors decades of music history while meeting the demands of modern performance.
Epiphone is celebrating the launch in true punk fashion, teaming up with San Francisco Bay Area firebrands Spiritual Cramp, whose raw energy fuels the accompanying release video. Guitarist Nate Punty tears through “Go Back Home,” a standout from the band’s recent full-length album Rude, delivering a performance as gritty and immediate as the track itself.
The collaboration doesn’t stop there. As Spiritual Cramp head back out on the road in February, Epiphone will join them once again for an exclusive Epiphone Live Session, “Live at Alexandra Palace,” captured on location in London during their late‑2025 tour with The Hives.
And with the band’s headlining Rudest Band in the World Tour, sponsored by Alternative Press, kicking off in February, fans across the country will have plenty of chances to experience the chaos firsthand. The coast-to-coast run features rotating support from Bass Drum of Death, Mizery, Guv, and more.
Catch Spiritual Cramp live—and see their Epiphone guitars in full swing on tour—by grabbing tickets at: https://spiritualcramp.com/pages/tour-dates.
Explorer 80s – EMG
First launched in 1958, the Explorer™ was ahead of its time. Initially met with mixed reactions, its bold design and commanding tone eventually won over players. By the 1970s, its futuristic look became a favorite among rock icons, and in the high-energy 1980s, it truly hit its stride, earning a place in the hands of some of the era’s most influential guitarists. The new Explorer 80s – EMG pays homage to the sought-after 1984 model, a standout in Gibson’s history for its striking aesthetics and powerful sound. Artists like The Edge, Billy Gibbons, and James Hetfield helped cement the Explorer’s legendary status. For players who love retro-futuristic style, the Explorer 80s – EMG delivers the attitude and edge of that iconic decade.
This modern tribute features a mahogany neck with a fast-playing 60s SlimTaper™ profile, paired with a rosewood fretboard that hosts 22 medium jumbo frets and pearloid dot inlays. The headstock is fitted with mini die-cast tuners and a Graph Tech® nut for rock-solid tuning. At the other end, an Epiphone LockTone™ Tune-O-Matic™ bridge and LockTone Stop Bar tailpiece provide exceptional stability and sustain. The angular mahogany body is loaded with active EMG™ pickups—an EMG 60 in the neck and an EMG 81 in the bridge—delivering the fat, aggressive tones that defined the era. Powered by a 9V battery housed in a rear compartment for easy access, the electronics include dual volume controls, a master tone, and knurled metal knobs. With no pickguard, the Explorer 80s – EMG boasts a sleek, slightly menacing look. Complete with a premium gig bag, it’s ready to bring classic attitude to modern stages.
Firebird
Epiphone’s Inspired by Gibson Firebird™ brings back the bold reverse body and headstock design that made waves when the Firebird debuted in 1963. Conceived by renowned automotive designer Ray Dietrich, the Firebird was Gibson’s first neck-through-body guitar, a groundbreaking innovation at the time. Its 9-ply mahogany and walnut neck-through construction delivers exceptional sustain and warm, resonant tone. Because the tuners, pickups, bridge, and tailpiece are all mounted on the same continuous piece of wood, the Firebird offers unmatched resonance and stability. The SlimTaper C-profile neck is paired with a bound rosewood fretboard featuring 22 medium jumbo frets and pearloid trapezoid inlays, ensuring smooth playability and classic style.
This refreshed Firebird is equipped with ProBucker™ FB720 pickups, designed with Alnico 2 magnets and built to the original 1960s Firebird specifications. Wired to CTS® potentiometers, they recreate the bright, hum-free tone that made the Firebird famous. Unlike mini humbuckers, Firebird pickups use two blade magnets inside the coils and a steel reflector plate, omitting pole pieces entirely for a sound that’s truly unique among humbucking designs. Premium hardware includes an Epiphone LockTone™ Tune-O-Matic™ bridge, LockTone Stop Bar tailpiece, Grover® Mini Rotomatic tuners, and a Graph Tech® nut for rock-solid tuning. The pickguard proudly displays the iconic Firebird emblem in red. With its radical silhouette, distinctive voice, and included premium gig bag, the Firebird is ready to deliver pure rock ’n’ roll attitude on any stage.
Flying V 70s
A 70s rock icon that’s ready to help today’s players rock the world
Today, the Gibson Flying V™ is one of the most famous and instantly recognizable guitar designs of all time, but its rise to fame and popularity wasn’t instantaneous. Upon its initial release in 1958, it was met with a less-than-enthusiastic reception. However, as the years passed, guitarists soon began to discover its many charms, with famous players adopting them later in the 1960s. However, it was when hard rockers adopted its futuristic shape and powerful sound in the 1970s that the Flying V truly began to come into its own in the hands of players like Michael Schenker, Jimi Hendrix, K.K. Downing, Marc Bolan, Steve Jones, and many more. The new Epiphone Inspired by Gibson Flying V 70s is based on those iconic 70s models that changed music history forever.
The Flying V 70s features a two-piece, center-seamed mahogany body that is sure to turn heads. The mahogany neck has a comfortable, Rounded C profile and a volute at the neck/headstock junction, just like the vintage models from the 70s. The neck is topped with an ebony fretboard that features 22 medium jumbo frets and simple pearloid dot inlays. The slightly shorter 70s-era arrowhead-shaped headstock is equipped with Grover® Rotomatic® tuners with spade buttons and a Graph Tech® nut, ensuring solid tuning stability. The other ends of the strings pass over an Epiphone LockTone™ Tune-O-Matic™ bridge and are anchored with a LockTone Stop Bar tailpiece. The iconically shaped mahogany body is outfitted with Epiphone’s new T-Type PRO™ humbucking pickups. They accurately capture the unique, fat-toned sound and rich sustain of the Flying V models that many players preferred during that era. The pickups are wired to individual volume controls and a master tone control; the controls are capped with Witch Hat control knobs. Other era-correct details are present, including a 70s-style Flying V pickguard and a 70s-style truss rod cover with the Epiphone logo hot stamped on it, and highlighted with black nickel hardware. With eye-catching gloss finishes, style, and sound that can’t be ignored, the new Epiphone Flying V 70s is ready to help you rock the world. If you’re into retro-futuristic guitars, this is a model you need in your collection. A premium gig bag is included, so the Flying V 70s is ready to go wherever and whenever you are.
Les Paul Special Double Cut
An Inspired by Gibson classic that truly lives up to its name
When Gibson introduced the Les Paul™ Special in 1955, it was designed as a step up from the Les Paul Junior, adding a second pickup and refined touches like a mother-of-pearl headstock inlay and a bound fretboard. This positioned it between the elegant Les Paul Standard and the student-friendly Junior. In 1958, the model evolved with a double-cutaway body for improved upper fret access, and by 1960, the neck pickup was slightly repositioned and paired with a SlimTaper™ profile for faster, more comfortable playability.
Epiphone proudly brings back that spirit with the Les Paul Special Double Cut, an Inspired by Gibson recreation of those early 60s favorites. It features a solid mahogany body with a double-cutaway design for unrestricted fretboard access. The glued-in mahogany neck sports a 60s SlimTaper profile and a bound rosewood fretboard with 22 medium jumbo frets and pearloid dot inlays. The 1960s Kalamazoo-style headstock includes Epiphone’s three-on-a-plate tuners with ivory buttons, a Graph Tech® nut for tuning stability, and a mother-of-pearl Epiphone logo for vintage flair. At the other end, an Epiphone Lightning Bar compensated wraparound bridge anchors the strings directly to the body for exceptional sustain and resonance.
Powering this classic are two Epiphone P-90 PRO™ Soapbar pickups, delivering everything from shimmering cleans to raw, gritty overdrive. Each pickup has its own volume and tone control for maximum versatility. Complete with a premium gig bag, the Les Paul Special Double Cut is a timeless design made more accessible than ever.
Les Paul Special Double Cut Figured
The Les Paul Special, reimagined with premium style
Originally introduced in 1955, the Gibson Les Paul™ Special was conceived as an upgrade to the Les Paul Junior, adding a second P-90 pickup for greater tonal range, along with refined details like fretboard binding and a mother-of-pearl headstock logo. This positioned it between the elegant Les Paul Standard and the entry-level Junior. By 1958, the model evolved into a double-cutaway design for improved upper fret access, and in 1960, a SlimTaper™ neck profile and repositioned rhythm pickup enhanced playability and stability.
Epiphone now proudly unveils the Les Paul Special Double Cut Figured, an Inspired by Gibson model that elevates this classic design with stunning visual flair. It features a mahogany double-cutaway body topped with a AAA figured maple veneer and bound edges for a premium look. The glued-in mahogany neck sports a fast-playing SlimTaper profile and a bound rosewood fretboard with 22 medium jumbo frets and acrylic dot inlays. The 1960s Kalamazoo-style headstock is fitted with Grover® Rotomatic® tuners and adorned with a mother-of-pearl Epiphone logo for vintage authenticity.
Unlike traditional Les Paul Specials, this version swaps P-90s for a pair of Epiphone ProBucker™ humbuckers—a ProBucker 2 in the neck and a hotter ProBucker 3 in the bridge—delivering everything from warm rhythm tones to searing leads. Individual volume and tone controls, plus a three-way toggle switch, provide versatile sound-shaping options. Complete with a premium gig bag, the Les Paul Special Double Cut Figured combines timeless playability with next-level style.
Les Paul Junior
Classic simplicity meets P-90 punch
Introduced in 1954 during Gibson’s first Golden Era, the Les Paul™ Junior was created as a high-quality yet affordable solidbody electric guitar for students and beginners. Stripped of the ornate features found on standard Les Paul models—such as carved maple tops, binding, and multiple pickups—the Junior offered a straightforward design with a slab mahogany body and a single pickup, making it accessible without sacrificing tone. It didn’t take long for players of all skill levels, including top professionals, to embrace its raw power and versatility. Legends like Leslie West, Martin Barre, Charlie Starr, Glenn Frey, Johnny Thunders, John Lennon, Billie Joe Armstrong, and Steve Howe have all relied on the Junior’s distinctive voice. Its simplicity hides a surprising tonal range, with endless possibilities unlocked by adjusting picking position and the master volume and tone controls.
Epiphone proudly introduces the modern Les Paul Junior, a faithful Inspired by Gibson recreation that captures the essence of the original while meeting the needs of today’s players. It features a single-cutaway mahogany body, a mahogany neck with a comfortable 50s Vintage profile, and a rosewood fretboard with pearloid dot inlays. A single Epiphone P-90 PRO™ Dogear pickup delivers everything from shimmering cleans to gritty rock tones. Vintage-style Epiphone Deluxe tuners with ivory buttons, paired with a Graph Tech® nut, ensure tuning stability, while a compensated Lightning Bar wraparound bridge anchors the strings directly to the body for exceptional sustain and resonance. Complete with a premium gig bag, the Les Paul Junior is ready to go wherever inspiration strikes.
SG Special P90
Rock royalty with the bite of P-90s
The SG™ Special returns to the classic design that made it a favorite across decades and genres. First introduced in the early 1960s, the Gibson SG Special was created as a middle ground between the entry-level SG Junior and the SG Standard, blending the Junior’s simplicity with added versatility and refined styling. Despite its streamlined approach, it quickly became a cornerstone of rock history, powering countless iconic riffs and performances. This Epiphone recreation captures the look, feel, and tone of those early 60s models that defined an era.
Part of the Inspired by Gibson Collection, the Epiphone SG Special P-90 features a solid mahogany body with the signature double-cutaway shape, paired with a mahogany neck sporting a fast-playing 60s SlimTaper™ profile. The bound rosewood fretboard includes 22 medium jumbo frets and pearloid dot inlays for classic appeal. The 1960s Kalamazoo-style headstock is fitted with Epiphone Deluxe tuners with ivory buttons, a Graph Tech® nut, and a mother-of-pearl Epiphone logo. At the other end, a compensated wraparound bridge anchors the strings for vintage authenticity, solid intonation, and
impressive sustain.
Under the hood, a pair of Epiphone P-90 PRO™ Soapbar pickups delivers the raw, dynamic tone that players love—bright and articulate when clean, aggressive, and punchy when driven. Individual volume and tone controls for each pickup, plus a three-way toggle switch, provide exceptional tonal flexibility. Complete with a premium gig bag, the SG Special P-90 is ready to bring classic rock attitude to any stage.
Les Paul Standard 50s
Experience the legend
The Gibson Les Paul™ Standard models of the 1950s are among the most iconic guitars ever made. Celebrated for their stunning looks, effortless playability, and unmatched tone, these instruments have graced countless stages and recordings, earning a place as some of the most sought-after vintage guitars in history. Epiphone proudly presents the refreshed Les Paul Standard 50s, part of the Inspired by Gibson collection, designed to capture the essence and sound of those revered originals. Epiphone’s connection to Les Paul dates back to 1940, when Les crafted one of the first solidbody electric guitars at the original Epiphone factory in Manhattan. His pioneering design, known as “the Log,” laid the foundation for what would become the Les Paul Standard—widely regarded as one of the greatest electric guitars ever built.
The Les Paul Standard 50s features a mahogany body topped with a maple cap, delivering the warm midrange of mahogany complemented by the brightness of maple—hallmarks of the classic Les Paul tone. Its mahogany neck sports a 1959 Rounded Medium C-profile and a long neck tenon for superior strength and sustain. A rosewood fretboard with pearloid trapezoid inlays and 22 medium jumbo frets adds to its vintage appeal. The Kalamazoo-style headstock is fitted with Epiphone Vintage Deluxe tuners and a Graph Tech® nut for reliable tuning, while the strings run across an Epiphone LockTone™ Tune-O Matic™ bridge and LockTone Stop Bar tailpiece. Power comes from a pair of acclaimed Epiphone ProBucker™ humbuckers™, with a ProBucker 1 in the neck and a hotter ProBucker 2 in the bridge for a versatile tonal range. The electronics use CTS® pots with 50s-style wiring, and the controls are finished with gold Top Hat knobs and dial pointers. A premium gig bag completes the package. The Les Paul Standard 50s is an accessible homage to a legendary instrument, ready to inspire players everywhere.
Les Paul Standard 60s
Authentic 60s Les Paul style, tone, and feel for every player
The Gibson Les Paul™ Standards from 1958–1960 are among the most celebrated guitars ever made. Known for their stunning looks, smooth playability, and legendary tone, these instruments have appeared on countless stages and recordings, earning their place as some of the most desirable vintage guitars in history. Epiphone proudly introduces the Les Paul Standard 60s, part of the Inspired by Gibson™ Collection, designed to capture the sound and spirit of those iconic models.
Epiphone’s relationship with Les Paul began in 1940, when Les built one of the first solidbody electric guitars while working nights at the original Epiphone factory in Manhattan. His groundbreaking creation nicknamed “the Log,” paved the way for the Les Paul Standard—widely regarded as one of the greatest electric guitars ever produced. The Les Paul Standard 60s recreates the look, feel, and tone of early 1960s Les Pauls, featuring a mahogany body with a maple cap for classic warmth and clarity. Its mahogany neck is paired with a rosewood fretboard, pearloid trapezoid inlays, 22 medium jumbo frets, and a fast SlimTaper™ 60s C-profile for effortless playability. The Kalamazoo-style headstock comes equipped with Grover® Rotomatic® tuners and a Graph Tech® nut for exceptional tuning stability, while the strings pass over an Epiphone LockTone™ Tune-O-Matic™ bridge and Stop Bar tailpiece.
Tone comes from a perfectly matched set of Epiphone ProBucker™ humbuckers™, with a ProBucker 2 in the neck and a hotter ProBucker 3 in the bridge, each wired to individual volume and tone controls with high-quality CTS® pots. Finished with gold Top Hat knobs and packaged in a premium gig bag, the Les Paul Standard 60s delivers an authentic playing experience at an accessible price point.
SG Standard
The SG Standard – a legendary favorite
Part of the Inspired by Gibson™ Collection, the Epiphone SG Standard has been updated for today’s players while staying true to its iconic roots. The SG™ has earned its place as one of the most influential guitars in history, embraced by artists across genres. From Sister Rosetta Tharpe, Eric Clapton, and George Harrison to Robbie Krieger, Angus Young, Tony Iommi, and countless others, the SG has shaped the sound of generations.
The Epiphone SG Standard features a lightweight, double-cutaway mahogany body that offers effortless access to all 22 frets. Its set mahogany neck enhances sustain and is carved to a fast SlimTaper™ C profile. A bound rosewood fretboard with pearloid trapezoid inlays, 22 medium jumbo frets, and a 12-inch radius delivers smooth playability for chords and bends alike. Premium Grover® Rotomatic® tuners and a Graph Tech® nut work in tandem with an Epiphone LockTone™ Tune-O-Matic™ bridge and Stop Bar tailpiece for rock-solid tuning and precise intonation.
For tone, the SG Standard is equipped with a pair of Epiphone ProBucker™ humbuckers™ that deliver the classic SG sound players love. A ProBucker 2 sits in the neck position, while a hotter ProBucker 3 occupies the bridge, each wired to individual volume and tone controls with a three-way selector for maximum versatility. Complete with a premium gig bag, the Epiphone SG Standard is a modern take on a timeless classic—ready to inspire players everywhere.
Teisco Goes Huge in Tone, Mini in Size: Introducing a New Line of Pedals
Teisco (teisco.com) expands its pedal lineup with the introduction of a new collection of Mini pedals, delivering huge, expressive tone in a compact footprint. Designed to offer a comprehensive selection of essential sounds, the Mini pedals empower players of all levels to craft their own voice with confidence. True to Teisco’s fearless spirit, the brand’s bold personality and unmistakable aesthetics remain front and centre in this new collection.
Joining the celebration of this launch is a lineup of incredible artists and creators — Pedalboard Of The Day (@pedalboard_of_the_day), collector//emitter (@collectoremitter), Weish (@wweishh), and Old Dog (@oldoguitar) — who bring out the sonic brilliance and clever controls of these pedals.
The Teisco Mini collection features an extensive lineup of twelve all-new pedals, covering every essential need on the pedalboard, from fuzz and overdrive to delay, modulation, and tuning. Defying their compact footprint, these pedals deliver powerful, inspiring tones, proving that portability no longer comes at the expense of sound quality. Inspired by Japanese aesthetics, each model showcases a distinctive, eye-catching design that stands
out on any pedalboard. But it’s not just about looks: modern circuitry and true bypass switching ensure optimal signal integrity, offering the best of both worlds. Competitively priced, with US MAP starting at $59, the Teisco Mini pedals offer an accessible entry point for musicians seeking high-quality effects without compromise.
The pedals are now available worldwide via teisco.com and through select dealers.
Recent and Remarkable: Records from Winter 2025–’26
Pat Metheny doesn’t believe there’s much difference between rock, pop and jazz: “It all seemed more about the dress code than the music”
There’s a certain preoccupation with the idea of genres; we all love to signify our adherence to rock music, jazz, pop, EDM or whatever else floats our boat. But should we care as much as we do about placing our favourite music into well-defined categories?
In an interview in the latest issue of Uncut magazine, Jazz ace Pat Metheny suggests people place too much emphasis on the idea of musical genres.
“It’s always been kind of mysterious to me,” he says. “What is rock? What is pop? What is jazz?
“If I think of the spectrum of all the sounds that human beings could possible make, it is interesting to me how it’s so tightly clustered around a very tiny part of that spectrum that has to do with somebody playing the root on one, somebody smacking the crap out of two, maybe something on three, and then somebody smacking that crap out of four. It all seemed more about the dress code than the music… And I don’t get that, man. I’ve never gotten that.”
Let’s be honest, genres aren’t going anywhere. Humans are tribal; it’s in our nature to seek out and form groups with those with similar interests to us. Not to mention it’s hella fun to be at a rock show surrounded by thousands of fellow heavy music lovers. But at a certain point, does being too boxed in with the genres we like prevent us from being open to new music which may move us? Something to think about…
Elsewhere in the interview, Metheny reflects on how it took him “a couple years” to get into Jimi Hendrix.
“I did hear Are You Experienced and I was like, ‘Well, this cat, at least he can really play the blues.’
“I liked it, but I was just in a different place at that time. So it took me a couple years, and then I got it. I more than got it. Everything on those first two records, it’s just the greatest. The guy was incredible. In some ways, his thing was transcendent of guitar, even.
“It’s a little like Trane [John Coltrane] for me: the guy was probably the greatest saxophone player ever, but that’s about the fourth thing you would talk about with him. That’s not really what it’s about, and I think it’s the same way with Hendrix.”
You can view a full list of Pat Metheny’s upcoming live dates via his official website.
The post Pat Metheny doesn’t believe there’s much difference between rock, pop and jazz: “It all seemed more about the dress code than the music” appeared first on Guitar.com | All Things Guitar.
“I brought my guitar, there was Rick, an engineer and the guys from Run DMC. One was late because they towed his rental car!”: Joe Perry on the recording of Walk This Way
Joe Perry has opened up about the now-legendary collaboration between Aerosmith and Run-D.M.C. that turned Walk This Way into one of the most important crossover hits in rock history.
Speaking in a new interview with Guitar World, Perry shares how the unlikely team-up came together at a pivotal moment for both artists. By the mid-’80s, Aerosmith’s career had stalled, while Run-D.M.C. were rising stars in hip-hop. With some convincing from producer Rick Rubin, the two camps ended up in the studio together.
“It was a lot of fun and definitely a high point of our career,” Perry says of the 1986 remake, which not only reignited Aerosmith’s commercial fortunes but also helped introduced rap to a wider audience.
At the time, the guitarist was already getting an education in hip-hop at home: “My son, who was 11 or 12, was blasting it in his room. I dug the groove. It was really basic music; it’s all about rhythm and guys standing on a street corner with a boombox,” says Perry.
So when Rubin proposed linking up with Run-D.M.C., Aerosmith were game.
“Aerosmith was up for anything. That’s why our music goes from hard rock to almost heavy metal to blues to ballads. We thought, ‘Let’s try it!’”
The recording session itself, however, started off a little more chaotic than one would expect.
“We were, I think, in North Carolina,” Perry recalls. “They sent us plane tickets, and me and Steven [Tyler] went to Queens. I brought my guitar, and there was Rick, an engineer and the guys from Run-D.M.C., and one was late because they had towed his rental car. [Laughs] He was flipping out because he didn’t know what he was gonna do about it, but Rick kept saying, ‘Listen, you’ve got Aerosmith here. Focus. We’ll take care of the car later. Don’t worry about it.’ After that, everybody settled down.”
From there, the track quickly took shape: “We got the drum beat down, which was the common ground for the song – from our version and theirs. I think Rick said, ‘You’re using the drums to rap to anyway; you might as well take it all the way. Let’s try it.”
The guitarist also reveals how he ended up playing bass on the track, thanks to a surprise assist from some future hip-hop royalty.
“There were these three kids in the studio sitting on the couch… I didn’t know who they were, but they were cool guys and a little younger. We were listening to the mixdown, and Rick said, ‘I think we need to put a bass on it.’ We looked around the studio, and there were no basses, but one of the kids said, ‘My apartment ain’t too far, I got a bass there.’”
Those “kids” turned out to be the Beastie Boys: “He went to his apartment and was back in 15 minutes with a P-Bass or a Jazz. Anyway, I played the bass,” says Perry.
The post “I brought my guitar, there was Rick, an engineer and the guys from Run DMC. One was late because they towed his rental car!”: Joe Perry on the recording of Walk This Way appeared first on Guitar.com | All Things Guitar.
Pages
