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
Ernie Ball Music Man Launches New Albert Lee Models
Ernie Ball Music Man has introduced two new takes on the Albert Lee guitar: the Albert Lee HSS, which pairs the model's distinctive body shape with a versatile HSS pickup configuration, and the Ball Family Reserve Albert Lee in Malibu Burst, limited to 75 instruments worldwide.
The Albert Lee HSS combines the distinctive Albert Lee body shape with a DiMarzio custom humbucker, first developed for the Music Man Axis, and Albert Lee's signature Seymour Duncan custom single-coil pickups. A Silent Circuit preamp reduces the 60-cycle hum associated with traditional single coils, while a 5-way selector with master volume and tone controls delivers everything from articulate, chiming cleans to full-bodied humbucker drive. An ash body in a high-gloss finish is paired with a roasted figured maple neck finished in gunstock oil and hand-rubbed wax, with 22 high-profile stainless steel frets on a 25-1/2" scale. White face dots and glow-in-the-dark side markers, a Music Man vintage tremolo, compensated nut, and Schaller M6-IND locking tuners round out a guitar built for players who need one instrument to cover it all. The Albert Lee HSS comes in three striking finishes: Firemist Silver, Honey Burst, and Cosmos Sparkle.
Albert Lee HSS Features:
- DiMarzio custom humbucker + Albert Lee signature Seymour Duncan custom single coils
- Silent Circuit preamp
- Ash body with roasted figured maple neck
- 22 stainless steel frets
- Music Man vintage tremolo and Schaller locking tuners
- Strung with Custom RPS Slinkys (10–46)
The Albert Lee HSS is available for a street price of $3,299.
The Ball Family Reserve Albert Lee in Malibu Burst brings premium tonewoods and refined details to the Albert Lee platform. A figured maple top over an okoume body is finished in high-gloss Malibu Burst, paired with a roasted figured maple neck and fretboard in a hand-rubbed oil and wax finish. White pearl Atlante block inlays and glow-in-the-dark side dots give the fretboard a distinctive look, while custom-wound DiMarzio humbuckers—the same pickups found in the Axis—deliver rich, articulate tone through a 5-way selector and 500k volume and tone controls. A Music Man vintage tremolo, compensated nut, locking Schaller tuners, and 22 stainless steel frets on a 10" radius complete the package. Limited to just 75 instruments worldwide.
Ball Family Reserve Albert Lee Features:
- Figured maple top on an okoume body in Malibu Burst
- Roasted figured maple neck and fretboard
- White pearl Atlante block inlays with glow-in-the-dark side dots
- Custom-wound DiMarzio humbuckers
- Music Man vintage tremolo and locking Schaller tuners
- Limited to 75 instruments worldwide
The Ball Family Reserve Albert Lee is available for a street price of $3,799.
Albert Lee HSS
Ernie Ball Music Man has introduced two new takes on the Albert Lee guitar: the Albert Lee HSS, which pairs the model's distinctive body shape with a versatile HSS pickup configuration, and the Ball Family Reserve Albert Lee in Malibu Burst, limited to 75 instruments worldwide.
Greg Freeman’s favourite guitar was in a house fire: “it was burned to a crisp”
While the issue of artificially ageing a guitar is one that still bitterly divides guitar players, even the most dedicated home-relicer would probably draw the line at throwing a guitar on the fire to give it an authentically battered patina.
Thankfully for rising indie-rock guitarist Greg Freeman, that work had inadvertently been done for him by the time he came to snag his favourite Gibson SG off Craigslist for a bargain price – the guitar had been “burned to a crisp” in a house fire, and it still wears the scars today.
“My friend Garrett, who plays bass in my band, found it on Craigslist in Maine for like, $400 or something,” he told us in the latest episode of My Guitars & Me. “It was in a house fire: that’s why it looks way older than it is, I guess. It kind of immediately relic’d the whole thing. The pickguard is literally melted, and that wear looks about 70 years old.
Despite its heavy battle scars, the guitar has become Freeman’s number one as he wrote and recorded sensational new album, All Set The Bone. “It plays really great and has big thick neck and just feels like a proper SG,” he explains. “Some of them don’t really feel right to me, but this one is just great.”
Elsewhere in the episode, Freeman shares his love of an 80s Tokai Breezysound that he thinks is as good as any Fender equivalent, and also explains why he stopped buying and using vintage guitars: “I just play too hard to be able to play a vintage Mustang or something,” he explains. “Like it’s just not going to be in tune. So, I think that’s why I like guitars from the 90s and 2000s. It’s has the age, but can kind of put up with a lot.”
Get up close and personal with the guitars that have guided the musical journey of some of the guitar world’s biggest names by watching every episode of the Guitar.com Originals series, My Guitars & Me.
Greg Freeman’s new album, All Set The Bone, is out now.
The post Greg Freeman’s favourite guitar was in a house fire: “it was burned to a crisp” appeared first on Guitar.com | All Things Guitar.
Trivium Announce New Album Crown in the Grave, Share Video for the Title Track
GRAMMY-nominated heavyweights Trivium—vocalist/guitarist Matthew K. Heafy; guitarist Corey Beaulieu; bassist Paolo Gregoletto; and drummer ALEX RÜDINGER—are thrilled to announce their new album Crown in the Grave. It arrives November 20 through Roadrunner Records. Pre-order it here.
Trivium today share the title track, which builds from a gradual progression of layered riffs into an explosive wall of metal, pairing crushing heaviness with the precision, melody, and technical firepower that have defined the band for more than two decades. The song is vintage Trivium—galloping riffs, robust solos, and battering ram percussion, seamlessly sewn together with three-tiered vocals. But like the rest of the album, it stays true to the band's signature sound, all the while pushing it further into new sonic terrain.
The accompanying, Japanese Noh theater-inspired, post-apocalyptic music video brings the album's artwork and themes into a smoke-filled dojo, where the main characters prepare for an impending showdown through a series of tense, atmospheric sequences. Drawing on the band's longtime passion for classic Japanese theater and martial arts, the visual captures the discipline, drama, and focused physicality at the heart of the song's storytelling.
Watch the video, directed by Pavel Trebukhin, here .
"Crown In The Grave is our eleventh record, and when you get this far into a career, it’s easy to rest on what you've already done—or to reinvent yourself just for the sake of it," says Gregoletto. "With this record, we wanted to find the space between those two things: Take everything we've learned and everything that makes Trivium what it is, but present it in ways we hadn't before."
He continues, "We also wanted the record to exist within its own world. That began with the title track, inspired by Akira Kurosawa's Throne of Blood, and led us deeper into Japanese horror and cinema from the '50s, '60s, and '70s. That influence grew into this darker, ghostly atmosphere that became a set of guardrails for the music, lyrics, artwork, and overall identity of the record."
The bassist finishes, "We built our studio so we could give ourselves the time and space to figure out exactly what an eleventh Trivium record should be, and Crown In The Grave is the answer we arrived at. It honors where we’ve been without living in the past, and pushes into new territory without abandoning what makes us Trivium. I think when you hear it, it'll somehow feel both new and like a return."
After over two decades in the spotlight, Trivium have realized their collective potential like never before. They have absorbed the wisdom gained through writing hundreds of songs, the experience derived from playing thousands of shows, and the fire maintained by never giving up and perfected their signature sound at the highest level. The riffs crunch and crack bones, solos burst into flames upon impact, screams bleed truth without filter, and towering hooks break through the clouds. This is Trivium confidently reborn as the beast they were meant to be.
"Facing yourself is the final quest," Heafy observes. "We had to do it as a band, and I had to do it in my personal life. I freed my mind from the constraints of being worried. I made a decision to just sing."
A perfect storm of mental health struggles, physical injuries, and intense anxiety brought him to a crossroads. Bravely, he chose to embrace therapy, found an appropriate medication regimen, and reframed his mindset. "I cleared the plate," the frontman admits. "I stopped trying to be safe and perfect at every show. Instead, I was actually enjoying the experience and living. If I messed up, it was okay because I'm human. With all of the changes Trivium went through, it's like a brand new band."
For the first time, the group crafted Crown In The Grave in their own creative hub and de facto clubhouse—The Hangar—in Orlando. Plus, they officially welcomed drummer Alex Rüdinger (Rüdi) in the studio. During 2015, the drummer nearly joined Trivium, but opted to focus on other endeavors. A decade later, he heeded the call. "It happened when it was meant to," Heafy declares. "Rüdi didn't just kill it on the drums; his contributions as a writer made a huge difference."
Reteaming with longtime producer Josh Wilbur [Korn, Lamb of God] and working with mixer Jacob Hansen [Volbeat, Amon Amarth] for the first time, the musicians rallied around a shared vision. "We took all of the elements of Trivium, honed in on them, and focused on writing songs with big riffs and big hooks,” notes Beaulieu. "We made the record we'd been dying to make. The late great Shaun Glass [Soil] was a big Trivium fan. He'd always say, "You guys don't cook the same meal.' Even though we use the same ingredients, we always make a new dish."
"Any band who has been around this long starts to ask: Where do we go from here?" says Gregoletto. "We decided to challenge ourselves to top everything we've done. We referenced a lot of '90s albums. If you look at The Black Album by Metallica, Countdown To Extinction by Megadeth, or Superunknown by Soundgarden, the choruses are so important, and the songs are relatable. That's what we strived for."
Thematically, Akira Kurosawa's Throne of Blood served as a north star. Gregoletto brought the film to the group’s attention. "Kurosawa took Macbeth and set it in a feudal Japan," the bassist elaborates. "There's minimal dialogue, yet the storyline is powerful. There are these haunting elements of being tempted by fate and this man's downfall."
Crown in the Grave TRACK LISTING:
- "Jorōgumo"
- "Crown in the Grave"
- "Dead Inside of Me "
- "The Terror"
- "The Haunting Never Ends"
- "Lie Of It All"
- "Blackout The Dawn"
- "Paradise Of Sinners"
- "Death Throes"
- "The Agony"
- "Devour Your Dreams"
- "Serpent in the Flame"
Trivium will hit the road on November 5 in St. Petersburg, Florida and run through December 19 in Charlotte, North Carolina for a North American headline run with In Flames, Orbit Culture, Fit for an Autopsy, and Frozen Soul in tow. It is a truly stacked lineup that cannot and should not be missed. Get tickets here .
"This fall's Trivium tour is a huge one for us," the band declared upon announcing the tour earlier this year. "The lineup is stacked from top to bottom, and we're honored to have special guests In Flames, who not only influenced our early years but continue to prove time and again why they're one of the greatest metal bands of all time. With Orbit Culture, Fit For An Autopsy, and Frozen Soul rounding out the bill, we can't wait to get out there, kick off this next era of Trivium with Rudi behind the kit, and give you a taste of the new music we've been working on. We'll see you soon!"
Trivium ON TOUR: WITH IN FLAMES, ORBIT CULTURE, FIT FOR AN AUTOPSY, AND FROZEN SOUL:
- 11/5 — St. Petersburg, FL — Jannus Live
- 11/6 — Atlanta, GA — The Eastern
- 11/7 — Louisville, KY — Old Forester’s Paristown Hall
- 11/8 — Grand Rapids, MI — GLC Live at 20 Monroe
- 11/10 — Silver Spring, MD — The Fillmore
- 11/11 — New Haven, CT — College Street Music Hall
- 11/12 — New York, NY — Terminal 5
- 11/14 — Philadelphia, PA — Franklin Music Hall
- 11/15 — Worcester, MA — The Palladium
- 11/17 — Laval, QC — Place Bell
- 11/18 — Toronto, ON — GCT Theatre
- 11/20 — Royal Oak, MI — Royal Oak Music Theatre
- 11/21 — Chicago, IL — Aragon Ballroom
- 11/22 — Madison, WI — The Sylvee
- 11/24 — Nashville, TN — The Pinnacle
- 11/25 — Chesterfield, MO — The Factory at The District
- 11/27 — San Antonio, TX — Boeing Center at Tech Port
- 11/28 — Houston, TX — Bayou Music Center
- 11/29 — Dallas, TX — South Side Ballroom
- 12/2 — Phoenix, AZ — Arizona Financial Theatre
- 12/3 — Las Vegas, NV — The Pearl
- 12/4 — Inglewood, CA — YouTube Theater
- 12/5 — San Francisco, CA — The Masonic
- 12/7 — Penticton, BC — Penticton Trade & Convention Centre
- 12/8 — Vancouver, BC — Doug Mitchell Thunderbird Sports Centre
- 12/9 — Seattle, WA — Paramount Theatre
- 12/11 — Reno, NV — Grand Sierra Resort — Grand Theatre
- 12/13 — Denver, CO — Mission Ballroom
- 12/15 — Tulsa, OK — Tulsa Theatre
- 12/16 — Omaha, NE — Steelhouse
- 12/18 — Pittsburgh, PA — Citizen's Live at The Wylie
- 12/19 — Charlotte, NC — The Fillmore
Guitar’s tectonic plates have shifted: self-professed tube purist Joe Bonamassa has released a Tone Master amp with Fender
Digital amp modelling has come a long way – especially for vintage gear head Joe Bonamassa to count himself a convert. Earlier this year, the bluesman made the surprise announcement that he’d been “beta testing” a Fender Tone Master in his live rig.
He’s so convinced by the technology, in fact, that he’s just become the first person ever to attach his name to Fender’s much-loved line of digital modelling amps.
Yep, the Tone Master ’59 Twin-Amp JB Edition has officially arrived, and it faithfully – digitally – recreates the tone of Fender’s 5F8-A tweed Twin circuit, and is voiced after Bonamassa’s own prized late-’50s amps.
At the core of the amp are a pair of custom-designed lightweight 12” Celestion JB Neodymium speakers, which are said to “capture the warmth, punch and articulation of Joe’s touring rig while reducing overall weight”.
As any tube amp aficionado will know, the best tone often comes at ever-so-slightly antisocial volumes. Fortunately, Joe Bonamassa’s new Tone Master comes equipped with a Stage-to-Home power control, which offers players six settings: full power, plus five attenuated settings. This makes the classic tweed Twin tone accessible at any volume.
Credit: Fender
Elsewhere, the top panel features a convolution spring reverb and an effects loop for time-based effects, while the rear panel sports a “Vintage Tight” switch for “enhanced low end response”.
In terms of connectivity, the amp features a balanced XLR line output with three onboard cabinet impulse responses, as well as full customisable speaker IRs via the Tone Master IR Manager app.
The guitarist acknowledges that he’s done a U-turn over the last few years in terms of his attitude to digital gear. It’s good to be open-minded, we say!
“I wanted to hate it,” says Joe Bonamassa. “We’re all in agreement that this amp was tighter, punchier, and better. I never thought I’d see in my lifetime the fact that I’d be sitting next to a digital amp. Sound makes you play. Sound inspires you to play. You just need to know how to unlock the sound you hear in your head and get it out.”
“Joe Bonamassa is one of the world’s foremost authorities on vintage amplifiers, and he knows these original Twins as well as anyone,” adds Max Gutnik, Chief Product Officer at Fender Electronics & Digital.
Credit: Fender
“For someone with Joe’s ears, experience and deep commitment to vintage tube amps to choose a digital Fender, and say it sounds even better than the original, is a real inflection point for our industry. It demonstrates just how far this technology has come and, more importantly, the extraordinary accuracy with which Fender can now recreate the sound, feel and response of our most iconic amplifiers. That’s what Tone Master is all about: preserving everything players love about these legendary amps while making them more useful for the way musicians play today.”
The Tone Master ‘59 Twin Amp JB Edition is available now, priced at $1,999.99 / £1,789 / €2,099.
Head to Fender to learn more.
The post Guitar’s tectonic plates have shifted: self-professed tube purist Joe Bonamassa has released a Tone Master amp with Fender appeared first on Guitar.com | All Things Guitar.
These limited 10th anniversary Boss Katanas look so cool they might make me switch back from in-the-box amp sims
Has it been 10 years already since Boss launched the Katana series?
First unveiled in 2016, the Katana range is equipped with Boss’s Tube Logic sound design, which recreates the sound and responsiveness of classic tube amps in a digital solid-state design. Their pro-quality sound and power combined with ultra-affordable price tags are to thank for the fact the series has sold over 1.5 million units in the past 10 years. The lineup is currently in its third generation, which arrived in 2024.
And now, a decade after the series first landed, Boss is celebrating in style with a limited-edition drop of 10th Anniversary Katanas – outfitted in stunning blue flame maple cabinetry.
Available exclusively at Roland’s flagship stores in New York City, London and Tokyo, the lineup comprises special anniversary versions of the Katana Artist Gen 3, Katana Artist Head Gen 3, and Katana Cabinet 212 Waza, all trading their distinctive all-black colourways for a luxurious high-gloss blue.
Credit: Boss
They command slightly higher price tags than their regular-line counterparts with the Artist Gen 3 clocking in at £1,100, the Artist Head Gen 3 at £846, and the Cabinet 212 Waza also at £846.
The changes on these limited 10th Anniversary amps are purely aesthetic, and they otherwise feature the same spec sheets as the regular-line Katanas, including tube-like responsiveness, multiple onboard amp models, a suite of onboard effects, the ability to recall tone settings and loads more.
You can learn more about the 10th Anniversary Katanas at Boss.
Credit: Boss
The post These limited 10th anniversary Boss Katanas look so cool they might make me switch back from in-the-box amp sims appeared first on Guitar.com | All Things Guitar.
Why guitar frets are made of different materials – and how it has a huge impact on your playing experience
Frets are the most abused metal on your guitar. Every note you play grinds a steel string into them. Every bend drags that string sideways across the crown. Eventually, the string wins, and you’re looking at divots, buzzing, and you’ll be in need of some maintenance. What that timeline looks like depends almost entirely on what your frets are made of.
- READ MORE: Does tonewood really matter? This is how the wood your guitar’s made of affects the sound
I’ve installed, leveled, and crowned a lot of frets in my time – both on my own builds and doing repair work for others. Over that time, I’ve worked with the three most common materials you’ll find used for guitar fretwire – nickel-silver, stainless steel and the lesser-seen EVO Gold. Each one has its pros and cons, but what’s the difference, and which one should you choose? Well, let’s discuss…
Image: Adam Gasson
Nickel-silver is the default for a reason
Before we start, a bit of mythbusting – nickel-silver actually contains no silver. The standard alloy is 18 per cent nickel, roughly 65 per cent copper, and the rest zinc. The nickel gives it that silvery color, which is how the name stuck. You’ll also see this alloy referred to as German silver or even maillechort – but regardless, there’s no actual precious metal here!
Nickel-silver is the wire on the overwhelming majority of guitars ever built. Most guitar builders use it, including Fender and Gibson. On the Vickers hardness scale, quality 18 percent nickel-silver wire from a maker like Jescar comes in around 200 HV. There’s also a softer 12 percent nickel version that shows up on some vintage-style wire, and it wears noticeably faster.
From a builder and tech perspective, nickel-silver is great to work with. It cuts clean with standard end nippers, fret ends dress quickly, and crowning files glide through it. A full refret in nickel-silver is a predictable job, which is part of why it’s the cheapest option at any repair shop.
The trade-off is the whole reason this article exists: it’s comparatively pretty soft and wears quickly. Play a nickel-silver fretted guitar hard for a few years and you’ll see flat spots and string divots, especially under the plain strings, which act like tiny round files. A gigging player might need a level and crown every couple of years and a full refret after two or three of those. There’s also the tone argument. Plenty of players insist nickel-silver sounds warmer and rounder than harder wire, but that really is in the ear of the beholder.
Image: Adam Gasson
Stainless steel is buy once, cry once
Stainless fret wire sits around 300 HV, roughly 50 percent harder than standard nickel-silver, with a tighter grain structure. In practical terms, your strings will die of old age long before they leave a mark on these frets. A properly installed stainless refret is close to a lifetime job for most players. Vigier has built guitars with stainless frets for decades, and companies like Music Man and Suhr now spec them across much of their lineups. Fender’s American Ultra guitars also spec stainless steel frets as standard.
Stainless is slick, so from a feel standpoint, bends glide a bit smoother, and there’s none of that faint gritty friction you feel on worn nickel-silver. Some players love it immediately. Others find it almost too slippery, like the string is skating.
Now the downside, and I say this as someone who has cursed through several stainless refrets: this material fights you. Cheap nippers will chip before the wire does. Files load up and dull fast. Crowning takes longer, polishing takes longer, and everything about the job eats consumables.
This is why shops charge a premium for stainless refrets, sometimes a substantial one. They’re not gouging you. They’re just having to replace their tools more often, and frankly, files can be expensive when you’re doing fret jobs every other day.
As far as tone goes, the theory says harder material reflects more string energy and sounds brighter. Some players swear they hear it. In my experience, the difference is smaller than the difference between two sets of strings. What you’re really buying is wear resistance and that slick bending feel.
Image: Adam Gasson
EVO Gold is the hard-to-find compromise
EVO Gold was Jescar’s answer to the middle ground. It’s a nickel-free copper alloy with titanium, originally developed for eyeglass frames for people with nickel allergies, and it lands at 250 HV, right between nickel-silver and stainless. The gold color isn’t plating. That’s the alloy itself, all the way through, so it never wears to a different color underneath.
On the bench, EVO behaves closer to stainless than its hardness number suggests, but it’s meaningfully kinder to tools. It cuts with a sharper snap than nickel-silver, seats well, and crowns without destroying files.
For a repair tech, it’s the best of the three to work with relative to the longevity it delivers. For a player, it wears far slower than nickel-silver, bends smoothly, and the hypoallergenic angle is a genuine benefit for the minority of players whose fingertips react to nickel.
The drawback here is availability. Jescar has confirmed that the supplier of the proprietary alloy stopped producing it, and that whatever wire remains in the supply chain is all there will ever be. The company still makes its nickel-silver and stainless lines, but genuine EVO Gold is done.
Other manufacturers sell gold-colored wire, including StewMac, whose version is a C425 copper alloy, but it isn’t the same material and doesn’t test as hard. If you find some real EVO in your chosen size and you want it, buy it now. I’ve already hoarded my stash!
Image: Adam Gasson
So which fretwire should I use?
If you’re keeping a vintage or collectible guitar original, matching the original spec matters for value, and a guitar that gets played a few hours a week will run for many years between fret jobs anyway.
If you play hard, bend a lot, or gig constantly, get stainless on your workhorse and stop thinking about frets forever. Pay the upcharge once. It’s cheaper than three nickel-silver refrets over the life of the instrument.
EVO Gold made the most sense as a factory spec and a middle option, and it looked fantastic against gold hardware. With the alloy gone, it’s becoming a curiosity. If your guitar already has it, enjoy it. Those frets will outlast most of the guitar they’re installed in.
One last thing: material matters less than the fretwork itself. A flawless level and crown on soft nickel-silver plays better than a sloppy stainless job every single time. Choose your material, but choose your tech more carefully!
The post Why guitar frets are made of different materials – and how it has a huge impact on your playing experience appeared first on Guitar.com | All Things Guitar.
Steady Strum Update
I haven’t posted much on here lately primarily because I’ve been working on a lot of new designs over at Steady Strum. If you’re looking for some guitar-themed apparel, I’m currently running a 20% off sale for Halloween with code OCT20. The sale ends on Monday, October 12th at midnight CST.
There are a number of Halloween-themed shirts currently available.
My favorite design is still one of my first designs, and that’s actually the guitar that serves as the Steady Strum logo.
I tend to like simple, clean designs and many of my designs reflect that. But, I’ve also tried to add designs that would appeal to just about any guitar lover. I’d love for you to check them out and let me know what you think!
California, Dream On: Aerosmith & Friends Shows Announced for Hollywood Bowl
Live Nation-Hewitt Silva and Blackbird Presents today announce California, Dream On: Aerosmith & Friends, a monumental concert celebration honoring the unmatched history, explosive live performance and enduring legacy of America’s Greatest Rock Band. This historic event will take over the Hollywood Bowl in Los Angeles, California for two unforgettable high-octane nights on October 29 and November 1, 2026.
For more than five decades, Aerosmith has defined the sound, raw spirit, and rebellious attitude of American rock & roll. From their Boston breakout to the Super Bowl, the band epitomizes the rock ‘n roll dream come true. Now, in a triumphant and highly anticipated return, the legendary rock titans will command the stage together again. This monumental event will celebrate the band’s extraordinary career, timeless catalog, and unparalleled global influence alongside a staggering lineup of fellow legendary artists.
This epic celebration has the star power that only Aerosmith can deliver, bringing together an electrifying, cross-genre lineup of superstars, each a defining force in their field. Spanning rock, country, hip-hop, and alternative music, the lineup features The Black Crowes, RUN DMC, Heart, Andrew Watt, Billy Idol, Chad Smith (RHCP), Duff McKagan (GN’R), Eric Church, Jerry Cantrell (Alice in Chains), Marcus King, Mike Inez (Alice In Chains), Nuno Bettencourt (Extreme), Pat Monahan (Train), Sammy Hagar, Slash (GN’R), Steve Stevens, Sully Erna (Godsmack), Tom Morello, Adam Wakeman, Audley Freed, Kenny Aronoff and more, all anchored by the legendary Don Was serving as Music Director. This stellar roster brings together iconic artists who have previously performed or recorded with Aerosmith and a new wave of stars who cite the band among their ultimate musical influences. Even more artists, special guests, and surprise appearances will be announced in the weeks ahead, promising unforgettable collaborations and unexpected moments across both nights. The lineup will vary each night. Final nightly lineups will be announced at or near showtime and are subject to change.
From “Dream On,” “Sweet Emotion,” and “Walk This Way” to “Janie’s Got a Gun,” “Crazy,” “Cryin’,” and “I Don’t Want to Miss a Thing,” Aerosmith’s catalog has become a defining element of modern music culture, with an influence that extends across rock, pop, hip-hop, and blues. These highly anticipated performances will mark a return to the stage for Aerosmith, giving fans a rare opportunity to experience the band together once again and the unmistakable chemistry and stage presence that have defined their live shows for more than five decades.
Aerosmith are four-time Grammy Award winners, Rock and Roll Hall of Fame inductees, and MusiCares Person of the Year honorees, but those accolades tell only part of the story. Their enduring relevance is reflected in the milestones they continue to shatter, with the band among the only groups to score Top 10 Billboard 200 albums across six consecutive decades, while helping shape new generations of boundary-pushing artists who cite Aerosmith as their musical inspiration. This historic event will honor the extraordinary journey and lasting impact that have made Aerosmith one of the most important, defining, and enduring bands in music history.
Citi cardmembers will have access to presale tickets beginning Thursday October 8th at 10am PDT until Friday October 9th at 10am PDT through the Citi Entertainment program. For complete presale details visit www.citientertainment.com. Additional presales will run throughout the week ahead of the general on-sale beginning on Saturday October 10th at 10am PDT. Visit www.aerosmith.com for more information.
The shows will also offer a variety of different VIP upgrades and experiences for fans to take their concert experience to the next level. Upgrades vary but include access to the pre-show Aerosmith VIP Lounge, a limited-edition Aerosmith jacket, a specially designed VIP-exclusive T-shirt, early entry into the venue & more. VIP upgrade contents vary based on the offer selected. For more information, visit vipnation.com !
In Stereo: Tom Bukovac and Guthrie Trapp
I recently revisited the 2024 instrumental album In Stereo from Tom Bukovac and Guthrie Trapp and thought I’d write a quick review here.
If you’re not already familiar with Bukovac and/or Trapp, they are both Nashville players with a long pedigree of live and studio playing. They have also been pretty active on YouTube over the past few years. Bukovac has a popular long-running “Homeskoolin’” series, while Trapp also regularly posts educational content on his channel.
The album features a lot of great guitar tones. My understanding is that Tom used a vintage Les Paul and a vintage Stratocaster while Guthrie used his main Danocaster guitar. The amps were primarily Fenders with minimal effects on top. Both players primarily use clean and mildly overdriven tones throughout the record. It’s really a beautifully recorded album.
You might expect an album featuring two of the top Nashville session players to feature a lot of country guitar shredding, but that’s not what this album is. Sure, there is plenty of great guitar playing here, but I wouldn’t categorize many of the songs as country songs.
Instead, I would describe this album as atmospheric with some country elements, some jazz elements, and some rock elements, which all meld together nicely.
From what I can tell, Tom and Guthrie have been friends for a long time. I think this leads to a relaxed-feeling album without the need to overplay for one another. Both players are tasteful and their playing fits well within the context of each song. It sounds like they are having a musical conversation within the songs.
What I like about the record is that it works well as background music while I’m working as the playing doesn’t overwhelm the listener. But, the record also rewards a closer active listening session where you can really take into account the wonderful guitar playing from both of them.
If you’re looking for an instrumental album that isn’t all about shredding but still has plenty of great guitar playing, I’d recommend checking out In Stereo:
You can also check out a few behind the scenes moments in the video below:
Kardinal Guitars Introduces the Kardinal Bass
Kardinal Guitars has introduced the Kardinal Bass: a four-string electric bass designed to offer professional-grade tone at a very accessible price. Available for pre-order through November 20, 2026, the Kardinal Bass ships with a spec sheet that punches well above its $549 pre-order price.
The Kardinal Bass features a neck-through mahogany body design, delivering superior resonance and sustain compared to bolt-on alternatives, and its quilted maple top provides eye-grabbing appeal. It features a rosewood fretboard with a 12" radius and stainless steel frets.
At the heart of the Kardinal Bass are a pair of custom-wound dual-coil soapbar pickups loaded with Alnico V magnets, which deliver a warmer, fuller character than ceramic alternatives, with greater dynamic sensitivity and reduced string pull for improved sustain. The result is a passive bass that responds to how hard you dig in, cleans up when you back off, and sits in a mix without fighting for space. Full-size pots and a simple Vol/Tone/Blend layout keep everything player-focused and intuitive.
The Kardinal Bass is available in three launch colors: Cardinal Red, Sapphire Blue, and Midnight Black.
Kardinal Bass Key Features:
- Neck-through mahogany body construction for enhanced resonance and sustain
- Quilted maple top with flame maple binding
- Rosewood fretboard, 12” radius, 22 stainless steel frets
- Dual-coil soapbar pickups, custom wound with Alnico V magnets
- Passive electronics: Volume, Tone, Blend with full-size pots
- 34" scale length, 40mm nut width, Graph Tech nut, brass saddle bridge
The Kardinal Bass is available exclusively through kardinalguitars.com for $549. Pre-orders are open now through November 20, 2026.
Kardinal Bass
Kardinal Guitars has introduced the Kardinal Bass: a four-string electric bass designed to offer professional-grade tone at a very accessible price. Available for pre-order through November 20, 2026, the Kardinal Bass ships with a spec sheet that punches well above its $549 pre-order price.
Rig Rundown: GA-20
PG’s John Bohlinger met up with Cody Nilsen and Matt Stubbs of GA-20 at the Vinyl Tap in Nashville. The band takes its name from the Gibson GA-20, which they’ve now retired from the road—what’s left is two guitarists, no bassist, and a stack of amps that never get switched off. Have a look at some quick highlights below, and tune into the new Rig Rundown for all the details.
Brought to you by D’Addario.
Shark Attack
Nilsen’s Teisco ET-460 “Shark Fin” was rebuilt by Nate Lord of Lord Guitars — Rickenbacker-style pickguard, a gold foil in the neck, Lord’s own wiring, TK Smith Bakelite knobs, plus the two original Teisco pickups, wired to run as one enormous humbucker with a push-pull that drops it to a single coil. It’s in open C, and it’s big enough and low enough, Nilsen says, to shake the speakers.
Rat Rod
The Shark Fin’s predecessor is the pawn-shop special that got Nilsen into these guitars in the first place—held together with tape and, in his words, a wild ride. The rotary switch came out early on, since Lord warned him he wouldn’t like it, and now all four pickups work in any combination. He’s usually on the bridge, but he likes the back two together, which is probably what led to the humbucker idea on the newer one.
The Lawsuit
A 1977 Ibanez Les Paul copy off Craigslist, bought because Nilsen loves black beauties with P-90s and couldn’t afford a real one. It’s a bolt-on, which worried him at first. He says the neck pickup’s thump is what he judges every other guitar against, and he’s had it open exactly once, to check a cap, which was enough.
Cody Nilsen’s Pedalboard
From left to right: A Catalinbread Topanga for reverb; an Xotic RC Booster that’s been on every board Nilsen’s ever had, mostly for salvaging backline amps; a J. Rockett Archer that comes out once or twice a night when Nilsen wants to upset the sound guy; and a Jackson Audio 1484 Twin Twelve, that mostly lives as a borderline fuzz for his slide tone.
Signature Slide
Stubbs’ number one is his Waterslide signature T-style, built by Patrick Matera in Los Angeles. He’d asked for a Telecaster with DeArmond-style gold foils, the biggest neck available, and a Bigsby he could actually lean on; after he called back to order a second, Matera suggested making it a signature model instead.
Green Machine
The Sherwood Green one is the same guitar in every respect, just slightly lighter. It’s tuned down to C with .012s, and it comes out when Nilsen picks up the slide and goes to open C—Stubbs isn’t soloing much on it, just covering low end.
Shell Pink Prototype
Stubbs’ newest Waterslide is an offset prototype in shell pink with the same neck and the same Mojo pickups under different covers. It’s just under eight pounds, and it’s on a Descendant bridge, which is new to him.
Tweed Twin
This West Side combo is modeled on Stubbs’ 1960 Tweed Deluxe, an amp he says he couldn’t afford at today’s prices. Diego at West Side took the values off the original and built the band a pair. They’re what all the torn-up high end comes out of.
Dad’s Amp
The Fender Bassman is the ‘68 Stubbs borrowed from his father when an amp blew up on tour and never gave back; of the five or six he owns, this one has something the others don’t. Below it is a West Side Bluesman that Diego built from its values—both sides the same circuit, one tweaked for extra low end, in phase so they can be jumped. Nilsen and Stubbs each run one.
Matt Stubbs’ Pedalboard
A Boss TU-2, then a first-generation Seymour Duncan SFX-01 Pickup Booster he’s had since he was 18. A Ryra Klone stays on the board for fly dates, when he’s stuck with a limp backline amp. His Catalinbread Topanga handles reverb; he went through about 40 reverb pedals before it and stopped looking. Not on the board yet but used on the new record: a prototype from a company called Super, with a Fuzz-Rite-ish fuzz on one side and a clean boost on the other, built in because the maker knew what Stubbs liked.
D'Addario Introduces XS Nickel Bronze Acoustic Strings
D’Addario introduces XS Nickel Bronze, featuring both the clear, transparent tone of Nickel Bronze and the extended lifespan, smooth feel, and tuning stability of XS. XS Nickel Bronze strings give acoustic guitar players a fresh tonal option within the XS lineup.
The Nickel Bronze alloy creates a clear, harmonically focused sound with distinctive note definition, which allows the natural character of the instrument to shine through. Meanwhile, ultra-thin XS film coating protects the wound strings from corrosion and contaminants, maximizing the lifespan of the string while delivering the smooth feel XS is known for.
The Best of Both Worlds
“Players have long loved Nickel Bronze for its clear, transparent tone and its ability to reveal the unique character of their instrument, while XS has earned a following for keeping strings sounding, feeling, and performing their best for longer,” said Founder Jim D’Addario. “With XS Nickel Bronze, we’ve brought those two innovations together, delivering the true Nickel Bronze voice players love with the extended life, tuning stability, and smooth feel that define XS.”
With the addition of Nickel Bronze, players can now choose from three distinct tonal options across the XS Acoustic lineup: Nickel Bronze, Phosphor Bronze, and 80/20 Bronze.
- Maximum String Life: Ultra-thin XS film coating protects the string against corrosion and prevents contaminants from building up in the string windings, greatly lengthening the life of the string
- Clear Nickel Bronze Tone: XS Nickel Bronze strings have distinctive note definition and a transparent sound that highlights the natural character of the instrument
- Smooth Feel: XS coating is durable enough to protect the string, but thin enough to create a smooth feel
- Enhanced Strength: High-Carbon NY Steel wire produces enhanced break strength
- Improved Tuning Stability: Fusion Twist technology helps keep plain steel strings securely in tune
- Made by D’Addario: Wire drawing, string winding, and coating are controlled in- house for consistent performance
D’Addario XS Nickel Bronze strings are available in popular acoustic guitar gauges and a mandolin gauge at daddario.com and authorized retailers. Sets start at $19.99.
XS Nickel Bronze
D’Addario introduces XS Nickel Bronze, featuring both the clear, transparent tone of Nickel Bronze and the extended lifespan, smooth feel, and tuning stability of XS. XS Nickel Bronze strings give acoustic guitar players a fresh tonal option within the XS lineup.
Did an Oscar-winning film director destroy a priceless 1800s Martin guitar on purpose?: “Tarantino filmed it at night on purpose so that the guitar tech wouldn’t be there”
If there’s a story that could make any guitarist wince, it’s what happened to a priceless Martin acoustic guitar on the set of Quentin Tarantino’s The Hateful Eight.
If you’ve seen the movie, you’ll remember the scene when Kurt Russell’s character, John “the Hangman” Ruth”, becomes irked by Jennifer Jason Leigh’s “Crazy” Daisy Domergue playing the Australian folk ballad Jim Jones at Botany Bay, and proceeds to snatch the guitar from her hands and smash it.
The filmmakers arranged to borrow an authentic 1870s acoustic guitar from Martin so that Leigh could play a period-correct instrument onscreen, and the original plan was, naturally, for a little bit of screenplay sleight of hand, and for a replica to be the one that was smashed up. Only thing is, communication broke down, and the real 150-year-old Martin was obliterated instead.
But was the unfortunate incident quite the accident the official story has us believe? Dick Boak, former Martin in-house historian and a veteran of the company’s A&R department, speculates that Quentin Tarantino might have hatched a plan to get the most authentic reaction possible out of Jennifer Jason Leigh.
“Tarantino filmed it at night on purpose so that the guitar tech wouldn’t be there,” he says in a new interview with Gear Gab Podcast with Eric Dahl. “He’d gone home, and they never brought the papier-mâché guitars out. They just had the regular guitar.
“And she played her little thing, and Kurt Russell grabbed it out of her hands. And Tarantino wanted to get the genuine reaction out of her. And yeah, he did, because the reaction – I mean, I’ll never forget it, you know, the reaction on her face and everything from that.”
The incident no doubt led to some serious distress at Martin HQ: “I was so upset,” Boak remembers. “I thought maybe I would even get fired over this.”
Then-Martin CEO Chris Martin saw the upside, though, Boak continues. “He was terrific. He said, ‘It’s fantastic. It’s going to be in a famous movie. The publicity value in the movie is greater than the guitar could ever be.”
The remains of the guitar were later displayed at the Martin booth at the 2024 NAMM Show in Anaheim, California.
Back in 2024, Kurt Russell recounted smashing the priceless 150-year-old Martin on the set of The Hateful Eight: “Jennifer had a number of guitars to work on this song that she was going to sing.
“The one particular guitar that she liked, I guess, was this Martin,” he said. “Nobody ever said that it was 145 years old at the time. It was a Martin, and I remember somebody at the thing saying, ‘I think it’s worth about $15,000.’ I said, ‘Oh, that’s cool.’”
“Then comes the day to shoot it,” he continued. “I knew that she’d been working on this one guitar, and because I’ve done a thousand shows, I couldn’t even imagine that they were going to be using the one guitar that she was going to be playing, not that it was a priceless Martin guitar. Because it wasn’t. Nobody said that. Nobody made that claim.
“But when we did the take, you can even see it. I kind of give it an extra beat, and nothing. I go ahead and smash the guitar. I can tell – when I grab her and sit her down, I can tell she’s not happy about this. It’s like: Something’s wrong. So as soon as it’s over, I say, ‘Tell me that’s not the guitar you’ve been practicing with,’ and she [nods].”
The post Did an Oscar-winning film director destroy a priceless 1800s Martin guitar on purpose?: “Tarantino filmed it at night on purpose so that the guitar tech wouldn’t be there” appeared first on Guitar.com | All Things Guitar.
Brian May says that he’s planned an immersive ABBA-style Queen show, but there’s one big reason it won’t happen: “I have serious misgivings about that”
With ABBA Voyage contributing billions to the UK economy, it’s clear that digital concerts have plenty of appeal. Hell, even Kiss are continuing their legacy in digital form, penning in an avatar-led 2027 tour following their 2023 retirement. However, Brian May isn’t keen to digitise Queen just yet – especially if the process involved AI.
Speaking to The Times, May confirms that he never wants to tour again. He decided 18 months ago, prompted by the death of a close family friend. “I said to my tour manager, ‘I’ll just nip home for a few days and come back’, and she looked me in the eyes and said, ‘You know you can’t do that’,” he recalls. “I love to play, I love to travel, but the trade-off is sacrificing your freedom.”
However, May doesn’t want his retirement from touring to mean the end of Queen. In fact, May and dummer Roger Taylor are interested in preserving the magic of Queen in some alternative live experience. Taylor notes that him and May “want to do something fairly revolutionary”, pointing to how ABBA’s ABBA Voyage experience changed the game.
“Not as Abba did, but along those lines,” May chimes in to clarify. “Last year I went to the Las Vegas Sphere. My juices started flowing and I sketched out a whole Queen show. I think an immersive experience is still on the cards and it could conquer time and space…”
Sounds marvellous, right? Unfortunately, May isn’t keen to set the ball rolling on anything too ambitious, as his current vision seems impossible without the aid of AI – something he is strongly against. “Currently you can’t make it without AI and I have serious misgivings about that,” he emphasises.
The Times article even reveals that May even pulled the plug on a music video last month after find out the directors had used AI. The track in question is My Angels Are Calling, a Steve Cropper & The Midnight Hour track he and ZZ Top’s Billy Gibbons featured on.
As a result of the firing, the current video is pretty simple, primarily shot on green screen, but the alternative use of AI was not an option for May. “Data centres are a massive evil and have to be fought,” the guitarist says.
“My message to Andy Burnham [the UK Prime Minister] is clear: stop it now before it’s too late. It’s trashing our future. We all ‘like’ AI. It helps us write emails. It’s even saved a few lives. But the harm it is bringing to the world is immense.”
The post Brian May says that he’s planned an immersive ABBA-style Queen show, but there’s one big reason it won’t happen: “I have serious misgivings about that” appeared first on Guitar.com | All Things Guitar.
Valeton GP-5: A Mini pedal With Guitar Processing, Bluetooth, And NAM Files Compatibility
By: Carlos Martin Schwab
The Valeton GP-5 is a compact multi-effects processor and amp simulator designed to offer tremendous sonic versatility in a pocket-sized format—ideal for practicing guitar or as part of a pedalboard. It features a high-quality digital processing engine (24-bit/44.1 kHz) and includes over 100 effects, amp, and cabinet models that can be combined into up to 100 presets (50 factory and 50 user presets), each incorporating up to 9 simultaneous modules in customizable chains.
It features intuitive controls on its physical panel for quick parameter adjustment, as well as a clear display for navigating presets. It can load up to 20 IR files from third-party cabinets and import NAM (Neural Amp Modeler) files using SnapTone technology, and it can store up to 80 NAM files in total. It also includes essential practice features such as a drum machine with 100 built-in patterns, a stem splitter, and a precise chromatic tuner.
To manage presets and edit parameters, you can connect the GP-5 to PC/Mac software and an Android app. All of this is complemented by a 1/4″ (TR/TRS) mono/stereo combo output for use with headphones or for direct connection to an amplifier or mixing console, or for integration into a pedalboard.
Connection to PC/Mac and Smartphone
The Valeton Suite software allows you to connect the GP-5 to a PC or Mac to manage NAM and IR file slots and presets. It also allows you to back up presets and update the firmware.
The Valeton Suite app for Android/iOS connects to the pedal via Bluetooth and allows you to edit presets (enable, disable, and edit the 9 modules in the effects chain), manage presets, load IR files into internal memory, and load/convert NAM files. It also lets you use the drum machine and stem splitter, configure the Valeton GP-5’s settings as an audio interface, and set the pedal switch’s operating mode.
NAM File Compatibility
SnapTone compression technology converts large NAM neural network files by extracting and distilling their key tonal characteristics (frequency response, dynamic saturation, and nonlinear behavior), transforming them into a lighter, optimized digital file. Since the Valeton GP-5’s processor has limited DSP resources and memory, the original NAM files—which require significant processing power on a PC—cannot be run natively. During this conversion process, the NAM file undergoes a slight reduction in the mathematical resolution of the amplifier model. This subtly affects the microdynamics and the feel of the pick response, though it preserves the essential tone and character of the original amplifier. Thanks to this technical optimization, the pedal can store up to 80 of these advanced captures without overloading its internal system or introducing perceptible latency during performance.
IR and NAM files are permanently loaded into the GP-5’s memory: once the files are transferred to the assigned slots, they are saved in the pedal’s internal memory. Once transferred, you no longer need to be connected to computer software or your phone. You can integrate these slots into your user presets via editing and access them directly using the pedal switch. Note: Make sure the native NAM file includes, at a minimum, an amp and cabinet simulation. In the effects chain, these slots appear when editing the N-S module; activating this module automatically deactivates the amp and cabinet modules.
Other Useful Features
Audio Interface: The Valeton GP-5 includes a built-in USB audio interface with 2 inputs and 2 outputs (2 In / 2 Out) that allows you to record directly to a PC, Mac, iOS, or Android device via the USB-C port. It operates at an audio resolution of 24-bit / 44.1 kHz, with adequate dynamic range and low latency for real-time monitoring. On Mac, iOS, and Android, it’s plug-and-play; on Windows, it’s recommended to install Valeton’s official ASIO drivers to minimize latency when recording within a DAW. The USB-C port transfers audio while simultaneously powering the pedal (5 V minimum), so there’s no need to connect the 9 V power supply when using it with a PC or laptop. Its direct monitoring feature lets you hear the processed signal in real time through the 1/4″ headphone output without the latency of the computer’s processor.
Stem Splitter: This is an AI-powered feature that allows you to separate an already mixed song (a complete audio file such as an MP3 or WAV) into its individual tracks or instruments (stems). The components that are separated are: vocals, drums, bass, and harmonic instruments (guitar or others). Although this feature is not built into the hardware or firmware of the Valeton GP-5 pedal itself, it is very useful for practicing or creating backing tracks.
Valeton GP-5 User Community
Unlike other guitar processor manufacturers (such as Line 6 or IK Multimedia), Hotone does not maintain a cloud-based GP-5 user community for sharing presets. It’s a shame that Hotone doesn’t recognize the enormous added value that maintaining a user community could bring to the GP-5. There are several Facebook groups for sharing Valeton GP-5 presets. The native NAM files (more than 750,000) are available for free at www.tone3000.com
Retail Price: $79.99
More info at https://www.valeton.net/product/gp-5/
Carlos Martin Schwab would like to thank Nick Huang of Hotone for his help in writing this article.
Learn Laura Snowden’s Melody-Driven Arrangement of the Traditional Irish Folk Song “Carrickfergus”
Tony Iommi reveals the gruesome truth of what happens if he plays guitar without his finger prosthetics: “I fretted a string and it sliced right through my finger”
Despite chopping his fingertips off in 1965, Tony Iommi has never let his handicap get in his way of playing guitar. With a pair of prosthetic fingers, Iommi has carved out an entire legacy in Black Sabbath, and he’s even dropping his first solo record in 21 years, From the Dark, later this month. However, take away the prosthetics, and things would turn sour pretty quickly.
In a new interview with Guitar World, Iommi admits that he “couldn’t get through a gig” if he ever lost his prosthetic fingertips before going on stage. “I couldn’t touch the strings with those fingers – the bone is right under the skin,” he explains. “One time, years ago, when it did come off, I fretted a string and it sliced right through my finger.”
This slice was no normal cut, however… instead, it was like Sabbath Bloody Sabbath up on stage. “There was blood all over the place!” Iommi recalls.
Over the years, Iommi has refined his fingertip regime – explaining that he puts tape on his chopped fingers, adds glue, then pushes his prosthetic finger into place – however, accidents can happen. “They used to fall off, and it was a bloody pain,” he says.
And he doesn’t just mean the aforementioned bloodbaths; when you’re in a messy green room, looking for a pair of tiny fingertips can feel like hunting for a needle in a haystack. “Trying to find them… ‘Where is it? It’s on the floor somewhere!’” he laughingly remembers.
Of course, he has prepared himself if he ever loses his fingertips and has no spares. “I can play with the two other fingers,” he explains. “I learned to use my little finger in the early days because I had to.”
He also reveals that he has to “keep the fingertips in shape” while on the road. “I chance the leather parts every couple of weeks, and it’s a bit of a hassle, but I’ve got used to it,” he says.
Speaking to Classic Rock last month, Iommi also revealed that his fingertips are sent to him as part of an entire rubber arm. “I’ve asked them: ‘Why not just send a hand?’ But apparently they can’t do that,” he revealed.
“They sometimes send me five arms at a time. So I chop the fingers off and throw the arms in the bin,” he admits. “The dustmen must be thinking: ‘What the bloody hell’s going on here? Has he bumped someone off?’”
From the Dark is out 23 October, and is available to pre-order.
The post Tony Iommi reveals the gruesome truth of what happens if he plays guitar without his finger prosthetics: “I fretted a string and it sliced right through my finger” appeared first on Guitar.com | All Things Guitar.
T-Rex FuzzTopia review – an unorthodox combo of raw fuzz and smooth distortion
€149/$189/£129, t-rex-effects.com
Wouldn’t it be nice if every two-for-one deal turned out to be a three-for-one? This isn’t really possible with chocolate bars, tragically, but it is with guitar pedals: two circuits in one box with separate footswitches means instant access to three sounds: left, right and both at once.
- READ MORE: T-Rex RoomMate D’Luxe review – a trusty all-round reverb pedal is reborn for the modern era
That’s the first appealing feature of the T-Rex FuzzTopia dual dirt machine. The second is that it’s a genuinely compact Danish-built unit from a company with serious pedigree in the world of overdrive and distortion.
What is it?
The FuzzTopia follows the overall design scheme of the TwinBlaze distortion and RoomMate D’Luxe reverb, but with one key difference: it isn’t valve-powered. That immediately knocks 20 per cent off its hipness quotient, but brings one significant bonus in that it can run off a standard 9v power supply.
We’re promised “a meeting point between nostalgia and new sonic ground”, courtesy of high-gain retro fuzz tones on one side and something with a lot more warmth and clarity on the other. And of course, when it comes to stacking gain, high plus low does not equal medium – it equals even higher, sometimes to the point of ear-shredding anarchy…
Image: Adam Gasson
Build quality and usability
For the most part, this is a smartly designed pedal: it’s small enough to be a real space-saver yet the soft-touch footswitches are plenty far apart, the metal enclosure feels rugged, and the knobs are recessed to protect them from your clumsy hooves. But the grey/brown finish is a bit meh, plus it really doesn’t set off the soft blue of the FuzzTopia logo… and if you like the psychedelic yellow swirls of the control panel, remind me never to take you wallpaper shopping.
The controls themselves are easy enough to navigate – each circuit has gain, tone, clean blend and volume, with backgrounds that light up when the relevant channel is engaged – but wouldn’t it have made more sense to have fuzz on the left and distortion on the right, like the footswitches, rather than lining them up in rows?
You also get a push-button on the back for ‘individual/both’ switching – this lets you turn both circuits on and off simultaneously with either footswitch.
Image: Adam Gasson
Sounds
The room is locked down in preparation for hazardous levels of feistiness, but there’s no harm in starting on the lower-gain side with the distortion and blend both set extra-low for almost no dirt at all. And it actually sounds really nice – dare I say it, almost Klon-like. What’s more, it doesn’t get drastically less nice once you start pushing things, heading fast in the direction of Marshall-style drive with the emphasis on those classic biting mids.
Jumping from that to the high-gain circuit delivers something of a shock to the system, just because it’s so much more abrasive – if this really is “retro fuzz” then it’s more gnarly Maestro FZ-1 than purring Tone Bender. The blend knob can tame things to an extent, but sadly the tone control can’t: turning it down softens the midrange but does absolutely nothing with the piercing treble.
The one thing you can do to balance that tone is hit the other footswitch. There’s a huge amount of gain available with both effects running together – and a huge amount of background noise, inevitably – but it’s surprisingly un-chaotic, and that’s because the distortion’s midrange focus does a great job of taking the sting out of the fuzz. Who’d have thought you could make something less raucous by adding more rage?
Image: Adam Gasson
Should I buy one?
The only downside to getting two for the price of one in a stompbox is that you really have to love both halves, otherwise you’re stuck with a passenger. And for me, the left side of the FuzzTopia just doesn’t sound nice enough to earn its place.
However, that is offset by the fact that the other side of the pedal sounds great – and yes, there are some worthy super-powered sounds available with both circuits on together. So while it doesn’t quite live up to that three-for-one potential, this pedal is still a solid twofer.
Alternatives
Why aren’t there more dual dirt pedals with fuzz on one side and overdrive/distortion on the other? The Frantone/Orange-inspired Crazy Tube Circuits Orama (€279/£245/$305) is one, and the rather more extreme Old Blood Noise Endeavors Pardner ($239/£249) is another. See also the Great Eastern FX Co. Focus Fuzz Deluxe (£299/$379), which does a bit of everything.
The post T-Rex FuzzTopia review – an unorthodox combo of raw fuzz and smooth distortion appeared first on Guitar.com | All Things Guitar.
Podcast 564: John Leventhal
The great John Leventhal joins us once again to talk about the making of his new solo album, National Drift.
https://www.instagram.com/johnleventhal/
We talk about his recording process for the album, how the songs came to be, the guitars he’s currently loving, the perils of compression, and so much more.
Above photo: Rosanne Cash
Subscribe to the Fretboard Journal’s quarterly print magazine. Issue 60 is now mailing and features Christopher Guest; a cover story penned by John Monteleone and other surprises: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription
We are brought to you by Peghead Nation: https://www.pegheadnation.com
(Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).
We are also brought to you by Mike & Mike’s Guitar Bar: https://mmguitarbar.com, located in Seattle, Washington.
The post Podcast 564: John Leventhal first appeared on Fretboard Journal.
Dawner Prince Eclipsa Review
For all of digital modeling’s advances, there are thrills that it struggles to replicate, and one of the most ecstatic of these is the sensation of standing next to a rotary speaker, cranked to the gills as it roars and spins and threatens to transmogrify into a living, heaving beast. It’s a sensation that’s rarer than ever with Hammond B-3 bars and big touring budgets going the way of the dodo. If you’ve never had the pleasure, I recommend finding a way to get close to one.
So, no, digital can’t capture the multisensory experience of moving air and whirring cables that one experiences sitting next to a shaking Leslie any more than it can imitate the feel of sitting next to an idling Ferrari. But what it can do is emulate how that rotary speaker will sound to a microphone, which for most purposes does just fine. And you’d have to search far and wide to find a designer that works harder at capturing the nuances of rotary speakers than Croatia’s Dawner Prince.
There’s a good reason—apart from copious engineering chops—that Dawner Prince excels at recreating rotary sounds: company founder Zoran Kraljevic is a certifiable Pink Floyd freak. With Gilmour plainly on his brain, he’s produced a first-rate Echorec-style pedal in the form of the Boonar and the Pulse, an homage to the obscure Doppola rotary speaker (which was modeled on the Maestro Rover). Like the Doppola-derived Pulse, the new Eclipsa takes inspiration from a rotary system that might have been relegated to total obscurity were it not for the patronage of Mr. Gilmour—the Yamaha RA-200.
Just as the Doppola and Maestro Rover’s designs differed significantly from the rotating drum and horn concept behind the Leslie, the Yamaha took a novel approach to generating rotary sounds—using three speakers of identical size oriented to create a phasing effect as they spun. The sonic product—a focused, midrange-heavy whoosh—starting dotting, and at times dominating, Gilmour’s live sound in between the Animals and The Wall tours. But you need not be a Pink Floyd obsessive to appreciate the Eclipsa’s super-rich, enveloping version of the RA-200 sound. Like a touch of butter and salt, it’s good on just about everything.
[It] feels simultaneously physical and phantasmal—like there’s the ghost of a real-deal RA-200 in the room.
Motion Potion
It’s hard to avoid closing your eyes when you play the Eclipsa. For one thing, its modulations have a near-narcotic effect. But there is something very authentic in the energy of those modulations—and the picture that energy paints—that feels simultaneously physical and phantasmal, like there’s the ghost of a real-deal RA-200 in the room. It’s a strange and very satisfying sensation.
At most settings, the Eclipsa creates decidedly richer sounds than those produced by an analog vibrato pedal or a Uni-Vibe (though it does a superb job of emulating the latter on a fat dose of vitamins). Before I plugged in, I guessed that the midrange emphasis might have a bossy flattening effect in some situations. I was very wrong. As it turns out, the midrange lends a compelling tautness to the modulations—not enough to diminish the bubble-gum elasticity in them, but enough to add a perceptibly springy quality.
The Eclipsa provides a number of ways to reshape that springiness. The most critical, perhaps, is the distance control, which emulates the effect of moving a microphone closer or further away to a RA-200’s rotary array. Obviously, virtual proximity makes the modulations more pronounced and detailed, but it also highlights the high-midrange that elevates a guitar’s profile in a mix. More distant settings have a slight darkening effect that also bleeds a bit of perceived kinetic force, making guitar and modulations alike a lot more low-key. The Eclipsa’s mix control can radically reshape the modulation response too. It imitates a shift in emphasis between the dry signal from a real RA-200’s 4x12 speaker cabinet and the rotary array, with many blends in between. Then there’s the onboard Alembic F2-B preamp emulation, which features its own bass, middle, and treble knobs as well as a volume and bright switch. The interactions between these controls can yield a lot of subtle shading and bits of EQ emphasis that lend intricacy and precision to the modulations, and they are very satisfying to explore.
Pedal To The Metal, Slam On the Brakes
Much of the fun related to rotary speakers is related to the sensation of acceleration and deceleration that come from switching between high- and low-speed modes. It’s one of the best bits of the Eclipsa’s design. There is ample range in the two controls that determine the slowest and fastest speeds, and the ramp speed can be altered via the inertia control, which, like the Eclipsa as a whole, has an eerily authentic mechanical feel. You can also bring the modulations to a complete stop by pressing and holding the fast/slow footswitch. It can be a slightly awkward process at first, but mastering this simple touch can prompt dramatic shifts between the very immersive modulations and a dry signal. It puts a cool arrangement tool at your feet, not to mention the potential for a little sound theater worthy of Pink Floyd.
The Verdict
Though the interactivity of its controls suggests complexity, at its core the Eclipsa is a very straightforward, easy-to-master affair. It’s fantastically realistic, and positively addictive. It’s completely at home with distortion and drive ranging from mellow boosts to gnarly fuzzes to tweed Deluxe-style saturation (which became my favorite recipe). Dang, it’s expensive. But you need only play the Eclipsa for two minutes to know why. It’s a lovingly built thing and a deep sonic experience. And if rotary-style modulation is at the heart of what you do, I’d consider parting with a few effects to justify the expense. It’s a calculation I’m probably doing as you read this, because you can consider me hooked on the Eclipsa.
Pages
