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I’ve Used a Keeley Compressor for 20 Years!
For 25 years, Keeley Electronics has been building pedals for players who care deeply about sound. It all began in 2001 with Robert Keeley, a workbench, and a humble compressor pedal. What started as a pursuit of better compression became one of the defining products in Keeley’s history and helped establish the company during the early days of the boutique pedal movement.
Over the years, the Keeley Compressor continued to evolve. The original two-knob design gave way to the expanded four-knob Compressor, followed by the Compressor Plus, which brought Tone and Blend controls into the circuit and gave players greater control over sustain, attack, and the natural character of their instrument. By the time the Compressor Plus arrived in 2017, Keeley had built more than 50,000 compressors, making compression not simply part of the company’s history, but a fundamental part of its identity.
It feels only fitting to celebrate this milestone by returning to where it started. The Compressor Plus Germanium honors that beginning while carrying the Keeley Compressor forward for a new generation. Built around the familiar Level, Tone, Compression, and essential Blend controls, this new design brings a fresh voice to a pedal that has been evolving for a quarter century.
At the heart of the Compressor Plus Germanium is a crucial germanium transistor. Keeley incorporates germanium into both the audio output section and the compressor’s side-chain feedback, bringing a new character and response to one of the company’s most enduring designs.
Built from start to finish at Keeley Electronics in Oklahoma City, the Compressor Plus Germanium also includes selectable true-bypass or Keeley silent buffered switching, rugged construction, and the classic Compressor sound that made Keeley a household name amongst Guitar and Bass players. Like every Keeley pedal, the Compressor Plus Germanium is designed and manufactured in Oklahoma, USA. Engineered for the working musician, and voiced for inspiration.
Compressor Plus Germanium Features:
- A Germanium Transistor at the heart of the new compressor circuit
- Germanium-enhanced audio output section for added character and musical response
- Germanium incorporated into the side-chain feedback circuit
- Classic Compressor Plus controls: Level, Tone, Compression, and Blend
- Blend control mixes the compressed and dry signals for greater control over feel and dynamics
- Switchable on the fly between true bypass and buffered bypass
- Operates at 9–18V DC for flexible pedalboard integration
- Low 25mA current draw, Standard center-negative power
- Designed and manufactured by Keeley Electronics in Oklahoma, USA
$189 US Street Price
Compressor Plus Germanium
Compressor Guitar Pedal with Level, Tone, Blend, and Comp Controls and Single-coil/Humbucker Switch
Is guitar dead? Zakk Wylde doesn’t think so: “What rock do you live under?!”
Is the guitar and rock music dead? It’s an accusation that’s been levelled quite a bit in the past decade or so. But former Ozzy Osbourne sidekick and Black Label Society frontman Zakk Wylde reckons there’s nothing to worry about.
In a new interview in the latest issue of Guitar World magazine, the guitarist waxes lyrical on the current generation of players, saying the instrument is very much alive and well.
He wastes no time in firing off a list of his favourite guitarists right now. “I’m friends with Richie Faulkner, who I think is the full package,” he says. “We’ve toured with Judas Priest a bit and he’s a phenomenal player. He also has his own band, Elegant Weapons. He’s got vibrato, technique, tone everything. I feel that way about Dario from Black Label Society.”
Naming some more contemporary players, he continues: “Jared James Nichols is awesome. I love hearing younger guys like him and Tyler Bryant playing the blues. They clearly love it and have such an amazing grasp of it. Tosin Abasi has been doing it for a while now, but he’s phenomenal. I think Tim Henson is insane. My son Hendrix is a huge fan of Polyphia and Tim’s playing.”
As for those who question the vitality of guitar as an instrument in 2026, Zakk makes his opinion clear: “Whenever I hear people saying, ‘Guitar is dead,’ I think, ‘What are you talking about? What rock do you live under?’
“Guitar is doing just great. There are so many young players who love the instrument, and they’re really going for it.”
Those words are coming from one of the most accomplished and well-travelled musicians in rock music, so you have it on good authority…
In a hilarious anecdote earlier this year, Zakk Wylde recounted the time Ozzy Osbourne was mistaken for singer Meat Loaf by an air stewardess.
“He’s sitting there, bummed out, and the stewardess is like: ‘Oh, my God, I can’t believe it’s you!’ She’s giving him drinks, getting him food, and he’s just floored by it. He’s going: ‘Maybe things aren’t so bad.’
“As the plane lands, she says: ‘Can I get a picture?’ So she takes the photo, and then she goes: ‘Oh, wow, thank you Meat Loaf!’ Ozzy’s like: ‘I really fucking need to cut back on the calories…’”
The post Is guitar dead? Zakk Wylde doesn’t think so: “What rock do you live under?!” appeared first on Guitar.com | All Things Guitar.
The colours and the shapes: take a tour of Martin’s new 16 Series
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Martin’s 16 series has been loved by gigging players since the 1980s, delivering instruments that sound great, feel very comfortable, and if they look amazing, too, well, that doesn’t hurt. The newly revamped 16 series guitars are quite a departure, however.
Now, when you picture a Martin in your head, you’re probably thinking of an iconic dreadnought or orchestra model. But the shapes of this revamped 16 series are rather different to the norm. So instead of a classic square shouldered silhouette, we have the DSS-16E slope shoulder dreadnought, the slope shoulder small body 00L-16E and the J-16E model Jumbo.
And then of course we have the colors. Now, while Martin’s shade tops do have a cult following, and the likes of Johnny Cash and Eric Clapton have had signature models with painted tops, the company is primarily known for its elegant natural finishes.
The 16 series stands out from the crowd by offering a trio of eye-popping semi-transparent gloss tops paired with matte back and sides to ensure that these head turning colours stand out even more. Let’s take a closer look at these bold new offerings.
The 16 series has always had a reputation for comfort, and this is just as true with this new release. We have a modified low oval carve on the select hardwood necks – a super comfortable neck shape that feels fast and immediate. The neck joins the body at the 14th fret on all these guitars, giving you plenty of room for capo use.
Furthermore, all three models have a 1.75-inch nut width, making clean fretting a breeze. The guitars all come stage ready with an LR Baggs Element active pickup system, and a soft shell case to ensure that you can take it to your gig or open mic in comfort and security.
Meet the DSS-16E
Slope shoulder dreadnought guitars are popular for their versatility across a variety of styles. They typically give you a warm, rich sound that works beautifully for both finger style and flat picking. This is particularly true when the design combines mahogany back and sides with a 24.9 in scale length. And this is the first time that Martin has paired a shorter scale with a slope shoulder dread.
The DSS-16E is available in three striking colourways. The classic 1935 Burst, the brooding Black Smoke, and the unquestionably eye-catching Cherry Cola finish Whichever colour you choose, you will enjoy the response and musicality of forward shifted X bracing and scalloped braces. This is a classic combo in terms of sound and a stage commanding look.
Command the stage with the J-16E
The J model is Martin’s big body powerhouse. Famous for filling a room with huge chordal strumming. The J is a flatpicker’s dream, especially with scalloped bracing like we have here. The combination of a full 25.4-inch scale and rosewood back and sides do make the J a fantastic choice for altered tunings and finger style as well.
The J16E is available in a more restrained 1935 Burst and Black Smoke options, but this Cream top really shines against the rosewood back and sides, and it’s picked out with double binding.
Get close with the 00L-16E
If you’re looking for a versatile small body guitar, then the 00L-16E has you covered. The mahogany back and sides and 24.9 in shorter scale make this a gentle, intimate strummer and a snarling little blues machine with a lot to explore in between.
We’ve got scalloped bracing and a 14 fret neck, giving you plenty of room to use your cappo. And despite its smaller body size, it does offer a surprising amount of projection when you give it some. Like the other newbies in the range, you get a choice of 1935 Burst and Black smoke, plus the addition of Blue Denim. The great thing about all these finishes is that being semi-transparent, you still get to appreciate the grain of the beautiful spruce underneath.
With a GPC cutaway and a Jumbo-size 12 string rounding out the range, the new 16 series is a fascinating and exciting addition to the Martin pantheon. The 16 series has always been a great choice for gigging players looking for a dependable instrument that will deliver on stage and in the studio, but with these new shapes, they also offer a subtly different sonic experience.
While still being quintessentially Martins, in an era where acoustic artists are always looking for ways to stamp their individuality on stage, these striking new colours and shapes offer something quite different from any other Martin guitar. And that’s quite exciting, too. The only question left is which one is for you?
Find out more about the 16 Series at martinguitar.com
The post The colours and the shapes: take a tour of Martin’s new 16 Series appeared first on Guitar.com | All Things Guitar.
Gator Releases Foldable Travel Guitar Stands and a Rechargeable Clip-On Tuner
Gator has released three new accessories for gigging and traveling players. The G-SCALE-CLIP is a USB-C rechargeable clip-on tuner for guitar, bass, ukulele, violin, and other instruments. Two new guitar stands from Gator Frameworks fold down small enough to fit in a gig bag pocket: the Boomerang Foldable Wood Travel Guitar Stand and the Foldable Travel Electric Guitar Stand.
The G-SCALE-CLIP has five tuning presets (chromatic, guitar, bass, ukulele, and violin) and calibration adjustable from 430 to 450 Hz. It uses a vibration-based sensor with tuning accuracy up to ±0.5 cents, which helps players tune in loud environments where microphone-based tuners struggle. A bright display shows pitch deviation in cents. Four points of articulation, including 360-degree dual-axis rotation, let players angle the screen for clear viewing while it's attached to an instrument. The tuner has a silicone-padded grip and can sit behind some headstocks so it's less visible onstage. A full charge provides up to 5.5 hours of continuous use, and a USB-C cable is included.
The Boomerang Foldable Wood Travel Guitar Stand has all-wood construction, a natural walnut-stained finish, EVA foam padding at instrument contact points, and a fold-down size of less than 12 inches. That's small enough for the large exterior pocket of most guitar gig bags. It supports acoustic and electric guitars and basses, among other stringed instruments, and its wood build makes it a natural match for acoustics.
The Foldable Travel Electric Guitar Stand is designed for electric guitars and basses. It features aluminum construction, a tripod base, EVA foam padding, a 30-pound weight capacity, and a fold-down size of less than 10 inches. Both stands also work as space-saving options for studios and rehearsal spaces and on stage.
Street pricing is as follows:
G-SCALE-CLIP Rechargeable Clip-On Tuner: $19.99
Boomerang Foldable Wood Travel Guitar Stand: $49.99
Foldable Travel Electric Guitar Stand: $39.99
G-SCALE-CLIP
Gator has released three new accessories for gigging and traveling players. The G-SCALE-CLIP is a USB-C rechargeable clip-on tuner for guitar, bass, ukulele, violin, and other instruments. Two new guitar stands from Gator Frameworks fold down small enough to fit in a gig bag pocket: the Boomerang Foldable Wood Travel Guitar Stand and the Foldable Travel Electric Guitar Stand.
“There’s a lot of ‘unsupply and undemand’… If I see a lot of something, I just won’t do that”: Josh Homme on his “dumb” approach to picking guitar gear
Queens of the Stone Age’s Josh Homme has always had an unconventional approach to his guitar rig – in fact, earlier this year the frontman revealed that his Them Crooked Vultures bandmate, former Led Zeppelin bassist John Paul Jones, once called his setup an ‘entire piece-of-shit’. However, Homme prefers the challenge of piecing together cheaper gear and janky guitars, as it often leads to more exciting results.
In a new interview with Rick Beato, Homme explains that he’s often drawn to the gear that is often overlooked; rather than opting for the big brands, he’ll hunt down the underdog. “I’ve seen a lot of Marshalls and Les Pauls in my life, and a lot of Strats… what I don’t see, that’s what I’m interested in,” he reveals.
While he labels his system as “dumb”, the mindset is to steer clear of any gear that’s been pre-approved by other musicians. “There’s a lot of ‘unsupply and undemand,’” he jokes. “If I see a lot of something… I just won’t do that. We have plenty of that… [that approach has] largely been quite good to me.”
Homme’s affinity for using quirkier, more obscure gear was initially a decision based on cost. Just as Homme shaped his unique tone due to his inability to afford a tuner, instead doubling down and styling out a detuned guitar, a cheaper guitar was often more accessible for him. However, it’s since become a conscious choice as those guitars can often muster more unique, unexpected tonal qualities.
He also reveals that a lot of his earlier gear was acquired through scouring the depths of eBay, as well as being “an avid pawn shop guy” while on the road. “[Whenever I bought a guitar] I did not normally see, it turned out, six times out of 10, to be fucking amazing,” he says.
Some of his best purchases were often dirt cheap, too. “Some were like 50 bucks,” he says. “So the experiment to find yourself in what you do not see became this obsession that was really rewarding!”
“It made me feel very proud, because it was almost like confirming my own ridiculous metric for making choices…” he adds. “I didn’t need that confirmation, but I was like, ‘See? If you use my dumb system it’ll work out this way.’”
Back in March, Homme pulled back the curtain and allowed a glimmer of insight into his quirky rig. In an interview with Guitar World, he recalled how some of his cheapest guitar rigs would provide him with an “instant Kinks” vibe, noting that some of his most interesting tone comes from old school, cost-efficient Japanese guitars.
“As I got older, I realised that the Japanese – because of the post-World War II economy – couldn’t get the best stuff, so they had shitty beginnings,” he explained. “They did the best they could. It’s really well-made shit, and it creates this unforgettable sound. I went through this phase of buying Japanese guitars; they were cheap, so it was an easy experiment.”
In terms of Queens Of The Stone Age, the band’s latest record, Perfecth, is due to drop October 30. Three singles are currently out, with the latest tongue-in-cheek release, Where The Goth Girls At? joining Insignificant Other and Easy Street.
Queens Of The Stone Age’s Perfecth drops on October 30. You can pre-order it now.
The post “There’s a lot of ‘unsupply and undemand’… If I see a lot of something, I just won’t do that”: Josh Homme on his “dumb” approach to picking guitar gear appeared first on Guitar.com | All Things Guitar.
“It’s like having a sports car, and you can’t drive it!”: Jared James Nichols on guitar collectors that never play their instruments
Pay and Display is for parking, not guitars. For years, artists from across the board have preached this sentiment, from Slash criticising uber-expensive display-only axes to John McLaughlin insisting that an unplayed guitar will get “sick” like a malnourished human being. Now, Jared James Nichols has shared his own thoughts on leaving a pricy ‘collectors’ guitar untouched.
In a new interview, Nichols inspects a gorgeous vintage Les Paul to Solar Guitars’ owner Ola Englund. While discussing the axe, Englund poses Nichols with the ultimate dilemma: is it safe to bring a flashy, $100,000 guitar out on tour? You’ll probably lose your warranty and earn a few scratches sure. But a few dings are far better than the alternative of leaving it hanging on a wall.
- READ MORE: “It was just so difficult and insane” Joe Satriani tells the story of his favourite guitar solo
“You would see this hanging at the guitar store, never to be played again, or in someone’s collection…” he says. “[Collectors will say], ‘This is a ‘59 Les Paul. Oh, don’t touch it!! Don’t even look at it!!’ You’re a dentist and your value is based on a guitar that is worth something.”
He adds that real guitar pros know that a good guitar shouldn’t be left to gather dust. In fact, he even believes that the biggest collectors often don’t even know how to tackle a riff. “90% of these vintage guys… you hear them play it and you go, ‘Dude you can’t even play the guitar…’” he sighs.
“It’s like having a sports car, and you can’t drive it!” he cries.
Often, this brand of guitar owner will just be someone with more money than sense. Nichols emphasises that the only thing that matters to this brand of collector is the ego-boost of asking strangers “do you know how much this is worth?”
“After you see the same person do this over and over, you’re like, ‘I’m not into it, bro’,” he continues. “But is it responsible to bring this [guitar he is holding] on the road, spill beer on it, sweat all over it and scratch it? No, but you know what? It was made for that.”
Jared James Nichols is currently on a US tour up until December. For more information, head to his website.
The post “It’s like having a sports car, and you can’t drive it!”: Jared James Nichols on guitar collectors that never play their instruments appeared first on Guitar.com | All Things Guitar.
Parliament-Funkadelic legend Michael Hampton on the secrets of funk guitar, and playing a 10-string BC Rich
As a veteran of American funk rock outfit Parliament-Funkadelic (widely known as P-Funk) guitarist Michael Hampton has been bringing the six-string funk to the group’s feel-good cocktail of rock, blues and jazz in spades for over five decades.
- READ MORE: “It was just so difficult and insane” Joe Satriani tells the story of his favourite guitar solo
Hampton first joined the group as a seventeen-year-old after impressing band leader George Clinton with a face melting solo take on Funkadelic’s 1971 ten-minute instrumental opus Maggot Brain. Hampton went on to become a crucial part of the group’s musical oeuvre.
Appearing on the group’s 1978 album One Nation Under a Groove, which many consider to be the greatest funk album ever made, Who Says a Funk Band Can’t Play Rock? is one track Hampton contributed in co-writing and which showcases his guitar prowess, and why his musicianship is held in high regard by many.
“I basically played off the changes that Walter ‘Junie; Morrison [keyboardist] wrote,” reveals Hampton today. “When I went in to do the overdub, there were also some vocals on it before I started playing and so I played off of them too and I pretty much doubled the lines that the bass was doing. And because a lot of the people in the band felt I did such a great job on the solo; they gave me a co-writer’s credit.”
Hampton believes P-Funk’s unique sound was developed through a combination of blending various musical styles together.
“George [Clinton] envisioned it having many different styles and then then putting them all together,” he says. “So, you will hear some country and western, some slide stuff, some funk, some jazz and even some classical. I mean it is all over the place. He came up with the concept for P-Funk from having written so much different music, and so, he just threw that all in there together.”
Loud and Proud
Hampton’s guitar style and tone is fiery and loud, and plays an integral role within P-Funk’s musical format. At the core of his sound is a ten-string BC Rich Bich.
“It has a neck-through that has four of its strings on top, the E, B, G and D which are doubled,” he explains. “And the tuning pegs are at the other end of the guitar where you would pick the strings. It has a really cool shape, kind of a gothic thing. And being a one-piece neck, I love it and it is great to play, because it resonates a lot.
“And when it comes to the electronics, it has two preamps, with different switches for putting the pickups in and out of phase. I tune it kind of like in fourths and fifths which gives me an interesting sound. It is sort of like having a harmonized effect but without a whammy pedal or some effect like that. It’s basically just all down to having that different tuning.”
When it came to amps to pair his BC Rich with, Hampton says it’s always dependent on whatever is lying around on stage. “It was Marshalls at one point,” he explains. “Then later on, they got a wall of amps, like the old Aerosmith speaker wall, that was comprised of double-stacked Music Man amps.
“It was wall to wall amps with speaker cabs. And then they got Crown power amplifiers too, which are run in a way to have us placed in stereo, so I will have a cabinet running to the other side as well. And the Crown amplifiers are also used to boost the Music Mans.”
Follow The Muse
Rather than having songs already written by the time the group went into the studio to record, much of the music P-Funk has created over the decades has evolved through spontaneous jam sessions.
“We used to go and do shifts at United Sound Systems in Detroit,” he says. “It seemed like it was always a big jam session. And then from that, they would decide what they would use. Either it’d be based off of somebody that did some vocal thing, or had some lyrics or melody written. And it was a studio that was right across the street from our hotel. We would just get a room, and be there, practicing and practicing and then go into the studio and do the graveyard shifts. And sometimes it could be during the day too. All of us were basically on call.”
Playing funk guitar is an art form in itself, and the ingredients required to play funk guitar boils down to one very important element. “If there was any secret to it, it would be syncopation,” reveals Hampton. “It has a lot to do with it when playing all the different rhythms. With funk guitar, you’re trying to play something off of a drummer or off another player, and so the purpose of that is for you as a guitarist, to gel together.
“A lot of that was influenced by a Pentecostal church I would go to. There would be a lot of hand clapping and it’d be those multi-rhythms that kind of made it funky for me. You start with one simple rhythm and then someone comes in with another rhythm that’s playing off of that.”
P-Funk’s influence has been wide spread throughout music and many artists have cited the influence of the group upon their own music. The list of names runs the gamut from Prince to Red Hot Chili Peppers. And funk music in general continues to have a hold on similar sounding groups today.
“It’s definitely very flattering to hear that,” says Hampton proudly. “If I were to listen long enough to most of the tracks that a lot of other artists have done, musicians, guitarists, after a while I’d be like, ‘Yep, that is funky right there’. Or ‘That right there is a funky lick’. I might not know where it comes from, but whatever influence, the influence is just really a feeling.
“It’s just kind of like when people dance, they hear something and it makes you do something else or you make up a funky move. Some of the most-funkiest stuff I’ve ever heard, is the James Brown song Super Bad [1970]. It’s just a one note on one string lick, yet it’s super funky!”
The post Parliament-Funkadelic legend Michael Hampton on the secrets of funk guitar, and playing a 10-string BC Rich appeared first on Guitar.com | All Things Guitar.
Fender Debuts Hum-Canceling Silent System in Two New Guitar Models
Fender has launched two new guitar models featuring the debut of the Fender Silent System, which is designed to eliminate unwanted electrical hum from single-coil pickups.
Fender’s Limited Edition American Professional Classic Stratocaster and Telecaster are the first new models to feature the Silent System, delivering classic, unadulterated single-coil tone with virtually no 60-cycle hum.
More details on those instruments are included below. But first, the burning question: What is this hum-cancelling system all about?
Offering a solution to the 80-year-old problem of pickup hum, the Fender Silent System isn’t simply another “noiseless” pickup. Rather, it’s a passive, battery-free system built into the instrument itself. Designed to nix single-coil hum from almost any installed pickup, it gives players more control over their guitar sound without compromising on tone.
The system employs a “dummy coil” nestled snugly in a special rout carved into the guitar body’s cavity. The coil is connected to the guitar’s internal circuitry—the pickup selector, volume/tone pots, and the pickups themselves. The system is invisible once covered by the pickguard; even when viewing the guitar up close, there’s no sign of the hum-canceling technology working inside.
Fender’s Silent System is certainly not the first dummy-coil system designed to eliminate 60-cycle hum. This type of technology traces its origins back to the 1950s. But it’s Fender’s most ambitious—and heavily researched—foray into creating a single-coil-equipped guitar that delivers classic tone without the hum.
Premier Guitar asked Steven Casado, Senior Design Engineer at Fender, for more details about the development of the Silent System. Casado’s career stretches back to high school, when he began building pickups in his parents’ garage at 16 years old. During his tenure at Seymour Duncan, prior to joining Fender, he worked on pickups, pedals, and the company’s PowerStage amp designs. Since coming to Fender in 2018, Casado has been a key contributor to the company’s Panorama tremolo system and Quadra Tap humbucker, as well as custom signature pickups for artists like Jimmy Page, Eric Johnson, Michael Landau, Kingfish, Susan Tedeschi, and Mike Campbell.
The following Q&A with Casado provides a peek into the Silent System’s developmental story.
Premier Guitar: How does the Silent System differ from previous hum-canceling systems that rely on dummy-coil technology?
Steven Casado: The operating principle of the Fender Silent System is the same as most other dummy-coil-based noise-cancelling systems. Whether it’s humbuckers, stacks, rails, or dummy coils, they all use the same basic method to cancel the noise: a second coil wired and wound a specific way in relation to the primary coil. Clearly, there are a number of ways to approach the challenge—and the form our system takes is unique from all the others. While the Fender Silent System does fit in the dummy-coil category, it’s been optimized well beyond just throwing a plastic Strat bobbin inside the guitar, like in the old days. This coil is wider than any pickup we make, and deeper than any of the noise reducing pickguard/backplate solutions. The extra width and depth allow for the use of a larger gauge magnet wire, which is key to preserving high-end response. Protecting the natural frequency response of Fender pickups was at the heart of this project, and the Fender Silent System does it better than all the others we tested.
It’s not just the total size, but the shape that’s different as well. The shape of the final coil is as wide as can fit under all our standard pickguards. A wider coil is more efficient at sensing noise. Think of it as a bucket in the rain; the wider the bucket, the more rain you can catch at one time.
How long was it in development?
The research for this project started back in 2021. The thought was, since we make the whole guitar, why would we limit the size of our noiseless pickups to just the traditional pickup route? That started us down a path of exploring the possibilities of a noise cancelling system freed from those space constraints. In addition, we had all the existing noise reduction systems in the lab to carefully test and compare noise reduction limits and high-end loss.
Does Fender have a term they prefer to use for the dummy coil?
"Dummy coil" is technically correct but doesn't tell the whole story. Fender has used dummy coils in guitars before—for decades we used Strat pickups for hum reduction in Custom Shop and even some Corona factory-built instruments. We’ve looked at all the systems. A recycled Stratocaster pickup wasn’t the answer. We started from scratch, looked at everything that was known, researched what wasn’t, and evolved the form. We tested different shapes, sizes, and winds rigorously, on the bench and in the sound-room, to make it smaller, lighter, and more transparent. In the end, the R&D and Product teams held hands and committed to preserving as much of high end of the pickups as possible with the least amount of hum, whatever form it takes. And the Fender Silent System does just that.
Does the coil need to be specifically “tuned” to the pickups? Will it work effectively with other aftermarket pickups?
The Silent System will work effectively with all Fender and aftermarket single-coil pickups, and does not need to be tuned. The only extra step to take when swapping pickups is to make sure the system is in phase with your new set. Essentially, if you’re hearing excess noise after a pickup swap, then you should remove the silent coil, flip it over, and re-install it. No soldering required.
Does Fender plan on implementing the Silent System in more instruments in the future?
Yes, we’re discussing future possibilities.
See the demo video here: youtube.com/watch
The Silent System debuts in Fender’s American Professional Classic range, which blends a vintage vibe with the capabilities of a modern instrument—making it a favorite among working players. For this reason, the Limited Edition American Professional Classic Stratocaster and Telecaster models are well-suited for introducing the tech refresh offered by the Silent System. Even though the system requires special routing, it’s invisible when covered by standard Strat and Tele pickguards, retaining a traditional look while offering advanced electronics under the hood.
- Fender’s new Limited Edition American Professional Classic Stratocaster brandishes vintage-inspired Coastline ’57 Stratocaster pickups that deliver depth, punch, and sparkle, and the all-new Fender Silent System eliminates 60-cycle hum. It features a sleek Modern “C” neck and Fender staggered ClassicGear tuners for traditional looks and precise tuning stability. It’s available in Candy Apple Red and Olympic White with a maple fingerboard, and 3-Color Sunburst and Daphne Blue with a rosewood fingerboard. All necks feature 22 medium jumbo frets and a 9.5” fretboard radius.
- The Limited Edition American Professional Classic Telecaster features vintage-inspired Coastline ’63 Telecaster pickups along with the new Silent System. It also boasts a Modern “C” neck and Fender staggered ClassicGear tuners, and is available in Sonic Blue and Candy Apple Red with a rosewood fingerboard, and Vintage Blonde and 3-Color Sunburst with a maple fingerboard. All necks featuring 22 medium jumbo frets and 9.5” fretboard radius.
The Limited Edition American Professional Classic Stratocaster is street priced at $1,599.99 USD, £1,649 GBP, €1,949 EUR, $2799.00 AUD, and ¥258,500 JPY.
The Limited Edition American Professional Classic Telecaster is street priced at $1,599.99 USD, £1,649 GBP, €1,949 EUR, $2799.00 AUD, and ¥258,500 JPY.
Limited Edition American Professional Classic Stratocaster and Telecaster
Fender has launched two new guitar models featuring the debut of the Fender Silent System, which is designed to eliminate unwanted electrical hum from single-coil pickups.
Fender’s new website has an AI chatbot that helps you find your perfect guitar
Fender has embarked on an ambitious redesign of its website, signalling an evolution from an online store and commerce destination to a “connected global digital ecosystem”.
Designed to “deepen Fender’s relationship with players and fans at every stage of their musical journey”, the new Fender.com introduces a number of bold new features aimed at making guitarists’ buying journeys more streamlined.
They include Ask Fender, a new AI-powered chatbot-style tool which helps musicians find the perfect instrument for them via natural language prompts, as well as new sound demos that showcase the sound of Fender gear directly on Fender.com.
- READ MORE: Fender says it’s cancelled pickup hum forever with its potentially game-changing new Silent System
There’s also the new integration of My Fender and Fender Play to enhance the experience of customers beyond the point of purchase, as well as new “enhanced artist content”, via a planned five-show concert series with performances from Dinosaur Jr., Marc Ribot’s Ceramic Dog, Steve Gunn, Thurston Moore Group, They Are Gutting a Body of Water, Mike Kinsella of American Football and Snail Mail.
Ultimately, the newly relaunched Fender.com is built around six core pillars:
- Discover: Brings together products, artists and stories to make it easier for players to discover what inspires them
- Understand: Improved product education, navigation and comparison tools to ensure buying with confidence
- Choose: New AI-powered Ask Fender tool – launching first in the US
- Experience: Hear instruments via integrated sound demos
- Buy: Simplified shopping journeys, improved product pages, streamlined checkout
- Connect: CRM, My Fender, product registration, Fender Play and personalised content all under one roof
“This is about more than a new website. We’ve reimagined Fender.com, empowering players to shape their own journey. Moving beyond a traditional ecommerce platform, it’s a place where people can discover new gear, find what’s right for them and connect with the brand,” says Kelly Magrath, Fender Interim Chief Marketing Officer.
“Fender.com is also a destination for fans and music lovers, with original stories and content that celebrates the artists, players and culture that make music so meaningful. Our new digital experience is designed to create a deeper connection with players and fans everywhere.”
“For 80 years, Fender has been part of the connection between musicians, fans, artists and the music culture that brings people together,” adds CEO Edward “Bud” Cole.
“As the way people find inspiration continues to evolve, so does Fender. The new Fender.com brings that experience full circle, making it easier to find the right instrument, explore the artists and stories that inspire us, and connect with Fender in entirely new ways. It’s an invitation into our world, built for everyone who loves music.”
Check out the new Fender.com now…
The post Fender’s new website has an AI chatbot that helps you find your perfect guitar appeared first on Guitar.com | All Things Guitar.
Is an affordable relic more fun? Exploring Harley Benton’s new Aged Series
To some, purchasing an intentionally-aged guitar is a faux-pas. But whole you may think they’re corny, if you approach them with the right attitude, relic’d instruments can be great fun to play. And while you can pay top dollar for an ultra-authentic aged finish, maybe the answer to your aged guitar desires lies at the other end of the price spectrum.
Take, for example, the new aged JA-60 from Harley Benton. The JA-60 looks great out of the box, with a lightly-aged shell-pink finish with some classic offset vibes, at a very reasonable price for its spec-sheet: it’s loaded with Alnico pickups, a caramelised maple neck and high-quality hardware. Might a more affordable relic like this be what you’re looking for?
More than meets the eye
Cynics will tell you that relic’ing is just a cheesy aesthetic choice – but that’s not quite true. Features like an aged neck aren’t just for show – they can really change the playing experience, with a smoother, satin feel. And because of the pre-aged look, you won’t be ‘ruining’ the aesthetic of your shiny new guitar if you take a scotchbrite to it for an even more played-in feel.
But, one of the most appealing aspects of aged guitars – authentically or otherwise – is the stories they can tell. A high-end ageing job can be a fantastic work of art in itself – but if it set you back by half a year’s salary, you might still be trepidatious about adding your own wear and tear to the picture. A more affordable relic, on the other hand, may prove to be a more inviting canvas for your own story, leaving you free to play it how and where you want to.
A different attitude
In a lot of ways, relics and affordable instruments go hand in hand – they both encourage you to play them hard, and not to worry too much about messing them up. This unlocks a bit of a different attitude on stage or, indeed, when walking through doorways holding the guitar.
Even if you don’t have an ultra-heavy picking hand or intend to put a guitar through its paces, gigs are gigs – guitars get put down on messy stages, headstocks knock into mic stands, audience members throw various drinks and sharp objects at you – this is the sort of stuff you might not want to subject a high-end custom-shop guitar to – even if its a heavy relic.
Plus, for something like the JA-60, an offset that evokes some noise-rock heritage, you can really lean into some more aggressive and extended playing techniques without fear. You may feel a little less keen to kick a five-grand guitar across a stage or play it with a screwdriver…
The best thing a guitar can feel like is yours, and a played-in look and feel goes a long way to you bonding with an instrument. More affordable relics can be a really cool unique playing experience that lets the guitar itself start telling your story sooner. So next time you’re looking for an aged guitar, maybe try chopping a zero off the end of your budget – you might find yourself having a lot more fun.
Find out more at Thomann.
The post Is an affordable relic more fun? Exploring Harley Benton’s new Aged Series appeared first on Guitar.com | All Things Guitar.
Elvis Costello calls this iconic ’70s rock band “dreary” and claims he can’t listen to anything by them
Plenty of acts in the punk/post-punk era had something to say about the generation that came before them, typically uncomplimentary. Not known for keeping his opinions close to his chest, Elvis Costello has revealed he’s kept that fire burning in a new interview, in which he expresses a general displeasure for Pink Floyd‘s music.
Speaking to The Guardian, Costello admits to a dislike of Pink Floyd, calling their music “dreary”. When quizzed about the song he can no longer listen to, the singer-songwriter reveals (and perhaps overshares) that he avoids “anything by Pink Floyd”, when asked about the song he would no longer listen to. “Never could, never will. I find their music dreary. I love the imagination and playfulness of See Emily Play, but after Syd Barrett left they just never appealed to me.”
Costello’s hits started to arrive in the late 1970s, most notably with Oliver’s Army in February 1979. Coincidentally, Pink Floyd’s biggest hit single, Another Brick In The Wall, Part 2, also appeared in 1979, and both are essentially protest songs.
To Costello’s credit, his dislike of Pink Floyd is not a general rejection of that generation of music – Elvis Costello and the Attractions emerged in the post-punk/new wave era – as he’s far more generous about Jimi Hendrix. When quizzed about the first song he fell in love with, Costello cited The Wind Cries Mary, stating that it “came out in 1967 when I was 12. Hendrix was known for outgoing music, but I was a romantic soul, so the emotional side of his music led to that strain in my own writing.”
Costello is promoting a new release of his 1977 debut album, My Aim Is True, which was produced by Nick Lowe. While the original UK version of the album was issued without the song, the US release included Watching The Detectives, his first hit on both sides of the Atlantic. My Aim Is True – 49th Edition includes multiple versions of Watching The Detectives, including the original single.
In other news, Pink Floyd recently teamed up with the Royal Mint to launch a limited run of 18-carat gold picks worth nearly six grand apiece…
The post Elvis Costello calls this iconic ’70s rock band “dreary” and claims he can’t listen to anything by them appeared first on Guitar.com | All Things Guitar.
The time Cliff Burton broke up a massive brawl at a Metallica show with a hammer: “It was f**king legendary”
![[L-R] Lars Ulrich, Cliff Burton and James Hetfield](https://guitar.com/wp-content/uploads/2026/10/Metallica-Cliff@2000x1500.jpg)
Moshing is a staple part of most heavy metal shows. But for the most part, they remain a relatively peaceful affair. But that’s not to say they don’t sometimes descend into madness.
Back in 1984, a fledgling Metallica – James Hetfield, Kirk Hammett, Cliff Burton and Lars Ulrich, all in their early 20s at the time – made their first foray to Finland, and arrived in style with a raucous show at the Tarvashovi rock club near Lieto in the southwest. 150 punters had turned out to attend, unaware many of them would later take part in a massive brawl.
The fray was sparked by an altercation between the band’s lighting technician, Tony Zed and a Finnish schoolgirl, who was startled by Zed whooping loudly upon his entrance, and stood up and punched him in the face [via Metal Hammer]. Zed returned a blow, and chaos, understandably, erupted.
Local metalheads, upon hearing of the altercation, set out to find Zed and dish out vengeance, and a massive brawl ultimately took place between them and the band and crew.
“The whole fucking place was just this big scrap going on, and everybody was in the audience, all the band and crew. It was madness,” recalls the band’s sound engineer “Big” Mick Hughes.
And how do you bring a heap of brawling men under control. As Cliff Burton discovered, with the threat of escalation…
As the story goes, while on tour, the late bass player – who passed away in a tragic tour bus crash in 1986 – carried with him a hammer. “You never know when you might need it,” he once told a French customs officer who quizzed him on his need to carry the item upon entry into the country.
“When you might need it” turned out to be during a brawl in southwest Finland in ‘84, and Burton called upon James Hetfield’s guitar tech Andy Battye to fetch his weapon. Armed and ready, Burton entered the fray with the hammer above his head, warning all around to back off and calm down.
“The sight of Cliff slowly and surely wading into the insane mass of scrapping people with a hammer was fucking legendary,” Mick Hughes recalled.
Miraculously, it worked, and the fracas dissipated, allowing Metallica to play their set and end a fraught debut Finland show on a high.
Metallica have come a long way since those early days, and recently commence their highly anticipated residency at the Las Vegas Sphere. Check out a clip from some of their first shows at the mega-venue below:
The post The time Cliff Burton broke up a massive brawl at a Metallica show with a hammer: “It was f**king legendary” appeared first on Guitar.com | All Things Guitar.
Crazy Tube Circuits White Whale Junior review – real spring reverb and analogue tremolo in a compact pedal
€299/£259/$349, crazytubecircuits.com
I’ve just spent half the morning staring at the Crazy Tube Circuits White Whale Junior, trying to decide whether it’s a big small pedal or a small big pedal. This combined spring reverb and analogue tremolo unit doesn’t look large enough for something with ‘Whale’ in its name, and it doesn’t look little enough to be a ‘Junior’. What it does look is… slightly weird.
You see, this is a cut-down version of a very large pedal indeed – the White Whale V2 – and there’s only so much shrinking you can do when you’re getting your reverb from real springs. So what we end up with is something in the form factor of a compact stompbox, but one that’s been going hard on the protein supplements. That could still be a winning formula for a lot of players – as long as it sounds right.
Image: Adam Gasson
What is it?
CTC describes the White Whale Junior as “possibly the world’s smallest fully analogue real spring reverb and amp-style tremolo” – and I’m not sure the ‘possibly’ is really necessary. For the record, it’s about 15cm (6in) long by 8cm (just over 3in) wide, and 5cm (2in) deep, not including the knobs and switches. You might be thinking that’s too small to hold a reverb tank, but the pedal is the tank, with the three-spring Accutronics assembly mounted to the baseplate.
Tremolo and reverb each get their own soft-touch bypass footswitch, and these have been pushed right to the edges of the enclosure to leave a lummox-proof gap between them. The control knobs are actually the same as on the full-size pedal: speed, intensity and output volume for the tremolo; dwell, mix, tone and output volume for the reverb.
The only thing you don’t get is the White Whale V2’s trio of toggle switches – so the effect order is fixed at reverb first, the tremolo only has one mode instead of three (a sort of optical/bias hybrid), and the reverb length is fixed. Mind you, seeing as the dwell knob controls the gain going to the springs, pushing it will naturally make the vibrations audible for longer.
Image: Adam Gasson
Build quality and usability
The White Whale Junior looks like a brick and it feels like one too – I’ve never had an issue with a CTC pedal, and this one is as solidly built as ever despite the unorthodox stuff going on inside. And the spring unit is a miniature work of art, even if some purists might bemoan the fact that Accutronics reverbs are made in Korea these days. The pedal itself is of course built in Greece.
The control array all looks pretty straightforward except for the indulgence of having separate volume knobs for the tremolo and the reverb. Wouldn’t a single one have done? Or even none at all? Well, yes. But as we’ll see a few paragraphs further on, that would be much less fun…
Image: Adam Gasson
Sounds
One of the joys of real springs is that they can be set a-jangling by any kind of movement or impact, and that’s very much the case here – ker-splash, cha-clang, pi-zoinggg! You might consider this good news if you’re a fan of Joey Santiago’s amp-whacking noise effects (or the ‘kick pad’ on the old Danelectro Spring King), but it does have a downside: an accidental knock to the side of the enclosure will make it resound like a nuclear explosion in a tin bath, and even tapping one of the footswitches too hard can set it off.
So this pedal needs to be treated with a certain amount of care and respect… at least until you plug in a guitar and get playing. Then you can really start enjoying yourself.
I’ve hardly mentioned the tremolo up to now, so let’s start with that. It’s supposed to be amp-like and it absolutely is, with a smoothly organic shape that’s instantly engaging. The speed and intensity controls give you all the scope you could wish for, covering everything from a lazy throb to a rapid-fire judder, but the secret weapon here is the volume knob.
Plenty of tremolo pedals let you bump up the output to compensate for a perceived drop in level, but this one goes much further, packing a proper clean boost that could be almost as useful as the trem itself.
Even better, the reverb circuit’s volume knob does exactly the same thing – so even if you set one or both effect mixes to zero, you’ve got a mighty tasty boost pedal offering three footswitchable settings: a slight lift on one side, a bigger one on the other, and a bandmate-frightening option with both at once.
Don’t worry, I haven’t forgotten the reverb. It’s full of the joys of springs: bold and bouncy, with lashings of spanky character, and easily balanced with the dry signal for just as much surf-ready splashiness as you need. The absence of a switch for changing the decay length really doesn’t feel like a major issue.
The dwell control lets you crank up the intensity if you want to, but the only disappointment is that this reverb doesn’t have a mellow setting. Turning down the tone knob will take the edge off, but even at minimum it sounds brighter and lighter than the full-size spring reverbs in my amps. Maybe a lack of tonal depth is the price you have to pay for smallness – but that won’t bother you if you’ve only come for the surfing.
Image: Adam Gasson
Should I buy one?
If you’re tempted by the grown-up White Whale but have been put off by its pedalboard-hogging dimensions, this is probably the solution you’ve been waiting for. That is, as long as you don’t need harmonic tremolo, which the Junior doesn’t have – arguably the biggest compromise CTC has had to make here.
The only other reason to avoid this pedal is if you like your reverb on the warm and subdued side – for that, you might have to go digital (or much bigger). But step this way for zingy springs and sweet tremolo in one relatively manageable box.
Alternatives
The aforementioned White Whale V2 (€349/£299/$385) is a whopper, but not a whole lot more expensive than the Junior model – and it has a harmonic tremolo mode. The zany Gamechanger Audio Light Pedal (€379/£329/$399) uses springs for reverb, tremolo and more; but if you just want real spring reverb on its own, you do have an even smaller option in the Danelectro Spring King Junior ($199/£179).
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Cat Stevens, Major 7 Chords, And A Mystery Song That Grabbed Me And Wouldn’t Let Go
October 2nd. And I should have thought this out better. I started with Moonshadow – just because it was in my head – and realized pretty quickly I was winging it without a plan. That’s kind of how this week went. Cat Stevens on the brain, a fascinating chord voicing question from the Forum, and […]
The post Cat Stevens, Major 7 Chords, And A Mystery Song That Grabbed Me And Wouldn’t Let Go appeared first on On The Beat with Totally Guitars.
Cort Guitars Announces KX500 Baritone for Precision Low-Tuning Performance
Cort Guitars officially unveils the KX500 Baritone, a specialized addition to the coveted KX Series. Engineered specifically for players who use low tunings, the instrument addresses the familiar challenges of string tension and note definition associated with dropped registers. By combining a long-scale architecture with premium electronics and hardware, Cort provides a focused solution for heavy music performance that keeps responsiveness and control.
The foundation of the KX500 Baritone is an okoume body, selected for its lightweight properties and ability to deliver a warm, resonant tone with a clear low-end response that keeps heavy sounds tight. The body is topped with an English Walnut veneer, providing a striking grain pattern and a distinctive visual character. To complement the tonal properties of the wood, the instrument is finished in a Matte Natural Black Burst (NBB), using an open-pore application that keeps the organic feel of the materials.
Playability is made easy by a 28.03-inch (712mm) scale length, positioned to provide best string tension for drop tunings while staying transparent to the player. The bolt-on neck features a 5-piece construction of roasted maple and walnut, offering enhanced durability and resonance alongside a comfortable "D" shape profile. A Macassar Ebony fingerboard with a 15.75-inch radius houses 24 jumbo stainless-steel frets, chosen for their smooth feel and long-lasting performance under heavy use. Fretboard navigation is aided by Teardrop position inlays and luminous side dots for visibility in dark stage environments.
The instrument is equipped with a matched Seymour Duncan Sentient and Nazgûl humbucker set, specifically voiced for modern high-gain performance ranging from clean passages to full output. This HH configuration is managed by a streamlined control layout consisting of a single volume knob, a 3-way toggle switch, and tone pot (push/pull for coil-split). These electronics allow for diverse tonal shaping while ensuring the clarity required for complex, low-tuned arrangements.
Reliability and sustain are further supported by a hardware package featuring a new Cort hardtail bridge. This bridge uses a string-thru-body construction to improve resonance across the instrument. At the headstock, Cort Locking Tuners provide tuning stability and ease efficient string changes, while a Graph Tech Black TUSQ nut ensures consistent string vibration. The guitar comes factory-equipped with D'Addario EXL157 strings (.014-.068) and features all-black hardware to match its aggressive aesthetic.
The KX500 Baritone is a commitment to purposeful design for the modern metal and progressive guitarist. For more information on specifications and global availability, please visit the official Cort Guitars website at www.cortguitars.com.
Street Price: $929.99 USD
Question of the Month: What's the first—or hardest—guitar solo you ever learned?
Question: What's the first—or hardest—guitar solo you ever learned?
Pete Evick, guitarist, the Bret Michaels Band; producer
A: I started playing at such an early age, and tackling some crazy stuff for a 13-year-old with a phonograph, not YouTube. So the hardest solo would have been Randy Rhoads’ lead on “Over the Mountain,” from Ozzy Osbourne’s Diary of a Madman. But it’s relative to the time and tools—as an adult I’ve gone back and learned all my favorite Steve Vai licks, but I did it with the help of modern technology and over 40 years of experience, so it didn’t seem nearly as hard or frustrating. Saying all of that, I still think the hardest thing to execute is Jake E. Lee’s outro solo on Ozzy’s “Bark at the Moon.” Getting that clean and at the right speed is an exercise every guitar player, from any genre, should force themselves to do. It's a full workout for both hands.
Obsession: I’ve been producing music for an awesome guy that goes by the name Timules. It’s this really different, amazing spoken-word-type stuff. Reb Beach (Winger, Whitesnake), who’s a mind-blowing player, Eric Brittingham from Cinderella, and I have all been making this music with him, and it’s just super different and unique.
Tony Houston, reader; guitarist, the Primetime Blues Band
A: In 1971, when I was 21 years old and just starting to learn guitar, I struggled with finding the key of songs and understanding how solos were constructed, despite knowing some basic theory, string names, and scales. That year, I read a lesson in Guitar Player magazine where the author tabbed out George Harrison's solo on “Let It Be.” He explained how he found the key and detailed his process of recording the song from vinyl to a cassette deck so he could rewind it and practice.That single lesson completely transformed my approach to the instrument. Within a week, I began learning songs on my own, and I am still learning them today.
Obsession: I have two current obsessions: I’m back to learning to play better slide guitar. I recently found a Maestro resonator guitar at a yard sale for $25 and am currently perfecting my touch. Back in ’70, I was very fortunate to see the Allman Brothers Band perform in a very small venue, Pappaliski's, here in Dayton, Ohio. I knew about Duane Allman from “Layla,” and wondered how he achieved that guitar sound. I had just started learning guitar, too, and was captivated by his tone. I was gobsmacked to see him live using a small bottle, sliding it up and down his guitar neck.
My other obsession is perfecting the art of making focaccia.
John Bohlinger, columnist; host, Rig Rundown
A: My dad bought Dire Straits’ debut album for me in 1979, shortly after it came out. The “Sultans of Swing” solo became my Mount Everest. Something happens to your brain, spirit, and personality when you put a lot of effort into something that seems impossible at first. The exercise trained my ears, taught me that melodies lie in the chords more than the scales, and gave me confidence that I could actually be a guitar player. Forty-seven years later, I still don’t sound nearly as good as a 28-year-old Mark Knopfler did the day he recorded it.
Obsession: I’m still way into chord voicings. The way Wes Montgomery could pull such amazing melodies out of those color tones in his chords blows my mind.
MONO x Teisco Reunite for New Vertigo Electric Guitar Cases
MONO has announced the company’s newest collaboration with Teisco, introducing fresh limited-edition colors on the Vertigo Electric Guitar Case.
Inspired by the subtle beauty of Japanese design, the latest MONO x Teisco collection introduces three new colorways that pair muted pastel tones with geometric and flowing patterns.
The company describes the three eye-grabbing options: Orange is bold, energetic, and impossible to overlook. Inspired by the warmth of autumn, its interlocking pattern creates rhythm and structure, giving the impression of constant movement. Sage draws from the calmness of the natural world. Understated yet expressive, its flowing pattern evokes a sense of continuity, making it equally at home on the road, backstage, or in the studio. Lavender takes a softer, more contemplative approach, inspired by the quiet colors of the evening sky with an evocative cloud-like pattern.
To launch the new collection, MONO and Teisco have partnered with three artists whose creativity extends beyond their music into their personal style: LAYYI, Marco of Bellied Star, and Marian Carmel. Their creative identities make them the perfect artists to showcase the next evolution of the MONO x Teisco collaboration.
Built on MONO's award-winning Vertigo platform, the cases combine bold aesthetics with the premium protection trusted by musicians worldwide. Key features include:
- ● Available in Orange, Sage, and Lavender, each featuring a unique Japanese-inspired pattern.
- ● Patented Headlock Neck Suspension System securely supports the guitar neck and headstock, providing superior protection against drops and impacts.
- ● The Boot combines a custom-molded rubber outsole with an EVA insole to absorb unwanted impacts during transport.
- ● Top-loading design provides fast and convenient access, making it easy to take your instrument in and out.
- ● Smart Storage System features triple D-rings for seamless attachment of the Classic Tick Accessory Case 2.0 (sold separately), expanding storage capacity.
- ● Constructed to military specifications, with highly abrasion-resistant and weather-resistant materials. A water-resistant Sharkskin shell protects against the elements, while the plush interior lining safeguards delicate custom finishes.
The MONO x Teisco Vertigo Electric Guitar Cases carry a street price of $299.99. For more information, visit monocreators.com.
Vertigo Electric Guitar Case
MONO has announced the company’s newest collaboration with Teisco, introducing fresh limited-edition colors on the Vertigo Electric Guitar Case.
Wizard of Odd: Tending to Guitars Like Gardens
Alas, ’tis my favorite time of the year. As summer turns into fall, my hoodies come out, football season starts, and I harvest my little vegetable garden. I don’t take it too seriously, and mostly I just like to see what will grow. Basically, at its core, I enjoy taking care of things in general. Tending to a little garden is good therapy—if you know, you know. Now, I do get more serious with my tomatoes. See, one of my favorite routines is making a huge pot of spaghetti sauce (or gravy, depending on where you’re from). Man, we eat nothing but Italian dishes for about a month! I boil the tomatoes and grind them up with an awesome little tool and then let the juices reduce. Personally I like a little red cooking wine in my sauce, but all you have to do is season it to your taste. Simple, easy, and fresh!
I enjoy the whole process of choosing ingredients that I grow and simply letting the house soak with aromas from the simmering pot. I actually get happy when I see a “nice” tomato or a fine-lookin’ onion! Having everything at home and within reach contributes to my overall feeling of zen, and it’s one of my happy places.
Normally I also have one or two guitar projects going every summer, too. This past summer I really struggled to build a few guitars (see last month’s article and my new puppies), but I was able to source some old parts and scrounge up what I have in my basement shop to basically restore this old Inter-Mark Cipher Valor. I like sourcing original parts to complete “husks,” which are like donors for parts. But I always feel kinda sad for these sacrificial guitars and have a need to make them whole again. Again, I enjoy tending to my guitars just like my garden—keeping everything happy and complete and content.
So as summer winds down, I want to write about my garden and my latest “project” guitar—more specifically, about gathering all the ingredients to make a guitar whole again. If you want to build a Fender- or Gibson-style guitar, there are all sorts of places to source parts, vintage or otherwise. But when you’re trying to rebuild a vintage oddball, you are gonna encounter some problems. It’s like with old car, motorcycle, or bicycle parts. So many obscure makers with proprietary parts—jeez, it can take a while to source those “ingredients.”
Take this 1960s Inter-Mark, for example. In Japan, these were made by a company called Shinko Gakki, which spent the post-war years making pianos and organs before eventually getting into acoustic—and then, in the mid-’60s, electric—guitars. They wound up going bankrupt shortly after. Shinko pickups? Copies of Italy’s Eko and Burns from the UK. Shinko used aluminum spun knobs. The truss rod cover also held the string guide. The pickup switching system was mostly based on Italian designs with push buttons and spring-loaded mechanisms. The tremolo units were also rough copies of Eko guitars. So how does one find parts?
For a while I was buying every Shinko-made guitar I could find, and I was able to finish off several guitars with original factory parts. See, all the above idiosyncrasies are primarily found on Shinko guitars, and you simply can’t buy an old Eko and part it out. Looks similar but not the same. This is why I cringe when I get questions about guitar parts. I have knobs that were only found on Shinko guitars, and they’re different from the Fujigen knobs. Even though both companies used spun aluminum, Shinko often used gold-plated knobs and Fujigen didn’t.
So now, at the end of the summer, I have my tomato sauce and another completed guitar. If you want to just jam on a guitar (which is what I mostly do), then go nuts. Or you can get into the weeds and try to make something whole again. Dig? It’s all about the sauce, brothers and sisters!
D’Addario Partners with Jacob Collier to Launch Specialty XS Strings and Vegan Strap
D’Addario, in collaboration with Taylor Guitars, announces the launch of the Jacob Collier Specialty XS Phosphor Bronze String Set, engineered specifically to support Collier’s custom 5-string acoustic guitars and signature symmetrical D-A-E-A-D tuning. Arriving alongside the new Jacob Collier Signature Vegan Strap, the release expands the ongoing partnership between D’Addario, Taylor Guitars, and one of modern music's most inventive multi instrumentalists.
To celebrate the launch, D’Addario has released an exclusive video interview exploring Collier’s creative process, his approach to reinterpreting traditional instruments, and the technical collaboration behind his custom gear.
“Instruments Are to Be Forever Reinterpreted”
Raised in a musical family in North London, Collier developed an early fascination with sound through experimentation across piano, drums, vocals, and guitar. Seeking a distinct creative voice, he routinely detuned and removed strings from traditional six string guitars, a process that eventually led to his signature five-string acoustic setup.
“An artist’s voice isn’t something you find; it’s already there, like the Michelangelo quote: 'Remove what's not the sculpture, and the sculpture was there all along,'" says Collier. “Trying to find my voice led me to fall in love with the five-string guitar. For me, it’s important that a string has a lot of life to it. D’Addario strings embody that—they are made with incredible care and attention to detail.”
“There is a miraculous tone and sublime feel to these D'Addario strings,” Collier adds. “This set was handpicked by Taylor's own Andy Powers to balance the tension, feel, and pitch accuracy of this symmetric 5-string tuning that forms the backbone of my custom Taylor guitar models.”
Product Specs & Availability
Jacob Collier Specialty XS Phosphor Bronze 5-String Set (12–53)
• Designed For: Taylor Jacob Collier GS Mini 5-String, Taylor Jacob Collier Academy 22e 5-String, and Taylor JCSM-5 Jacob Collier Signature 5-String • Gauges: Custom .012–.053 5-string configuration optimized for D-A-E-A-D tuning
• Technology: Ultra-thin XS film coating on wound strings with a unique polymer treatment on plain steel strings for maximum corrosion resistance and extended tone life
• Availability: Available globally via D’Addario authorized dealers and daddario.com
Jacob Collier Signature Vegan Strap
• Design: 2.5-inch printed vinyl featuring custom, vibrant geometric artwork reflecting Collier's colorful aesthetic
• Construction: Eco-conscious vegan strap designed for durability, comfort, and security
• Availability: Available globally via D’Addario authorized dealers and daddario.com
Explore the Launch
• Watch the Artist Spotlight Interview: https://ddar.io/collierinterview • Explore the Specialty XS 5-String Set: https://ddar.io/collier-xs • Explore the Signature Vegan Strap: https://ddar.io/collier-strap
What’s Next: Upcoming Giveaway & Educational Mini-Series
• Taylor x D’Addario Giveaway (Launching Soon): D’Addario will launch an exclusive sweepstakes featuring a massive prize bundle highlighted by the actual Taylor JCSM-5 5-String Acoustic played by Jacob Collier, along with specialty strings, the signature strap, and premium D’Addario accessories. Fans can bookmark daddario.com/pages/jacob-collier-taylor-giveaway to enter around the end of September.
• "Sounding It Out with Jacob Collier" Mini-Series (Launching Oct. 7): D’Addario will premiere a five-part video series on YouTube exploring the mechanics of the 5-string guitar, harmonic theory, rubato timing, and translating
piano concepts to guitar. Subscribe to D’Addario’s YouTube Channel to catch each weekly installment.
Slash Ft. Myles Kennedy and the Conspirators Release New Single “Flying Blind”
Fifteen years and five albums into one of modern rock’s most enduring collaborations, Slash Ft Myles Kennedy and the Conspirators, also known as SMKC, return today with the new single and official music video, “Flying Blind.” The anthemic track is the first taste of a powerful new chapter for the band and serves as the title track from its highly anticipated fifth studio album, Flying Blind, arriving worldwide Feb. 26, 2027, via Gibson Records.
Recorded largely live with longtime producer Michael “Elvis” Baskette at Studio Barbarosa in Florida, the 12-track album captures Slash on guitar and pedal steel, Myles Kennedy on vocals, Todd Kerns on bass, Brent Fitz on drums, and Frank Sidoris on rhythm guitar at their most immediate, instinctive, and tightly connected. The band completed the bulk of the record in approximately one week, often recording two songs a day with the musicians performing together in the same room.
“It’s a really fun, kind of spontaneous rock ’n’ roll record,” says Slash of Flying Blind. “It’s very straightforward and down-to-earth and raw.”
Listen to “Flying Blind,” out today across all digital platforms, and watch the music video, shot on location at The Viper Room in Los Angeles and directed by John Harvatine IV HERE. Pre-save, add and order the album Flying Blind HERE.
Created spontaneously during pre-production, “Flying Blind” began when Slash introduced a riff as the musicians were preparing to rehearse. The song developed quickly, combining SMKC’s unmistakable hard-rock drive with a soaring melody and immediate hook that ultimately made it the natural choice to introduce the album.
Slash explains, “Created in the studio while we were standing there in pre-production, a riff came to me and started developing. I had nothing of that song prior to those guys coming in, and then we started up a night of rehearsal and played that riff. It came together really quickly. As for it being the first single, you never know what the first single is going to be until you’ve recorded it. When I started thinking about it, ‘Flying Blind’ just seemed to have the right kind of melodic sensibilities and a hook to make it single material.”
For Myles Kennedy, the title track’s lyric examines the shortcuts people sometimes pursue in their search for fulfillment. “I really enjoyed putting a melody to this song,” Kennedy adds. “The way the chord progression starts in the beginning had a nice flow to it. The lyric is about how sometimes people try to take shortcuts and try to find the easy way to achieve happiness or enlightenment.”
SMKC have also announced the Flying Blind WORLD TOUR 2027, an extensive international run launching in Latin America in April before reaching North America on April 23 and continuing through the United Kingdom and Europe. The North American tour includes two nights at The Wiltern in Los Angeles, as well as performances at New York City’s Beacon Theatre, Nashville’s Ryman Auditorium, Boston’s Citizens House of Blues, Denver’s Fillmore Auditorium, and other landmark venues. Fans can sign up now for early access to tickets at laylo.com/slash/m/flyingblindworldtour2027. Tickets go on sale to the general public Oct. 9 at slashonline.com/tour.
In celebration of the release of Flying Blind, SMKC have partnered with Fandiem to launch a special charitable sweepstakes giving fans the chance to win a once-in-a-lifetime trip to Wales to meet Slash backstage at Cardiff Castle. Benefiting the American Foundation for Suicide Prevention (AFSP) and the National Alliance on Mental Illness (NAMI), the campaign offers one winner and a guest round-trip travel to Cardiff, a three-night hotel stay, tickets on Slash’s guestlist for his performance at Cardiff Castle, backstage access to meet Slash, front-of-house viewing, access to pre- show soundcheck, a Slash merch pack, a South Wales sightseeing tour, and a pre-show dinner.
Fans can donate now and enter for a chance to win at www.fandiem.com/slash and take part in this exclusive experience while helping raise funds for two organizations dedicated to mental health and suicide prevention.
SMKC continue to work the same way they did at the beginning: get into a room, play, and see what happens. That philosophy drives Flying Blind, the band’s first full-length studio album since 2022’s acclaimed 4. Some of its songs developed from Slash’s demos and musical fragments, while others were created spontaneously with the musicians playing together in a room.
Slash brought the initial material to Kennedy, who added vocal melodies and lyrics before the songs were developed into full-band arrangements with bassist Todd Kerns, drummer Brent Fitz, and rhythm guitarist Frank Sidoris.
“He’s an incredible riff writer,” Kennedy says of Slash. “He also comes up with simple chord progressions that are very compelling for melodies. It works, and it’s timeless.”
Unlike previous SMKC albums, whose riffs and arrangements sometimes evolved through nightly soundchecks and extended touring, much of Flying Blind came together in concentrated bursts between the members’ other projects. Slash developed the material while touring with Guns N’ Roses, recording his acclaimed blues album Orgy of the Damned, and launching the S.E.R.P.E.N.T. Festival. Kennedy began working on the songs during a break from Alter Bridge and while creating his third solo album. “Our schedule is tight, and you have to abide by it or everything else starts to get affected,” he says. “Now it’s just a given that you’re always creating. It’s a muscle thing. The creative part of your brain doesn’t have time to atrophy, and you just keep going.”
The band reconvened with Baskette, who previously produced SMKC’s World on Fire in 2014 and Living the Dream in 2018, at his Studio Barbarosa in Florida. Staying together throughout the sessions allowed the musical and personal chemistry at the center of the band to become an essential part of the recording.
Going into the sessions, Slash gave Baskette two clear instructions: keep the recording as live as possible, and do not overwork the performances afterward. “He really adhered to that,” Slash says. “It worked out great.” The arrangements were largely in place before recording began, but remained open enough to accommodate spontaneous ideas in the studio. With the musicians performing simultaneously, the band retained as much of the natural interplay and energy of each complete performance as possible. Kennedy recorded his vocals several months later and describes the finished album as a high point in SMKC’s recording history. “Out of all the records, the sounds and performances on Flying Blind are my favorite. It’s very present. It’s right there,” he says.
Across its 12 tracks, Flying Blind explores a broad range of sounds without abandoning the band’s direct, hard-rock foundation. “Good Time Girl” combines a talk box hook with a pronounced country twang influenced by pioneering guitarist Jimmy Bryant and steel guitarist Speedy West, while “Sweet Kill” delivers brash, riff-driven rock that Slash calls “probably the most ’80s thing I’ve done in a while.”
“One of Your Kind” moves with a down-tuned churn, while sharp, punk-influenced chords drive “Here in Babylon.” “Thrill Seeker” is built around a dizzying descending riff that remains deep in the pocket, and “Rev My Heart” is a classic rock ’n’ roll rave-up anchored by an unforgettable progression and a lyric inspired by the night Kennedy first met his future wife. The instrumental “Living the Dream” continues an SMKC tradition, giving Slash room to improvise and placing his unmistakable guitar playing at the forefront. “I’ve done one of these instrumentals on every Conspirators record except Apocalyptic Love,” Slash says. “It’s fun to have something that I can open up and improvise on, where I don’t have any specific guidelines or guardrails. It’s nice to do a new one every record, so that live you don’t have to do the same one all the time.”
One of the album’s most significant departures is “Looking for a Miracle,” the first song Slash has written on pedal steel and the first to feature a recorded pedal steel solo from the guitarist. Slash developed the original musical idea on pedal steel before adapting it for guitar, so the full band could rehearse the song. He then returned to the pedal steel during the recording sessions and worked out the solo at Studio Barbarosa. “I love pedal steel,” Slash says. “It’s one of these instruments that is so unbelievable in what you can do with it. So it’s become a thing for me. But it is a commitment. It’s a pretty complex instrument.”
Kennedy and the rest of the band have watched Slash’s relationship with the instrument develop over time. “For a long time, we would go and rehearse for tours or do pre-production, and then we’d leave, and Slash would stay at his studio and practice to all hours on mastering pedal steel.”
The album concludes with “Stem the Flow,” a sweeping final statement centered on disillusionment with institutions and systems once believed to be unbreakable. Hard-hitting, spontaneous, and wide- ranging, Flying Blind captures SMKC sounding as loose, raw, and locked-in as ever.
The roots of SMKC stretch back to Slash’s star-studded, self-titled 2010 solo album, on which Kennedy appeared as one of several guest vocalists. The musical and personal connection that followed quickly developed into a permanent band. “I got into working with the Conspirators as a happy accident from doing that first solo album,” Slash says. “I established a relationship with these guys on a musical and personal level that I wasn’t about to give up when Guns restarted.”
What began without a long-term plan has grown into a 15-year partnership, five studio albums, and numerous world tours. “It blows my mind that 15 years has moved this fast,” Kennedy says. “It’s been the blink of an eye. But as they say, time flies when you’re having fun, and we have a lot of fun. It’s a pinch-me kind of thing.”
Fifteen years after forming, Slash Ft. Myles Kennedy and the Conspirators continue to refine their sound while carrying the torch for immediate, unvarnished rock ’n’ roll. For Slash, the force behind Flying Blind and SMKC remains the pure pleasure of playing music. “When we started, we didn’t have anything,” Slash says. “We weren’t setting out to conquer the world. It was just for the pure pleasure of it. So now, we get together and play, we have a really good time, and then we go out and tour and do it again the next time.” Slash laughs. “As long as there’s electricity, we’ll keep plugging in.”
Following is the track listing for Flying Blind:
- 1. “Avarice and Greed”
- 2. “Good Time Girl”
- 3. “Thrill Seeker”
- 4. “One of Your Kind”
- 5. “Flying Blind”
- 6. “Looking for a Miracle”
- 7. “Sweet Kill”
- 8. “Won’t Be Long”
- 9. “Living the Dream”
- 10. “(Don’t) Thread the Needle”
- 11. “Rev My Heart”
- 12. “Stem the Flow”
Slash Ft. Myles Kennedy and the Conspirators are:
- Slash guitar and pedal steel Myles Kennedy vocals Todd Kerns bass and vocals Brent Fitz drums Frank Sidoris rhythm guitar
Catch SMKC on the Flying Blind WORLD TOUR 2027:
- DATE CITY VENUE LATIN AMERICAN DATES Fri April 2 Santiago, Chile Teatro Caupolican Sun April 4 Mendoza, Argentina Arena Maipú Tue April 6 Córdoba, Argentina Plaza de la Música +Wed April 7 Buenos Aires, Argentina Movistar Arena Sat April 10 Florianópolis, Brazil Arena Opus Sun April 11 Curitiba, Brazil Live Curitiba Tue April 13 Rio de Janeiro, Brazil Fundição Progresso Wed April 14 São Paulo, Brazil Espaço Unimed NORTH AMERICAN DATES Fri April 23 Reno, NV Grand Theatre at The Grand Sierra Resort Sat April 24 Rohnert Park, CA Graton Resort & Casino Mon April 26 Los Angeles, CA The Wiltern Tue April 27 Los Angeles, CA The Wiltern Thu April 29 Del Mar, CA The Sound Sat May 1 Albuquerque, NM Route 66 Casino Sun May 2 Denver, CO Fillmore Auditorium Tue May 4 Kansas City, MO The Midland Theatre Wed May 5 Des Moines, IA Val Air Ballroom Fri May 7 Windsor, ON Caesars Windsor Sat May 8 Niagara Falls, ON OLG Stage at Fallsview Casino Mon May 10 Boston, MA Citizens House of Blues Wed May 12 New York, NY Beacon Theatre Mon May 17 Nashville, TN Ryman Auditorium Wed May 19 St. Louis, MO The Factory +Fri May 21 Norman, OK Riverwind Casino +Sat May 22 Tulsa, OK Hard Rock Hotel & Casino UK AND EUROPEAN DATES Mon June 7 Munich, Germany Zenith Wed June 9 Warsaw, Poland Letnia Scena Progresji
- Thu June 10 Nickelsdorf, Austria Nova Rock Festival Sat June 12 Milan, Italy Carroponte Sun June 13 Rome, Italy Rock In Roma Thu June 17 Vitoria-Gasteiz, Spain Azkena Rock Festival +Wed June 23 Stockholm, Sweden Grona Lund Mon June 28 Dusseldorf, Germany Mitsubishi Electric Halle Wed June 30 Cardiff, UK Cardiff Castle Thu July 1 Scarborough, UK Scarborough Open Air Theatre Sat July 3 Dublin, Ireland Trinity College Sun July 4 Belfast, UK Custom House Square Tue July 6 Halifax, UK Piece Hall Wed July 7 London, UK Eventim Apollo Fri July 9 Weert, Netherlands Bospop Sun July 11 Vizovice, Czech Republic Masters of Rock Mon July 12 Zagreb, Croatia SRC Salata Wed July 14 Budapest, Hungary Budapest Park Fri July 16 Belgrade, Serbia Luka Beograd Sun July 18 Athens, Greece Lycabettus Theatre Thu July 22 Istanbul, Turkey Bonus Parkorman Sun July 25 Plovdiv, Bulgaria Hills Of Rock Mon July 26 Ghimbav, Romania Rockstadt Extreme Festival
- Festival date +On-sale TBD
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