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Norse Guitar Feeds
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
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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.
Keeley Electronics Introduces Compressor Plus Germanium
Keeley Electronics has launched the Compressor Plus Germanium pedal, the newest addition to Keeley’s line of iconic compressors. Built around the familiar Level, Tone, Compression, and 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.
The pedal also includes a 2-position switch for adjusting the recovery time when using single coil or humbucking pickups. Recovery time is slower in the Single Coil setting, and faster in the Humbucker setting, allowing ideal feel and responsiveness for any guitar in your arsenal.
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 has made Keeley the go-to choice for guitarists and bassists for a quarter century.
Compressor Plus Germanium features include:
- 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 knobs: Level, Tone, Compression, and Blend control for mixing compressed and dry signals for greater control over feel and dynamics
- 2-position switch to optimize responsiveness and recovery time for single coil or humbucking pickups
- Switchable on the fly between true bypass and buffered bypass
- Operates at 9–18V DC for flexible pedalboard integration
- Designed and manufactured by Keeley Electronics in Oklahoma, USA
The Compressor Plus Germanium arrives as Keeley Electronics celebrates 25 years of 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 mark the company’s 25-year milestone by returning to where it all started. The Compressor Plus Germanium honors that beginning while carrying the Keeley Compressor forward for a new generation. Like every Keeley pedal, the Compressor Plus Germanium is designed and manufactured in Oklahoma, USA.
Keeley’s Compressor Plus Germanium carries a street price of $189. For more information visit robertkeeley.com.
Compressor Plus Germanium
Keeley Electronics has launched the Compressor Plus Germanium pedal, the newest addition to Keeley’s line of iconic compressors. Built around the familiar Level, Tone, Compression, and Blend controls, this new design brings a fresh voice to a pedal that has been evolving for a quarter century.
Louder Than Life 2026: A Heavy Metal Celebration in Derby City
USA's largest festival celebrating rock, metal & punk hosted over 250,00 fans to see Iron Maiden, TOOL, Limp Bizkit, Megadeth, Pantera, and dozens more. Here's our selection honoring the headbanging heroes that rocked Derby City.
Louder Than Life brought the heavy heat to Louisville with one of the most stacked lineups in the festival’s 12-year history. Straight out of the gate the tandem main stages scorched with back-to-back performances from Mac Sabbath, Gwar, Metal Church, Suicidal Tendencies, Machine Head, Sabaton, Alice Cooper, and the mighty Danzig.
There were a lot of special moments at this year's festival including Megadeth providing one of their final performances on the tail-end of their farewell tour, Pantera whiplashed the audience with one of their few North America shows, and untouchable Iron Maiden torched the Bluegrass State for the first time in 40+ years. LTL welcomed Danny Elfman’s first show in the Eastern half of the U.S. in nearly a decade (with a set featuring Oingo Boingo hits, his well-known film themes and new songs). Plus, the fest featured of the most prominent all-female-fronted stage lineups assembled at a major U.S. rock festival, with Halestorm, In This Moment, Lindsey Stirling, Orianthi, Icon For Hire, Kami Kehoe, and Diamante
Danny Wimmer has completely dialed our nation’s premier rock and metal festival since overhauling the layout in 2025. You can get cold beers, go to clean restrooms, and quickly get back to the decibel decimation. They also added dust-busting astroturf that blanketed the grounds. Shade, water, and reasonably-priced food also bolstered the experience. And The Kentucky Kingdom rollercoaster backdrop provided a most picturesque landscape at sunset.
Megadeth
Mustaine looked like a million bucks melting faces throughout his multi-platinum stacked set. His Gibson Custom V led a symphony of destruction with Teemu’s Explorer before he dedicated and detonated the opening riff to "Holy Wars" on an enthusiastic crowd. It was Louder than Life farewell to one of the all time greats.
Alice Cooper
Mr. Nice Guy’s head was bang’n as it rolled off the guillotine to his three-guitar army of Ryan Roxie, Tommy Henriksen, and Anna Cara. School was in session with Ryan and Tommy shredding away on their Rock N Roll Relics and B.C. Rich lowriders. Anna’s matte black Ibanez absorbed the heat and scorched the crowd.
Pantera
Louder Than Life was treated to an explosive Pantera set. (One of two shows schedule in the U.S. for the Cowboys from Hell.) Zakk wielded his Wylde Audio guitar with confidence and power paying the perfect tribute to his late-friend Dime. Rex brought the thunder to ZW's lightning ripping through his bands catalog to a Fucking Hostile crowd co-headlining the night with Iron Maiden closing the Thursday festitives.
Pantera
Iron Maiden
Ed Force One landed in Louisville to celebrate 50 years of their hall-of-fame career by returning to Kentucky for the first time in four decades. The show could be described as Louder Than Live After Death as the band looked and sounded no different than their acclaimed 1985 live album. Murray, Smith and Gers were kept on rhythm with Harris’s signature Fender thump. They were troopers in the heat wave showing no sign of slowing before closing with Wasted Years.
Iron Maiden
Orianthi
The 6-stringer from Down Under drew a crowd at the Decibel stage Saturday afternoon showing beautiful precision on her signature PRS. Fellow guitarist Neil Swanson, bass Dylan Wilson and drummer Jack Ivins tore through staples including ZZ Top’s classic “Sharp Dressed Man” before a quick turnaround to Greece.
In a backstage interview with drummer Jack Ivins he explained the band did not have a setlist. "We just went onstage. Orianthi we'll start with 'Light It Up' and roll straight into 'Contagious' then we'll feel it out. No click, no digital rigs, all live amps pushing air, no in-ears since everyone is using wedges (except for me), hell - no setlist!"
"The closer was 'Voodoo Child' and right before that was her song 'First Time Blues.' We are normally a power trio but the second guitarist Neil was already playing that stage earlier in the day with Diamanté and he'd previously played for Orianthi, so she decided to add him last minute."
Tom Morello
The riffmeister general Tom Morello took the main stage with the fury you would expect from the Rage Against The Machine and Audioslave innovator.
This time accompanied by his son Roman, who Tom describes as the much more technical player of the Morellos. The band launched into the late Prince of Darkness’s “Mr. Crowley” before going hot and heavy with “The Ghost of Tom Joad”, “Like a Stone,” and “Killing In The Name.”
Halestorm
Lzzy Hale & Joe Hottinger of Halestorm brought an exceptionally visual show to a capacity Decimal stage crowd Saturday evening. Lzzy’s piercingly unrivaled rock vocals and Explorer chops were accompanied perfectly by Joe’s green V on lead duties. (Possibly earning the prize for most stunning guitar at the festival.) The show reached a fever pitch when violinist Lindsey Stirling joined band to play “Shatter Me.”
Limp Bizkit
It only took a couple of Borland riffs to realize why Limp Bizkit was the closer. Wes’ all-in wardrobe was only rivaled by the hooks the band furiously dropped on an enthusiastic crowd. Durst was quick to stop the set for safety, slowing things down with a cover the The Who's “Behind Blue Eyes” featured LB's fourth album, Results May Vary. Gaige Rivers joined the band during Pete Townshend-penned classic, paying tribute to her late father and founding bassist Sam Rivers. Touring low ender Richie Buxton has now stepped in to lock down the mountainous groove. The show climaxed with two performances of their epic anthem “Break Stuff!”
Limp Bizkit
Ministry
Ministry’s "Goddamn White Trash" throwdown rocked Louder’s main stage on the final day. Cesar Soto (Jackson) and Patrick Houston (Gibson Black Beauty) were thick as thieves shredding through the classics before ending with "Just One Fix." Paul D’Amor’s P bass provided the thunder just as it previously had in the early days of festival closer, TOOL.
Mastodon
The clan of Cysquatch kept Sunday humming with a stunner set of fresh fovrites classics including Snakes for Dinner, Barbarians Blood and ended with "Blood and Thunder" for the old heads. Bill Kelliher ripped his silverburst Banker alongside new guitar player Nick Johnston who was on signature Schecters all set. Band co-founder Troy Sanders boasted a megalodonic bass tone.
Danny Elfman
Danny Elfman animated the crowd with his buoyant setlist that included songs from Oingo Boingo, his compositions for film (Spider-Man, Batman, Beetlejuice & Weird Science), and playful TV theme songs (The Simpsons). The prodigy composer was accompanied by Nili Brosh on her signature Ibanez and Matt McJunkins on his Fender Precision. Robin Finck filled out the sonic front with his semi-hollow body Ibanez. Daylight was fading during this show as Gojira was about to be unleashed.
Gojira
The gargantuan wall of sound and fury could've awoken their namesake Godzilla all the way in the Pacific. They opened with "Born For One Thing" and closed with "The Gift of Guilt." Joe and Christian traded heavy harmonies while bassist Jean-Michel Labadie laid the rhythmic floor. The flames blasted high as their confetti cannons shot over the crowd in what was a spectacular lead into the all-powerful TOOL.
TOOL
The capacity Louder Than Life crowd stood witness to another picture-perfect TOOL set. “The Grudge” and “Jambi” uniquely spearhead a soundscape that only Adam and Justin can achieve. Adam’s always eerie electric shape exploded into the deep cut “Crawl Away” for those looking for an Undertow emergence. Maynard proved to be Invincible taking the stage less than a month after hip-replacement surgery. He stood strong next to one of the greatest drummers in rock history Danny Carey and closed the festival with a vicious “Vicarious.”
TOOL
Fender Introduces Three New John 5 Signature Telecaster Models
Fender and the Fender Custom Shop have unveiled three new John 5 signature Telecaster models: the Fender John 5 Phantom Telecaster, Fender John 5 Ghost Telecaster and Fender Custom Shop John 5 “Phantom” Telecaster. Each of these Telecaster models captures a different facet of his unmistakable style and musical range, bringing his signature sound and design to more players across a range of price points.
“I don’t know if the Telecaster picked me or I picked it. I was so drawn to that shape,” said John 5. “Ever since I was little, Fender was always just the pinnacle, the greatest, and I just wanted nothing more to have the best guitar for me and have the people enjoy it as well.”
John 5’s approach to the Telecaster showcases the instrument’s versatility: equally at home with distortion-drenched shredding and country chicken-picking, John 5 has spent his career proving there’s no genre, style or vibe off limits. A lifelong Telecaster devotee, his technically demanding, theatrical playing has made him one of rock’s most distinctive guitarists.
The three signature models translate John 5’s sound and visual style into distinct instruments, from the Fender lineup to the Fender Custom Shop:
- John 5 Phantom Telecaster (MSRP: $1,299.99 USD, £1,149 GBP, €1,349 EUR, $2,149 AUD, ¥198,000 JPY) Finished in black with a matching headcap, the Phantom pairs its unmistakable Telecaster silhouette with a decidedly modern performance setup. DiMarzio D’Activator pickups in the neck and bridge deliver the high-output response John 5 is known for, with tight low end and clear articulation through high-gain settings. A Floyd Rose FRTS2000 Special Series tremolo brings another dimension to the instrument, allowing for dramatic pitch bends, dive bombs and other extreme techniques while maintaining tuning stability. The streamlined control layout features a single volume knob and killswitch, leaving plenty of room for the player to shape the performance in real time.
- John 5 Ghost Telecaster (MSRP: $1,299.99 USD, £1,099 GBP, €1,299 EUR, $2,149 AUD, ¥198,000 JPY) Finished in Arctic White with a matching headcap, the Ghost Telecaster makes a statement before it’s even plugged in. DiMarzio D’Activator pickups in the neck and bridge give it the high-output response John 5 is known for, with tight low-end response and searing clarity that can cut through any mix. With a stripped-down control layout, a single volume knob and killswitch, this guitar keeps the focus where it belongs: on the music and the moment.
- Fender Custom Shop John 5 "Phantom" Telecaster (MSRP: $6,000.00 USD, £5,599 GBP, €6,599 EUR, $9,799 AUD, ¥1,056,000 JPY) Few players have pushed the Telecaster into darker, heavier territory than John 5, and the John 5 “Phantom” Telecaster is built to match his relentless approach to the instrument. Crafted by the Fender Custom Shop, this is a Telecaster reimagined for the modern virtuoso: aggressive, precise, and ready for anything from chicken pickin’ to metal.
- At its core, a two-piece select alder body with Ultra Contours finished in gloss black urethane provides the resonant foundation, while a maple neck with a smooth Modern “C” profile and 10" to 14" compound-radius, flat-laminated ebony fingerboard invites effortless chording down low and clean, choke-free bending up high. Twenty-two medium jumbo frets, a 25.5" scale, and satin urethane finish give the neck the fast, articulate feel of John 5’s playing demands, while Luminlay luminescent side dots keep fret positions visible on the darkest stages.
- A pair of DiMarzio D Activator humbuckers gives the “Phantom” its voice, from tight, cutting bridge attack to a warm, vocal neck tone, selected via a 3-position toggle switch and controlled by a single master volume for zero distraction. Anchoring it all is a recessed Floyd Rose Original double-locking tremolo paired with an R7 locking nut and modern locking tuners, keeping the guitar dead-on in tune through the most extreme dives. Other premium features include a Bi-Flex truss rod, 3-position toggle switch, Mother of Pearl dot inlays, 4-bolt contoured neck plate with Custom Shop "V" logo, Floyd Rose retainer bar string tree, black hardware, .009-.042 nickel-plated steel strings, deluxe hardshell case, strap and certificate of authenticity.
Born John William Lowery, he picked up guitar after being inspired by a Telecaster, the banjo and guitar virtuosos before heavy metal propelled him toward a professional career. He began session work in Los Angeles at 17 and went on to perform with artists including David Lee Roth, Mötley Crüe and Rob Zombie. With 11 studio albums and a career defined by his genre-defying approach, John 5 continues to push the Telecaster, and guitar playing itself, beyond convention.
"John 5 is one of the most distinctive players in modern guitar, pushing the Telecaster across genres and beyond convention, and these three instruments reflect that versatility,” said Justin Norvell, Fender Chief Product Officer, Guitars. “Bringing the Ghost back into the Fender lineup puts his signature design within reach of more players. Together, this collection gives fans at every level a way to plug into his sound."
"John 5 has always pushed the Custom Shop to think beyond the traditional Telecaster blueprint,” said Chase Paul, Fender Custom Shop Director. “From the single-bound body with Ultra Contours to the single volume control and killswitch, this guitar is a true reflection of his playing style. It’s a great example of what's possible when the Custom Shop works directly with an artist to bring their vision to life."
Together, the three new signature Telecaster models celebrate John 5’s longstanding relationship with Fender and his ability to push the instrument across musical boundaries. From the Phantom’s aggressive performance features to the Ghost’s striking design and the Custom Shop’s premium craftsmanship, the collection offers players new ways to explore his distinctive approach to the Telecaster.
For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fendercustomshop.com. Join the conversation on social media by following @Fender and @FenderCustomShop.
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.
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“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.
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