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Vox Amplification announces the release of the AC MINI, a compact and affordable 10-watt guitar amplifier designed to bring the feel, look, and tone of the iconic AC Series into smaller playing environments. Developed by the same engineering team behind the acclaimed Vox AC Hand-Wired Series, the AC MINI addresses the needs of home players, practicing musicians, and songwriters who require authentic amp response at manageable volumes without navigating complex digital menus.

At the heart of the AC MINI is an all-analog, 10-watt solid-state architecture powered by the newly developed Vox Dynamic Response Circuit. Pushing sound through a single 3-inch Vox original 8-ohm speaker, the amplifier is engineered to replicate the dynamic response, natural compression, and rich harmonic characteristics typically associated with classic tube amps. The all-analog design ensures that the amplifier delivers sound with real body and presence.

The tone-shaping section centers on an intuitive, two-channel control panel modeled after traditional Vox AC layouts. The analog circuit is designed to preserve the natural character of different pickups, from single coils to humbuckers, and responds dynamically to pick attack and guitar volume adjustments. For additional gain and sustain, an onboard BOOST switch pushes the preamp into expressive overdrive, introducing harmonic overtones while maintaining musicality across the full sweep of the controls.

For spatial effects, the AC MINI features an onboard digital reverb specifically developed and voiced by the Vox engineering team. Designed after extensive analysis and critical listening, the reverb emulates the warmth, subtle movement, and character of a classic spring reverb tank, adding natural depth and sustain to the signal.

The top control panel provides a direct 6.35 mm (1/4 Inch) instrument input jack alongside a 3.5 mm stereo mini-phone AUX input and a 3.5 mm stereo mini-phone headphone output. The AUX input allows players to connect to a smartphone, tablet, or external audio device to play along with backing tracks, while the dedicated headphone output enables quiet practice sessions. The unit operates via an included DC 12V AC adapter (1A current consumption, 12 Watts power consumption).

Housed in a wood cabinet with a bass-reflex porting design, the enclosure leverages the material’s balanced mass and natural resonance to optimize low-end response and overall frequency balance. Measuring 221 × 125 × 180 mm (8.70˝ × 4.92˝ × 7.09˝) and weighing 1.8 kg (3.97 lbs.), the amplifier sports classic Vox aesthetic hallmarks, including a traditional split-front cabinet design, diamond grille cloth, and a gold Vox logo.

Street Price: $99.99 USD

For more information, please visit www.voxamps.com



Skip is back from a long-overdue road trip and has tales to tell and amps to fix. We also hear about the Fretboard Summit’s vintage amp room (watch that baby Leslie video), Christopher Guest in the new Fretboard Journal and so much more.

New Truth About Vintage Amps discount from Amplified Parts on all Apex matched-tube products: TAVAAPEX10 gets you a one-time discount of 10% off Apex products now through October 31, 2026. Stock up! https://www.apexmatching.com

Thank you to our sponsors: Grez Guitars; Emerald City Guitars; and Amplified Parts / Mod Electronics.

Some of the topics discussed this week:

2:21 Skip hits the road to Pendleton, Oregon and Spokane, Washington: White’s Boots (link); the Pendleton Roundup (link); Kirishian rug cleaning (Instagram)

17:22 Why do DC-powered amps need a vibrator, explained!

21:37 Summit recap from Brian McAllister (follow him on Instagram); more Skip road trip highlights

27:01 Figuring out the taper on NOS pots, how does the hum control work on my Bell Pacemaker PM10?, and jalapeno salsa

34:00 I want a tweed 5F1 Champ: Should I build one or buy one?

37:59 What should I do with this Peavey Classic? Ludwig, the TV series

44:54 A wild K&F pickup restoration story (find it on our Patreon)

45:33 Putting a harmonica mic into a guitar?

48:53 Amp tech knowledge gaps; Uncle Doug and cheap solder (YouTube video), Solder Smoke Remover (Amazon link)

56:02 Vintage Sound 50; a potential guest Peter Miller?

1:02:23 Help for my Harmony H306A; 7408 power tubes

1:07:40 Paul Simon guitarist Mark Stewart (Wikipedia); more roadtrip talk (Hwy 395); Christopher Guest in the Fretboard Journal 60 (order it here)

Want to be a part of the show? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.

Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.

Above: Listener Bernie’s Bogen Pacemaker PM10. 

The post Truth About Vintage Amps, Ep. 171 first appeared on Fretboard Journal.

Electro-Harmonix EHX Percolator Review

The InterFax Harmonic Percolator HP-1 circuit revealed its magic to me over a long period of time. Like just about everyone, I’ve never played an original. And when I finally encountered a reproduction at a recording session, it was the wrong pedal at the wrong time. I walked away from it vaguely disappointed and moved onto other things. Luckily for me, though, I came to be a colleague of Premier Guitar editor Joe Gore. Joe’s simple guidance for navigating the Harmonic Percolator lit the way to loving the circuit.

Daredevil Double Cocked Review

A lot of players spin magic and craft signature tones from a cocked wah. (For those that don’t know, the cocked wah sound is that honking, mid-rangey, filtered tone that you get when you park a wah pedal at a specific angle and leave it there to do its dirty work.) Frank Zappa did it. Mick Ronson did it. So did Michael Schenker. And for the last decade, Matt Pike of High on Fire and Sleep—a man whose entire tone philosophy seems to be “louder, and also weirder”—used various versions of Daredevil’s Atomic Cocked circuit to do that job.

Beetronics Seabee Lite Review

If you’ve never played a Beetronics pedal, the company’s extroverted design ethos might seem like a style-before-substance exercise. Nothing could be further from the truth. For starters, Beetronics’ wares are genuinely substantial in terms of quality. The brand is also inventive—and more than a little irreverent at times—when it comes to sonics.

Old Blood Noise Setback Review

I have to resist reverse delay like most have to resist ice cream. A totally uninhibited version of myself would probably record multiple box sets’ worth of reverse-delay-based music given the chance. Old Blood's Setback reverse delay makes a project of that scope seem totally possible, too.

Keeley Tube Drive Review

When I see an overdrive powered by a real tube, I’m predisposed to think about all those things that you associate with glowing tubes and overdrive—low-to-medium gain, warm, toasty, maybe even mellow tones. Keeley’s Tube Drive (which was originally issued in a limited edition of 100 fitted with 76-year-old Sylvania 12AT7s) dishes drive tones that are all those things, and sounds beautiful doing it. But the Tube Drive is made up of two sections. One is powered by a 12AX7 (alas, no ultra-rare antique tubes in this version.) The other is Keeley’s Phat Mod, a riff on the JFET Boss BD-2 Blues Driver, another circuit regarded as warm and responsive. Together, though, the two drive circuits expand each other’s range exponentially—right up to wicked saturated sounds that make a low-wattage combo more akin to a big British stack.

Mile End Effects Sofort, Si Fort Review

Mile End Effects does not do “subtle.” From art to enclosure to audio, Montreal builder Justin Cober’s pedals make big, bold statements. Even against a lineup of effect units that look and sound like Cold War-era machines of destruction, his latest creation, the Sofort, Si Fort, might just be the most devastating yet: a two-in-one design that combines a Sovtek Big Muff and Ampeg Scrambler elements.

Strymon Canoga Review

The Strymon name is commonly associated with fully featured, and sometimes complex, digital pedals. But if the company’s new analog endeavors are something of a surprise, they are already yielding promising results. The new Canoga fuzz emanates from some down-time/chill-out projects built by CEO and chief analog engineer Gregg Stock about a decade ago. But now it’s very real, and one of the first offerings from Strymon’s new all-analog, U.S.-built, Series A lineup.

Walrus Audio Highpoint Review

For some players, compression, and compression pedals, are exciting at a level just above a tuner or volume pedal—essential in some cases, but not the kind of thing that gets the blood pumping. For others, compression is an essential facet of their sound, perhaps even the core of it. For these players, the differences between compressors are meaningful and consequential, and separate a true creative device from a joyless, utilitarian tool. Walrus Audio’s Highpoint is more likely to appeal to players who see the painterly possibilities in a compressor. As an optical comp, it offers the smooth, fuzzy, non-linear glow that makes a good opto sound less sterile and bossy than a voltage controlled or FET compressor. It also has a control set that can get surgical. The $349 price reflects the pedal’s power and flexibility, and signals that this isn’t one for compression casuals. But while committed comp nuts might find the most to love here, less experienced users might be very surprised and impressed by what an asset the Highpoint can be.

Dominion Electric Filmotone Review

Aaron Sabourin runs Dominion Electric Effects Co., out of Ottawa, Ontario, as a one-man show, building effects using pricey, vintage parts when his day job permits him to. His Faceless Fuzz and Soul Power—inspired by the Fuzz Face and Hendrix’s screaming tone at Fillmore East circa 1970, respectively—are top-shelf recreations of common circuits that have been around for a long time. But it’s Sabourin’s commitment to using premium components in bomb-proof builds that make his pedals so coveted. His latest design, the Filmotone, strays a little further from the guitar-tone canon: It’s an effect pedal designed to approximate the sound and dynamic feel of a single-transistor preamp wrenched from the guts of a Bell & Howell Filmosound film projector.

Vox VFZ-1 Fuzz Review

In design and engineering terms, a vintage fuzz is a comparatively basic thing. And most of the earliest vintage fuzzes evolved from common ancestry. But as we’ve discovered in the intervening years, even small differences in a simple design can mean profound shifts in performance and personality.

Tsakalis AC Master Review

Amp-in-a-box pedals are a world unto themselves these days, spanning everything from digital simulations to discrete analog versions of amp topologies. Tsakalis AudioWorks of Piraeus, Greece takes the latter approach with their new AC Master. But here they couple a vintage AC30-based channel with a circuit inspired by the Dallas Rangemaster treble booster. As any fan of Brian May or Rory Gallagher will tell you, that’s a recipe that approaches perfection. But the AC Master’s tone-shaping power doesn’t stop with the addition of the treble booster. The pedal’s amp section also features approximations of an AC30’s top boost and normal channels, which can be blended with each other to create more complex drive textures. It all adds up to an impressive and varied array of Vox-style sounds in a single pedal.

Supercool Pedals Spritz! Saturator Review

Supercool Pedals, based in Peterborough, Ontario, released the original Spritz compressor, a simple 2-knob pedal, back in 2022. Earlier this year, builder Jamie Muir overhauled that design and released the Spritz! Saturator, adding a “tube simulation” overdrive circuit with its own discrete controls in addition to the familiar dual-knob setup. Like its titular drink on a hot summer afternoon, the Spritz! Saturator is a refreshing, invigorating treat.

EarthQuaker Scrolls Bass Odyssey Review

I thought I had everything a gigging bassist could possibly need. I usually get a pretty solid bass tone, the players and clients I engage with generally like it, and I tend to feel pretty good about my EQ choices. Some instruments I like to run direct, without much tonal color. Others I run through an amp, where I can get plenty of it. Between the two, I figured I had any session covered.

Jackson introduces the Pro Series Signature Phil Collen PC1™-E, the latest chapter in a nearly four-decade collaboration with Def Leppard guitarist Phil Collen. Since debuting his first Jackson signature model in 1989, Collen has developed four distinct signature instruments with Jackson, each evolving alongside his playing and creative needs. The new PC1-E marks the next evolution of Collen’s longtime PC1 and brings the model to the Pro Series for the first time.

“Being relic’d, my signature PC1-E is worn in, but it is definitely not worn out,” said Phil Collen, Jackson signature artist. “It has many of the qualities of my vintage PC1s, like the pickup, compound radius fingerboard and Floyd Rose, wrapped in a beautiful aesthetic that delivers. I’m loving it, and I can’t put it down.”

As one of Jackson’s longest-standing signature artists, Collen’s relationship with the brand has evolved alongside his career, spanning instruments including the Phil Collen PC Archtop, PC1, Custom Shop PC Supreme and PC1 Ninja. Each has reflected Collen’s evolving needs as a player, with the new Pro Series PC1-E marking the latest chapter in that collaboration. This model brings key elements of his longtime signature instrument to the Pro Series for the first time and reflects Jackson’s ongoing commitment to making premium, artist-driven instruments accessible to guitarists at every level. The launch follows another milestone for Collen and Def Leppard, who were recently honored with a star on the Hollywood Walk of Fame.

“Phil is one of Jackson’s longest-standing artists and has played an important role in our history,” said Jon Romanowski, VP of Product, Jackson. “Our relationship has always been truly collaborative. Phil regularly visits the factory to work with our team as his instruments continue to evolve, and he’s become part of the DNA of Jackson over nearly four decades. The PC1-E is a meaningful next chapter in that relationship, bringing his signature instrument to a new generation of players.”

The Pro Series Signature Phil Collen PC1-E is engineered for players looking to channel Collen’s rock legacy. Featuring a road-worn finish, this is Collen’s first signature available outside the Custom Shop, bringing his sound to a wider range of players.

Key features include:

• Floyd Rose® 1000 Series Tremolo – For Phil’s dive bombs and string bends, the Floyd Rose delivers unwavering tuning stability.
• PC1 Sustainer Driver Neck Pickup with 18V Battery System – Available at the flip of a switch, this feature powers Phil’s live performances, letting him sustain notes indefinitely for expressive depth in every solo.
• Genuine Mahogany Body – Infuses Phil Collen’s signature guitar with a warm, resonant tonal foundation, providing the durability he needs to deliver consistent tone night after night on tour.
• Black Distressed Finish with Gold Hardware – This road-worn aesthetic with gold hardware adds a striking contrast on stage.

The Pro Series Signature Phil Collen PC1™-E continues a nearly four-decade collaboration between Collen and Jackson, bringing the latest evolution of his signature instrument to a new generation of players. Go behind the scenes and watch Phil Collen discuss the making of his new signature. High-resolution product, artist and lifestyle images of the Pro Series Signature Phil Collen PC1™-E can be found HERE. Full product description and specifications can be found HERE. For technical specs, additional information on new Jackson products and to find a retail partner near you, visit www.jacksonguitars.com. Join the conversation on social media by following @JacksonGuitarUSA on YouTube, @JacksonGuitars on X and @OfficialJacksonGuitars on Instagram and Threads.

Pro Series Signature Phil Collen PC1™-E (MSRP: $2,199.99 USD, £1,699 GBP, €1,999 EUR, $3,499 AUD, ¥330,000 JPY) Phil Collen has wielded Jackson since 1986, and the Pro Series PC1™-E carries on the legacy of his landmark PC1 Dinky® — one of Jackson's first artist collaborations. Features a mahogany body, caramelized maple neck with graphite reinforcement and ebony fingerboard with compound radius and 24 jumbo frets. Loaded with a DiMarzio® X2N® bridge humbucker, DiMarzio Sugar Chakra™ middle and the PC1 Sustainer Driver (18V) for infinite sustain. Push-pull coil splitting, Floyd Rose® 1000 Series tremolo with locking tuners, black distressed finish with gold hardware and foam core case included.

BOSS announces the EX-4 Effects Expander, a powerful compact effects processor that infuses any pedalboard setup with a massive boost in sonic versatility. Modern players carefully curate their pedalboard builds, and every slot must earn its place. Offering a large selection of classic BOSS effects in a space-saving design, there’s no better utility pedal than the EX-4. It’s ideal for musicians who love to experiment with effects, and an essential toolbox for anyone who needs to cover many songs/styles or build professional sounds on the fly.

The EX-4 delivers up to four simultaneous effects from a vast onboard library. Every major category is available among the 120 effect selections, including overdrive and distortion, modulation, delay, and reverb, as well as bass-tuned effects and unique BOSS favorites like Slow Gear and Slicer. Dedicated utility blocks can be placed anywhere within an effect chain—including foot volume, two noise suppressors, send/return, and divider/mixer—and there’s also a global EQ for overall sound shaping.

The EX-4’s Gear Suite feature makes it quick and easy to call up ready-to-go sounds. Each effect type comes with multiple pre-made Gear Suite settings with professionally tuned parameters, all available with the turn of a knob. It’s also possible to edit effect parameters and save favorites in user locations for instant access to personalized setups.

A full color 2.4-inch display provides clear viewing of the full effect signal chain, individual effect blocks, editing options, menus, and more. Four dedicated FX buttons allow users to turn effect blocks on/off with a single press and access editing parameters with a long press. In addition, the FX button colors match each effect's display colors for easy identification.

The EX-4 features rugged dual-function footswitches that can be custom-configured system-wide or per memory, with assignments that include effect block on/off, memory up/down, master bypass, tap tempo, and more. A newly designed color LED system surrounds the footswitches, allowing users to clearly identify current footswitch functions while performing.

Four audio jacks provide mono or stereo connectivity, with the option to use two jacks as an effect loop to place external pedals anywhere within the EX-4's effect chain. Two footswitches or an expression pedal can be connected for more real-time control, while low-profile TRS MIDI I/O unlocks deep integration with other MIDI pedals, switching systems, and external clocking devices.

To learn more about the EX-4, visit www.boss.info.

Availability & Pricing The BOSS EX-4 will be available in October for $299.99.

Press Release

Source: Gold Atlas

Many have said, Boys Noize is on a “generational run,” but this is inaccurate. Yes, there was a world tour with Nine Inch Nails last year, Boys Noize’s co-production of the TRON: Ares soundtrack, and the top-billed, critically exalted Coachella debut of the artists’ collaborative project Nine Inch Noize before the drop of their self-titled LP. That was in April. Then came a summer of non-stop Boys Noize performances in clubs and festival main stages on multiple continents.

What’s next, however, complicates things.

Boys Noize will release 7LLVSION – his first solo album in five years – this fall, with the ZEP-fronted single “1+1+1” announcing its arrival. Expect the full 7LLVSION album track listing to come shortly, but besides ZEP, other artist features include Brutalismus 3000, Taichu, Maya Alkhatari, Abra etc..The track “1+1+1” drives an intimidating, key-shifting EBM bassline over a hyperactive new wave backbeat, a sound both positively fresh and decidedly analogue, occupying an uncanny valley between raw and processed, past and future. Rather than being the default metronome, four-on-the-floor kicks arrive to signal the transition from mosh pit to dancefloor with electrifying results.

After exploding out of Rotterdam’s underground scene, Dutch artist and multi-instrumentalist ZEP has built a rapidly expanding world of precision-tuned chaos. Here, ZEP is the industrial ringmaster, the tone of his voice shifting with unpredictable urgency as he snarls, wails, and shouts. The lyrics allude to a guest list gone wild, but “1+1+1” also suggests the duo is greater than the sum of their parts. Add it up, and you get a track that sounds like no one – and nothing – else.

With “1+1+1” offering a taste of what the 7LLVSION LP will bring, it’s clear that Boys Noize is on a multi-generational run. Then again, hasn’t he always?

ABOUT BOYS NOIZE:

Boys Noize (Alex Ridha) is a singular figure in 21st-century electronic music culture. The German-Iraqi artist, DJ, producer, and composer embraces and transcends contradictions—a cross-genre bridge-builder respected by techno purists, and a global headliner who never left the underground. Ridha is masterful on the decks and inimitable in the studio, crafting songs for strikingly diverse talents including A$AP Rocky, Bon Iver, Frank Ocean, Arca, Virgil Abloh, Lady Gaga, and Brutalismus 3000. He has been featured alongside Keinemusik, Shygirl, Kelsey Lu, Rico Nasty, and VTSS; remixed Daft Punk, Depeche Mode, Miley Cyrus, Tame Impala, The Chemical Brothers, and A.G. Cook; and scored the hit German hacker film Who Am I (2014), Oliver Stone’s Snowden (2016), and the forthcoming Replacer, starring Halsey. He co-founded the duo Octave Minds with Chilly Gonzales, and actively produces and performs with Skrillex as Dog Blood.

For Ridha, this long, accomplished career was merely the foundation for something bigger. In 2025 and 2026, Boys Noize performed alongside Trent Reznor and Atticus Ross throughout Nine Inch Nails’ Peel It Back tour, and co-produced the near-entirety of the TRON:Ares soundtrack, including the GRAMMY® Award-winning single “As Alive As You Need Me To Be.” The trio’s collaboration was formalized with the announcement of Nine Inch Noize, debuting with a top-billed, viral Coachella set that SF Gate called “one of the festival’s greatest performances of all time.” The Nine Inch Noize LP was released the same week to critical acclaim. Perhaps Pitchfork’s review said it best: “Every song on the album slaps.”

As a solo artist, Boys Noize continues to be an active presence in the culture, with his eighth solo album 7LLVSION arriving in the fall of 2026. Throughout his rise from clubs to festivals to stadiums, Ridha has ceaselessly supported the underground through his labels Boysnoize Records and the recently launched ONES and ZEROS, focusing on a new generation of global talent from the Global North and South alike. His punk ethos has kept him fully independent, raw talent keeps him in-demand, and obsession keeps him future-proof. No other artist traverses musical worlds like Boys Noize, and while his sound cannot be replicated, his formula is simple: embrace everything, compromise nothing.

ABOUT ZEP:

ZEP is a Dutch artist, producer, and multi-instrumentalist known for his raw energy, boundary-pushing sound, and uncompromising DIY ethos. Emerging from Rotterdam’s underground rave scene, where he built a devoted following through his independently organized “FUGAZZI” parties, the drummer, DJ, and producer turned singer-songwriter has developed a singular style that fuses rap, punk, hardcore, techno, and R&B into something entirely his own. Fully hands-on across both his music and visuals, ZEP writes, produces, co-directs, and edits much of his creative output, pairing high-impact sonics with a distinctly self-made visual identity. On his latest project, NO ENEMIES, released via PULSE Records, ZEP balances fierce individuality with a broader message of connection, self-awareness, and togetherness.

BOYS NOIZE ON TOUR

September 26 – San Francisco, USA @ PORTOLA – DOG BLOOD (= BN + Skrillex)

September 26 – San Francisco, USA @ PORTOLA AFTER PARTY

September 27 – San Diego, USA @ CRSSD FEST

September 27 – San Diego, USA @ CRSSD AFTER DARK

October 02 – Porto, PT @ SWITCH CLUB

October 03 – London, UK @ THE CAUSE – OAZ TAKEOVER

October 09 – Bologna, IT @ ROBOT FESTIVAL

October 10 – Malaga, ES @ BRUNCH ELECTRONIK

October 16 – Paris, FR @  MIA MAO – OAZ TAKEOVER

October 23 – Barcelona, ES @ NITSA  – OAZ TAKEOVER

October 24 – Amsterdam, NL @ MELKWEG – OAZ TAKEOVER

October 30 – Alameda, USA @ GOLD BAR HANGAR

November 06 – Phoenix, USA @ OBSIDIAN

November 07 – Mexico City, MX @ ULTRA MUSIC FESTIVAL

November 08 – Orlando, USA @ EDC ORLANDO

November 14 – Miami, USA @ FACTORY TOWN

November 28 – Zhuhai, CN @ VAC FESTIVAL 

December 28 – Perth, AU @ RADAR FESTIVAL

December 30 – Hesse, AU @ BEYOND THE VALLEY

December 31 – Sydney, AU @ ABERCROMBIE (TBC UNDER EMBARGO – till?)

January 01 – Sydney, AU @ FIELD DAY 

January 01 – Melbourne, AU @ LET THEM EAT CAKE  

January 02 – Brisbane, AU @ RADAR FESTIVAL 

LINKS:

https://www.boysnoize.com

https://instagram.com/boysnoize

https://onesandzeros.com

Spotify

https://www.whatszep.com/

https://www.instagram.com/whatszep

https://www.tiktok.com/@whatszep

https://www.youtube.com/@whatszep

Spotify

 

 

Alex Lifeson is now fully in the swing of Rush’s Fifty Something reunion tour, having played a string of shows across the US and Canada since June alongside his longtime bandmate, bassist Geddy Lee, with drummer Anika Nilles in tow.

But that’s not to say he didn’t have his reservations about reviving Rush and heading back out on tour at first.

The trek – which is scheduled to continue through April 2027 – marks the first time Rush have toured since the tragic passing of longtime drummer Neil Peart in 2020. Lifeson and Lee voiced concerns over performing without Peart before the tour was finalised, with Lee saying last year: “It took time for us to even contemplate.” 

“This is a relatively recent decision, and I would say it was kind of out of the question for the longest time because of those circumstances – and how do you replace someone who’s irreplaceable?” he continued.

But further trepidation came in the form of concerns over their physical ability to perform.

“I think all the fears that I had starting out, whether physically I would be up to it, whether my hands would work as well as I expected,” Lifeson says in a new interview with Q’s Tom Power [via Blabbermouth].

“Once we started playing and I felt confident and good about my physical condition, I really fell in love with it. I love the songs, I love playing with Anika. Anika’s a brilliant musician, and she’s a wonderful person. She has a great sense of humour. We’ve become really quite close in the two years that we’ve been working with her, ‘cause it’s been a while. So I’m really, really excited.

“I have to admit that maybe I wasn’t quite so excited when it was just a concept. I had reservations about it, mostly health-related reservations. But I got my health in order, relatively. And the key was to be able to play the way I felt I needed to play. So, I’ve just fallen totally in love with it. And now I’m the guy who wants to do more gigs.”

Geddy Lee adds: “It was a very unlikely thing that we would be back to play together, and of course, at the age that we are which I will not say out loud [73, sorry Geddy], there’s a lot of fear.”

“It’s the fear that you’re not going to be as good as you were, the fear that you’re gonna let people down. And that is not how you honour your fallen comrade by letting people down. So there was a lot of pressure on our shoulders to be as good as, if not better than, we have ever been, and put a show together that would do his tribute justice.”

He continues: “Neil’s presence is always there… We pay tribute to him during the show, of course, and I try to tell stories about him and try to give people a look behind the songs as to how they came together and what we feel about each other and him.”

Rush’s Fifty Something reunion tour continues. Head to the band’s official website for tickets.

The post “Now I’m the guy who wants to do more gigs!”: How Rush’s Alex Lifeson has “fallen totally in love” with touring again appeared first on Guitar.com | All Things Guitar.

“There’s no better utility pedal.” That’s how effects giant BOSS is describing its latest multi-effects pedal, the EX-4 Effects Expander.

Offering a massive library of 120 effects in a compact design – spanning everything you’ll need from overdrive and distortion to delay, reverb and modulation, as well as bass-tuned effects and other BOSS classics like the Slow Gear and Slicer – the EX-4 is described as an “essential toolbox” for guitarists looking to “build professional sounds on the fly”.

And players can choose to deploy up to four of the 120 onboard effects simultaneously, with dedicated utility blocks also available including foot volume, two noise suppressors, a send/return, a divider/mixer and even a global EQ for overall tone shaping.

• READ MORE: The 10 best pedal compressors for guitarists in 2026

A huge part of the fun of guitar pedals is dialling in your own tones from scratch. But sometimes you just want to plug in and play. The EX-4 caters to this desire, too, with a Gear Suite offering multiple “professionally tuned” presets for each effect. Players can also edit parameters and save their own presets.

In terms of user interface, the EX-4 sports a full-colour 2.4-inch display, where guitarists will see their full effects chain, individual effect blocks, editing options, menus and more. Meanwhile, four dedicated FX buttons allow users to switch off effect blocks with a single press, while accessing editing parameters with a long press. In a new UX touch, the FX button colours match each effect’s display colours for easy identification.

Credit: BOSS

Elsewhere, the unit features dual-function footswitches that are as rugged as BOSS users have come to expect. These can be custom configured system-wide or per memory, with assignments that include block on/off, memory up/down, master bypass, tap tempo and more.

Regarding I/O, you’ve also got four audio jacks offering both mono and stereo connectivity, with the added option of using two jacks as an effects loop to position external pedals anywhere within the EX-4’s effects chain. Meanwhile, two footswitches or an expression pedal can be hooked up for additional real-time control, while there’s also TRS MIDI I/O, too, for integration with external MIDI pedals and switching systems.

Credit: BOSS

Price-wise the EX-4 will be available from October 2026 for $299.99.

Learn more at BOSS.

Credit: BOSS

The post “There’s no better utility pedal”: BOSS reveals the EX-4 Effects Expander, a powerful multi-effects unit that might just make you radically rearrange your pedalboard appeared first on Guitar.com | All Things Guitar.

Performance looper with four loop tracks, a built-in drum machine and effects

Chances are if you’ve bought a new guitar over the last few years, you might have read something about a “PLEK” machine and how (usually for a small fee) your shiny new instrument can be run through this process.

• READ MORE: Does tonewood really matter? This is how the wood your guitar’s made of affects the sound

But what actually is it? Often, I see people who just ticked ‘yes’ without really understanding what it was – no harm in that of course, but it’s always worth knowing what something is before you entrust your new guitar to it!

In simple terms PLEK is a computer-controlled fret-processing system that scans a guitar neck, builds a detailed digital model of its geometry, and machines the frets to a target setup specified by the operator. In this article we’ll discuss what a PLEK actually does and whether it’s worth the money.

Image: Press

So what does a PLEK machine do anyway?

The PLEK was developed in Germany in the 1980s. The machines are built by A+D Gitarrentechnologie in Berlin, and the technology traces back to musician Gerd Anke and his partner Michael Dubach, according to Gibson’s own writeup of the process.

At its core it’s a CNC system (similar to the machines that often do a lot of the cutting work in modern guitar factories) bolted to a very smart scanner. The scanner maps the geometry of the neck and frets in microscopic detail, then uses a rotary cutter to remove only the material needed to hit the exact fret profile the operator has dialed in.

It scans under string tension, real or simulated, so it reads the neck the way it behaves when you’re actually playing rather than the way it sits flat on a bench with the strings off. That’s straight from PLEK’s product documentation.

Martin Guitars drops the finished guitar into a string tension simulator that makes the neck and truss rod react as if it’s strung to pitch before the scan even begins. This is in contrast to how I do it in my shop, which is to, essentially, take the strings off, get the fret leveler out and, guestimate.

The machine scans first, registering thousands of points to build a digital picture of fret heights, neck relief, and the surface of the fingerboard under each string. The software then runs what PLEK calls a Virtual Fret Dress, a simulation that shows which frets are high, which are low, how much material has to come off to kill any buzz, and what the neck will look like once the work is done.

A properly equipped machine will level and crown frets, plane a fingerboard, cut nut slots to precise depths, and handle saddle and bridge slotting on top of that. I visited the Gibson factory a few years ago and their version flags whether the truss rod needs a tweak before the process starts, then factors in string gauge, scale length, and neck curve when it cuts the nut.

Can a PLEK machine replace a guitar tech?

There’s a popular assumption that this replaces a luthier or tech – it doesn’t. It doesn’t decide anything about how your guitar should feel. A person sets the target action, the relief, the nut height, the fall-away on the upper frets, and whether the frets even need touching in the first place.

PLEK says as much in their own marketing – the machine can’t stand in for the judgment and hands of the person running it. Gibson, which runs all of its USA and Custom Shop lines through one along their journey to quality control, admits the cutter leaves machining marks that still need hand finishing to reach their standard. In short, a PLEK is a tool, and just like any other tool, it’s only as good as the person running it.

Image: Press

What can a PLEK machine do and not do?

The PLEK handles uneven frets, buzz from high or low spots, worn frets that still have enough meat left to level, sloppy factory fretwork, and precision refrets well. That’s the lane it lives in. But if the neck is badly warped or twisted, the frets are worn down too far, the truss rod is dead, the frets are loose in their slots, or the scale length is off, the machine can’t rescue any of that.

A factory-PLEK’d guitar isn’t automatically dialed in, either. Gibson, Martin, Taylor, and plenty of boutique builders run PLEK on the line, and it does raise the floor on consistency. But a factory sets a guitar up to a general spec, and that spec has no idea about your string guage, tuning, playing style, or how you prefer your guitar to be set up. The idea that a factory PLEK means you’ll never need another setup is simply wrong.

How much does a PLEK cost, and is it worth it?

A PLEK fret level and setup usually runs a couple hundred bucks, with most US shops landing in the $250 to $350 range. In Europe, it tends to be slightly cheaper there, depending on the shop – Thomann charges about £190 for a basic level and setup.

A fret level, crown, and polish from a tech typically costs between $100 and $250, depending on your location, instrument, and the tech. A tech can also do spot leveling if you only have a fret or two that’s bad and that’s usually only $25 a fret or so. In any case, stainless steel frets usually result in an upcharge of some sort because it’s a harder material to work with.

My advice to any customer is to spend the money if the guitar needs fret leveling anyway, if they’re already paying for a refret, if it’s an expensive instrument, or if they want unusually low action without buzz.

I’d tell them to skip it if the guitar just needs a standard setup, the frets are already level, or it’s a cheap beater where the service costs more than the guitar is worth. The rougher the fretwork going in, the bigger the improvement coming out.

The biggest misconception is that a PLEK somehow transforms an average guitar into a miracle instrument. It doesn’t. A great PLEK job simply removes mechanical limitations that were already there – so be aware and you know what you’re getting into!

The post What is a PLEK machine anyway? And can it really make your guitar play and feel better? appeared first on Guitar.com | All Things Guitar.

Sterling today announced the StingRay II, developed in collaboration with acclaimed guitarist Cory Wong, best known for his work with Vulfpeck and Fearless Flyers, as well as his extensive career as a solo artist, producer, and collaborator. This highly anticipated model marks the debut of the StingRay II in the Sterling lineup, bringing the guitar design to a more accessible price point.

Inspired by the iconic StingRay bass, the StingRay II guitar carries forward the distinctive design elements that made the bass so beloved, including its signature ergonomic body, oval-shaped pickguard, and oversized headstock, while reimagining the design specifically for guitarists.

Featuring a double-contoured alder body and roasted maple neck, the StingRay II is designed for comfortable playability and unrestricted access to the upper frets. Dual humbuckers voiced for versatility deliver a full low end and punchy highs, offering a dynamic range of tones suited to a wide variety of playing styles. A 3-way toggle switch and dedicated volume and tone controls provide intuitive control over the guitar's sound.

A vintage-style tremolo and locking tuners, paired with the roasted maple neck, deliver an exceptionally smooth and stable playing experience. The result is a complete package built for clarity, versatility, and precision in every performance.

“I am known by a lot of people as somebody who plays a single-coil guitar. That’s a big part of my sound. But there was a lack of just a fatness in some of the things I wanted to play. So I was talking to the cats at Music Man about what kind of humbuckers they had, and they’re like, ‘Well, we’re talking about maybe doing the StingRay thing, so why don’t you just help us with the design process?’ I was telling them the things I was looking for sonically and visually, and the collaboration was born,” said Cory Wong.

“I have more to work with now. I have more colors to paint with. I really hope people are inspired to just pick this instrument up and make new music that they haven’t played before. Everything from hard rock, indie rock, alt rock to jazz and R&B.”

The StingRay II is priced at $749.99 and will be available at sterlingbymusicman.com and through dealers worldwide. For more information on Cory Wong, visit corywongmusic.com.

Sleaford, England – Flattley Pedals has introduced the “Reaper”, the company’s special 10th Anniversary Edition celebratory pedal.

In continuance of Flattley Guitar Pedals 10th anniversary year celebrations, the company has revisited its first ever production pedal “Reaper” created ten years ago but with a twist. The original Reaper product was an overdrive/distortion pedal with a rotary switch that could select variations in the components that were used in the feedback loop of an op amp to give a range of tones.

The Reaper Dual Mode Distortion Anniversary Edition pedal takes a different approach by having both hard and soft clipping around a similar op-amp core but voiced to be more aggressive than the original. The op-amp core is a bit of a nod to rodent related pedals that we have never explored before.

As well as the two clipping modes there is also a boost mode that removes both methods of clipping to give a mode that can push the amplifier preamp into saturation. The company warns that this can get very loud. The gain control has been chosen to be able to force the clean boost to clip as well when approaching maximum.

All of these modes are selected by a three-way toggle switch. This Anniversary Edition features vintage glass envelope germanium diodes for hard clipping, and asymmetric clipping using an LED and conventional silico diode to give a wider range of tones from this versatile pedal. Additional controls set the effect output volume, the overall gain and a tone control that can be used to tame the high end harmonics created by the various clipping modes.

The pedal’s purple halo light rings installed diffuse the light when playing live, so you can avoid being blinded by standard LEDs, and a purple laser etched aluminium foot topper gives you more real estate for contact when switching the pedal on and off during quick changes when playing live.

All Flattley "Platinum Range" pedals are hand processed in Flattley’s paint shop, with a strikingly unique finish.

The Reaper includes this control set:

Toggle Switch:

HC= Hard Clipping

BST=Boost Function

SC= Soft Clipping

Reaper Controls

• Volume: Controls the overall output level.
• Gain: Controls the amount of gain/overdrive
• Tone: Controls the amount of treble/bass

Other features include:

• 9-volt external power operation (no internal battery option)
• 20mm black anodised aluminium custom etched control knobs
• Purple halo light rings installed
• The Reaper comes with a purple custom etched aluminium foot topper

All Flattley pedals are handmade and hand wired in the UK using the highest quality components.

The Flattley Reaper carries a street price of $319/£259/€319. For more information visit flattleyguitarpedals.com.

https://flattleyguitarpedals.com/shop/platinum-range/distortion-platinum-range-2/reaper-10-ae-10th-anniversary-edition-dual-mode-distortion/

PG’s Chris Kies met up with the Barbarians of California at the Exit/In in Nashville, one show into a tour behind their second record, Megatons. Eric Stenman, Zach Irons, and Dave Amezcua walked through a setup shaped by fly dates, borrowed backline, and a band with no techs. 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.

Good Hammer

Stenman calls the Les Paul the core of most of what he does, going back to seeing pictures of Jimmy Page holding one. This one has Slash pickups in it, and he’s honest about the tradeoff: they don’t stay in tune especially well, but they feel cool. The band lives between drop C and drop B-flat, which used to mean hauling four guitars to cover a main and a backup in each. With no budget and no techs on fly dates, they now keep everything in one tuning and pitch-shift between songs from their floorboards. Stenman’s strings are .012–.054; when he had a dedicated B-flat guitar he ran .014–.056.

Second String

His other guitar is an ESP LTD TED-600T Ted Aguilar signature, which he says plays better than the Les Paul—quicker and easier under the hand. Which one comes out depends on the week.

Valhalla Rising

Valhalla sent three heads out with the band for this run, two guitar and one bass, delivered to their Oklahoma date a few days earlier. Everyone’s still learning them. Stenman does his tone-shaping digitally, but says he still wants an amp onstage so he can feel the air and the tubes.

Double Helix

The Line 6 Helix is the brain of Stenman’s rig. He leans on a Rectifier model, switches to an ENGL setting for certain songs, and piles delay and reverb onto the leads—he traces the washed-out stuff to Britpop and shoegaze.

Whammy Wanted

Irons found this 1985 Carvin V220, Kahler and all, online during a Deftones tour and bought it sight unseen—being left-handed, he rarely gets to try anything first. He wanted a bar for dive bombs and Dimebag squeals, which he’d been approximating on a hardtail and hating. It’s never been set up and it works. The dip switches are coil taps, and the pickups are staying put.

Zach Irons’ Pedalboard

Irons found his Empress Heavy by typing “best heavy metal pedal” into a search bar and buying the first result; it’s the only distortion he’s used in this band, pushed by an MXR Micro Amp. A Boss XS-1 handles the drop tunings, while the wah is a Triangulo Lab WH-X clone of an Ibanez WH-10, sent to him by the Italian builder who makes John Frusciante’s replicas. An EHX Holy Grail covers reverb, and a Moog MF Delay gets used for between-song infinity washes. A Boss TU-2 keeps everything in tune, and a Voodoo Lab Pedal Power 2 Plus assures everything’s running.

Party P

Amezcua’s 1978 Fender Precision is completely unmodified and has been with him through Under the Influence of Giants, AWOLNATION, and now this band. Strings vary depending on who’s giving them away, though usually Ernie Ball.

What’s Left

Amezcua calls his board the one that could have been. A rained-out set at Shiprock took out a delay, an EHX pedal, and an octave, so he’s down to an Aguilar DI for tone and punch, a Strymon Zuma power supply, and a Boss TU-3 tuner — which he needs, since he’s the only one in the band tuning by hand between songs.

Press Release

Source: DB PR

Fender says it’s come with a solution to single-coil hum with its latest innovation, the Silent System. The brand’s much-loved Noiseless pickups – fitted across many of its contemporary guitar lines – do offer a hum-free experience, but one that some players say comes at the expense of a small sacrifice in dynamic chime.

But its new Silent System is designed to fit in a cavity under the pickguard away from your pickups altogether, with a passive battery-free design that promises to remove single-coil hum without any sacrifice in tone. And the solution is being unleashed via a new pair of limited-edition Stratocaster and Telecaster models.

• READ MORE: Tesla owner enjoys an afternoon of guitar practice – while allegedly driving 60mph on the motorway

The new guitars join Fender’s USA-made American Professional Classic series, and offer players “even more creative control and flexibility over their guitar, sound, and signal”, the company says.

Credit: Fender

First up, the Limited Edition American Professional Classic Stratocaster comes fitted with Fender’s Silent System, along with all of its vintage injections and modern tech. The model comes equipped with Coastline ‘57 Strat pickups, providing an old-school sound with plenty of depth and punch when you’re dancing your fingers along the guitar’s comfortable C-shaped neck and rosewood fingerboard.

Staggered ClassicGear tuners also add to the guitar’s vintage feel, as well as the guitar’s overall custom-faded finish. And this limited edition Strat is available in four different colours: Three-Colour Sunburst or Daphne Blue with a rosewood fingerboard, and Olympic White or Candy Apple Red with a maple fingerboard. Price-wise, this clocks in at £1,599.

Credit: Fender

If you’re more inclined to pick up a Tele, the Silent System-equipped Limited Edition American Professional Classic Telecaster is also £1,599. There has also been equal levels of effort in achieving a vintage feel on this model, with its Coastline ‘63 Telecaster pickups and Staggered ClassicGear tuners to match the Strat.

Again, custom-faded finished are also customary across this Telecaster line to amplify that heritage feel. And the Tele is available in Candy Apple Red or Sonic Blue with a rosewood fingerboard, and Three-Colour Sunburst or Vintage Blonde with a maple fingerboard.
“The all-new offering brings the guitar community a game-changing answer to unwanted electrical hum without the need for compromise on tone, style, or even choice of pickup,” says Fender. “This innovative tech refresh is set to fundamentally change the playing experience.”
Both models are available now for £1,599. For more information, head to Fender.

Credit: Fender

The post Fender says it’s cancelled pickup hum forever with its potentially game-changing new Silent System appeared first on Guitar.com | All Things Guitar.

Coldplay’s Chris Martin has a real a knack for surprising the general public, it seems. In 2025, the frontman shocked two canoodling colleagues and outed their affair by showing them on the Coldplay Kiss Cam, and he also astonished West Yorkshire locals with an impromptu gig in a tiny pub. But the surprises are continuing into this year, too; just a few days ago, he popped up in London’s Trafalgar Square and performed with an oblivious busker.

Clips circulating online show South-Korean busker Hanny Junee performing Coldplay’s Viva La Vida on his guitar as Martin croons along by his side, sharing his microphone. The small crowd is delighted to see the Coldplay frontman, phones whipped out to capture the special moment… but Junee apparently had no clue who it was.

• READ MORE: Tesla owner enjoys an afternoon of guitar practice – while allegedly driving 60mph on the motorway

You might be thinking – how the hell would you not realise Chris Martin is stood right next to you? Well, the BBC reached out to Junee, and he explains that he had simply thought the man had perfected a top-notch Chris Martin impression. “I thought: ‘This guy has amazing energy, nice vibe and a really good voice,’” he says. “I thought: ‘He sounds really similar to Chris Martin!’”

“But then I thought: ‘Come on, Hanny, don’t be ridiculous, of course it’s not him! Chris Martin doesn’t roam the streets of London,’” he laughs.

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Of course, let’s be realistic here. What are the chances of the actual artist appearing out of thin air at the exact moment you’re performing their song – and then they also decide to join you? While it was a case of serendipitous timing, we can’t blame him for not realising his luck. In fact, it meant that he was able to commit to guitar playing and ensure Martin had a solid tune to sing along to.

Considering Martin’s affiliation with busking, it’s no surprise he was tempted to join in. And, as quickly as Martin had hopped on the mic and sprinkled his vocal magic, he was off again. “He finished a verse, and the next thing I know, he’s gone,” Junee explains. “It was magical… it was like we connected purely through music, not fame.”

Junee also admits that he has his audience to thank to; as the BBC explains, he’d given his small audience a choice between two tracks, with the other option being a song by The Script. Thankfully, the stars aligned, with a majority of the audience voting for Coldplay.

In a personal Instagram post, Junee shares his excitement over the very magical experience: “I was playing Viva La Vida as my last song at Trafalgar Square, and Chris Martin literally walked up and sang with me?! Still can‘t believe this happened. Thank you Chris for the most unforgettable moment of my life!”

The post WATCH: Busker duets with Chris Martin – despite having no idea it’s really the Coldplay frontman appeared first on Guitar.com | All Things Guitar.

This is a classic Guitar International interview from October 21, 2009.

by Dr. Matthew Warnock

The year 1960 found two of jazz’s rising stars in a moment of flux. After finding world-wide recognition for his contribution to the classic Miles Davis quintets of the late 1950s, and experimenting with different lineups for his own group, saxophonist John Coltrane was in search of a new quartet to help propel his music into a new and ground-breaking direction.

At the same time, pianist McCoy Tyner, then a member of Benny Golson and Art Farmer’s famous Jazztet, was also looking for a new group of musicians to help him explore the post Kind of Blue music that was drawing his attention as a composer and improviser.

When these two jazz giants came together, alongside bassist Jimmy Garrison and drummer Elvin Jones, both legends in their own right, the results were other worldly. Over the next five years these four musicians would change the way people thought about jazz, about improvisation and about music itself. Opening what was to become the first chapter in the long and successful career of one of jazz’s brightest stars, pianist McCoy Tyner.

Known simply as “The Quartet,” these four musicians recorded some of the most enduring and game-changing jazz albums of the 20th century. Exploring the new modal sounds that had been brought to light in Miles Davis’ tune “So What”.

The Coltrane Quartet pushed the limits of chord substitution, reharmonization and modal harmony on such albums as My Favorite Things, Crescent, Live at the Village Vanguard and the album which many consider to be the groups magnum opus, A Love Supreme.

Throughout these recordings, and the extensive touring the group embarked on between 1960 and 1965, Tyner began to quietly revolutionize the way people thought about, played and heard the piano in a jazz context. His extensive use of fourth voicings, modal planning, lightning-fast chops and heightened sense of communication within the group opened the doors for the later explorations by pianists such as Chick Corea, Keith Jarrett and Brad Mehldau.

Though Tyner was open to experimentation within the context of the quartet, and the modern-modal music they were exploring, when Coltrane began expanding the group by adding extra percussionists, while at the same time pushing the boundaries of modal jazz to the point where it began to evolve into free jazz, Tyner felt it was the right time to leave the ensemble and strike out on his own. In 1965 he left The Quartet and embarked on one of the most successful solo careers in jazz history.

Teaming up with many of the eras top players, including Joe Henderson, Ron Carter, Lee Morgan, Joe Chambers and Billy Cobham, Tyner’s solo albums during his post-Coltrane years have consistently met with acclaim from critics and fans alike. Beginning with his highly influential album The Real McCoy (Blue Note 1967), Tyner continued to develop his own personal approach to jazz composition and improvisation. An approach that would lead him to experiment with many styles of music, most notably the music of Africa, on such albums as his 1972 release Sahara, which features Tyner playing a Koto, as well as piano, flute and percussion. Since leaving the Coltrane quartet in 1965, Tyner has consistently produced new recordings of his music at a rate of almost one album per year from 1967 to the present day. A remarkable feat that continued with his 2008 release Guitars.

Click here to view the embedded video.

Tyner’s second release for the McCoy Tyner Music Label, Guitars features a wide array of today’s finest pickers performing alongside Tyner’s trio of Ron Carter, bass, and Jack DeJohnette, drums. The guitarists that Tyner has chosen to perform with on this release represent a variety of musical styles and approaches. Featuring modern jazzers John Scofield and Bill Frisell, avant-garde picker Marc Ribot, banjoist Bela Fleck and slide guitar virtuoso Derek Trucks, the album showcases Tyner’s diverse music tastes, as well as his ability to blend perfectly with musicians from different backgrounds and musical styles. The album marks Tyner’s first major collaboration with the guitar, and upon hearing the results the only question that lingers is “when will he do it again?”

Tyner recently sat down with Guitar International magazine’s Good Life section to reflect on his long and successful career, give his thoughts on the current state of jazz, and discuss his latest album, Guitars.

******

Matt Warnock: Historically, you have not recorded with guitarists as part of your ensemble. Why did your latest release, Guitars,  feel like the right time to bring that instrument into your compositions and ensemble?

McCoy Tyner: Well,  it was an idea that I discussed with the producer of the album, and we felt that since I hadn’t done a lot with guitars before this would be a good opportunity. They all have something different to bring to the table which made the album really unique, I feel.

Matt: The guitarists you chose for your new album reflect a wide variety of backgrounds and musical approaches. Did playing alongside guitarists as distinct as John Scofield and Derek Trucks, as well as others, cause you to approach the music from different angles in response to their musical diversity?

McCoy: No, I don’t think I changed my approach, but I made sure that my ears and mind were open enough to allow my style to meet with theirs somewhere in the middle. I allowed the guitar players to choose some of my music, or theirs, that they felt would mesh well with my musical style, and I think that helped to bridge the gap.

Matt: When playing with a second harmonic instrument (guitar) on your new album, did you make any adjustments in your comping and soloing to fit the guitar/piano format?

McCoy: It’s all about listening. You have to listen to what someone is doing and help them get to where they want to go, musically speaking. I play a supporting role if someone else is soloing, and a guitarist will do the same for me while I am soloing.

Matt: What was the inspiration behind offering the behind-the-scenes portion of the Guitars DVD?

McCoy: Well, I think it was nice to be able to see how a record is put together in a studio. After listening to a recording, someone might ask, “How was this all put together?” Here you get to see some of the process.

Matt: Now that you have done a recording with guitarists, do you have plans to do other similar projects with other instruments such as different singers, saxophonist or trombonists for example?

McCoy: I would like to do something like that. I really do enjoy accompanying people – it’s a challenge and a joy when you get it right. I look forward to doing more of that and I’ll just try to keep my mind open to whatever comes my way.

Matt: Can you talk about your first musical experience with the John Coltrane Quartet? Did it immediately have a musical spark to it, or did it take some time to feel each other out before things began to really gel?

McCoy: Well, John used to come over my house. We had mutual friends. I remember when he was working on different chordal progressions, like “Giant Steps,” he would come over to my house and show me what he was doing. I was really young at the time, but I think he knew even then that he wanted me to be in his band eventually. I would try to internalize the concepts he was working on, and by the time he hired me for his band, I was ready.

Matt: During the time you spent with Coltrane you were exploring various pentatonic scales, advanced harmonic substitution and advanced rhythmic concepts. Did these concepts develop from a study of the music from a theoretical standpoint, or were you hearing these sounds in your head and then leaving it up to the academics to figure out what labels they fit under?

McCoy: I think John chose Elvin, Jimmy and I because when combined, the way we played naturally created the sound he envisioned. It was more about the overall sound and less about the theory. It was about listening and playing together.

Matt: When you joined Trane’s quartet you were already an accomplished musician in your own right. What did you feel Coltrane took from you as far as musical inspiration is concerned?

McCoy: I think we all inspired each other. John was the leader of the group, but he was a very humble person. Being in that band was an incredible experience.

Matt: How did you approach comping with Elvin Jones? Did you focus on locking in with what he was doing rhythmically or did you try and find counter ideas to compliment his style or was it a combination of both?

McCoy: Elvin was a force. He used to play so loud – sometimes I would just drop out and let him go with John. With Elvin, you had to play loud or else you weren’t going to be heard. He was such a keen listener too – just a great, great drummer.

Matt: How do you feel that playing in Coltrane’s quartet changed your approach to music, both as a composer and as an improviser?

McCoy: John was like a big brother to me. He was such a kind and humble person. His music was so strong, melodically, harmonically, spiritually, it taught me so much.

Matt: After playing with Coltrane during one of his most productive and creative periods, as well as being one of the most famous and important groups in jazz history, how difficult was it for you to move on to play with new musicians and develop your own identity apart from his quartet?

McCoy: Well, I think it was a natural step to start recording my own music. I was with John by the time Bob Thiele approached me about recording for Impulse, and John was very supportive of that. Because I had been recording already, by the time I left John’s band, it was a smooth transition for me.

Click here to view the embedded video.

Matt: On your album, Trident, you play the harpsichord and celeste, which were rarely used outside of the classical genre, and even until today are rarely heard. What was the inspiration behind bringing these two instruments to your music at the time of this recording?

McCoy: Using those instruments just allowed me to express myself in a different way. Sometimes it’s nice to try different instruments because they have a different sound to offer and therefore your approach changes a little bit. But, I always come back to the piano. The piano is like an orchestra – I’m very fortunate that I chose it as my instrument.

Matt: In the late ’80s and early ’90s, you recorded three solo piano albums for the Blue Note label. Why did that time feel right for you as the moment in your career to produce a solo collection, and what were some of the musical challenges and benefits you found playing solo as compared to playing in an ensemble? Were there things you wanted to accomplish that you felt you couldn’t do as a member of someone else’s band?

McCoy: Well, playing solo is difficult because you have to keep the momentum yourself. You have to continue to create and develop, so it forces you to stretch in a variety of ways.

Matt: Your improvisations have a very organic and natural feel to them and have been this way right from your earliest recordings. How much of what you play when you are soloing is thought through on the spot and how much is just letting go and having the music flow through you?

McCoy: I try to play what comes naturally at the moment and let it happen.

Matt: What is your favorite album that you’ve played on and what makes it stand out to you compared to the others in your catalogue?

McCoy: It’s hard to say. I try not to look back too much, but sometimes it’s nice to reflect. One album I enjoyed making was The Real McCoy. I think that one came out well.

Matt: You have been at the top of the jazz world for almost fifty years as both a leader and a sideman. How do you see jazz’s role in society changing over that time and where do you see it headed in the near future?

McCoy: Well, I think that as long as young people are playing jazz and learning about this music, its future is secure. I’ve been playing quite a bit with some young people lately. Over the last few years I’ve done some concerts with a young people and I know there are plenty of others out there who play at a very high level.

Click here to view the embedded video.

Matt: Sonny Rollins has said that he feels an hour on the bandstand is worth a month in the practice room. How much of your musical development would you say was formed in the practice room and how much would you say was formed on the bandstand?

McCoy: With all the travelling and performing I’ve been doing, it’s hard to find time to practice! But seriously, I probably did most of my practicing when I was younger. I remember coming home from school – I couldn’t wait to get to the piano so I could play and practice. I really love the piano and I feel very fortunate that I am able to play and travel all over the world as my career.

Matt: As a performer you have appeared in small jazz clubs, concert halls and festival stages across the world. Do you have a venue preference when you are performing? Do you like the intimacy of a small club or the energy from a large festival crowd, or do you find all of these venues have something unique to offer your music?

McCoy: Every performance is different, but I try to approach them in the same way and give it my all.

Related Sites
McCoy Tyner
John Coltrane
McCoy Tyner Guitars (CD/DVD) on Amazon

Last week, Fender CEO Edward “Bud” Cole reflected on a tumultuous few months for the company, during which it’s seen widespread backlash over its decision to issue cease and desist letters to companies making Strat-style guitars.

Speaking to Bloomberg Business about the ongoing legal campaign, he admitted that Fender “could have done this better”, adding: “It’s clear to me the legal process got ahead of us”. He also sought to clarify the brand’s position, claiming that its legal action was now focused “solely on large manufacturers”.

Some of the larger guitar makers to have been hit with cease and desists include Thomann – which makes S-type guitars under its in-house Harley Benton brand, as well as Yamaha and PRS.

But despite his reflective tone, Bud Cole has confirmed that Fender has no plans to halt its legal campaign, and even said that the strategy is working, with 32 builders currently working with Fender on drafting agreements that would see the legal threat resolved. 18 have reportedly signed already.

Speaking to musician and YouTuber Mary Spender in a new interview, Cole predicts how Fender’s ongoing legal campaign might play out, and reiterates his desire for “respectful discussions” with other guitar builders.

“There are several [brands] that we are beginning the conversations with – we recognise that there are material differences between what they are creating, and what we believe is the quintessential Stratocaster,” he says.

Cole predicts that over the coming months, Fender will be in a “very different place” to the one it’s found itself in lately, which has been defined by heavy community backlash and criticism.

“At this point, I think we have to let this play out,” he continues, “and we’ll do it in the most respectful and earnest way, because we are all part of the same industry, and we all do it in certain ways and get inspiration from each other. That’s what makes this industry so wonderful.

“At the same time, I recognise that companies have unique intellectual property and that should be respected at the same time. I think they can both exist, and that’s what we’re trying to get to. We’re trying to do that going forward in a way that is respectful, collaborative and caring.”

Once again, Cole is regretful about the way Fender went about its initial cease and desist campaign. “The optics of it, even the reality of it, it wasn’t done that way to start, and that’s a course correction that we must own and that we need to make.”

In Bud Cole’s interview with Bloomberg Business, he explained how that course correction has come via a new focus on larger guitar makers producing S-types. “We are not focused at all now on boutique builders,” he said.

One boutique builder to to reveal itself as one of the first recipients of a Fender cease and desist was California-based LsL Instruments. The brand subsequently hired experienced guitar industry lawyer Ron Bienstock – who famously won a 2009 trademark case against Fender on behalf of a group of guitar brands – to help fight its case.

However, despite Cole’s comments, LsL told Bloomberg that it had heard nothing from Fender indicating it was no longer being actively pursued. In any case, LsL’s legal battle has been an expensive one. The brand raised $50k via GoFundMe to support their legal costs after the initial cease and desist story broke, and last week announced a sale on guitars to “raise $75k in a very short amount of time”.

You can watch Mary Spender’s interview with Fender CEO Edward “Bud” Cole below:

The post “We have to let this play out”: Fender CEO says the company will not stop its legal actions against other companies, but insists it wants “respectful discussions” not lawsuits appeared first on Guitar.com | All Things Guitar.

A plectrum is a thing that plays a string. They’ve taken many forms, from the eagle feathers and quills once used to play lutes to the thin triangles of plastic we use to shred, strum and summon melodies out of guitars. Most present-day guitarists call them picks.

Modern guitar picks took shape between the 19th and early 20th century, culminating in the 1920s with the rounded triangle of the D’Andrea 351 celluloid plectrum, which set a benchmark for pick design that still hasn’t shifted. For more pick lore, read Will Hoover’s book, Picks! The Colorful Saga of Celluloid Guitar Plectrums for free online with an Internet Archive account.

But we’re here to help you pick a pick. There are many types, including 351-style (the most conventional), sharp-tip, triangular (often used with bass guitars), thumb picks for fingerstyle playing, and many other options in-between. We suggest you try a variety, as this is one of the cheapest ways to tap into different guitar tones and creative avenues. Even experienced guitarists who swear by a certain pick can freshen up their playing and sound by experimenting with other types.

Also consider gauge, which is the thickness of a pick. Most picks come in various gauges, and this affects your playing and tone. Thinner plectrums are often preferred for strumming, while thicker ones can offer more attack and precision. The author of this guide opts for middle-of-the-road 0.73mm picks.

The 20 potted reviews below will give you a brief introduction to some of the many types of picks that could broaden your musical horizons (or simply save your fingers from some wear and tear). Try a few, and enjoy the subtle differences!

At a glance:

• Dunlop Nylon Standard
• Dunlop Tortex Standard
• Fender 351
• Landstrom Sharkfin
• Ibanez Grip Wizard Sand Grip
• Dunlop Thumb Finger Pick Set
• Gravity Picks Rob Chapman Signature
• Ibanez P1000MH Meshuggah Signature
• Taylor Celluloid Pick Tin
• Jim Dunlop Nylon Jazz III
• Gibson Medium Tortoise
• Fender Aero Acrylic
• Gravity Razer Mini
• Fender Thin Picks Confetti
• D’Addario National Brass Finger & Thumb Picks Bundle (6-Pack)
• Black Mountain Asteroid Guitar Pick
• John Pearse Fast Turtles
• Herco Vintage ’66 Reissue
• Dunlop Tortex Sharp
• Martin Faux Tortoiseshell Triangle
• Why you can trust Guitar.com

Dunlop Nylon Standard

Flexible, grippy and perfectly shaped for the average guitarist, these nylon Jim Dunlop picks have superb playability. Nylon does tend to be slippier than certain other pick materials including celluloid, but this model makes up for that with plenty of grip and embossed branding. The compiler of this guide has been happily using Nylon Standards for over 20 years.

Dunlop Tortex Standard

Tortex picks are made of treated Delrin plastic, which mimics the zingier qualities of real tortoiseshell (a banned material in the plectrum business since 1973). The upshot is that Tortex picks sound fantastically bright and lend themselves to decisive playing. They’re smooth-surfaced, but with a chalky texture that offers some grip.

Fender 351

This is the quintessential ‘modern’ guitar pick, based on the 351 shape pioneered by D’Andrea a century ago. Made from bright-sounding, great-looking celluloid, it’s a timeless favourite for good reason. Various colourways are available including a particularly pretty ocean turquoise, and there are thin, medium, heavy and extra-heavy gauges to choose from.

Landstrom Sharkfin

More than just a cool shape, Landstrom’s Sharkfin plectrum offers a generous area to grip, and different profiles on the top and bottom sides for tonally creative plucking and strumming. Messrs. Lennon, McCartney and Harrison are all said to have used these picks, which are ideal for playing crisp rhythms.

Ibanez Grip Wizard Sand Grip

Regardless of whether you’ve got mom’s spaghetti on your sweater, there’s a fair chance that you’ll sometimes have sweaty palms while playing guitar. This ultra-grippy pick from Ibanez is the drop-resistant answer to your woes, with a textured surface to give you plenty of purchase. The small teardrop shape is great for fast, precise picking.

Dunlop Thumb Finger Pick Set

The original six-string guitar picks were worn on the fingers and thumb, and this style is still available for players who specialise in old-timey fingerpicking. Jim Dunlop’s set is made in medium and large sizes to suit a reasonably wide array of digits, and it comes in right-handed and left-handed variants – so check that you’ve factored in your handedness before you order.

Gravity Picks Rob Chapman Signature

Using an out-there material called polymethyl methacrylate, Gravity Picks has created a standout plectrum that sounds far more powerful than its thin profile might suggest. The bevelled edges have been left rough for a distinctive tone, while the fairly sharp tip delivers considerable attack and precision.

Ibanez P1000MH Meshuggah Signature

Tough and teardrop-shaped, with a sand grip to prevent droppage, this Mårten Hagström pick is built for hard playing. At 1mm, the gauge is fairly heavy, which well befits a signature plectrum designed for a guitarist who frequently plays an eight-string M80M with beefy lower strings.

Taylor Celluloid Pick Tin

We’ve sometimes heard rumours that there’s an alternative universe where plectrums go whenever we lose sight of them for a few seconds. You’ll lose fewer picks to the wormhole if you get a nice tin to keep them in, like this Taylor-branded one (which comes with a nice selection of the company’s own picks).

Jim Dunlop Nylon Jazz III

A cult fave with guitarists across a variety of genres – including metal, as well as jazz – the Nylon Jazz III has a pointy tip and small surface that players in-the-know find helpful for picking precisely. Players with larger fingers might find this pick hard to grasp, but it’s perfectly suited for the average nimble noodler.

Gibson Medium Tortoise

A classic celluloid pick in a 351 style, the Gibson Medium Tortoise closely resembles D’Andrea’s original flat guitar picks in sound, feel and form. The faux tortoiseshell finish is lovely to behold, while the glitzy Gibson logo provides some welcome grip. Thin, medium and heavy gauges are available.

Fender Aero Acrylic

Acrylic picks are musical Marmite. The material has less flexibility than nylon or celluloid, but it delivers superb brightness and encourages decisive picking. This subtly streamlined model from Fender has smooth bevelled edges that work very well for tremolo picking or shredding.

Gravity Razer Mini

If you’d like a little added sharpness without going all-in on a very pointy pick, this acrylic plectrum would be a good bet. The price might rule this model out for guitarists who go through a lot of plectrums, but it does have some premium bona fides, including hand-cut production, and laser etching for improved grip.

Fender Thin Picks Confetti

This is one pick that your fellow musicians would struggle to absent-mindedly pick up from the top of your amp. The red, blue, black and white, mosaic-style pattern is a real standout, while the pick’s 351 shape and thin profile will keep most guitarists in a celebratory mood.

D’Addario National Brass Finger & Thumb Picks Bundle (6-Pack)

The National finger pick design has been a favourite among acoustic guitarists and banjo players since the 1930s – and it’s still faithfully produced by D’Addario. Brass is one of the brightest-sounding plectrum materials, and the brass finger picks in this set certainly shine. Meanwhile, the faux tortoiseshell and celluloid thumb picks make for smoother root notes.

Black Mountain Asteroid Guitar Pick

Guitar picks are generally less diverse than they once were, but there are still some fabulously creative outliers. This bizarre-looking creation from Black Mountain is one of the most unusual, with three sections offering distinct textures and profiles (which is potentially a riff on Charles F. W. Seidel’s pioneering multi-point plectrum of 1904). Just spin the pick between your fingers to sound completely different.

John Pearse Fast Turtles

Check them out here.

Come for the irregular shape and retro branding; stay for the distinct tortoiseshell-like feel. John Pease Fast Turtles are made from casein, a protein found in milk which produces a warm tone when manufactured into a plectrum and thwacked across guitar strings. The shape is essentially an offset 351.

Herco Vintage ’66 Reissue

Herco’s nylon picks were everywhere in the 1960s and 1970s, so if you’re a guitarist with vintage taste, this recreation of a 1966 classic may bring you closer to sounding like your guitar heroes, whether they be Jimmy Page, Neil Young or Phil Lynott. The plectrums are made from Herco’s original moulds.

Dunlop Tortex Sharp

The epitome of pointiness, made from Jim Dunlop’s trademarked Tortex material. Tortex Sharps will feel like an oddity to some guitarists – especially those who spend a lot of time strumming – but they’re a good pick for intricate lead parts. There are six gauges, including a very heavy 1.5mm.

Martin Faux Tortoiseshell Triangle

Guitar picks used to be made from tortoiseshell, a material which was mostly produced from the shells of sea turtles. This abomination was ended in the 1970s, but some guitarists still covet the look and sound of a tortoiseshell pick. These Martin picks are a particularly traditional choice, with a convincing faux tortoiseshell material and an almost-equilateral shape that’s become a rarity over the last half-century.

Why You Can Trust Us

Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.

That means that when you click on a Guitar.com buyer’s guide, you’re getting the benefit of all that experience to help you make the best buying decision for you. What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended in those guides is something that we’d be happy to have in our own rigs.

The post The best picks for electric guitar and acoustic guitar, from Jim Dunlop, Fender, Ibanez and more appeared first on Guitar.com | All Things Guitar.

In this lesson we’ll zero in on how to bring a melody to life on your guitar and use it as a launchpad for a solo.