Music is the universal language
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General Interest
“I couldn’t imagine them being left unplayed”: Johnny Marr is auctioning off nearly 100 bits of gear, including pivotal Smiths guitars
Smiths legend Johnny Marr is having a clear our, with plans to auction off nearly 100 pieces from his personal collection later this year. Consisting of almost 80 instruments, as well as amps and other bits of gear, the collection will be a chance to take home a piece of Marr’s diverse and colourful musical back catalogue.
The auction will be held in collaboration with Christie’s auction house, with prices ranging from £1,000 to £80,000. One of the higher ticket items could potentially go for up to £150,000 though – namely his 1960 Cherry Red Gibson ES-355, a gift Marr received from Seymour Stein when signing to Sire Records. The guitar is a pivotal piece of Smiths history, featuring on the iconic Heaven Knows I’m Miserable Now.
Another notable guitar up for grabs is Marr’s iconic black and white 1982 Rickenbacker 330 Jetglo, which was another staple instrument of his Smiths era. Featuring on the band’s self-titled 1984 debut, the guitar can be heard throughout, including on cuts like This Charming Man and What Difference Does It Make?
The Manchester-born Marr also leant this guitar to fellow Mancunian Noel Gallagher during the recording of Oasis’ Definitely Maybe, so that’s some extra Northern spirit contained within this axe. Oasis even gave a little nod to the Rickenbacker’s influence by featuring it on the cover of 1994 single Supersonic.
Other highlights include Marr’s Martin D-28 (famously featuring on the timeless There Is A Light That Will Never Go Out), as well as a one‑of‑a‑kind Roger Giffin Korina Custom ‘Tele’ (an engagement gift from his now-wife), and a 1984 Gibson Les Paul Standard, which Marr apparently claims has been used on more recordings than any other guitar up for auction.
One of the most modern guitars available is Marr’s 2018 Fender Johnny Marr Signature Jaguar. But that doesn’t mean it’s lacking in experience – the guitar was used to record on Hans Zimmer’s soundtrack for the 2021 James Bond instalment, No Time To Die. It features on both the film’s instrumental theme, as well as Billie Eilish’s Oscar‑winning theme song.
Speaking about the upcoming auction, Marr explains: “I have loved guitars for as long as I can remember, since the first one I got at the age of five. Each guitar I have acquired over the past 50 years or so has helped me evolve as a musician, bringing new songs, new sounds and techniques.”
He notes that writing his 2023 book, Marr’s Guitars, gave him some perspective on his collection. In his mind, it’s time to set these instruments free so they can go forth and make some more memories. “The book turned out to be a cathartic experience and when it was time for these beautiful instruments to go back into storage, I couldn’t imagine them being put away and left unplayed,” he writes.
“It’s bittersweet to be parting with these guitars but I want them to go to new homes and new people who will love them as much as I have,” he concludes. “I hope they bring as much joy, inspiration and fun – and new songs – as they have given me.”
Marr is promising to donate 100% of the profits from 10 lots to a pair of charities: The Guide Dogs for the Blind Association and The National Autistic Society.
The public will be able to view a selection of collection highlights prior to the auction. New York will have a chance from June 25th to July 1st, before returning to Christie’s headquarters in London. Then, the public will be able to view the collection from September 9th to 16th.
Following the grand clear out, Johnny Marr will surely be able to focus on his new album The Age of Everything. The record is due to drop October 2nd, with latest single Spin serving as a taste of what to expect.
For more information, head to Chirstie’s auction house.
The post “I couldn’t imagine them being left unplayed”: Johnny Marr is auctioning off nearly 100 bits of gear, including pivotal Smiths guitars appeared first on Guitar.com | All Things Guitar.
“Slip and destroy!”: Kirk Hammett took a tumble offstage during Metallica’s Dublin show
There’s no denying that Kirk Hammett is a masterful, coordinated guitarist – but he can be pretty clumsy on his feet. What with the Metallica axeman injuring his leg onstage back in 2023, he took his antics up a notch last weekend in Ireland, taking a tumble right into the crowd.
The fall happened at Dublin’s Aviva Stadium on Friday 19 June during Seek & Destroy. In an effort to treat front-row fans to a clear view of his fretwork, the heavy metal legend stood right on the edge of the stage – and things got a little more up-close and personal than he’d intended.
In a video of the fall, you can see Hammett moving closer to the eager fans. Everyone looks delighted – before he slips and falls down onto their heads, that is. Thankfully, the crowd all reacted accordingly, helping Hammett back up and on his feet without much of a hitch.
Despite the head-first dive, Hammett was easily able to continue on with the show. He’s seemingly not got any injuries from it either, if we consider his joke-y response on Instagram hours after the show: a simple “SLIP AND DESTROY!!!!” over a video of the incident.
Again, Hammett has been known to be clumsy. The internet is full of videos of him slipping on his wah pedal, slipping on thin air, and even a few of him just collapsing to the ground.
Hammett’s plunge isn’t the first onstage antic that’s gained him attention on this leg of Metallica’s M72 world tour. On 13 June, Hammett’s choice of attire raised a few eyebrows, with the guitarist opting to wear a comedic shirt reading “Taylor Swift Is A CIA Psyop”.
Moving forward, Metallica’s M72 tour will continue with their two-night stops in each city, with the promise of no repeats across the pair of shows. They’ll be hitting the rest of the UK throughout the end of June and into July, with dates schedules in for Cardiff, Glasgow, and London.
View the full list of tour dates at the Metallica website.
Kirk Hammett wears t-shirt that says "Taylor Swift is a CIA Psyop," mocking conspiracy theorists during a show in Budapest.
This satirical shirt humorously critiques and mocks the absurdity of the real-world conspiracy theories that assert Swift is a government asset.
The…
— BBQ Chiefs (@BBQChiefs) June 19, 2026
The post “Slip and destroy!”: Kirk Hammett took a tumble offstage during Metallica’s Dublin show appeared first on Guitar.com | All Things Guitar.
Thomann sues Fender over Stratocaster cease and desist letters
Thomann is suing Fender over its recent campaign of cease-and-desist regarding alleged infringement on the Stratocaster body shape. The retailer has also confirmed that its sub-brand Harley Benton has received a letter over its own guitars.
Per a statement published by Thomann, the brand said it has been following the development of Fender’s cease-and-desist campaign “with great concern,” and noted that the original legal decision that empowered the letters was a default judgement, delivered when the defendant did not appear in court. The statement continues: “On this basis, Fender is now attempting to enforce a fundamental copyright claim to the body shape of the Stratocaster and is simultaneously taking action against European dealers and manufacturers. American manufacturers who sell their instruments in Europe, however, are also affected.”
“After careful consideration, we have decided to take legal action. We have done so because we are convinced that the questions raised here go far beyond a mere legal dispute and affect the future of diversity, innovation and competition in our industry.”
Until now, it was known that the letters were fairly widespread, however PRS and LSL were the only two brands to publicly confirm that they had received them. Thomann’s statement confirms what many commentators suspected – Harley Benton was one of the brands to receive a letter.
The statement as a whole asserts that Thomann wants to see the matter resolved in unbiased court proceedings. As the initial decision was simply a default judgement, legal proceedings were limited – discovery relating to the usage of the S-style body shape didn’t take place, and so it is possible that a more involved case could come to a different conclusion to the copyright and/or trademark status of the body shape.
While the letters have inspired furor and backlash on social media and YouTube for weeks – particularly due to the size disparity between Fender and LSL – LSL only recently confirmed it was gearing up for a legal fight, hiring experienced guitar lawyer Ron Bienstock. Thomann’s lawsuit is the first legal rebuttal to the campaign from an affected brand that goes on the offence rather than the defence.
CEO Hans Thomann echoes this David-and-Goliath within Thomann’s statement: “We used to be a small music store ourselves and know exactly where we have come from,” he says. “Diversity, fairness and respectfully dealing with each other have always been part of our philosophy. Many of those affected do not have the financial and legal means to conduct such a legal dispute. We therefore see it as our responsibility to have this matter clarified in court not only for our own company, but for all parties involved.”
The full nature of the lawsuit and Thomann’s actual legal arguments are not yet public, however the existence of the suit itself is a notable shift in temperature for Fender. Thomann is the biggest musical instrument retailer in Europe, and doubtless one of Fender’s own biggest dealers. The fact that Thomann is initiating its own legal action, rather than waiting for Fender to follow-through on the threats within the cease-and-desist, indicates a certain level of confidence regarding the issue, and that strength of feeling around Fender’s campaign is not limited to just social media and YouTube commentators.
Fender has been contacted for comment.
The post Thomann sues Fender over Stratocaster cease and desist letters appeared first on Guitar.com | All Things Guitar.
“Those amps are part of the DNA of rock music”: Jared James Nichols on becoming a Marshall endorsee
Blues ace Jared James Nichols has commented on becoming an official Marshall Endorsing Artist, after announcing he was parting ways with Blackstar last month.
JJN released a number of signature amplifiers with Blackstar during a long partnership with the British amp brand, but he’s now pivoted to Marshall – arguably the leading amp manufacturer for rock music of the past few decades.
“I’ve always associated Marshall with the sound that made me want to play guitar in the first place,” the guitarist says.
“Those amps are part of the DNA of rock music. To now be part of that family genuinely means a lot.”
“Jared represents everything we look for in a Marshall artist – feel, power, and a real connection to the instrument,” adds Hugh Gilmartin, Artist Relations & Marketing Manager at Marshall.
“His approach to tone and performance reflects the spirit that has driven Marshall for over 60 years.”
During a recent conversation with Tyler Larson (Music Is Win), Nichols recalled trying out a number of new amps for his rig.
“About a year ago, I started supplementing my rig with different amps. I was trying everything: Fenders, Supros, even some old-school Sunn and EVH amps,” he said [via Guitar World].
“But a friend of mine gave me a 1968 Plexi on permanent loan, and that was the sound. When I played, it was almost like I made every note count even more. It was rejuvenating; I could still feel my fingers, no matter how much gain I stacked on top of it. Marshalls are the heartbeat of rock n’ roll and the sound that I love.”
The new Marshall partnership arrives following the release of Nichols’ latest album Louder Than Fate, which was recorded in part at Foo Fighters’ Studio 606 in LA.
Jared James Nichols has a number of tour dates lined up for 2026. View a full list at Ticketmaster.
The post “Those amps are part of the DNA of rock music”: Jared James Nichols on becoming a Marshall endorsee appeared first on Guitar.com | All Things Guitar.
Be aware – AI deepfake scammers of women guitar influencers are on the rise
From plagiarism to miming, the online guitar space has been rife with controversy in recent years. Unfortunately, things might have just gotten even worse; guitarist Sophie Burrell has discovered that an AI ‘influencer’ is regularly generating deepfake replicas of her content.
In a new interview with Guitar World, Burrell recalls the first time she encountered one of her AI counterparts. “I was scrolling on TikTok and got recommended a video of a ‘girl’ playing guitar,” she says. “It was identical to my setup. Same camera angle, same room, same guitar, same movements. It took me less than a second to realise it was literally my video, except I’d been replaced by an AI-generated character.”
Around the time, Burrell shared her discovery with her followers by comparing her own video with the AI replica. Just as she explains to Guitar World, everything is a perfect parallel, right down to her facial expressions. Though, there are a few tell-tale signs of it being AI – namely the finger placement, with AI infamously having issues with consistently generating fingers.
“She is so good that she can even do bends without putting her fingers on the fretboard – why didn’t I think of that!” Burrell joked.
Despite the uncanny performance and slightly bodged fretwork, the AI influencer has steadily gained traction. “It honestly feels like a Black Mirror episode,” Burrell tells Guitar World. “It blows my mind that instead of learning an instrument or developing a skill, people would rather steal someone else’s work, slightly alter it with AI, and then take credit for it themselves.
“I’m angry that people can steal my content without my consent, replace me entirely using AI, repost it without crediting me, gain attention from it, and then use the engagement to funnel people towards whatever they’re selling – which is usually something inappropriate,” she adds.
To add insult to injury, Burrell has had to defend herself against AI accusations in the past. A video of her trying to make her riffs sound like Beethoven got a particularly high influx of “fake!!” claims, with Burrell having to post a stripped back version. In it, she only performs with a metronome.
“I don’t want you to ever think of me as someone who fakes my playing,” she later commented on the Instagram post. “I’d rather show you my stuff with mistakes and me sounding sloppy, than deliver something inauthentic. So this is me and this is what it sounds like.”
The stripped back performance video is serving as one of the only ways to prove your genuine skill – even viral shredder Ichika Nito was forced to post a one-take, no edits performance back in February to prove his innocence against “fake” performance accusations.
Elsewhere in the Guitar World interview, Machine Gun Kelly guitarist Sophie Lloyd also spoke out about her own experience with AI cloning her work and using her likeness. “I’ve received dozens of emails from people claiming they’ve been speaking with me over video calls for months – clearly scammers using AI impersonation,” she says. “Some of the situations are genuinely devastating, with people being scammed out of large amounts of money.”
“The idea that our music and content can be stolen so easily is really disheartening,” she continues. “We rely on interactions with our content for visibility, monetisation, and opportunities. It’s literally our livelihood being stolen, and platforms need to start treating it that way.”
Back in 2025, Joe Bonamassa shared his own fears of generative AI scamming his fans. The guitarist shared a deepfake based on an old 2021 clip of himself, which, though slightly robotic, felt unnervingly uncanny. “This is so fucked up,” Bonamassa wrote at the time. “An AI generated designed to mislead and scam people. Please be aware… 2025 is a scary time my friends.”
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Danelectro Dan O. Cool review: is this the most polarising Dano ever?
$599/£599, danelectro.com
Danelectro’s place in the history of electric guitars is as unique as it is impactful. When Nathan Daniel started producing no-frills, low-cost guitars made of Masonite and tape in the late 1940s, you wouldn’t have imagined he expected his creations would end up in the hands of some of the most influential musicians of the next seven decades.
But whether it’s Jimmy Page and Bob Dylan or Phoebe Bridgers and Mac DeMarco, the unique sound and vibe of a Danelectro guitar (or very similar examples sold under the Silvertone brand) has remained captivating for guitarists of every stripe.
The original US Danelectro brand disappeared in 1969, but since the late 90s, the brand has been reborn (now made in China) and has set about producing a steady stream of instruments mainly based on the company’s early designs.
Now though, the brand has changed the recipe somewhat – introducing a new model that pulls together various parts of Dano history and makes something a bit different…
Image: Press
Danelectro Dan O. Cool – what is it?
Everything about the Dan O. Cool has a touchstone with the company’s 1950s heyday. So, that distinctive ‘full bell’ headstock shape is from 1954, the ‘skate key’ tuners are from 1958, while the rosewood-saddle bridge is from 1958. The body shape is of course Dano’s classic ’59 design, while the pickguard is a rare textured type from a 1955 U3.
The five colours – including this very fetching shade of Aqua – are also pulled from Danelectro’s 50s locker, and of course you get that most impactful and unique Nathan Daniel innovation from this decade, the lipstick pickup.
In this case, the lipstick pickups are hotter than ones seen on previous models – offering around 20 per cent more volume in the neck and 30 more from the bridge pickup. Construction is also very classic Dano – a solid spruce frame with Masonite (aka hardboard) panels for the top and back.
So why then, are Dano purists up in arms about it? Well, in part it’s because of that headstock – compared to the elegance of the classic ‘Coke bottle’, most of the other pegheads in the Dano range are something of an acquired taste, to say the least.
But mainly, it’s not the shape but what’s on it that has gotten the Dano faithful worked up – because instead of the classic Danelectro box logo, we have a new and rather stark “DANO” word mark.
On the one hand, it should be no big deal – after all, most musicians will call the guitar a Dano anyway – but there is something a little off about the execution. In a guitar that tries so hard to signal its 1950s credentials, it’s hard to imagine a 1950s guitar leaving any factory with such a modern minimalist logo on the headstock.
Image: Press
Danelectro Dan O. Cool – build quality and playability
There’s a weird tension whenever you pick up a Danelectro guitar – and I should know as I own both an original US-made model and a modern Chinese reproduction. The fundamental truth is that these are not made like other electric guitars, and there’s a certain level of inherent jankiness about them that you have to be willing to embrace as part of its unique charm.
You might argue that this is a polite way of saying that Danelectro guitars are not made as well as other Asian guitars at this price point, but again, to compare this to a solidbody guitar made in more traditional fashion is somewhat missing the point.
This is for all intents and purposes a guitar made of board held together by tolex tape – that doesn’t make it flimsy, but it does mean you have to approach it differently than you would a normal instrument.
And by the standards of Danelectro guitars old and new, the Dan O. Cool is a pretty solid example – the finishing of the body and neck is decent, the body tape is evenly and neatly applied.
The frets are a little duller than I’d like, but they are perfectly smooth in operation, and so are the new tuners, with a rosewood bridge providing solid resonance and decent tuning stability. Personally, I can take or leave the rosewood bridge and its intonation compromises – Danelectro also produces an adjustable six-saddle bridge that drops in, and I’d swap it out in a heartbeat.
The C-shaped neck isn’t going to win any awards for character, but it’s plenty comfortable – a nice palmful that remains an easy player all the way up the fingerboard.
Image: Press
Danelectro Guitars Dan O. Cool – sounds
The lipstick pickup sound is the primary reason why generations of musicians have been drawn to Danelectro guitars, and they are wonderfully unique. Nathan Daniel’s decision to wrap a crude bar magnet in wire and shove it inside a lipstick tube might have been done mainly for cost, but it gives the pickups a jangly, chiming, clear, and detailed sound that is unlike anything else.
This type of pickup on vintage guitars can be somewhat anaemic and brittle in use, however – you often need a pedal or a cranked amp to boost them enough to really make them usable. The Dan O. Cool has none of these drawbacks – the extra output offered from these new pickups makes this a much more muscular experience than I’m used to. It’s plenty loud in all positions, while the middle position – with both pickups engaged – is the real cream of the crop, offering an almost mini-humbucker-like tonality.
Danelectro Guitars Dan O. Cool – should I buy one?
I understand a little of why the purists are freaking out about this Dan O. Cool, but I think the reservations about that new headstock logo have distracted from what is a very Dano-coded instrument that retains much of the vintage mojo we know and love, just put together slightly differently.
The Dan O. Cool looks like a good time before you even pick it up, but with its comfortable playing experience, improved tuning stability and most of all, those upscaled pickups, it takes that mojo and makes it more usable in the real world.
The lack of a gigbag is a drawback given the guitar’s unique shape, but otherwise it takes much of the temperamental nature and fragility of vintage Danos and banishes them without losing the unique sonic and visual qualities that make the brand’s guitars so iconic. It’s two thumbs up from me, Daddy-O.
Danelectro Guitars Dan O. Cool – alternatives
There’s nothing really like a Dano out there, but if you want something that’s more of a faithful recreation of a classic model, the 59M ($569) is a wonderfully fun instrument. The reborn Silvertone offers a bunch of the brand’s classic guitars, including the Dano-in-another-name 1303 ($399). For more esoteric catalogue-style recreations, Airline’s Jetsons Jr 2P ($799) offers the classic Res-O-Glass look with more normal construction, while if you want a US-made alternative, Harmony’s Juno ($1,499) is a compact, US-made single-cut with gold foil humbuckers.
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Berta Rojas Traces the Guitar’s Journey Across Latin America
Podcast 555: Micah Preite
LA-based singer-songwriter/composer/guitarist Micah Preite joins us this week!
https://micahpreite.bandcamp.com
Though his lo-fi/indie songs have millions of streams on Spotify, Preite’s background includes time with SoCal jazz legend Bruce Forman, a visit as a teenager to the OG 2015 Fretboard Summit in California, and studying music at CalArts. He’s now working on his first full-length movie score and more songs. It’s a great chat with a young musician who can seemingly do it all.
Be like young Micah and join us at our 2026 Fretboard Summit in Chicago (August 20-22, 2026) for three days of guitar demos, concerts, workshops and live podcasts with some of our favorite artists.
This year’s Summit has over 80 luthiers and brands, performances by Hand Habits, Deep Sea Diver, Jake Xerxes Fussell, Shane Parish, Michael Daves and Antoine Boyer!
Register here: www.fretboardsummit.org.
We are brought to you by Peghead Nation: https://www.pegheadnation.com
(Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).
Mike & Mike’s Guitar Bar: https://mmguitarbar.com
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This is the best-selling guitar gear on Reverb this month
Thinking of upgrading your guitar rig, but with the insanely large amount of gear on the market, don’t know where to look? Following the masses is never a bad idea…
Generally, when a particular piece of guitar gear is flying off the shelves, it’s because guitarists are trying it for themselves, having a great experience and recommending others do the same.
So if you’ve got a bit of coin and don’t know where to spend it, online gear marketplace Reverb has just released a list of its best-selling guitar gear of the last month. It is as follows…
Electro-Harmonix Stereo Memory Man with Hazarai
If you’re looking for a delay pedal that’ll get the job done, plus a looper on the side, the Electro-Harmonix Stereo Memory Man w/ Hazarai is just the ticket. Described by EHX as “one of the most creative instruments you will ever own” – a sentiment clearly echoed by the throngs of people who have picked one up for themselves, the Memory Man boasts a looper with 30 seconds of loop time, plus a cornucopia of delay and modulation options for bending your guitar signal to your will and coming up with some of your best tones yet.
Way Huge WHE900 Atreides Analog Weirding Module
Okay, you’ve got your standard distortion, reverb, and delay, but you need a pedal on your ‘board for the real experimental. The Way Huge WHE900 is a synth-inspired guitar pedal that blends fuzz, an envelope filter, sub-octave, and phaser into a single unit. Weird by name, weird by nature – so get ready to make some of your downright strangest sounds yet.
Positive Grid Spark 40
In the world of portable smart practice amps, the Spark 40 makes a strong play for the crown. Boasting 40 watts of room-filling sound, intuitive on-board controls – plus a companion app for browsing and crafting tones – as well as smart features like Smart Jam Live, Auto Chords and a plethora of onboard tone profiles, the Spark 40 might just be the practice amp of your dreams.
Darkglass Electronics Anagram
One for the bass guitarists now: the Darkglass Electronics Anagram is a compact multi-effects processor and amp modeller for bassists, powered by six-core DSP architecture, with a seven-inch high-brightness touchscreen for clear and intuitive control, and able to add up to 24 simultaneous effects blocks for complex signal chains. This one’s perfect for both live, studio and practice environments, so it could be the perfect new heart of your bass rig.
JHS The Fumble
The result of the “biggest mistake in JHS history”, the Fumble was born when the company accidentally put the wrong circuit into a run of 15,000 pedals. The mistake was publicly acknowledged and the remaining units sold through, but it turned out pedalheads actually loved the mistakenly put-together clean circuit. JHS originally sought to recreate the rare A Box Later clean circuit used and loved by John Mayer, but instead accidentally used a Dumble BBC-1 circuit. The Fumble is its faithful reproduction.
The post This is the best-selling guitar gear on Reverb this month appeared first on Guitar.com | All Things Guitar.
“Sustainability isn’t someone else’s job”: Bob Taylor on why the guitar industry has a responsibility to take care of the environment
Ever since 2011, Taylor Guitars’ Bob Taylor has been on a mission of tonewood sustainability. However, while Taylor has been replanting ebony trees in Cameroon for 15 years, he’s now urging the rest of the guitar industry to become more environmentally conscious – because wood isn’t an endless resource.
In an essay originally published in The Washington Post, Taylor insists: “if your business depends on a natural resource, stewardship isn’t optional – it’s part of the job”. With trees taking hundreds of years to grow back, Taylor explains that big guitar manufacturers need to consider how sustainable their business practices are.
As Taylor explains, his company first began giving back to the environment in 2011. “We became co-owners of an ebony mill there, seeing it as an opportunity to take greater responsibility for our wood in a complicated region of the world,” he writes. “Ebony has long been prized for stringed musical instruments, but basic questions about it – how much exists, how it grows, how it reproduces – were surprisingly hard to answer.”
After working with scientists at the Congo Basin Institute, Taylor worked to support a long-term research and reforestation initiative known as the Ebony Project. As he explains, “the work has planted tens of thousands of ebony and fruit trees on community-controlled lands bordering protected forest areas”.
While Taylor sought to discover more about where he was sourcing his ebony from, plenty of other manufacturers remain in the dark. It’s an issue that is seemingly rooted in complacency: “The species [companies once] relied on – spruce, maple, mahogany, rosewood, ebony – [have] been used for generations and [at a certain time] seemed abundant, locally available and affordable.”
“Over five decades, I’ve seen the materials we use become more expensive, like everything else,” he later continues. “I’ve also watched available trees get younger and smaller, and, if you’re not careful, less predictable in quality. But perhaps the biggest change has been the paperwork: There is now an ever-growing list of requirements tied to national laws and international agreements.”
And it’s not simply a case of planting trees for your own usage – trees can take up to 100 years to grow to a sufficient level for crafting instruments. So the focus shouldn’t be on the self, but on the future of the environment.
He also notes that ebony trees are also seeing a decline due to the mass poaching of elephants. As elephants tend to snack on the fruit of the ebony tree, they pass on seeds in their faeces – but, without as many elephants, the ebony tree isn’t getting replanted as much as it used to.
“The future of a material used to make guitars is tied to the fate of a critically endangered animal…” Taylor says. “In 1974, I was a kid from San Diego who wanted to build guitars. I could never have imagined it would one day lead to me supporting elephant dung research in Africa. But you can’t unknow what you know.”
“It’s a reminder that supply chains don’t begin in factories,” he says. “They often begin in ecosystems, which are complex, interdependent and often poorly understood.”
To round off, Taylor ends on a very serious final note, emphasising just how important it is for manufacturers to consider their environmental impact: “The question isn’t whether businesses should help sustain the resources they use – it’s whether they can afford not to.”
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Jackson Emmer’s Serious Wit | Acoustic Guitar Sessions
“If I don’t do this right, my life will be over”: Wolfgang Van Halen on the extreme anxiety he felt performing Van Halen songs during Taylor Hawkins tribute shows
Since the passing of his father Eddie Van Halen in 2020, Wolfgang Van Halen has, on numerous occasions, explained why he doesn’t want to make a career out of playing classic Van Halen songs, and instead carve his own musical path.
He has largely stuck to his guns on that one, to date releasing three albums of original material with his band Mammoth: Mammoth WVH (2021), Mammoth II (2023), and The End (2025), and supporting some of rock’s most revered names live including Metallica, Guns N’ Roses and Foo Fighters.
But despite mostly charting his own musical journey, Wolfgang made an exception back in 2022, when he performed a selection of classic Van Halen tracks during two concerts paying tribute to late Foo Fighters drummer Taylor Hawkins.
Specifically, the multi-instrumentalist and bandleader played three of Van Halen’s biggest tracks: On Fire, Hot For Teacher and Panama.
Speaking in a recent interview with Andy Guitar at last week’s Download Festival, Wolfgang elaborated on his decision to perform Van Halen songs, saying “it was like closing a book”.
“It was my way of being able to not only honour Taylor, but honour my dad by playing some of his material… And so it was definitely a do-or-die thing for me,” he says [via Blabbermouth].
Wolfgang also recounts the severe anxiety he experienced prior to the show, as the weight of what he was about to do became more and more apparent.
“I was losing it that day,” he says. “‘Cause to me, it was, ‘If I don’t do this right, if I don’t serve this justice, then my life will be over.’ [laughs].
“I ended up playing it pretty all right. I still made mistakes, but it was just all live and in the heat of the moment. But it was really special. Being able to have Dave and Justin and Josh there supporting me, being able to play with three idols of mine supporting such an emotional and difficult thing for me to do was really special, and I don’t think I could’ve done it without them. Yeah, that was a day of catharsis, for sure.”
Since 2022, Wolfgang has remained adamant that he won’t revisit his father’s catalogue during live shows, but he’s taken pleasure in teasing fans who are hungry for him to do so.
Indeed, during a recent show in Cincinnati, he ‘rickrolled’ the crowd by pretending to gear up to play a Van Halen song, only to perform a cover of Rick Astley’s now-memified classic, Never Gonna Give You Up.
The post “If I don’t do this right, my life will be over”: Wolfgang Van Halen on the extreme anxiety he felt performing Van Halen songs during Taylor Hawkins tribute shows appeared first on Guitar.com | All Things Guitar.
Heritage Standard II H-575 review: “a hell of a lot of guitar for the money”
Editor’s note: Heritage Guitars and Guitar.com are both part of the Caldecott Music Group.
$4,499, heritageguitars.com
The venerable Gibson ES-175 holds a particularly auspicious record in the long and varied history of guitar. Because between its arrival in 1949 and its rude interruption in 2019, Gibson’s supreme Florentine-cutaway jazzbox held the distinction of having the longest uninterrupted production run of any electric guitar – bang on 70 years without a single year going by where you couldn’t buy one.
Despite that remarkable run, it’s all the more perturbing that since 2019, you’ve been unable to buy yourself a production ES-175 from Gibson since then. Dark times.
Interesting trivia that may be, but it does also help explain perhaps why the H-575 – a Florentine-cutaway jazzbox – has become the fourth model to enter Heritage’s US-made Standard II range.
Image: Adam Gasson
Heritage Standard II H-575 – what is it?
The H-575 model, like all Heritage guitars, aims to offer a refined reimagining of a classic Gibson design – one that was created in the old Gibson factory in Kalamazoo Michigan, originally by a team of ex-Gibson employees.
The H-575 has been a regular feature of Heritage’s brand since the company was born of Gibson’s move to Nashville in 1985, and the Standard II is the brand’s recent evolution of its most affordable Kalamazoo-made line. In this specific case, it might also be the only game in town for a player searching for a new instrument to fulfil their big box Jones.
With all this preamble in mind, the sophisticated-looking hollow body before me is a joyful sight. Coming correct with a sharp Florentine cutaway (F# remember?) and an outrageously pleasing sunburst over a flamed maple top, this is a good-looking beast. Let’s take a closer look.
Image: Adam Gasson
Heritage Standard II H-575 – build quality and playability
It may look like a standard jazzbox, but there’s more going on here than meets the eye – with some features that elevate the Heritage 575 from the competition. First off, that maple top is carved.
While some players might argue that by definition a true archtop guitar – such as Heritage’s Eagle classic model – must sport a carved solid spruce top, the fact that this is solid wood and not a bent laminate is welcome news. The maple theme extends to the whole body – the back is also carved – and there is a decent amount of flame on offer throughout.
Continuing the woody theme it is an absolute delight to see a carved, adjustable rosewood bridge instead of yet another tune-o-matic. This should give us a world of warm, detailed tones to explore.
Image: Adam Gasson
The guitar is built around a 24.75” scale length and arrives strung with GHS 11-52 round-wound strings – although I suspect many of these instruments will be living the flatwound life as soon as they get home.
The mahogany neck features a standard C carve and it feels like an old friend. I’ve reviewed a few Heritage guitars in recent years and have come to the conclusion that the brand makes very nice necks indeed, and this is no exception.
The big news from the electronics point of view is the pair of Heritage Custom Shop 225 Standard Archtop humbucking pickups shining happily from their black plastic surrounds. They get a tone and volume control each and there is no coil tapping – in fact the Alnico 2 pickups are completely unpotted in order to capture the full character of this instrument.
The Heritage snakehead headstock is an ongoing source of controversy, but the recent application of a veneer with an inlaid heritage logo makes it less jarring than it has been on other instruments by the brand. In the words of the great Charlie Christian – it’s time to “Wake Up And Pluck”.
Image: Adam Gasson
Heritage Standard II H-575 – sounds
While many guitars come with a single pickup at the neck – á la Herb Ellis – this Heritage is loaded with a brace of humbuckers and it would be rude not to try the bridge for some rockier Steve Howe meets Pat Metheny moments.
This is a very smooth bridge sound – there’s still some bite if you need it but I’m impressed at the creamy transients even with the tone on full. Thumbed octave work and fingerstyle Bossa nova chord voicings have a degree of sheen to them that just doesn’t happen on a neck pickup. Given that jazz players are often the rare few who will actually use their tone controls it is extremely rewarding to hear such a wide variety of textures as we roll the tone off.
As in-between sounds go the H-575 may seem limited at first glance – this is never going to be a funky Strat or Tele voice but what is lost in shimmer is more than compensated for in blend ability, allowing me to really fine-tune my tone. Nice.
As hoped, the neck pickup is a velvet delight – warm and inviting. Expensive chords with names like zip codes come rolling out without losing focus, while shell chords and double stops sound rich and girthsome. Lead lines, either picked or fingerstyle, are immediate and nourishing. Pull out a Jazz III or a Bluechip and you’ll be having a very good time.
This guitar design predates rock and roll and as such gentle gain is as heavy as we’re going to get here. Anyone hoping for the hollowbody roar of Noel Gallagher or Billy Duffy will find that the guitar spirals off into feedback as soon as you start to really hit the filths. Hardly a surprise. There are some grunty blues tones to be had and if you’re a cool kid running a mucky DI then it’s all to play for, but the vast majority of players will know what to expect from one of these woody wonders.
Heritage Standard II H-575 – should I buy one?
Throughout my playing session the H-575 feels lightweight, well balanced and immediate. Despite the resemblance and, well, heritage, this guitar will gently remind you that it is not intended to be an ES-175. The combination of a solid, carved soundboard and unpotted vintage-voiced pickups makes for a much more sensitive instrument – this is good news.
Players looking for this sort of thing will probably be exploring the upper echelons of the Epiphone catalogue for a fully laminated guitar, turning to boutique makers such as Collings for an alternative or rolling the dice on a second-hand purchase. Yes, it’s a significant investment but the Heritage Standard II H-75 represents a hell of a lot of guitar for the money.
I began this review with a question and I will end it in the same way. Are you a guitarist looking for an articulate, woody jazz and blues voice that responds beautifully to your touch. If so, do you also happen to have the thick end of five grand to invest? You do? Great! Have at it!
Heritage Standard II H-575 – alternatives
If you’re looking for a similar vibe but for a much more affordable outlay, the Chinese-made Eastman AR372CE (£1,569/£1,099) is an impressive alternative. If you want something at the higher end of the market, Ibanez’s Japan-made LGB300-VYS Prestige George Benson (£3,599) comes with the jazz great’s seal of approval. Otherwise, if you’re after a Gibson Custom Shop ES-175 Reissue on the used market, or a vintage one for that matter, be prepared to pay above and beyond what the Heritage is going for.
The post Heritage Standard II H-575 review: “a hell of a lot of guitar for the money” appeared first on Guitar.com | All Things Guitar.
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Fretboard Summit 2026: Lineup and Details
I am pleased to announce the lineup for our 2026 Fretboard Summit.
This year’s Summit is all about discovery: Hearing new artists who should be on your radar, along with the voices you’ve heard on our podcast and in our print pages. It’s also all about fun.
Included for 2026’s lineup: Jessica Dobson/Deep Sea Diver (Solo); Antoine Boyer; Hand Habits; Jake Xerxes Fussell; Michael Daves & Jacob Jolliff; The Volcano Brothers, featuring Steve Dawson, Fats Kaplin, Richard Bennett, Andy Reiss, & Dave Jacques; Shane Parish; Gabe Noel; Corey Congilio and others.
2026 speakers and instructors include many of the artists mentioned above along with Chris Martin IV (Martin Guitars), Josh Scott (JHS), Fender historian Terry Foster, TJ Thompson & Greig Hutton, Sofia Wolfson, Gabe Noel, Evan Gluck (New York Guitar Repair), Mark Stutman (Folkway Music), Barry Grzebik (Grez Guitars), yours truly and others.
Bob Taylor (Taylor Guitars) will be doing a deep dive extended look into sourcing and using woods for guitars and sharing the decades of experience he’s earned navigating CITES laws, ethically sourcing tropical woods and more.
Mark Stutman (Folkway Music) will be creating the ultimate vintage Gibson acoustic petting zoo, letting you all get your hands on 1930s Kel Kroydons and Gibson L models that you rarely see in person.
Our on-site lutherie showcase (one of the biggest in the world) will spread across the two buildings of Old Town School’s campus and feature big brands like Martin, Yamaha, Taylor, Iris, Bourgeois, and Collings; pedal makers (JHS, Browne, Summer School Electronics, Chase Bliss), amp builders (from Henriksen to Two-Rock), and over 50 independent and small-batch builders of acoustics and electrics.
In years past, Collings and other brands unveiled new instruments and prototypes that weren’t even displayed at NAMM. This is your chance to see what may be next year’s coolest gear release.
The fun doesn’t stop there.
There will be a loud room based on our Truth About Vintage Amps Podcast if you want to try your next guitar purchase out on dozens of vintage amplifiers and PA heads. More into acoustics? We have quiet audition rooms just for those.
The Summit Pinewood Derby is returning, where luthiers put all their craft and heart into a tiny Boy Scout-approved block of pine and see who is the fastest.
We’ll have wine tasting thanks to FJ reader and vintner Bill Downie (coming all the way from Australia).
A 5K run just for guitar geeks.
Our annual Science Fair is happening, where all the uber-creative guitarmakers can show off their cutting-edge creations.
We’ll have pedal-making classes thanks to Mark from Summer School Electronics, where you can go home with the ultimate Summit souvenir, a pedal you just soldered and assembled.
Plus live podcast tapings from the FJ and other content creators, gear givaways just for registrants, and lots more.
Register here for our 2026 Summit and don’t forget to tell your friends. This is like a giant family reunion for anyone who loves guitars. All abilities, ages, styles are welcome.
Some FAQ re: the Summit.
What is the Fretboard Summit?
It’s a hang, a conference, and a music festival rolled into one.
Basically, it’s our take on the ultimate guitar geek weekend, where you can meet the heroes we celebrate on our pages and podcasts (players and builders); see some ridiculously cool concert lineups; try out (and buy) some insanely unique guitars; learn a bunch; and make some new friends.
It’s also one of the only open-to-the-public conventions that features a who’s-who of legendary guitar and gear makers, large and small batch.
Why?
Because we wanted to celebrate the community around the Fretboard Journal. Acoustic and electric. We also wanted you to be able to meet all these great personalities we interview and showcase in our magazine.
You don’t need to be a serious collector, gigging musician, or virtuoso to attend. Just have an open mind and you’ll have a blast.
Should I bring a guitar?
Only if you want! Most of our workshops are guitar-optional. We do have a guitar check-in if you want to safely store your instrument or grab a bite somewhere, but there are also hundreds of instruments to try out so you may enjoy feeling unencumbered without a guitar case.
Is this just for professionals?
No! While some of our classes are wonderfully geeky, we craft everything to be inclusive and welcoming to players of all levels. This is a festival made for musicians of all stripes. Beyond all the included guitar workshops, there are unlimited opportunities to play, jam with friends, or try out new guitar gear. We have soundproof rooms if you want to rock out (or just try guitars in private).
Space is limited because this is about as interactive as festivals get. We want you to get hands-on time with cool gear.
What is the Old Town School of Folk Music?
A Chicago institution. Founded in 1957 the Old Town School of Folk Music provides a wide range of music, dance, theater, and visual arts courses to people of all ages, abilities, and backgrounds. It’s a magical 501(c)(3) not-for-profit with an expansive campus featuring two buildings across the street from one another. We take over both facilities and fill them to the brim with sessions, workshops, jam rooms, and demo spaces.
When you picture Chicago, you may think of Wrigley Field or some busy downtown street or that one Wilco cover with the two buildings. The neighborhood that Old Town is in is easily walkable and there are dozens of nearby cafes, shops and restaurants. It’s like the cool neighborhood in your town, but in Chicago.
Who attends the Summit?
An eclectic mix of guitar fanatics (of all abilities), collectors, luthiers, industry members, and working musicians from around the world. Our crowd tends to be more eclectic and diverse than you’d think – young and old, all genders. But we all connect over a love for guitars.
Having said that: We limit Summit all-access passes to just a few hundred. We want everyone who attends to see the concerts, meet their heroes, and have fun without crowds. So if you want to come, it’s best to register soon before it sells out.
Who will I meet?
That’s up to you!
This year’s Summit has some of the most respected names in guitar craft: You can meet the crews behind Martin, Collings, Santa Cruz, Taylor, Lowden, Yamaha, JHS, Bourgeois, JHS, and Chase Bliss. It’s a rare opportunity to talk to lutherie legends like Bob Taylor (Taylor Guitars), Richard Hoover (SCGC) and Martin’s Chris Martin IV under one roof.
You’ll bump into dozens of world-class players and former FJ subjects. We also attract some of the biggest YouTube and podcast influencers around (Rhett Shull will be attending in 2025, along with the Acoustic Shoppe, Josh Scott, Dipped in Tone and others).
Best of all, you’ll meet a bunch of great players who probably aren’t currently on your radar…and fellow collectors.
What does a day look like?
Each day has over 12 hours of programming planned. We don’t expect you to catch it all (that would be crazy), but it’s there for you.
Get to Old Town School on Friday morning (August 20) at around 9 or 10 a.m., get your pass, browse the schedule and decide whether you want to browse guitars at the lutherie showcase or attend a workshop. Proceed however you like.
The Old Town campus has two buildings directly across the street from each other. It’s a little daunting at first, but just consider it a giant guitar funhouse. (Someone from the FJ or OTS will be at the front registration desk to help you if you have any questions.)
I encourage pass holders to take their time and not expect to attend everything. Some of the coolest music moments happen in the lobbies or just by sticking around a sponsor booth for a while.
There’s a lunch break every day, during which attendees and their new friends grab a bite to eat nearby. I like the Indian place about a block away, but there are burgers, dumplings, cafes and more within about 300 yards of the venue. You’ll see lots of Summit badges at neighboring restaurants. Don’t hesitate to introduce yourself. After lunch, there’s a whole new slate of afternoon sessions.
Concerts tend to start after dinner in the two theaters: The historic Maurer Concert Hall (capacity 420) is where our bigger names play, while Szold Hall is where you can catch some of the more adventurous programming. Your three-day pass gets you into everything. You can come and go as you please.
What are the workshops like?
After you’ve made the decision on what class to attend, you just show up. No reservation is needed with your all-access pass. Some classes are intimate affairs, some have 20-50 people. We put the bigger-name workshops in the main theater, but there’s typically room for everyone. You definitely don’t need a guitar to attend these workshops, though an acoustic instrument is nice to have at a few of them (we’ll let you know).
Every year, we have live podcast tapings, advanced master classes, songwriting workshops and more.
If you want to leave a session early, just politely get up and go. There are usually two to three sessions going every hour, so you can try something else.
What styles of music are represented?
Rock, bluegrass, roots music, blues, jazz, folk, singer-songwriters, and all points in between. Basically, the pages of the FJ coming to life.
How expensive is it?
For 2026, we’ve preserved our pricing from last year: Three-day passes are $400.
This includes everything, all-day-long.
Admission to all the evening concerts, all the instructional workshops, opportunities to win some truly cool guitars in our raffles, the ability to buy Summit exclusive gear, networking events, a great swag bag, and surprises.
You also get early and unlimited access to the lutherie showcase featuring over 80 guitarmakers.
Even without the rest of the Summit programming, this is arguably the largest handmade and boutique guitar showcase in North America.
Walkable dining options abound near the venue at every price point. You can stay wherever you like (see below).
Where should I stay?
We get asked this a lot.
Honestly, you can stay wherever you like in Chicago. Probably aim for a hotel or Airbnb that fits your price range somewhere north of downtown Chicago and south of downtown Evanston. If the reviews online look good and it fits your price range, go for it. (Checking your cab fare ahead of time using an online calculator is also a good idea.)
All Summit activities take place at Old Town School, from morning to night. So once you’re there each day, there’s no need to go anywhere else. Hotel Zachary near Wrigley is an Old Town staff favorite, but you really can’t go wrong if the Tripadvisor reviews and room rate meet your standards.
If you’re on a guitar forum or have friends into guitars, post about the Summit and see if you can go in on an Airbnb. There are many in the vicinity of Old Town, but they tend to get reserved quickly.
How do I sign up?
Register today at www.fretboardsummit.org. And holler if you have any questions.
Still trying to picture this event? Check out these totally unsolicited videos posted by some of our past attendees…
The post Fretboard Summit 2026: Lineup and Details first appeared on Fretboard Journal.
Player Fusion: metal-ready takes on classic Fender blueprints – including a Floyd Rose Tele and a Baritone Jaguar
Fender has unveiled its new Player Fusion series, comprising heavy-ready takes on classic Fender blueprints, “stripping away everything that doesn’t serve the riff”.
Boasting high-output humbuckers and noiseless single coils just waiting for you to throw at them some aggressive riffs, the Player Fusion series is made up of four models, an HSS Stratocaster, a double-humbucker Telecaster with a Floyd Rose, a Baritone Jaguar and a double-humbucker-loaded Precision Bass.
Player Fusion Telecaster HH Floyd Rose
Credit: Fender
“Built for the riff”, this Player Fusion Telecaster takes the classic Tele silhouette and gives it a full hard-rock overhaul, with a pair of high-output humbuckers and an all-black Floyd Rose bridge. Ever wanted to play divebombs on a Tele? Now you can… There’s also a 12”-radius ebony fingerboard for consistent bends. This one’s available in Black and Aura Metallic.
Price: $1,399.99 / £1,149 / €1,349.
Player Fusion Stratocaster HSS
Credit: Fender
Offering the full tonal palette of an HSS pickup configuration, the Player Fusion Stratocaster comes loaded with a high-output humbucker and two noiseless single coils, and sports a 12”-radius ebony fingerboard and two-point tremolo with black hardware. Available in Black and Olympic Pearl.
Price: $1,149.99 / £1,049 / €1,249.
Player Fusion Jaguar Baritone
Credit: Fender
Offering the classic Jaguar design in a baritone configuration, this guitar features a 27” scale purpose built for drop-tunings, and comes tuned B to B. The classic Jaguar rhythm circuit control gets an upgrade with “Spin-a-Split wiring via Fender roller pots that progressively transform the humbuckers into single coils. There’s also a TBX Tone circuit for additional tone sculpting options. Available in Black and Silverburst.
Price: $1,299.99 / £1,049 / €1,249.
Player Fusion Precision Bass
Credit: Fender
And lastly in the Player Fusion series is a new Precision Bass, sporting a pair of high-output humbuckers that “push deep, tight low end with enough midrange presence to cut through a wall of guitars”. It features a thin Jazz Bass neck profile plus a 12”-radius ebony fingerboard. Available in Black and Halo Metallic.
Price: $1,149 / £1,149 / €1,349.
The Player Fusion series will be available from September 2026. Learn more at Fender.
The post Player Fusion: metal-ready takes on classic Fender blueprints – including a Floyd Rose Tele and a Baritone Jaguar appeared first on Guitar.com | All Things Guitar.
“The whole guitar world has benefited from his hard work and wisdom”: LSL confirms that its legal fight against Fender is being coordinated by the same attorney who won 2009 trademark case against the brand
LSL Instruments says it has “full confidence” in Ron Bienstock, as it confirms it hired the attorney – who famously won a 2009 trademark case against Fender – as its representation following a widely publicised cease-and-desist campaign from Fender.
Fender sent shockwaves through the guitar industry last month when it sent cease and desist letters to a number of guitar manufacturers ordering them to stop building guitars reminiscent of the Stratocaster, arguably the most iconic guitar design in history.
Strat-style guitars – commonly referred to as ‘S-type’ or ‘S-style’ guitars – are ubiquitous across the guitar market, with large Fender-competing brands like Ibanez, PRS and Yamaha making their own variations, as well as many smaller boutique builders like Suhr and LSL Instruments.
But following a default judgement at a court in Germany in March 2026 against Chinese instrument manufacturer Yiwu Philharmonic Musical Instruments – which ruled that the Stratocaster was a “copyrighted work of applied art” in the EU after Yiwu failed to turn up to court – Fender embarked on a campaign against guitar builders closely replicating the Stratocaster design, saying they were infringing on Fender’s copyright.
The case has provoked intense backlash towards Fender from the guitar community, with some high-profile content creators including Rhett Shull, Rick Beato and Tim Pierce publicly condemning the company over the move.
Though the ruling upon which the latest action was based pertained to the copyright of the Stratocaster design, Fender previously lost a trademark dispute in 2009, after it tried and failed to obtain trademarks for the body shapes of the Stratocaster, Telecaster and Precision Bass.
Generally speaking, copyright protects creative works, like music and art, for example, while trademark protects things that identify brands, including business names, logos and slogans.
The 2009 trademark case was won by attorney Ron Bienstock, who represented a consortium of brands campaigning against Fender’s pursuit of the Strat, Tele and P-Bass body shape trademarks.
And it’s been confirmed that Bienstock is once again taking the fight to Fender on behalf of LSL Instruments, one of the first boutique builders that confirmed it had received a cease and desist letter.
Writing that he has “full confidence” in Bienstock’s abilities, LSL Instruments Director Of Business Development Johny Miller says in a statement shared with Guitar.com: “He has a great team and a history of working through cases like this with giant guitar brands.
“He has spent six years of his life in the trenches in a similar situation and the whole guitar world has benefited from his hard work and wisdom. I don’t think there is a person on Earth with more in-depth knowledge of this than Ron.
“We are trusting him and his team with our part in this matter. All the love and support has been truly overwhelming and beautiful. We are not alone. Unity prevails.”
As Fender’s cease-and-desist campaign continues, CEO Edward “Bud” Cole recently responded to backlash at a recent dealer event, saying the company is “not suing anybody”.
“What we’ve done is reach out thoughtfully and [respectfully] to a handful of companies whose guitars come extremely close to replicating the iconic Fender Stratocaster design,” he said.
While it’s true that Fender does not yet seem to be engaged in active litigation over the issue, the numerous cease and desist letters sent to guitar builders contained the threat of litigation if demands were not met.
This is an ongoing story. Stay tuned to Guitar.com for more updates.
The post “The whole guitar world has benefited from his hard work and wisdom”: LSL confirms that its legal fight against Fender is being coordinated by the same attorney who won 2009 trademark case against the brand appeared first on Guitar.com | All Things Guitar.
Dimebag Darrell estate launches Dime GuitarZ with luthier Dean Zelinsky as legal battle over guitar designs continues
The estate of Dimebag Darrell has launched Dime GuitarZ, a new guitar brand developed in partnership with Dean Zelinsky – the luthier behind many of the late Pantera guitarist’s most recognisable instruments.
The move arrives as long-running legal disputes over Dimebag’s legacy continue to unfold, centred around the ownership and use of his iconic guitar designs.
A 2021 lawsuit filed by In Dime We Trust – the organisation led by Dimebag’s longtime partner and estate trustee Rita Haney – accused Dean Guitars of unlawful use of the guitarist’s Stealth and Razorback body shapes, as well as “unauthorised fraudulent trademark registrations”. A recent court ruling has swung in favour of Dean, though Haney has stated her intention to appeal the decision.
The launch of Dime GuitarZ also comes just days after Dean Guitars’ parent company, Armadillo Enterprises, filed for bankruptcy, making the timing of the new venture particularly notable.
Positioning itself as the “exclusive home of Official Dimebag Darrell guitars”, the company says its mission is simple: “To build the guitars Dimebag Darrell would be playing today.”
“There seems to be a misconception that Dime had a relationship with the Dean Guitars of today,” the estate said in a statement announcing the launch. “It simply isn’t true. He was killed three weeks after signing the deal.”
Instead, they point to Zelinsky as the key creative partner behind many of Dimebag’s early guitars, including original versions of the ML design and the famously modified ‘Dean From Hell’.
“He had a relationship with Dean Zelinsky,” the statement says. “He went there because DZ brought him there. That was Dime’s only relationship.”
The estate also argues that Zelinsky’s designs were central to Dimebag’s identity as a player.
“Dean Zelinsky built the beloved guitars he played including the Dean From Hell. That is who he wanted building his guitars and he stated that many times throughout his notes. In this case, imitation isn’t flattery, it’s a crime!”
“Dime played Dean Zelinsky’s MLs when he had braces on his teeth and he died with one in his arms,” Haney adds. “Dime’s innovation for tech, his love and trust of DZ’s brilliance, this is what the direction of this company is, to fulfill those wishes.”
Credit: Dime GuitarZ
Alongside the launch, Dime Guitarz has unveiled its flagship model, the Culprit – a design originally conceived by Dimebag before his death and first teased back in March 2025.
The model will be offered in both USA and Standard Series variants, priced between $1,999 to $5,999. Core specs include mahogany bodies with flame maple tops, three-piece maple set necks, ebony fingerboards with a 12-16” compound radius, and Floyd Rose 1000 tremolos.
Other features include Seymour Duncan Dimebucker and ’59 pickups, Grover-style tuners, and a push/push “DimeBooster” circuit delivering a 15dB gain boost. USA models also feature Zelinsky’s patented Z-Glide neck, designed to reduce friction for faster playing.
Visually, the guitars lean heavily into Dimebag’s aesthetic language, with finishes such as Dime Slime and Dimebolt, plus a razor blade inlay at the 12th fret and the signature winged headstock shape.
Zelinsky, who sold Dean Guitars in 1991 and later stepped away from the company entirely in 2008, says the project carries personal significance: “I’ve been fortunate to have a long and incredible career in the guitar business… After everything I’ve accomplished in this industry, helping carry Darrell’s legacy forward may be the most meaningful work I’ve ever done.”
Learn more at Dimeguitarz.
The post Dimebag Darrell estate launches Dime GuitarZ with luthier Dean Zelinsky as legal battle over guitar designs continues appeared first on Guitar.com | All Things Guitar.
“If you wanna listen to the studio recording, listen to the studio recording”: Why Halestorm refuse to use backing tracks during live shows
Between click tracks, pre-recorded parts, and tightly programmed setlists, the modern rock show can be a remarkably polished affair. Halestorm guitarist Joe Hottinger, however, believes that mistakes are part of what makes rock concerts exciting.
Speaking to Andy Guitar at last weekend’s Download festival, Hottinger weighs in on the use of backing tracks in live music, arguing that concerts should feel like living, breathing performances rather than note-for-note recreations of studio recordings.
“To me, a live show is an interpretation of your record. And it doesn’t need to sound [exactly like the album],” says Hottinger [via Blabbermouth]. “If you wanna listen to the studio recording, listen to the studio recording. To me, rock and roll is supposed to be a little dangerous. Like, are we gonna fuck up tonight? Who knows what the song’s gonna be like? What does it sound like when the four of us are making as much noise as we can?”
While he has no problem with other artists choosing to use backing tracks, the guitarist explains that the approach simply doesn’t suit Halestorm’s way of performing.
“Whatever – if people do their tracks and stuff, I don’t give a fuck,” says Hottinger. “That’s how they choose to run their business, and we just like to have fun. I don’t think it would be fun to have like a ‘clink, clink, clink, clink’ [in my in-ear monitors on stage].”
“How do you tap into the flow when there’s a cowbell banging inside of your head? Things should go wrong. It’s a rock show. There should be fuck-ups every [show]… We fuck up every show. It’s awesome.”
The debate around backing tracks, however, is still a live one in rock. While some artists have embraced them as a practical way to recreate a fuller and more layered sound on stage, others have taken a far harder line.
Bruce Dickinson, for one, has previously made his position on the issue unmistakably clear, saying he would rather “quit” than start using backing tracks live.
“If it’s not real, it’s not Maiden!” Dickinson told Classic Rock. The singer also warned against turning live shows into what he called “Disneyland Maiden” through the use of backing tracks and other live enhancements.
The post “If you wanna listen to the studio recording, listen to the studio recording”: Why Halestorm refuse to use backing tracks during live shows appeared first on Guitar.com | All Things Guitar.
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