Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
Shnobel Tone Unveils Dumbbell Driver OD/Boost Pedal
Shnobel Tone has introduced the latest addition to its line of premium guitar effects. The new Dumbbell Driver combines the company’s acclaimed Daily Driver Overdrive with the recently launched Dumbbell Boost into a single, super flexible pedal.
The Dumbbell Boost and Daily Driver circuits are identical to the standalone versions of these pedals. Both the overdrive and boost circuits are completely independent and can be used together or separately, activated by their own dedicated true-bypass footswitches. A two-position toggle switch allows you to assign the order of the effects when both circuits are in use: Boost>>Overdrive or Overdrive>>Boost are available, providing a huge range of sonic options. Setting the toggle to the right places the Dumbbell Boost in front of the Daily Driver.
The pedal offers an intuitive 6-knob control set. The four knobs on the left side of the pedal control the Daily Driver circuit with Volume, Gain, High frequency and Low frequency EQ. The Daily Driver controls on the left side also include a three-position toggle switch for added EQ flexibility: the switch offers two different high-cut settings, along with a flat setting in the center position, so you can dial in the perfect overdrive sound with any amp.
The two knobs on the right side of the pedal control the Dumbbell Boost circuit. The Input knob adjusts the input impedance and acts as a supplemental tone control: when turned all the way to the left it gives you a brighter, less bassy sound; turned all the way to the right it delivers a full range sound with rich harmonics reminiscent of a Dumble-style circuit. The Level knob controls the Dumbbell Boost’s output level.
Sporting gloriously retro-flavored chrome-skirted knobs and available in either Black or White, Shnobel Tone’s Dumbbell Driver includes these features:
- Six control knobs: Four knobs on the left side for adjusting the Daily Driver overdrive; and two knobs on the right side for adjusting the Dumbbell boost.
- Three-position “Hi Cut” toggle switch affects just the Daily Drive portion of the circuit (not the Dumbbell boost).
- Two-position toggle selects the order of effects when both circuits are engaged
- Two true bypass foot switches for activating each circuit
- Pedalboard-friendly top mounted power and in / out jacks
- Hand-built with top quality through-hole components
- Standard 9v center negative power – no battery compartment
Shnobel Tone’s Dumbbell Driver carries a street price of $329 and can be purchased at shnobeltone.com.
“It’s a dream come true”: Gary Clark Jr’s signature Gibson honours his hero BB King
To honour Gary Clark Jr’s fusion of blues, rock, hip-hop and jazz, Gibson has unveiled a new signature model in his name. Inspired by BB King’s beloved Gibson, the Gary Clark Jr. ES-355 serves as a testimony to the blues legend as well as marking Clark’s ongoing impact on the genre.
While Clark has previously worked with Gibson on his SG and Casino models, this guitar is particularly special. “When I was a child, I had a poster on my wall with BB King playing his signature Lucille guitar,” Clark explains in a Gibson promo clip. “As a kid, I always wanted one of those guitars. I would go to the music shop, I would see them on the wall, and I liked the way that they sounded. I just wanted to be a part of that world.”
Handcrafted in Nashville by the Gibson Custom Shop, the Gary Clark Jr. ES-355 boasts a three-ply maple and poplar body. The multi-ply binding allows for a more vintage aesthetic, thanks to its figured maple outer layer and VOS Cobra Burst finish.
The guitar also has a mahogany neck, which has been shaped into a ‘50s Rounded Medium C profile, with a bound ebony fretboard. In terms of frets, you’re looking at 22 medium jumbo frets and mother‑of‑pearl block inlays.
Up on the headstock, there’s another vintage nod in the form of the iconic Gibson Custom Shop split diamond inlay. There are also Grover Rotomatic tuners, to add a more premium feel.
Credit: Gibson
The hardware has also all been finished in VOS nickel, emphasising that aged and vintage feel. That extends to the ABR‑1 Historic no‑wire bridge and a Bigsby® B7 vibrato. Gold Top Hat knobs with dial pointers have also been used to add that nostalgic edge.
The Gary Clark Jr. ES-355 is also kitted out with unpotted Custombuckers featuring Alnico 3 magnets, to capture a warm and dynamic range. The pickups are also wired with CTS audio taper pots and paper‑in‑oil capacitors, while there’s also a three‑way toggle, and a mono Varitone circuit to tweak and toy with your tone.
With a limited run of 100 guitars, it’s no wonder why the Gary Clark Jr. ES-355 has already sold out. Each lucky buyer will receive their guitar in a Gibson Custom hardshell case adorned with Gary Clark Jr. graphics.
Now a four-time Grammy Award winner, having his own signature Gibson is no longer a dream. It’s a reality he has earned. “It’s a dream come true, really,” he says. “And it’s one of the most versatile instruments… with the humbuckers and semi-hollow body, you can play it acoustic. It’s my go-to instrument at this time. And it’s gorgeous!”
For more information, head to Gibson.
The post “It’s a dream come true”: Gary Clark Jr’s signature Gibson honours his hero BB King appeared first on Guitar.com | All Things Guitar.
Metal-ready shredders and new Broadkaster models: Inside a massive new guitar drop from Jackson, Charvel and Gretsch
Since the furore of NAMM – where hundreds of brands launched more exciting new products than we could realistically keep track of – the world of guitar gear has felt relatively quiet. But it seems things are starting to switch back on, as a slew of new guitars arrive courtesy of Jackson, Charvel and Gretsch.
So get ready for some six-string eye-candy, and if you like, to nerd out on some spec sheets from the massive new drop. Here’s everything you need to know:
Jackson Pro Plus Pure Metal
Credit: Jackson
Three new guitars join Jackson’s blacked-out Pro Plus Pure Metal series, a line of instruments “built for speed and designed to withstand the demands of relentless touring”.
Comprising the Pro Plus Pure Metal Limited Edition Soloist SL1A, Limited Edition Rhoads RR1A and Limited Edition Kelly KE1A, the three new additions come loaded with singular Bare Knuckle Holydiver humbuckers, Floyd Rose 1000 Series double-locking tremolos and stainless steel frets.
Learn more at Jackson.
Charvel Pro-Mod Plus Dinky
Charvel has expanded its Pro-Mod Plus Dinky line with five new guitars, which blend “sophisticated style with assertive tone”.
Specifically, the new additions are the DK24 HH 2PT E in Raven Black and Celestial Silk, DK24 HH 2PT E QM in Midnight Ocean and Chlorine Burst, DK24 HH HT E QM in Violet Radiance, DK24 HSS 2PT QM in Blue Curaçao, Limited Edition DK24-7 HH 2PT EB in Celestial Silk.
These guitars sport Seymour Duncan Full Shred TB-10, Alnico Pro II APH-1N and Custom Flat Strat SSL-6 pickups in various configurations.
Learn more at Charvel.
Gretsch Broadkaster LX Figured Center Block with String-Thru Bigsby
Credit: Gretsch
Four new Broadkaster models join the Gretsch lineup: the Broadkaster LX – with a figured center block and string-thru Bigsby – in Havana Burst and Bourbon Stain, and the Broadkaster Jr. LX in Caramel Dawn and Tropic Aura. Both feature Pro Twin Six humbucking pickups and Adjusto-Matic bridges with string-thru Bigsby B7GP vibrato tailpieces.
Learn more at Gretsch.
The post Metal-ready shredders and new Broadkaster models: Inside a massive new guitar drop from Jackson, Charvel and Gretsch appeared first on Guitar.com | All Things Guitar.
Rig Rundown: Spiritbox
Ahead of Spiritbox’s recent show at Nashville’s Pinnacle, PG’s Chris Kies spent some time with the Canadian alt-metal giants’ guitarist Mike Stringer and bassist Josh Gilbert to get the story on their down-tuned mayhem. See about the highlights below, and watch the full Rig Rundown for more.
Brought to you by D’Addario.
Signature 7
Stringer’s signature Aristides STX guitars, like this 7-string, are the first axes he reaches for. Inspired by Kurt Cobain’s Jag-Stang, the STX comes in 6-, 7-, and 8-string configurations, as well as multi-scale options. In lieu of traditional guitar woods, Aristides’ proprietary Arium material works perfectly for Stringer’s needs—it can hit any “stupid-low” tuning with ease and clarity. The guitar is loaded with Stringer’s signature Bare Knuckle Halcyon pickups and an EverTune bridge. The 7-string STXs are in F-sharp tuning, with Ernie Ball Custom Paradigm strings (.010–.074).
Ocho Loco
Stringer calls this 8-string Aristides the “prototype,” since it was the first one produced. It’s employed on “Fata Morgana.”
PVH vs. EVH
Stringer uses a Fractal Axe-Fx III, favoring a PVH 6160 model based on the EVH 5150 Stealth. It shares rack space with an ART Pro Audio SP4X4 power distribution system, Shure AD4Q, and Radial JX-44.
Mike Stringer’s Pedalboard
Stringer’s buddy at Omilion Audio built out his onstage boards. Along with a Fractal FC-12 Foot Controller, RJM Mastermind PBC/6X, and a Radial SGI-44, Stringer’s board carries a Peterson StroboStomp tuner, Boss DD-6, Electro-Harmonix Freeze, a pair of DigiTech Whammy Ricochets, Line 6 DL4 MkII, Chase Bliss Mood and Generation Loss, EarthQuaker Devices Sunn O))) Life, a pair of EarthQuaker Rainbow Machines, and a Hologram Electronics Microcosm.
Charvel Shredder
Modeled on Charvel’s San Dimas bass, this multi-scale (34-37") 5-string is tuned to F-sharp, and has Nordstrand pickups and a Darkglass B2M2 Tone Capsule onboard preamp. The custom-gauge strings come from Kalium Music.
Four-String Friend
This Fender Precision bass is also on hand, tuned to B-A-D-G. It takes Ernie Ball strings.
Axe and Block
Along with his Quilter Bass Block 800, Gilbert, too, uses a Fractal Axe-Fx III, nestled in his backstage rack alongside a Shure AD4D and a Radial JX 42. Like Stringer, he uses a 6160 model for his dirty tones; a Darkglass B7K model is also in the mix. Gilbert’s tonal “scene changes” are handled in Ableton.
EarthQuaker Devices Sunn O))) Life
Thoughtful Tips for Supporting Others Musically
Thieves steal Martin D-28 worth $15k from Baltimore music store: “You feel violated – it’s really sad”
Police are appealing for help identifying four suspects believed to have stolen a Martin D-28 acoustic guitar worth $15,000 from a music store in Baltimore, Maryland.
The guitar – located high on the wall in the acoustic room at Music Land in Bel Air – was the target of a group of four thieves believed to be of Romani origin, police say. As CCTV footage shows, the suspects wait for the employee present to step out of the room, before taking the guitar from the wall and concealing it inside a big winter coat.
- READ MORE: How Taylor quietly revolutionised its most iconic design with the Next Generation Grand Auditorium
“One of the female suspects was on lookout,” says store owner Larry Noto [via WMAR-2 News Baltimore]. “The other two suspects took the guitar. She had a long black winter coat on, a very puffy coat. It was freezing out. You know how it was a couple of weeks ago and had sort of a black bag that they slipped the guitar in.”
It’s believed that the theft took place in under a minute. Noto explains of the rare, high-price D-28: “This was a consignment piece from 1947, so a very rare, special piece that we just happened to have on sale as part of our consignment programme.”
“You know you trust people, and they came and they even said, ‘Oh, you have such a nice store,’ and we just thought these were nice people looking for guitars,” says Noto.
“You do feel violated and it was really sad and disturbing to watch the video that had happened. We’re a local family-owned business, [and have] served the community for 55 years.You just don’t think something like that’s going to happen to you.”
Those with information on any of the suspects are encouraged to contact Bel Air police on 410-638-4500.
Sadly, music gear remains a common target for thieves. Just this month, guitarist Chris Buck appealed for help finding a selection of gear stolen from his car in Bristol.
And Music Land is far from the first brick-and-mortar store to deal with thieves; for example, in 2024, criminals made off with a $5,200 Gibson Les Paul by simply walking out of a Canada store with it.
The post Thieves steal Martin D-28 worth $15k from Baltimore music store: “You feel violated – it’s really sad” appeared first on Guitar.com | All Things Guitar.
“I started dicking around and said, ‘F**k, this is a totally new technique”: Eddie Van Halen explains the origins of his legendary tapping technique in unearthed 1978 interview
One of the greatest guitar players who ever lived, Eddie Van Halen is widely credited with popularising two-handed tapping as a guitar technique.
Many guitarists dabbled with tapping before Eddie entered the limelight in the late ‘70s – with evidence of the technique predating hard rock by decades, used by the likes of Harvey Mandel, Frank Zappa, Steve Hackett and Italian guitarist Vittorio Camardese, to name a few.
But it was Eddie who really brought tapping to a mainstream audience following the release of Van Halen’s landmark debut in 1978, and has become somewhat synonymous with the technique.
And in a newly unearthed 1978 interview with rock journalist, author and Eddie’s close friend Steve Rosen, the legendary guitarist can be heard recounting his experience stumbling across the technique, before it would later captivate audiences on classic Van Halen cut Eruption.
“It’s like having a sixth finger on your left hand,” Eddie explained shortly following the release of the band’s debut album. “Instead of picking, you’re hitting a note on the fretboard.”
Asked by Rosen whether he developed the technique himself or had heard it elsewhere, Eddie replied: “I really don’t know how to explain it. I was sitting in my room at the pad at home, drinking a beer. I remember seeing people just stretching one note and hitting the note once…
“Anyway, it’s just one note like that, and they popped the finger on it real quick to hit one note and I said, ‘Well, fuck nobody is really capitalising on that.’ I mean nobody’s really doing more than just one stretch and one note real quick.”
He continued: “So I started dicking around and said, ‘Fuck, this is a totally new technique that nobody really does.’ ‘Cause it is. I really haven’t seen anyone really get into that as far as they could because it is a totally different sound. A lot of people listen to that, and they don’t even think it’s a guitar.”
Elsewhere in the interview, Eddie reflected on how he “hates” bands at the time who overloaded their records with overdubs and extra tracks. He explained that the majority of the songs on Van Halen were relatively simple in terms of additional guitar tracks.
“I’d say out of the 10 songs, three of them, like Runnin’ with the Devil – [that’s] a melodic solo, so I put a rhythm underneath it, you know.
“Songs that have a spontaneous solo like I’m the One, Ice Cream Man, and most of the songs on the album – Ted [Templeman], our producer, felt, and us also, that it was good enough on its own without fattening it up. Also then when we play it live it sounds the same.
He went on: “I hate people – without naming names – all these bands, they over-produce in the studio, and then when they walk out on stage people go, ‘Wow, is that the same band?’ It doesn’t sound the same.
“With us, it sounds exactly the same, and maybe even better, because you get to see us doing it at the same time. It’s very energetic. We’ll get you up and shake your ass.”
You can watch the full unearthed 1978 interview below:
The post “I started dicking around and said, ‘F**k, this is a totally new technique”: Eddie Van Halen explains the origins of his legendary tapping technique in unearthed 1978 interview appeared first on Guitar.com | All Things Guitar.
A New Big Muff For Bassists
Hylight UK Unveils Custom SD 2x12” Combo Amp
Hylight UK has introduced their new Custom SD 2x12 amp, a 20-wattcombo that builds upon the company’s legacy dating back to the 1960s.
With modern features such as Effects Loop and Line Out, the new Hylight Custom SD "Shiny Diamond" combo (VR204C-212F) is powered by a pair of EL84s and offers clean headroom and bright chime, ideal for crunchy British rock.
The amp delivers 20-watt output at full power and has a built-in attenuator (via splitting the transformer, activated with a toggle switch on the front control panel) which can dial back the output to ½-watt. Its preamp tube configuration includes four 12AX7s/ECC83s and the combo comes standard equipped with a pair of Fane F70 12” speakers. Other speaker options include Fane A60s, Crescendos reissue, A30, F30, F25, and F90. Hylight also offers Celestion speakers options upon request.
This 20-watt combo is made in England with the best available components for those guitar players who are looking for a classic British sounding amp based on the early 70’s models.
Hylight Electronics has been making high quality amps since the 1960's. Bands such as Pink Floyd, the Moody Blues, the Rolling Stones, and The Who have all used Hylight-made amps to help create their legendary sounds. With their military-spec chassis, point-to-point wiring, and marine-grade cabinets, Hylight amps are known for their rugged, professional build quality.
The new Highlight Custom SD 2x12 carries a street price of $3799. For more information visit hylight.co.uk.
Failure Announce New Album ‘Location Lost’ Out April 24th
Beloved and influential Los Angeles trio Failure – Ken Andrews, Greg Edwards, and Kelli Scott – announce Location Lost, their seventh studio album and fourth since reuniting in 2014 after a 17-year-hiatus, along with a spring North American tour. The LP features nine new tracks that showcase a focused, modern and ever-evolving vision of Failure’s utterly unique sound, led by first single "The Air’s on Fire." Location Lost will arrive April 24th as the first release under Failure Records/Arduous Records/Virgin Music Group.
Pre-save / pre-order Location Lost here: https://ffm.to/locationlost.
Recorded after the completion of the recent Hulu/Disney+ documentary Every Time You Lose Your Mind, Location Lost doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.”
“The Air’s on Fire” embodies this sense of disorienting unfamiliarity. Almost immediately after finishing editing the documentary, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. The single is the album’s most literal confrontation with Andrews’ medical trauma, its oppressive atmospherics and crushing bottom end mirroring his struggle to breathe on his own. “That song is directly about my surgery and waking up,” he explains. “I basically coded. Everything was spinning. I kept saying, ‘Turn the air on. I’m fine—just take me home.’ I was definitely not fine.”
Listen to “The Air’s On Fire” HERE and watch the video for the track, directed by Sean Stout, HERE.
WATCH & SHARE “THE AIR’S ON FIRE” OFFICIAL VIDEO
At the opposite emotional pole is the largely acoustic, straight-up breakup song “The Rising Skyline” featuring Paramore frontwoman Hayley Williams, an artist whose longtime public admiration for Failure has unquestionably helped introduce the band to an entirely new generation of listeners. The album also delivers dose after dose of Andrews, Edwards and Scott’s signature creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Other songs such as the slow-burning, dream-inspired closer “Moonlight Understands” and the stuttering “Someday Soon” emerged from singular, unrepeatable moments.
Failure will premiere material from Location Lost on their spring headline North American tour, kicking off with an album release show on April 21 at Zebulon in Los Angeles and wrapping in Toronto on May 20th. All Under Heaven is supporting all headline dates starting May 3. Their run of shows also includes festival appearances at Las Vegas’ Sick New World, Chicago’s SPACE ECHO @ Radius and Daytona Beach’s Welcome to Rockville. Tickets go on sale to the public this Friday, February 20th at 10am local time. For tickets links and more information, visit https://www.failureband.com.
Failure’s musical communion has intrigued critics, fans, and peers for more than three decades. Following Comfort and Magnified, the trio created what is largely considered one of the ‘90s most influential and innovative albums, 1996’s Fantastic Planet. The 17-track collection earned rave reviews and onboarded a trove of new fans and also led the band to headline Lollapalooza’s second stage and craft one of the era’s most recognizable videos, “Stuck on You.” After a 17-year hiatus, Failure returned with The Heart Is a Monster in 2015, followed by 2018’s In the Future Your Body Will Be the Furthest Thing from Your Mind and 2021’s Wild Type Droid.
‘LOCATION LOST’ TRACK LISTING
01 - Crash Test Delayed
02 - The Rising Skyline ft. Hayley Williams
03 - Solid State
04 - The Air's on Fire
05 - Halo and Grain
06 - Someday Soon
07 - Location Lost
08 - A Way Down
09 - Moonlight Understands
FAILURE TOUR DATES
Apr 21 Los Angeles, CA - Zebulon (Album Release Show)
Apr 25 Las Vegas - Sick New World Festival
May 02 Chicago, IL - SPACE ECHO @ Radius
May 03 Cleveland, OH - Grog Shop
May 05 Nashville, TN - Basement East
May 06 Atlanta, GA Masquerade - Hell
May 08 Daytona Beach, FL - Welcome To Rockville Festival
May 09 Asheville, NC - Eulogy
May 10 Carrboro, NC - Cat’s Cradle
May 12 New York, NY - Le Poisson Rouge
May 13 Cambridge, MA - Sinclair
May 14 Hamden, CT - Space
May 15 Washington, DC - Union Stage
May 16 Harrisburg, PA - Arrow at Archer Music Hall
May 17 Philadelphia, PA - Underground Arts
May 19 Detroit, MI - Shelter
May 20 Toronto, ON - Opera House
Failure Announce New Album ‘Location Lost’ Out April 24th
Beloved and influential Los Angeles trio Failure – Ken Andrews, Greg Edwards, and Kelli Scott – announce Location Lost, their seventh studio album and fourth since reuniting in 2014 after a 17-year-hiatus, along with a spring North American tour. The LP features nine new tracks that showcase a focused, modern and ever-evolving vision of Failure’s utterly unique sound, led by first single "The Air’s on Fire." Location Lost will arrive April 24th as the first release under Failure Records/Arduous Records/Virgin Music Group.
Pre-save / pre-order Location Lost here: https://ffm.to/locationlost.
Recorded after the completion of the recent Hulu/Disney+ documentary Every Time You Lose Your Mind, Location Lost doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.”
“The Air’s on Fire” embodies this sense of disorienting unfamiliarity. Almost immediately after finishing editing the documentary, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. The single is the album’s most literal confrontation with Andrews’ medical trauma, its oppressive atmospherics and crushing bottom end mirroring his struggle to breathe on his own. “That song is directly about my surgery and waking up,” he explains. “I basically coded. Everything was spinning. I kept saying, ‘Turn the air on. I’m fine—just take me home.’ I was definitely not fine.”
Listen to “The Air’s On Fire” HERE and watch the video for the track, directed by Sean Stout, HERE.
WATCH & SHARE “THE AIR’S ON FIRE” OFFICIAL VIDEO
At the opposite emotional pole is the largely acoustic, straight-up breakup song “The Rising Skyline” featuring Paramore frontwoman Hayley Williams, an artist whose longtime public admiration for Failure has unquestionably helped introduce the band to an entirely new generation of listeners. The album also delivers dose after dose of Andrews, Edwards and Scott’s signature creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Other songs such as the slow-burning, dream-inspired closer “Moonlight Understands” and the stuttering “Someday Soon” emerged from singular, unrepeatable moments.
Failure will premiere material from Location Lost on their spring headline North American tour, kicking off with an album release show on April 21 at Zebulon in Los Angeles and wrapping in Toronto on May 20th. All Under Heaven is supporting all headline dates starting May 3. Their run of shows also includes festival appearances at Las Vegas’ Sick New World, Chicago’s SPACE ECHO @ Radius and Daytona Beach’s Welcome to Rockville. Tickets go on sale to the public this Friday, February 20th at 10am local time. For tickets links and more information, visit https://www.failureband.com.
Failure’s musical communion has intrigued critics, fans, and peers for more than three decades. Following Comfort and Magnified, the trio created what is largely considered one of the ‘90s most influential and innovative albums, 1996’s Fantastic Planet. The 17-track collection earned rave reviews and onboarded a trove of new fans and also led the band to headline Lollapalooza’s second stage and craft one of the era’s most recognizable videos, “Stuck on You.” After a 17-year hiatus, Failure returned with The Heart Is a Monster in 2015, followed by 2018’s In the Future Your Body Will Be the Furthest Thing from Your Mind and 2021’s Wild Type Droid.
‘LOCATION LOST’ TRACK LISTING
01 - Crash Test Delayed
02 - The Rising Skyline ft. Hayley Williams
03 - Solid State
04 - The Air's on Fire
05 - Halo and Grain
06 - Someday Soon
07 - Location Lost
08 - A Way Down
09 - Moonlight Understands
FAILURE TOUR DATES
Apr 21 Los Angeles, CA - Zebulon (Album Release Show)
Apr 25 Las Vegas - Sick New World Festival
May 02 Chicago, IL - SPACE ECHO @ Radius
May 03 Cleveland, OH - Grog Shop
May 05 Nashville, TN - Basement East
May 06 Atlanta, GA Masquerade - Hell
May 08 Daytona Beach, FL - Welcome To Rockville Festival
May 09 Asheville, NC - Eulogy
May 10 Carrboro, NC - Cat’s Cradle
May 12 New York, NY - Le Poisson Rouge
May 13 Cambridge, MA - Sinclair
May 14 Hamden, CT - Space
May 15 Washington, DC - Union Stage
May 16 Harrisburg, PA - Arrow at Archer Music Hall
May 17 Philadelphia, PA - Underground Arts
May 19 Detroit, MI - Shelter
May 20 Toronto, ON - Opera House
Electro-Harmonix Unearths the Bass Big Muff Pi 2
Upon resurrecting the long-lost Dual Op-Amp Big Muff 2 circuit with Josh Scott of JHS Pedals, Electro-Harmonix recognized that the pedal would be an instant favorite of low-end lovers and went to work “bassifying” the pedal. Enter the low-end optimized Bass Big Muff Pi 2 with features selected for full spectrum fuzz tones of all flavors.
The Bass Big Muff Pi 2 features the original’s pushed mid grunt and classic singing sustain any Big Muff lover would feel at home with. The bass version now includes a clean BLEND knob and Bass Boost for extended tone performance with Bass Guitar or any player looking for extra clarity and low-end. The typical VOL/TONE/SUSTAIN knobs set overall output volume, treble/bass eq balance, and distortion respectively. BLEND sets the overall wet/dry mix to dial in the perfect balance of fuzzy chaos and solid fundaments from your clean tone. The BASS BOOST switch adds even more low-end to your signal for booming bass tone even at higher TONE knob settings.
Additionally, the pedal features a silent true bypass footswitch with Latching/Momentary Action. Click the footswitch for normal latching functionality or press and hold the footswitch of a momentary burst of fuzz.
The Bass Big Muff Pi 2 ships a 9 Volt battery (power supply optional), is available now and has a U.S. Street Price of $122.00.
“The king of random side quests”: Matty Healy goes viral for helping jumpstart a stranger’s car – and giving a TV to a perplexed Uber driver
All has been quiet in the world of The 1975 since their headline Glastonbury set last year, but it seems frontman Matty Healy has been undertaking a series of random side quests.
At the end of their set last summer, the word ‘DOGS’ flashed up on stage. Since then, Healy has suggested that the band are working on not one, but two new records during a Q&A at a college, and that DOGS could be the name of at least one of them.
No further details have yet been revealed, and it looks like Healy has his hands full. In a recent viral video, he was seen gifting a TV to an unsuspecting Uber driver, and in another viral post was photographed jumpstarting someone’s car.
Healy had recently taken over comedian Dax Flame’s Instagram for a week, where he shared a number of skits, including his random TV giveaway. A few weeks prior, a TikTok circulated of Healy helping to jumpstart the stranger’s car after it broke down.
You can see both posts below:
At the band’s Glasto set, Healy had a rather cool guitar in-hand: a creation of one of the Fender Custom Shop’s most interesting builders, Levi Perry, who has earned a rep for loading his builds with built-in effects. The Fuzz Brain ’67 Tele Matty used on the revered Pyramid Stage offered just that, with built in fuzz, octave and delay circuits.
Whether or not Healy has put any of his custom builds of vintage guitars down on the new albums to come from The 1975 is not yet clear, but one thing we’re certain of is that it won’t be heavy. In 2024, Healy said, “For me… unless you’re Glassjaw, Converge, Refused, or further than that, heavy is fucking lame… We can do heavy all day long, but we’re not because it wasn’t new. We wanted to be something quite new.”
The post “The king of random side quests”: Matty Healy goes viral for helping jumpstart a stranger’s car – and giving a TV to a perplexed Uber driver appeared first on Guitar.com | All Things Guitar.
“Kiss are rock gods, but they don’t have a lot of roll to them”: Public Enemy leader Chuck D responds to Gene Simmons’ comments that hip-hop doesn’t belong in the Rock Hall
![Gene Simmons [main], Public Enemy's Chuck D [inset]](https://guitar.com/wp-content/uploads/2026/02/Gene-Simmons-Chuck-D@2000x1500.jpg)
Should the Rock and Roll Hall of Fame be reserved only for veterans of the rock genre? It’s a stance Gene Simmons holds, and made clear during a recent appearance on the Legends N Leaders podcast.
“Hip-hop does not belong in the Rock And Roll Hall Of Fame – nor does opera or symphony orchestras,” he said.
Whether or not the Rock Hall should include artists from a wide range of genres is up for debate – but the fact remains that many non-rock artists, including hip-hop veterans like Public Enemy, Grandmaster Flash and Run-D.M.C., count themselves as inductees.
And in a new interview with TMZ, Public Enemy leader Chuck D refutes the comments of his fellow Rock Hall of Famer Gene Simmons, saying he’s missing the “roll” part of the Hall’s name.
“Everything else other than rock, when rock ‘n’ roll splintered in the ’60s, is the roll,” he explains [via NME]. “Soul music, reggae, hip-hop, which is rap music. Hip-hop is a culture, so it embodies sight, sound, story, and style.”
“But music, the vocal on top of the music, has already been determined. So that’s the roll, that’s flow, that’s the soul in it. Kiss are rock gods, but they don’t have a lot of roll to them.”
Chuck D is thee right person to address Gene Simmons’ tone deaf commentary.
I love how he focuses on the importance of music creation and narratives because it’s not enough to own our stories.
We have to keep telling them too. #BHMpic.twitter.com/qSIqLcxNTZ
— Renee (@PettyLupone) February 13, 2026
Gene Simmons attracted criticism with his initial comments, in which he spoke about hip-hop: “It’s not my music. I don’t come from the ghetto. It doesn’t speak my language.”
In a recent interview with People, the bassist denied that his comments were racially veiled, saying, “I stand by my words,” while adding: “Ghetto is a Jewish term… How could you be, when rock is Black music? It’s just a different Black music than hip-hop, which is also Black music.”
“Rock ‘n’ roll owes everything to Black music,” he concluded, adding: “All the major forms of American music owe their roots to Black music.”
The post “Kiss are rock gods, but they don’t have a lot of roll to them”: Public Enemy leader Chuck D responds to Gene Simmons’ comments that hip-hop doesn’t belong in the Rock Hall appeared first on Guitar.com | All Things Guitar.
Whitesnake guitarist thinks fans should stop comparing different band lineups: “Come on, man, you like the band, or you don’t!”
When a band’s been in the game long enough, chances are they’ve been through a number of lineup changes to keep the wheels turning. And generally, fans will always hold one lineup in higher stead than others.
The ‘golden era’ of an artist’s career, while sometimes reflective of their period of peak commercial success, is often relative, and is different to different fans depending on when they discovered the artist’s music.
Hard rock outfit Whitesnake were a band with a laundry list of previous members, including Steve Vai, Bernie Marsden, Joel Hoekstra, Doug Aldrich and so many more over the course of their on-and-off 40-year career.
And in a new interview with Chaoszine, Dutch guitarist Adrian Vandenberg reflects on the fanbase’s tendency to have favourites in terms of lineups.
Remembering the band’s Restless Heart tour in 1997, he says: “In certain countries, it went great. South America, man, people went nuts. But in many other countries, they only wanted to hear the 1987 album.
“And England… holy shit, England has always been so split up. You got the guys saying, ‘Micky Moody and Bernie Marsden, that’s the real Whitesnake.’ Then the other guys go, ‘No, no, John Sykes is the shit.’
“It’s like Van Halen, you know? ‘Sammy Hagar is better than David Lee Roth.’ ‘No, Roth is the guy.’ I don’t know why people do that. Come on, man, you like the band, or you don’t, you know? So, the same thing was happening on that tour. People were expecting that big pompous 1987 sound in some countries.”
“We had some surreal experiences in weird cities, man,” he also says. “Great memories, and it was different playing with that lineup. We hit Japan, Europe, South America and Russia, which will probably never happen again the way the world is now. At least not in our lifetime – it’s a strange world we live in right now.”
The post Whitesnake guitarist thinks fans should stop comparing different band lineups: “Come on, man, you like the band, or you don’t!” appeared first on Guitar.com | All Things Guitar.
“We’ve been writing music together, recording at John’s house – it feels great”: Flea hints at new Red Hot Chili Peppers music on the horizon
It’s been four long years since the Red Hot Chili Peppers released 2022’s Unlimited Love – but there might be something new on the horizon. In a new interview with MOJO, bassist Flea hints that the band have been cooking up some new tunes.
While this March will see Flea releasing his solo jazz solo debut, Honora, fans have been wondering what that means for the bassist’s main gig with the Chili Peppers. MOJO addresses the elephant in the room, asking whether there’s any plans for a 13th album. “We’ve been writing music together, recording at [guitarist] John Frusciante’s house, and the music feels great,” Flea reveals.
As Flea puts it, the process has been a bit longer due to the hunt for “magic” in the studio. “Ultimately, once we start playing, it’s about… just catching a magic groove and doing it good,” he adds.
It’s the same approach he has adopted while recording his upcoming jazz record, and one he feels about music on the whole. While it’s an intuitive process working on his solo project, it can be more difficult in a band, due to there being multiple moving cogs in the machine. “It’s like being in a marriage with four people that’s always moving and changing, all these challenges and all the things that you have to deal with,” he explains.
“Egos are inescapable and my ego is as big and as fragile as anybody’s. But it’s always, no matter what, this intrinsic part of who I am and it’s alive and it’s beautiful and you never know what shape it’s going to take next. I really feel like that right now.”
In the past, Flea has made it clear that he never wants to produce rock for rock’s sake. In fact, in 2016 he told SiriusXM’s Pearl Jam Radio that he considered “rock music [to be] a dead form in a lot of ways”, far from its ‘90s heyday of “exciting” releases.
With that in mind, it makes sense that Flea is exploring other avenues of sound – and why the Red Hot Chili Peppers are determined to take their time making their next record, just to ensure their signature blend of funk, rap and rock feel utterly fresh.
Flea’s Honora solo debut will drop on 27 March, and will feature a slew of exciting artists including Thom Yorke and Nick Cave.
The post “We’ve been writing music together, recording at John’s house – it feels great”: Flea hints at new Red Hot Chili Peppers music on the horizon appeared first on Guitar.com | All Things Guitar.
“Eddie was acting crazy and bouncing off of walls in his underwear. Randy was like, ‘Oh okay… not the best time to meet this guy’”: Quiet Riot’s Kelly Garni says Randy Rhoads didn’t have a rivalry with Eddie Van Halen, rather a “fascination”
As the legend goes, Randy Rhoads and Eddie Van Halen were like two ships passing in the night. Despite both earning their stripes on the 1970’s Sunset Strip, the pair of iconic guitarists rarely crossed paths. But that didn’t mean they didn’t know about each other.
With Quiet Riot and Van Halen both on the rise, Randy and Eddie became some of the hottest guitarists on the strip. It was impossible not to compare the two – especially when both bands would often play just doors down from each other. “We became well aware of Van Halen,” Quiet Riot’s original bassist Kelly Garni tells the Booked On Rock Podcast [transcribed by Ultimate Guitar]. “Especially when we’d [perform] at the Starwood… we knew they were playing down the street at Gazzarri’s.”
Garni notes that Van Halen existed in very different circles, frequenting venues that weren’t exactly Quiet Riot’s “type of a club”. However, their differences didn’t mean there was a rivalry between the pair. “There was no competition,” Garni explains. “Most certainly, there was no competition in Randy’s world. Because Randy didn’t compete.”
“It just wasn’t in Randy to try to compete,” he continues. “He couldn’t! The way his brain was wired… he could not form a thought like ‘Oh, I’m gonna be better than that guy!’”
In fact, rather than a rivalry, there was a fascination; Rhoads was curious to see just what Eddie Van Halen had to offer. “He went down to Gazzarri’s because people were talking about this guy,” Garni recalls. “Randy said, ‘I’ll go see what the deal is’… So he went there, he saw him play, and he went, ‘Yeah, OK, the guy’s good.’”
Apparently Rhoads even got himself backstage to meet his supposed ‘rival’. “Randy was trying to get backstage to meet him, and he did get back there…” the bassist says. “But Eddie was acting kind of crazy and bouncing off of walls in his underwear. And Randy was like, ‘Oh okay… not the best time to meet this guy.’”
So, rather than leaving with a burning sense of rivalry, Rhoads only thought: “‘He was really good, but he looked kind of nutty.’”
The pair went on to perform on just one bill together on 23 April 1977 at California’s Glendale Community College. It’s unknown just how many times the pair crossed paths beyond that… but many musicians have claimed that Rhoads and EVH developed more of a ‘rivalry’ in their later years.
Ozzy Osbourne in particular sensed some competition between the pair. The Black Sabbath legend referenced an archival 1982 Guitar Player clip to prove his point, noting how Eddie claimed “everything [Rhoads] did he learned from me”, and later adding “he was good, but I don’t really think he did anything that I haven’t done”.
“I heard recently that Eddie said he taught Randy all his licks … he never,” Osbourne told Rolling Stone in 2022.
Alongside the strange claim, he also claimed that Rhoads “didn’t have a nice thing to say about Eddie”, either. “Maybe they had a falling out or whatever, but they were rivals,” he said.
The archival Eddie clip was also briefly mentioned in a 2022 documentary, Randy Rhoads: Reflection of a Guitar Icon. One of Rhoads’ friends, Kim McNair, explained: “This was the years of guitar heroes. To a large degree, bands were judged on their guitar player. I think all the guitar players in town kept up on each other.”
The post “Eddie was acting crazy and bouncing off of walls in his underwear. Randy was like, ‘Oh okay… not the best time to meet this guy’”: Quiet Riot’s Kelly Garni says Randy Rhoads didn’t have a rivalry with Eddie Van Halen, rather a “fascination” appeared first on Guitar.com | All Things Guitar.
“Steve couldn’t utter a word. John stubbed out cigarettes on the back of his hand”: The 1976 gig that “petrified” the Sex Pistols
![[L-R] Johnny Rotten (John Lydon) and Steve Jones of the Sex Pistols](https://guitar.com/wp-content/uploads/2026/02/Sex-Pistols-hero-new@2000x1500.jpg)
Unapologetically brash and loaded with attitude, it’s hard to imagine punk’s standard-bearers could suffer pre-performance nerves. But for all their cocksure anti-establishmentism, The Sex Pistols were prone to pre-gig anxiety like anyone else.
As journalist and photographer John Ingham recalls in a new feature in MOJO magazine, there was one gig in particular that struck fear into the hearts of Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock.
Cast your imagination back to 9 July, 1976; the Pistols are gearing up for a gig at London’s 2,100-capacity Lyceum Theatre, supporting Supercharge and The Pretty Things. As Ingham recalls, this was the first time they’d played in a “big space”, and nerves were high.
“What was really strange was that it seemed such an amazingly unimportant gig,” Ingham says. “And they were so absolutely petrified before, backstage. Steve couldn’t talk, he couldn’t utter a word, he had the look of death on his face. To them, it was extremely important. It was the first time they’d played in a big space.
“John was really nervous. I found that strange. It hadn’t occurred to me that they wanted to win people over. That was the night that John stubbed out cigarettes on the back of his hand while he was singing. It frightened me.”
But the four-piece ultimately rose to the occasion: “Up until this point, they were getting better at it, but it was still the same kind of noise…” Ingham continues. “Suddenly there was this major step up in musical ability. Glen was phenomenal, the bass playing was tremendous. Paul was right on the beat. In one night, suddenly they were all just there.”
The Sex Pistols are still active, with a number of shows planned for 2026. However, John Lydon is no longer in the fold (Frank Carter now holds frontman duties), and has documented his somewhat fractured relations with his former bandmates in recent years.
“Come on Mr. Carter, you’re not Johnny Rotten, I am,” he told Frank as the band approached their reunion tour last year, previously saying in reference to his former bandmates: “I am the Pistols, and they’re not.”
More recently, guitarist Steve Jones said he has “nothing but love” for Lydon, saying he’ll “never shut the door” on a reunion, but asserting that he didn’t think “John would have the energy like Frank does”.
The post “Steve couldn’t utter a word. John stubbed out cigarettes on the back of his hand”: The 1976 gig that “petrified” the Sex Pistols appeared first on Guitar.com | All Things Guitar.
Why metalcore pioneers Converge have returned to bring an end to “data entry” modern metal and show a new generation the power of authenticity
In Converge’s world, things don’t happen by accident – if they say something, they mean it. So, when vocalist Jacob Bannon ushered in the metalcore pioneers’ new record Love is Not Enough by observing that “realism is missing from a lot of modern music”, you knew they planned on doing something about it. “People, especially young people, crave authenticity,” guitarist Kurt Ballou expounds. “The process of recording metal music has been more akin to data entry than playing instruments for quite a long time now – there’s a whole generation who have been raised with this sort of ‘perfect’ music.”
Love is Not Enough is not that. It’s a hulking, febrile thing, alive in all its grit and human imperfections. It is Converge at their most Converge – a band reflecting upon the artistic choices and creative bonds that have underpinned a genre-shaping 35 year run. There are solos on the title track with the head-spinning ferocity of Axe to Fall’s all-timer of an opener Dark Horse, for example, while To Feel Something finds Ballou reinterpreting stabbing, lurching Jane Doe-era carnage from the perspective of someone who’s learned to control the violence at their fingertips. Following on from 2021’s Bloodmoon: I, a collaboration with modern goth icon Chelsea Wolfe, Ben Chisholm, and Cave In’s Stephen Brodsky, it is about uncovering fresh ore in old hills.
“There are songs on Bloodmoon that I barely played guitar on,” Ballou says. “Making Love is Not Enough, that goes back to regular Converge, where we are much more comfortable in our roles. The division of labour is well established in the band and it’s back to being focused on our own stuff. But, also, there’s less space to hide. The guitar ideas are mine, and I’m playing them all. There’s a deliberate lack of collaboration on it. Guitar solos are not my thing, but we’re not having guest musicians here. No one’s playing this solo for me, so I gotta fucking do it. So, you know, I did it.”
Image: Press
Caving In
Recorded at Ballou’s God City facility in Salem, Massachusetts, the album is chiefly a document of a band capable of caving your head in from 10 paces. Bassist Nate Newton and drummer Ben Koller are a rhythm section with an unparalleled track record of unleashing sense-rearranging barrages, while Ballou and Bannon remain a pugilistic pairing pushing each other to scabrous new heights.
If you A-B the studio version of Love is Not Enough’s closer We Were Never The Same against its staging in Converge’s recent Audiotree session, you get a visceral idea of how close they have come to capturing the real thing. “When it comes to recording hardcore and metal my approach is always, ‘What does it feel like to watch this band live?’” Ballou says. “What does that excitement feel like, and can I try to capture that excitement? That’s my goal.”
Ballou is an interesting case study for this stuff, though, because he’s a working producer as well as a gnarly guitar player in a hardcore band. When he’s collaborating on Nails’ latest voyage into the death metal morass or helping Fleshwater assemble molasses-thick shoegaze-pop, his word isn’t law.
In fact, his views on recording music are malleable and driven by the desire to get at what people really want. “In my job, I interact with younger people who are fascinated with analog equipment – they’re taking pictures of their session with point and shoot film cameras,” he continues. “But I don’t want to be a luddite. I don’t want to be too cool for modern techniques.”
“All that technology exists for a reason,” he continues. “Incredible engineering has been done to create amp sims, drum replacements, audio file warping and tuning, and I do use that stuff sometimes when it’s helpful to present the music in the most flattering way. I’m not opposed to it. But I think that one of the things about technology that is important to keep in mind is exercising some restraint.
One of the things about an older style of recording is not so much that tape sounds better than digital, or tube amps sound better than modellers, it’s more that the process of using analog equipment necessitated a certain type of workflow. It didn’t require restraint when you were limited to 24 tracks. That was just what there was, and you had to make it work. Now, you would have to make a choice to limit yourself.”
Tools Of The Trade
That studio-rooted discipline also has interesting parallels with Ballou’s attitude towards his other-other career with God City Instruments (GCI), a boutique outfit producing guitars, basses, pedals and DIY pedal kits – something that grew out of Ballou’s legendary GCI business card, which took the form of an actual PCB (sans components) for his Brutalist Jr circuit.
“My wife does a lot of the order-fulfillment side of that and I QC guitars,” he says. “We’ll get a shipment every three or four months and I’ll spend a few days with them. The company is still pretty small, but it’s manageable. I’m not really trying to grow it – I don’t really want to lose control of it.”
“To double my sales would require more than double of my effort, you know? I think a lot of bands end up in a similar situation,” he adds. “Converge, for example, we have great people that we work with, our fans are awesome, and we can go and play shows just about anywhere in the world. But to play a venue twice the size is more than twice as expensive. We’d be required to have guitar techs and drum techs and lighting techs. The ticket price gets a lot higher and now we’re not doing things on our own terms.”
Perhaps unsurprisingly, GCI gear forms the backbone of Ballou’s work on Love is Not Enough. Fitted with their overwound Slug Jammer humbuckers, there are multiple Craftsman models in play, along with a 27.5” scale Deconstructivist baritone that was used to bring the muscle on Distract and Divide, To Feel Something and Amon Amok, a trio of Drop A monsters.
“I’ve also got a really good short-scale Tele with Lindy Fralin pickups,” he notes. “I used that for a bunch of the clean, atmospheric background sounds on Amon Amok. On Force Meets Presence I might have used my First Act Sheena. I can’t remember if I actually did this, or if I just was thinking about doing it, but a lot of that song is rooted on the A string, so to make that clean I might have taken the low E off of the guitar for that whole section.”
Image: Press
Spreading The Load
While working on Bloodmoon: I, Ballou had to find his place within a guitar sound that he viewed as vibe-based more than “dense or athletic”. Here, the opposite is largely true. But his amp selection process remained the same, with five or six rigs primed for work as he chased a tone. “I used to have a whole bunch of amps running at the same time, hoping to capture the best of all worlds,” he says. “But I’ve come to realise over time that it just flattens whatever cool character each one has.”
With the rhythm sounds oscillating between an early Sparrows Sons model, employed with a Boss OS-2 to accent its articulate, wide-ranging gain, and a GCI Onslaught-assisted Dean Costello HMW, most of the leads were tracked with a first generation Bad Cat Black Cat, paired again with an OS-2 or a GCI Crimson Cock.
“That’s like an NPN Rangemaster,” Ballou says. “It’s really the best for matching a guitar to an amp. If your guitar feels too bright or too dark, or not loud enough, or too loud, by turning a few knobs on that thing, you can make it work.”
What pass for cleans in Converge’s world, meanwhile, were captured on a Traynor YRM-1 that Ballou picked up for $99 in the mid-1990s. “I can, honestly, probably record anything with that amp,” he observes. “I also have a few JMP 2204s, but one of them is from a transitional year when it started getting a little more JCM900-ish. I want to say I have a ‘76 and a ‘79. They’ve obviously been maintained differently over the years, but the newer one is tighter and the older one is creamier. I like them both a lot – that was set up as a pedal platform as I needed different sounds. If a song needs a fuzz part or an HM-2 part, that amp can do it all.”
Image: Press
Bright Spark
Zooming out, though, something remarkable about the way Love is Not Enough sounds is the warmth and clarity behind its guitars. As a riffer, Ballou is naturally a grimy, aggressive player, meaning that keeping a sense of nuance alive requires deliberate thought. “I’m always pushing the brightness to try to get more clarity,” he says. “But then sometimes you end up with a very chirpy sound, which is not very metal. The OS-2 quells the chirpiness and also starves the bottom end.”
From both a philosophical and practical perspective, Ballou sees his yard as the mid-range. Returning again to the idea of a division of labour, he is happy to leave the sludge to Newton and the splashy stuff to Koller’s cymbals. He’s not trying to grind you to a pulp, he’s trying to punch you in the solar-plexus. “Listen to the classic Slayer records – they don’t have crushing low end or sizzly high end,” he says. “There are great guitar sounds that have that, but we’ve always thought of Converge more as a hard band than a heavy band.”
Converge’s Love Is Not Enough is out February 13 through Deathwish/Epitaph.
The post Why metalcore pioneers Converge have returned to bring an end to “data entry” modern metal and show a new generation the power of authenticity appeared first on Guitar.com | All Things Guitar.
The Truth About Vintage Amps, Ep. 160
Episode 160 of the Truth About Vintage Amps Podcast, where amp tech Skip Simmons fields all of your questions about tube amps.
Thank our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts.
Some of the topics discussed this week:
1:09 Fishing and weather report, Tule fog
4:43 Skip’s amp backlog
5:19 A West guitar amp with a Dynaco 454216 transformer, a paper plate breakfast hack
10:45 Our sponsors!
12:56 What’s on Skip’s bench: A 1950 Princeton, a White amplifier, a Tweed Deluxe AND a Vibrolux; Electromuse amps
14:39 The Lonesome Captain’s music video (YouTube link)
17:31 A Webster-Chicago 166-1 with a post phase-inverter tone control
20:36 The Valco/National/Supro single 6V6 with reverb and tremolo
28:06 A Silvertone 1472 with replaced parts; terminal strip grounds
30:55 Two filter cap Princetons (link to TDPRI forum)
32:11 An original Garnet Session Man; modding a Masco ME-27; recommended reading
39:49 The Wood Wire & Volts show; the Benson Babylon (as mentioned on episode 158!)
44:16 Speaker impedance mismatch on a Danelectro amp and its effect on tone, Spanish rice, Goya pasta
50:21 Suggestions for an unused triode in a Geloso G226A amp
54:32 Bill Krinard’s return?; Dr. Z’s new, single-ended PhD amp; Emery Sound amps
57:18 A new speaker for my Traynor YGM-3?; Peavey amps; smoked pork tenderlions
1:03:35 Making a baby Leslie speaker at home and adding caps to filter out EMI/interference (check out more pics on our Patreon)
1:11:00 Getting spray paint off a grill cloth (3M Safest Stripper); fixing a Fender speaker baffle; and a cursed reverb unit
1:16:50 A Cunningham CX322 tube giveaway; Alembic stereo pre-amps, redux
Note: Starting around minute 60, our Zoom connection went bad and Skip can be a little hard to hear. We tried to clean it up as best we could. Sorry!
Want amp tech Skip Simmons’ advice on your DIY guitar amp projects? Want to share your top secret family recipe? Need relationship advice? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.
Want to support the show? Join our Patreon page to get to the front of the advice line, see exclusive pics, the occasional video and more.
Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.
Above and below: Listener Bruce’s West combo, with a Dynaco transformer.
The post The Truth About Vintage Amps, Ep. 160 first appeared on Fretboard Journal.
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