General Interest

Justin Hawkins of The Darkness has spoken out on his brother’s negative comments regarding the Ozzy Osbourne tribute performance at the MTV VMAs.

A band consisting of Yungblud, Extreme’s Nuno Bettencourt, and Aerosmith’s Steven Tyler and Joe Perry performed a medley of Black Sabbath and Ozzy Osbourne hits at the awards ceremony, including Crazy Train, Mama, I’m Coming Home, and Changes – the latter of which was performed by Yungblud at the final Sabbath gig, Back To The Beginning, and received praise online.

• READ MORE: “I was very bummed”: Wolfgang Van Halen explains the real reason he had to drop out of Ozzy and Black Sabbath’s farewell concert

Though many loved the tribute, including a very animated Ariana Grande who was in attendance at the event, others were not so keen. Hawkins’ brother, Dan Hawkins, took to Instagram to refer to the supergroup as a “bunch of bellends”, and criticised the performance as “nauseating”.

In a new video posted to the Justin Hawkins Rides Again YouTube channel, The Darkness vocalist has reflected on the comments made by his brother, and has tried to explain why he thinks the set didn’t go down so well with him.

“I feel like what irks musicians of a certain age is the fact that Yungblud seems to have positioned himself as a natural heir to the Ozzy legacy, having nothing to do with the really important stuff,” he says (via Classic Rock). “All of this posturing is Jim Morrison meets the bloke from Stone Temple Pilots meets everybody else who’s ever owned a pair of leather trousers. It’s 101 School of Rock stuff, you know?”

Though praising Nuno Bettencourt, he goes on to add: “It’s actually like watching David Hasselhoff, who I think is one of the greats… So when I say that, it’s not actually an insult. I just mean that it’s like rock ‘n’ roll done by somebody who, perhaps, was famous for driving a talking car and felt reassured by wearing little red shorts and looking after you at the beach. It’s like a television personality doing rock ‘n’ roll.”

Though the Hawkins brothers don’t see the appeal, other artists have formerly praised Yungblud including Matt Sorum and Geezer Butler. There’s also no denying that the young rock artist did in fact have a close bond with Osbourne before he passed.

Back in 2022, Ozzy and Sharon Osbourne featured in the video for Yungblud track The Funeral. Last year, Yungblud also featured on The Osbourne’s YouTube channel for an interview with Sharon and daughter Kelly Osbourne. Throughout, the pair continually shared their surprise at the similarities between him and Ozzy.

You can watch Justin Hawkins’ video below:

The Darkness are currently on tour in Canada, while Yungblud is touring in the US in support of his recent album, Idols.

The post “Was it really necessary to refer to anyone as a bell**d? Let me try to explain”: Justin Hawkins jumps to his brother’s defence after criticism of Yungblud’s VMAs Ozzy Osbourne tribute appeared first on Guitar.com | All Things Guitar.

We can all fall prey to impulse from time to time, especially when under the influence. But for American blues songwriter and guitar legend Marcus King, a drunk spending spree happened to land him a Fender 1966 Esquire.

As the story goes, King picks up the phone to guitar shop Carter Vintage on the other end of the line. “Are you going to come and get this guitar?” He recalls them asking, in a new interview with Guitar World. 

• READ MORE: “Exploring the guitar more fully than ever before”: Jacob Collier’s forthcoming album is all about the acoustic guitar
  

King – who has worked with the likes of Rick Rubin and has played Rory Gallagher’s very own white Fender Tele – says he was completely drunk when he placed the order. And because of that, he had no recollection of buying it at the time. He confesses, though, that “It’s probably the only good thing that came of my drinking.”

Despite his purchase, King’s drunkenly purchases guitar probably doesn’t get much play time considering his sizeable instrument collection, which also includes piano, pedal steel, fiddle, banjo, ukulele. “When I’m at home, I don’t like to touch the guitar,” he says.

As for why he often chooses to play other instruments instead of the guitar, he says his skills with the six-string aren’t likely to diminish if he plays less.

“The guitar is something that I’m so familiar with,” he says. “It’s like riding a bike or speaking the English language. If I moved abroad and only spoke Spanish for six months, it’s not like I will forget how to speak English.

“Guitar is so deeply rooted in me. I like to play different instruments, and it helps my playing when I go back to the guitar. I read Victor Wooten’s book [The Music Lesson], and he harped on the importance of being a musician, not a bass player, and I have always been influenced by that idea. It’s a holy experience to be able to sit at a guitar and say exactly what I have on my mind.”

The post “Are you going to come and get this guitar?”: Blues legend Marcus King drunkenly purchased a rare guitar (and forgot he had done so) appeared first on Guitar.com | All Things Guitar.

Filmmaker Jim Jarmusch—one of the creative avatars of downtown New York cool since the mid ’80s—was asked a while back what he thought were some of the key innovations of the 20th century. “My answer was the mapping of the human genome, the Hubble Space Telescope, the French bikini, and the electric guitar,” recalls the director of such arthouse wonders as Mystery Train, Dead Man, and Only Lovers Left Alive. “My favorite of those might be the electric guitar. I just love guitars and musical noise.”

YouTube

Jarmusch isn’t just a fan of music ranging from the Stooges and Crazy Horse to heavy drone bands like Earth and Nadja. He generates guitar noise himself, most notably with his band Sqürl and his frequent duo partner, the Dutch lutenist Jozef van Wissem. Jarmusch has been making records and performing live with both for years now; his output with a guitar in hand has even lately outpaced his productivity behind a camera. Last year, he and his prime Sqürl mate, Carter Logan (drums/electronics), released Music for Man Ray, an album of their scores to Surrealist short films made by the titular artist in the 1920s, the whorls of sound captured live at the Centre Pompidou in Paris. That disc followed a 2023 Sqürl studio album, Silver Haze, with guest stars guitarist Marc Ribot, actress/vocalist Charlotte Gainsbourg, and the singer-songwriter Anika. Jarmusch and van Wissem toured this summer to herald a new record, The Day the Angels Cried, their fifth non-soundtrack release. Jarmusch has also been working on some longform solo guitar music, asking the recording engineer to “edit out all the riffs” as he follows a dream-logic muse.

“You have to be listening and use your whole body along with your instrument, your amps, your effects. But what you’re going to produce isn’t certain, and there’s tension in that.”—Jim Jarmusch

Although he had played in bands during the early ’80s, mostly on keyboards, Jarmusch took up the guitar as a passion in the early 2000s. He had planned for his pensive noir The Limits of Control (2009) to feature preexisting music rather than a purpose-written score, including viscous art-metal by Boris, Sunn O))), and Earth, the tolling psychedelic rock of the Black Angels’ “You on the Run,” and a handful of flamenco pieces to suit the Spanish setting. But when he couldn’t find the right tracks to match some elemental sounds he heard in his head for a few remaining scenes, Jarmusch decided to make that music himself, alongside Logan and engineer-organist Shane Stoneback. Credited as Bad Rabbit on the soundtrack, the name morphed into Sqürl as Jarmusch and Logan released further recordings, such as the luminous, affecting Some Music for Robby Müller (a sonic tribute to the late, great cinematographer).

“I’m not a trained guitar player—never even had a real lesson,” explains Jarmusch, 72. “I play my own way. I don’t practice scales, but something I have practiced for many years is controlled feedback. If I can say anything, it’s that I’ve become pretty good at that kind of musical feedback on electric guitar, something I do a lot in the duo with Jozef. I have had some pointers in this area, particularly from Stephen O’Malley from Sunn O))) and Stewart Hurwood, one of Lou Reed’s guitar techs. But the thing about feedback is that you’re not always totally in control of it. You don’t know exactly how the guitar and pickups are going to react vis-à-vis what distance you are from the amplifiers and how their levels are set. So, you have to be listening and use your whole body along with your instrument, your amps, your effects. But what you’re going to produce isn’t certain, and there’s tension in that. I’m always interested in the challenge of being a little off-balance—it inspires me. I’m not so good at repeating a formula, as I’m not mathematical in that way. When playing more rock ’n’ roll guitar with Sqürl, I can even sort of frustrate Carter at times, because he’s a precise drummer and my approach is on the loose side.

Primal Sounds, Old Wood

When it comes to his ethos of guitar, clues come from the two documentaries Jarmusch has made: the exciting, insightful Stooges history Gimme Danger (2016) and the lo-fi road document Year of the Horse, which Neil Young called “a nature film” of his 1996 tour with Crazy Horse. “I’m definitely not into shredding, even if you can admire the technical mastery of someone like Eddie Van Halen,” Jarmusch says. “I’m a Ron Asheton guy—in the more primal camp. I really like Neil’s raw style. I’m drawn to players who approach the instrument from an odd slant.” He points to Ribot, Link Wray, Robert Quine, and Rowland S. Howard of the Birthday Party as other individualists he finds inspiring, along with Earth’s Dylan Carlson for “his beautiful sound and incredible control” at glacial tempos, and Pat Place of the Contortions and Bush Tetras, “who brought such a funky vibe to the post-punk and No Wave scene in New York.”

Jarmusch lights up at memories of witnessing Television live, calling the interplay of Tom Verlaine and Richard Lloyd “a beautiful revelation—this weaving of guitars that wasn’t necessarily blues-based. Their shows would just elevate me to the sky.” He also digs the live-wire, sui generis guitar weave of Ibrahim Ag Alhabib and his mates in the nomadic Saharan band Tinariwen, as well as the drone-metal pairing of O’Malley and Greg Anderson in Sunn O))) and the intrepid avant-rock of Sonic Youth’s Thurston Moore and Lee Ranaldo.

Jim Jarmusch’s Gear

Guitars

Fender Stratocaster modified by Rick Kelly with Seymour Duncan Quarter Pound pickups, Callaham bridge, and leather pickguard by Cindy Guitars

Rick Kelly T-style

Guild Starfire I Jet 90 with three P-90 pickups

Fender Ed O’Brien Stratocaster

Epiphone Casino

Epiphone ES-335

Fender Jaguar

Blueridge Dreadnought

Gibson L-1

Guild mahogany dreadnought 12-string acoustic

Gretsch Bobtail Roundneck Resonator G9220

1960 Silvertone Jupiter

Amplifiers

Vox AC15

Fender Pro Junior

Roland Jazz Chorus

Silvertone 1482

Vox Pathfinder 15R

Effects

EarthQuakerDevices Dispatch Master

EarthQuakerDevices Avalanche Run

EarthQuakerDevices Transmisser

EarthQuakerDevices Astral Destiny

EarthQuakerDevices Hizumitas

EarthQuakerDevices Spires

EarthQuakerDevices Special Cranker

EarthQuakerDevices Aqueduct

EarthQuakerDevices Rainbow Machine

EarthQuakerDevices Warden

EarthQuakerDevices Acapulco Gold

Death by Audio Echo Master

Gamechanger Audio Plus Sustain

Gamechanger Audio Plasma

Electro-Harmonix Deluxe Memory Man (vintage)

Electro-Harmonix Pitchfork

Electro-Harmonix 720 Looper

Electro-Harmonix Voodoo Lab Overdrive

Boss Super Overdrive SD-1

Boss Compression Sustainer CS-3

Boss Loop Station RC-3

Boss Space Echo RE-20

Boss Catalinbread Echorec

MXR Carbon Copy

Chase Bliss Mood

Chase Bliss Generation Loss

Kernom Moho Fuzz

Dunlop TS-1 Stereo Tremolo

TrueTone CS12

Death By Audio Raw Power

Strings

D’Addario .010s

Like some of his favorite players, Jarmusch’s go-to shop is Carmine Street Guitars in New York’s West Village, whose customers have also included Quine, Ribot, Lou Reed, Bill Frisell, Nels Cline, and Lenny Kaye. The proprietor, Rick Kelly, is a luthier whose specialty is creating guitars made out of rare, especially resonant 19th-century wood sourced from New York City buildings, including McSorley’s Ale House (established in 1854) and the roof of Jarmusch’s Bowery loft. He calls Kelly “my main guy—a real artisan and just fascinating to talk with about guitars, tonewoods, everything.” Kelly built Jarmusch a custom T-style (with a wide-range humbucker at the neck), along with modifying his longtime road guitar for Sqürl: a black Stratocaster, with Seymour Duncan Quarter Pound pickups and other touches. Jarmusch appreciates the store’s old-school, workshop vibe so much that he encouraged a documentarian friend of his, Ron Mann, to make a charmer of a film called Carmine Street Guitars, which features Jarmusch and many of the aforementioned players stopping in to talk about the shop’s instruments and try them out.

“Making a film is a complex process with a lot of equal talents all pulling together, yet I’m necessarily the captain of the ship, navigating an idea from my imagination onto the screen. But when I’m making music with other people, I’m in a conversation.”

Jarmusch’s other favored guitars include a Blueridge dreadnought and an Ed O’Brien signature model Stratocaster. “The Ed O’Brien Strat with that Fernandes Sustainer unit is an amazing guitar, kind of trippy,” he says. “Whenever I pull that thing out in my little studio, the instrument almost starts playing itself, like it just wants you to experiment with it.” For the squalling counterpoint he provides to van Wissem’s circular arpeggios, Jarmusch switches to a semi-hollow guitar. “I have a cool 335-style Epiphone from the 1990s that feeds back beautifully, sounding like a cello. I played it for almost all the past recordings where I used feedback a lot. But for my latest tour with Jozef, I have been using a Guild Starfire Jet that has three P-90 pickups. It’s kind of a beast, but I’m loving it, because it’s very good for controlled feedback.”

Analog Spirit, Drone Power

About Jarmusch’s romance with guitars, van Wissem says, “I guess it was sort of an accident that the guitar and music became a bigger and bigger focus for Jim, but I always had the idea that he really wanted to be a musician, in a way. He has definitely become a good guitarist now, having developed his own sound and approach over the years. He loves his pedals and playing wild electric stuff and feedback, but he likes playing acoustic, too. We can go from darkly beautiful, even elegant things to some pretty metal sounds, especially at the climax of these recent shows when I trade the amplified lute for a 12-string guitar, my Gretsch Electromatic.”

Jarmusch and van Wissem hit it off after meeting on the street in SoHo about 20 years ago. “We immediately discovered that we shared an enthusiasm for many of the same films and books, and music from Morton Feldman to Joy Division,” van Wissem recalls. “Jim is a cultural sponge—he takes everything in.” The two developed a synergistic association, performing around New York with their unique combination of instruments and making records often colored by van Wissem’s arcane, neo-gothic mythos. The lutenist, playing models made for him by Canadian luthier Michael Schreiner after Renaissance and Baroque examples, had already been recording his own minimalist, contemplative compositions solo, having eschewed a traditional route of playing the complex classical repertoire (despite a love for such Baroque lutenist-composers as Sylvius Leopold Weiss). The aim, van Wissem says, was to “dust off” the lute by putting its intimate tones in a new context, “to make it live in the now.” It was a path more in keeping with his punk-rock spirit, something the indie-minded Jarmusch could appreciate.

About Jarmusch’s romance with guitars, van Wissem says, “I guess it was sort of an accident that the guitar and music became a bigger and bigger focus for Jim, but I always had the idea that he really wanted to be a musician, in a way. He has definitely become a good guitarist now, having developed his own sound and approach over the years. He loves his pedals and playing wild electric stuff and feedback, but he likes playing acoustic, too. We can go from darkly beautiful, even elegant things to some pretty metal sounds, especially at the climax of these recent shows when I trade the amplified lute for a 12-string guitar, my Gretsch Electromatic.”

“David Lynch said that movies are the closest thing that humans make to dreams, and it’s true. A film is like a dream that you’re pulled into. But music is more like a kind of magic, even just listening to it. You supply your own imagination, your own feelings and associations.”

Jarmusch and van Wissem hit it off after meeting on the street in SoHo about 20 years ago. “We immediately discovered that we shared an enthusiasm for many of the same films and books, and music from Morton Feldman to Joy Division,” van Wissem recalls. “Jim is a cultural sponge—he takes everything in.” The two developed a synergistic association, performing around New York with their unique combination of instruments and making records often colored by van Wissem’s arcane, neo-gothic mythos. The lutenist, playing models made for him by Canadian luthier Michael Schreiner after Renaissance and Baroque examples, had already been recording his own minimalist, contemplative compositions solo, having eschewed a traditional route of playing the complex classical repertoire (despite a love for such Baroque lutenist-composers as Sylvius Leopold Weiss). The aim, van Wissem says, was to “dust off” the lute by putting its intimate tones in a new context, “to make it live in the now.” It was a path more in keeping with his punk-rock spirit, something the indie-minded Jarmusch could appreciate.

A milestone for the Jarmusch/van Wissem partnership came with the soundtrack for Only Lovers Left Alive (2013), the director’s most potent latter-day film. Although ostensibly a vampire movie, on a deeper level it’s about valuing the gifts of the past while also appreciating new possibilities ahead, despite the melancholy evanescence of this world. The score is a mosaic of Sqürl and van Wissem, with the lutenist composing the main themes—which earned him the soundtrack award at the Cannes Film Festival. It’s also the duo’s “hit,” the one crowds cheer from the first notes.

Reflecting on his various collaborations, Jarmusch says: “Making a film is a complex process with a lot of equal talents all pulling together, yet I’m necessarily the captain of the ship, navigating an idea from my imagination onto the screen. But when I’m making music with other people, I’m in a conversation. With Sqürl, I can lead things, or not. But in the duo with Jozef, he generally makes the decisions on structure, etc., which I’m then free to react to. I like that. Giving up control is good for me, and he has experience making his own records. He has always encouraged my musicality, and I trust him. Our interest in history and our sense of aesthetics align in many ways, even if our philosophies differ in some areas. I see Jozef as this Swedenborgian mystic in a way, whereas I’m a natural-phenomenological psychedelic atheist, I guess.”

Jarmusch and Van Wissem certainly share an appreciation for the timeless power of the drone. The pick of their albums, American Landscapes, comprises three droning tone poems created in 2022 to reflect the embattled state of the nation, like an alarm-cum-lament, with the lute tolling as the guitar growls at the moon. But all of the duo’s music-making taps into a hypnotic essence. “I’ll be playing one chord, arpeggiated, for a long time, circling around, and that repetition can put a listener into something like a trance,” Van Wissem explains. “On the lute, I’m playing Renaissance drones, essentially, alternating the bass line on two strings and improvising a melody on top, the drone staying the same with some variation in the melody. It’s basic, but that trance effect at a show means you go more inward. You let things go in the process, your daily disturbances, and when it’s over, you’re different somehow. I have the same experience when I go to a Sunn O))) concert.”

Due out this fall is Jarmusch’s first movie since 2019, Father, Mother, Sister, Brother, starring Charlotte Rampling, Cate Blanchett, Adam Driver, and Tom Waits. Jarmusch tells a story involving Waits that helps illustrate a difference for him between directing movies and making music: “Once, I was with Tom at his house, and he’s sitting at this old piano and writes a song as I’m sitting there. It just comes and then goes into the ether, like perfume. At the time, I had been working on a film for two fucking years, with longer to go, and he conjured up this wonderful piece of art in the moment. Making films doesn’t have that immediacy. David Lynch said that movies are the closest thing that humans make to dreams, and it’s true. A film is like a dream that you’re pulled into. But music is more like a kind of magic, even just listening to it. You supply your own imagination, your own feelings and associations. Filmmaking is something that I love to do and hope to keep doing. But music is in another realm. I think it’s the most beautiful thing that humans do.”

YouTube It

Here’s a flashback to Jarmusch and van Wissem earlier in their union, creating droning magic in Barcelona in 2013.

Last year, seven-time Grammy-winning multi-instrumentalist Jacob Collier wrapped up his sprawling Djesse album series, which spanned four records across seven years and saw collaborations with hundreds of artists.

The English music whizz would be forgiven for having a lengthy break from songwriting, but creativity seems to be the very lifeblood that courses through his veins, so we’re not all that surprised he’s already announced another record.

• READ MORE: Boss PX-1 Plugout FX review – “This is a pedal that could find a home in a lot of rigs”

Things will be a little different this time around though, in that the album – The Light For Days – will centre around just one instrument: the acoustic guitar.

Arriving 10 October, the LP is composed of six new original songs, as well as five handpicked covers of his longtime idols, including James Taylor, John Martyn, The Beatles and The Beach Boys.

While his Djesse series exerted a pressure for him to “outdo himself” every time and “continue exceeding the infinite possibilities, limitless capabilities and boundless expectations”, The Light For Days sees Collier “freeing himself to be himself in his rawest, purest form”.

The inspiration to begin writing the album came during a brief visit to his home city of London. While there, he explored his 5- and 10-string Taylor guitars “more fully than he ever had before”, including through alternate tunings like DAEAD.

But when it came time to record the album, the entire process was completed in just four days. Again, not that surprising for a musician of Collier’s calibre.

“Since completing the Djesse album series, my imagination has been brimming with all sorts of ideas of things I’d like to do and create,” Colliers says. 

“One of the things I’ve wanted to really focus on, and zone into, is the limitation of a single instrument. The acoustic-guitar sound world has been a foundational aspect of my music universe for as long as I can remember, and so I set myself the challenge of making a full-length album, using almost entirely the five-stringed guitar, in just four days. 

“As a result I had to work so fast that I couldn’t second-guess anything – I just had to roll with and trust the process. The results are warm, scrappy, imperfect, but very close to my heart.”

Jacob Collier is about to release the latest preview from the album, an original track named I know (A Little). You can watch that below when it drops at 5PM BST.

Check out the full tracklist for The Light For Days below:

1. You Can Close Your Eyes
2. Heaven (Butterflies)
3. Thom Thumb
4. Fairytale Lullaby
5. Norwegian Wood
6. Keep An Eye On Summer
7. I Know (A Little)
8. Where Did My Apple Fall?
9. Sweet Melody
10. Icarus
11. Something Heavy 

Jacob Collier is set to play a series of shows this autumn across South America, India, China, Australia and the US. Head to his website for a full list of dates, and to preorder The Light For Days.

The post “Exploring the guitar more fully than ever before”: Jacob Collier’s forthcoming album is all about the acoustic guitar appeared first on Guitar.com | All Things Guitar.

Interest in small-bodied parlor guitars—precursors to the bulky modern dreadnought—is skyrocketing. Learn all about these guitars, why players love them, and which model could be right for you.

PRS Guitars has revived its Mira model, which has returned to its Maryland factory line with new appointments, as a regular offering in its S2 Series.

This new S2 Mira 594 offers a 24.594” scale length and comes in both gloss and satin finishes. The model has evolved through many different variations across the years since its 2007 launch, but PRS now says it’s finally found its “true voice”.

• READ MORE: PRS SE NF 53 review: “it might look like PRS’s Telecaster, but this is its own guitar”

The original 2007 model was an all-mahogany pickguard guitar with moon inlays, 24 frets, a 25” scale length, a stoptail bridge, and a single mini-toggle. It has appeared across all of the Series from PRS and in various configurations, including the popular Mira X.

In 2013, the Mira was moved from its Core line and was one of three models to launch the S2 Series, which stands for “Stevensville 2” – a nod to the second manufacturing line it started up at its Stevensville, Maryland factory. It was last offered as an S2 in 2018, becoming part of the SE Series from 2020-2023.

Digging into its history, PRS explains: “The flat-top, all-mahogany Mira was designed for the player looking for a simple rock ‘n’ roll guitar with all the quality and intonation PRS is known for.

“The model went from design to production in a record six weeks, with a body shape adapted from the Santana [signature model], though with some notable changes to the horns and roundness of the lower bout. Overall, the Mira aimed to appeal to the modern guitarist while still honouring a retro vibe.”

The 22-fret S2 Mira 594 pairs all-mahogany construction with PRS 58/15 LT vintage-voiced pickups for a warm and focused midrange. The humbuckers are paired with two mini-toggle switches so you can individually tap the pickups for both authentic humbucking and “chimey” single-coil sounds.

The S2 Mira 594 is available in Antique White, Black, Dark Cherry Sunburst, Platinum Metallic, Vintage Cherry, and debut colour Black Rainbow Holoflake. The Satin version (offering the PRS “sinky” satin nitro finish), is available in Matcha Green, Mavis Mint Metallic, Metallic Midnight, Dark Cherry Sunburst, Red Apple Metallic, and debut colour Cloud Burst.

“The Mira has had an interesting history over the course of the last 17 years, but I don’t think it found its true voice until now,” comments PRS Guitars Director of Sales, Jim Cullen. “The S2 Mira 594 combines our 24.594” scale length with a Pattern Thin neck shape and a very simple and straight forward feature set that provides an incredibly lively, simple-to-use tool to create music. I hope you are as inspired as we are with the newest evolution of this classic model.”

The PRS S2 Mira 594 is available now for £1,699. Find out more via PRS Guitars.

The post PRS Guitars says the Mira has finally found its “true voice” as it’s relaunched as an S2 model appeared first on Guitar.com | All Things Guitar.

Les Claypool has looked back on his high school years with Metallica’s Kirk Hammett, and how he even joined his band as a singer.

As a teen, Claypool used to jam with Hammett, but chickened out of his band when he felt his vocals were a little croaky. He then was coaxed by another student who needed a bass player, which was a role he fell into somewhat easily, partly in thanks to the lack of bassists around due to the mass obsession with Eddie Van Halen’s guitar wizardry at the time.

• READ MORE: Les Claypool says Kirk Hammett was like “Tommy Chong” in high school: “He’s like, ‘Man, I know the three key elements to success: sex, drugs and rock ’n’ roll’”

In an interview with YouTube’s music mastermind, Rick Beato, the Primus frontman recalls: “[Hammett] actually tried to get me to sing for his band. We had algebra together, and he sat behind me in algebra, and he would always go, ‘Hey, Claypool. Hey, Claypool, check it out, man.’

“I still, to this day, remember this ad. It was the ad for a Stratocaster where the guy’s holding it, and he’s going, ‘It’s a rock machine,’ and the guy behind him is going, ‘No, it’s a country machine…’ [Hammett’s] like, ‘Here’s my guitar, Claypool, man. It’s the one I’m getting.’”

As Claypool would always be sitting around and singing along to bands like Led Zeppelin, Hammett decided he’d make a great singer for his band and gave him some cassettes so he could learn a few tracks for an audition, including Cream’s Sunshine Of Your Love.

“But also on there was Hendrix. I’d never heard Hendrix before. I was 14 or whatever so he turned me on to Hendrix and all these different things. But I chickened out. Back then I was total Bobby Brady, you know, croaking and cracking. But I met this other guy that needed a bass player,” he says.

Claypool’s dad helped him pick out his first ever bass: “We got a brand new P Bass copy Memphis. I got this thing, and I had to pull weeds all summer to pay for it, but then I was instantly in a band because nobody wanted to play bass back then. Everybody wanted to be Eddie Van Halen, so bass players were a very rare commodity.”

Of his bond with Hammett, he later adds, “I didn’t find out till years later that he was kind of pissed at me for bailing on his thing to go play bass in this other band.”

You can watch the full interview below:

The post “Everybody wanted to be Eddie Van Halen, so bass players were a rare commodity”: Why Les Claypool chickened out of Kirk Hammett’s high school band – and found bass along the way appeared first on Guitar.com | All Things Guitar.

£199/$249, boss.info

Everyone loves Boss pedals, don’t they? But over the last 50 years, the Japanese pedal giant has produced an almost countless number of funny little boxes, and many of them are now discontinued, and either hard to find, prohibitively expensive, or both.

• READ MORE: Crazy Tube Circuits Venus review – ”Crazy Tube Circuits may well have created a masterpiece”

Enter then, the Boss PX-1 Plugout FX – a brand new and very Boss-y take on the concept of a multi-effects unit that promises to act as an archive of some of the most iconic, missed and hard to find compact pedals the brand has ever made.

It’s also a pedal that has provoked more online opprobrium than any other Boss product in the company’s long history… so what gives? Well…

Image: Adam Gasson

Boss PX-1 Plugout FX – what is it?

Well, the clue is very much in the name. For the last year or so, through its Roland Cloud service, Boss has been making plugin versions of its most iconic effects for use in the box with your preferred DAW or software guitar amp and effects platform. The Plugout takes a bunch of these plugins and quite literally lets them out of the box, and enables their use as part of any normal effects chain. Plugin > Plugout… geddit?

The plugins offered at launch run the gamut of the stone cold classics – such as the DS-1, SD-1 and CS-1 – and out-of-production gems like the CE-2, OD-1, OC-2, VB-2 and DD-2. Then there’s the ‘weird shit’ – hard to find curios from the Boss annals like the SG-1 Slow Gear and DF-2 Super Feedbacker & Distortion and the SP-1 Spectrum Equalizer.

You get 16 plugins included at launch, but that won’t be the case for long. Boss is planning to add many more plugins to the selection, starting with the OD-2, DM-2 and DC-2 in January 2026. There is a catch, however – only those first 16 are ‘free’. While you can audition any of the new effects gratis (every 30 seconds the audio will drop briefly in this demo mode), they’ll cost $9.99 each to download and keep forever.

Now, this facet is by SOME DISTANCE the main thing that people – particularly the sort of guitar YouTubers who seem to be permanently outraged – have really zeroed in on. I think there’s some valid discussion to be had about all this, but I think it’s best covered at the end of this review.

One thing that should be made clear however is that you do NOT need to have a subscription to run this pedal – as some have erroneously suggested. After you’ve created the free Roland account, those 16 models are yours to load onto the pedal forever, and once they’re on there, they’re on there. Creating the account gives you a lifetime license to use the plugins on your PX-1, even if you don’t ‘own’ it in the most traditional sense – given that we all merrily click ‘accept’ on much more restrictive software licenses every day, I don’t know if it’s really worth getting that worked up about.

Image: Adam Gasson

Boss PX-1 Plugout FX – build quality and usability

If the two things most likely to survive a nuclear apocalypse are Keith Richards and cockroaches, then you can probably slot the venerable Boss Compact Pedal in as a respectable third. There’s a reason the design has barely changed in nearly 50 years – it’s simple, functional and absolutely bomb-proof. And the best compliment I can give the PX-1 is that despite its clearly very high-tech innards, in hand this feels just as reliable and reassuring and familiar as any other Boss pedal I’ve picked up in the last few decades.

There are differences of course – lord knows my DS-1 never had a USB-C port or a MIDI clock input – but they’re all discrete and don’t detract from the inherent functionality of the thing. Even the new screen above the footswitch feels suitably rugged – I reckon you could drop a fair few heavy things on this screen and it wouldn’t bat an eyelid. Pretty sure the good folks at Boss wouldn’t appreciate me testing this out with my review loaner, and I’d avoid trying it at home, too. Still, it feels reassuring!

If you’re anything like me, the words ‘companion app’ in relation to any guitar product is enough to send a chill down your spine. When they work, they can create a truly enhanced and seamless experience. When they don’t, it can ruin the whole damn thing – especially if some boffin has decided that huge amounts of functionality is hidden inside.

You can load 16 effects onto the PX-1 – eight permanently installed “1” models that come pre-loaded, but if you want to add the further eight effects that are available for free at launch, you’ll have to download the app and sign up for a Roland account. This is how they get you, friends.

Begrudgingly, then, I download Boss’s Effect Loader app onto my iPhone and begin the process of pairing it with the PX-1. My hackles were at half mast at this point, because the process is not exactly intuitive out the gate – reaching for the manual before you’ve even plugged in is often not a good sign. But there’s actually a quite sensible reason for this.

Image: Adam Gasson

Unlike most modern Bluetooth products, the PX-1 doesn’t have it on all the time, you have to navigate through the menu using the three clickable knobs on the pedal to turn it on, and then connect via the app.

Once you’ve done this, it takes a few seconds to connect and then you’re presented with a screen of your available pedals – tap on said pedal, and you get the option to send it to the PX-1. A progress bar appears on both the pedal and the app, and about 90 seconds later you’re good to go. You’ll stay connected to the app until you start fiddling with the pedal itself, at which point you’ll be prompted to disconnect.

This ‘not always on’ approach is a little unusual for sure, but it kinda makes sense – why would you want something emitting a wireless signal on your perfectly crafted and isolated pedalboard unless you needed it? And the good news is that after you’ve loaded on your effects of choice, you don’t. Unless you wish to upload a different pedal to one of the user slots, you need never think about the Effect Loader app again if you so wish – and that’s the sort of companion app I can get behind.

You can also use the app to download the latest firmware for the pedal, though you can’t do that via Bluetooth. Again, the process is a little unwieldy – but effective! First you have to connect your phone to the pedal via a suitable cable, and then you have to restart the pedal while holding down the footswitch to enter update mode. If this all is starting to sound a bit too much like the sort of thing that made me stop using PCs, I’m right there with you – but don’t fret. Yes, the update process is a bit fiddly and weird – but it works. Quickly, efficiently, and consistently – I will take that all day long over less Heath Robinson methods that don’t.

With the pedal set up and updated, we wave goodbye to the app and hook it up – you have stereo in and outs here, but handily it’s all powered by a standard 9V DC barrel jack. Boss forever insists that you should only use its PSU (which is included) but realistically, nobody’s paid any attention to that since about 2001.

That expression pedal control widens the usability too – either you can set it up with a footswitch and use it to swap between two effects on the fly, or you can hook it up to an expression pedal and use that to control the sweep of any of the controls on your selected effect. You couldn’t do that with my DS-1 either.

Image: Adam Gasson

Boss PX-1 Plugout FX – sounds

I shan’t waste your time talking too much about the DS-1 and SD-1 – anyone who has ever been in a guitar shop knows exactly what these two most ubiquitous Boss dirt pedals sound like, and the PX-1 does an exceptionally faithful job of recreating them. My question is why do they even need to be part of the preinstalled launch lineup in the first place? Nobody is spending $250 to get the authentic sound of a $70 pedal are they?

At the other end of the rareness scale, Boss pedal tragics will have noticed that among the stompboxes included in the PX-1 are the first three Boss compacts ever made 48-ish years ago – the OD-1, SP-1 and PH-1. That seems like as sensible a place as any to really kick things off, and what a lovely place to begin the OD-1 is. It’s thick, meaty and ragged in the best kind of way, and has real punch and bite when you add some swarthy humbuckers to the mix.

The SP-1 is er… well it’s a single-band parametric EQ, and while it does a nice job of cleaning up muddier sounds, I wouldn’t call its inclusion here a deal-maker despite it being one of the rarest early Boss pedals out there. The PH-1 is a much more enjoyable affair, offering a quite polite and classic phaser sound with plenty of low-end depth without ever getting too wiggy.

The CS-1 compressor really is a reminder of how punchy those early pedal compressors were – this isn’t a modern transparent effect but a powerful vice-like clamp on your signal that adds punch and panache but only in the right environment. It’s a sound that, ironically, would pair sublimely with the majesty of the CE-2 – it’s lush and deep and sumptuous in the way that classic 80s Boss chorus pedals always have been.

Image: Adam Gasson

The Slow Gear is one of those pedals that has become part of guitar folklore, because it’s both extremely rare and pretty unique. Unlike, say, the SP-1, having the chance to spend some time with it here makes you realise why it’s so sought after. The volume swell effect sounds great and is very unique – exactly the sort of thing the PX-1 should have more of.

The OC-2 remains a marvel of accurate octave tracking given its age, while the warm wobble of the VB-2 is as compelling now as it ever was.

The surprise favourite for me was the PS-2 Digital Pitch Shifter/Delay – with eight-bit processing and a truly mad blend of delay and pitch shifting, it’s a very quick route to surprising Jack White wig-outs.

The DF-2 is another pedal that really rams home the fun part of the PX-1 – the tactile sense of actually experiencing these pedals in their original compact pedal form. Holding down on the footswitch to force your notes to bloom into wonderfully controlled feedback would be much less interesting in a pedal that wasn’t shaped exactly like a Boss compact.

Time and again, the prevailing sense is not just that these pedals sound really good – as good as the originals to my ears – but that the experience of using them is authentic, too, and that might be the true killer app of the PX-1.

Image: Adam Gasson

Boss PX-1 Plugout FX – should I buy one?

Okay, let’s get into it. If we’re comparing compact multi-effects units, the PX-1 is under-gunned compared to some of its competition. For $50 more, the Line 6 HX One unquestionably does a much more comprehensive job, with hundreds of onboard effects straight out of the box. And look, if that’s what you want, I cannot stress enough that you should buy the HX One.

The existence of the Plugout FX doesn’t stop anyone from doing that, and I would imagine the folks at Boss would similarly suggest that they already make plenty of multi-effects units – the purpose of the PX-1 is very different.

Because if all any of us wanted was the maximum amount of sounds in the smallest possible footprint, individual stompboxes would have gone the way of the buffalo about 30 years ago, and multi-effects would be the only flavour of floor-based soundscaping we could buy.

But guitarists are weird. Many of us don’t want all that – for some, option paralysis is the very enemy of creativity. For them, the stripped back simplicity and WYSIWYG usability of the PX-1 is the closest they’ll ever come to wanting a multi-effects on their board.

The thornier issue is one of the extra costs. Some will say that when you’ve spent $250 on a pedal, you shouldn’t then be asked to fork out all over again for added extras. I don’t think people are wrong for feeling that way, especially because of the precedent that it potentially sets – do we really want to live in a world where the microtransactional hellscape of modern gaming is transported over to our pedalboards?

But Boss is at pains to point out that these extra effects aren’t sitting on the PX-1 waiting to be unlocked – you’ll have to physically download the algorithm from the cloud to use it. In that regard it’s probably sensible to think of it less like a microtransaction and more like DLC – you’re paying to get something substantial, not the guitar equivalent of horse armour.

For some, this is still a step too far, and I get it – I do. But I would also remind people that Boss hasn’t pulled this idea out of nowhere. Who remembers the DigiTech iStomp? You probably don’t, because for all the ‘potential game-changer’ chat when it launched in 2012, it never really caught on, in no small part because guitarists did not want to pay for virtual pedals that they could load onto a stompbox one at a time.

There’s also more modern takes on the ‘plugins but in a pedal’ concept like the Chaos Audio Stratus or the MOD Dwarf – they’ve found their own dedicated communities without the guitar world slipping off its axis, and I imagine it’ll be a similar situation for the PX-1.

Because ultimately, without wishing to sound like a turbo-capitalist, the market will decide if this is a good idea or not. If people buy the pedal and keep buying plugins for it, Boss will likely keep adding new pedals, and expanding the PX family to support that. If they don’t, well at least you’ll always have those 16 launch pedals.

For those complaining that there are only 16 pedals included in this thing, however, I would point you to Reverb to have a look at how much say, an original Slow Gear or SP-1 will set you back. The PX-1 is a way to experience these pedals, even the weirdos, in a way that is much more accessible and affordable.

But this isn’t to say that the launch Plugout FX is without its shortcomings. I understand why Boss wanted to make the launch proposition of the initial 16 effects cover a broad gamut of classics, rarities and staples… but the lack of any reverb is very frustrating – my kingdom for an RV-3! There’s also the question of where it goes in your rig. This is the issue with a lot of these jack-of-all-trades stompboxes, but it feels even more so with the PX-1. Without hooking it up to an effects switcher, you’re forced into compromises in terms of signal chain. After all, you’re unlikely to want your OD-1 in the same place in the chain as your DD-2, are you?

That for me would be a bigger deal-breaker than any of the angry shouting online – and one that is ultimately exacerbated by the small selection of effects on offer at launch. But if you can accept that there will be compromises in that regard, the Plugout FX really does seem like a pedal that could find a home in a lot of rigs. Putting aside the online noise and taking it on its own merits, the PX-1 is a fun pedal with bags of potential to be a living repository of the rarest, weirdest and most interesting Boss pedals of the last five decades. Everyone should have at least one Boss pedal on their pedalboard, and this might be it.

Boss PX-1 Plugout FX – alternatives

The biggest direct competitor for the PX-1 probably comes in the shape of TC Electronic’s Plethora X1 ($151/£129). It offers 14 different effects types in one compact box, but unlike the PX-1 you can use two at the same time. The elephant in the room here is, of course, Line 6’s HX One ($299/£219) – which offers 250 Helix-level high-end sounds in one box. If you want lots of sounds in one pedal, that is very much the option du jour. The king of the high-end mini-multis is probably Eventide’s H9 Max ($599/£529) – it’s not cheap, but with over 50 of Eventide’s best and brightest on board, it’s hard to beat in terms of pure sound quality.

The post Boss PX-1 Plugout FX review – “This is a pedal that could find a home in a lot of rigs” appeared first on Guitar.com | All Things Guitar.

Ever fancied getting a Gretsch White Falcon or Nashville G6120 for a fraction of the price? Well, you’re in luck. Gretsch has just unveiled a revival of its Synchromatic range, with two new hollowbody models – the Synchromatic Falcon and the Synchromatic Nashville.

While there are slight variations – namely the scale, with the Nashville being 24.6” as opposed to the Falcon’s 25.5”, and the headstocks – the pair of Synchromatic models are relatively similar. Both boast 2.5” deep laminated maple bodies, with a semi-arc bracing design. The pair also have a C-shaped maple neck, with a 12” radius ebony fingerboard with pearloid Neo-Classic thumbnail inlays.

• READ MORE: Five times the Hives were the best band in the world (according to the Hives)

Both guitars are kitted out with versatile volume and tone controls to tweak your treble bleed and master tone. There’s also individual pickup volume knobs for the bridge and neck, as well as a three-position toggle switch. There’s also a Bigsby B60V Vibrato tailpiece, Hi-Fidelity Filter’Tron pickups and a bone nut.

Each model is also very easy on the eye – the Synchromatic Falcon comes in Snowcrest White and Black, while the Synchromatic Nashville is available in 50’s Orange Stain and Cadillac Green. All the hardware is gold, too, which looks pretty classy.

Credit: Gretsch

The Synchromatic range hasn’t seen any updates in quite a while, with models like the Gretsch G100CE Synchromatic serving as a great example of how strong these affordable electro-acoustic models can be. It’s great to see Gretsch yet again shooting for that premium feel at a fraction of the price.

Credit: Gretsch

Of course, the Synchromatic range certainly looks up to scratch – but it also sounds pretty strong. A video showing the hollow bodies in action could be the final nudge you need to cop yourself a Synchromatic.

In terms of pricing, the Synchromatic Falcon is £1299, while the Nashville model is a slightly cheaper £1149. All models come with a hardshell case, too.

For more information, head to Gretsch.

The post Gretsch’s Synchromatic reimagines the White Falcon and Nashville G6120 at an affordable price appeared first on Guitar.com | All Things Guitar.

No matter how big they get, every rockstar has their own guitar heroes. Alice In Chains’ Jerry Cantrell has recently shared his own selection legendary guitarists that continue to fill him with awe.

In a new interview on KLOS radio show Whiplash with Full Metal Jackie, the frontman was asked to list his greatest guitar influences – a question that instantly overwhelms him. “Oh, God – there’s just too many to to single out…” he says.

He goes on to namedrop a slew of guitarists he “grew up listening to”, including Davey Johnstone (known for his work with Elton John), Fleetwood Mac’s Lindsey Buckingham, AC/DC’s Malcolm and Angus Young, Black Sabbath’s Tony Iommi, Led Zeppelin’s Jimmy Page, ZZ Top’s Billy Gibbons… the list goes on.

• READ MORE: Five times the Hives were the best band in the world (according to the Hives)

“I can go down the list!” he insists. “Even Ted Nugent… or Boston’s Tom Scholz, for that matter! I’ve taken a little piece from anything that inspires me or makes me feel good. Any song that I keep coming back to, or album that I still love listening to.”

In Cantrell’s opinion, every guitarist has something unique to offer. Tonally, everyone will have their own inimitable flavour. “Tone’s a really unusual thing, because you can line up 50 guys with the same guitar on the same amp, plug them in, and they’re all gonna sound a little bit different,” he explains.

“It’s the relationship between the flesh, the wood and the metal, with the electricity running through it. It’s the soul of the individual flowing through it. So it’s unique, and it’s like a fingerprint. It’s unique to them.”

“So… it’s hard to really boil it down to who maybe influenced me the most,” he continues. “There’s standouts that are just like aliens to me. [Jimi] Hendrix was one. Eddie Van Halen is another. I think Randy Rhoads might qualify as an otherworldly being!”

Rather than trying to capture the exact sound of another artist, Cantrell hopes his own sonic “fingerprint” can inspire others. “I wanna make something that makes somebody else feel,” he says. “[I want] somebody to hear my music and feel how I felt when I was a kid. [Make them] want to become a musician and make music.”

The post “They’re just like aliens to me”: Jerry Cantrell on the legendary guitarists who have influenced him most appeared first on Guitar.com | All Things Guitar.

Since its initial release in 2019, MOOER’s critically acclaimed GE150 has seen several significant improvements, including through the GE150 Pro and the more recently announced GE150 Plus. However, the latest addition to the series, the GE150 Max, includes some of the most impactful additions to the series so far, all while staying true to the device’s existing functionality.

For existing GE150 users, the first thing they will notice is that, rather than having just two multi-functioning footswitches as with the original, the GE150 Max includes 8. Four of these footswitches are dedicated to switching between the four presets of each bank, whereas a further two are used to switch between banks. This is in contrast to other MOOER multi-effects pedals, where pressing two preset switches would typically shift the banks, with the new system making bank changes more accessible during a performance.

The remaining two footswitches are used to activate the tuner function, the 80-second looper system, and to determine the universal tap tempo. Despite these control mechanism changes, the GE150 Max has retained its predecessor's range of preloaded tones and effects. 50 preset banks are provided, each with 4 presets, totalling 200 customizable slots.

Many different models of delay, reverb, and modulation effects can be applied to these slots, but most importantly, the device comes with 55 preamp models, each of which is based on nonlinear modeling technology, helping to produce realistic emulations of classic amplifier tones. However, users are not limited to these tones, as the GE150 Max also supports MOOER's MNRS amp sampling system, in addition to third-party IR files for cabinet emulations, allowing users to greatly expand the device's tones through uploading their own.

To visualize the tones and effects that are currently loaded, the device is fitted with a 3.5" LCD color display, providing real-time visual feedback on the effect chain and each module's parameters. To edit these, the "Select" and "Mode" dials can be used, enabling guitarists to quickly create their own effects chains and then save them. Interestingly, the effect chains also support MOOER's new CTRL function, which enables users to map single effect modules to footswitches, facilitating more granular real-time control over the chain.

As with the original GE150, the Max edition sports an integrated expression pedal that can be mapped to tone and effect parameters, as well as output volume, adding yet another control mechanism for live expression. Interestingly, though, the Max has been augmented by the new "SPILL-OVER" function. Essentially, this ensures that delay and reverb effect tails will fade out naturally when switching presets, making smoother and more natural transitions possible in a live setting.

In terms of the internal drum machine and looper, MOOER has stuck to the successful formula of the original GE150. 80 seconds of looping time allow for creative improvisations and loop-based compositions, and a 40-style drum machine is also provided, complete with 10 metronomes. The previously mentioned "Tap" footswitch can be used to accurately determine the BPM of these features in real-time.

Aside from the GE150 Max's internal features, it also boasts an impressive upgrade on its audio output options. Most notably, in addition to the expected 1/4" stereo outputs, it is also fitted with a stereo balanced XLR output. Guitarists can choose this output option to shield their output from signal degradation and distortion over long-distance cables, guaranteeing a cleaner, more stable, and generally more professional live output than was previously possible.

As if this weren't enough, an Aux In port is also provided for connecting to smartphones or external audio players, allowing guitarists to jam along to their favorite backing tracks or rehearse their band's material. The device's USB port can even be used for OTG recording into a mobile device, as well as for the management of presets, sample files, and firmware through a PC. Combining this versatile selection of audio routing options with the GE150 Max’s upgraded functionality, guitarists truly have everything they need for professional-grade live performance, all within a light-weight and compact package.

Product Features

• 8 multi-purpose footswitches
• 3.5" LCD color display
• 200 preset slots across 50 banks of 4 presets
• 55 preamp models, made possible through intelligent nonlinear sample technology
• Amplifier and cabinet modules support MNRS sampling files
• Cabinet simulations support third-party IRs
• Parameter-mappable expression pedal
• CTRL function, allowing footswitches to be mapped to toggle individual modules within an effect chain preset
• Tap-tempo footswitch
• “Spill-over” functionality for smooth reverb and delay transitions during preset switches
• Built-in 80-second stereo looper
• Integrated drum machine with 40 drum patterns and 10 metronome modes
• Mono ¼” inputs and outputs
• XLR balanced output, ideal for the prevention of signal degradation over long-distance live audio routing
• Aux input port for external audio playback
• USB-C port for tone editing, recording, firmware updates, and mobile device connectivity (via OTG)

The GE150 Max will be available from the official distributors and retailers worldwide on 10th September 2025.

Following the success of the original GE150 pedal, MOOER is excited to introduce the new GE150 Plus, a new multi-effects and amp-modelling pedal. The device has been upgraded to offer guitarists advanced functionality, greater performance flexibility, and enhanced sonic quality through the new GE series design language and user interface.

First and foremost, the GE150 Plus provides memory for up to 198 preset patches, giving users a comprehensive range of tonal possibilities for various musical styles. Presets can be crafted through effects such as reverb, modulation, and dynamic enhancements, and most importantly, 55 precise preamp models developed using MOOER’s intelligent nonlinear sample technology. This enables the pedal to accurately reproduce the unique tonal characteristics and dynamic response of classic amplifiers, further enhanced by the device’s amplifier and cabinet modules. Both amps and cabs allow for loading MOOER’s MNRS sampling files, while the cabinet simulations also support third-party impulse response (IR), further expanding the device’s flexibility.

Another particularly impressive new feature of the GE150 Plus is the “spill-over” function, which enables delay and reverb effects to fade naturally when switching between presets–a feature that was missing from the original GE150. Ultimately, this ensures smooth, uninterrupted performance when making sonic changes during live performances.

As with past editions of the GE150, the pedal includes a convenient and intuitively designed 80-second stereo looper. This can be used in combination with the GE150 Plus’ groove station, which includes 40 integrated drum patterns alongside 10 metronome modes. All of these features are controlled effortlessly through three multi-purpose footswitches, bringing all manner of creative purposes for both live looping and rhythmic practice. An expression pedal is also built into the device, giving guitarists further dynamic control over parameters in their effects chain.

Compared to the original GE150, the GE150 Plus has USB connectivity that is significantly enhanced. Through USB-C, the pedal can be easily integrated with MOOER’s PC software for preset editing, as well as for data management, firmware updates, and mobile device audio recording through an OTG cable. An aux input port further expands practice possibilities by enabling external audio sources like smartphones, software, or other hardware to be used as a backing track.

Following MOOER’s recent trend of producing fully portable products for musicians on the move, the GE150 Plus is available in two distinct editions, one of which is battery-powered. The standard model offers reliable mains-powered operation, while the GE150 Plus Li version also incorporates an integrated lithium battery, providing approximately 9 hours of continuous use. Additionally, the GE150 Plus Li comes with an exclusive black finish. Overall, the GE150 Plus continues MOOER’s commitment to delivering powerful, versatile, and travel-friendly solutions, making it an essential upgrade within the critically acclaimed GE series.

Product Features

• Up to 198 preset patches
• 55 preamp models, made possible through intelligent nonlinear sample technology
• Amplifier and cabinet modules support MNRS sampling files
• Cabinet simulations support third-party IRs
• Three multi-purpose footswitches
• Parameter-mappable expression pedal
• “Spill-over” functionality for smooth transitions between effect tails
• Built-in 80-second stereo looper
• Integrated drum machine with 40 drum patterns and 10 metronome modes
• USB-C port for tone editing, recording, firmware updates, and mobile device connectivity (via OTG)
• Aux input port for external audio playback
• Compact, lightweight, and travel-friendly design
• Available in standard (white) and lithium battery-powered Li version (black)

If you’ve owned a tube amp for pretty much any amount of time, you’ve been there: Your amp starts making noise—probably at the worst possible moment, whether onstage, in the studio, at rehearsal, or when you just really want to play—and you don’t know what to do. Maybe you keep it cool, but maybe you panic: Is my amp broken for good? Is this going to cost me hundreds of dollars? Fortunately, there are a few basic things you can check before you call your amp tech in a frenzy.

Ultimately, an all-tube guitar amp is actually a very durable device. But it’s important to remember that these amps need maintenance and have parts that are going to need to be replaced over the course of their lives—and tubes are the most likely place to check when you’re having a problem.

Many vacuum tubes are “military grade,” which means they can withstand shock, vibration, humidity, temperature, and many other harsh conditions. That doesn’t mean they are fail-proof, though. So, when your amp is making noise, here are some ways to check out your tubes.

Look

Do a visual inspection. Are your amp’s tubes bright and shiny, or do they look weathered and dirty? If they look old, they may be old. This doesn’t have to be a sign of something wrong, but tubes wear out like lightbulbs—they work until they don’t. I usually say power tubes have a two- to five-year lifespan (for professionals, it’s more like six months to two years). Preamp tubes have more like a five- to 20-year life. They can function longer but start to get problematic before they just die.

Look at what’s going on inside. Is the clear part of the glass still clear? If there is a smoky look on the inside of the glass, that is a sign of heavy wear. Look at the shiny mirror-looking part; that is the getter flashing. It should look bright, though sometimes there is a little fuzziness along the edges. If it is getting smoky, then the tube is tired. And if it has gone completely white, the tube is toast.

The last visual is best done in darkness. Look for the heater element inside. It is a wire in the very center of the tube structure that glows red when operating. Don’t worry about what shape it is, how much you can see it, or if it looks exactly like the other tubes. If it is glowing, it’s good; if it is dark in there, it’s toast.

Listen

Let’s move on to audible diagnostics. The amp works but is making extraneous noises. The first thing to do is unplug the guitar cable from the input of the amp, so nothing is plugged in, the amp is fully on, and the tone controls, volume, and master (if applicable) are full on. What noises do you hear? If it is silent with a tiny little bit of background noise, that is as good as a guitar amp gets.

Are you hearing an electronic, almost morse-code sound? A common modern problem is RF (radio frequency) noise from routers, cell phones, and transmission towers. It is not the amp and there is nothing to fix, but if you try moving the amp around the room or building, you may find a quieter place.

Is the amp making a constant “shhhhh” sound? Does it get louder if you turn the volume knob up? That is thermionic emission, the noise of electrons flowing. It is a byproduct of gain. Low-gain amps have less, and high-gain amps suffer greatly. Some tubes can add to this, so if you replace the first couple tubes in the signal path and it helps drop the noise floor, then keep the noisy ones for less critical positions.

Is the amp sitting there doing the snap-crackle-and-pop thing? This can be a tube issue, but most of the time it is a component issue inside. If you have a known good tube, you can replace the tubes one at a time, seeing if the noise changes. If you find that it was a tube, that tube is toast, so don’t use it as a spare.

Now, let’s talk about microphonics. Because of the amount of gain we have in guitar amps, microphonic tubes can be problematic. Start turning the amp volume/gain all the way up. If you get a howl, like with an open microphone, you have a microphonic tube. If it is still behaving but you can tap on the amp and get a sound like tapping on a microphone, that can be acceptable.

Finding the Cause

There are multiple tubes in an amp, so let’s find the root of the noise. The first thing is tap testing. The best tool is a pencil with an eraser. One by one, tap on the tubes with the amp on and turned up. If you get a significant microphonic sound from one, it should be swapped out with a quieter one. Now, this is the thing: A little bit of microphonics is normal, so it will take a little getting to know your amp to learn what is acceptable or not. Certain brands/models of tubes are better than others, so just because it’s new doesn’t mean it’s better or even good. As you go down the line of the signal chain, the gain is less, so you are looking for slight noises. Once you get to the power tubes, they can be microphonic, but they don’t howl like a preamp tube. They make a thud sound when tapped.

The other thing we’re looking for with this tap testing is rattling. Again, there is a certain level of acceptable rattle. But if you can hear it through the speaker, that’s unacceptable. If you have power tubes that rattle, this sometimes does not come through the speaker, but you can hear it when playing the amp at lower levels. If that bothers you, then they need to be replaced even though they’re functioning properly.

The last diagnostic is pulling the preamp tubes (not the power or rectifier tubes). Starting with the first tubes in the signal chain, pull them out one at a time and listen to see if the noise goes away. If you pull a tube and the noise disappears, then either that tube is the culprit, or your problem lies in that part of the circuit.

If you’re looking for a quick fix to get you through your gig or session and you narrow your problem down to a tube, go ahead and swap it out. If your amp is fixed bias, you may still need to head to your tech tomorrow and have it biased, but you’ll get your work done today. And when in doubt, replace your old tubes. If it turns out that wasn't the issue, you now have good spares for when a tube does eventually give you problems.

The only band you can wholly compare Between the Buried and Me to is Between the Buried and Me. The Raleigh explorers may have formed with a profound penchant for Converge, the Dillinger Escape Plan and technical metalcore, but they quickly broadened their horizons to unparalleled degrees, consolidating country hoedowns, lounge and myriad other genres into what they do. The quartet have a new album, The Blue Nowhere, coming out in September, so now seemed like an ideal time to take stock and sit down with founding guitarist Paul Waggoner to get a sense of their journey so far.

• READ MORE: Five times the Hives were the best band in the world (according to the Hives)

This is every record the band have ever put out, ranked from worst to best by the man who shredded on each one:

10. Between the Buried and Me (2002)

How old were you on the first album?

“It was written when I was 19 years old or something. That was when I had just gotten to a point where I could play the guitar somewhat reasonably well and was able to take what was in my mind and put it on the guitar. Tommy [Giles Rogers, vocals/keyboards] was my musical spirit animal and we vibed out and had a cool chemistry together pretty instantly. The self-titled album is a reflection of that: it’s just us sitting in our apartment in Raleigh, North Carolina and riffing together. We built those songs with Will Goodyear, our original drummer.”

Will didn’t stick around for long after the album came out. What was he like to be in a band with?

“Oh, he’s great! I’m still great friends with him. He’s in a really cool metal band called Valletta, where he plays guitar. He’s incredibly creative, very multi-talented, great drummer, great guitarist, great singer, and a lot of fun to work with.”

How do you weather such a key member leaving the band at such an early age?

“Pure stubbornness, man! ‘I don’t want to do anything else, so I’m gonna keep doing this.’”

Image: Randy Edwards

9. The Silent Circus (2003)

Possibly the most erratic album of the bunch.

“Yeah, it’s a weird record: very grindy and raw. We had Mark Castillo playing drums on that, and he was a fast, fast drummer. We fleshed the record out in a practice space in Raleigh and we were young. We didn’t really know what we were doing. We just wanted to be a – I don’t know what we wanted! There are some really cool riffs. It was an early step in our self-discovery.”

What was it like transitioning from Lifeforce Records to Victory?

“Victory probably became interested because they just saw us gaining a bit of headway in the American market. We signed with Lifeforce because no American label was even remotely interested in what we were doing! All of a sudden, the record did pretty good and we were touring. American labels, particularly Victory, showed some interest. We’re certainly very thankful for that.”

8. Alaska (2005)

This is when you guys started to come into your own musically.

“It’s really the first album where we were getting sort of experimental, starting to incorporate some keyboards. Selkies has a real stretchy guitar solo in it. Autodidact, the whole middle section of that is when Dan’s [Briggs, bass] influence really started coming to the table. You don’t really hear that in your typical metalcore scales or patterns. We started to do some weird shit musically on Alaska but still retained that core metalcore sound. It’s a crowd favourite, our fans love Alaska and would probably like us to play more songs from Alaska. It means a lot to me, but I don’t write music like that anymore.”

What do you mean?

“I just don’t play guitar like that. That was when I was just a metal guy for the most part. As I’ve become older, I’ve found myself influenced and inspired by different types of guitar playing. When I was relearning songs [for a 2025 tour where Alaska was played in full], I was like, ‘Shit, man, I don’t play this fast anymore!’”

Image: Randy Edwards

7. Colors (2007)

A lot of people would put this one higher…

“It’s objectively the most important album in our career, and I think if we hadn’t written that record, we probably wouldn’t be a band anymore. It is the absolute turning point for us, when we establish ourselves as a progressive metal band. The only reason I have it a little lower is that it’s just old. We did it in 2007, we’ve played it a bazillion times live – which I still enjoy, because the fans love it – and the songs are great, but because it’s so old, it doesn’t have the same resonance in my mind.”

Is there an element of fatigue as well? I imagine a lot of fans come up to you and go, ‘Hey, Colors, right?’

“I would maybe call it a subconscious fatigue. It seems to always be the album that people talk about or people want to hear, even now. I love playing Colors but when I really think about, I’m like, ‘Shit, man, that’s almost 20 years ago we wrote that record! Does anybody care about the new stuff?’ I guess that’s a good problem to have.”

6. Automata I & II (2018)

How do you feel about Automata today?

“I think, in hindsight, we would have preferred to release it all as one album, rather than split it up into two. It was written as one long album. It was sort of a decision with the label to release it as two shorter records, but I love the songs. Obviously, Condemned to the Gallows was nominated for a Grammy, so it did well for us. It’s got some great moments, it’s very diverse. It showcases our heavier, more aggro side, as well as some really cool melodic moments. I love the chorus section in Blot.”

You don’t sound thrilled with it being a two-parter.

“I think it would have had more impact if it were released as one whole piece, because that’s how it was written and how it was meant to be listened to. This was an era, and I guess we’re still in that era, where it seemed like the perceived attention span of the average music fan was pretty short. We thought, ‘Maybe we’ll just release two short albums and it’ll resonate more,’ but that was probably a mistake.”

What’s it like being nominated for a Grammy?

“It’s a bit surreal. But, not to be flippant about it, it doesn’t mean a whole lot to us. We don’t take a lot of validation from things like that. We’re a metal band: we just like to play shows and put out records that we’re happy with.”

5. Colors II (2021)

Describe to me the difference between making a sequel to a record versus when you have a blank slate.

“I think people think that we were very mindful about creating a sequel to Colors, when in actuality, we were just hearkening back to the creative headspace we were in during Colors. It was very much a time where we were trying to establish ourselves as being the band who were willing to try new stuff, and we didn’t really care about what genre we fit in. For Colors II, we wanted to relive that mindset.”

But there are lots of moments that reference Colors.

“Yeah, there are a couple little ear-candy moments where we try to recall certain themes. Human Is Hell is an homage to White Walls, a little bit. In general, we approached it as, we were just writing a new BTBAM album, but we wanted to take ourselves back to 2007. I really do like that record, and it’s got some of my favourite BTBAM songs on it.”

4. Coma Ecliptic (2015)

A bit of an underdog in your discography, in my opinion.

“It’s kind of a different record for us: it’s probably our proggiest and easier to digest, a lot of clean vocals. That guitar is almost a supporting instrument. A lot of the songs were written with keyboard or bass as the backbone. It was a roll of the dice for us, but we try to do something different for every record.

“We just did a tour in the States where we played the entire album for its 10-year anniversary and it was a lot of fun. It made me dig back into those songs and realise, the way the instrumentation was orchestrated, it was pretty clever. I’m proud of that record.”

3. The Great Misdirect (2009)

This is a spicy one.

“It’s a spicy take [putting this album this high], but I like the moodiness of it. It’s a darker record, it’s got some wildcard BTBAM moments that we hadn’t done prior, and I just like the vibe of it. It’s got some of my favourite songs, like Disease, Injury, Madness and Fossil Genera.”

What was the mood making it? Was there any pressure making the follow-up to Colors?

“A little bit. After Colors, we established ourselves as a progressive band, whereas before we were a technical metalcore band or whatever. But, the first thing we wrote for The Great Misdirect was that intro, Mirrors, and it’s a haunting, dissonant, diminished-sounding intro. We knew immediately that it was going to have a spin on it than Colors. We just reacted to that and that’s how we ended up writing the rest of the record.”

2. The Parallax II: Future Sequence (2012)

Very much a fan-favourite.

“I can see why. It was a very focussed time in the band’s career: we were coming off the EP [2011’s The Parallax: Hypersleep Dialogues], and it felt like an opportunity to really flesh out those ideas in a full album context. It was, again, a turning point record, I think, where we really honed in on the things that make us who we are.”

How did it end up working that way, with an EP and then a full-length sequel the year after?

“We had just signed to Metal Blade Records and we wanted to put out something relatively quickly. That was the impetus for doing the EP. Once we did that, we were really ready to write a full-length record. The EP served as the beginning phase of writing The Parallax.”

It feels like your boldest undertaking, at least at that point.

“For sure! We embraced the grandiosity of what we were doing. Colors was our first foray into that, but I think Parallax II ramped it up a bit.”

1. The Blue Nowhere (2025)

Every artist says the new one is the best…

“And I’m no different! Obviously, it’s the newest, so it feels the most reflective of where we are in our journey as musicians and as people, but also, I think it’s a very good amalgamation of all our influences. It feels the most evolved and diverse, but it’s still very intentional. It’s a very cool encapsulation of everything that Between the Buried and Me is all about.”

Making something that’s more reflective as a whole, was that a response to Colors II, which zeroed in on one period of time?

“I think when we write a new album, especially this one, it really is just a blank canvas. All bets were off and wherever ideas we had to bring to the table, we brought them. It was all about a fresh start.”

Was that fresh start because of the lineup change? [Rhythm guitarist Dustie Waring parted ways with the band in July, two years after being accused of rape. He denies any wrongdoing.]

“That didn’t really have anything to do with it. I think it was just the four guys that wrote and recorded the new record – that was the core nucleus of the writing and so we worked from there. I don’t think, necessarily, the lineup change influenced the writing at all.”

The Blue Nowhere is out on 12th September via Inside Out Music.

The post Between the Buried and Me rank their own albums from worst to best appeared first on Guitar.com | All Things Guitar.

Shrapnel Records introduced the world to some of the most virtuosic rock and metal guitarists to have ever plugged into a high-gain amp. Starting in the ’80s, an era that has subsequently become infamous for guitar gods, Shrapnel’s founder Mike Varney carefully selected the cream-of-the-crop players for his unique record label.

Some Shrapnel alumni are best known for sweep picking, others for insane alternate picking, and yet others for emphasizing legato fretwork. But all of them are known for playing a lot of notes in a very musical way. What made many of these players great, in my opinion, is that each took a unique approach to playing and writing within the fairly specific “shred” genre.

Want to acquire some tricks of their trade? Let’s take a look at key ideas and techniques used by several of Shrapnel’s heaviest hitters.

Most people associate Shrapnel guitarists with technical lead playing, but before we go there let’s first visit the often-overlooked art of playing rhythm. In my opinion, Paul Gilbert and Bruce Bouillet of Racer X were absolute masters of creating rhythmically exciting and unexpected metal riffs. These were often based on strong rhythmic hooks that included subdivisions and interwoven exchanges, and took surprising aural twists and turns.

Ex. 1 is a Racer X-style riff in A minor that illustrates the basic idea of taking one rhythmic pattern and throwing in surprise subdivisions. This riff’s main rhythmic pattern is based on three-note groupings of 16th-notes. In the first measure we encounter a new subdivision on beat 4. Hear how those 32nd-notes surprise the ear? It’s a great example of what Racer X was known for.

Another example of this effect is in the riff’s second fill. We have a 16th-note triplet run to wrap up the first repetition (starting on the “and” of beat 3 in measure 2), and again, the change in subdivision from the main 16th-note pattern creates an additional rhythmic twist.

Click here for Ex. 1

Now that we’ve had a dose of rhythmic content, let’s shift over to the kind of lead playing that makes many listeners’ jaws drop. Because he introduced pop and R&B-inspired chord changes and funky rhythms to what was fundamentally a hard rock and metal label, Greg Howe is arguably one of the most distinctive Shrapnel artists. To make things even more interesting, he favored an innovative tapping technique and infused his playing with chromatics.

Inspired by the record Introspection, Ex. 2 is a Greg Howe-style lick over a series of dominant 7 chords. Hear how the chromatics are interwoven between E7 and B7 chord tones on the weak parts of the beat? This is a common jazz guitar technique, but it’s made very Howe-ish thanks to Greg’s grooves, feel, and note choices.

Next over A7 comes one of Greg’s most famous tapping techniques. This line also demonstrates his “hammer-on from nowhere” technique, which means that the hammer-on note isn’t approached by a previously picked note. Finally, we have another of Greg’s famous tapping techniques over the F#7. Here, we take three-note-per-string scales and instead of picking every note or playing full-on legato, use a hammer-hammer-tap pattern to cover the ascending phrase.

Click here for Ex. 2

Another Shrapnel powerhouse is Tony MacAlpine, who is famously known for his blazing picking and his blend of classically inspired themes and contemporary instrumental music. Ex. 3 pays tribute to his approach to arpeggios.

The opening phrase is one of my favorite Tony-isms. We’re creating a major 7 arpeggio, in this case Dmaj7, by only using the lowest two strings. Keep in mind that there’s absolutely no picking here—it’s strictly legato and tapping. But the real interesting thing about this kind of line is the context in which Tony often uses it. Here, we’re in a Bm tonality, so we can use a D major arpeggio (Bm’s relative major) and still stay in the key.

Click here for Ex. 3

We’ve explored a variety of tapping and arpeggio ideas, but haven’t yet encountered one of the most common staples of the Shrapnel guys: alternate picking licks! Many of the Shrapnel guitarists are well known for playing long, scalar runs in which they pick each note. If used wisely, this can be one of the simplest ways to enhance your playing, as these runs are mostly pattern-based and primarily built on the three-note-per-string scale fingerings.

A simple alternate-picked line in B minor, Ex. 4 starts with a six-note scale shape that’s copied across three octaves. You’ll find this fragment (the first three beats of the first measure) on many Shrapnel albums. Keep in mind that strict alternate picking is crucial for the accuracy and cleanliness of a lick like this, so be sure to practice it slowly.

Because these lines work so well in the three-note-per-string fingerings, they’re often conducive to some sort of triplet subdivision. The kicker with such licks is that they’re very pattern-based and can end up sounding too much like an exercise. Use them wisely and musically.

Click here for Ex. 4

And last but not least, what would a column on Shrapnel be without a mention of the legendary Jason Becker? For dedicated shredders, his playing and spirit need no introduction, but if you need one, check out this trailer for the excellent documentary Not Dead Yet.

Ex. 5 is a workout in Becker-style sweep arpeggios. One point that was unique about Jason’s particular approach to sweep picking is that he extended certain arpeggio shapes further than other players did. In this example, all of the shapes extend down to include two notes on the 5th string. It’s fairly rare to see the Bm and E shapes extend down that far, but that’s part of Jason’s nuanced magic. The key to successfully playing sweep arpeggios lies in the picking pattern. It’s always a specific, non open-ended pattern that isn’t as simple as just constant downstrokes and upstrokes. A hammer-on or pull-off is included every time there’s two notes played on the same string.

Click here for Ex. 5

Keep in mind that playing anything cleanly and accurately lies in practicing very slowly, in time with a metronome. These guys were all masters of fast playing, but I believe they were standouts because they used their chops in clever and musical ways, and that composition was their first priority. So when you’re sitting down with your metronome to blaze through these licks, just remember that music comes ahead of technique.

The finall installment of EVH sounds for TONEX

Kiesel Guitars has introduced the two newest models in the company’s iconic line of custom-built instruments: the Kyber Headless and Masvidalien MIII now join the lineup of Kiesel’s premium US-made instruments.

Designed to excel in a variety of musical styles, the versatile Kyber Headless is available in 6, 7, and 8-string configurations, standard or multiscale. Key features include:

• 7 different body woods for customization
• 25.5” scale length, 15 different fretboard woods for customization, 24 frets
• Over 100 different pickup configurations
• Kiesel-Designed locking nut, headpiece for hanging, optional body scoops

The Masvidalien MIII is the debut Kiesel signature model from Paul Masvidal, guitarist and composer known for his work with Cynic, Death, Æon Spoke, and Mythical Human Vessel.

Built in Kiesel's California factory, the MIII was designed with strength, resonance, and playability at its core. Inspired by Kiesel's Kyber model, which Masvidal was already connected to, the MIII began as a natural extension of that instrument but quickly evolved into something uniquely its own, a hybrid guitar that expands on the Kyber's spirit and opens new creative ground.

Key features include:

• Woods: 5A Poplar top with a Swamp Ash body, Buckeye top with a Roasted Swamp Ash body
• 25.5”-26.5”, Fretboard woods: Ebony, Richlite Diamond, Roasted Maple, Royal Ebony, and Roasted Birdseye Maple, 24 Fret
• The brand-new Focus pickup, a humbucker made from two blade-style single coils that offers tighter and more precise tones
• The Hybrid carbon fiber/wood neck, the Barbury Castle Crop Circle inlay, Headpiece for hanging,

Like other Kiesel models, the new Kyber Headless and Masvidalien MIII are available in a wide range of options for unique customization. Players can select their favorite finish, tonewoods, electronics and hardware to create the guitar of their dreams…expertly crafted in Kiesel’s Southern California custom shop.

Kiesel’s new Kyber Headless is available for street pricing starting at $1,599. The new Masvidalien MIII is available for street pricing starting at $3,199. For more information visit kieselguitars.com.

The Steve Morse Band has announced details of their brand-new album, Triangulation, which will be released on November 14 via Music Theories Recordings (Yngwie Malmsteen, Ayreon, Paul Gilbert, Vandenberg). To celebrate, they have unveiled the official video for their new track, “Break Through.”

“Break Through” is the first new music since the release of 2009's Out Standing In Their Field. Talking about the track, Steve Morse shares, "This may start with a guitar riff, but the bass carries the melody. It's just a great feel to play over, and a positive vibe to start the album."

Whenever we think of the greatest guitar players of all time, Steve Morse is a name that's always in the conversation. This album sees Morse teaming up once again with Dixie Dregs, Steve Morse Band, and Flying Colors bassist Dave LaRue, with Van Romaine [Steve Morse Band/Enrique Iglesias] joining on drums.

Steve beams, "Dave and Van have been the bedrock of this trio, and this recording shows why. These guys are unique and incredible musicians on their own, and together, our chemistry is magical. While making the album, we played together, working through parts, riffing off each other, and collaborating on arrangements. I'd bring an idea, and hear it instantly — and then hear it improved. We made this album together, and you can hear it."

There are also some stellar guest features, from Eric Johnson's majestic contributions to “TexUS” and John Petrucci bringing his inimitable progressive metal thunder and, of course, Kevin Morse joining his father on "Taken by an Angel.".

Executive producer Bill Evans noted, “The compositions are among Steve’s best. And audiences can finally hear every detail of Van and Dave’s performance…the band’s collaborative musicality.” Steve added, “Brian captured me brilliantly, and Carl Roa created more sonic and performance clarity than we’ve ever had.”

Morse started his career in the mid-1970s, playing mind-melting jazz-rock with The Dixie Dregs, which earned him multiple Grammy nominations in the process. The following decade, he formed the Steve Morse Band, grabbing an additional Grammy nod, and joined arena heavyweights Kansas, before being recruited by rock and roll originals Deep Purple in 1994. And despite being in one of the world's biggest bands, he continued to innovate in other projects like Living Loud, Angelfire, and Flying Colors – as well as guitar supergroup G3 – showing the world just how much versatility there was in those magic fingers. He announced his departure from Deep Purple in 2022, choosing to care for his wife, who passed away in 2024, by that point having become their longest-serving guitarist.

Naturally, the last few years have been the most personally traumatic of his life, which is perhaps why this year's creative comeback with the new Steve Morse Band album Triangulation embodies the spirit of a master returning to do what he does best. Its nine tracks are a thrilling ride through the mind of a musician who seemingly knows no bounds, crossing over into a cornucopia of sounds and styles from funk and blues to classical and metal.

“The album title Triangulation comes from the concept of aviators, navigators, and sailors looking at two points to pinpoint their exact location at a specific moment in time,” says Steve. It's a geographical concept that also applies to human life on a broader level, and given the journey Morse has been on in recent years, it's only natural that he's been on a path of self-discovery and reflection.

Perhaps the most poignant of the nine tracks is "Taken By An Angel" – a tribute to Steve's beloved wife Janine. Steve left the music world behind to care for her, remaining by her side until her final days. "That song is new territory for me," explains Morse. "It was put together for my late wife's memorial service, with my son Kevin playing along. It brought tears to many folks' eyes because Janine was a huge part of my life and career. People knew her from the Steve Morse Band tours. She was the smiling face opening CDs for me to sign, selling t-shirts, listening to people's stories in the crowd, and taking photos for VIP visits."

After all the heartache and anguish of the last few years, you can't help but feel grateful Morse is once again ready to share his creative genius with the world around him. Given his stature among the guitar community – often lauded as 'your hero's hero' in the same way people spoke about Jeff Beck – his creative return marks a new phase of inspiration and brilliance. In that sense, you can tell the release of this record means a lot to him.

The band hits the road in October bringing the new repertoire to the stage. Steve Morse shares, “Every generation or so, we put out a new album, and the time is now! We'll be doing new material on stage, and have enlisted a special guest, Angel Vivaldi, to allow us to better perform some of the layered tunes in concert. Excited to have a bigger sound and new material! See you on tour!” Van Romaine offers, “I am so thrilled for this brand new major Steve Morse Band chapter with new tour dates and an album that was so much fun to record with Steve and Dave LaRue, and a couple special guests. While music is always subjective this Triangulation album is such a gem to me on many levels.”

Upcoming Appearances are:

• 10/09 Louisville, KY Headliner’s
• 10/10 Nashville, TN CMA Theater
• 10/12 Charleston, SC Charleston Music Hall
• 10/13 Atlanta, GA Variety Playhouse
• 10/14 Charlotte, NC The Neighborhood Theatre
• 10/15 Raleigh, NC The Rialto Theatre
• 10/16 Annapolis, MD Rams Head On Stage
• 10/18 Elkton, MD Elkton Music Hall
• 10/19 Lititz, PA Mickey’s Black Box
• 10/20 Red Bank, NJ The Vogel
• 10/21 Sellersville, PA Sellersville Theater
• 10/23 Somerville, MA Somerville Theatre
• 10/25 Cohoes, NY Cohoes Music Hall
• 10/26 Ridgefield, CT Ridgefield Playhouse

IK Multimedia releases the Brown Sound 82/84 Signature Collection for TONEX, the third and final installment of the limited TONEX Brown Sound series. This collection features 83 carefully crafted Tone Models, including several amp-only captures for use with your favorite IRs or running through a real cab on stage.

As the push for radio-ready hits grew stronger, the Brown Sound became tighter, more refined, and more polished without losing its iconic edge. Users will discover both authentic recreations and thoughtful variations to reflect different theories about how these legendary tracks were recorded.

1982 Tone Models

The '82 sessions introduced a brighter, more layered tone while preserving the core character of the previous recordings. The G12-65 speaker remained key to the sound, delivering a tight low end, warm midrange, and a smoother, less spiky high end than the earlier Greenbacks. Recorded in Amigo studios, changes in mic placement and outboard gear added polish and dimension, resulting in a more refined studio sound.

1984 Tone Models
The '84 sessions marked a leap forward in tonal precision and production quality. Tracked and mixed at a newly built studio in Coldwater Canyon, the sound became more controlled and processed, yet still retained the grit and energy of earlier recordings. The suspected use of Telefunken EL34s likely contributed to the added warmth and mid-forward presence, while amp tweaks and precise Variac adjustments gave each track its own tonal identity.

The Amp: "The ONE"
At the heart of the Brown Sound 82/84 collection is "The ONE" - a meticulously crafted Marshall-style amp built from the ground up with the exact same spec as the infamous 1968 Super Lead serial number #12301, including crucial mods that capture the DNA of the early brown sound like no other amp model.

No Tone Unturned
Each Tone Model was built using controllable levers like Variac voltage, cab voicing, mic geometry, and parallel load, with options spanning different voltages, speakers, and pickups to reflect the shift from '82 to '84. All models are level-matched, offered with or without parallel load, and captured raw without post-processing for authentic, period-correct amp tones.

Ready to Play
As with all collections in the series, these Tone Models were crafted using period-correct gear and capture techniques to recreate the final two albums of that era genuinely. Each Tone Model reproduces the recorded album tone in exquisite detail, offering an ideal foundation for adding time-based effects—either within TONEX or through a favorite pedal.

Pricing and Availability
The Brown Sound 82/84 Signature Collection is now available via ToneNET and within any version of TONEX for Mac/PC at $/€99.99.*

• TONEX Brown Sound 78/79 - $/€99.99* - Includes 50 Tone Models.
• TONEX Brown Sound 80/81 - $/€99.99 - Includes 73 Tone Models.
• TONEX Brown Sound 82/84 - $/€99.99 - Includes 83 Tone Models.
• TONEX ONE Brown Sound Limited Edition - $/€249.99 - Available in white, red, or yellow. Includes Brown Sound 78/79 and a choice of one other Brown Sound collection (a $/€199.98 software value). Existing Brown Sound 78/79 users will receive a $/€50 discount at the IK store.
• TONEX Brown Sound Anthology Collector's Limited Edition - $/€599.99 - Shipping now. Box set includes all three colors of TONEX ONE (white, red, and yellow) plus all three Brown Sound Signature Collections (78/79, 80/81, and 82/84). Limited to 200 units worldwide.

*Pricing excluding taxes.

For complete details and information about the Brown Sound Anthology collections and pedals, and to hear the tones, visit:

www.ikmultimedia.com/tonex-brown-sound

Over the years I’ve often been asked for advice about how to “get into the business” of either the playing or building of guitars. Despite my reluctance to toss anyone into the hellhole pit that is either of these two endeavors, I do my best to help. That isn’t to imply that building guitars or playing music isn’t satisfying—it most certainly can be. In fact, many of us have built fulfilling and profitable careers in both of these trades, not to mention made lifelong friends. What are you hoping for? Is this going to be your job, with hopes that it won’t seem like drudgery? Do you just like to mess around with gear and wonder what it would be like to do it for pay? Like almost everything in life, it’s the managing of expectations that’s at the heart of the matter.

If it’s money you’re after, there are people more qualified to guide you than me. Yes, I’ve managed to scrape together a living while seemingly avoiding the grind of a “normal” job, but it hasn’t been a cake walk. I’d be afraid to add up the hours I’ve spent doing things I would have rather not had to do. I call it the 80/20 rule. You spend 80 percent of your time doing stuff you’d rather not do, and 20 percent doing the things you love—and I’m being generous here. If that seems like a normal job to you, you’d probably be correct. But despite all of that, let’s talk about how to get started anyway.

If you want to follow your muse and cut your own path, approach things like an artist who dropped out of business school. Be prepared to use your truncated education on 80 percent of the work, and let your freak flag fly on the 20 percent that makes you be you. Not everything you create will solve problems and answer questions for your customers and fans, but that’s not the point—at least in the creative part. Don’t worry, your rational self will be waiting down the line to reveal the cold hard truth later.

“Being a creative person is a series of trial-and-error episodes as much as any kind of formal schooling.”

In art critic Jerry Saltz’s book How to Be an Artist, he spells out how to discover your path—a sort of step-by-step guide to making the right kind of “mistakes” that bring you to the place where you know and understand how to be uniquely you. In fact, you might want to stop reading my drivel and go buy his book now. That gets us both off the hook.

Saltz’s process seems very familiar to me. You see, being a creative person is a series of trial-and-error episodes as much as any kind of formal schooling. It’s good to learn the history of your craft—all of it. Learn the way artists look at the world. Try to imagine how the constraints of what has come before benefit and hold us back. You can’t break the rules unless you know them and why they exist. There are conventions that should be questioned, and others that are the bedrock of the game you are playing. Learn how to tell the difference.

Maybe you’ve heard that there are only seven basic story arcs: overcoming the monster, rags to riches, the quest, voyage and return, comedy, tragedy, and rebirth. But we all know that within these themes there are infinite possibilities. That’s your ticket. That’s where your personality and character carve out your unique vision. I like to think of guitars (and songs) as story arcs. There may be only a few archetypes, and almost everyone follows them, but what’s important is the way you tell the story. On a guitar, you shouldn’t just decide to put a toggle switch in the middle of the fretboard because you want to be different, but you can decide to make that switch do something that hasn’t been done. I usually stop at that point and ask the 80 percent dude in me if this will actually help anyone, although I am free to ignore the answer if it helps to tell the story I am telling.

In the end, if you pay attention to what you like, the story you are telling will be a reflection of you. When that story makes sense to your audience, too, you’re in business. And that’s how you make a life as an artist

Jackson has launched its new Pro Origins 1985 San Dimas series – a selection of guitars which pair the ‘80s metal vibe and aesthetics with modern precision specs.

Aiming to equip metal guitar players with “retro-futuristic” tools, these guitars are loaded with vintage Jackson J90C & J50B pickups, old-school top-mounted double locking Floyd Rose FR1000 tremolo systems, and the legendary original speed neck shape.

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There are four distinct models available – all based on the classic San Dimas design – including two single-humbucker and two double-humbucker models.

Credit: Jackson

All four models sport a resonant alder body for the “perfect balance of warmth and punch, with exceptional sustain and clarity to cut through the mix”.

They also feature Jackson’s sleek super speed neck profile for easy fretting the length of the fretboard, 12”-16” compound radius fingerboards and, as stated, Floyd Rose 1000 tremolo systems for those classic ‘80s divebombs.

The single-pickup Pro Origins 1985 San Dimas SD1A H FR is available in both rosewood- and maple-fingerboard configurations, and while the Pro Origins 1985 Limited Edition San Dimas SD1 HH FR and Pro Origins 1985 San Dimas SD1 HH FR have maple fingerboards.

The Limited Edition model comes with uncovered pickups, while all other models in the range have pickup covers.

“The Pro Origins 1985 San Dimas series leans heavily on nostalgia and authenticity, featuring pickups designed from the old school J90 and J50 recipes that defined the high velocity music of the 80s,” says Jon Romanowski, VP of Product, Jackson. 

“We’re offering players that coveted vintage tone and feel, built with modern craftsmanship and reliability features that today’s professionals demand. When you plug into a Pro Origins San Dimas, you’re connecting directly to that golden era of guitar innovation while having the confidence of modern construction and playability standards.”

The Pro Origins 1985 San Dimas series starts at £999. For more information, head to Jackson.

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