General Interest

Band Industries has unveiled Roadie 4, the latest generation of the company’s innovative automatic tuners.

Designed for fast, reliable tuning for nearly any instrument with geared pegs, the new tuner is built from the ground up with enhanced accuracy and usability. Roadie 4 delivers a smoother, faster, and more reliable tuning experience. With revamped algorithms and upgraded audio circuitry, it offers excellent noise immunity and pinpoint tuning accuracy, whether you're tuning on stage, in a noisy rehearsal room, or at home.

Key new features include:

• Completely reengineered algorithms and audio circuitry for superior tuning accuracy and better performance in noisy environments
• Larger 1.9" full color LCD screen with over twice the display area for greater visibility when tuning
• New intuitive scroll wheel for lightning fast selection and navigation
• Auto detect feature: In previous models, Roadie tuned your instrument in a fixed sequence lowest to highest string or required manual string selection. Now, just pluck any string. Roadie 4 will automatically detect which string you are on, tune it precisely, and notify you when it is in tune with a vibration and audible beep
• Redesigned peg connector to accommodate a wider range of larger and smaller pegs
• Improved ergonomics: Taller build, anti slip backing, and a more natural, secure grip

Band Industries introduced the original Roadie Tuner in 2014, followed by the breakout Roadie 2 in 2017 and the powerful Roadie 3 in 2020. Roadie 4 builds on that legacy and provides even better performance.

From electric and acoustic guitars to mandolins, ukuleles, banjos, and more, Roadie 4 tunes almost any instrument with geared pegs. It also winds new strings quickly and accurately, making string changes a breeze.

Roadie 4 is available for street price of $139. For more information visit roadiemusic.com.

Brian Wampler, founder of the Wampler pedal brand, thinks the rise of digital amp modellers could go on to impact the gear industry in a similar way to Napster’s lasting effect on the consumption of music.

Growing numbers of big league artists are turning to brands like Neural DSP, Fractal, and Line 6 for their impressive amp modellers for touring and large shows. Though eliminating the need to carry around a hefty pedalboard while on the road sure is useful, it seems traditional pedal manufacturers are growing concerned with how such gear will go on to impact the sales of their traditional pedals and amplifiers.

• READ MORE: Metallica lawyer says Napster lawsuit was necessary to “set the ground rules for what music is worth”

For those unfamiliar with the infamous story of Napster, let us fill you in on the details: Napster was a peer-to-peer music sharing site that existed in the late 1990s and early 2000s, though reports suggest it will be returning in the form of an interactive music platform.

Around that time Lars Ulrich and his Metallica bandmates discovered that a demo version of their song I Disappear was being played on radio stations without their permission, which the group eventually traced back to Napster. The band’s entire catalogue was available to download for free on the site, leading to Metallica responding with a lawsuit, ultimately leading to its closure.

Some still argue that, despite its shutdown, the creation of Napster created a springboard for subscription-based streaming platforms to come along, which have drastically changed how we listen to music, and how we value its financial worth.

Speaking to Adam Wakeling on the Products of Music podcast, Brian Wampler believes a similar shift is occurring in the gear world: “I think, really, everyone in the pedal market is concerned. I think it’s going to take a big chunk of the market… as well as [create a] two-band market,” he says (via Guitar World).

Wampler feels there are “two paths” for manufacturers going forward: “You can always stick your head in the sand and ignore it and think, ‘It’s not going to happen to me,’ and then wonder what happens in five or 10 years. Or you can say, ‘It’s going to happen. I need to make a pivot here.’”

He later continues, “It’s analogous to Napster – for those who remember that, that’s where everybody who had music that you just uploaded to Napster, and now no one needs to buy any more music.

“So, the question is, ‘Well, what do you do?’ Eventually, Spotify forms, you know? I mean, is that good? Not if you’re an artist, it’s not good. Not really, not unless you’re just using the music as a marketing tool.”

Wampler’s move into adapting to the digital world has seen the brand release a line of plugins. Currently it sells three, which are virtual versions of some of its most popular physical pedals: The Terraform Multi Modulation, Metaverse Multi Delay, and its Catacombs Reverb/Delay.

Find out more about Wampler, or view its current range of plugins. 

The post Brian Wampler likens the rise of amp modellers to Napster’s impact on music: “I think it’s going to take a big chunk of the market” appeared first on Guitar.com | All Things Guitar.

Steve Jones of the Sex Pistols has broken his wrist, and the band have subsequently had to postpone their upcoming tour dates.

The Sex Pistols, fronted by Frank Carter, will eventually be rescheduling the shows they had planned across North and South America. The tour was announced back in March, with their North American run originally due to kick off at the Longhorn Ballroom in Dallas, Texas, on 16 September.

• READ MORE: “My father, a brilliant musician, didn’t believe in me”: Pete Townshend attributes his guitar-smashing antics to feelings of rejection from his father

In a post shared on social media, the band states: “We have some unfortunate news to share about our upcoming North and South American performances. We’ll let Steve explain what’s going on: ‘I’ve got some good news and bad news. What do you want first?

“‘Okay, the bad news: I’ve broken my wrist, so unfortunately we won’t be doing any shows for a while,’” says Jones. “‘The good news is the surgeon said I will be back playing guitar in the not-too-distant future. The other good news is I’ll be 70 tomorrow! God bless, and God save the wrist.’”

The band adds: “The performances will be postponed and rescheduled when Steve has fully recovered. Please check local venue websites and our social media for more information. We appreciate your understanding and support.”

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Jones recently discussed how Frank Carter has changed the live dynamic of the band in an interview with Guitar World. He told the magazine, “Frank’s a lot younger, so he’s got a lot more energy. He’s literally the best; I call him the ringmaster. He loves getting the crowd going; he goes crowd surfing and just takes the heat off of me, [Paul Cook] Cookie and Glen [Matlock].”

Carter is of course filling in for John Lydon, who has criticised the band’s decision to reunite with Carter on vocals. “He’s definitely not trying to be Johnny Rotten. He’s really something else, and he’s made it a lot of fun,” Jones said of the difference between the two.

“I’ve got nothing but love for John. He was brilliant back in the day, and I never would take that away from him. I would never deny it; he was fantastic. But I think we’ve just grown apart… l’ll never shut the door, but I don’t think he’d have the energy like Frank does, to be honest with you.”

The post “God save the wrist”: Sex Pistols postpone their North and South American tour dates due to Steve Jones’ injury appeared first on Guitar.com | All Things Guitar.

Cory Wong and Mitarotonda go deep on jambands, feeling misunderstood, and more.

Sound the alarms, tell your neighbors, hire a banner plane: Wong Notes is back. Cory Wong’s beloved podcast returns after a healthy break, and this exciting comeback episode features Wong in conversation with Goose’s Rick Mitarotonda.

The Connecticut rock band’s guitarist and vocalist talks through the band’s origins and position in the jam-band and broader music scenes, and Wong and Mitarotonda debate an ancient, critical question: Can jam bands actually write great songs?

The duo talk through their philosophies on recording, staying sharp on your instrument, all-star moments and standout players in the jam community, and feeling misunderstood as an artist. Like a good jam set, there are plenty of rich tangents, fascinating rabbit holes, and unexpected insights, so tune in and keep your ears open.

At Blackstar, we believe great tone should be ready whenever inspiration strikes. That’s why we created BEAM SOLO — the most immersive, intuitive headphone amp on the market today. Whether you’re jamming at home, on the move, or just grabbing ten minutes of play time between everything else, BEAM SOLO gives you pro-level sound with complete creative freedom — wherever you are.

Designed for electric, acoustic and bass guitars, BEAM SOLO fits in your hand, plugs straight into your headphones, and delivers the sound and feel of a real amp. You can shape your tone directly on the unit using the tactile SpeedDial and Light Beam Display, which give instant visual feedback with no menus to navigate. Or you can take full control through the BEAM app, where a growing library of professional-grade amp, cab, mic and pedal models is waiting. Combined with our patented ISF, you can access an infinite number of tonal possibilities to explore, enjoy and create with.

With our unique and immersive ‘In The Room’ technology, we’ve made the headphone experience feel alive — like a real amp, in a real space. Every note resonates with depth and presence, making even silent practice inspiring. A single expressive control called XpressFX lets you control multi-layered effects in real time, with smooth transitions that feel natural when adjusting. We’ve also added a headset mic input with studio-quality preamps and reverb, so you can truly immerse yourself with both guitar and vocals wherever you are, and jam along to your favourite tracks seamlessly via Bluetooth audio.

In addition to the authentic Blackstar amp models, BEAM SOLO also includes Ampton – our collection of classic software amplifiers, designed at Blackstar HQ in Northampton UK – home to our world-class R&D department. Built on decades of experience in both valve and digital amplifier design, Ampton fuses authentic valve character with advanced digital algorithms, developed by a design team with a unique technical heritage. The name itself is drawn from Northampton, reflecting the roots of our engineers and the history behind the company.

Ampton designs are more than just static profiles, they are the result of meticulous design, testing and optimisation – component by component, sector by sector. Starting with Blackstar founder Bruce Keir’s original digital models of our legendary Series One valve amplifiers, every element has been refined over decades. This dedication extends to the tiniest tonal interactions, from cathode follower behaviour to the modelling of preamp DC offsets, ensuring unmatched realism, tone and feel.

Another unique aspect of the Ampton designs are the completely accurate tone-stack models. These retain the exact interactivity between controls as the valve amp references, to deliver musicality and interactivity that a mere “capture” snapshot cannot. The power amplifier models go beyond traditional emulation, recreating the true interplay between valves, output transformers and speakers.

Our method blends deep analysis and literally hundreds of hours of critical listening. AB sonic tests are matched with precise electrical analysis, while the design team use their decades of voicing expertise. Every nuance is considered while intelligent optimisation results in elegant algorithms with extremely low latency.

If you head over to the BEAM app, you’ll find Official Artist Patches to explore from an ever growing list of all-stars including Doug Aldrich (The Dead Daisies), Gus G. (Firewind), Will Sergeant (Echo & The Bunnymen) and many more. You can join in the fun and share your own tones on the online community and download other creators’ patches within a vibrant global community of players just like you. You can even share your favourite patches over message to your friends with just a simple tap.

Within the ‘Music’ section of the app, you’ll find a host of backing tracks and video lessons to make sure that you can stay inspired and continue your learning journey. The BEAM SOLO is a complete one-stop solution for guitar players today.

We designed BEAM SOLO to give every guitarist the freedom to play and create anywhere, instantly, and without compromise. Whether you’re shaping your sound with a twist of the SpeedDial or diving deep into your rig choices via the app, it always feels intuitive and immersive. You can record vocals, jam with backing tracks, or just enjoy the feel of a cranked valve amp in your headphones — all from a device that fits in your pocket.

We’re constantly adding new sounds and features to the BEAM app, so your rig evolves with you. With ISF, XpressFX, SpeedDial, Light Beam Display and community connectivity, BEAM SOLO gives you the tools to stay inspired, have fun and sound incredible — wherever you are.

On the heels of the excitement from the recent announcements of their upcoming 8th studio album and their Blackbird festival in Wales next summer, acclaimed rockers Alter Bridge are releasing the first piece of music in over two years, “Silent Divide.” The track from the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums shows the band is back and ready to pick up where they left off in 2023. The brooding track begins with the signature guitar tones of Kennedy and Tremonti before the rhythm section of Marshall and Phillips join in. The chorus is powered by Kennedy’s haunting descent as he sings: “Keep your head down, ride out the silent divide.”

A music video for “Silent Divide” is also available today that the band has been teasing for days. A comedic opening skit was released of Tremonti, Marshall, and Phillips calling Kennedy’s mom to get the band back together as Myles hangs in his mom’s basement. That scene gives way to a performance of the 4 guys playing together in a small room – a throwback to the way it all started for them. The video was directed by JT Ibanez, and the song can be found in all formats here:

With more than two decades performing together, Alter Bridge show no signs of slowing down. The new, self-titled album from Napalm Records, Alter Bridge, is comprised of 12 all new tracks from the band and features some of their most iconic moments on record. Songs like “Rue The Day,” “Disregarded” and “Scales Are Falling” will fit alongside any of the classic songs from Alter Bridge’s catalog. “Trust In Me” shows Myles and Mark sharing vocal duties as Myles handles the verse duties while Mark takes the chorus. That strategy is flipped on “Tested And Able” as Mark handles the verses and Myles takes on the choruses behind one of the band’s heaviest intros to date, giving way to an unforgettable melody. The album closer “Slave To Master” is an epic track that Alter Bridge has come to be known for and is the longest song the quartet has recorded to date. The band worked with longtime collaborator and producer Michael “Elvis” Baskette on their eighth album. Alter Bridge will be released on January 9, 2026, and is now available for pre-order at: https://www.lnk.to/AB-AlterBridge.

The track listing for Alter Bridge is:

1) Silent Divide (5:06)

2) Rue The Day (4:46)

3) Power Down (4:08)

4) Trust In Me (4:48)

5) Disregarded (3:55)

6) Tested And Able (4:36)

7) What Lies Within (5:07)

8) Hang By A Thread (4:11)

9) Scales Are Falling (5:54)

10) Playing Aces (4:05)

11) What Are You Waiting For (5:00)

12) Slave To Master (9:03)

To coincide with the release of the new music, Alter Bridge is announcing a headline U.S. tour to accompany their already announced European tour. The band is heading out on the What Lies Within U.S. Tour featuring Filter or Sevendust and Tim Montana as support in select markets. The tour kicks off on April 25 in Orlando, FL and runs through May 24 where it wraps in Tampa, FL. Along the way, the tour will make stops in Dallas, TX (April 29), Chicago, IL (May 6) and Huntington, NY (May 12) to name a few. More information on all tickets and VIP packages for the upcoming tour can be found at www.alterbridge.com.

What Lies Within U.S. Tour

Apr 25 – Orlando, FL – House of Blues – TM

Apr 26 – Atlanta, GA – Coca-Cola Roxy – 7D/TM

Apr 28 – Houston, TX – Bayou Music Center – F/TM

Apr 29 – Dallas, TX – South Side Ballroom – F/TM

May 1 – Tulsa, OK – Skyline Event Center at Osage Casino Hotel – F/TM

May 2 – Omaha, NE – Steelhouse Omaha – F/TM

May 5 – Green Bay, WI – EPIC Event Center – F/TM

May 6 – Chicago, IL – The Salt Shed – F/TM

May 9 – Atlantic City, NJ – Event Center at Borgata Hotel Casino & Spa - F

May 10 – Boston, MA - Citizen House of Blues Boston – F/TM

May 12 – Huntington, NY – The Paramount – F/TM

May 13 – Montclair, NJ – The Wellmont Theater - F/TM

May 18 – Pittsburgh, PA – The Roxian Theatre – F/TM

May 19 – Detroit, MI – The Fillmore Detroit – F/TM

May 21 – Nashville, TN – The Pinnacle – 7D/TM

May 22 – Birmingham, AL – Avondale Brewing Company – F/TM

May 24 – Tampa, FL – Seminole Hard Rock Tampa Event Center – F/TM

Previously announced What Lies Within Tour Dates

Jan 15 – HAMBURG, GERMANY – Sporthalle

Jan 17 – OSLO, NORWAY – Sentrum Scene

Jan 18 – OSLO, NORWAY – Sentrum Scene

Jan 20 – STOCKHOLM, SWEDEN – Annexet

Jan 22 – HELSINKI, FINLAND – Ice Hall Black Box

Jan 24 – COPENHAGEN, DENMARK – KB Hallen

Jan 25 – BERLIN, GERMANY – Columbiahalle

Jan 27 – GLIWICE, POLAND – Prezero Arena Gliwice

Jan 28 – BUDAPEST, HUNGARY – Barba Negra

Jan 30 – VIENNA, AUSTRIA – Gasometer

Jan 31 – ZAGREB, CROATIA – Bocarski Dom

Feb 02 – ROME, ITALY – Atlantico

Feb 03 – BERGAMO, ITALY – ChorusLive Arena

Feb 05 – ZURICH, SWITZERLAND – The Hall

Feb 06 – LYON, FRANCE – Halle Tony Garnier

Feb 08 – BARCELONA, SPAIN – Razzmatazz 1

Feb 10 – LISBON, PORTUGAL – Sagres Campo Pequeno

Feb 12 – MADRID, SPAIN – Palacio Vistalegre

Feb 13 – BORDEAUX, FRANCE – Arkea Arena

Feb 15 – LUXEMBOURG, LUXEMBOURG – Rockhal

Feb 17 – OBERHAUSEN, GERMANY – Oberhausen Turbinenhalle

Feb 18 – PARIS, FRANCE – Zenith

Feb 20 – MUNICH, GERMANY – Zenith

Feb 22 – AMSTERDAM, NETHERLANDS – Ziggo Dome

Feb 23 – BRUSSELS, BELGIUM – Ancienne Belgique

Feb 25 – NEWCASTLE, UNITED KINGDOM – Utilita Arena

Feb 26 – MANCHESTER, UNITED KINGDOM – AO Arena

Feb 28 – DUBLIN, IRELAND – 3Arena

Mar 02 – GLASGOW, UNITED KINGDOM – OVO Hydro

Mar 04 – LONDON, UNITED KINGDOM – The O2

Mar 05 – NOTTINGHAM, UNITED KINGDOM – Motorpoint Arena

Jun 27 – CARDIFF, WALES – Blackbird Festival @ Cardiff Castle

Back in 2004, four lifelong musicians got together down in Florida. Even though they had traveled separate paths, similar lessons learned, wisdom earned, and dues paid united these gentlemen—Myles Kennedy [vocals, guitar], Mark Tremonti [guitar, vocals], Brian Marshall [bass], and Scott Phillips [drums]—as Alter Bridge. Over the ensuing two decades, the band endured countless trials and tribulations, defied every odd, and rose to the head of the pack as a hard rock juggernaut, cementing a singular legacy by selling out arenas, gathering nearly 1 billion streams, inciting international acclaim, and quietly attracting a diehard audience. Beginning with the Top 5 entry of 2004’s gold certified One Day Remains, the band have scored six consecutive Top 20 debuts on the Billboard 200. Among a myriad of highlights, Guitarist Magazine applauded “Blackbird” for the “Greatest Guitar Solo of All Time,” the ABIII single “Isolation” vaulted to #1 on the Billboard Mainstream Rock Chart, 2013’s Fortress received rare perfect scores from KERRANG! and Total Guitar, and Walk The Sky shook the Top Rock Albums Chart at #1. Beyond packing O2 Arena and Royal Albert Hall, Classic Rock hailed 2022’s Pawns & Kings as “the Rolls-Royce of Alter Bridge records” in a 4.5-out-of-5-star review. Plus, the latter LP garnered praise from American Songwriter, Guitar World, and Loudwire, while Billboard christened them “one of America’s premiere hard rock quartets.” Channeling the same hunger, the band continue to push themselves on their self-titled eighth full-length offering, Alter Bridge [Napalm Records]. It embodies everything they’re known for such as the precise riffs, towering hooks, and solos that practically break guitar strings as they burst through the clouds.

Pink Floyd founding member Roger Waters has reignited an age-old feud with Black Sabbath, snubbing the late Ozzy Osbourne in a new interview – and Ozzy’s son Jack isn’t too happy about it.

Speaking to The Independent Ink, Waters discusses how pop culture often diverts attention away from politics and humanitarian issues. He namedrops “Taylor Swift [and] Kim Kardashian’s bum” as unimportant topics the media uses to detract from vital topics – before, unfortunately, opting to lump Black Sabbath and The Prince of Darkness into the same category.

“It all doesn’t matter… and Ozzy Osbourne – who just died, bless him!” he adds to his list of media buzz topics. “Whatever that state that he was in his whole life, we’ll never know… He was all over the TV for years, with his idiocy and nonsense.”

• READ MORE: Birmingham University economists say Black Sabbath’s final show made £33.8 million from physical ticket sales

After already criticising the late musician, he also decides to criticise Black Sabbath’s music on the whole. “The music, I have no idea,” he says. “I couldn’t give a fuck!”

“I don’t care about Black Sabbath, I never did,” he announces. “I have no interest in ‘BLAAAAH!’, biting the heads off of chickens, or whatever they do. I couldn’t care less.”

Now Jack Osbourne, son of Ozzy Osbourne, who passed away on 22 July just weeks after Sabbath’s grand Back To The Beginning farewell show, has responded by calling the former Pink Floyd man a “cunt”.

“Hey Roger Waters – fuck you,” he writes in a new Instagram post. “How pathetic and out of touch you’ve become. The only way you seem to get attention these days is by vomiting out bullshit in the press.”

“My father always thought you were a cunt,” he adds. “Thanks for proving him right.”

This isn’t the first time Waters has shared his dislike of Sabbath’s music. Speaking in music magazine Melody Maker back in 1970, he critiqued the band’s debut album Paranoid, honing in on the album’s cover of Crow’s Evil Woman.

“Well, well, well… I’m speechless,” he said [via Louder]. “Well, almost. It’s got that kind of Dragnet, Peter Gunn, American detective series beginning. You keep thinking it’s going to start. You think that for the first minute but then, if you are really perceptive, you realise it isn’t going to start, and that’s all there is.”

It’s a comment that would stick with Sabbath for many years, with Tony Iommi even mentioning it in a radio interview with Planet Rock in 2017. “I used to read the slaggings we’d get and I’d just think ‘Why?’” he said. “There was one comment that really hurt and that didn’t actually come from the press. It came from Pink Floyd’s Roger Waters.”

“He reviewed Paranoid when it came out as a single because he was reviewing the singles that week for a music paper,” Iommi recalled. “He gave it such a terrible review. I thought ‘Blimey!’ Hearing that from a fellow musician seemed really harsh.”

The post “My father always thought you were a c**t”: Jack Osbourne slams Roger Waters for saying he “couldn’t give a f**k” about Ozzy Osbourne’s music appeared first on Guitar.com | All Things Guitar.

Disturbed’s Dan Donegan has looked back on the band’s first ever set at Ozzfest, and how they managed to draw a crowd of “thousands” despite playing in broad daylight at 10am.

The travelling festival, founded by Ozzy and Sharon Osbourne, was launched in 1996. The idea for the fest was born after Sharon had tried to get Ozzy on the bill at Lollapalooza but was rejected, and decided that the pair should make their own festival that celebrated the best established and growing bands in metal.

• READ MORE: “Probably had a better chance of getting struck by lightning”: Watch Daron Malakian join System Of A Down covers band onstage in Chicago – it’s the stuff of dreams

Disturbed made their Ozzfest debut in the year 2000, when they played the festival’s second stage bright and early (in festival time, that is). Speaking to Guitar World for its new print edition, Donegan says it took the band to new heights.

“It was a steady climb, gradually going upward. I’ll never forget – our first show was in West Palm Beach in Florida, and we were the first band to open the second stage, which was basically a stage set up in the parking lot. There were so many good bands coming out at that time, so there was this friendly competition, with everybody trying to leave their mark.

“We were on at 10 in the morning, so we were like, ‘Is anybody even gonna show up?’ Sure enough, we start playing at 10am and nobody’s there yet,” he says. “The festival people said, ‘They’re coming in, don’t worry about it,’ and by the time we got to the second or third song, there were thousands of people watching us. It was great exposure, and it really helped launch our career.”

Speaking to Metal Hammer earlier this year, Sharon Osbourne looked back on the festival as one of her proudest achievements. “It was brilliant,” she said. “For 23 years, it was like summer camp. There was one band in particular who I just always adored, and I got the honour of working with them for a while, which was Motörhead [who played Ozzfest in 1998]. I just loved Lemmy to death.”

Of the festival’s success, she said, “It passed the torch. So many great bands came out of Ozzfest that are still going today and still so relevant.”

The post “We start playing at 10am and nobody’s there yet… Two or three songs in there were thousands of people watching us”: Dan Donegan on how Ozzfest helped “launch” Disturbed’s career appeared first on Guitar.com | All Things Guitar.

This arrangement draws on both the joy of my early classroom memories and the song’s evolution into a broader message of renewal.

Zakk Wylde has been reminiscing on his bond with Ozzy Osbourne, and has shared what their friendship was like outside of music.

Osbourne passed away back in July, just a matter of weeks after his giant final show with Black Sabbath in their home city of Birmingham, England. The monumental metal celebration brought in a total of £33.8 million in ticket sales, according to Dr. Matt Lyons of the University of Birmingham, and proceeds from the event were pledged to Cure Parkinson’s, the Birmingham Children’s Hospital, and Acorns Children’s Hospice.

• READ MORE: “They say never meet your idols, but that’s just not true. Sometimes you get lucky”: M. Shadows reflects on interviewing Ozzy Osbourne in 2017

Since his passing, friends, fans, and music figures alike have been sharing their stories of meeting or working with the Prince of Darkness. As one of his solo band guitarists, Wylde has spoken of the advice Osbourne used to give him, and why his excellent sandwich making skills kept him in Osbourne’s good books in a new interview with Guitar World.

“You’re always gonna learn along the way. You trust somebody, and then you get screwed on a business deal or whatever. When anything would happen, Oz would be like, ‘Zakk, I remember with Sabbath this or that…’ Stories about thinking someone was a good guy, and they end up screwing you over,” he says.

“Obviously, all of us live and learn on our own, too. But Oz would always be there for advice. He’d poke me in the eye, and I’d be like, ‘What was that for?’ He’d say, ‘Life’s tough. That’s why.’ [Laughs] I’d go, ‘Yeah, but I really didn’t need that.’ He’d go [in a British accent], ‘Oh, go make me a sandwich, light on the Colman’s [Mustard].”

Wylde followed in the footsteps of Randy Rhoads and Jake E. Lee within Osbourne’s band. Asked why he felt Osbourne chose him to take on the gig with such big shoes to fill, he jokes, “Because I went light on the Colman’s! Forget the guitar playing; the way I made ham sandwiches with the Colman’s was amazing.

“I was the Randy and the Jake of ham sandwiches and Colman’s,” he laughs. “With anything, if it works and it’s easy, that’s how it should be with bands and relationships. I mean, with your wife, your friends, anyone – if they don’t bring you peace, why are you with these people?”

The post “Forget the guitar playing; the way I made ham sandwiches was amazing!”: Zakk Wylde on the ‘real’ reason he was hired as Ozzy’s guitarist appeared first on Guitar.com | All Things Guitar.

€299/£265, crazytubecircuits.com

Vintage guitars are rightly held as some of the most inspirational tone-creating machines out there in guitar land. Vintage pedals, however, are often dismissed for being overly big and bulky, noisy and needing a power supply last seen powering a 1980s Casio keyboard. Yes, there are the well-trodden and bank-busting Tube Screamers and Klons, and much love for round Fuzz Faces abides on forums, but outside of a few classics, many of today’s players find these ‘quirky’ boxes are just too much to handle.

For others however, the quest for tone means they will tolerate the original pedals in all their idiosyncratic glory.

• READ MORE: EarthQuaker Devices Rancho de la Luna Dirt Transmitter review – heavy fuzz tones with a voltage-starving twist

One such is the Tube Driver. Designed by BK Butler in 1983, it was initially developed from a circuit designed to overdrive keyboards – in the style of Deep Purple in the late 1970s. However, it was quickly refined as a guitar pedal and despite numerous versions over the years, remains a somewhat overlooked iconic pedal.

Relied on by players such as David Gilmour, Billy Gibbons and Joe Satriani, and a core part of Eric Johnson’s smooth violin-esque lead tone, original models are big, heavy, mains powered and, feature a real ECC83 inside giving oodles of juicy smooth gain to even a clean amp.

While Butler has once again began making Tube Drivers in very limited runs, he’s a one-man operation, so they’re both hard to get and pretty pricey on the used market. Thankfully for those of us without the patience to wait, Crazy Tube Circuits is here to help.

Image: Adam Gasson

Crazy Tube Circuits Venus – what is it?

The Venus is effectively an attempt by CTC to cram all of that valve-powered goodness into a compact modern enclosure, complete with some refinements that you won’t find on the original – most notably a three-band EQ. It’s also less than half the size of the original Tube Driver, and you can power it straight off your pedalboard’s power supply (albeit with a 400mA current draw), which again, you won’t be able to do with the original.

As luck would have it, I happen to own an original vintage non-bias control Tube Driver that’s fitted with an ECC83 valve – what better way to see how the new kid on the block stands up?

Image: Adam Gasson

Crazy Tube Circuits Venus – sounds

Despite the ‘real tube overdrive’ moniker of the original unit, I’ve always felt like Tube Drivers should be best approached like fuzz pedals, they work great at imparting huge walls of gain on even the cleanest amp, yet are quite tricky to dial in. Often their best tones, at least for anything other than rich compressed super-sustaining lead tones, are best found by working your guitar’s controls to dial them back a bit.

Owners of original units will debate endlessly whether higher gain ECC83 or lower gain ECC82 valves sound best so for their reworking of the classic pedal, CTC have used an ECC823 dual triode in their Venus as they felt this offers the best of both worlds, although users can swap out for any other dual triode should they wish.

Plugging my Strat into a Deluxe Reverb set squeaky clean is usually kryptonite for drive pedals, but with the Venus’ volume and drive set at noon I’m greeted with exactly the thick, harmonically rich lead tone I hoped for. Smooth, sustaining notes bloom and blossom into feedback as I turn up the volume.

Side by side, it’s perhaps a touch fuzzier around the edges compared to the original unit, but definitely a wonderful expressive tone that is more dynamic than the vintage pedal, cleaning up far better from my volume control.

Utilising the onboard bias control to presumably starve the valve of voltage, I can go from smooth to Velcro-esque spitty fuzz tones and all points in between. Special mention should also go to the addition of this powerful 3-band EQ – it offers a myriad of tonal tweaks not possible with the original unit, making it much more versatile as a result..

Image: Adam Gasson

Crazy Tube Circuits Venus – should I buy one?

It’s very rare that a modern pedal is an improvement over the original, but for size, flexibility, tone and practicality, Crazy Tube Circuits may well have created a masterpiece here, a new Goddess of tone!

Image: Adam Gasson

Crazy Tube Circuits Venus – alternatives

Bargain hunters looking for a Tube Driver fix may wish to seek out a TC Electronic Tube Pilot, which manages to pack a real ECC83 tube in for a frankly bonkers low price of around $67.90/£50. For a non-valve take on a similar tonal palette, you might be lucky and find a used Dover Drive by Hermida out there, but it won’t be cheap! The Butler Audio recreation of the original Tube Driver will cost you $299, but Butler makes them one at a time so prepare to be patient.

The post Crazy Tube Circuits Venus review – ”Crazy Tube Circuits may well have created a masterpiece” appeared first on Guitar.com | All Things Guitar.



Do guitars still sell in 2025? Is there a glut of unsold instruments? How have tariffs affected the high-end musical instrument space?

At this year’s Fretboard Summit, we asked a handful of guitar retailers for their unfiltered thoughts on selling instruments in 2025. Included were Rebecca Jasso (Old Town School of Folk Music retail store), Joe Caruso (The Music Emporium), Matt Kappenman (Mass Street Music) and Nathan Schiller (Folkway Music).

Their thoughts on guitar retail may just surprise you, and their insights into how to take care of a customer (and stay profitable during these tumultuous times) were revelatory.

Recorded live at the 2025 Fretboard Summit. We’ll be sharing more talks and panels from the Summit soon. Our next Summit takes place August 20-22, 2026 at the Old Town School of Folk Music in Chicago.

We are brought to you by: Stringjoy Strings: https://stringjoy.com

(Use the code FRETBOARD to save 10% off your first order)

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The post Podcast 514: Guitar Retail in 2025 (Fretboard Summit Panel) first appeared on Fretboard Journal.

Strymon Engineering has introduced the new PCH Stereo Active Direct Interface, an advanced stereo direct box with a built-in headphone amplifier.

Featuring impressive specs that out-perform DIs anywhere near its price range, PCH also has a unique feature expected to delight pedalboard users: a powerful built-in headphone amp, loud and clean enough to drive even high impedance headphones.

Now you can rest easy knowing that the sound of your pedalboard won’t change even a little when passing through PCH, and the headphone amp means you won’t have to ask anyone how you sound. You’ll know.

PCH makes it easy to monitor or practice while listening to the sound of your entire rig or pedalboard in full stereo. No matter what instrument or style of music you play, if you need to connect unbalanced outputs to a PA, recording interface or flat response speaker system, PCH is the ultimate choice for an absolutely transparent stereo direct interface - and it’s the only one that you can listen to locally via the stereo headphone amp.

Housed in a battle-ready 3mm extruded aluminum chassis, PCH requires 9VDC power, which it converts internally via a custom single-channel Ojai power supply to 24VDC. That extra voltage and high current renders the interface nearly un-clippable, and allows it to achieve a max signal-to-noise ratio of 135db, a hyper-flat frequency response of +/- 0.25db from 10Hz to 80 KHz, and gives the headphone amplifier enough power to cleanly drive even 600 ohm headphones without distortion.

PCH features include:

• Two channel design - use in stereo or dual mono, whichever fits your setup

• Runs on 9VDC - internally converted to 24V to be virtually unclippable

• Stereo headphone amplifier powerful enough to drive high impedance headphones

• Switchable Mic/Line level operation for the XLR outputs

• Defeatable ground lift for the XLR outputs

• Defeatable Sum for the Thru outputs

• Runs off of a modified internal mini Ojai power supply for ultimate performance

• Extremely low THD (Total Harmonic Distortion)

• Bulletproof construction that will stand up to the abuse of the road

“As the music world continues to embrace quiet stage volumes, instrumentalists increasingly turn to amp-less live rigs to achieve good tones at low volumes”, said Sean Halley, Strymon’s Head of Marketing. “Unfortunately this creates problems for players trying to hear their entire pedalboard when they’re anywhere else but onstage. With a PCH at the end of your signal chain, you get a pristine direct interface and a killer built-in headphone amp to make sure that what you’re sending to the PA or recording rig is exactly what you intend to - and it makes silent practicing a joy.”

Gregg Stock, Strymon co-founder and analog circuit guru adds “while we’re more recognized for our DSP effects pedals, they wouldn’t sound the way they do if the analog side wasn’t just as advanced. With PCH we’ve brought that analog expertise to a new market, because it doesn’t matter whose pedals are on your board, you need a bulletproof and pristine-sounding DI to interface with the outside world. PCH isn’t just for guitarists, it’s for anyone with a pedalboard.”

The PCH Active Stereo DI is available now directly from Strymon and from dealers worldwide for $279 US.

Since hitting the scene in 2007, Wampler has consistently made some of the better overdrive and distortion pedals on the market. Interestingly, though, other than 2013’s Levithan fuzz and its brazen sibling, the Fuzztration, which is a fuzz/octave pedal, Wampler’s product line didn’t feature many fuzz pedals. Since then, Brian Wampler has evolved as a pedal builder, and Wampler’s new Cryptid reflects a unique take on what a fuzz can be—employing a newly designed circuit with NPN and PNP transistors, and FETs.

Wampler has described the Cryptid as a “fuzz for those who don’t like fuzz.” And certainly, it’s a versatile pedal that covers much more sonic ground than conventional fuzzes. In addition to delivering variations on familiar classic Fuzz Face, Tone Bender, and Big Muff sounds, the Cryptid can move into light overdrive or even chiming clean territory.

 A Fun House of Fuzz

The Cryptid, despite the implied mystery in its name, is pretty forgiving. You could just set all the knobs at noon and you’d be good to go for any number of fuzz tasks and roles. But this is a fuzz of impressive potential, and every knob and switch—particularly the character knob and the tight and chime switches, and the way they interact—can profoundly reshape the pedal’s performance and feel.

The character knob is a bias control that can shift the mood and responsiveness of the pedal significantly. When the character knob is fully counter-clockwise, the Cryptid is well behaved and focused. As you turn it clockwise, though, things get crazier. Once the character knob is around 2:00 you’ll start to hear sputtering textures that evoke tired, voltage-starved vintage units and more deliberately designed glitch fuzz.

The tight switch lets you regulate how much bass is present in the signal and has a pretty significant impact on the tone. In the down position, it adds in a fair amount of bass. The middle position offers the least bass content and tightens up the sound, which brings out more overdrive-like colors. The up position is the ticket to maximum bass, and even with the fuzz knob set conservatively the Cryptid really is explosive and massive.

The chime switch adds high end. The down position gives a little bit of chime, the middle position is relatively chimeless and has a darker quality, and the up position yields the brightest sounds. The less fuzz you apply to the signal, the more noticeable the chime effect will be. With the fuzz knob all the way counter-clockwise and the chime control switch in the up position, you get delicious, pronounced near-clean tones that fit the bill for Hendrix double stops and Stevie Ray Vaughn blues escapades.

Brian Wampler’s ambitions in putting together the Cryptid—essentially encapsulating the character and tonalities associated with Big Muffs, Tone Benders, and Fuzz Faces, while leaving room for airy, cleaner tones and picking dynamics—were far-reaching. But there is ample evidence that he achieved his aims. Cryptid may not serve many purists searching for classic clone sounds, but it offers the chance to create more original sounds that have all the fire of those classics, and more polite tones to boot.

In guitar circles, Greeny – the 1959 Gibson Les Paul Standard once owned by Fleetwood Mac guitarist Peter Green and now by Metallica’s Kirk Hammett – is sort of like the One Ring from Lord of the Rings; when players get their hands on it, they’re never quite the same again.

It’s a lesson former Ozzy Osbourne six-string sidekick Jake E. Lee learned the hard way, after Kirk Hammett let him play the guitar backstage at Black Sabbath’s recent farewell show in Birmingham on 5 July.

• READ MORE: “These go to 11!”: Nigel Tufnel’s old Spinal Tap amps are out – because Marshall has designed him an amp that goes to “infinity”

As he recalls in a new interview with Guitar World, Lee explains how Hammett let him play Greeny while rehearsing for his performance at the event, and the experience left an indelible mark.

“I can confirm that it’s a magical piece of wood,” he says. “I didn’t want to put it down – didn’t want to leave it. I’ve missed it ever since! It’s so resonant; it just sings. I almost wish I’d never played it! [laughs] Nah – I’m glad I got to bask in its magic, if for just a while.”

While undoubtedly one of the most fabled electric guitars in existence today, Kirk Hammett is generally pretty generous with whom he lets play the Greeny Les Paul. Earlier this year, he recalled lending the guitar to Jack White, who played it for a few songs onstage.

But while Hammett and Greeny are not tied at the hip, he has acknowledged the lasting effect the guitar has had on him since owning it.

“People say a lot of things have changed about me since I got that guitar,” Hammett said last year. “My playing has changed, my attitude has changed, my tone has changed, my approach has changed. All those things have changed over the last five or six years because of this guitar. I’m really happy about it.”

Elsewhere in the Guitar World interview, Jake E. Lee recalls his performance at Black Sabbath’s monumental final gig, which would also serve as Ozzy Osbourne’s last live appearance before his death.

“I was backstage, and I knew my guitar needed tuning,” he remembers. “And I kept saying, ‘Where’s the rest of the band? Shouldn’t I be out there?’ But they said, ‘No, we’re not ready for you?’ I was like, ‘Okay… can I go out now?’ They said, ‘Okay, you can go.’ Then they led me to stage right, and I said, ‘Shouldn’t I be stage left? I’m playing over there…’ But they said, ‘No, you’ve got to go this way…’

“So I came out, and I hadn’t heard anything, but Nuno [Bettencourt] had the crowd chanting my name. And I walked out and Lzzy [Hale] and Nuno are doing little bows to me. [Laughs] Then Nuno grabbed me and gave me a kiss on the cheek!”

He continues: “The crowd was chanting my name. It was overwhelming. I’m surprised I didn’t trip and fall down! But because of all that, I was a little out of tune – but it was worth it. To have that introduction and reaction was good for my soul. 

“And then, with Shot in the Dark, we rehearsed it a certain way, but I think David got a little excited and jumped ahead. So I didn’t get to do my cool harmony at the beginning, but that’s okay! Did I play my best? Maybe not. Was I in tune? Maybe not. Was it fantastic and amazing? Absolutely.”

The post “I’ve missed it since – I almost wish I’d never played it!”: Jake E. Lee reveals Kirk Hammett let him play Greeny backstage at Black Sabbath’s final show appeared first on Guitar.com | All Things Guitar.

John Bohlinger sits down with Revv Amps’ cofounder Derek Eastveld to trace the company’s journey from basement builds to pedal boom. And while their Generator Series fire-breathing amps and pedals started its ascent finding homes with rockers The Pretty Reckless & A Day to Remember, Eastveld explains that it might be their clean, versatile Dynamis Series gear that's making the Canadian brand a preference for players and producers in Nashville.

Sophie Lloyd has decided to change up her social media content, as the pressure of battling with algorithms has impacted her joy of sharing guitar videos online.

Lloyd has been building up her live presence in the real world across recent years following the release of her 2023 album, Imposter Syndrome. When she last chatted to Guitar.com, she spoke of how she’d always viewed herself as a solo performer, even though she’s well-known for playing alongside MGK.

• READ MORE: Sophie Lloyd: “The sign of a really successful guitarist is when they can play anything and sound like themself”

MGK recruited Lloyd after coming across her online presence, which she has been building since the early 2010s. Her YouTube videos and snappy covers on TikTok and Instagram have been something she has continued alongside both her solo work and her live shows with MGK, but the pressure of making ‘perfect’ content was has become a lot less fulfilling.

“Lately I’ve been feeling a little overwhelmed with the pressures of social media,” she writes on Instagram. “With so many amazing creators out there, I’ve been finding it harder and harder to stand out and keep up with the constantly changing algorithm. I kept comparing myself to others, chasing numbers, and honestly, it just stopped being fun.”

She continues, “I think back to when I started posting videos when I was a young girl, I was so excited to pick up a guitar for hours every night learning my favourite songs, and sharing that with whoever would listen, not worrying about views or likes. I want to rediscover that passion and love for guitar and music.”

“Joe Satriani’s Surfing With The Alien was the first instrumental album that really got me into guitar, and the song Satch Boogie was one I tried to learn when I was younger, and could just never get my fingers round it. So the other night, I sat down and started trying to work through it again. I was sat there for hours, really enjoying myself, actually playing guitar for fun like I used to. I want to bring that back into the content I make.”

With that in mind, Lloyd is going to be stripping down her content in favour of posting “real stuff” with “no fancy lighting, no fake eyelashes, no overdubbed audio. Just the room sound, and what I’m actually doing and wanting to work on that day”. She’ll also be doing chatty and fun content, the kind of videos she likes to watch as a viewer, and will still be doing her YouTube shred versions and higher production reels from time to time as well.

You can watch Lloyd’s cover of Satch Boogie below:

View this post on Instagram

A post shared by Sophie Lloyd (@sophieguitar_)

Sophie Lloyd is touring with Glenn Hughes this October – find out more via her official website.

The post “I want to be more myself, and get back to the real joy of playing guitar”: Sophie Lloyd to post simpler content due to social media pressures ruining the fun of playing music appeared first on Guitar.com | All Things Guitar.

When it comes to rhythm guitar, there are acknowledged masters—artists like Jimmy Nolen, Catfish Collins, Wah Wah Watson, Curtis Mayfield—whose work deserves deep analysis and interpretation. But the discourse on each and every one of these players is sadly thin. That’s because rhythm—especially when it’s funky—is ineffable, and it’s much easier to discuss licks, riffs, melodies, or gear than it is to talk about the give-and-take nuances that make your body want to move when you hear a song. Like Icarus and the sun, if we try to describe a groove too closely we’re setting up our demise. In the attempt to convey those truly human elements of musical performance, we not only fail, but risk rendering ourselves … unfunky.

YouTube

It’s not just words that fall short—musical notation can’t quite capture a groove either. Though it does well at communicating a composer’s intended notes and rhythms, transcribing the intricacies of feel is a task that often overcomplicates something so intrinsic to human nature to the point of illegibility. In learning from the greats of funk, soul, and r&b guitar, we simply have to use our ears as best we can.

“I think we probably share like 60 to 75 percent of our musical DNA. And then the extra stuff that we have adds something to it.” —Charlie Hunter

For some, that only goes so far, so we need visual aides. And that’s how most people—probably—discover Ella Feingold, the Grammy-winning guitarist breaking down the intricacies of those masters of rhythm guitar and many others on Instagram and TikTok, making some of the greatest strides yet in the education—and enjoyment—of funky feel. We’re talking deep, below-the-surface details, like pick attack and note placement—potentially nerd-level stuff that she delivers in a warm, approachable style that makes her videos so engaging and rewatchable. (In fact, if there’s one person I’ve learned the most about guitar from in the last couple of years, it is Ella.)

Feingold’s rhythmic research is backed by a deep resume that spans work as an orchestrator, composer, and producer. As a guitarist, Feingold has been tapped to play alongside an impressive list of leaders that includes Erykah Badu, Silk Sonic, Bootsy Collins, and Jay-Z.

Charlie Hunter is one of many who found Feingold through Instagram. After Hunter—who came up in the ’90s on Blue Note Records, famously wielding a hybrid guitar/bass instrument that set the jazz-funk scene on high alert—scrolled across Feingold’s videos, the two quickly took it to their DMs and established a friendship. Collab talks started soon after. Feingold, who has worked exclusively as a side musician save for a few classical piano pieces, jumped at the opportunity to release a record under her name alongside Hunter, who she lovingly calls “a musical hero.”

The two convened at Pilot Studios in Great Barrington, Massachusetts, with producer Alan Evans—best known as the drummer for Soulive—for a few short days to create Different Strokes for Different Folks, a rhythm symposium of the highest order. It’s a record that’s earnestly old-school by way of a simple approach: capturing a live-off-the-floor two-way conversation between singular instrumentalists. Feingold’s guitar—punchy and percussive but still delicate and detailed—lies on the right side of the stereo field throughout, communing with Hunter’s counterpoint of pulsing bass, which sits near the center, and snare-like guitar chords and knotty riffs on the left. No-frills drums, added by Hunter, pull together the sound, unifying the feel and tying the record to groove masters like Stevie Wonder and Sly Stone—the latter referenced in the album title and its opening track, “There’s Still a Riot Goin’ On.”

“Sly is just my god, my king of dark funk.” —Ella Feingold

Different Strokes for Different Folks is a masterwork of minimal funk: there are no solos, and melodies arise from rhythm itself. It’s an album that draws attention to the finer details of rhythm guitar, and to the communication between rhythmic elements that are often relegated to background duty. Most importantly, it’s an album that will make you feel something.

We got together with Feingold and Hunter to talk rhythm, recording, and the art of musical conversation.

After first meeting on Instagram, what was the catalyst for making the record happen, and how did it come together?

Ella Feingold: I’ve always been a fan of Charlie’s, obviously. Eventually, it led to just talking all the time, about rhythm and all the stuff we love that doesn’t really get discussed a lot. We had a lot in common, and at some point, he’s like, “Yeah, we should make a record together…” which kind of terrified me.

Charlie Hunter: I think we probably share like 60 to 75 percent music DNA. And then the extra stuff that we have adds something to it. I have all this really old knowledge that nobody cares about, like 1920s stuff. And then I always tell people, “You want to know about this one Motown recording from 1968?” Call Ella, because she’s going to know exactly who played on that and exactly every part.

Feingold: We knew we wanted to do a record together. But in terms of the drumming, we had talked about everything from programming an MPC to just having a funk box—a Rhythm King, a Rhythm Ace—to getting drummers. We had talked to Steve Jordan, and Steve was like, “I’m down.” We had talked to Questlove, Questlove was down. And I know this sounds like the douchiest thing in the world to say—because to have musicians like that that are interested in working with us is the grandest honor—Charlie and I, we just wanted the conversation to be between the two of us. We wanted the rhythm to be this mantra that feels good, that moves you to the conversation we’re having, but that’s not the forefront of the conversation.

So it started with us going in, knowing that the rhythm is going to come from him and I, but not exactly sure how. And then with me programming a little bit with the MPC and playing along. Then Charlie replaced everything and killed it on drums. So Charlie’s the drummer on the record. And what I think is cool about that is we wanted it kind of like … when Sly Stone plays drums, and when Stevie Wonder plays drums, or when Lenny Kravitz, whoever, like an artist that plays their own music, does the drum part, it’s going to be exactly what it needs to be and nothing else, with no other filler, no other musicianship, no “look what I can do.” It’s going to be exactly what needs to be there. And that’s exactly what Charlie did.

Hunter: Because I don’t take pride in my drumming, we wanted it to just be as basic as possible.

Ella, there are so many songs you talk about on your social media that I’ve heard a million times, but you’ll show how a part goes and then I’ll hear it so differently. It blows my mind. You have such a good ear for really fine details, and I know a lot of people feel that way.

Feingold: I feel like I get too much credit. A lot of that stuff just comes from what I can’t do—meaning I don’t really solo, I don’t know modes, I don’t really know a lot of scales. There’s so much I don’t know. My ear just goes to the place that makes my ear happy.

I think some of it has come from being on the road in the early 2000s, when there were no stems, no stem-making software, there wasn’t really social media. You had to learn a show from a rehearsal CD or an MP3 and had to pick out guitar parts. You really had to do this kind of deep listening to try and hear stuff.

“If you have a good feel and something to say and a lived experience, you got this.”—Ella Feingold

There are two references to Sly Stone on the album—the title is a lyric from “Everyday People,” and the song “There’s Still a Riot Goin’ On” is a hat-tip to Sly’s 1971 record.

Hunter: That’s Ella’s department. She is a Sly-o-phile.

Feingold: Sly is just my god, my king of dark funk. You obviously have George Clinton and James Brown, but something about Sly, for me, it’s just the greasiest, most raw, tasteful … it’s something that just hits me in the chest. A lot of my musical aesthetic was from Sly and from him playing all the instruments. And then all the music I adore—D’Angelo and J Dilla and some Prince—it all comes from Sly.

If I can get political, I’m a trans woman, and we did that album in February, a month after the inauguration, after Trump was going after trans people, taking away life-saving medicine and hormones and fucking with our passports and all kinds of stuff. And I felt a lot of turmoil. So going into the record, it just felt like there was a riot going on—externally in the world and internally within. And I just wanted some of that to be reflected in the conversation. Not just because I love Sly and the Sly references. Certainly “different strokes for different folks” came out of the lyrics, but it’s cool because “different strokes” can also be referring to Charlie’s stroke and my stroke on the instrument, and there’s also the Muhammad Ali reference—knocking people the fuck out.

Tell me about the guitars you used on the record, and the tunings.

Feingold: I used a Mexican Strat in inverted tuning—it’s E–A–D–G–B–E, but it’s high to low, not low to high, so familiar voicings become distant relatives.

Where did the inverted tuning come from?

Feingold: From my buddy Blake Mills [who learned it from Chris Weisman]. I even have the text message where he said, “I’m about to change your life.” For me, the appeal was it gave me the rhythm sound I wanted in terms of attacking the high strings first. And the tuning felt a little familiar, because it’s related to standard. Although anything above a triad, the overtone series sort of gets put on its head—all the color tones are on the low strings and all the roots and thirds are on the high strings. But it opened up this whole new world of harmony that was like Claus Ogerman harmony—close position stuff you’d hear Nat King Cole or George Shearing play. What I love is it’s sort of similar to Charlie’s whole journey, which he took long before I did, of, “What does this thing want to be?” And then finding a sound with it.

“The first time we played, I was like, ‘This sounds like a gigantic lawnmower guitar that can take buildings down.’” —Charlie Hunter

Hunter: I think there’s also something really special that happens because of Ella’s inverted tuning and the fact that it’s basically in E, while my hybrid tuning is basically an F. Every tune, we each have a different set of open notes and a different overtone series that makes the instruments do this really cool shimmery thing together. The first time we played, I heard that and I was like, “This is dope. This sounds like a gigantic lawnmower guitar that can take buildings down. All right, let’s go do this.”

Charlie, your journey with your instrument has been well documented at this point, but catch us up a little bit.

Hunter: I started on this 8-string guitar, and that was really a bad idea. And I made a bunch of records on it. I just was like, “Hey, Ralph Novak [of Novax Guitars], can you make this? I have an idea. Could be cool.” Never thinking this was going to be my career. Before I knew it, I had a deal with Blue Note. And then I'm like, “My god, I can’t really do this very well. It’s so hard. What am I doing?” It took me years to figure out, “What does this instrument want to do?”

So I hooked up with Hybrid Guitars and I settled on this thing I’m calling the Big 6. What this instrument does best is really more like a drum set, where you have bass and guitar and it’s all about the counterpoint. It has an extra long scale—the lowest string is 31 inches and the highest is 28.

I have it tuned F, Bb, Eb—which are the lower three strings of a bass, up a half-step—which sends me into a hell of transposition, but sounds so much better than E. And the guitar [side] is Bb, Eb, Ab, which is essentially A, D, G up a half-step.

Ella Feingold’s Gear

Guitar

Fender Jimi Hendrix Stratocaster with Fender Custom Shop Fat ’60s pickups and inverted tuning

Amp

1968 Fender Princeton Reverb

Effects

Ensoniq ASR-10 used for envelope filter

Strings and Picks

La Bella inverted tuning custom signature set (.046 E; .032 B; .017 G; .026 D; .016 A; .011 E)

D'Addario Ukulele 3.0 mm

Charlie Hunter's GearGuitarHybrid Guitars Hybrid 6 (aka Big 6)AmpTwo-Rock Studio SignatureAmpeg B-15Acme Audio Motown DIEffectsSurfyBear Compact DeluxeStringsThomastik-Infeld Jazz Flat Wound (bass side)Thomastik-Infeld Pure Nickel Round Wound (guitar side)

What was the biggest revelation that came from working together?

Hunter: For me, it’s just that we have a great time playing together, and I just learned a ton, you know? And if I can take that away from any situation, it’s a win.

Feingold: The gift of working with Charlie is it gave me the confidence to make my own music. Because I’ve spent my entire career helping other people with their music, playing on their records or producing. I’ve never invested in my own music because I always thought you have to make your own, like, Pet Sounds or Sgt. Pepper’s—you’re going to be working, writing for years. And it was like, we went in there, we had some ideas over a couple of months, and it turned into over an hour of music.

And it just was like, “Wow, I’m overthinking this stuff like crazy.” If you have a good feel and something to say and a lived experience, you got this. That was kind of an unexpected gift. After Charlie and I finished mixing the record, I bought a four-track and I made an EP. I was really inspired by just being around Charlie.

So if you have something to say in the moment, that’s it. That’s the most important thing.

A teaser video for the sequel of Spinal Tap landed earlier this year, showing a Marshall amp that can be cranked right up to “infinity”. Now, the fictional band’s lead guitarist, Nigel Tufnel, has spoken about it for the first time.

The sequel, titled Spinal Tap II: The End Continues, lands on 12 September this year – that’s over 40 years since the original rock ‘n’ roll comedy mockumentary was released. As for the plot of the new film, director Rob Reiner says that the band’s manager has passed away, and that his widow has been left with a contract that states Spinal Tap owe them one more concert.

• READ MORE: Eddie and Alex Van Halen thought This Is Spinal Tap “wasn’t funny” because it was too true to life

Tufnel, played by Christopher Guest, recently did an in-character interview with Guitar World, in which he discussed his gear choices for the Spinal Tap reunion, and that mighty “infinity” master dial. After all, how can you possibly out-do an amp that goes to 11?

It seems this new custom-made head is the solution: “Marshall has made for me an amplifier, the head, and if you look at the dials, it now goes to Infinity. Just think about that for a moment. Think about infinity – oh, my God, that’s literally infinity,” Tufnel says.

Commenting further on his experiments with gear, he adds: “There are lots of pedals that people have done in the last years that are quite extraordinary. Companies that make these pedals, which I use, and I do a little work on them. I take them apart, and I do a little fooling around with wires and stuff like that to get the sound I’d like.

“Lots of times I break them because I don’t really know how to do that work. I haven’t been trained, but it’s interesting to open things up, see all the wires and move them about a bit.”

You can watch the official, full-length trailer for Spinal Tap II below:

To find out more about Spinal Tap II, head over to Sony Pictures.

The post “These go to 11!”: Nigel Tufnel’s old Spinal Tap amps are out – because Marshall has designed him an amp that goes to “infinity” appeared first on Guitar.com | All Things Guitar.

Last year, we released the MXR Randy Rhoads Distortion+, a pedal that celebrates Randy Rhoads’ revolutionary contribution to rock ’n’ roll guitar playing. The original MXR Distortion+ was a key part of his riveting sound, and our MXR engineers worked directly with sister Kathy Rhoads to ensure that this tribute would be equipped with all the components necessary to accurately recreate that sonic signature. The first run sold out quickly, leaving fans clamoring for another chance at those iconic tones. And now, it’s back.

The Randy Rhoads MXR Special Edition Distortion+ features a clean white finish with pinstripe accents, inspired by the iconic Flying V-style guitar that Randy designed after flying on a famous supersonic airliner while touring with Ozzy Osbourne.

Randy Rhoads MXR Special Edition Distortion+ highlights:

• A tribute to the monumental legacy of Randy Rhoads
• Recreates the raw, overdriven tones heard on his most beloved hits
• Painstakingly spec'd from Randy's own MXR Distortion+
• Designed with the direct involvement of sister Kathy Rhoads
• Custom finish inspired by his supersonic V-inspired guitar
• Includes exclusive collector's booklet

Availability

The Randy Rhoads MXR Special Edition Distortion+ is available now at $189.99 street/$271.41 MSRP from your favorite retailer.