General Interest

Joe Perry has opened up about the now-legendary collaboration between Aerosmith and Run-D.M.C. that turned Walk This Way into one of the most important crossover hits in rock history.

Speaking in a new interview with Guitar World, Perry shares how the unlikely team-up came together at a pivotal moment for both artists. By the mid-’80s, Aerosmith’s career had stalled, while Run-D.M.C. were rising stars in hip-hop. With some convincing from producer Rick Rubin, the two camps ended up in the studio together.

• READ MORE: Mötley Crüe win legal battle over Mick Mars – former guitarist ordered to partially pay back $1.5M advance for not completing tour

“It was a lot of fun and definitely a high point of our career,” Perry says of the 1986 remake, which not only reignited Aerosmith’s commercial fortunes but also helped introduced rap to a wider audience.

At the time, the guitarist was already getting an education in hip-hop at home: “My son, who was 11 or 12, was blasting it in his room. I dug the groove. It was really basic music; it’s all about rhythm and guys standing on a street corner with a boombox,” says Perry.

So when Rubin proposed linking up with Run-D.M.C., Aerosmith were game.

“Aerosmith was up for anything. That’s why our music goes from hard rock to almost heavy metal to blues to ballads. We thought, ‘Let’s try it!’”

The recording session itself, however, started off a little more chaotic than one would expect.

“We were, I think, in North Carolina,” Perry recalls. “They sent us plane tickets, and me and Steven [Tyler] went to Queens. I brought my guitar, and there was Rick, an engineer and the guys from Run-D.M.C., and one was late because they had towed his rental car. [Laughs] He was flipping out because he didn’t know what he was gonna do about it, but Rick kept saying, ‘Listen, you’ve got Aerosmith here. Focus. We’ll take care of the car later. Don’t worry about it.’ After that, everybody settled down.”

From there, the track quickly took shape: “We got the drum beat down, which was the common ground for the song – from our version and theirs. I think Rick said, ‘You’re using the drums to rap to anyway; you might as well take it all the way. Let’s try it.”

The guitarist also reveals how he ended up playing bass on the track, thanks to a surprise assist from some future hip-hop royalty.

“There were these three kids in the studio sitting on the couch… I didn’t know who they were, but they were cool guys and a little younger. We were listening to the mixdown, and Rick said, ‘I think we need to put a bass on it.’ We looked around the studio, and there were no basses, but one of the kids said, ‘My apartment ain’t too far, I got a bass there.’”

Those “kids” turned out to be the Beastie Boys: “He went to his apartment and was back in 15 minutes with a P-Bass or a Jazz. Anyway, I played the bass,” says Perry.

The post “I brought my guitar, there was Rick, an engineer and the guys from Run DMC. One was late because they towed his rental car!”: Joe Perry on the recording of Walk This Way appeared first on Guitar.com | All Things Guitar.

Even decades later, the relationship between Dave Mustaine and former bandmate James Hetfield remains… complicated.

In a new interview, the former Metallica guitarist shares how a long-simmering dispute over songwriting credits on some of the band’s earliest material became a lasting “bone of contention” – and ultimately the reason he no longer speaks to Hetfield.

While Metallica has spent the last few years reissuing just about everything from Kill ’Em All through Load, one crucial piece of their history has mostly been left behind: the band’s first demo, No Life ’Til Leather. Recorded in 1982 by Hetfield, Mustaine, Ron McGovney, and Lars Ulrich, the tape has become the stuff of legend among fans – yet it’s only ever seen a small Record Store Day re-release in 2015, limited to just 10,000 copies.

• READ MORE: Dave Mustaine says he won’t have ex-members on Megadeth’s final tour because some have been “saying bad things in the press”: “Why would I want to play with those guys?”

Speaking to Classic Rock, Mustaine says the songwriting credits tied to the demo were never properly sorted out.

“I wrote all the music on Phantom Lord, all the music on Metal Militia, all the music on Jump In The Fire and The Mechanix,” he says. “And I wrote the lyrics for Jump In The Fire and The Mechanix. So do the math: if I wrote the music and James wrote the lyrics, then the credit is 50 per cent me, and 50 per cent James.”

“Well, that’s not what went down when I left. James and Lars figured out that they were going to give Lars some percentage of the songs he didn’t write anything on, and that happened on all four songs.”

The disagreement over credits became a “bone of contention” that affected Mustaine’s relationship with the band moving forward: “It just wasn’t fair. You guys got more money than God, why do you have to take my money?” says Mustaine.

And years later, when Metallica approached him about reissuing the demo, the conversation went south just as quickly.

“So James called me up, ‘Hey, man, we want to release this No Life ‘Til Leather thing, and we want to get all this publishing stuff straight, and, you know, we really don’t remember what went down,’” Mustaine recalls. “I said, ‘Well, that’s good, because I do. I remember what went down, and I can help with that.’”

“And then the conversation took a turn,” he continues. “James goes, ‘Well, that’s not the way that we remember it.’ And I went, ‘Well, James, honestly, there’s three ways to look at this: there’s your way, my way, and the truth, which is some combination of the two.’”

That remark, Mustaine says, shut down the discussion entirely: “That was the end of the conversation. He took offense to that, and we hung up, and I don’t remember speaking to him since then.”

Meanwhile, Mustaine and Megadeth are in the midst of what they’ve announced as the band’s final chapter. Following the release of their self-titled studio album last week, the group is set to embark on an extensive farewell tour running through 2026 and beyond.

View the full list of dates on the Megadeth website.

The post “He took offense to that”: Dave Mustaine on why he and James Hetfield don’t talk anymore appeared first on Guitar.com | All Things Guitar.

Could fans ever hear new music from Panetera’s touring tribute lineup? Possibly – but don’t expect it to arrive under the Pantera name, says Zakk Wylde.

The guitarist – who shares the stage with classic Pantera members Phil Anselmo and Rex Brown, alongside Anthrax drummer Charlie Benante – speaks in a new interview with Music Radar, where he addresses a question fans have wondered about since the lineup first hit the road 2022.

• READ MORE: “Maybe he felt my part was getting bigger than a band member should be”: Jake E. Lee on contract negotiations for Ozzy’s The Ultimate Sin

“Yeah, you never know,” says Wylde. “We could do something as like The Traveling Wilburys or something! [Laughs] Nah, you know what I mean, call it something different.”

Originally formed to honour the legacy of Dimebag Darrell and Vinnie Paul, the tribute lineup has since taken in arena tours, major festivals and high-profile support slots with Metallica. With all four players juggling multiple bands and projects, though, finding time to create something in the studio together wouldn’t be easy.

“Well, I mean, Phil’s busy right now. He’s doing a Down thing, and then he has En Minor,” Wylde explains. “I think he’s doing a Scour thing, too. So Phil’s doing that. I think Rex is still writing, and he’s doing another Rex Brown record, and then, obviously, Charlie has Anthrax, so he’s been doing that, and then, obviously, we got the new Black Label [album], so I don’t know.”

Still, the door isn’t closed.

“I don’t know. But you never say never,” he continues. “Because it’s just like, we could all [be sitting there] one day, Philip might just call and go, ‘Guys, why don’t we get together, and we’ll do something, all of us – and we’ll get two other of our buddies in here, and then we’ll do a band.’ You know what I mean? So yeah, you never know.”

And if that hypothetical project ever did take shape, don’t assume it would stick to the current four-piece setup. Wylde imagines something looser – think rock supergroup as opposed to a traditional band.

“Like the Eagles or whatever!” he says. “They have six guys in a band or something like that, and everybody’s kind of singing or whatever, you know?”

In the meantime, Black Label Society’s US tour kicks off on 27 February in San Antonio, Texas, while Pantera’s next show is set for 24 May as part of a four-date European run supporting Metallica.

The post “You never say never”: Zakk Wylde says new music with Pantera’s tribute lineup is possible appeared first on Guitar.com | All Things Guitar.

$3,789/£3,699, gretschguitars.com

The big-bodied outline of a single-cut Gretsch Falcon is one of the most recognisable guitar shapes out there. But even the kindest observer will admit that historic iterations of the double-cut Falcon have lacked the elegance of the single-cut – or indeed its double-cut rivals from other brands.

• READ MORE: Gretsch Synchromatic Falcon review – “this guitar is going to make Falcons a much more common sight on everyday stages”

In recent years, however, the DC Falcon has enjoyed something of a resurgence – perhaps in part due to the benediction of the beatified Johnny Thunders, but also the success of the signature models of Guns N’ Roses man Richard Fortus. I can hand on heart say that those Fortus guitars are some of the best Gretsch guitars I’ve played in recent years.

Now then, fans of the form can enjoy a new “refined” take on the concept – and it all looks very promising indeed.

Image: Adam Gasson

Gretsch Professional Series Falcon Center Block LTD – what is it?

Professional Series guitars represent the top end of the Gretsch production instruments – they’re hand-crafted in Japan, and are the very best guitars the brand makes outside of the very limited number of USA instruments made by the Gretsch end of the Fender Custom Shop in Corona, California.

The “Center Block” bit of the model designation refers to the fact that while traditional Falcons were big, unrestrained hollowbody instruments, this is one of the semi-hollow designs that the company has been producing since 2013 in a concession to the demands of actual playing musicians.

The body shape here is, as Gretsch tells it, a “refined” version of the classic Gretsch DC design, and in practice this is a sleek instrument with tight curves. Seen in silhouette, the all-maple body is almost identical to a Gibson ES-355. This won’t be a coincidence.

There are other similarities here too; the most important being the 24.6” scale length – unusual for a Gretsch Falcon, which usually boasts a full fat 25.5”. This is halfway to a Fender Jaguar and a touch shorter than the Gibson standard. Whatever next?

It’s a limited edition beast, however, so if you’re keen to make friends with this particular bird of prey, you’ll have to be quick sharp about it.

Image: Adam Gasson

Gretsch Professional Series Falcon Center Block LTD – build quality and playability

Decanting the Falcon from its posh leather hard case, and a sigh of satisfaction is unavoidable. Let’s face it – the aesthetics of a Gretsch guitar are a large part of the story and will doubtless help prospective buyers decide if they want it, need it or can’t live without it.

This is a very grown-up guitar. Much like a midnight blue tuxedo looks better under lights than a black fabric variant, the Midnight Sapphire metallic finish, sparkly gold flake bindings and gold hardware are a definite statement of intent. It’s pretty fucking rock and roll to be honest.

That same gold hardware contains some very Gretsch flourishes. We have the bejewelled gold arrow knobs typical of a Falcon – in this case with a master volume on the treble side ear which has a treble bleed circuit, an individual volume knob for each pickup and a master no-load tone control with “Squeezebox” capacitor.

Premium appointments should be expected with a Professional Series guitar, and it doesn’t disappoint here.

For starters, we have a pair of bona fide TV Jones Filter’Trons bringing the noise – a Classic at the neck and a Classic plus at the bridge – this by itself is a reliable indication of an incoming good time.

Providing the wobble, we have the reassuring presence of a Bigsby B7, and praise be: it’s a string-through version, and therefore much less of a hassle to restring. The Adjusto-Matic bridge is pinned in place and while it lacks vibrato-friendly niceties such as roller saddles, Gretsch has provided stability with a set of locking Grover Imperial tuners.

Further professional accoutrements can be found in the shape of a set of gold strap locks tucked in the case pocket, and you even get Luminlay glow-in-the-dark position markers – which give you a much better chance of seeing what is going on under stage lights than a Gretsch Falcon usually affords the player.

Image: Adam Gasson

Gretsch Professional Series Falcon Center Block LTD – sounds

As a Gretsch enthusiast of many years, I have experienced the agony and the ecstasy of a Falcon on stage and in the studio. It has often been said – especially of vintage models – that if a Gretsch is the most reliable guitar in your arsenal then you need all the luck you can get. That’s why so many come with a horseshoe inlaid on the headstock.

Yes, they have their foibles, and as such I was pretty confident I would know what to expect with this guitar, but my expectations are blown out of the water with the first open chords.

There is magic to be found in a guitar built around a shorter scale length – the trebles are sweet, woody and expressive and if you get it right there should be no compromise in bass content or articulation. Gretsch has got this very right indeed.

The neck Filter’Tron is velvet smooth, complex and responsive. It makes even the simplest shell chords sound expensive and delicious. Add a touch of harmonic tremolo pedal, a gentle dip of the Bigsby and then bask in throbbingly joyful economy of style.

The middle position is a blender’s dream, which allows a little of the bite of the bridge unit to come through – hinting at delights to come. Okay, there’s only one tone control for both pickups, but the guitar is responsive enough to hand position and playing dynamics that this really doesn’t feel like a compromise.

The bridge pickup on its own is probably where these guitars will spend the majority of their time. From Neil Young-style rhythmic grumbling to Lana Del Rey sex riffs, this is an immediately nourishing sound – evocative and uniquely Gretsch.

But let’s face it, double-cut aficionados treading the path of Thunders, Fortus and Duffy will be just as intrigued to see how this Falcon handles the rough stuff. Backhanding it with a Crowther Hot Cake, I am immediately rewarded with a bellicose roar that would fit nicely in any genre that demands a more hooligan approach.

The scale length and rolled fretboard edges make for a grippy playing experience that encourages bends and double stops – the improved access to the higher end of the neck is also appreciable.

The humble chunk of maple inside the body is responsible for a huge amount of this guitar’s tonal identity. While there is ample “air” in the voice, the instrument remains immune to unwanted feedback at all but the highest volumes.

Wanted, longed-for, even cherished harmonic feedback however, is here in spades and there are few things more joyful than feeling that controllable surge under the fingertips – a touch of vibrato is all it takes to make the beast spiral off into a howl. Yum.

Image: Adam Gasson

Gretsch Professional Series Falcon Center Block LTD – should I buy one?

If you’re training your sights on spending the thick end of four grand on a semi-acoustic electric guitar, you expect something special to come of it. Thankfully, Gretsch knows exactly what those sorts of players require and have perfectly calibrated this bird accordingly.

It’s also an impressively versatile and responsive instrument, no matter what you throw at – within reason. Okay, it’s rubbish for Malmsteen covers but you knew that already. In fact, that’s probably a relief.

This is indeed a special instrument – it has the looks, the attitude and the sound that you’ve been dreaming of. The only question is, have you got the minerals?

Image: Adam Gasson

Gretsch Professional Series Falcon Center Block LTD – alternatives

You’re dealing with some true heavyweights at this price point, and you won’t go far wrong with any of the options at this point, really. I was very impressed with the Heritage Custom Shop Core Collection H-555 ($4799) I reviewed last year. If you really want to give it the beans, price-wise, the Collings L-235 LC ($6,925) is a truly superlative take on the semi-hollow concept. Finally, if money really is no object, a Gibson Custom Murphy Lab 1964 ES-335 Reissue ($8,099) is hard to beat.

The post Gretsch Professional Series Falcon Center Block LTD review: “it has the looks, the attitude and the sound that you’ve been dreaming of” appeared first on Guitar.com | All Things Guitar.

Ever wondered how Billy Corgan achieves that massive "chainsaw" fuzz tone that defined an era of alternative rock? In this edition of "Blueprints", PG contributor Tom Butwin dives deep into the gear that makes it possible, featuring the Reverend Billy Corgan Z-One with its unique Bass Contour control, the Electro-Harmonix Op-Amp Big Muff Pi for that essential seventies-style grind, and the Gosh Amplification Problem Solver to provide a classic Marshall-style foundation.

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.rbm-pick { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; } /* Media box — no cropping, no edge kiss */ .rbm-pick-media { height: 180px; /* fixed height for consistency */ padding: 8px; /* breathing room to avoid flat-cut edges */ box-sizing: border-box; /* keep total height = 180px */ border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; /* preserve aspect */ height: auto; object-fit: contain; /* never crop */ object-position: center; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; } .rbm-blurb { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.12); transition: background .2s, color .2s, transform .15s; } .rbm-pick .rbm-btn:hover { background: #b50000; color: #fff; transform: translateY(-1px); } .rbm-pick .rbm-btn .price { opacity: 1; font-weight: 600; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

.rbm-pick { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; } /* Media box — no cropping, no edge kiss */ .rbm-pick-media { height: 180px; /* fixed height for consistency */ padding: 8px; /* breathing room to avoid flat-cut edges */ box-sizing: border-box; /* keep total height = 180px */ border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; /* preserve aspect */ height: auto; object-fit: contain; /* never crop */ object-position: center; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; } .rbm-blurb { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.12); transition: background .2s, color .2s, transform .15s; } .rbm-pick .rbm-btn:hover { background: #b50000; color: #fff; transform: translateY(-1px); } .rbm-pick .rbm-btn .price { opacity: 1; font-weight: 600; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

.rbm-pick-card { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; background: #fff; box-sizing: border-box; font-family: system-ui, -apple-system, sans-serif; } /* Media box — no cropping, preserves aspect ratio */ .rbm-pick-media { height: 180px; padding: 8px; box-sizing: border-box; border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; height: auto; object-fit: contain; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; color: #111; } .rbm-sub { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick-card .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.11); transition: background .2s, color .2s, transform .15s; } .rbm-pick-card .rbm-btn:hover { background: #b50000; color: #fff !important; transform: translateY(-1px); } .rbm-pick-card .rbm-btn .price { font-weight: 700; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick-card { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

.rbm-pick { display: grid; grid-template-columns: 160px 1fr; gap: 16px; align-items: center; border: 1px solid #e6e6e6; border-radius: 12px; padding: 16px; } /* Media box — no cropping, no edge kiss */ .rbm-pick-media { height: 180px; /* fixed height for consistency */ padding: 8px; /* breathing room to avoid flat-cut edges */ box-sizing: border-box; /* keep total height = 180px */ border-radius: 10px; background: #fff; overflow: hidden; display: flex; align-items: center; justify-content: center; } .rbm-pick-media img { max-width: 100%; max-height: 100%; width: auto; /* preserve aspect */ height: auto; object-fit: contain; /* never crop */ object-position: center; display: block; } .rbm-badge { display: inline-block; font: 600 12px/1.2 system-ui; padding: 4px 8px; border-radius: 999px; background: #111; color: #fff; margin-bottom: 8px; } .rbm-title { font: 700 18px/1.3 system-ui; margin: 4px 0 8px; } .rbm-blurb { font: 400 14px/1.5 system-ui; color: #333; margin-bottom: 12px; } .rbm-pick-buttons { display: flex; gap: 8px; flex-wrap: wrap; } .rbm-pick .rbm-btn { display: inline-flex; gap: 6px; align-items: center; border: 2px solid #b50000; /* Premier Guitar red */ border-radius: 999px; padding: 10px 16px; text-decoration: none; font: 600 14px/1.2 system-ui; color: #b50000; background: #fff; box-shadow: 0 2px 5px rgba(0,0,0,0.12); transition: background .2s, color .2s, transform .15s; } .rbm-pick .rbm-btn:hover { background: #b50000; color: #fff; transform: translateY(-1px); } .rbm-pick .rbm-btn .price { opacity: 1; font-weight: 600; } /* Responsive tweaks */ @media (max-width: 540px) { .rbm-pick { grid-template-columns: 1fr; } .rbm-pick-media { height: 160px; padding: 6px; } } @media (min-width: 900px) { .rbm-pick-media { height: 200px; } }

We’ve teamed up with Reverend Guitars and Electro-Harmonix to give you the ultimate Smashing Pumpkins rig. Enter now for a chance to win a Billy Corgan Signature Z-One and an Op-Amp Big Muff Pi! Ends Feb 28, 2026.

Bill Corgan Prints Giveaway

See them in action!

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Fingerstyle guitar authority John Stropes joins us this week to talk all about his new two-volume book featuring transcriptions of every track on Leo Kottke’s monumental ‘6 & 12 String Guitar’ album!

Get the book here: https://www.stropes.com/product/leo-kottke-6-and-12-string-guitar-a-companion-by-john-stropes-and-benjamin-kammin/

During our chat, we hear about Stropes love for fingerstyle, how the Old Town School of Folk Music (home of the Fretboard Summit) shaped his playing, collaborating with Kottke and Michael Hedges, and so much more.

Our 58th issue of the Fretboard Journal is now mailing. Subscribe here to get it.

Our next Fretboard Summit takes place August 20-22, 2026, at the Old Town School of Folk Music in Chicago. https://fretboardsummit.org

We are brought to you by Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).

Stringjoy Strings: https://stringjoy.com

Mike & Mike’s Guitar Bar: https://mmguitarbar.com

Mike & Mike’s Substack: https://mmguitarbar.substack.com

The post Podcast 535: John Stropes first appeared on Fretboard Journal.

Six-string sidekick on landmark albums Bark at the Moon (1983) and The Ultimate Sin (1986), Jake E. Lee is an integral part of the Ozzy Obsourne story.

When hired by Ozzy in 1982 at the fledgling age of 25, he had limited experience, and as he explains in a new interview with Guitar World, his limited songwriting and publishing rights on Bark at the Moon led to him pursuing a more robust contract prior to the recording of The Ultimate Sin.

• READ MORE: Mötley Crüe win legal battle over Mick Mars – former guitarist ordered to partially pay back $1.5M advance for not completing tour

“They realised they got away with something on Bark at the Moon,” Lee explains. “They knew it was something that would never happen again.”

When it came time to discuss Ozzy’s Bark at the Moon followup, Lee says he was adamant on signing a contract before going any further.

“I told him, ‘I’m not doing anything until I get a contract,’ and so, that came pretty quickly…’” he says.

“It was something that lingered over the Bark at the Moon sessions. When those were done, I became unhappy, so with The Ultimate Sin, before I gave him my demos, I said, ‘I want a contract that says exactly what I’m gonna get out of this record. I need a songwriting credit. I want the publishing I deserve.”

Lee had a vision for The Ultimate Sin which he clashed with producer Ron Nevison over, and that vision ultimately shaped the sound of the record.

“I wanted to hear the guitar like an orchestra. Kind of like having violins on top, cellos on bottom and then having moving and melodic parts. It was about more than basic chords and one guitar sound. That wasn’t my vision…”

He goes on: “I remember we had a big band dinner, and Ozzy raised his glass and said, ‘This is a toast to Jake E. Lee, who practically produced this record and was a very important part of making it.’ Maybe he felt like my part was getting bigger than a band member should be.

“I don’t know; a lot of things came with that. We were writing for the next record; I was pushing boundaries and getting rejected. I was bored with the restrictions. I’m sure Ozzy didn’t like that. But as far as The Ultimate Sin, I stand by it.”

Jake E. Lee ended up being dismissed by Ozzy’s wife Sharon Osbourne in 1987, and was subsequently replaced by Zakk Wylde.

The post “Maybe he felt my part was getting bigger than a band member should be”: Jake E. Lee on contract negotiations for Ozzy’s The Ultimate Sin appeared first on Guitar.com | All Things Guitar.

Greetings, and welcome to another Dojo. Ever wonder what goes into modelling amps and pedals? Typically, when guitarists talk about whether an amp model “sounds real,” we describe it in tonal terms—gain, EQ, distortion character. But great tone is the successful solution to a complex, essentially time-based problem.

Without getting needlessly technical, an amplifier is not a static filter that reshapes frequency content and stops there. It is a dynamic system that responds differently depending on what just happened, what is happening, and how much energy (a.k.a voltage) is being pushed through it. For modeling technology to work convincingly, it has to track complex changes over time, not just measure a snapshot of a moment of “tone.”

Early amp-modeling systems struggled because they focused primarily on spectral snapshots—what an amp sounds like at a given setting under a narrowly dynamic input level. Those snapshots, while accurate, were often remarkably limited. Real amplifiers don’t remain in one state long enough for a snapshot to matter. They are in constantly transitioning states.

Put your brain in slow motion for a moment. When a string is struck, the initial transient carries enormous energy. Harmonics bloom unevenly, as the fundamental note(s) emerge. Pick material and attack angle alter transient shape before the signal ever reaches the guitar— think fingerstyle versus pick. Also, string gauge and tension alter harmonic emphasis and decay. Pickups engage with the string differently depending on design and height. Guitar wiring and controls shape impedance and bandwidth. Cable capacitance subtly alters high-frequency behavior long before any gain stage is involved. By the time the signal hits the amp, it already contains a history.

What then reaches the amp input is already the result of a complex upstream system, and inside the amplifier, that history continues to develop. Preamp stages interact with tone stacks in non-linear ways. Gain staging determines not only how much distortion occurs, but where it occurs. Effects loops interrupt the signal path at predetermined stages, altering how time-based effects are compressed and re-energized. As gain stages are pushed, harmonic content doesn’t simply increase—it redistributes.

“Convincing modeling can’t focus solely on recreating individual elements in isolation.”

Then comes the power amp—arguably the most misunderstood contributor to feel. Power amps do not simply make things louder. They can also compress under load, recover, and compress again. They respond differently depending on frequency content and sustained energy.

Finally, the speaker and cabinet take over, and physics takes the wheel. Speakers have inherent inertia and wildly different efficiency curves depending on materials and volume. Cabinets add another layer, with resonant frequencies shaped by their dimensions, storing and releasing energy at varying rates.

Now put your brain back into normal speed. Our ear perceives this entire chain as a single event!

A convincing “model” must pass a variety of static and dynamic signals through the real device, measuring input-output behavior, and then build DSP and machine learning to match those behaviors accounting for how dynamic range, harmonic density, compression, and spectral contour shift together across the time domain.

Our ear is exquisitely sensitive to these changes, particularly to the rate at which they occur. Too fast, and the modeled sound comes off stiff. Too slow, and it feels detached.

This is why convincing modeling can’t focus solely on recreating individual elements in isolation. What matters is gestalt behavior: how the whole system responds as energy flows through it, moment to moment.

How do modelers do this? Most developers—Neural DSP, Universal Audio, Kemper, Fractal, Line 6, and others—blend multiple approaches. These typically include running a range of static and dynamic signals through the real device to measure input–output behavior, isolate artifacts, and quantify nonlinear characteristics; circuit analysis (where designers model each component’s behavior mathematically and derive a transfer function for DSP implementation); and extensive listening tests. Increasingly, machine-learning models are trained and iterated to capture the unit’s behavior across multiple control settings, with each pass refining the results.

For players, this means that now more than ever we can enjoy legendary amp and pedal tones in powerful, highly portable hardware or in software form—along with tremendous flexibility when recording, consistent “perfect tone” performance (no tubes or speakers to fail), and the ability to be deeply creative with our tonal palette by mixing amps, speaker cabinets, microphones, and even modeled room environments.

Am I giving up my real amps? Never. But I’m completely comfortable using either technology as I see fit—and enjoying what each brings to the process. Until next time, namaste.

Great music tells a story. It builds on a plot and holds the listener’s attention as the story unfolds. We are especially moved by soloists who bare their souls and who keep us riveted with every twist and turn from their narrative. Pentatonics are the backbone of modern guitar vocabulary. Partially because they just sound good, but also because they lay so easily on guitar. There are several ingredients that make a guitarist sound brilliant, but one of the most important is chromaticism. Could there a be a way we could combine these two? Let’s find out.

This term chromaticism comes from the Greek word chroma, which means “color.” Using chromaticism means having the freedom to use all 12 notes over a given chord. Imagine the possibilities and freedom to play any note over a chord in composition or improvising! The quickest way to start adding color notes to the minor pentatonic scale is to add the 2nd and the 6th, which then gives you a Dorian mode. I’ve outlined it below using the A minor pentatonic scale.

A Minor pentatonic: A–C–D–E–G

A Dorian: A–B–C–D–E–F#–G

In general, there are chromatic notes that are outside the chord/scale, and notes that are outside the key. The latter carries a lot of tension against a chord and needs movement or resolution. From my days of playing jazz gigs in Toledo, OH, I recall what legendary trumpeter Jimmy Cook once told me regarding playing outside: “You can go up to the attic, but you have to come back down.” In other words, you can play outside tonally, but you must resolve at some point in order for your music to sound coherent.

Let’s get started on this journey of chromaticism together.

Before we go hog wild and add random notes, let’s begin by taking an A minor pentatonic scale and fill in the chromatic notes between the already existing box pattern. It’s almost arbitrary, but it will enable you to hear different colors added within the scale (Ex. 1).

Chromatic Burst of Energy. In beat 1 of Ex. 2, we start with an A Dorian fragment followed by an extended chromatic line. The line in beat two starts on the b7 (G), highlighting the b5 (Eb) on beat 3, descending chromatically all the way down to B, and ending with A major pentatonic.

Bounce Around! We start on the b5 (Eb) followed by a typical chromatic rotation where we bounce around the b5. This idea lays quite well in the familiar pentatonic box. It’s easy and will add spice to your shredding (Ex. 3).

Side Stepping. A common approach to playing “outside” is side stepping. In other words, take the scale you’d normally use and displace it by a half-step above or below. By doing this, you’ll have instant access to notes that are harmonically outside the key—don’t think of them as wrong notes, just coloring notes. In Ex. 4 we take a pentatonic pattern from E minor pentatonic and sequence it in F minor pentatonic. As the notes can be analyzed over the E5 chord, it’s more important to view them as passing notes. Remember, the power of the sequence overrides the harmony!

Extend the Side Step. Ex. 5 uses the same concept of side stepping above but adds a note (D) to the displaced pattern. By doing so, this breaks the predictability of the phrase and places subsequent notes in new places.

Changing Tones. Ex. 6 is a fun lick to learn that starts with a strong, repeated three-note polyrhythmic figure (A#–B–D). The chromatic part occurs on beat 4 and utilizes changing tones, which is a type of non-harmonic tone.

Don’t Start On 1. The line starts on the 2nd (B), goes up a whole-step to C# followed by a double chromatic approach to Bb, down a whole-step to (G#), and finally resolving to the root (A). Once the A note is reached, there’s a cascading flurry of four-note groups settling in A minor pentatonic (Ex. 7).

Scrambles. This example (Ex. 8) was inspired by the legendary New York guitarist, Mark Hitt. Mark was a unique player, combining a rock sensibility with a jazz quotient. He developed an arsenal of twisting lines using chromaticism that he referred to as “scrambles.”

The pattern alternates between 1–3–4 and 1–2–4 fingerings, a typical fingering of the diminished scale. It can be analyzed where notes of the pentatonic are being targeted, but it’s all about the texture and excitement that is created. Make sure to play the line with slurs to get a fluid, legato sound.

Half-Step Approach. In this instance, we take the Im triad (Am) from the pentatonic scale and approach each chord tone from a half-step below (Ex. 9). This is more of a concept and exercise rather than a lick. This idea can be used with just about any improvising application.

One String Wonder. Ex. 10 highlights a series of chromatically descending half-steps. It’s an easy technique to get down and one I often use. It provides melodic interest, but also serves as an easy way to connect one position to the next. Here, we start on a high F that walks down a fourth to C in half-steps, followed by a C minor blues phrase.

Practice Tip

These chromatic lines sound best when played fast and with conviction. As always, approach new material slowly and accurately. Ignore your inner voice that may tell you that the “outside” notes are wrong. Once you’re able to play the lines up to speed, you’ll be amazed by how impressive it sounds. These ideas that will add motion, color, and excitement to your playing and enhance your musical expression when soloing.

Dave and Tom were so excited about this episode with Mr Big and Racer X guitarist Paul Gilbert that they almost fainted right before taping, leaving a very unamused Cindy to host it alone. It takes a lot to fluster an Axe Lord, but the prospect of talking to Paul Gilbert about designing his Fireman guitars, getting a guided tour through his collection of vintage Ibanez treasures, and finding out how to properly rig a power drill for speed picking is almost more than any fan of highly technical guitar wizardry could stand.

Gilbert, who is promoting his rifftastic new concept album WROC - based on the George Washington-penned tome Washington’s Rules of Civility, is also the first, but hopefully not the last, Axe Lords guest to introduce cosplay to the show. To whit, he appears sporting a revolutionary war-styled Tricorn hat, the perfect accessory for schooling us not just in arcane bits of American history but also in the finer points of high-stakes shred protocol.

Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas (Revoice Media). Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.

Follow @axelordspod for updates, news, and cool stuff.

Follow @paulgilbert_official

For the last two years, Mötley Crüe have been involved in an ongoing legal battle with ex-guitarist Mick Mars. Following his retirement in 2022, Mars alleged that the band were withholding profits that were rightfully his. However, a new ruling has declared that Mars actually owes his former bandmates $750,000.

Despite Mars’ public crusade against the Mötley Crüe gang, arbitrator Honorable Patrick J. Walsh found that Mars had received a $1,500,000 advance payment to perform at 138 Mötley Crüe shows. Mars’ departure from the band meant that he never fulfilled his end of the bargain, rendering him un-entitled to the sum.

“[Mars] understood when he received the advance that it was an advance and that he had to pay it back if he stopped touring,” Walsh concludes in the final arbitration documents. “He stopped touring. Therefore, he must pay it back.”

• READ MORE: “I don’t want to go hear a bunch of C and D tracks”: Should bands play their biggest hits live? Nikki Sixx thinks so – and here’s why

“Mars is ordered to pay to MCI the pro rata rate for the shows he missed between September 2021 and today,” he continues. “He is not required to pay for shows that have not taken place.”

When Mars first pursued legal action against his former bandmates, his claim centred around his entitlement to the band’s profits as he hadn’t left the band, he had only retired from touring. As a result, he believed he was still owed a 25% cut of profits, including touring revenue.

However, as the arbitration document reveals, a 2008 amendment to the band’s governing agreement stated that if a member “resigns from performing”, he “in no event” would be “entitled to receive any monies attributable to any live performances”.

Furthermore, Nikki Sixx’s testimony claimed that Mars himself had “proposed this amendment” due to concerns that “Vince Neil [vocalist] and/or Tommy Lee [drummer] would again choose to leave the band and he wanted it to be clear… that anyone who left would not share in revenue from touring”.

Alongside the arbitrator ruling in favour of Mötley Crüe, the band were also cleared of allegations that they don’t play live. Mars had publicly alleged that Sixx’s basslines and Lee’s drumming in particular were pre-recorded. In 2023, he even claimed that he had been the only member of the band to ever play live, noting that Sixx “did not play a single note on bass”.

As Business Wire reveals, Mars “formally recanted his prior claims during sworn testimony”. When faced with “extensive live performance recordings” and a testimony from New York University professor specialising in music technology, Mars was “forced to admit under oath that his statements were false”.

The suit also reveals that Mars was cut from the band due to his own “deteriorated” guitar playing. The document explains that the band “believed that his guitar playing had so deteriorated that they had to make provisions to cover for his mistakes when he strayed during concerts”.

Mick Mars has not yet responded publicly to the ruling.

The post Mötley Crüe win legal battle over Mick Mars – former guitarist ordered to partially pay back $1.5M advance for not completing tour appeared first on Guitar.com | All Things Guitar.

It wasn’t too long ago that guitar music was considered passé by the mainstream – a fact that’s frankly mind-boggling to reflect upon now. In 2026, indie and post-punk are two of the hottest genres in the Western world, and heavy metal is the biggest it’s been since the halcyon days of the early 2000s. This year seems set to thrust all those styles and more to new heights, with some of the biggest guitar heavyweights of all time preparing to release new music. From veterans like Bruce Springsteen to a slew of promising up-and-comers, these are the guitar albums everybody should keep an eye out for over the next 12 months.

• READ MORE: Unprocessed’s Manuel Gardner Fernandes names the viral shredders you need to watch in 2026

Bruce Springsteen

Is there any septuagenarian busier than Bruce Springsteen? Still regularly touring five decades into his career, he was recently the subject of a blockbuster biopic and has a ton of music lined up for 2026, chiefly his next solo album. The Boss has been cagey regarding what it’s going to sound like, but he told Rolling Stone in June that he’s also got a box set of unreleased material, Tracks III, on standby. “This is all music from different points in my work life that I’ve made, some with the band, without the band, some that go way back,” he said. A new covers album, the follow-up to 2022’s Only the Strong Survive, has been recorded as well. The man just will not stop.

Phoebe Bridgers

The queen of indie folk melancholy, Phoebe Bridgers hasn’t released a new album since 2020’s Punisher, having taken a detour for her collaborative project Boygenius. That dry spell may come to an end in 2026, however, as multiple sources hint that solo LP number three will come out soon. Among those fuelling the speculation is Phoebe’s own mum, who took to Instagram in January to give her “bold” prediction for the year ahead: “Phoebe Bridgers drops an album.” In addition, former Ticketmaster CEO Nathan Hubbard said on a podcast last year that both Phoebe and Harry Styles will mount comebacks in 2026, and the Harry prediction has already come true…

The Cure

It’s hard to trust Robert Smith with timeframes nowadays, given he initially wanted to release The Cure’s comeback album Songs of a Lost World for the band’s 40th anniversary then missed that deadline by five years. But, when the record was finally unveiled in 2024, he announced that it would be part of a trilogy, with a follow-up already in the can. Surely, if it’s all been recorded, there can’t be another decade-plus wait like there was for Songs…? The stars align even more clearly when you consider all the live dates the goth rock kings have planned for the summer. Fingers crossed that some new tracks come out before The Cure take the stage again.

Gojira

It’s been nearly five years since France’s enviro-metal behemoths put out their last album, but you can’t blame them. After the Fortitude tour lifted Gojira to arena-level, they spent the next few years consolidating their position, playing incessantly in both Europe and America. Then, in 2024, a performance during the opening ceremony of the Paris Olympic Games catapulted them even further. Progress on new material has been slow but steady, with drummer Mario Duplantier saying in 2023 that their upcoming release will be “heavier” than Fortitude. He doubled down last year, telling people to expect a “more modern but more metal sound” and revealing that work is “almost finished”.

Alabama Shakes

In 2018, at the height of their Grammy-gobbling career, roots rock revivalists Alabama Shakes went on a surprise hiatus. The downtime let frontwoman Brittany Howard dedicate herself to her blossoming solo career, then got complicated and presumably extended by drummer Steve Johnson’s series of legal problems. The band regrouped without Johnson in 2024, before signing with major label Island and releasing the exuberant single Another Life last August. The developments have led many to speculate that a long-awaited third album is on the horizon, especially as more and more tour dates for the spring and summer get announced. The expectation’s pretty huge, but if anyone can deliver quality regardless, this lot can.

Mastodon

Mastodon’s 2021 album Hushed and Grim was a monument to late longtime manager Nick John, who died of pancreatic cancer in 2018. Unfortunately, times haven’t got any easier for the sludge metal four-piece. They parted ways with founding guitarist Brent Hinds last spring, marking their first lineup change in a quarter-century, and Hinds was in a fatal motorcycle crash in Atlanta just a few months later. Despite all the turmoil, the band are carrying on with album number nine and involving new guitarist Nick Johnson in the writing process. “[The songs are] all over the place,” drummer/singer Brann Dailor told Metal Hammer last year. “I hear some punk rock in there, but then I hear some insane prog and I hear the heaviest version of ourselves poking its head out again.”

Yard Act

“We’re making the greatest third album any band has ever recorded,” post-punk’s socially conscious cheeky chappies quipped in September. Already beloved for their breakthrough debut The Overload and dance-flecked follow-up Where’s My Utopia?, Yard Act are out to cement their reputation as the next big thing, having recorded with former Nine Inch Nails and Beck bassist Justin Meldal-Johnsen. The Yorkshiremen describe their next release as “the sweet spot” between grindcore agitators Napalm Death and prog rock icon Bill Nelson, promising new textures in a sound that’s already touched upon funk, disco and Pulp-ish Britpop. The band have never been boring, but this could well be their most interesting offering yet.

Man/Woman/Chainsaw

One of the most exciting new bands of the last couple years, Man/Woman/Chainsaw make rock without limits. The six-piece have two guitarists, a violinist and a keyboard player in their ranks, with many members also serving as co-vocalists. On songs like Only Girl, they make irreverent statements that unite indie, baroque pop and heavy riffage under the banner of big, catchy singalongs. 2024 EP Eazy Peezy brought plenty of people onto the hype train, and the next stop will be at their debut album, which they hope to put out this year. “We’re working on a load of new material which will help lift the mind and cleanse the soul,” keyboardist Emmie-Mae Avery told Dork in January.

Slift

Slift write psych-rock epics with prog, jazz and metal bits – not exactly a mainstream approach to music. But, during the pandemic, the Frenchmen defied all logic, hosting a live session that reached more than a million YouTube users. 2024’s Ilion made their songs even more widescreen, and the trio have since secured a reputation as a top-notch live act, playing very loudly in front of kaleidoscopic videos. They ended their last album cycle in the summer and want to put out some more immediate material suited for the stage. “We’ve got the big concept and most of the songs,” singer/guitarist Jean Fossat told this writer in 2024. “It’s just demos, but we can’t wait to start playing these songs.”

Lowen

Lowen are based in London but draw influence from frontwoman Nina Saeidi’s ancestral homeland of Iran. Their music mixes modern heavy metal, inspired by Akercocke and System of a Down, with distinctly Persian melodies and vocals. Plus, the lyrics on their 2024 debut Do Not Go to War with the Demons of Mazandaran used Middle Eastern mythology to comment on Iran’s current, authoritarian regime, which prevents Saeidi from ever visiting the country. The singer recently told The Guardian that album two is in the works, and that one song will sample sounds from the Iran–Israel War in June. “I do not agree with anything that Israel has done,” she said. “It’s bad to bomb Iran. None of those governments are good – neither is ours.”

Courtney Barnett

A modern alt-music guitar hero, Courtney Barnett has dealt in acoustic ballads and fuzzy indie compositions alike. In October, she returned with the noisy Stay in Your Lane: her first new music since her soundtrack project End of the Day two years prior. A press release from the Grammy-winning Aussie called the song the first entry in Courtney’s “next musical chapter”, setting a distorted rock’n’roll precedent for album number five. Stay in Your Lane was recorded in L.A. with producer John Congleton (St Vincent, Big Thief), and Courtney’s recent setlists show other new songs in her repertoire, entitled Sugar Plum and Mantis. Safe to say, more is coming soon.

Elín Hall

Since she released her last album Heyrist í mér? (Can You Hear Me?) in 2023, Icelandic singer/songwriter/actress Elín Hall has played Yungblud’s festival Bludfest, won a few film awards and released a string of singles. Basically, she’s been inescapable, and she’ll continue to be so for the foreseeable future as well, with her fourth record set to come out this year. On her website, the musician says that her next release will be her first English-language effort. She also spills that it was produced and partially co-written by Grammy winner Martin Terefe, who’s collaborated with the likes of Adele and Elín’s old chum, Yungblud. Expect ambience, darkness and the plucking of a good few acoustic guitar strings.

The post The 12 new guitar albums you should all be excited for in 2026 appeared first on Guitar.com | All Things Guitar.

[Editor’s note: Teisco is owned by Vista Musical Instruments, which, like Guitar.com, is part of the Caldecott Music Group.]

Teisco has launched a vibrant new collection of Mini Pedals, comprising 12 compact stompboxes which don’t compromise on tone.

The Mini Series offers a range of “essential” sounds for players of all levels, covering all the basic needs on your pedalboard, including fuzz, overdrive, delay, modulation, and tuning.

• READ MORE: RhPf Electronics Mosrawr review – a noise-bringer that’s designed for post-rock and shoegaze

Teisco says the sound of these pedals defies their tiny sizing, and they deliver “powerful, inspiring tones, proving that portability no longer comes at the expense of sound quality”. Each one is inspired by Japanese aesthetics, and showcases a distinctive design on its face.

Credit: Teisco

They utilise modern circuitry and true bypass switching to ensure optimal signal integrity, and make for an ideal entry point into pedals for budding musicians or those looking for no-nonsense pedals to meet their basic tonal needs. Each one offers super streamlined controls, with most featuring just three dials.

Speaking of innovative pedal design, you can now get a pedal inspired by some of the biggest celebs out there – from Millie Bobby Brown to Britney Spears and Adam Driver. Celebrity Pedals makes handmade and all-analogue stompboxes with punny names. Rated five stars on Reverb, its catalogue includes some real highlights, one being the Taylor Shift octave pedal, available in three variations, the Millie Wah-bie Brown, and Fuzztin Bieber – just to name a few.

Prices for Teisco’s Mini pedals start at $59. Find out more and view the full range over at Teisco.

The post “Huge in tone, mini in size”: Teisco’s vibrant new Mini pedal line covers all the bases of your pedalboard appeared first on Guitar.com | All Things Guitar.

It goes without saying that Steve Vai knows his way around a guitar. Even when Frank Zappa took Vai on tour in 1980 at the tender age of 20, he deemed the budding axeman a total “genius”. But as he found when he joined David Lee Roth’s band a few years later in 1985, Vai realised his ability to craft a “big rock guitar tone” was lacking.

Nowadays, of course, Vai could probably tackle any guitar tone he needed to. But as he explains in the latest issue of Guitar World, he was “embarrassingly inexperienced” in this area when he joined Roth’s band.

• READ MORE: “My job is to imagine things worth existing, and then making them real as an artist”: Jacob Collier is championing a new way to play guitar

At the time, Roth had just severed ties with Van Halen. Keen to forge his own musical path, Roth was working on a bold, hard rock opus of a debut. To ensure 1986’s Eat ‘Em and Smile was a smash, perfecting the riffs was paramount – and Roth put full faith in 25-year-old Vai to fulfil his vision.

However, when Vai rocked up at New York’s Power Station studios, he realised just how unprepared he was. He’d brought along his Carvin X-100B… and it absolutely wasn’t going to cut it. “The Carvins weren’t cutting through for the more aggressive tracks,” he says.

While Vai was stressing over his weak tone, a guitar guardian angel would soon fly to his aid – or, rather, Steve Stevens. Billy Idol’s trusted guitarist was recording in the same studio, and was more than willing to help the young guitarist. “Luckily, Steve Stevens was recording across the hall,” Vai explains. “I mentioned my tone troubles, and he lent me one of his favourite Marshall heads and cabs. Boom! Instant magic! I ended up using his rig for most of the album.”

At the time, Stevens was working on two 1986 records, so its unclear whether his studio stint was for Idol’s Whiplash Smile or Ric Ocasek’s This Side of Paradise. Regardless, Vai was grateful for the assistance, both saving Roth’s debut and Vai’s reputation.

“He saved my bacon!” Vai laughs.

In other news, Steve Vai recently recounted his surreal encounter with Brian May as he celebrated his own custom Red Special guitar. “I played it like a baby giraffe on roller skates – but it was heaven,” he said.

The post “He saved my bacon!”: How Steve Stevens saved an “inexperienced” Steve Vai from tonal humiliation appeared first on Guitar.com | All Things Guitar.

Soyuz Microphones has launched the V1 Dynamic, the first dynamic mic from the acclaimed boutique manufacturer.

For over a decade, Soyuz Microphones has been known for original, handcrafted condenser microphones that blend classic character with modern innovation. Equally at home on stage and in the recording studio, the new V1 Dynamic provides an open, condenser-like clarity and the punch, control, and forgiveness that make dynamic microphones essential.

Named after the spacecraft that carried the first human into space in 1961, the V1 reflects Soyuz’s push into new creative and technical territory.

The V1's naturally extended top end, balanced midrange, and focused low end deliver a smooth, articulate response that sounds right from the start, needing no EQ to "come alive." The controlled proximity effect allows instruments and performers to work close to the grille for full-bodied tone without muddy buildup.

"The V1 Dynamic is an important milestone for us," said David Brown, President and Co-Founder of Soyuz Microphones. "We had always considered building a dynamic mic someday, but we held off until we could create something truly unique that felt genuinely like a Soyuz in both sound and design. It's durable, musical, and simple. It's a dynamic sounding dynamic."

Like all Soyuz products, the V1 is 100% original from concept to construction. Every element is carefully designed and engineered in-house to create a dynamic microphone that sounds as remarkable as it looks.

At the core of the V1 is a custom Soyuz transformer for a hint of color that retains detail. The precision-machined headbasket goes beyond aesthetics, serving as an acoustic component carefully shaped to refine the sound before it even reaches the capsule. The mic’s body is designed to feel balanced in hand and command attention on stage.

SEE THE DEMO VIDEO HERE: https://www.youtube.com/shorts/C_fs4nENjeA

The V1 was developed through hands-on testing and direct feedback from major artists across diverse genres, including Beck, LCD Soundsystem, My Chemical Romance, and many more, during extensive tours and studio sessions.

The V1 Dynamic is engineered to endure the demands of modern recording and real-world performance night after night.

The Soyuz V1 Dynamic carries a street price of $279. For more information, visit soyuzmicrophones.com/v1-dynamic.

Abasi Concepts and Córdoba® announce the release of the Abasi® Stage 7, a purpose-built nylon string electric guitar engineered from the ground up for electric guitarists seeking authentic nylon tone without the traditional limitations of classical instruments.

Designed with Abasi Concepts on its Larada ergonomic platform and built upon Córdoba’s proven Stage solidbody nylon-string concept, the Abasi Stage 7 redefines what a nylon-string guitar can be in a contemporary performance environment. Rather than adapting a classical instrument for stage use, it was conceived specifically for electrified performance, extended-range clarity, and seamless transition from electric guitar technique.

“At its core, this guitar exists to remove barriers,” said Abasi Concepts. “Electric players are often drawn to the sound of nylon, but held back by feedback, ergonomics, string spacing, or playability. The Abasi Stage 7 was designed to eliminate those obstacles entirely.”

The Abasi Stage 7 features a thin, resonant, extensively chambered mahogany body with custom internal bracing that balances acoustic character with controlled stage performance. This construction minimizes feedback at higher volumes while preserving the organic response expected from nylon strings. Built on the ergonomic foundations of the Larada platform, its sculpted contours and streamlined body depth integrate naturally with the player’s body, whether seated or standing.

Unprecedented for this category, the Abasi Stage 7 offers full 24-fret access with exceptional upper-register reach, enabling modern phrasing, extended techniques, and fluid lead playing rarely associated with nylon-string instruments. Its 7-string multiscale design, tuned B to E, delivers piano-like depth and articulation on the low string while maintaining elasticity, precision, and expressive control on the treble side.

String spacing is intentionally narrower than that of a traditional classical guitar, allowing electric players to transition instinctively without relearning hand mechanics. The result is a nylon-string instrument that feels immediately familiar while opening new sonic territory.

All Abasi Stage 7 guitars are equipped with a bespoke Stage pickup system co-developed by Córdoba and Fishman®. Combining an under-saddle transducer with internal body sensors, the system delivers a natural, balanced nylon-string tone while eliminating the piezo “quack” commonly associated with amplified nylon guitars. A professional-grade preamp with side

mounted Volume, EQ, and Body Blend controls provides precise tonal shaping for live and studio use.

Each model features Córdoba’s Exotic Top design, pairing a solid spruce top with an ultra-thin premium exotic wood veneer to achieve an ideal balance of tone, resonance, and visual depth.

Additional features include a side-mounted oval soundhole, a mahogany flat C-shape set neck with rosewood fingerboard, black top purfling, a Fusion Fan headstock with rosewood overlay and inlaid Córdoba and Abasi logos, a rosewood bridge with bone saddle, and a bone nut.

This collaboration unites Abasi Concepts’ forward-looking design language with Córdoba’s deep expertise in nylon-string construction, manufacturing, and its Stage platform. Together, the two brands have created an instrument that defines a new class of nylon-string guitar, delivering professional-level performance at a price point designed to expand access to this evolving category.

© 2026 Yamaha Guitar Group, Inc. All rights reserved.

Córdoba and the Córdoba logo are trademarks or registered trademarks of Yamaha Guitar Group, Inc. in the U.S. and/or other jurisdictions.

Abasi and Larada are trademarks of Abasi Concepts.

Fishman is a trademark of Fishman Transducers Inc.

KEY FEATURES

• Designed on the Abasi Concepts Larada ergonomic platform
• Córdoba Stage nylon-string construction
• 7-string multiscale design for optimal balance of tension and playability
• Thin, chambered body for reduced feedback and enhanced resonance
• Full 24-fret access for modern phrasing and lead work
• Narrower string spacing for seamless transition from electric guitar
• Custom Fishman Stage pickup system with body sensors for live performance • Side-mounted Volume, EQ, and Body Blend controls for live and studio tone shaping • Solid spruce top with exotic wood veneer
• Ships with Córdoba Abasi gig bag

SPECIFICATIONS

• Body: Chambered solid mahogany with custom internal bracing
• Top: Solid spruce with ultra-thin exotic wood veneer
• Neck: Mahogany set neck, flat C-shape
• Fingerboard: Rosewood
• Scale Length: Multiscale
• Frets: 24 fanned frets
• Fingerboard Radius: Compound 16"-24"
• Nut: Bone
• Bridge: Rosewood with bone saddle
• Headstock: Fusion Fan with rosewood overlay and inlaid logos
• Pickup System: Stage pickup system with under-saddle transducer and internal body sensors
• Controls: Side-mounted Volume, EQ, and Body Blend • Tuners: Córdoba brushed brass tuners
• Finish Options: Acacia, Ziricote, White Burst

Alex Lifeson and Lerxst, in collaboration with legendary pedal innovators Morley, announce the release of the Lerxst ATWAS (All The World’s A Stage) Wah / Volume Pedal available now for $299 as a limited-run of 500 pedals exclusively through the LERXST Reverb Store. For more information and to purchase, please click here.

Designed for expressive live performance and uncompromising tonal integrity, the ATWAS combines Morley’s iconic optical Wah with ultra-smooth optical Volume control and an onboard Wah Boost—delivering a versatile, stage-ready tool built for modern players who demand feel, reliability, and tone in equal measure.

Inspired by Lifeson’s decades-long relationship with Wah and Volume pedals as tools of musical expression, the ATWAS is engineered to respond naturally to playing dynamics while preserving the player’s core tone. From subtle swells to commanding lead lines that cut through the mix, the ATWAS is built failsafe for real-world stages, studios, and sessions.

“All the world’s a stage, and how you control dynamics on that stage matters,” explains Lifeson. “Wah and volume pedals have always been essential tools for me, not just effects. With the ATWAS, we focused on creating something that feels completely natural underfoot, preserves your tone, and gives you control without distraction.”

At the heart of the ATWAS is Morley’s proven optical circuitry, eliminating the wear and tear associated with traditional potentiometers. A dedicated Wah / Volume mode switch allows players to select their preferred operation, while the Wah Boost control offers up to 20dB of additional gain—perfect for pushing solos forward without altering the fundamental character of the sound.

“The collaboration with Alex is always about purpose,” said Scott Fietsam of Morley. “The ATWAS isn’t about adding gimmicks—it’s about refining essential tools. Optical Wah, Optical Volume, premium buffering, and rock-solid construction. This pedal is designed to work night after night, exactly the way a professional needs it to.”

Housed in a cold-rolled steel enclosure with a chrome finish and Tel-Ray-style detailing, the ATWAS also features a glow-in-the-dark treadle grip for confident footing on dark stages. Like all Lerxst pedals, it is proudly made in the USA.

Lerxst ATWAS Specifications

• Wah / Volume Mode Switch
• Wah Boost Control (up to +20dB)
• Smooth Optical Wah & Volume Circuitry
• Premium Morley Buffer Circuit
• Glow-in-the-Dark Treadle Grip
• Cold Rolled Steel Enclosure
• 9V DC Center-Negative Power
• Made in USA

Asked whether the world really needs another Wah pedal, Lifeson offered the following perspective:

“All the world’s a stage… but you still need the right tools to play your part.”

For more information on the Lerxst ATWAS Wah / Volume Pedal, please visit: https://lerxstamps.com

Blackstar Amplification announces the launch of the new ID:X Digital Floorboard series, a powerful new family of advanced DSP floor modelers. Designed in Northampton, UK, the ID:X Floor range has been created for electric guitar, bass and acoustic guitar players who need professional sound, intuitive control and complete connectivity in a single, stage-ready unit. Blackstar set out to solve a familiar problem—how to combine the flexibility of a modern digital modeller with the immediacy and feel of a real amplifier and achieved it through advanced component-level modelling, authentic “In The Room” tone technology, simple, musician-focused controls and three carefully tailored models to suit every style of player.

At the heart of every ID:X Floor unit is a high-performance modelling platform that captures the true behavior and musical response of tube amplifiers rather than simply recreating their sound. The series delivers 12 authentic electric amp models alongside three bass amp models, two acoustic voices and an acoustic simulator, complemented by Blackstar’s patented ISF tone shaping and selectable EL84, EL34 and 6L6 power-valve Responses to recreate the feel of different tube architectures under the fingers. More than thirty-five effects are directly editable from the top panel, including drives, modulation, delays and reverbs, while exclusive “In The Room” technology allows players to experience the dynamic sensation of an amp moving air, whether using the floorboard direct to front of house, recording, or integrating into an existing rig. CabRig speaker and microphone simulation with room options is fully controllable from the unit, and 99 patches can be created, stored and recalled without menu-diving thanks to an intuitive control layout and clear OLED display.

The series introduces three distinct models. ID:X Floor One offers the core platform in a compact footprint, providing full amp modelling, effects, CabRig, USB-C audio interface capability, MIDI input, XLR outputs, tuner, streaming input and headphone connectivity. ID:X Floor Two builds on this by adding an onboard expression pedal that can control Wah, volume or expression parameters, making it ideal for players who want continuous real-time performance control while keeping the same sound engine, editing capability and connectivity. At the top of the range, ID:X Floor Three expands the concept further with MIDI IN and THRU, an effects loop for integration with external pedals, extended switching for patches and effects, and a larger chassis designed for more advanced stage use, while maintaining the same immediate, musician-focused workflow across the lineup. All three models support deep software editing and online patch sharing via Blackstar’s free Architect software, connecting players to a wider creative community.

In use, the ID:X Floor series is intended to feel like a real amplifier rather than a menu-driven processor. Blackstar’s component-accurate modelling, precision tone-stack behavior and carefully developed interaction between preamp, power section and speaker response contribute to a lively, responsive playing experience that reacts dynamically to touch. Combined with robust I/O, USB-C audio interface functionality and an emphasis on ease of use, the ID:X Floor range is positioned as a complete professional floor solution for studio, rehearsal and live performance alike.

For further information on the new Blackstar ID:X Floor range, including ID:X Floor One, ID:X Floor Two and ID:X Floor Three, please visit NAMM Booth #6802 or online at www.blackstaramps.com

Street Price:

ID:X Floor One $269.99 USD

ID:X Floor Two $319.99 USD

ID:X Floor Three $399.99 USD

Aguilar has announced the TLC DLX Compressor EQ, an expanded evolution of its trusted TLC Compressor pedal. Designed to give bassists complete control over dynamics while adding musical tone shaping inspired by classic studio workflows, the TLC DLX follows a simple philosophy: control dynamics first, then enhance tone. The result is transparent compression paired with broad, musical EQ in a compact, pedalboard-friendly format suited for both stage and studio use.

At the core of the TLC DLX is a comprehensive compressor control set featuring Threshold, Attack, Release, Ratio, Output, and Blend. These controls allow bassists to shape not just how much compression is applied, but how it feels—from subtle dynamic smoothing to firm peak control. An integrated LED gain-reduction meter provides clear visual feedback for dialing in consistent results, while the Blend control enables parallel compression, preserving natural feel and articulation while adding punch and consistency. The Output control compensates for gain reduction, making unity gain easy to achieve.

Beyond dynamics, the TLC DLX adds integrated tone shaping inspired by Aguilar’s DB 925 boost circuit. Broad, boost-only Bass and Treble controls enhance the instrument’s natural character, adding fullness, clarity, and presence without harshness. Used alongside compression, the EQ helps bass tones sit comfortably in a mix while remaining expressive and musical.

Designed as a compact channel strip for the pedalboard, the TLC DLX delivers studio-inspired dynamic control and tone enhancement in a format built for real-world bass performance. “The original TLC Compressor has been part of so many players’ rigs for years, and the TLC DLX is a natural evolution of that idea,” says Aguilar. “We kept the feel and musicality people love, but expanded on it by adding tone shaping inspired by our classic designs. The result is a pedal that still feels familiar, but gives bassists more flexibility and expression than ever before.”

For more information, visit NAMM Booth 6802 or online at www.aguilaramp.com

The TLC DLX Compressor EQ is available now with a street price of $329.99.