Guitar Lifestyle

I was recently listening to an interview with guitarist JD Simo where he expressed surprise that some of the professional guitarists he knew didn’t really seek out new music to listen to or didn’t even listen to much music at all. He said that he listens to new music all the time.

It was surprising to hear that professional guitarists don’t uniformly listen to music all the time. But, after evaluating my own listening habits it may not be that surprising after all. Professional guitarists are no different than the rest of us. And I realized that I don’t listen to much new music either.

Somewhere along the way, music slowly shifted from being something I actively pursued to something that mostly filled the background. I’d put on familiar albums while doing other things, but I rarely sat down with the intention of discovering something new. When I did listen, it was usually to the same artists and records I’d listened to for years.

However, when I first started playing guitar, I did listen to music all the time. I listened to music I loved, but I also actively sought out new and different music to listen to. Finding new music I enjoyed was exciting. It seemed like something inside of me was unlocked when I found new music that really resonated with me.

Back then, finding new music meant listening to the local radio stations and trolling the local record stores. In fact some of my friends from that time period were people I met at the record stores because I was there so much.

Over time, of course, the record stores started closing. That feeling of hanging out with like-minded people and seeing what new music had come out that week kind of got lost. I’m glad to see the vinyl resurgence has helped some of the record stores stay in business, but it isn’t quite the same.

That being said, the ability to find and discover new music is unparalleled today. We have nearly the entirety of recorded music history a few clicks away. So, why are we all not listening to new music all the time?

I think it’s important to continue to seek out new music. As guitar players, we are the sum of what we’ve heard. Listening to the same music over and over will lead to playing the same things over and over. Listening to different genres or different eras of music can lead to some new ideas. I know it often does for me.

After realizing that I haven’t been doing this as much over the past few years, I’ve been trying to get back to that feeling of discovering new music. Each day I’m trying to listen to something I haven’t heard before. It doesn’t have to be brand new music. In fact, I recently went down the rabbit hole of 80s industrial music, much of which I’d never heard before.

I’m trying to actively listen to new music again. I’ve found some of the excitement that I used to have around music, and it’s been a lot of fun.

If you’ve found yourself in the same rut of listening to the same music you always have or not listening to much music at all, I would encourage you to seek out something new. A new artist, a new genre, or even just a new record you haven’t heard from a band you enjoy. Hopefully, it will give you some new inspiration.

Music is everywhere. We listen to it in the car, while we're working, when we're exercising, and while we're doing things around the house. With streaming services, smartphones, and wireless speakers, it's probably easier to listen to music now than at any other point in history. I think this is a great thing.

However, I'm not sure we're always really listening.

There's nothing wrong with putting on an album while you're doing something else. I’m often listening to music in the background when I’m doing some task.

I can’t imagine driving for any distance without having some kind of music or audio on the radio. I often like to have music on when I’m working at my day job. But there's a difference between hearing music in the background and actively listening to it.

Active listening means giving the music your full attention. Instead of treating it as background noise, you focus on the song and try to understand what's happening. You listen to the melody, rhythm, arrangement, production, and individual performances. You notice how the different parts work together and how the song changes from beginning to end.

For guitar players, I think this kind of listening is especially important.

When I first started listening to music, I mainly paid attention to the most obvious parts. Usually that meant the vocals, the drums, or the guitar solo. If a song had a great riff or an impressive solo, I liked it. I didn't spend much time thinking about some of the more intricate parts of the arrangement or production.

As I became more interested in playing music, I started hearing songs differently. I began noticing what the rhythm guitar was doing underneath the solo. I paid more attention to how the bass connected the guitar and drums. I noticed that a drummer could change the feel of a song without playing anything particularly complicated.

The songs hadn't changed. The way I listened to them had.

One of the benefits of active listening is that it helps you understand why a song works. It's easy to say that a song has a great groove or that a guitar solo sounds good. It's more useful to figure out what creates that groove or why the solo fits the song.

Maybe the drummer is playing slightly behind the beat. Maybe the bass player is leaving more space than expected or maybe even playing busier than expected. Maybe the guitarist starts with a simple phrase and gradually builds towards the hook of the song. Maybe the producer removes instruments from a verse so the chorus sounds bigger when everything returns.

These details can be easy to miss when music is playing in the background. When you listen closely, they become much more obvious.

Active listening can also help musicians develop better timing. Instead of only following the main riff or melody, try focusing on the relationship between the bass and drums. Listen to where the snare lands and how the bass notes line up with the kick drum. Pay attention to whether the musicians are playing directly on the beat or pushing and pulling against it.

This is especially useful when listening to blues, jazz, funk, and other styles where the feel of the music is difficult to communicate through written notation alone. Two musicians can play the same notes and still sound completely different. Often, the difference is in the timing, dynamics, and phrasing.

Dynamics are another thing that become more noticeable through active listening. Many of the best performances aren't played at the same intensity from beginning to end. The musicians leave themselves somewhere to go.

A guitarist may play softly during the first verse and become more aggressive during the solo. A drummer may move from the hi-hat to the ride cymbal to open up the sound. A singer may hold something back early in the song so the final chorus has more impact.

If you're only listening for the loudest or fastest parts, you may miss the way the musicians build toward those moments.

For guitar players, active listening is one of the best ways to improve phrasing. It's tempting to focus on the number of notes a player uses or the difficulty of a particular lick. However, some of the most memorable solos aren't especially complicated.

Listen to where the guitarist begins and ends each phrase. Notice how long certain notes are held. Pay attention to the bends, vibrato, slides, and spaces between phrases. In many cases, the notes that aren't played are just as important as the ones that are.

Tone is another area that rewards careful listening. Guitar players spend a lot of time thinking about guitars, amps, pedals, and pickups. Those things are important, but recorded guitar tone is also affected by the player's touch, the arrangement, the microphones, and the way the guitar sits in the mix.

A guitar tone that sounds thin by itself may work perfectly in a full band arrangement. A large, heavily distorted tone may sound impressive on its own but cover up the bass, drums, and vocals. Active listening helps you hear the guitar as part of the entire recording rather than as an isolated instrument.

A few ways I go about active listening is to listen to the song a few times in a row, focusing on a different instrument or aspect of the song each time.

For example, during the first listen I might just experience the song as a whole piece. I might just focus on the guitar part on the second listen. Then, the drums and how the rhythm impacts the song.

Once you’ve listened to the individual parts you want to focus on, I suggest listening to the song as a complete piece again. See if you hear something new.

Headphones can be useful for this, especially when listening for subtle parts. Depending on the recording, you may hear instruments panned to different sides, background vocals buried in the mix, or small production details that aren't obvious through speakers. These types of things often get lost when playing music on your phone or in your car with a lot of ambient sounds.

However, you can listen actively even if you’re aren’t using headphones. The most important thing is to remove as many distractions as possible and give the music your attention.

It's also useful to compare different versions of the same song. Listen to an original recording and then listen to a cover. Compare a studio version with a live performance. Pay attention to what changed and what stayed the same.

A live version may be faster, heavier, or more loosely arranged. A cover may use different instrumentation or emphasize a different part of the melody. Sometimes a musician will change a song so much that it becomes something new while still preserving the qualities that made the original work.

These comparisons can teach you a lot about arrangement and interpretation.

Transcribing music is probably one of the most focused forms of active listening. You don't necessarily need to write the music down. Simply learning a part by ear forces you to pay close attention to the notes, timing, articulation, and tone.

At first, it can be frustrating. A phrase that sounds simple may be more complicated than expected. On the other hand, an impressive-sounding lick may turn out to be based on a familiar pattern played with excellent phrasing.

Either way, the process helps connect what you hear with what you play.

Active listening also makes it easier to move beyond your primary instrument. A guitarist who only listens to guitar players may eventually begin repeating the same ideas. Listening closely to singers, horn players, piano players, bassists, and drummers can introduce new approaches to melody and rhythm.

I like to think of active listening as part of my practice routine. Time spent with an instrument is important, but so is time spent understanding how great music is put together. Technique gives you more options. Active listening helps you figure out what to do with them.

If you find yourself mostly listening to music passively, try putting on an album and doing nothing else; no phones, no television, just the music. Listen to instruments you normally wouldn’t. See how they interact with the guitar and work within the song. You might be surprised by what you’ve been missing.

If you’re not including active listening as part of your musicianship, give it a chance and see if it helps you improve how you hear the guitar within a song context.

I really enjoyed the recent episode of That Pedal Show featuring Philip Sayce:

He’s not only a monster player, but he also seems very considered and thoughtful in his approach to the instrument.

He visited the show while he was on tour in the UK supporting his new album Scorched Earth, Vol. 2 (Live from LA and London), which you should check out if you’re into heavy blues rock. 

I love guitar gear. I have for most of the years I’ve been playing. So it might be surprising that I actually don’t like playing with a bunch of pedals.

I find pedals to be inspiring in a lot of ways. Even just adding a different overdrive pedal can make me play in different ways.

But I also find that too many pedals can be distracting.

If I have a univibe pedal on my board, I’m going to try and figure out how to use that pedal in the context of my other pedals. How does it sound before or after my dirt pedals? How does it sound before or after delay? I end up noodling for a while just trying out different sounds. This is, undoubtedly, fun and part of why I love guitar gear so much. There’s always something new to try.

This goes for any number of different effects. Trying them out in context is fun and also important if you plan to use the effect in a band. You need to know how they interact with your other pedals.

It’s also important to note that all that playing and testing is not equivalent to making music. It’s just making noise. Fun? Absolutely. But it’s working a different muscle than making music.

And that’s what I keep coming back to. How are all of these pedals helping me make music if I end up spending most of my time chasing sounds? It can sometimes lead to music that I wouldn’t have thought of otherwise, but I would say by and large it ends up just leading to noodling.

Additionally, I find that using fewer pedals forces me to think more about what I’m playing and how I’m attacking the guitar. It forces me to think more about the music I’m trying to make.

The only pedalboard I have is a Pedaltrain Nano+. It holds about 5-6 pedals. I’ve often thought about buying a larger board, and I may still do that someday.

But for now, I like the constraints that the Nano+ puts around how many pedals I can use. It makes me choose the few pedals that actually help me make the music I want to make. Sometimes, that’s more important than how many sounds you can get.

The Suhr Classic S HSS is a guitar that manages to take a very familiar design and elevate it in ways that immediately become apparent once you spend some time with it. While the guitar will be instantly recognizable to anyone who has played a traditional S-style guitar, the level of refinement and attention to detail that Suhr puts into this instrument makes it feel like something a bit more special.

The first thing that stands out about the Classic S, and really any Suhr guitar, is the overall build quality. Suhr has built a reputation for producing exceptionally well-made instruments, and this guitar certainly reinforces that reputation. The fit and finish are outstanding, from the clean neck pocket to the impeccable fretwork. Everything feels solid and carefully put together, and the guitar gives the impression that the people who are making the instrument care about what they’re doing.

This particular guitar has Suhr’s 60s C Vintage Standard neck profile, which measures .810 – .930. My hands are fairly sensitive to different neck shapes, but I find the neck to be very comfortable. I also like the compound radius, which goes from 9”-12”. Whether you’re playing chords down low or bending notes further up the neck, the guitar feels smooth and responsive.

Sonically, the single-coil pickups have a clear and crisp character that works beautifully for clean tones. Chords ring out with plenty of definition, and individual notes remain articulate even when playing more complex passages. There is a hi-fi quality to the sound that allows the natural character of the guitar to come through very clearly.

The reason I went with the HSS configuration is for versatility. When switching to the bridge position, the guitar takes on a thicker, more powerful voice that works well for lead playing and higher-gain sounds. Even with the additional output of the humbucker, the tone still retains clarity and definition. Additionally, I don’t find the output difference to be all that noticeable when playing. There is a slight bit of difference, but these pickups are fairly well balanced across the spectrum.

One nice feature that seems fairly unique to Suhr is their SSCII (Silent Single Coil II) system. My understanding is that this system uses a dummy coil to reduce the 60-cycle hum. That allows Suhr to use standard single coil pickups while also reducing the hum. It works great. When playing with high gain, I find the single coil positions to actually be quieter than the humbucker position.

The hardware and overall setup are also excellent. The tremolo operates smoothly, tuning stability is solid, and the guitar feels very reliable overall.

I’ve owned several Suhr guitars over the years. Each one has been a high quality instrument that feels like a refinement over the guitar it’s based on. The craftsmanship is outstanding, the tones are clear and articulate, and the SSCII system does an excellent job of eliminating the usual single-coil hum while preserving the character of the pickups.

If the recent news has got you looking for a different company for S- or T-shaped guitars, I can highly recommend Suhr.

The Suhr Classic S HSS is a guitar that manages to take a very familiar design and elevate it in ways that immediately become apparent once you spend some time with it. While the guitar will be instantly recognizable to anyone who has played a traditional S-style guitar, the level of refinement and attention to detail that Suhr puts into this instrument makes it feel like something a bit more special.

The first thing that stands out about the Classic S, and really any Suhr guitar, is the overall build quality. Suhr has built a reputation for producing exceptionally well-made instruments, and this guitar certainly reinforces that reputation. The fit and finish are outstanding, from the clean neck pocket to the impeccable fretwork. Everything feels solid and carefully put together, and the guitar gives the impression that the people who are making the instrument care about what they’re doing.

This particular guitar has Suhr’s 60s C Vintage Standard neck profile, which measures .810 - .930. My hands are fairly sensitive to different neck shapes, but I find the neck to be very comfortable. I also like the compound radius, which goes from 9”-12”. Whether you’re playing chords down low or bending notes further up the neck, the guitar feels smooth and responsive.

Sonically, the single-coil pickups have a clear and crisp character that works beautifully for clean tones. Chords ring out with plenty of definition, and individual notes remain articulate even when playing more complex passages. There is a hi-fi quality to the sound that allows the natural character of the guitar to come through very clearly.

The reason I went with the HSS configuration is for versatility. When switching to the bridge position, the guitar takes on a thicker, more powerful voice that works well for lead playing and higher-gain sounds. Even with the additional output of the humbucker, the tone still retains clarity and definition. Additionally, I don’t find the output difference to be all that noticeable when playing. There is a slight bit of difference, but these pickups are fairly well balanced across the spectrum.

One nice feature that seems fairly unique to Suhr is their SSCII (Silent Single Coil II) system. My understanding is that this system uses a dummy coil to reduce the 60-cycle hum. That allows Suhr to use standard single coil pickups while also reducing the hum. It works great. When playing with high gain, I find the single coil positions to actually be quieter than the humbucker position.

The hardware and overall setup are also excellent. The tremolo operates smoothly, tuning stability is solid, and the guitar feels very reliable overall.

I’ve owned several Suhr guitars over the years. Each one has been a high quality instrument that feels like a refinement over the guitar it’s based on. The craftsmanship is outstanding, the tones are clear and articulate, and the SSCII system does an excellent job of eliminating the usual single-coil hum while preserving the character of the pickups.

If the recent news has got you looking for a different company for S- or T-shaped guitars, I can highly recommend Suhr.

Fuzz is one of those effects that I love to hear but struggle to make it fit in my playing.

Over the years, I’ve tried a lot of different fuzz pedals. Like most guitar players that start chasing fuzz tones, I began by exploring the “classic” circuits and the countless variations that builders have created around them. I started out trying some Fuzz Face variants, then went through some Big Muff derivatives, and then finally tried out some Tone Bender circuits.

Each type of fuzz circuit has its own distinct personality. Fuzz Face-style pedals tend to have a raw, open sound that responds well to your guitar’s volume knob. Tone Bender-style fuzzes generally sound more aggressive and cutting, with a bit more midrange character. And then there’s the Big Muff, which has a smoother texture to the sound, but also sounds huge.

For a long time, I preferred the Big Muff sound as it seems better for riffing and playing chords. This circuit doesn’t seem to get as harsh as the Fuzz Face circuit can sometimes get. I ended up really liking the EarthQuaker Devices Hoof Fuzz for Big Muff sounds, which as I understand it is based off of Dan Auerbach’s Russian Big Muff. It sounds great and has a lot of midrange flexibility thanks to the Shift knob.

The downside to the Big Muff circuit is that it doesn’t clean up like the Fuzz Face, and there’s definitely something about the glassy character of a Fuzz Face with the guitar volume knob turned down. That led me to keep searching.

When I wanted to try the Tone Bender circuit, I ended up trying a Basic Audio Scarab Deluxe fuzz, which is based on the Tone Bender MKII circuit. I’ve found it to be an extremely flexible fuzz. However, I found it also didn’t clean up like I wanted. But, this one is probably my favorite Tone Bender variant.

I tried a number of Fuzz Face variants, but never really found one that I loved. The Skreddy Lunar Module Mini Deluxe is a nice variant, but I never felt like it captured the Fuzz Face tones I was going for. What were those tones? I wasn’t really even sure, but I kept looking.

What I’ve finally settled on is the Kingtone miniFuzz v2. It’s a Fuzz Face variant, but, in my opinion with all the options it has, I’ve been able to get it to sound like a nice in-between fuzz. That is, to me I can tweak it so that it sits in the middle between a Fuzz Face and a Big Muff. It sounds smoother than the traditional Fuzz Faces I’ve played, but can also clean up well.

I don’t know if my search for fuzz will ever be over, but for now I’ve been happy with the miniFuzz for quite a while.

Fuzz is one of those effects that I love to hear but struggle to make it fit in my playing.

Over the years, I’ve tried a lot of different fuzz pedals. Like most guitar players that start chasing fuzz tones, I began by exploring the “classic” circuits and the countless variations that builders have created around them. I started out trying some Fuzz Face variants, then went through some Big Muff derivatives, and then finally tried out some Tone Bender circuits.

Each type of fuzz circuit has its own distinct personality. Fuzz Face-style pedals tend to have a raw, open sound that responds well to your guitar’s volume knob. Tone Bender-style fuzzes generally sound more aggressive and cutting, with a bit more midrange character. And then there’s the Big Muff, which has a smoother texture to the sound, but also sounds huge.

For a long time, I preferred the Big Muff sound as it seems better for riffing and playing chords. This circuit doesn’t seem to get as harsh as the Fuzz Face circuit can sometimes get. I ended up really liking the EarthQuaker Devices Hoof Fuzz for Big Muff sounds, which as I understand it is based off of Dan Auerbach’s Russian Big Muff. It sounds great and has a lot of midrange flexibility thanks to the Shift knob.

The downside to the Big Muff circuit is that it doesn’t clean up like the Fuzz Face, and there’s definitely something about the glassy character of a Fuzz Face with the guitar volume knob turned down. That led me to keep searching.

When I wanted to try the Tone Bender circuit, I ended up trying a Basic Audio Scarab Deluxe fuzz, which is based on the Tone Bender MKII circuit. I’ve found it to be an extremely flexible fuzz. However, I found it also didn’t clean up like I wanted. But, this one is probably my favorite Tone Bender variant.

I tried a number of Fuzz Face variants, but never really found one that I loved. The Skreddy Lunar Module Mini Deluxe is a nice variant, but I never felt like it captured the Fuzz Face tones I was going for. What were those tones? I wasn’t really even sure, but I kept looking.

What I’ve finally settled on is the Kingtone miniFuzz v2. It’s a Fuzz Face variant, but, in my opinion with all the options it has, I’ve been able to get it to sound like a nice in-between fuzz. That is, to me I can tweak it so that it sits in the middle between a Fuzz Face and a Big Muff. It sounds smoother than the traditional Fuzz Faces I’ve played, but can also clean up well.

I don’t know if my search for fuzz will ever be over, but for now I’ve been happy with the miniFuzz for quite a while.

First, the backstory: Fender recently won a significant legal victory in Germany regarding the Stratocaster body shape. The Düsseldorf Regional Court ruled that the Strat body qualifies as a copyrighted work of applied art under German and broader European law, giving Fender new leverage to pursue manufacturers selling Strat-style guitars into the European Union.

Now, Fender has sent out cease and desist letters to manufacturers who are selling Strat-style guitars in Europe.

As a fan of Fender guitars, this has been disappointing to see.

It’s hard not to think of Fender as the company that Leo Fender created 70+ years ago. However it hasn’t been that same company since the mid-60s after the sale to CBS.

For years, Gibson has largely occupied the role of "bad guy" in the guitar industry's intellectual property discussions. Gibson aggressively pursued Dean, PRS, Kiesel, and seemingly anyone else building a guitar that vaguely resembled one of its classic designs. Guitar players rolled their eyes. Builders got frustrated. Forums exploded. It often felt less like protecting intellectual property and more like trying to litigate entire categories of guitars out of existence.

Through all of that, Fender was mostly absent from the conversation.

The Stratocaster and Telecaster are probably the two most copied guitar designs in history. Entire companies were built around S-style and T-style guitars. Boutique builders refined the formula. Some of the best guitars I’ve ever owned have been refined versions of Leo’s designs. Fender, for the most part, appeared content to compete through brand strength rather than courtroom filings.

The reality is that nobody buys a Suhr, Anderson, Nash, or other boutique guitar because they think they're secretly buying a Fender. The guitar community largely understands what these instruments are. In many ways, the Stratocaster and Telecaster transcended Fender decades ago. They became foundational industrial designs for the electric guitar itself.

Which is exactly why this feels disappointing.

To be clear, Fender absolutely has a legal responsibility to protect its intellectual property. Once the German court handed Fender a favorable ruling, it would have been surprising if the company didn’t act on it. Shareholders expect companies to defend valuable IP. Executives are obligated to preserve brand equity and market position. From a corporate standpoint, Fender's actions make complete sense.

And if we're being fair, this isn't quite the same thing as some of Gibson's more questionable lawsuits. Fender's recent case involved direct copies sold through AliExpress by a Chinese manufacturer, not an established builder making a clearly differentiated instrument. Fender has also emphasized that the ruling is intended for "targeted enforcement against clear cases of infringement" rather than an attempt to eliminate healthy competition.

Still, once the legal precedent exists, it's difficult to believe the scope remains narrow forever. And, I think it’s clear that the guitar-buying community wants these options to exist.

The guitar industry has benefited enormously from the open ecosystem surrounding Fender-style instruments. As mentioned above, some of the best guitars I’ve ever played were inspired by Leo Fender's original designs while still improving upon them in meaningful ways. Different neck profiles. Better tremolos. Compound radiuses. Stainless steel frets. Modern electronics. Entire segments of the boutique guitar market exist because Fender historically tolerated a fairly broad interpretation of what constituted a Strat- or Tele-style guitar.

If Fender has their way, that’s going to change in Europe. Maybe the impact ultimately ends up being limited. Maybe this only affects blatant counterfeit-level copies. Maybe larger boutique builders adjust body contours slightly and move on without issue. Hopefully that's where things land.

But it still feels like the end of an era.

For a long time, Fender occupied a unique position in the guitar world. They were the company that invented the most copied electric guitars ever made and somehow managed to coexist with the derivatives without turning every disagreement into a courtroom battle. That restraint bought them a tremendous amount of goodwill among guitar players. And, goodwill is hard to quantify on a balance sheet.

But to disregard it completely is, I think, a mistake.

And while I understand why Fender is doing this, I also think many guitar players are going to view these recent cease and desist efforts with the same frustration that Gibson has faced for years.

Not because Fender is necessarily wrong. It's just disappointing to see them become part of the same conversation.

First, the backstory: Fender recently won a significant legal victory in Germany regarding the Stratocaster body shape. The Düsseldorf Regional Court ruled that the Strat body qualifies as a copyrighted work of applied art under German and broader European law, giving Fender new leverage to pursue manufacturers selling Strat-style guitars into the European Union.

Now, Fender has sent out cease and desist letters to manufacturers who are selling Strat-style guitars in Europe.

As a fan of Fender guitars, this has been disappointing to see.

It’s hard not to think of Fender as the company that Leo Fender created 70+ years ago. However it hasn’t been that same company since the mid-60s after the sale to CBS.

For years, Gibson has largely occupied the role of "bad guy" in the guitar industry's intellectual property discussions. Gibson aggressively pursued Dean, PRS, Kiesel, and seemingly anyone else building a guitar that vaguely resembled one of its classic designs. Guitar players rolled their eyes. Builders got frustrated. Forums exploded. It often felt less like protecting intellectual property and more like trying to litigate entire categories of guitars out of existence.

Through all of that, Fender was mostly absent from the conversation.

The Stratocaster and Telecaster are probably the two most copied guitar designs in history. Entire companies were built around S-style and T-style guitars. Boutique builders refined the formula. Some of the best guitars I’ve ever owned have been refined versions of Leo’s designs. Fender, for the most part, appeared content to compete through brand strength rather than courtroom filings.

The reality is that nobody buys a Suhr, Anderson, Nash, or other boutique guitar because they think they're secretly buying a Fender. The guitar community largely understands what these instruments are. In many ways, the Stratocaster and Telecaster transcended Fender decades ago. They became foundational industrial designs for the electric guitar itself.

Which is exactly why this feels disappointing.

To be clear, Fender absolutely has a legal responsibility to protect its intellectual property. Once the German court handed Fender a favorable ruling, it would have been surprising if the company didn’t act on it. Shareholders expect companies to defend valuable IP. Executives are obligated to preserve brand equity and market position. From a corporate standpoint, Fender's actions make complete sense.

And if we're being fair, this isn't quite the same thing as some of Gibson's more questionable lawsuits. Fender's recent case involved direct copies sold through AliExpress by a Chinese manufacturer, not an established builder making a clearly differentiated instrument. Fender has also emphasized that the ruling is intended for "targeted enforcement against clear cases of infringement" rather than an attempt to eliminate healthy competition.

Still, once the legal precedent exists, it's difficult to believe the scope remains narrow forever. And, I think it’s clear that the guitar-buying community wants these options to exist.

The guitar industry has benefited enormously from the open ecosystem surrounding Fender-style instruments. As mentioned above, some of the best guitars I’ve ever played were inspired by Leo Fender's original designs while still improving upon them in meaningful ways. Different neck profiles. Better tremolos. Compound radiuses. Stainless steel frets. Modern electronics. Entire segments of the boutique guitar market exist because Fender historically tolerated a fairly broad interpretation of what constituted a Strat- or Tele-style guitar.

If Fender has their way, that’s going to change in Europe. Maybe the impact ultimately ends up being limited. Maybe this only affects blatant counterfeit-level copies. Maybe larger boutique builders adjust body contours slightly and move on without issue. Hopefully that's where things land.

But it still feels like the end of an era.

For a long time, Fender occupied a unique position in the guitar world. They were the company that invented the most copied electric guitars ever made and somehow managed to coexist with the derivatives without turning every disagreement into a courtroom battle. That restraint bought them a tremendous amount of goodwill among guitar players. And, goodwill is hard to quantify on a balance sheet.

But to disregard it completely is, I think, a mistake.

And while I understand why Fender is doing this, I also think many guitar players are going to view these recent cease and desist efforts with the same frustration that Gibson has faced for years.

Not because Fender is necessarily wrong. It's just disappointing to see them become part of the same conversation.

One thing I've noticed over the years is that guitar players tend to get very comfortable with their setups and routines. We find a guitar we like, an amp sound we like, a few pedals that become part of “our sound,” and then we stay there. There’s nothing inherently wrong with that, but sometimes comfort can quietly limit growth.

Interestingly, some of the biggest improvements in my playing have come when I’ve intentionally added constraints to my practice routine.

At first glance, that sounds counterintuitive. Most of us think improvement comes from adding more options — more gear, more scales, more techniques, more sounds. But sometimes taking things away forces you to think differently and engage with the instrument in a different way.

One example is practicing without pedals.

If you normally rely on overdrive, delay, compression, or reverb, try plugging straight into a clean amp for a while. Suddenly everything becomes more exposed. Your timing has to be tighter, your articulation has to be cleaner, and your phrasing has to carry more weight because there’s nothing masking inconsistencies in your playing.

I’ve found that playing dry also changes the types of phrases I naturally gravitate toward. With a lot of gain and delay, it’s easy to lean into longer sustained notes and ambient textures. Without those effects, you start thinking more rhythmically and dynamically.

Similarly, changing guitars can be incredibly helpful.

If you typically play a Strat like I usually do, spend some time with a Les Paul-style guitar. If you primarily play electric, pick up an acoustic for a few weeks. Even something as simple as a different scale length or neck shape can force you to approach the instrument differently.

For example, when I switch from an electric guitar to an acoustic, I immediately notice how much more deliberate I have to be with vibrato, bends, and fretting pressure. Certain licks that feel easy on one instrument suddenly require more intention on another.

I think this is valuable because so much of guitar playing eventually becomes muscle memory. Constraints interrupt that autopilot feeling.

Another useful exercise is limiting the area of the fretboard you allow yourself to use.

For instance, try improvising while staying within only five frets. Or only use the top three strings. Or force yourself to stay in a single position for an entire solo.

What’s interesting is that limitations like these often increase creativity rather than reduce it. When your normal patterns are unavailable, you naturally start searching for new melodic ideas and phrasing approaches.

The same concept applies to technique.

If you tend to rely heavily on bends and vibrato, try practicing without them for a while. If you mostly play with legato phrasing, spend time focusing exclusively on alternate picking. Constraints like these expose weaknesses very quickly, but they also help round out your playing.

I also think tone itself acts as a kind of creative constraint.

A bright clean tone tends to make me play differently than a saturated lead tone. High gain can encourage more aggressive phrasing, whereas cleaner tones often make rhythmic precision and note choice feel more important.

That’s one reason why it can be beneficial to occasionally practice with tones you wouldn’t normally use live or in recordings.

Ultimately, the goal of constraints isn’t to make playing less enjoyable. It’s to prevent yourself from falling too deeply into habits.

Most guitar players develop tendencies over time — certain licks, certain sounds, certain rhythmic ideas. I know I do. Constraints temporarily remove those comfort zones and force exploration. And often that exploration leads to growth you wouldn’t have found otherwise.

So if your playing feels stagnant, you may not need more options.

You may actually need fewer.

One thing I've noticed over the years is that guitar players tend to get very comfortable with their setups and routines. We find a guitar we like, an amp sound we like, a few pedals that become part of “our sound,” and then we stay there. There’s nothing inherently wrong with that, but sometimes comfort can quietly limit growth.

Interestingly, some of the biggest improvements in my playing have come when I’ve intentionally added constraints to my practice routine.

At first glance, that sounds counterintuitive. Most of us think improvement comes from adding more options — more gear, more scales, more techniques, more sounds. But sometimes taking things away forces you to think differently and engage with the instrument in a different way.

One example is practicing without pedals.

If you normally rely on overdrive, delay, compression, or reverb, try plugging straight into a clean amp for a while. Suddenly everything becomes more exposed. Your timing has to be tighter, your articulation has to be cleaner, and your phrasing has to carry more weight because there’s nothing masking inconsistencies in your playing.

I’ve found that playing dry also changes the types of phrases I naturally gravitate toward. With a lot of gain and delay, it’s easy to lean into longer sustained notes and ambient textures. Without those effects, you start thinking more rhythmically and dynamically.

Similarly, changing guitars can be incredibly helpful.

If you typically play a Strat like I usually do, spend some time with a Les Paul-style guitar. If you primarily play electric, pick up an acoustic for a few weeks. Even something as simple as a different scale length or neck shape can force you to approach the instrument differently.

For example, when I switch from an electric guitar to an acoustic, I immediately notice how much more deliberate I have to be with vibrato, bends, and fretting pressure. Certain licks that feel easy on one instrument suddenly require more intention on another.

I think this is valuable because so much of guitar playing eventually becomes muscle memory. Constraints interrupt that autopilot feeling.

Another useful exercise is limiting the area of the fretboard you allow yourself to use.

For instance, try improvising while staying within only five frets. Or only use the top three strings. Or force yourself to stay in a single position for an entire solo.

What’s interesting is that limitations like these often increase creativity rather than reduce it. When your normal patterns are unavailable, you naturally start searching for new melodic ideas and phrasing approaches.

The same concept applies to technique.

If you tend to rely heavily on bends and vibrato, try practicing without them for a while. If you mostly play with legato phrasing, spend time focusing exclusively on alternate picking. Constraints like these expose weaknesses very quickly, but they also help round out your playing.

I also think tone itself acts as a kind of creative constraint.

A bright clean tone tends to make me play differently than a saturated lead tone. High gain can encourage more aggressive phrasing, whereas cleaner tones often make rhythmic precision and note choice feel more important.

That’s one reason why it can be beneficial to occasionally practice with tones you wouldn’t normally use live or in recordings.

Ultimately, the goal of constraints isn’t to make playing less enjoyable. It’s to prevent yourself from falling too deeply into habits.

Most guitar players develop tendencies over time — certain licks, certain sounds, certain rhythmic ideas. I know I do. Constraints temporarily remove those comfort zones and force exploration. And often that exploration leads to growth you wouldn’t have found otherwise.

So if your playing feels stagnant, you may not need more options.

You may actually need fewer.

First, I want to take a moment to thank everyone who has spent time reading, sharing, and supporting Guitar Lifestyle over the years. What started as a simple place to talk about guitars, players, and gear turned into a community of like-minded people who love the instrument. Your comments, emails, and conversations have meant more than you probably realize. I’ve met a number of people I now call friends from this site.

Today I’m excited to share something new.

Introducing Steady Strum

Going forward, all new posts and updates will live on Steady Strum.

Steady Strum is more than just the next version of the blog — it’s an evolution of the idea behind Guitar Lifestyle. The goal is to create a place that doesn’t just talk about becoming a better guitarist, but actually helps you practice, stay consistent, and grow as a player.

Alongside the new site, I’m also launching the Steady Strum web app, designed to support guitarists in building real practice habits and making steady progress.

This is a tool that I built for myself as much as for anyone else. I started playing guitar a long time ago (longer than I care to admit!), but there are still plenty of gaps in my knowledge and ability. That’s where Steady Strum comes in.

A Quick Look at the Steady Strum App

The Steady Strum app is built around a simple idea: consistent practice is what makes better guitarists. The app helps make that easier with features like:

• Structured practice tools to help guide your sessions
• Progress tracking so you can see how your playing improves over time
• Practice reminders and streaks to help build daily consistency
• Learning resources and exercises designed for real-world guitar growth
• A growing library of content for players at different stages of their journey

It’s still early, and I’m just getting started, but the vision is to build something genuinely useful for guitarists who want to get better.

If you’ve been following Guitar Lifestyle for a while, I hope you’ll come along for this next phase.

Looking Ahead

I have a lot of excitement around what Steady Strum can become — not just a blog, but a platform and set of tools that genuinely help guitarists stay motivated and keep improving.

Thank you again to everyone who has supported Guitar Lifestyle over the years. Your support made this next step possible.

Welcome to Steady Strum.

First, I want to take a moment to thank everyone who has spent time reading, sharing, and supporting Guitar Lifestyle over the years. What started as a simple place to talk about guitars, players, and gear turned into a community of like-minded people who love the instrument. Your comments, emails, and conversations have meant more than you probably realize. I’ve met a number of people I now call friends from this site.

Today I’m excited to share something new.

Introducing Steady Strum

Going forward, all new posts and updates will live on Steady Strum.

Steady Strum is more than just the next version of the blog — it’s an evolution of the idea behind Guitar Lifestyle. The goal is to create a place that doesn’t just talk about becoming a better guitarist, but actually helps you practice, stay consistent, and grow as a player.

Alongside the new site, I’m also launching the Steady Strum web app, designed to support guitarists in building real practice habits and making steady progress.

This is a tool that I built for myself as much as for anyone else. I started playing guitar a long time ago (longer than I care to admit!), but there are still plenty of gaps in my knowledge and ability. That’s where Steady Strum comes in.

A Quick Look at the Steady Strum App

The Steady Strum app is built around a simple idea: consistent practice is what makes better guitarists. The app helps make that easier with features like:

• Structured practice tools to help guide your sessions
• Progress tracking so you can see how your playing improves over time
• Practice reminders and streaks to help build daily consistency
• Learning resources and exercises designed for real-world guitar growth
• A growing library of content for players at different stages of their journey

It’s still early, and I’m just getting started, but the vision is to build something genuinely useful for guitarists who want to get better.

If you’ve been following Guitar Lifestyle for a while, I hope you’ll come along for this next phase.

Looking Ahead

I have a lot of excitement around what Steady Strum can become — not just a blog, but a platform and set of tools that genuinely help guitarists stay motivated and keep improving.

Thank you again to everyone who has supported Guitar Lifestyle over the years. Your support made this next step possible.

Welcome to Steady Strum.