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Mod Garage Tonewood Teardown: Chasing the “Closet-Classic” Look
Hello! Welcome back to Mod Garage, and our “Tonewood Teardown” series. After finishing our work on the body of our Telecaster, let’s move on to the hardware and electronics, starting with the pickguard.
The factory-stock pickguard on this guitar is a 3-ply mint green one, and as they say, there’s no accounting for taste! In my book, a greenish pickguard on a green body isn’t an appealing look, so it had to go. Because I want to transform the guitar to Esquire specs, I had to replace it anyway, and this is a perfect field to let creativity flow and create a custom look: There are countless choices when it comes to materials, from plastic to metal to wood to acrylic glass to leather and beyond. Find the color and pattern you like best, or simply leave the original pickguard with the neck pickup removed for a serious DIY aesthetic. You can cover the hole for the neck pickup with some tape (maybe in a third green color, like neon green!) or simply remove the pickguard for the ultimate outlaw look, exposing the neck pickup routing.
I decided for a classic vintage look, with a twist. After comparing several different pickguard colors, I decided to use a 1-ply nicotine-white guard, which perfectly matches the now-matte look of the surf-green body. The color is also often referred to as parchment, offset white, eggshell white, or vintage white—not white, not cream, but somewhere in between. (Wow, an accidental rhyme!)
You can buy replacement pickguards from plenty of companies, but if you want to keep it strictly DIY, you can purchase an uncut sheet of the material. I already had some nicotine-white blanks in my storage room, so I used the old pickguard as my pattern and a simple jigsaw with different saw blades to carve out the new one. For the curvatures, I like to use a superfine round saw blade, and a standard straight one for even lines. Put some self-adhesive foil on the surface to keep you safe from any accidents.
An Esquire pickguard without the neck pickup opening is easy to fashion, and a perfect beginners’ project for pickguard-making—so be brave! It took me about 20 minutes, plus a few more minutes to drill and countersink the holes for the pickguard screws. After another 10 minutes with some sandpaper and files, the new pickguard was ready, and it looked so much better on the surf green body compared to the stock mint green.
To give the new pickguard a custom-shop twist, I decided to break the shine and make it matte like the body, which was done in just a few minutes by using some fine 0000-grit steel wool and abrasive cloth. This easy step makes it look slightly used, and by applying different grades of steel wool and pressure, you can decide on your own exactly how “used” it will look. I decided for a moderate used look that Fender would call “closet classic.”
“Do yourself a favor and replace the tiny screws with heavier ones—better safe than sorry!”
To take it the extra mile, I decided to round all the edges to give it a rolled-edge feeling—very smooth and a pleasure to touch. I thought this would be done in no time, but I was mistaken; it took me almost an hour to look and feel great! That said, rounding the edges isn’t a complicated task, since all you need is some sandpaper wrapped around a wooden rod. The hard part is getting all of the edges totally even, so if you decide to give it a try, prepare some strong coffee and take your time. It was absolutely worth the time, effort … and swearing. I found that the trick was to always get the same angle with the sandpaper, and to stay away from rotating tools like a Dremel.
Now, for the rest of the body. In general, I have a problem with all the screws used on this guitar. The diameter is always smaller compared to the standard, and the material is very soft, which is flirting with stripped-screw-head disaster. Besides this, the chromed surface is super shiny, so I decided to replace all screws with stainless-steel screws in standard sizes. I really like the typical matte look of most stainless-steel screws; they appear a little bit worn right out of the box and are easy to work with. All you need to do to give them the “closet-classic” look is rub the head of the screws with some sandpaper to produce artificial scratches. You can buy matching stainless-steel screws in any guitar or hardware store.
Next, let’s take a look at the factory-stock strap buttons. They’re chromed and standard Fender-sized, so no need to replace them if you want to keep the classic ’50s look. The stock screws are tiny, so I’ll replace them with thicker stainless steel ones. Here, too, you have plenty of options to customize your guitar by using the strap buttons you like best, or, alternatively, removing them. You can use smaller Gibson-style ones made of aluminium, locking buttons, custom buttons made out of wood, graphite, etc ... it’s your guitar, and you decide what to use. But do yourself a favor and replace the tiny screws with heavier ones at this spot—better safe than sorry! The stock strap buttons came with a small ring of black felt to protect the body from any imprints, so it’s your call whether you reinstall or remove them. For a more classic look, I decided to remove them.
To break the shiny chromed surface of the stock strap buttons, you can again use some steel wool, abrasive cloth, or go the chemical route. Here are two other easy techniques you can use on chrome or nickel guitar hardware.
1. Alternative mechanical methods
Collect a nice mixture of nails, metal parts, broken glass, gravel, sand, little stones, etc., and put this mixture into a small box or a bucket with a lid. Put the hardware inside, close the lid, and shake the hell out of it for a couple minutes to create some nice random scratches, dings, and bumps on the metal parts. The longer you shake, the more weathered it will look. Check the result after a few minutes, and if you want more scratches, keep on shaking.
If you don’t want to shake by hand or plan to do this regularly, I recommend a small stone tumbler like we have in the shop. Usually, they’re used for polishing, which is exactly the opposite of what we want to do, but loading it with our mixture from above will work perfectly for relic’ing metal hardware. When you’re pleased with the result, take the hardware out of the box or tumbler tube, and use a soft brush to clean off any dust.
2. Alternative chemical method
Place the hardware on some old newspapers, put on some gloves and goggles, and put iron (III) oxide (ferric oxide) liquid on the hardware with a Q-tip. Watch carefully, and if you like what you see, stop the process by wiping the liquid off the object with a wet cloth or paper towel, or run it under cold water.
Next month, we’ll work on the rest of our Telecaster’s hardware. I calculated $25 for a new pickguard and another $10 for the stainless-steel screws, so our budget is down to $305 for future investments. Stay tuned, and until then ... keep on modding!
Why Is Rhythm Guitar So Hard?
Rhythm guitar is arguably the most important aspect of guitar playing, and it’s also one of the most challenging skills to develop. The discouragement many players feel when working on rhythms forces too many of them to oversimplify the nuances, and this can reduce a performance from exceptional to fine. In this lesson, we’ll investigate why rhythm guitar can be so puzzling and look at a few ways to keep yourself motivated enough to persevere and improve.
Why So Hard?
In my many years of teaching I have found that students can learn the basic open-position chord shapes relatively quickly. The same goes for the pentatonic and major scale patterns. Even riffs and hooks like “Smoke on the Water,” “Crazy Train,” and “Oh, Pretty Woman” come relatively quickly to beginners. The biggest challenge for most guitar players is mastering rhythm guitar.
I’m not referring to the basics, such as four down strums in a measure of 4/4, a down and up eighth-note strum, or even the slightly syncopated strum of Ex. 1.
Ex. 1
Rather, I’m talking about the rhythms in countless classic rock, folk, and pop songs, which are the mainstays—for better or worse—of every oldies station, cover band’s setlist, and many aspiring beginners’ guitar dreams. Why are these rhythms so challenging for most players?
Dictionary.com defines idiosyncratic as “something peculiar to an individual.” Well, there’s your answer. Many of our favorite songs and guitarists, such as Neil Young, Malcolm and Angus Young, Joni Mitchell, David Gilmour, Jimi Hendrix, and Prince, possess idiosyncratic strums. How can something peculiar to an individual be easily reproduced? It can’t. Imitation takes hard work, hours of practice and refinement, and highly developed listening skills. That is not to say that idiosyncratic strums can’t be reproduced, only that they can’t be imitated easily.
What Can Guitar Players do to Improve Their Rhythm?
The first priority is to confirm that you genuinely know how the rhythm was originally performed. In this day and age, with reliable, professionally created guitar transcriptions and instructional videos (as well as an abundance of isolated rhythm guitar tracks on YouTube), there is ample opportunity to both hear and see accurate rhythms. This doesn’t make the rhythm immediately easier to play. It will help you avoid practicing it incorrectly and allow you to generate modifications based on the original, rather than through guesswork.
Play the Part Correctly and Slowly
The second step I recommend is to endeavor to play the part correctly and slowly. This requires playing the rhythms with slower tempos and one measure at a time rather than the more common four-measure patterns. This second aspect is important as many idiosyncratic strums vary from measure to measure. Such a lack of uniformity adds to the artistry of the music, but it can be frustrating to imitate.
For instance, look at Ex. 2, which is similar to Pink Floyd’s “Wish You Were Here.” While the chords themselves, G–C–D–Am, are easy enough to fret, the strum pattern is a nightmare of mixed rhythms, with each measure not only containing a different pattern, but different string choices as well. (To make it even more tricky, David Gilmour continues to vary his rhythms throughout the song.) Let’s consider just the first measure. There’s only one chord, but three different rhythmic figures. It gets even worse than that. Sometimes the strum includes all six strings, other times one note, two notes, or three notes. Maddening! This is one of the most challenging aspects of idiosyncratic rhythm. And these types of variations show up over and over again in accurate portfolio transcriptions. Yes, it is correct, but it’s an ordeal to decipher.
Ex. 2
Here’s a tip. First work on the strum, not the individually plucked notes and strings. Strum the entire G chord (Ex. 3). Next, isolate the lowest note in the chord (Ex. 4). If you can play this correctly then you can begin mixing it up with a combination of full chords, single bass notes, and partial chords. Trust me, Gilmour wasn’t thinking, “Gotta play just the top three strings on the 16th-note upbeat of beat two and the two bottom strings on the ‘and’ of beat four.” It’s idiosyncratic! Once you have measure one correct, move on to measure two, which is slightly different. Measures three and four are also marginally altered.
Ex. 3
Ex. 4
Hopefully you’ll find that one new rhythmic pattern on its own is relatively manageable. Having to generate four different patterns in the space of four measures? In that situation, strums become exponentially more complex. As this lesson moves forward, all the examples will be variations on this theme, in different contexts, and citing different specific artists. The idea here is to demonstrate the vast complexity idiosyncratic playing can generate.
Neil Young's Strumming Patterns
In my experience, Neil Young has some of the most seemingly random strums one can find. He’ll play a song with only four chords but there will be 16 different strum patterns. It’s both inspiring and infuriating. Ex. 5 is an example of such an exasperating figure, based on “Heart of Gold.” There are four chords in two measures, each with a different strum, followed by variations on the same four chords! Brilliant and unbearable.
Ex. 5
Ex. 5
To make mastering this a bit more tolerable, as with the previous Gilmour-esque pattern, break it down into smaller parts. You’ll also want to add full chord strums on the Em and C. Ex. 6. and Ex. 7 demonstrate measures three and four of Ex. 5, isolated and repeated. Do this for the first two measures as well.
Ex. 6
Ex. 6
Ex. 7
Joni Mitchell's "Big Yellow Taxi"
Another icon of individuality is Joni Mitchell, who deserves a lesson all to herself. For now, Ex. 8 will suffice. In this example, based on “Big Yellow Taxi” (although the original is performed in open-E tuning), there is the added complication of muted strums.
Ex. 8
If these muted strums are new to you, I recommend you focus on the mutes, as shown in Ex. 9. Once that is comfortable, return to Ex. 8 and incorporate the barre chords into the pattern. As with all our examples thus far, break them down, making sure each measure is solid before moving on to the next. At the risk of belaboring the point, these strums are demanding—there is no instant gratification here. “Practice and refine” should be your mantra.
Ex. 9
Let's Talk About Jimi Hendrix
It would be impossible to write about either guitar icons or 6-string idiosyncrasy without mentioning Jimi Hendrix. Jimi’s use of his thumb to fret chords is alone worthy of attention. For now, let’s stick with his eccentric strumming patterns. A good place to start is probably Hendrix’s version of “Hey Joe.” It consists of a three-and-a-half-minute loop of the circle of fourths chord progression C–G–D–A–E, yet Jimi finds a new way to play the pattern every time. Ex. 10 offers one of countless variations you can attempt. Ex. 11 demonstrates how to break it down.
Ex. 10
Ex. 11
While it’s true that most AC/DC songs feature the same riff or chord pattern played repetitively, you’ll also find that many of those patterns are four measures long, with multiple, highly syncopated rhythms found within each measure. “You Shook Me All Night Long,” “Bad Boy Boogie,” and “Highway to Hell” are all excellent examples of this. Ex. 12 demonstrates Malcolm and Angus Young’s penchants for such patterns by imitating the rhythms of “For Those About to Rock (We Salute You).” As you can hear, there are four measures with an immense amount of space in them and four different rhythmic figures. The key to perfecting this sort of rhythm is to not rush. Either tap your foot or use a metronome to keep your tempo steady.
Ex. 12
Our final example isn’t exactly idiosyncratic, though the referenced artist is. While Prince’s music and personal style is incredibly diverse, he often wears his influences on his sleeves, whether those be James Brown, Jimi Hendrix, or Joni Mitchell. Nevertheless, he habitually put his own spin on the source inspiration.
Ex. 13 provides you with a funky rhythm that will improve your playing, no matter what genre you specialize in, as it features muted strings (similar to those in our Joni Mitchell example), a fast syncopated 16th-note strum, and a four-measure pattern that requires you to focus on the subtle variations found in the pattern. Once again, I’ll remind you to practice such patterns one measure at a time. Goodness, any one of these measures is funky enough on its own and would satisfy most funk musicians: It’s the idiosyncratic nature of Prince to go beyond.
Ex. 13
Ex. 14 is measure three of Ex. 13 isolated and repeated. I’ve chosen this measure because for me it’s the easiest to play (always start with what’s easiest for you). Note that in Ex. 14, I removed the muted strums. We know they’re in the original and we can add them in soon enough, as demonstrated in Ex. 15.
Ex. 14
Ex. 15
Finally, let’s play all four measures without the mutes, as demonstrated in Ex. 16. It is this sort of compartmentalized, methodical, attention-to-detail practice that will improve your playing.
Ex. 16
Words of Encouragement
Ironically, one of the best things I can tell you about practicing the guitar is, “Learning to play guitar is hard!” I don’t say this to discourage, but to give perspective. If it’s taking you a week to learn a certain rhythmic pattern, guess what? It might take you a month to really get it down. Still, the rewards are worth the effort. Good luck with your rhythms!
Get Slash Tones Without Breaking The Bank
Slash’s tone is often regarded in gear circles like buried treasure—elusive, highly coveted, and shrouded in the mystique of modified vintage Marshalls and “Holy Grail” '59 Les Pauls. For most aspiring players, achieving that sound feels unattainable due to the specificity of the gear and the level of precision required to capture his Appetite for Destruction-era tone. In the first installment of a new video series, Blueprints, PG contributor Tom Butwin demonstrates that the "blueprint" isn't a locked vault; it’s a set of principles you can follow using modern, accessible tools.
IGC 1957 Les Paul Goldtop Reissue, Double Gold
An Inspired by Gibson Custom reissue of the classic humbucker-equipped ’57 Goldtop –
1957 was the year that the Les Paul™, as most players think of it today, truly came into its own. It was the first full year that it had Patent Applied For humbucker™ pickups installed. The humbuckers, along with the ABR-1 Tune-O-Matic™ bridge and Stop Bar tailpiece that first appeared on a Les Paul with the introduction of the Les Paul Custom in late 1953 and on the Goldtop in late 1955, were defining features that many players still prefer over the earlier models that had a wraparound bridge/tailpiece and P-90 pickups and made the Les Paul into a true fire-breathing rock icon. Now, Epiphone, in collaboration with Gibson Custom, is very proud to introduce the 1957 Les Paul Goldtop Reissue, a stunningly authentic Inspired by Gibson Custom reissue of those early humbucker-equipped Les Paul Goldtops that delivers vintage Les Paul looks and performance at an accessible price. The 1957 Les Paul Goldtop Reissue isn’t just a guitar; it’s a bridge to a symphony of possibilities, willing and ready to help you make your own mark on music history.
Problem Solver 50
What sets the Problem Solver apart is its thoughtful array of features, carefully curated to empower your creativity. The AGE switch lets you tailor your tone stack to different eras – whether you crave the cutting-edge brilliance of 1963, the aggressive bite of 1966, the mid-heavy roar of 1981, or the warmth of 2023, it's all at your fingertips.
The Mid Boost switch elevates your highs and mids, ensuring your solos cut through the mix with unparalleled clarity. The Depth control allows you sculpt the low-end frequencies. And the revamped EQ controls provide a logical, intuitive layout, ensuring that you can sculpt your sound effortlessly, straight out of the box.
In the end, the Problem Solver Amplifier isn't just an homage to the past—it's a celebration of timeless tone, reimagined for the demands of today's musicians. Join us on this journey and discover a new era of sonic possibilities. Plug in, play, and let the music do the talking – the Problem Solver has arrived.
SLASH CRY BABY® WAH
This Cry Baby Wah combines high gain distortion with the Classic circuit for Slash's cutting lead tone, with LEDs to indicate effect status.
This pedal can be powered by two 9-volt batteries, a 18-volt adapter or the DC Brick™, Iso-Brick™ and Mini Iso-Brick™ power supplies.
SLASH OCTAVE FUZZ
The Slash Octave Fuzz combines searing fuzz with a sub octave grow and an array of controls for fine-tuning your sinister sound.
This pedal can be powered by a 9-volt battery, a Dunlop ECB003 9-volt adapter, or the DC Brick™, Iso-Brick™, and Mini Iso-Brick™ power supplies (not included).
Limited-Edition Slash Signature Strings Set .011-.048
Ernie Ball introduces a limited-edition set of custom-wound Slash signature Slinky strings. Slash’s signature string sets are the culmination of over three decades of Slash and Ernie Ball’s ongoing pursuit to create strings that provide more durability and tuning stability without sacrificing tone or feel. These sets consist of Slash's preferred 11-48 gauge Slinkys wound with Paradigm core wire and plasma-enhanced nickel-plated steel wrap wire, while the Paradigm plain strings are constructed with a heavier brass wire reinforcement at each of the ball ends for better tuning stability and strength. These limited-edition string sets are highly collectible and conveniently packaged in a three-pack embossed tin for easy storage.
DC7
The groundbreaking DC7 has a one-inch (25,4mm) profile and weighs 1.1 pound (500 grams) thanks to the pure 2-stage switch-mode technology inside. The profile may be low but the power ratings are certainly not – the DC7 puts out a maximum of 48W and allows the user to connect multiple high-current effects such as devices from Effectrode, Line 6 and Eventide without noise of any kind.
SOL
SOL is the ultimate solution for bringing life to a small to medium-sized pedalboard setup, especially if you are using power-hungry pedals. SOL is the smallest mains-powered switch-mode power supply we make at CIOKS (no wall-warts here) and the no-frills design plus massive power will leave you free to focus on your creative spark.
Pedalboard Large with Pro Accessory Case 2.0
This is it — the granddaddy of Pedalboard series. The MONO Pedalboard Large is a pro-sized and -featured pedal solution that won't weigh you down in size or cost. The Pedalboard Large is cut from a single piece of anodized aluminum for superior strength, light weight, and an elegant textured surface. Cutouts along the surface hide pedal jumpers and power cables for a streamlined, professional look. Rubber feet on the bottom absorb shock and prevent the Pedalboard Large from sliding across hard surfaces as you stomp.
Studio Instrument Cable
Built for musicians chasing studio-grade clarity, the MONO Studio Instrument Cable delivers pure tone and zero compromise. Inside, 150 strands of 0.08 mm oxygen-free copper give you detailed highs, tight lows, and everything in between. Precision insulation keeps your signal clean from the first take to the final mix.
Instrument Cables
Engineered for clarity with oxygen-free cores with precision insulation and shielding to reduce interference and keep signal clear.
Slash Blueprints Giveaway!
Want to sound like Slash? Grab your chance with the Slash Blueprints Giveaway!
Slash Blue Prints Giveaway
See it in action!
Welcome to our new video series, Blueprints. In the first episode, PG contributor Tom Butwin features Slash and explores the architectural DNA of the top-hatted rocker's legendary sound.
IGC 1957 Les Paul Goldtop Reissue, Double Gold
An Inspired by Gibson Custom reissue of the classic humbucker-equipped ’57 Goldtop –
1957 was the year that the Les Paul™, as most players think of it today, truly came into its own. It was the first full year that it had Patent Applied For humbucker™ pickups installed. The humbuckers, along with the ABR-1 Tune-O-Matic™ bridge and Stop Bar tailpiece that first appeared on a Les Paul with the introduction of the Les Paul Custom in late 1953 and on the Goldtop in late 1955, were defining features that many players still prefer over the earlier models that had a wraparound bridge/tailpiece and P-90 pickups and made the Les Paul into a true fire-breathing rock icon. Now, Epiphone, in collaboration with Gibson Custom, is very proud to introduce the 1957 Les Paul Goldtop Reissue, a stunningly authentic Inspired by Gibson Custom reissue of those early humbucker-equipped Les Paul Goldtops that delivers vintage Les Paul looks and performance at an accessible price. The 1957 Les Paul Goldtop Reissue isn’t just a guitar; it’s a bridge to a symphony of possibilities, willing and ready to help you make your own mark on music history.
SLASH CRY BABY® WAH
This Cry Baby Wah combines high gain distortion with the Classic circuit for Slash's cutting lead tone, with LEDs to indicate effect status.
This pedal can be powered by two 9-volt batteries, a 18-volt adapter or the DC Brick™, Iso-Brick™ and Mini Iso-Brick™ power supplies.
SLASH OCTAVE FUZZ
The Slash Octave Fuzz combines searing fuzz with a sub octave grow and an array of controls for fine-tuning your sinister sound.
This pedal can be powered by a 9-volt battery, a Dunlop ECB003 9-volt adapter, or the DC Brick™, Iso-Brick™, and Mini Iso-Brick™ power supplies (not included).
The Collection: Slash, Standard Edition
This premium coffee table book explores in unprecedented detail the instruments Gibson Global Brand Ambassador and rock legend Slash has used on countless hit records and on stages worldwide, in front of millions of adoring fans.
Gibson Publishing, headquartered in Nashville, Tennessee, is the next major step from Gibson Brands, contributing to the evolution of collaborative artist partnerships and promoting music and music-related topics to fans worldwide. As with the recently launched Gibson Records, the first project for Gibson Publishing is a collaboration with Gibson Global Brand Ambassador and rock legend, Slash.
EarthQuaker Barrows Review
Among the many fuzz pedals to carry the Tone Bender name, the MkII might be the one that rips the most. And though not as common as the Vox Tone Benders that American psych-punk fans wrestled with for decades—which were generally Mk1.5 or MkIII versions—it might have been the Tone Bender version that people experienced the most thanks to Jimmy Page. As Page superfans and fuzzspotters outed the MkII as the sound of Led Zeppelin, it came to embody what a Tone Bender should be. Consequently, a lot of builders jumped on the bandwagon.
There is a practical, musical upside to the MkII that transcends the Jimmy Page associations. Some desert, doom, and stoner rockers, for instance, love its ability to sound huge and evil while occupying less mix space than a Big Muff. And while not as sweetly sensitive to input dynamics as the Fuzz Face (or the very Fuzz Face-like Tone Bender Mk1.5 and first-generation Vox Tone Bender), its germanium transistor topology makes it responsive to guitar-volume attenuation. EarthQuaker’s new take on the MkII, the Barrows, shares all these attributes. And between its very convenient size and refinements that make it less noisy, Barrows represents a ceratin sonic, functional, and practical ideal of what a vintage-style germanium fuzz can and should be in 2025.
Savage, Sassy, and Sweet
Doctrinaire thinking around germanium fuzz usually states that it sounds good only at maximum volume and gain levels and that any variation must come from the fingers and guitar controls. The Barrows reveals the cracks in this view. While the Barrows is positively searing at wide-open settings, and most receptive to input dynamics at these levels, it shines at many different gain and level settings. There are heaps of cool, smoky, more subdued fuzz sounds lurking in the middle third of the gain range that can be useful for simultaneously creating mystery and generating menace and mass in a recording situation without blowing the room apart with volume. The Barrows is not as touch-sensitive here, but guitar-volume adjustments can create dark, compelling fuzz voices that are equally interesting with a 50-watt amp and a 2x12 cabinet or a practice amp.
MkII Tone Bender-style circuits have always been regarded as second-best to the germanium Fuzz Face when it comes to gnarly-to-clean range. That dictum remains mostly true in the Barrows, at least as far as clean tones go. But if the Barrows can’t quite equal a Fuzz Face’s capacity for airy clean sounds at reduced guitar volume, its near-clean sounds still have abundant clear, bell-like resonance and detail that will suffice for most. The Barrows’ dynamic range is most evident in its touch sensitivity. You can generate many beautiful, spooky, and smoldering gain shades just by varying picking intensity. It’s especially impressive if you ditch your pick and use your fingers to generate these tone variations. And if you want to go super old-school and string up your guitar with flatwounds, the Barrows reveals many beautiful, round, and vocal fuzz colors. More than once, I was moved to think that if Sinatra was a psych-punk he would have adored the atmospheric, verge-of-exploding moods Barrows can produce in these environs.
“If Sinatra was a psych-punk he might have adored the atmospheric, verge-of-exploding moods Barrows can produce.”
The Verdict
For a fuzz nut, the Barrows—for its small size and big sound—might as well be candy. Players that use fuzz more infrequently, though, will dig its simplicity, small dimensions, and the fuzzy classicism exuded by its punchy, straight-ahead voice. The pedal is intrinsically limited by the same factors that limit any germanium fuzz with 1960s lineage. And by the standards of modern gain devices that can be tuned in small increments to match very specific distortion needs, the Barrows can, at times, seem unruly and one dimensional. But if you’re willing to use guitar volume and tone and touch dynamics to re-shape the fuzz, you’ll uncover many less aggro tones ranging to light drive and near-clean sounds—applications made even more rewarding thanks to a low noise floor. Best of all, the petite Barrows comes with an equally petite price tag of $129. For germanium-fuzz newbies, that makes a plunge into the unknown a lot more palatable. But even seasoned fuzz and Tone Bender users are bound to be impressed by the quality and flexible vintage voice Barrows delivers for the money. PG
EarthQuaker Devices Barrows Fuzz Pedal - White
Mod Garage Tonewood Teardown: Upgrading Hardware
Hello, and welcome back to Mod Garage. In this month’s edition of our ongoing tonewood teardown, we’ll continue working on our guitar’s body and hardware. That means we’ll be spending a chunk of the $305 remaining in our $500 budget to make some worthwhile improvements.
After inspecting the stock hardware, I decided to keep the neck mounting plate, control plate, and jack plate. Below is a quick rundown of the individual parts.
The neck mounting plate is perfect as it is, and I really dig its snazzy Harley Benton engraving. It has the typical Fender dimensions, so I see no need to change it. I will, however, replace the four soft, tiny neck attachment screws with regular-sized, stainless-steel screws, but we’ll get to more details on that later. If you want to customize this part of your guitar, by the way, you have plenty of choices regarding color, thickness, materials, and, of course, custom engravings of all kinds. If you want to save some weight, look for one made out of aluminum or titanium. You can put a custom paint job on the plate, put a plastic neck-plate guard underneath, or whatever you have in mind. Stick to metals, though; other materials are too weak.
The stock control plate is a typical Telecaster control plate with openings for two pots and a pickup selector switch. It has the typical modern 2 mm thickness to match 3-ply pickguards—the thinner 1.5 mm control plate (aka the vintage version) is the right choice for single-ply pickguards. Keep this in mind if you want to change your pickguard. I fashioned my own new pickguard out of material that is 2 mm thick, so the stock control plate works perfectly for me. Later, when we talk about the wiring of this guitar, you will see that tiny metric parts were installed. I checked the diameter of the two holes for the pots, and to my surprise, they’re drilled for U.S.-standard, 3/8"-inch hardware. Same goes for the slit for the pickup selector switch: An average-quality import switch was installed, but a regular U.S. inch switch fits perfectly. These screws, too, will be replaced with stainless steel ones.
If you want to change the control plate on your guitar, you can choose between wood, metal, and plastic options with all kinds of configurations. You have countless choices here to customize your guitar.
The jack plate is not the typical Telecaster jack cup construction, but a Les Paul-style rectangular plate that is held by four screws. For me, this is one of the best improvements one can do to any Telecaster style guitar. No matter what you are doing, it’s only a matter of time until the classic jack cup comes loose. You might even pull out the whole thing including the output jack when trying to unplug your cable. To reinstall and fasten it, you need a specialized tool. I have done this modification to all of my own Telecaster-style guitars, and encourage you to do the same.
The jack cup is held by four screws, resulting in a very strong connection. I’ll swap in four stainless steel screws, but otherwise, it’s perfect as is. A tiny metric import output jack was installed, but again, the hole is 3/8" inch, so we can use a quality output jack. If you want to downgrade to a classic Telecaster jack cup, you can do so, but you’ll have four visible holes in the body around it. If you like this update but not the stock plate, there are alternatives available—for example, oval ones made from wood, plastic, and metal held by only two screws (aka a cat-eye plate), square (classic Les Paul-style), or rectangular like the stock version in different types and finishes.
Let’s break the aggressive shine of these three parts by putting them into the stone tumbler for a few minutes, creating some wear and random scratches. Now, we’ll continue with the knobs for the two pots and the pickup selector switch.
The stock knobs are ’50s vintage-correct, with two typical Telecaster dome knobs for the pots and a round, plastic barrel switch tip. Because I wanted to keep a slightly worn vintage look, only the switch tip made it back to the guitar. The two dome knobs are slightly oversized and fairly heavy—I can’t remember having such bulky knobs on a guitar before! Plus, they’re not made with the set screw for the typical Tele solid-shaft pots.
To add some early Tele flair, I ended up with two heavy knurled dome knobs that Fender used in the very early days. I really like their somewhat raw look, and I bought two knobs that are made out of nickel-plated aluminium—they have virtually no weight at all, and they’re the correct size. They are made for U.S.-inch solid shaft pots with the typical set screw to lock them, and I paid $18 for a pair of two. Before I sent them to the stone tumbler for a few minutes, I used a mid-grade abrasive cloth to smooth out the heavy knurled surface a bit so it feels more comfortable. They turned out great, and I really like the look.
Another great way to create a unique look for your guitar is to use custom knobs made from metal, wood, plastic, bone, or any other material. But take care to choose the right ones. Knobs for metric hardware will not fit U.S. components and vice versa, and knobs for push-on split-shaft pots will not fit their solid-shaft counterparts. I always choose the pots first, because performance is much more important than appearance.
The stock bridge has the typical Telecaster string-through-body construction and shape, with three compensated brass saddles—a great update for any Telecaster. Because of the overall construction, I’m pretty sure it’s either an unbranded Wilkinson-made bridge, or a knock-off of one. For some reason, very tiny screws have been used to fasten the heavy, brass-construction bridge. The Wilkinson compensation system uses saddles that are not slanted but have relocated edges on top, resulting in a somewhat irritating appearance and a not-very-comfortable surface with some sharp edges and spots. I don’t like either of these quirks, so it was clear that the bridge had to go.
There is a massive range of Telecaster bridges from various companies, with different construction, materials, shapes, and, of course, functionality. I wanted a bridge with a classic look, very light weight, and compensated saddles that feel smooth and comfortable. To stay within our budget, I decided to look for a used bridge on eBay, Reverb, and similar platforms. I ended up with an excellent used bridge for $28. It’s very lightweight and has a thin baseplate and double-cut “tapered walls,” compensated round brass saddles, two additional countersunk holes towards the neck, and double functionality regarding the strings. Besides the classic string-though-body option, it can also act as a top-loading bridge so you can choose which you like best, or even mix and match to your taste.
That’s it for now! Next month, we will continue with the bridge and saddles before working on the wiring. Our budget is down to $259 for future investments, but I’m still hopeful that we will not break our $500 barrier, so stay tuned.
Until then ... keep on modding!
RC Davis Launches New Performer Line With The Beast 2-Channel Head
RC Davis Amplification, known for its award-winning boutique tube amplifiers, has launched their new higher-wattage amp series called the Performer line, debuting with a two-channel amp head dubbed The Beast.
Brandishing 65 watts of output power, The Beast features a clean channel with reverb and an overdrive channel, both with individual EQ controls and a 30dB tone stack. The amp’s clean channel offers a balanced, crisp tone with plenty of headroom, radiant reverb and rewarding note bloom. The amp’s footswitchable overdrive channel is capable of kicking out sizzling grind, harmonics, and presence. Dual EQ controls allow each channel access to the trademark RC Davis 30dB-sweep mid control, providing players with a wide spectrum of vintage-inspired tonality.
The new model showcases RC Davis’ knack for reimagining vintage tube technology to provide modern stage versatility. After creating an acclaimed series of lightweight tube combo models, Rob Davis developed the Performance line when players such as James DePrato, Ronny North, Joe Bergen, Carl Verheyen and Eric McFadden requested a more powerful amp that still featured the RC Davis signature tone.
- 65 watts of cathode-bias tube-driven power including (4) 6L6GC power tubes
- Dual channel operation, selectable via footswitch: a clean channel (with reverb) and an overdrive channel, both with individual EQ controls
- Hand-wired, point-to-point circuitry for improved tonality and reliability
- Effects loop
- 4/8/16 ohm speaker out with load loop (use virtually any extension cab)
- Box-jointed sturdy, lightweight 13-ply Baltic Birch cabinetry
- Time-tested Heyboer and Hammond transformers
- PRP/Dale resistors, Mallory 150 film capacitors, Vishay 716 film capacitors (orange drops) and solid core silver wire (PTFE) for optimum performance and longevity
- Premium coverings and hardware
The Beast carries a $2995 street price and will debut at the January 2026 NAMM Show in Anaheim at the RC Davis booth #4447. For more information visit rcdavisamps.com.
Overloud Adds AIR to THU
ILIO, leading distributor of virtual instruments and audio processing software, and Overloud, renowned for their innovative audio plug-ins, are pleased to announce the release of AIR or "Amp In Room." This new feature is included in the latest version of THU, Overloud’s flagship guitar amp simulation suite. Available now as a free update for all THU users, AIR brings a new dimension to amp simulation by recreating the feeling of standing in front of a real amp in a real room, adding subtle reflections, room resonance, and air movement that go far beyond a close-mic’d speaker.
Explore the AIR Feature - https://www.ilio.com/overloud-thu#air
AIR Is Free for All THU v2 Users
Whether you own a single Rig Library or the full THU Premium suite, AIR is included at no cost. This continues Overloud’s ongoing commitment to support the THU community with high-value feature updates without subscriptions.
Every Overloud purchase includes a perpetual license, free lifetime updates, and authorization on three computers, with no subscription required.
Browse All THU Plugins - https://www.ilio.com/products/overloud/thu-guitar-effects
What is AIR?
THU is already the most powerful amp simulator in its class. Now, with AIR, it includes a key feature for delivering a finished, authentic guitar tone in one plugin. By modeling how a speaker cabinet interacts with its physical environment, AIR introduces a sense of spatial realism, one that’s rarely captured through traditional cabinet IRs or static mic placements. The result is a tone that feels more lifelike, three-dimensional, and truly “in the room."
How to Use AIR
AIR lives in the Cabinet section of THU and includes:
- An AIR knob that controls the amount of room interaction and spatial detail.
- A dropdown menu offering several ambience types in both Normal and Wide stereo modes.
- Normal mode provides tight spatial cues while Wide mode expands the stereo field for an even more immersive tone
- AIR is also integrated into the SuperCabinet, allowing users to apply room interaction while building their own custom IR blends.
- AIR can be enabled globally from the Master Control section to apply across all presets.
- Transformer: Authentic low-end thickening and high-end sparkle through accurate transformer emulation.
Reader Guitar of the Month: A phoenix rises, with inspiration from Jimmy Page
The Phoenix began life as a 2016 Mexico-made Fender Telecaster. But the real inspiration for the guitar came from Jimmy Page’s legendary Dragon Telecaster—the gift from Jeff Beck that Page played in the Yardbirds, on Led Zeppelin’s 1969 debut, and for the solo on “Stairway to Heaven,” among many other moments. I built this guitar a few years before Fender issued their own tribute model, so I knew I’d have to create my own version from the ground up.
I’d always been fascinated by the Dragon and its storied history. And after watching the band’s 1969 television appearances on Supershow and Danmarks Radio (collected on Led Zeppelin DVD) with Page wielding his psychedelic Tele through blazing renditions of “Communication Breakdown” and “Dazed and Confused,” I knew that’s what I wanted my number-one Telecaster to look like. At the time, I owned five different Telecasters, but none had that visual impact. None were truly personal.
“I approached my Russian mother-in-law, who has an art background, with an unconventional request: Could she paint something in the traditional Khokhloma Russian folk-art style?”
Given my performing outlet at the time, there was a certain irony to desiring Page’s Telecaster. Here I was, playing in a busy Bay Area cover band focused primarily on r&b, country, and pop covers, yet dreaming of a guitar that screamed psychedelic rock rebellion.
But rather than copying Page’s design, I wanted a twist on the dragon theme. So, I approached my Russian mother-in-law, who has an art background, with an unconventional request: Could she paint something in the traditional Khokhloma Russian folk-art style? And instead of Page’s psychedelic dragon, she painted a fiery Phoenix in brilliant reds, golds, and blacks—the signature colors of Khokhloma decorative painting. At the time, I didn’t realize how apt a depiction of the “rising from the ashes” fable would be for this guitar. Early Telecasters like Page’s, after all, were crafted from ash lumber. The symbolism was too perfect to be intentional.
To complete the transformation, I fitted the Phoenix with a Fender Classic Series ’60s Telecaster neck and Fender Pure Vintage ’51 Telecaster pickup set, giving it a vintage look and voice. The result is a unique confluence of old-world Russian and mid-century American design. It also honors an important moment in rock history, while celebrating my wife and Russian in-laws’ rich cultural heritage. Every time I pick it up, it reminds me that the best guitars aren't just instruments, they’re stories— connections between past and present, between different worlds and traditions, all speaking the universal language of music.
Flight Introduces New Ukulele Models
Adding to the company’s diverse array of acoustic instruments, Flight has introduced multiple new ukulele models to their product line.
Leading the way is the Aviator, a new slim ukulele model available in tenor and baritone sizes. The instrument features a solid mango top with solid okoume back and sides, producing a warm, resonant sound with notable sustain. Its slim body profile is designed for comfortable playability while still providing the projection expected from a full-bodied instrument.
The Aviator includes a rosewood fretboard, bone nut and saddle, and a gloss-finished black headstock. Its construction emphasizes clean lines, natural materials, and balanced ergonomics, supported by the tonal qualities of mango and okoume. Each model comes with Flight’s Deluxe Gig Bag in royal burgundy.
The tenor version is factory-strung with a Low-G setup to extend its lower range, while the baritone provides a deeper register suited for players who prefer a broader tonal spectrum. Together, these models bring well-crafted additions to Flight’s solid-wood lineup.
The Flight Aviator Tenor Mango Ukulele carries a US street price of $379. The Flight Aviator Baritone Mango Ukulele carries a US street price of $416.
Flight has added two new solid top additions to the Princess Series with its first-ever Calantas models: the Iris Calantas Concert and Iris Calantas Tenor. Each ukulele features a solid calantas top paired with laminate mahogany back and sides, introducing a warm, balanced new tone to the Iris family while offering an affordable solid-top option for players looking for great value.
Calantas is a Southeast Asian hardwood known for its smooth response and distinctive natural grain, adding both character and clarity to these instruments. The familiar Iris appointments remain: slotted headstock, offset front markers, white binding, thin rosette, and fluorocarbon strings. Every model includes a padded gig bag, instructional booklet, and Flight sticker pack.
The concert offers a clear, focused sound, while the tenor adds depth and projection, together marking an elegant new chapter for the Iris lineup.
The Flight Iris Calantas Concert carries a $179 US street price and the Flight Iris Calantas Tenor carries a $189 US street price.
Flight has also expanded its Princess Series with the Iris Tinta, an all-solid mahogany model available in concert and tenor sizes, offering players an affordable way to enjoy the richness of an all-solid build. The line adds a striking stained gloss finish in four colors: Natural, Transparent Black, Transparent Blue, and Transparent Purple. Each shade brings out the wood grain differently, offering players a choice that ranges from classic to bold.
The Iris Tinta features a slotted headstock, rear-facing tuners, offset position markers, fluorocarbon strings, and a padded gig bag. Its solid mahogany build delivers a warm, balanced tone suited to many musical styles, while the glossy stained finish and colorful rosette give the instrument a fresh, fun look.
With these new models, Flight offers bright, colorful options for players who want an all-solid mahogany ukulele with an eye-catching, modern finish.
The Flight Iris Tinta Concert carries a US street price of $219 and the Flight Iris Tinta Tenor carries a US street price of $229.
For more information about the Flight ukulele line visit flightmusic.com.
Presets Are Not a Prescription
In the modern DAW world, every plugin comes with a buffet of presets promising instant results: “Vocal Gold.” “Drum Bus Glue.” “Radio-Ready Mix.” The implication is that these settings are the magic sauce separating amateurs from professionals. Just load the preset, and you’re done. Right?
Not quite.
Presets can be powerful tools, but only if you understand what they really are: starting points, not finish lines.
I’ve spent years inside some of the best studios in the world, working with world-class players, gear, and engineers, and I’ve seen how subtle context drives every EQ, compressor, and fader move. That experience shapes how I approach presets—and how I think they should be used.
Designing Presets with KIT Plugins
I’ve had the privilege of working closely with the team at KIT Plugins almost since their beginning—as an early beta tester and collaborator on nearly every product they’ve released. When they asked me to design some of the included presets for the BB A5 (a modern interpretation of a 96-channel Legacy API console, $199 Street) and the BB N105 (modeled after Blackbird Studio’s world-famous Neve 8078 console - $99 Street), I felt genuinely honored.
I’d spent years recording and mixing through those very consoles and EQs at Blackbird, and now I had the chance to help translate that analog DNA into the digital world.
When creating my presets, I didn’t approach them as “ready-made sounds.” Instead, I thought of them as guides—compass points that could help an engineer or musician quickly find a tonal direction. Each one reflects a real-world scenario from my own sessions: a slightly edgy vocal that needed midrange presence, a bass guitar fighting for space in a dense mix, a snare that needed to punch through without losing body.
Every preset I made came from that practical place. My goal was to share a bit of the process—how I think about frequency balance, gain staging, and energy within a mix—not to hand anyone a “paint-by-numbers” result. That distinction matters.
The “Preset Mismatch”
Imagine: you open a plugin, scroll through the options, find something like “Vocal Gold,” and think, “Perfect, that’s exactly what I need.” You load it—and suddenly your vocal sounds worse.
What happened?
Every preset, whether it’s mine or someone else’s, was born in a very specific context. Maybe the original source was a male singer with a soft top end and a ragged low midrange. Maybe he was singing into a vintage Neumann U67 through a Neve 1105 preamp, hitting a “Blue Stripe” 1176, inside a mix stacked with distorted guitars and busy drums.
But if you’re recording a lo-fi shoegaze female vocal with an SM57 in a bathroom through an Apollo X2, that same EQ curve will likely make your singer sound potentially worse. (Or will it?)
“Every preset, whether it’s mine or someone else’s, was born in a very specific context.”
The preset didn’t “fail”—it just wasn’t meant for your signal chain.
There are layers of invisible context behind every EQ decision: the performer, the instrument, the mic, the preamp, the compressor, the room, the genre, and the emotional target of the mix. When you remove a preset from that ecosystem, you have to re-interpret it. Otherwise, you’re comparing apples to lava lamps.
How to Use Presets the Right Way
Presets are at their best when you treat them as teachers. Here are four ways to get the most out of them:
- Start, Don’t Stop
Load a preset, listen, and then move a few knobs. Ask yourself why it sounds the way it does. Does it bring clarity, weight, excitement? Or does it tilt things too far? You’ll learn more by adjusting than by accepting. - Reverse-Engineer the Intent
Solo each band or section. If it’s an EQ, sweep the frequencies. If it’s a compressor, change the attack and release. Try to imagine the sound that inspired those moves. That’s how you train your ear. - Ignore the Labels
“Vocal Gold” might be perfect on a snare drum. “Drum Bus Glue” might breathe life into an acoustic guitar. Don’t let the category box you in. Think in terms of function, not title. - Trust Your Ears Over Everything
No preset designer, even the most experienced one, can hear what you’re hearing in your room with your monitors. The final call always belongs to your ears.
The Value of Presets
When I sit down to make presets, I’m not trying to predict your sound—I’m trying to invite you into the process. A well-made preset can accelerate learning, spark curiosity, and remind you that every mix decision has a reason behind it.
They’re saying, “Here’s how I started; now make it yours.” Used that way, presets become more than convenience—they become education. They let you peek over the shoulder of another engineer for a second and understand why a particular setting works.
So, the next time you load one of my KIT Plugins presets, don’t treat it like a rulebook. Twist the knobs, push it too far, pull it back, and most of all, listen. Because presets aren’t prescriptions—they’re invitations.
Winzz Guitars Unveils the WGT100 Electric Guitar
Winzz Guitars announces the WGT100, a new electric guitar designed to blend classic inspiration with modern refinement. The WGT100 introduces a unique combination of ergonomic shaping, upgraded playability, and versatile tonal performance. Built for musicians seeking comfort, stability, and expressive sound, it delivers a fresh interpretation of the electric guitar while staying rooted in time-tested design principles.
Featuring a selected alder body, the WGT100 pairs a classic silhouette with a delicate offset contour and smooth curved edges that enhance both comfort and visual appeal. A seamless and asymmetric ergonomic neck-body joint ensures easy access to higher frets. The instrument employs a 25.5” scale, roasted maple neck topped with either a rosewood or maple fingerboard and 22 stainless steel, medium frets. The guitar’s signature “glider neck” C+D profile and satin finish make for a fast, fluid feel. This combination, along with a stable five-bolt construction and Luminlay side dots provide comfort and confidence when playing under any circumstances.
For electronics, the WGT100 is fitted with custom ceramic single coil pickups, offering a versatile tonal palette that stays faithful to traditional single-coil clarity while supporting a wide range of modern styles. The upgraded pickups are designed to respond dynamically to picking nuances and playing intensity, providing both warmth and precision. Controls and switching work in a familiar, intuitive layout, allowing players to easily shape their sound onstage, in the studio, or at home.
The guitar’s hardware emphasizes tuning stability with modern steel bridge saddles and locking tuners working together to enhance accuracy, performance, and reliability. The instrument’s 4+2 tuner layout further contributes to balanced string tension and improved intonation. A spoke adjustable truss rod provides setup flexibility and playing comfort.
Born from a partnership between passionate guitar builders from Germany’s village of Winz and Aileen Music in China, Winzz Guitars blends German precision with Chinese industriousness — a union that celebrates both artistry and innovation. Guided by the belief that music should be accessible to everyone, Winzz creates instruments that invite players to “find their voice and make every stage their own.” The WGS150 embodies that mission, offering a professional instrument that welcomes beginners, creators, and seasoned musicians alike.
For more details about the WGT100 or to explore more instruments from Winzz Guitars, please visit www.winzzguitars.com
Street Price: $339.99 USD
Diver Down Gets No Respect at All
Just the other day, I was thinking, “Diver Down gets no respect.” (You have to imagine Rodney saying it.)
This lesson is a lighthearted look at one of the David Lee Roth era’s most maligned albums. Does it have too many covers? Probably. Does it seem kinda just thrown together? Sort of. Do I love it? Well, no. Do I like it a whole lot? Yes. Yes, I do. And, as with every VH record, there are some inspired Eddie Van Halen moments. The following is a look at just a few of them, and, if you don’t walk away at the end with at least a couple of fun ideas, well, we won’t ever mention this again.
Not Those Kinds of Pedals
Here’s the scintillating EVH riff that begins “Hang ’em High”:
This unique riff finds Eddie using an inverted pedal point—a re-articulated or sustained note above an accompanying melodic figure. Ex. 1 is inspired by this barnburner; it ends with a Van Halen-style flourish of natural harmonics.
Ex. 1
The opening two beats’ picking pattern incorporates string skipping, which can open up a new world of ideas involving wider intervals. Here that interval is a minor seventh, so, to spark some new ideas, let’s take the B Dorian scale (B–C#–D–E–F#–G#–A) and play it in sevenths, as in Ex. 2. B Dorian is simply A major, but with B as the root or “home base.” Try experimenting with these and other wide intervals in your own playing.
Ex. 2
Just a few bars later, Eddie hints at another pedal (below, this time) to kick-start his nimble fill at 0:10; Ex. 3 expands on his idea. Begin with a mini-barre on the top two strings, allowing the F# on the second string to ring over the pull-offs. The lick ends with a bluesy flourish, as Eddie’s does. So often, he would ground phrases that are a bit off the beaten path by balancing them with something bluesy and down to earth.
Ex. 3
“Secrets” finds Eddie applying a pedal in yet another way, allowing a slightly palm-muted open D-string drone to gently linger below shimmering, melodic chords. Check him out here as he plays the song’s intro on the 12-string neck of his rarely-seen Kramer doubleneck guitar:
Ex. 4 is along the same lines. If you have an ’80s-style chorus pedal, now’s the time to add it back to your pedalboard.
Ex. 4
The Pick’s the Thing (Or Is It?)
My favorite of Diver Down’s covers is VH’s bouncy version of the Motown classic “Dancing in the Streets” by Martha and the Vandellas. The lick that always catches my ear is the wicked descending line Eddie plays at the 2:57 mark of his solo.
The song is in the key of D, and that lick (Ex. 5) is played over an F#m chord. Eddie uses the basic 14th position F#m pentatonic box (F#–A–B–C#–E), but cunningly adds most of the chromatic notes in between those pitches. But he summons even more magic from how he uses his pick. Starting on beat 2, Eddie is using upstrokes only, scratching the edge of his pick along the string to create a grinding squeal. Be sure to play these notes short (as indicated by the staccato dots) by quickly resting your pick back on the string right after the scratching motion. Great stuff.
Ex. 5
More of Eddie’s pick-based antics—likely inspired by ZZ Top’s Billy Gibbons—are found in “The Full Bug.” Over a nasty two-note boogie riff, Eddie conjures a subtle high-pitched countermelody using pinch harmonics.
Pinch harmonics are sounded by lightly touching the string with the flesh of your picking-hand thumb immediately after striking it. In the same way an open string offers harmonics of varying pitches, depending on where you touch it with a fretting-hand finger along its length, the same holds true for your picking-hand thumb, as illustrated in Ex. 6. To match the pitches in the example, begin with your pick about an inch from the bridge pickup—about halfway between the middle and bridge pickups if you’re using a standard Strat. This produces a pitch three octaves and a fifth above the fretted notes. On beat 3 of the third bar, slowly begin moving your picking hand towards the headstock to produce the remaining pitches. But this is rock ’n’ roll, so better to just go for it and find the harmonics that sound good to you.
Ex. 6
Okay, but how about not using your picking hand at all? “Cathedral” has Eddie doing just that, hammering notes with his fretting hand while creatively employing a dotted-eighth-note delay setting. Since a dotted-eighth is equal to three 16-notes, every time a note is played, it repeats itself three 16-notes later. (Eddie sets his delay at approximately 380 ms with just one repeat and Mix set at 100%.) If you swell the volume at a straight eighth-note pace, the repeats will create the bouncy 16th-note pattern of the tune.
Ex. 7 is inspired by “Cathedral” and illustrates how Eddie uses both triads and scales to create classical-sounding melodies.
Ex. 7
Happy Trails…
Let’s close with a look at “Little Guitars,” a Diver Down highlight that Eddie was inspired to write after picking up a pint-sized Les Paul. In the song’s verses, Eddie employs hybrid picking—simultaneously plucking three strings by using the pick, index, and middle fingers.
Eddie again creates drama by playing staccato, quickly resting his pick and fingers back onto the strings after plucking each chord. Ex. 8 is inspired by his approach. (Note you can also play it fingerstyle, if you prefer.) Eddie’s mini Les Paul is tuned up one and a half steps from standard; the example approximates this by using a capo, but feel free to omit it if you prefer. Lastly, try turning down your guitar’s volume knob a bit to reduce the amount of distortion, and note that the final three chords are strummed with the pick.
Ex. 8
In the end, Diver Down may not arguably be Van Halen’s greatest album, but even after all of these years, it still holds its own, bolstered by Eddie’s cleverness and creativity.
Diver Down Gets No Respect at All
Just the other day, I was thinking, “Diver Down gets no respect.” (You have to imagine Rodney saying it.)
This lesson is a lighthearted look at one of the David Lee Roth era’s most maligned albums. Does it have too many covers? Probably. Does it seem kinda just thrown together? Sort of. Do I love it? Well, no. Do I like it a whole lot? Yes. Yes, I do. And, as with every VH record, there are some inspired Eddie Van Halen moments. The following is a look at just a few of them, and, if you don’t walk away at the end with at least a couple of fun ideas, well, we won’t ever mention this again.
Not Those Kinds of Pedals
Here’s the scintillating EVH riff that begins “Hang ’em High”:
This unique riff finds Eddie using an inverted pedal point—a re-articulated or sustained note above an accompanying melodic figure. Ex. 1 is inspired by this barnburner; it ends with a Van Halen-style flourish of natural harmonics.
Ex. 1
The opening two beats’ picking pattern incorporates string skipping, which can open up a new world of ideas involving wider intervals. Here that interval is a minor seventh, so, to spark some new ideas, let’s take the B Dorian scale (B–C#–D–E–F#–G#–A) and play it in sevenths, as in Ex. 2. B Dorian is simply A major, but with B as the root or “home base.” Try experimenting with these and other wide intervals in your own playing.
Ex. 2
Just a few bars later, Eddie hints at another pedal (below, this time) to kick-start his nimble fill at 0:10; Ex. 3 expands on his idea. Begin with a mini-barre on the top two strings, allowing the F# on the second string to ring over the pull-offs. The lick ends with a bluesy flourish, as Eddie’s does. So often, he would ground phrases that are a bit off the beaten path by balancing them with something bluesy and down to earth.
Ex. 3
“Secrets” finds Eddie applying a pedal in yet another way, allowing a slightly palm-muted open D-string drone to gently linger below shimmering, melodic chords. Check him out here as he plays the song’s intro on the 12-string neck of his rarely-seen Kramer doubleneck guitar:
Ex. 4 is along the same lines. If you have an ’80s-style chorus pedal, now’s the time to add it back to your pedalboard.
Ex. 4
The Pick’s the Thing (Or Is It?)
My favorite of Diver Down’s covers is VH’s bouncy version of the Motown classic “Dancing in the Streets” by Martha and the Vandellas. The lick that always catches my ear is the wicked descending line Eddie plays at the 2:57 mark of his solo.
The song is in the key of D, and that lick (Ex. 5) is played over an F#m chord. Eddie uses the basic 14th position F#m pentatonic box (F#–A–B–C#–E), but cunningly adds most of the chromatic notes in between those pitches. But he summons even more magic from how he uses his pick. Starting on beat 2, Eddie is using upstrokes only, scratching the edge of his pick along the string to create a grinding squeal. Be sure to play these notes short (as indicated by the staccato dots) by quickly resting your pick back on the string right after the scratching motion. Great stuff.
Ex. 5
More of Eddie’s pick-based antics—likely inspired by ZZ Top’s Billy Gibbons—are found in “The Full Bug.” Over a nasty two-note boogie riff, Eddie conjures a subtle high-pitched countermelody using pinch harmonics.
Pinch harmonics are sounded by lightly touching the string with the flesh of your picking-hand thumb immediately after striking it. In the same way an open string offers harmonics of varying pitches, depending on where you touch it with a fretting-hand finger along its length, the same holds true for your picking-hand thumb, as illustrated in Ex. 6. To match the pitches in the example, begin with your pick about an inch from the bridge pickup—about halfway between the middle and bridge pickups if you’re using a standard Strat. This produces a pitch three octaves and a fifth above the fretted notes. On beat 3 of the third bar, slowly begin moving your picking hand towards the headstock to produce the remaining pitches. But this is rock ’n’ roll, so better to just go for it and find the harmonics that sound good to you.
Ex. 6
Okay, but how about not using your picking hand at all? “Cathedral” has Eddie doing just that, hammering notes with his fretting hand while creatively employing a dotted-eighth-note delay setting. Since a dotted-eighth is equal to three 16-notes, every time a note is played, it repeats itself three 16-notes later. (Eddie sets his delay at approximately 380 ms with just one repeat and Mix set at 100%.) If you swell the volume at a straight eighth-note pace, the repeats will create the bouncy 16th-note pattern of the tune.
Ex. 7 is inspired by “Cathedral” and illustrates how Eddie uses both triads and scales to create classical-sounding melodies.
Ex. 7
Happy Trails…
Let’s close with a look at “Little Guitars,” a Diver Down highlight that Eddie was inspired to write after picking up a pint-sized Les Paul. In the song’s verses, Eddie employs hybrid picking—simultaneously plucking three strings by using the pick, index, and middle fingers.
Eddie again creates drama by playing staccato, quickly resting his pick and fingers back onto the strings after plucking each chord. Ex. 8 is inspired by his approach. (Note you can also play it fingerstyle, if you prefer.) Eddie’s mini Les Paul is tuned up one and a half steps from standard; the example approximates this by using a capo, but feel free to omit it if you prefer. Lastly, try turning down your guitar’s volume knob a bit to reduce the amount of distortion, and note that the final three chords are strummed with the pick.
Ex. 8
In the end, Diver Down may not arguably be Van Halen’s greatest album, but even after all of these years, it still holds its own, bolstered by Eddie’s cleverness and creativity.
Shnobel Tone Introduces Dumbbell Boost Pedal
Shnobel Tone has introduced the latest addition to its line of premium guitar effects: the new Dumbbell Boost offers a Dumble® BBC-1 circuit in a compact two knob pedal.
Available in either black or white finishes, it’s a dead-simple way to fine-tune your tone, add some grind and help your guitar stand out in the mix.
The Dumbbell Boost’s Input knob controls the input impedance and impacts your tone and grit. When turned fully to the left (counterclockwise) it gives you a brighter, less bassy sound. Turned all the way to the right (clockwise) you’ll get a full range sound with rich harmonics and Dumble® like tones. The pedal’s Level knob controls the pedal’s overall output volume.
Hand soldered with the best through hole components for maximum tone and reliability. Shnobel Tone’s Dumbbell Boost includes these features:
- Simple two-knob control set: Input and Level
- True-bypass on/off footswitch
- Top mounted power and in / out jacks for easier pedalboard placement
- Available in Black or White finish
- Hand-built in the USA with through-hole components
- Standard 9v center negative power – no battery compartment
Shnobel Tone’s Dumbbell Boost carries a street price of $179 and can be purchased at shnobeltone.com.
Cort Guitars Introduces the New KX500 Pale Moon
Cort Guitars announces the KX500 Pale Moon, an electric guitar designed for players who demand both uncompromising performance and standout style. Available worldwide through local and online retailers, the KX500 Pale Moon delivers aggressive tone, surgical precision, and a visually striking Pale Moon ebony top that ensures players stand out both sonically and on stage.
The KX500 Pale Moon features a mahogany body producing warm, rich tones with strong midrange and low-end response. Its Pale Moon ebony top adds a dramatic and unique aesthetic, while the matte open-pore Natural Black Burst finish highlights the natural beauty of the wood. A bolt-on, 5-piece roasted maple and walnut neck improves resonance and durability, paired with a comfortable D-shaped profile measuring 19.5mm at the first fret and 21.5mm at the twelfth. The 25.5-inch scale length neck is topped with a Macassar ebony fingerboard featuring 24 jumbo stainless-steel frets, a 15.75-inch radius, luminous, glow-in-the-dark side dots, and teardrop inlays. A Graph Tech® Black TUSQ® nut (43mm) and two-way truss rod with spoke nut enhance performance, comfort, tuning stability, and sustain.
Loaded with a Seymour Duncan® Sentient and Nazgul humbucker set, the KX500 Pale Moon excels in both high-gain aggression and expressive dynamics. The Nazgul bridge pickup delivers crushing low-end response, sharp attack, and saturated tone, while the Sentient neck pickup provides smooth, articulate cleans and fluid leads. Electronics are kept intuitive with a 1-volume, 1-tone control layout and a 3-way selector switch.
The guitar’s hardware includes Cort® locking tuners for fast, precise tuning and stability, while the new Cort® hardtail bridge with string-through-body construction enhances sustain and resonance. The instrument comes factory-fitted with D’Addario® EXL110 strings, rounding out a feature set designed to meet the demands of modern players.
For more information about the new Cort KX500 Pale Moon and other Cort Guitars instruments, please visit www.cortguitars.com.
Street $929.99 USD
Summer School Electronics and Supercool Pedals Collaborate on Distortion Pedal
“Smoking in the Boys Room” is a collaborative two-in-one distortion and chorus pedal created by Summer School Electronics and Supercool Pedals – A cross-border team-up that delivers unmistakably 90’s grunge tones with a refreshed modern bite and artful design.
Smoking In the Boys Room artfully fuses a Summer School Electronics DS-1-inspired distortion – complete with classic buzzsaw edge and a modernized mid-range snarl – with Supercool Pedals’ organic and watery Small Clone-style analog chorus. This tribute to the legendary Seattle Grunge pioneers Nirvana is unmistakable and loving, summoning classic tones but delivering original spins on sound and circuit to bring this iconic sound into the 21st century.
Smashed into a single thoughtfully designed enclosure (with art that is SATURATED with deep 90’s and Nirvana lore), each effect can be run independently or simultaneously for a classic cacophony of flannelled saturation, with an all-important external order switch to determine the effect chain sequence.
Each pedal offers the following features:
- Buzzsaw distortion tones with a revamped easy to use tone circuit.
- Watery chorus with adjustable rate and depth.
- Internal order swap accessible by an external toggle switch.
- Nostalgic and 90’s-rich art and design (with full colour manual, printed fabric bags, and plenty of box candy).
- Hand-built across borders by two independent builders: Summer School Electronics (Syracuse, NY) and Supercool Pedals (Peterborough, ON).
- True mechanical bypass on both circuits (no more BOSS buffer woes).
- 9-volt operation with a stranded DC input.
Smoking In The Boys Room is available at Supercool Pedals and Summer School Electronics dealers, at a street price of $299.99 as well as online at www.summerschoolelectronics.com and www.supercoolpedals.com
Chris Stein on Guitars, Vintage Gear, and Blondie’s Sound
The Blondie co-founder talks early Stratocasters, fingerpicking punk riffs, CBGBs-era New York, and the cultural truth of electric guitars.
Chris Stein of Blondie joins the Axe Lords for a deep conversation about tone, technique, and the guitars that shaped Blondie’s sound from their early years at CBGBs to today. The Rock & Roll Hall of Famer also explains why he dislikes relic guitars, how he came to his very un-punk fingerpicking picking technique and reveals that some of the band’s most iconic “synth” sounds were actually produced by guitars. A thoughtful, opinionated, and unrelentingly wise-cracking look at creativity by a punk and new wave legend who Dave says is basically his best friend. Make sure to stick around through the end of the episode for a deep dive into the design and build of Cindy’s D&D guitar.
Cindy's D&D Guitar!
Tech 21 Announces SansAmp Classic Limited Run for Early 2026
The original SansAmp Classic, introduced 37 years ago, was in constant production for 27 years until 2016. After a 5-year hiatus and a surge in popular demand, it was reissued in 2021. Once again, its enduring popularity has prompted Tech 21 to do another release of a limited quantity scheduled for early 2026.
Virtually unchanged and still made in the USA, the all-analog SansAmp Classic pedal design is B. Andrew Barta's unique invention that was the catalyst for the whole “going direct” movement way back in 1989. Since then, SansAmp evolved into an extensive line of pedals and racks, as well as being the essential element of Tech 21’s Fly Rig series.
Of the pedal formats, SansAmp Classic is the most sophisticated. There is a bank of eight Character switches to adjust tonality, harmonics and dynamics; a 3-position input switch offers a choice of pre-amp styles; and four knob controls to shape pre-amp contours, power amp contours, volume and final tone.
It is rare an electronic music-related product can withstand such a test of time. For over almost 40 years, the SansAmp Classic has been used for every kind of music style from death metal to commercial jingles, in countless pro studios, on tours around the globe, on a vast variety of major releases (including Grammy Award-winning records), and by hundreds of thousands of everyday players, producers, and engineers.
While all SansAmps are flexible, user-friendly, robust devices that deliver the warm, rich, natural tones of the most desirable tube amplifiers on the planet, the SansAmp Classic is the original. Not just for guitar and bass, everything from industrial samples to maracas have been saved from atonal death by its analog magic. It has defied the odds and to this day, remains the standard of the industry.
The New Breed: A Complete Guide to the Nuno Guitars Lineup
After decades of playing guitars bearing the Washburn logo, Nuno Bettencourt has launched a line of instruments under his own name. But Nuno Guitars isn’t just about slapping a famous name on a headstock, and it’s not merely another signature line. The new venture is a hands-on operation that lets him oversee everything, from tonewood selection and hardware choices to the way each model is built and brought to market.
The brand is launching with three distinct ranges. At the top sits the Thoroughbred Series—Masterbuilt guitars hand-crafted by longtime N4 builder Chris Meade in his Cincinnati shop. This series consists of the Dark Horse and White Stallion models, featuring exotic wood combinations chosen by Bettencourt. “I wanted to switch it up,” Bettencourt says. “I didn’t want to just go, ‘Well, here’s a Washburn with the Nuno logo on the headstock.’” The Dark Horse boasts an alder body with a ziricote top, while the White Stallion has a three-piece avodire (white mahogany) body and a curly maple top. The ziricote caught his eye, he says, because it creates the illusion of a paint job while being entirely natural wood, with each guitar’s grain pattern being completely unique.
Adding to the arresting visuals on the Dark Horse and White Stallion is the wood striping across the body. Inspired by the B.C. Rich Mockingbird Nuno’s older brother Luís owned growing up, these aren’t painted stripes, but rather actual contrasting woods, ebony and maple, inlaid into the instrument. On the Masterbuilt models, these stripes run completely through the body. “When I drew the design, I really connected with it because of what I remembered from my childhood,” Bettencourt says. “It felt like me, and it felt like a great way to go into this new era of guitars.”
The second range, the Stable Series, represents the U.S. production line built in Oxnard, California. This series offers the Dark Horse, White Stallion, and N4 models, all maintaining premium quality—alder bodies with wenge (Dark Horse) or swamp ash (White Stallion) tops, genuine Floyd Rose bridges, and the same U.S.-made Nuno signature pickups found in the Masterbuilts. The differentiator isn’t quality, but exotic versus traditional materials. “The Masterbuilt is like the Ferrari of the guitars,” Nuno says. “But still, you’ve gotta be able to jump into a Mercedes, and take that thing onstage and say, ‘I could play this all day.’ That’s the U.S.A. guitars.”
“I didn’t want to just go, ‘Well, here’s a Washburn with the Nuno logo on the headstock.’”
The Colt Series rounds out the line as the import offering, manufactured in China. All three models—Dark Horse, White Stallion, and N4—are available in this series with woods including alder and swamp ash for the bodies and rock maple for the necks. While these guitars also use budget-friendly components—licensed Floyd Rose-style hardware rather than genuine Floyd units, Korean-made Nuno pickups—Bettencourt stresses that they are not mere entry-level instruments. “With the stuff that’s coming from overseas, everybody’s always like, ‘Yeah, those are beginner guitars, whatever.’ No. It was like, who are the best of the best [builders], where they can fool you into going, ‘Wait—this was made where?’”
All electric models feature the Extended Cutaway neck joint—a 5-bolt design that’s been Nuno’s signature for decades and provides exceptional upper-fret access—as well as Floyd Rose tremolo systems: Original Floyd Rose units on the Masterbuilts, genuine Floyd Rose bridges on the U.S. production models, and licensed Floyd Rose-style systems on the imports.
A point of interest is the fingerboard options, which include a flamed maple offering on the White Stallion—Nuno’s first maple board in many years. Limited signature runs with Washburn occasionally featured maple fretboards, and he famously played one in Extreme’s 1990 video for “Decadence Dance.” “That was an N3,” he recalls. “And stupidly, in the last shot in the video, I dove into water. You see me splashing around like an idiot.” He laughs: “I think I ruined the guitar, but then it got stolen, anyway.” Years later, just the body resurfaced at a Hard Rock Cafe in Asia—the neck was gone, but the shadow of the N3 sticker remained.
While all White Stallions feature flamed maple boards, the Dark Horse models and N4s stick with ebony fretboards. All models maintain the 25.5" scale length, 22 frets, and dot inlays that have been Nuno hallmarks. The necks themselves are birdseye maple on Masterbuilt models, hard maple on U.S. production guitars, and rock maple on imports.
Nuno’s classic N4 tone came from a Seymour Duncan ’59 in the neck paired with a Bill Lawrence L-500 in the bridge, and the new guitars feature custom Nuno signature humbuckers designed to capture that trademark sound. U.S.-made versions of these pickups appear in both Masterbuilt and U.S. production models, while Korean-made versions populate the import line. All models feature the same minimalist control layout Nuno has always preferred: one volume knob, a 3-way toggle, and no tone pot.
The N4 itself remains in the line, and since it was always Nuno’s design—and one that he controls—it has come over to Nuno Guitars virtually untouched. Notably, the N4 is the only model that features chrome hardware; the Dark Horse and White Stallion models all sport black hardware regardless of production level.
“I didn’t want anything super extravagant. I didn’t want a ton of guitars. I just wanted ‘mine.’”
Additionally, Nuno Guitars will offer an acoustic model—the Lusitano, which features a grand auditorium body with a solid spruce top and mahogany back and sides, with custom f-holes alongside a traditional soundhole. It’s fitted with a soundhole-mounted preamp and an under-saddle Piezo pickup system, chrome hardware, ebony fretboard, and 20 frets, with a 12th fret inlay of the Portuguese national emblem, a nod to Nuno’s heritage. “It’s full black, with white trim all around,” he says of the Lusitano. “We also do some different things with the neck, because I’ve always wanted an acoustic that plays more like an electric. Why wouldn’t you?”
Across all three electric series, and the acoustic, the quality approach remains consistent. From the Masterbuilts with their exotic woods and premium finishes to the U.S. models to the imports to the Lusitano, each guitar has its place. “I didn’t want anything super extravagant,” Nuno says. “I didn’t want a ton of guitars. I didn’t want a big line. I just wanted ‘mine.’”
Getting to that point wasn’t easy. “It was really hard for me to do this,” he admits. “The main reason was because of my name on the headstock. It felt really, really egotistical and self-serving.” But after a lifetime of playing, he realized it was time. And that means being involved in and fully committed to every aspect, from Chris Meade’s Cincinnati workshop to the factories in Oxnard and overseas. It’s the same philosophy he brings to the stage—the work ethic doesn’t change whether it’s a small club or a stadium, and it extends from his playing to the instruments themselves. “I’ve never done anything but be all in on everything,” Nuno says. “It’s either you’re that or you’re out. And when it comes to that passion for the instrument, I’m all in. That’s why I did this.”