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Staff at Lowden – the world-renowned Irish guitar company which partnered with Ed Sheeran in 2019 on offshoot brand Sheeran By Lowden – are facing potential job losses amid a decline in demand, according to a report by The Belfast Telegraph.

The paper states that sources close to staff say they have been warned of potential job losses, though the company said in a statement that no decisions have been made, and alternatives to redundancy were being explored.

• READ MORE: George Lowden on 50 years of guitar making, pitching Ed Sheeran a guitar company, and the philosophy that still guides him

Employees were also told in the statement that Lowden is welcoming “any suggestions, comments or proposals… with regard to improving the efficiency of the business or ways of avoiding redundancy”.

Per the Belfast Telegraph, managing director Aaron Lowden, son of founder George Lowden, has expressed his willingness to continue communication with staff, with those affected by job loss risk invited to individual meetings later this month.

“A downturn in the global guitar market and the end of the acoustic guitar boom that emerged during the time of Covid-19 have triggered Lowden to explore how to best navigate this challenging climate for the industry,” Aaron Lowden says.

“No decisions have been made and we are working closely in consultation with our full team to explore all feasible cost-cutting routes forward including alternatives to redundancies.

“For over 50 years Lowden Guitars have held a globally-renowned reputation for quality craftsmanship, uncompromising attention to detail and sound, and a commitment to retaining our operations here in Northern Ireland.

“Our reputation has been built in partnership with our tight-knit team of craftspeople and staff who bring their very best to our workshops each and every day, and we continue to navigate this process with them at the centre of our focus.”

According to The Telegraph, the company’s latest accounts – filed for the year ending 31 March, 2024 – do not detail profits and losses, but show that the company held £3.1 million worth of assets at the time – £2.3 million of which were stocks, £586,000 owed by debtors and £262,000 cash at bank and in hand.

The company also owed £3.8 million to creditors due within one year, with £137,000 due to creditors following that time.

It’s unclear yet which section of the business these potential job losses may impact, and whether Sheeran By Lowden is facing the same challenges.

Guitar.com has reached out to Lowden Guitars for comment.

The post Lowden Guitars facing potential job losses amid “downturn in the global guitar market” appeared first on Guitar.com | All Things Guitar.

It’s undeniable that Uli Jon Roth’s influence on metal music is substantial, with genre legends like Kirk Hammett, Marty Friedman and others calling him an inspiration.

But despite also once playing guitar in German hard rock outfit Scorpions, Roth actually isn’t the biggest fan of metal music.

• READ MORE: “#1 Edward Van Halen Model”: Eddie Van Halen’s modded 1982 Kramer guitar – also used by Mick Mars to record Dr Feelgood – is headed to auction

In a new conversation on the Scars and Guitars podcast, Roth explains that during his tenure in the band between 1973 and 1978, “the name heavy metal barely existed”.

“I’m not a metal guy,” he explains [via Blabbermouth]. “When I was in the Scorpions and the name heavy metal barely existed, we were considered, if you want to classify it, as a melodic hard rock band.

“So, metal, the name, came afterwards, and then it became something which is actually not my cup of tea. Most metal, for me, is just a little bit too hardcore, a little bit too distorted, and, for me, maybe a bit two-dimensional. And what I mean by that is the lack of dynamics.”

He continues: “I come from a time, like in the ‘60s when I first started, in the ‘70s, where even loud bands played with a lot of dynamics. People like Led Zeppelin, [Jimi] Hendrix, Cream, they were loud on stage with the amplifiers, but they were actually very dynamical in it. The guitars, the drums, everything with dynamical.

Roth opines that due to the inherent distortion associated with heavy metal music, a lot of these dynamics he’s a fan of were lost.

“That gradually went away and everything went to 11 all the time – the guitar constantly hyper distorted, every drum beat fortissimo – and for me, it’s very often more like a cacophony. So I’m not a fan. There are some metal things that are excellent and great – absolutely – but on the whole, it’s not something I like to listen to. It’s not my world.”

The post Scorpions legend Uli Jon Roth claims metal is “not my cup of tea” because it’s “two-dimensional” and “lacks dynamics” appeared first on Guitar.com | All Things Guitar.

It’s the kind of guitar that belongs in a museum – but this October, it’ll be on the auction block instead.

Eddie Van Halen’s custom-built 1982 Kramer electric, one of the most recognisable instruments in rock history, will go under the hammer for the very first time at Sotheby’s this fall.

The sale is part of the auction house’s inaugural Grails Week in New York (21-28 October), where it’s expected to fetch between $2 million and $3 million.

• READ MORE: “For someone to do it better than him, they’re gonna have to reinvent the guitar all over again”: Kirk Hammett thinks no guitarist will ever eclipse Eddie Van Halen

Based on Eddie’s original “Frankenstein” from 1975, the Kramer was personally modified by Van Halen himself during a visit to the Kramer factory in Neptune, New Jersey. Photos from the time show him working on the guitar with an electric drill before it was finished in his trademark black, white, and red striped design. The back of the headstock is marked “#1 Edward Van Halen Model.”

The guitar made its live debut on Van Halen’s Hide Your Sheep Tour in 1982 and was played throughout 1982 and 1983 on US and South American dates, including shows in Philadelphia, Caracas, São Paulo, and Buenos Aires.

Eddie later gifted the instrument to his longtime guitar tech and friend Rudy Leiren, inscribing it: “It’s Been a Great Ten Years – Let’s Do Another Ten. Eddie Van Halen.” Leiren eventually sold it to Mötley Crüe’s Mick Mars, who used it extensively during the recording of Dr. Feelgood.

“Van Halen was endlessly striving to create the ultimate guitar for tone, playability and dependability,” the listing notes. “This Kramer guitar personifies not only EVH’s innovative playing style but also his passion for design and engineering.”

As Sotheby’s notes, the original 1975 Frankenstein guitar – which this Kramer was based on – was the manifestation of Eddie Van Halen’s goal to combine elements of Fender and Gibson electric guitars into a new instrument not commercially available at the time.

The auction lot also includes the original Kramer hard case and a letter of authenticity from Mars, who wrote: “Hope you enjoy it as much as I did. Also it’s a great piece of history.”

Learn more at Sotheby’s.

The post “#1 Edward Van Halen Model”: Eddie Van Halen’s modded 1982 Kramer guitar – also used by Mick Mars to record Dr Feelgood – is headed to auction appeared first on Guitar.com | All Things Guitar.

What can $300,000 get you? Dozens of Gene Simmons’ “roadie for the day” experiences, an actual private island in the UK – or, if you’re a Foo Fighters fan, the very first Gibson DG-335 signature prototype ever made for Dave Grohl, complete with a “disgusting dried sweat soaked strap” for that extra slice of rock ’n’ roll DNA.

• READ MORE: The Story Of Dave Grohl’s Signature Gibson DG-335

Currently listed on Reverb by Skylight Guitars in Bakersfield, California, the instrument is being sold on behalf of its current owner – one of Grohl’s former guitar techs. According to the listing, this Pelham Blue-finished prototype was played on Echoes, Silence, Patience & Grace and toured extensively from 2005 until the first production models arrived in 2007, after which it was retired.

Built at the Gibson Custom Shop in Nashville, the DG-335 was inspired by Grohl’s favourite guitar, the Trini Lopez ‘67 signature model. The seller says they had a hand in the axe’s “design, neck shape, pickups, and choosing a more road-worthy tailpiece than the original Trini’s trapeze – even at Dave’s protestations”.

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The project reportedly began in 2001 “after Dave expressed an interest in his own signature guitar” but it took until 2005 for the prototype to reach his hands – “a very slow process that nearly dissolved several times,” the seller recalls.

Which is why parting with the guitar, they admit, isn’t easy.

“The selling of this guitar is an emotional endeavour,” they write. “It was given to me by the best boss and one of the most wonderful human beings I have ever known. This is the most valuable thing I own in terms of emotional attachment.”

The guitar is said to be “in near perfect shape,” thanks to years of care from the very tech now selling it. It’s housed in a “custom fitted anvil style case that’s pretty much bulletproof” and, for the full Grohl experience, comes shipped with a guitar strap that’s racked up some serious Foo Fighter mileage.

“We will also include the disgusting dried sweat soaked strap that was used from 2005 to 2007,” the listing states.

Learn more at Reverb.

The post Got $300k to spare? Dave Grohl’s Gibson DG-335 prototype – complete with its “disgusting dried sweat soaked strap” – is now up for grabs on Reverb appeared first on Guitar.com | All Things Guitar.

Physical Graffiti was Led Zeppelin’s sixth album and probably still stands as the most diverse and experimental LP. The 1975 double-album stylistically it blended middle eastern music, folk, hard rock, blues, funk, and orchestral music into something that was still cohesive and sounded like Led Zeppelin.

• READ MORE: The story of Jimmy Page’s Led Zeppelin Les Pauls: four guitars that shaped Led Zeppelin

This experimental nature may have owed itself partially to the fact that the band now had its own label, Swan Song Records, which gave them much more creative control over their music than ever before. In this article, we’ll discuss the gear that Jimmy Page used to create the diverse tones we hear on the record.

Physical Graffiti was recorded over the span of just a few months, but some of the songs had been bouncing around the Led Zeppelin camp since 1970, consisting of outtakes from previous records. Others were written and recorded at Headley Grange, the same place where the band recorded their iconic fourth album.

Electric Guitars

By the time of Physical Graffiti, Jimmy Page reports that he was very much partial to his Gibson Les Paul Standards (“Number One” and “Number Two”) as the main electric guitar for most tracks. The two 1959 Les Paul Bursts were very similar and often confused, but Number Two served as more of an experimental platform for Page. Both guitars had necks that had been shaved down to a thinner profile. Page told Guitar World in 1998, “By the time of Physical Graffiti, the Les Paul was my main guitar for almost everything.”

Page received his Gibson EDS-1275 Double-Neck guitar in 1971 and found it useful in the studio for songs where a 6 and 12 string were both needed at different points in the song. This was the case on Ten Years Gone especially. There is also some speculation that a Stratocaster or Telecaster was used on Ten Years Gone, but as far as we can tell, Page’s blue Stratocaster and his Brown 1953 Telecaster with the B-Bender were purchased after the recording of that song which took place in early 1974. It doesn’t mean that a Strat or Tele were not used on the album, but at least it was not one of those two, as some online sources claim.

Page also had a 1961 Danelectro 3021 model that he used for alternative tunings and slide work such as on the cover of the classic blues song In My Time of Dying. It is also widely believed that Page used this guitar on the iconic track, Kashmir, as Page told Guitar World in the aforementioned 1998 interview, “The Danelectro was essential for open tunings.” In the live setting, Page generally relied on his “Number Two” Les Paul to perform Kashmir.

Acoustic Guitars

The album does have some acoustic tracks, which were the product of a Martin D-28 and a Harmony Sovereign H-1260. Page told Acoustic Guitar in 2010, “The Martin and Harmony were my go-to acoustics for that era.” The Martin was purchased in 1970 and outfitted with a Barcus-Berry Model 1355 Transducer pickup, paired with a Barcus-Berry Model 1330S Preamp sometime around the time of the recording of Physical Graffiti. The Harmony had also been in Page’s collection for several years prior to the recording of Physical Graffiti. We know he owned it and it was believed to be at Headley Grange during the time the album was recorded but there is no confirmation which acoustic was used on which songs.

Amplifiers

According to Page, Physical Graffiti’s sound was the result of three different amplifiers. The primary amp for electric guitar and “heavy” tones was a collection of Marshall Heads, which, as far as we know, consisted of two 1959 Super Leads and one modded Super Bass, with the Super Bass being Page’s main amp at the time and it is presumed that this was the main amp used on the album.

As for the mods on the Super Bass, that is a bit of a mystery (not an uncommon finding in the world of Jimmy Page). In a Guitar Player interview in 1977, Page claimed that Tony Franks made them “200 watts” and put “KL88” tubes in them. So, there is still some confusion on the exact nature of the mods done to his amps that we may never know. The folks at Page’s amp brand, Sundragon, made a recreation of the modified Marshalls, but when we reached out to them, they were, predictably, unwilling to share what the mods in the original were.

The clean tones and overdriven tones were often the result of a Fender Super Reverb (a 1968 model). While it’s not confirmed that the Supro Coronado 1690T that he used for all of Led Zeppelin’s first album was used on Physical Graffiti specifically, we know he still had it and would occasionally use it for “different colors” in the studio. This sort of experimentation and using different amps for different tones was almost essential given the wide range of sonic textures found on Physical Graffiti.

Effects

While Page was not a man known for outlandish use of effects, relying instead of his guitar, amp and fingers to build his tone, he did use some effects on Physical Graffiti that are worth examining. He used a Maestro Echoplex EP-3 for tape echo, and more subtly as a preamp boost. The EP-3 was the first solid state version of the Echoplex which came out in 1970. Page used a Vox V846 Wah as well. He used a Sola Sound Tone Bender Mk II for fuzz and some of the more saturated lead tones. He used an MXR Phase 90. Lastly, a violin bow, most notably on the song, In the Light.

Physical Graffiti still stands as one of Led Zeppelin’s most diverse-sounding records, and, not unlike a lot of Led Zeppelin lore, it still has some mystery regarding the gear that is used on it. As much as it pains me, as someone who tries to track down this sort of information, perhaps that’s how it should be – after all, the mystique of Led Zeppelin is as much a part of their legacy as their sound was.

The post The Gear Used by Jimmy Page on Led Zeppelin’s Physical Graffiti appeared first on Guitar.com | All Things Guitar.

Metal is a musical multiverse, made up of wildly diverse sounds and sub-genres. Any two metal guitarists might want very different sounds out of their guitars – from doom-laden chugging and speedy sweep-picking to atmospheric arpeggios and emotive lead playing.

When choosing a metal guitar, think about your playing style first. Do you need the lower lows of an extended range guitar with seven or eight strings, or a baritone model? Is a six-stringer with excellent all-round capabilities better suited to your genre-blurring stylings? Are you partial to a spot of shredding?

To help find the best metal guitar for you, we’ve unleashed our resident metalheads on some of the best-loved instruments in the genre. You can read short summaries of their reviews below, or click the links for more detail on each guitar.

At a glance:

• Our Pick: Jackson Lee Malia LM-87
• For modern metal: Jackson Diamond Rowe Monarkh
• Best headless guitar: Strandberg Boden Essential 6
• Best seven-string guitar: Jackson Pro Series Signature Jeff Loomis Soloist SL7
• Best eight string guitar: Cort KX508MS
• Best thrash guitar: Gibson Dave Mustaine Flying V EX
• Best guitar for doom and stoner metal: Yamaha Revstar RSS02T
• Best shred guitar: Jackson Pro Plus Series Dinky DKA
• Best guitar for downtuning: Rivolta Mondata Baritone VII
• Best hardtail S-type for metal: Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras
• Best affordable guitar for metal: Guild Polara
• Why you can trust Guitar.com

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Our Pick: Jackson Lee Malia LM-87

Jackson Lee Malia LM-87 guitar. Image: Press

This sleek-looking Jackson may be a signature for Bring Me The Horizon’s Lee Malia, but it’s far from a one-trick pony. Thanks to Lee’s healthy appreciation for the vintage and the strange, his new Jackson signature covers a lot of sonic ground – there’s a slim neck and awesome weight and balance to the thing, perfect for long sets of extremely speedy riffs. The bridge humbucker is also voiced from grunt, and will provide all the beef you could ask for when smashing out down-tuned aggression.

But it also has a restrained P90-style single coil in the neck position, meaning you can get some much more restrained sounds out of it, and you can split the bridge to turn the whole guitar into something a lot more bright and articulate. Plus, its vibey offset shape and cool, thin finish helps it blend in no matter what style of metal you’re playing. At $899, too, it’s a pretty affordable guitar given the specs. A set neck, great frets and an open-pore finish for this kind of money shouldn’t be sniffed at!

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Need more? Read our review of the Jackson Lee Malia LM-87.

The best guitar for modern metal: Jackson Diamond Rowe Monarkh

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Tetrach guitarist Diamond Rowe’s signature Monarkh is an extremely cool metal-focused single-cut. With a shred-friendly cutaway and a tried-and-tested set of EMG humbuckers, it sticks to the things that work – while still having tons of its own personality. The finish is an awesome fiery burl, and the new headstock design is a little more “classic” while still being sharp and aggressive.

Being one of two Jackson signature metal guitars we reviewed relatively close together, there’s a temptation here to compare it to the Lee Malia signature – and in that respect, it takes quite a different tack. While Lee Malia’s guitar harkens back to the vintage and strange, Diamond Rowe’s offers a tighter focus on thrashy, heavy sounds.

Lee also spec’d his guitar to be light for extended stadium sets, whereas Diamond has opted for a more Les Paul-like experience – meaning this guitar is a good deal heavier, with a bit of a thicker neck.

Need more? Read our review of the Jackson Diamond Rowe Signature Monarkh.

Best headless to buy for metal: Strandberg Boden Essential 6

The Strandberg Boden Essential 6 in Elemental Blue

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Heads, you lose. Prog and tech metal stalwart Strandberg has been making high-spec headless guitars since the mid-noughties – and with the advent of the Boden Essential 6, you can now grab one of the brand’s convention-defying instruments for well under a grand.

Not only is this guitar a relative bargain; it’s a superb entry point into the uncanny world of headless guitars. Our reviewer rated the Essential Boden 6 highly for its lightweight, ergonomically contoured body, shred-friendly triangular neck profile and resonant tone. With a metal nut in place of conventional headstock hardware, open string notes meld imperceptibly with fretted playing.

Need more? Read our Strandberg Boden Essential 6 review.

Best seven-string guitar: Jackson Pro Series Signature Jeff Loomis Soloist SL7

We’re not usually the sorts to call a guitar an ‘axe’ – but in this case, the term seems apt. The SL7 is a masterfully realised metal archetype, geared for fast playing and all-round aggression – a la Nevermore’s Jeff Loomis.

As you’d expect, our reviewers get to grips with a lot of guitars. Even so, the SL7 has one of the skinniest necks and one of the lowest actions we’ve flung our fingers around in years – not to mention one of the gloomiest aesthetics, thanks to that satin-black basswood body. This guitar is no-frills, low-friction and metal to the bone.

Need more? Read our Jackson Pro Series Signature Jeff Loomis Soloist SL7 review.

Best eight string guitar: Cort KX508MS

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Making a great extended range guitar is pretty much rocket science – minus the E.T.. Cort has nailed the mission with its KX508MS eight-stringer, which combines an alien-looking sassafras body with down-to-earth playability.

The fanned fret layout is surprisingly intuitive, with excellent intonation across the ’board. Meanwhile, the KX508MS’s Fishman Fluence Modern pickups deliver a sculpted low-end that won’t compete for sonic space with your bassist.

As extended range guitars go, the KX508MS is affordably priced – although you’ll pay a little extra each time you need a fresh set of strings. Our reviewer reckoned this ‘entry level’ guitar could go toe-to-toe with pro models costing three times the price.

Need more? Read our Cort KX508MS review.

Best thrash guitar: Gibson Dave Mustaine Flying V EX

Thrash metal legend Dave Mustaine and Gibson sounds like a match made in Heaven (or should that be Hell?) The signature-edition Flying V EX proves it.

We loved the detailing on this toughened-up classic – especially the ebony fretboard and fang-shaped mother-of-pearl inlays. These innovations complement a classic V build, with the rounded wings, mahogany body and glued-in neck Gibson fanatics have come to expect. Tonally, we’re talking focused low end, moderate mids, and ultimately, a thrash-first sonic fingerprint.

Above all, the V EX looks like an authentic Flying V, and sounds like a legit Dave Mustaine signature guitar. Mid-century style meets hard metal substance in a symphony of destruction.

Need more? Read our Gibson Dave Mustaine Flying V EX review.

Best guitar for doom and stoner metal: Yamaha Revstar RSS02T

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This guitar oozes Matt Pike-style cool, and features two P90s that deliver some bona fide early Sabbath vibes.

Talk to any guitarist who was lucky enough to start out with a Pacifica, and they’ll tell you Yamaha guitars have a knack for outperforming their price point. The Revstar RSS02T is a higher-spec example, but the same rule applies.

When you’re done gawking at the RSS02T’s gorgeous sunburst finish and nostalgia-inflected silhouette, you’ll find it’s equally easy on the ear, with superb note articulation, rich cleans and some headily out-of-phase tones at positions two and four on the pickup selector.

Need more? Read our Yamaha Revstar RSS02T review.

Best shred guitar: Jackson Pro Plus Series Dinky DKA

Jackson Pro Plus Series Dinky DKA. Image: Adam Gasson

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If super-fast shredding is your obsession, look no further than the Pro Plus Series Dinky DKA. From the elegantly recessed control knobs to the super-slim neck, this guitar’s every detail seems honed for speed.

The Dinky DKA will get you where you’re going, fast, but it provides plenty of proverbial flowers to smell along the way. Our reviewer admired the arched top to the body, which acts as a comfortable armrest while your wrist runs riot, and the superlative Floyd Rose 1000 Series tremolo fitted as standard with this high-spec shredding machine. Meanwhile, the direct-mounted Seymour Duncan JB and ’59 humbuckers provide resonance, sustain and space for expression.

Need more? Read our Jackson Pro Plus Series Dinky DKA review.

Best guitar for downtuning: Rivolta Mondata Baritone VII

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We’ll come out and say it: more guitarists should play a baritone guitar, with heavier strings tuned to a range somewhere between a regular guitar and a bass. The Rivolta Mondata Baritone VII is a shining, brooding example of the often-overlooked species, offering up super-hefty sounds via its bridge pickup.

Chords, riffs and lead lines sound thrillingly thick and meaty with this guitar, especially when you run it through your best overdrive pedal. You can reassure the bassist or fellow guitarist in your band that you won’t be crowding them out of the mix, as the Mondata Baritone VII gives plenty of options to tweak your tone via the pickup selector and phase switch.

Need more? Read our Rivolta Mondata Baritone VII review.

Best hardtail S-type for metal: Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras

Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras

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Some metal musicians shy away from S-style guitars due to their sometimes-iffy bridge stability (or maybe because they’re more John Frusciante than John Matos).

If you do want the iconic shape and fluid playability of a Strat, but without those infamous tuning issues, check out the San Dimas Style 1 HSS HT E Sassafras from Charvel’s Pro-Mod series. This Stratalike incorporates a rock-solid, recessed Floyd Rose 1000 Series double-locking vibrato bridge that keeps your strings in-tune, even during virtuoso playing.

We should probably point out that this guitar sounds great, too. Its sassafras body adds depth beyond what you’d typically hear from alder or swamp ash, and that translates into some really meaty rock tone at the bridge pickup.

Need more? Read our Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras review.

Best affordable guitar for metal: Guild Polara

Image: Adam Gasson for Guitar.com

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Hovering bumblebee-like around the £500 mark, the Guild Polara is an accessibly priced model that doesn’t skimp on tone and playability.

This might look a world away from your average Jackson or Strandberg, but the SG-inspired Polaris is primed for hard rock and classic metal. Its tone is absolutely monstrous (a good thing!), and the machine heads do a great job of holding tune during high-octane playing.

You’ll get on with the Guild Polara if you’re all about thrills, and not so bothered about frills. Its design cuts right to the chase, with a simplified control layout consisting of master volume and a tone knob to wrangle its twin-set of HB-2+ humbuckers.

Need more? Read our Guild Polara review.

Why You Can Trust Us

Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.

That means that when you click on a Guitar.com buyer’s guide you’re getting the benefit of all that experience to help you make the best buying decision for you.What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended to you in those guides is something that we’d be happy to have in our own rigs.

The post The best electric guitars for metal – our top-rated Jacksons, Gibsons, Strandbergs & more appeared first on Guitar.com | All Things Guitar.

Fender has debuted the American Ultra Luxe Vintage series, a line of Strats and Teles which sit at the highest end of the brand’s current electric guitar lineup.

Offering vintage finishes with modern player-friendly features, the American Ultra Luxe Vintage range “redefines the balance between heritage and innovation”.

• READ MORE: The inside story of Noel Gallagher’s Oasis reunion Hiwatt amps: “We unapologetically make colossal sounding, big and heavy amps”
  

The new series comprises five models in total: the American Ultra Luxe Vintage ‘50s Stratocaster, ‘60s Stratocaster, ‘60s Stratocaster HSS, ‘50s Telecaster and ‘60s Custom Telecaster.

According to the Big F, this collection represents the “pinnacle of Fender innovation and craftsmanship, setting the benchmark for premium electric instruments whilst showcasing the finest of the brand’s heritage”.

Key features on all models include Heirloom lacquer finishes, Pure Vintage pickups and stainless steel frets. But naturally, we’ve got to first talk about those Heirloom finishes…

In fact, the American Ultra Luxe Vintage range is the first time Fender’s proprietary Heirloom finishes have featured on production line guitars, after first being introduced on Bruno Mars’ signature Strat in 2023.

Speculated to be an answer to Gibson’s Murphy Lab aging process, Fender’s Heirloom finishes aim to create a vintage worn look by letting the tonewood “breathe as it wears naturally and uniquely”.

Features present on each of the five guitars also include stainless steel frets with rolled edges – for “fast playing”, as well as “consistency and durability” – Modern D shape neck profiles and sculpted neck joints for uninhibited upper-fret access, deluxe locking tuners for quick string changes and superior tuning stability, Luminlay side dots and Graph Tech TUSQ nuts.

In terms of pickups, the new American Ultra Luxe Vintage models feature Pure Vintage single coils, while the ‘60s Stratocaster HSS is also loaded with a Haymaker humbucker. S-1 switches are present on each of the guitars’ volume pots, which allow guitarists to tap into a wider selection of pickup wiring options.

Colour options for each of the five models are as follows:

• ‘50s Stratocaster: 3-Color Sunburst, White Blonde
• ‘60s Stratocaster: Ice Blue Metallic, Surf Green
• ‘60s Stratocaster HSS: Fiesta Red, Seafoam Green
• ‘50s Telecaster: Butterscotch Blonde, White Blonde
• ‘60s Custom Telecaster: 3-Color Sunburst, Lake Placid Blue

“With the American Ultra Luxe Vintage series, we’ve redefined the balance between heritage and innovation,” says Fender’s Chief Product Officer Max Gutnik. “This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship.

“Every detail is built for exceptional tone, feel, and timeless style. We’re proud to offer players an elevated experience that respects tradition and sets a new standard for performance.”

“The American Ultra Luxe Vintage series offers musicians the best of both worlds: classic Fender design, timeless elegance, and historical significance, combined with modern sonic engineering’s unparalleled performance and versatility,” the brand adds.

“These instruments are an evolution that honours the legacy that continues to define the Fender brand while being cherished by a new generation of players.”

Pricing for each American Ultra Luxe Vintage model varies depending on specs chosen, but range from $2,849 to $2,999.

For more information, head to Fender.

The post Meet the new Fender American Ultra Luxe Vintage collection: Aged lacquer finishes meet stainless steel frets, locking tuners and shred-ready necks appeared first on Guitar.com | All Things Guitar.

After a recent teaser campaign set off a spiral of speculation in the guitar gear community, JHS has finally revealed its anticipated new pedal, the 424 Gain Stage.

A series of riddles posted to the brand’s Instagram account got people guessing. It wasn’t long before keen-eyed gearheads landed on the assumption that the upcoming pedal would be based on the vintage Tascam Portastudio 424, a portable multitrack recorder known for its lo-fi flavour.

• READ MORE: The inside story of Noel Gallagher’s Oasis reunion Hiwatt amps: “We unapologetically make colossal sounding, big and heavy amps”

And as it turns out, they were right. The new 424 Gain Stage is heavily inspired by the Portastudio 424, so much so that JHS says it’s a “historically accurate recreation”.

Why now to release a pedal inspired by the Tascam Portastudio 424, you might ask. Well, it couldn’t be anything to do with the rise of Mk.Gee, the Eric Clapton-touted lo-fi guitar maestro – who has a Portastudio 424 in his guitar rig – could it?

With the 424 Gain Stage, JHS hopes to offer guitarists that lo-fi sound without having to cram a Portastudio 424 into their backpack every time.

In terms of its controls, the $249 pedal has a relatively simplistic layout, with a single footswitch and controls for Volume, Bass, Treble, Gain 1 and Gain 2, harking back to the workflow of the original Portastudio 424.

In terms of I/O, the 424 Gain Stage sports regular jack input and outputs, as well as a balanced XLR output.

“In 2024, an artist named Mk.gee released an awesome record, and the guitar world exploded,” JHS founder Josh Scott says, introducing the new pedal and, of course, talking about Mk.gee’s Two Star & The Dream Police. “Tone chasers everywhere had to know how he was getting this really incredible and unique sound.

“We all realised he’s not using a guitar amp. He’s using a Tascam 424. I also realised, ‘Hey, wasn’t I going to make a pedal version of this at one point?’

“It’s an authentic and perfectly replicated single channel strip on the Tascam 424,” he continues. “Over the years, I’ve learned that so many albums and guitar parts that I love use this device or devices like it.

“Then this Mk.gee thing comes along. It’s really new and fresh and different. That really pushed me over the edge of wanting those sounds that are classic, and those newer sounds.”

In addition to doing the “Mk.gee thing”, JHS says the 424 Gain Stage does the job when harnessing the sounds of other artists including D4VD, Steve Lacey, Mac DeMarco and Radiohead.

The 424 Gain Stage is available now, priced at $249. For more information, and to get yours, head to JHS.

The post “Yes, it does the Mk.Gee thing!”: Lo-fi lovers rejoice as JHS launches new pedal inspired by the classic Tascam Portastudio 424 appeared first on Guitar.com | All Things Guitar.

Sweetwater is offering a generous discount on a rather unique guitar – this Martin D-11E acoustic with a large picture of David Crosby on it, encouraging you to “rock the vote and the stage all at once”.

This guitar certainly has character, and was once priced over $1,600 but is now down to $1,299. It follows on from a former run of David Crosby Rock the Vote instruments, with a patriotic spruce top featuring artwork by Robert Goetzl.

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The guitar landed in August 2024 and is limited-edition, with only 47 made. The artwork is certainly realistic, and while it may not be to the taste of some players, for a Crosby fan it makes for one hell of a unique collectible. Alongside the pictures of him, it also features a quote from the late musician: “democracy works, if you work it!”

According to Martin, this D-11E was “crafted to inspire young people to engage in our democracy, honouring the legacy of David Crosby and his passion for voting”. At the launch of the collaboration, Martin said it was proud to support Rock the Vote, reinforcing the importance of civic engagement.

The guitar itself has a classic Martin dreadnought shape, though its depth is slimmed down. Its back and sides are made of American sycamore and it has a comfortable Performing Artist neck profile and a glassy ebony fingerboard.

Furthermore, it also comes equipped with an LR Baggs M-80 pickup that utilises a free-floating humbucking coil as a 3D body sensor and offers “authentic-sounding” tone. You can take a closer look at the guitar below, and hear from the artist behind its looks:

To purchase one of these unique Martin D-11E guitars, head over to Sweetwater to find out more.

The post This quirky acoustic guitar features a big painting of David Crosby telling you to vote – get it now at a HUGE $350 discount appeared first on Guitar.com | All Things Guitar.

“Should anybody be remotely interested…” posted Noel Gallagher recently alongside the photos that he knew perfectly well that a huge swathe of the guitar nerd community had been extremely interested in.

• READ MORE: What guitars does Noel Gallagher use? The instruments that will power the Oasis Live ’25 reunion tour

Ever since Oasis triumphantly returned to the stage in Cardiff last month, Adidas-clad guitar obsessives have been poring over any hint of the gear Noel Gallagher was using to recreate the magic to such fantastic effect. If you’re reading this, you’ve probably already read articles about Noel’s new P-90-loaded Les Paul, or watched videos about it, but these photos were the motherlode – an in-depth look at the pedalboard and amps that Gallagher was using to power this monster guitar sound.

We’ve checked out the pedalboard in detail elsewhere, but the amps were perhaps even more interesting. In defiantly modern style, instead of a huge wall of stacks, instead we had a pair of isolated small combos providing that gigantic sound – a Marshall SV20C and a Hiwatt Custom 50 along with a pair of backups.

As with so much of the gear Noel’s using on tour, they seemed like remarkably down to earth and off-the-shelf choices, but the truth is actually a little more involved. It turns out the Hiwatts were actually created specifically for the tour by the brand’s UK Custom Shop, and we’ve got the inside story on how these amps were made – and how they’re not quite as stock as they seem.

Tom Hannon with Noel Gallagher’s Hiwatt vertical combos. Image: Press

Vertical Flight

“I’m not sure how Noel became a fan of Hiwatt,” says Hiwatt Custom Shop engineer Tom Hannon. “But I’d like to think that it was the same as most of us who when growing up, saw bands like The Who, Pink Floyd, Kinks and Slade on TV and in magazines, blasting those huge Hiwatt stacks.…but more likely it was because after the success of the first few records he had a bit more money to spend on a better amp!”

Oasis fans will know that Noel used Hiwatt amps in the last decade or so of Oasis – specifically distinctive Custom vertical DR103 combos that would regularly be seen behind him on stage.

“I bumped into Noel’s old roadie at NAMM recently who mentioned that his back was still bad from lifting them on and off the stage every night,” Hannon jokes. “We unapologetically make big and heavy amps!”

When the announcement of the reunion tour was made, Hiwatt understandably reached out to Noel’s guitar tech to make themselves available.

“We simply expressed that should they need anything for the tour, we’re ready to build!” Hanon explains. “Noel was open to using the vertical combos again, so we made a couple and sent them over. He also requested the horizontal Custom 50s to try both amps with the current ‘triple-guitar attack’ setup.”

Noel had previously used 100-watt Hiwatts live, but the 50s offered a more controllable option in a modern precision live sound environment.

“As Hiwatt is a clean pedal platform amplifier with an extreme amount of headroom, you really have to crank a 100 watt to get the slightest bit of grit,” Hannon observes. “Whereas the Custom 50 breaks up a bit more at lower volumes, I think it made more sense for Noel to downsize his other amps used for the extra drive and just go with the Hiwatts.”

Gut shot of Noel Gallagher’s Hiwatt Custom 50. Image: Press

Secret Ingredients

The Custom 50s sent for Noel and fellow guitarist Gem Archer, Hannon added some hidden tonal extras – though he’s not sure whether or not the guitarists are using them live.

“When working on Noel’s Oasis amps I added a couple of extra tonal options, should they be required,” he explains. “For some of the amps I added low-pass filters which are switchable via a push/pull CTS pot on both the normal and bright channels.”

Noel and Gem eventually plumped for the horizontal Custom 50s, with Custom Fane Purpleback speakers in them – with neither guitarist providing any request for tweaks or changes when they arrived. Getting them ready in time for the tour however, was a different kind of challenge – these amps were going to power the most hyped rock ‘n’ roll reunion in history, after all. “As all of our Custom shop range is meticulously hand-wired along with our rigorous testing procedures, they do take a little while to build,” Hannon notes. “We definitely had a busy couple of months getting them together!”

For builders like Hannon however, the labour was one of love – he’s one of a generation of guitarists for whom Oasis is a vital part of their musical journey.

“This really meant a lot to me,” he confirms. “I must have only been 8 years old when I first saw them live at Glastonbury Festival back in ‘95. A few years later I learnt to play guitar whilst noodling along to Definitely Maybe, practising the solos to Bring It On Down and Supersonic.

“When we got the go-ahead to start working on the amps at the beginning of the year, it was a really exciting time. I’m extremely lucky to work with a lot of great artists at Hiwatt but this one definitely hits differently. I was down the front for the first Heaton Park show, it was just an absolutely electric atmosphere! One of the best, if not THE best gig I’ve ever been to. Arms in the air, bucket hat on, singing every word. Long live Oasis… and Hiwatt!”

The post The inside story of Noel Gallagher’s Oasis reunion Hiwatt amps: “We unapologetically make colossal sounding, big and heavy amps” appeared first on Guitar.com | All Things Guitar.

Mac DeMarco might be a rather unconventional artist, but one thing he will never do is complain about making music for a living.

On 22 August, DeMarco will release his 10th album, Guitar. It marks his first record since 2023’s One Wayne G, which was a compilation mostly made up of instrumentals and unusual demos that had a run time of over eight hours.

The album was viewed by many as a sort of rebellion against traditional album formats and streaming – DeMarco didn’t see it that way, but rather as a bit of fun. The indie artist now says he has an unusual relationship with the music industry, and doesn’t view his artistry as a job.

• READ MORE: “All the pedals should be put in a big pile and we should light ‘em on fire”: Mac DeMarco says why he thinks pedals are “crappy”

In a new interview with The New Yorker, he says, “If I’m idle, I feel like I should be working on music. But I have a complicated relationship with music, too, because I just want to have this pure experience with it, as opposed to thinking, Well, maybe I should put the b.p.m. up on this one, because they’ll want us to play it on Jimmy Fallon’s show.”

Though some may say that’s part of the business side of being in the music business, he goes on to add: “I will never call this a job. I get paid. But a job is fixing an engine, mowing a lawn. Writing songs? Going on vacation for free? Sometimes younger bands are, like, ‘Touring is so hard.’ Maybe these people have been going on vacation their whole life? For me, I’m kinda, like, ‘I’m in Chinaaaaa!’ It’s a paid rock-and-roll adventure! What is wrong with you?” he quizzes.

“I get it. Not for everybody. But I love it. I didn’t get to go to these places, and now I’ve been to fuckin’ China!… That is amazing! Because I wrote some little songs? What a gift!”

Mac DeMarco’s new album, Guitar, will land on 22 August. He also heads out on tour at the end of this month – you can view the full list of scheduled shows via his official website.

The post “I will never call this a job. A job is fixing an engine, mowing a lawn”: Why Mac DeMarco has no time for artists complaining about how hard being a musician is appeared first on Guitar.com | All Things Guitar.

Sweetwater is including a free IR sample pack with pre-orders of the highly-anticipated Line 6 Helix Stadium amp modeller.

The Helix Stadium and its deluxe XL sibling, which were announced back in June, are officially launching this autumn and winter. Those who purchase the modellers through Sweetwater from now until the end of December will also get five free impulse responses from speaker and IR company, Eminence.

• READ MORE: Neural DSP’s new Nano Cortex update introduces a Tap Tempo mode and other “highly requested” enhancements

Eminence was originally a garage-based manufacturer that started up in 1966 in Kentucky. Building on its vast history and global reach, today the company offers a range of different impulse responses so that players can deploy its products in digital form with their rigs of choice.

The five IRS included in this free collection have all been captured by the famed Shure SM57 mic. Within it, you’ll get:

• Cannabis Rex 12: Captures a fresh take on American clean tone. “The hemp cone of Cannabis Rex 12 delivers invigorating clarity and brightness without compromising body or substance,” says Eminence.
• Swamp Thang: Delivers dark, aggressive mids and a rounded bass response. This one is ideal for down-tuned or extended-range guitars, including 7- or 8-string guitars and baritones.
• Governor: A British-voiced speaker with close links to the American-voiced Red White and Blues speaker, capturing “the transatlantic trade of blues tone”.
• Legend GB-128: For hard-hitting volume and low- to medium-gain tones, this IR captures a “cleaner brand of British power”.
• Legend EM-12: Has a neutral voice that helps emphasise your guitar and amp.

The Helix Stadium and the XL version offer a competitive rival to the beloved Neural DSP Quad Cortex. They bring a range of highly-anticipated upgrades with them including entirely new modelling tech, cloning capabilities, and high-resolution touch screens.

This new modelling tech is called Agoura, and it replaces Helix’s HX modelling for improved authenticity when modelling physical amps, as well as offering increased accuracy when it comes to how amps respond to the way you play.

Since the announcement, Line 6 has been drip feeding us plenty of teasers and videos on what we can expect from the Stadium duo. Just recently, it released a video in which you can hear its Marshall-inspired ‘Brit Plexi’ amp, and another of its US Double Black. Check them out below:

To pre-order the Line 6 Helix Stadium and get a free Eminence sample pack, head over to Sweetwater.

The post The Line 6 Helix Stadium is nearly here – and if you preorder now at Sweetwater you get a free IR sample pack appeared first on Guitar.com | All Things Guitar.

Sharon Osbourne says reports that Black Sabbath generated £140 million for charity through their Back to the Beginning farewell show are “just ridiculous”.

The sold-out show was also livestreamed on pay-per-view, with 100% of the proceeds going to Acorns Children’s Hospice, Birmingham Children’s Hospital and Cure Parkinson’s. The pay-per-view was priced at £24.99, and The Guardian reported last month that more than five million people tuned in.

• READ MORE: “The bond we shared with him ran far deeper than music”: Pantera cancel tour dates as Zakk Wylde says they need “time to grieve” Ozzy Osbourne’s death
  

5 million multiplied by £24.99 is a little under £125 million, so in the ball park of the figure quoted, before accounting for physical ticket sales, merch sales and so on.

Following the event, Billboard magazine also reported that the event had raised over $190 million, while Tom Morello – who served as the event’s musical director – posted a selection of photos on Instagram, one of which read: “More than 190 million will be donated to houses and hospitals for children.”

Now, in a new interview with Pollstar, Sharon Osbourne – Ozzy Osbourne’s wife and long-time manager – says the figures quoted aren’t exactly accurate.

“One of the things that’s frightening me is all this false press about [how] we’ve made £140 million and all of this, and I’m like, ‘God, I wish we could have, for one gig.’

“It’s just ridiculous, the different stories. I went on the internet the next morning and it was like, $140 million, $160 million. And I’m like, ‘Where does this stuff come from?’

“It takes a really long time [to work out how much was made], because we’ve had all of the bands that we had come in and their expenses, and it’ll take a good six weeks to get the final number.”

Though she’s hesitant to comment on how much the event made before the official figures are available, Sharon says the event was a “huge success”.

“It was a phenomenal event,” she says. “It was the first time, I think, that anybody’s gone into retirement and done it, where the show is streamed and it goes to charity. So it’s the first time anybody has said goodnight like that. It’s the perfect way, when you’ve had such a long career, to end it. 

“I never wanted Ozzy to just disappear without some big event.”

Aside from hosting Black Sabbath’s swansong performance, Back to the Beginning saw performances from a plethora of heavy metal’s elite, including Metallica, Slayer, Pantera, Mastodon, Yungblud, Lamb of God and so many more.

The post “I’m like, ‘Where does this stuff come from?’”: Sharon Osbourne says claims that Black Sabbath’s final show raised £140 million for charity are “just ridiculous” appeared first on Guitar.com | All Things Guitar.

£239/$249, beetronicsfx.com

What do you see when you look at the Beetronics Larva? A large pedal with a daunting number of knobs and switches? Extravagantly ornate styling that calls to mind the LA company’s two zaniest and most complicated creations, the Zzombee and Seabee? Relax – it’s all an optical illusion.

• READ MORE: Crazy Tube Circuits Heatseeker review: “You don’t need to be an AC/DC geek to be thunderstruck by the range of hard-rocking tones on offer here”

What is the Beetronics Larva?

First things first, what is morphing? Basically it’s Leslie-style ramping from one sound to another. Switch the Larva on and you’re dealing with a simple phaser, controlled by the rate and depth knobs at top-left; now hold down the left footswitch for a moment and it will start morphing into a second setting, controlled by a matching pair of knobs on the right. Congratulations, you are now a fully qualified morpher.

Image: Adam Gasson for Guitar.com

The two slightly smaller dials are for adjusting that transition time and the intensity of the phaser’s resonance, while two mini-knobs in the centre look after the input gain – the Moogerfooger-inspired preamp has some proper overdrive on tap – and output level.

That just leaves two toggle switches – one for selecting how the morphing feature moves back and forth, and one for the operating mode: standard phaser, extra-wobbly vibe or, strangely, just the preamp without any modulation. In case anyone’s in the market for a non-phasing phaser…

Image: Adam Gasson for Guitar.com

And the LEDs? They just move across from left to right, and turn from blue to pink, to indicate morphing status. They are cute.

What does the Beetronics Larva sound like?

Sorry, bit of a spoiler earlier on – but ‘just really nice’ is the best way to describe virtually everything this phaser does. The obvious way to set it up is with a slow, shallow sweep on one side and a rapid wibble on the other; in both cases the core tone will be sweet and musical, with resonance dialled in to taste. Extra-slow morphing is the most fun, but you can actually double-tap on the bypass footswitch for instant hopping between your two settings.

Part of the reason for that innate sweetness is the preamp – it’s warm and fluffy, keeping everything smooth and preventing any harshness at the top of the phaser’s arc. It ranges from clean-ish to quite heavily overdriven; the only snag, arguably quite a big one, is that you can’t switch it off or dial it out completely to hear the phasing effect pure and uncoloured.

And here’s another snag, necessitated by that double-tap feature on the bypass switch: hit it once to turn the Larva off, and it’ll take a moment to respond because it has to wait to see if a second tap is coming. This probably isn’t going to ruin anyone’s night, but it’s frickin’ annoying and should surely have been avoided somehow.

Should I buy the Beetronics Larva?

Yes, you should buy the Larva because it’s absolutely gorgeous. But then again, no, you shouldn’t buy the Larva because it’s absolutely infuriating. Can you tell I’m a little bit torn here? But that’s what it boils down to: if you only care about the tones, you’ll struggle to find a nicer phaser than this; but if you demand technical perfection in all areas of stompbox functionality, it might just drive you mad.

Beetronics Larva alternatives

It’s a very different beast to the Larva, but the Heptode Virtuoso (€192) is a beautiful-sounding phaser that offers ramping between slow, medium and fast speeds. You might also look at the Caroline Arigato ($219/£229) and SolidGoldFX Aurras ($209/£189.99).

The post Beetronics Larva review – a speed-ramping phaser with a couple of twists appeared first on Guitar.com | All Things Guitar.

“Guitars are like crayons to me,” says Carlos Santana. “Life is the canvas.” Such is how the legendary guitarist views his tools: not as mere instruments, but as portals to creativity and self-expression.

Over the decades, Santana has played them all – Gibsons, Fenders, Gretsches, and even a signature Yamaha in the 1980s – but the one brand he keeps returning to is PRS.

“Paul Reed Smith has mastered creating an instrument that behaves,” says the Mexican-American guitarist in the new issue of Guitar World. “No matter what the weather is like, it will stay in tune and always give you that great tone.”

• READ MORE: Carlos Santana: “I like being squirted in the face by music because it makes me feel alive”

Despite having played just about everything under the sun – “They all have their own sound, texture and feel,” Santana explains – PRS guitars are the only ones that feel like home.

“I always go back to my PRS models,” he says. “I’m very grateful to Paul. He came up with his own vision to create a different tone and feel. I’m grateful he did that because his designs suited my personality when it came to self-expression.”

This is especially true of his PRS signature model ‘Salmon’, which he describes as the “easiest instrument for me to materialize my inner-vision, thoughts and emotions. There’s not much struggle translating myself onto that guitar.”

Santana’s friendship with the PRS founder also goes back a long way: “We’ve had a relationship since the late Seventies. He convinced me to come on board. Back then, there were only three companies I knew of – Gibson, Fender and Gretsch. There were others, but those three were the main ones.”

According to Santana, PRS’s attention to detail is what keeps him loyal, even decades later.

“From guitars to food or whatever, there are two words that are important for any business – impeccable integrity,” says the guitarist. “When people put love and attention into what they make, it stands out. When my guitars arrive from Paul Reed Smith, they are always perfectly in tune. I’m not making it up! They come to me set up perfectly because somebody at the factory is doing that final check. A lot of companies don’t do that.”

As for how many guitars he owns these days? “Probably not more than 100 and not fewer than 75,” Santana reckons. “I guess the Fender Strats and Gibson Les Pauls would be the oldest models in my collection. I’ve got Strats from 1954; some of my Les Pauls go all the way back to 1959.”

The post “Paul Reed Smith has mastered creating an instrument that behaves”: Carlos Santana on his love of PRS guitars appeared first on Guitar.com | All Things Guitar.

Last month, rumours began to swirl about a potential Metallica residency at the Las Vegas Sphere.

According to Vital Vegas, the thrash metal legends were ready to “ink a deal” with the Sphere, following successful residencies by the likes of U2 and Dead & Company at the venue.

Now, in a conversation with Howard Stern, drummer Lars Ulrich has spoken more about the potential residency, and where exactly things are in talks.

• READ MORE: “There’s lots of laws against me selling my invention”: Robert Keeley has made a drive pedal that doubles as a weed vape – but don’t get too excited

“I’m not going to confirm anything, because there’s nothing to confirm,” he says [via NME] “But I’m not going to deny it, because we’re all such fans of this venue.

“All of our managers and our production people have been there and looked at it. It’s something that we’re considering, [but] nothing is etched in stone or green-lit. It’s something that we’re looking at at some point when the 2026 tour is done.”

He continues: “I would fucking love to do it, let there be no question about it. It’s not signed, sealed and delivered, but speaking to me and asking my opinion, I would fucking love to do it.”

Metallica – whose members are all over the age of 60 – show no signs of slowing down, or even stopping playing some of the world’s biggest stages. 

Aside from their ongoing M72 World Tour – which sees them stop at some of the biggest stadiums on the planet, Lars Ulrich also suggests the band would be keen to play at the Super Bowl Halftime Show, given the opportunity.

“Fuck yeah, of course we would,” Lars tells Howard Stern. “First of all we would do it. Second of all, to do it in San Francisco would be a dream come true and would be the right fit… 

“Certainly as somebody who’s represented San Francisco all over the world and shouted for decades about San Francisco and our love for the Bay Area, that part of it is the right fit. Ultimately it’s not our decision.”

We’ll keep you updated on the status of the potential Metallica residency as we know more. Again, we stress that nothing is signed yet. But the prospect is certainly exciting…

You can check out all of Metallica’s upcoming M72 dates via their official website.

The post “I’m not going to confirm anything – but I’m not going to deny it”: Lars Ulrich on Metallica’s rumoured Las Vegas Sphere residency appeared first on Guitar.com | All Things Guitar.

Robert Keeley – founder of Keeley Electronics – has apparently invented a drive pedal that doubles as a weed vape. Only trouble is, he’s not allowed to sell it online due to restrictions on vaping products and, of course, weed.

In a conversation in the new issue of Guitar World, Keeley details the cleverly named Vapor Drive, an overdrive stompbox which, somehow, also serves as a vape.

• READ MORE: “I got fired because I couldn’t get it!”: Eric Johnson relives his most disastrous studio session

“I have a pedal that you can smoke/vape weed/THC out of,” he explains. “It’s the first rechargeable pedal, and it produces the most amazing distortion.

“It charges at five volts through a USB or the standard nine-volt battery, but I can’t sell it on Amazon, eBay or Reverb because it’s a tobacco or vaping product. There’s lots of laws and barriers against me selling my invention.”

As a consequence, the Vapor Drive looks like it’ll be perpetually stuck in the prototype phase, but Keeley’s not losing any sleep over it: “I scratch my head and take a toke from my cordless Vapor Drive pedal!” he jokes.

So, unless the widespread easing of restrictions on weed and vaping products happens, don’t bet on your ability to get a Vapor Drive of your own any time soon.

Robert Keeley and Keeley Electronics have staked a huge claim in the effects pedal market, with highlights including the Keeley Compressor – used by Noel Gallagher, Matt Bellamy and John Mayer, to name a few – and the Katana Clean Boost, which also forms part of John Mayer’s pedalboard.

And it looks like there’s plenty more where that came from. “I don’t plan on selling my company,” Keeley tells Guitar World. 

“There may have been a time in the past, but this is what I love doing. I like the idea of creating a manufacturing business that can sustain generations of employees. Martin, Gibson, Fender, Dunlop and Electro-Harmonix have done it; maybe Keeley can.”

View Keeley’s latest product lineup at Keeley Electronics.

The post “There’s lots of laws against me selling my invention”: Robert Keeley has made a drive pedal that doubles as a weed vape – but don’t get too excited appeared first on Guitar.com | All Things Guitar.

Andrew Watt has shared a moving tribute to the late Ozzy Osbourne, describing their close friendship as “the greatest gift of all”.

Osbourne passed away last month at the age of 76, leaving behind an enduring legacy as the Prince of Darkness and frontman of heavy metal pioneers Black Sabbath. Tributes have poured in from fans and fellow musicians around the world, honouring his decades-long influence and singular voice that helped define an entire genre.

• READ MORE: “The bond we shared with him ran far deeper than music”: Pantera cancel tour dates as Zakk Wylde says they need “time to grieve” Ozzy Osbourne’s death

In a new Instagram post, Watt opens up about the grief of losing his close friend and collaborator. “Still processing saying goodbye to Ozzy Osbourne,” the producer writes. “Someone said ‘Grief is the price of love’. I say that to myself everyday but at the end of the day I just miss my friend so much. There is a new hole in my heart, something I will learn to live with.”

“The music is obvious. How lucky I was to share in a little of Ozzy’s magic, but the friendship was the greatest gift of all. I will miss laughing with you forever Boss. Do you want a kick in the balls?”

Accompanying the post are photos of the pair hanging out on and off stage, along with a video of Ozzy having fun with a harmonica in Watt’s studio.

Watt produced Ordinary Man, Osbourne’s 2020 solo album, and remained a close musical ally in recent years.

“Ozzy and I have a connection that’s unlike anything else I’ve ever experienced,” he told Guitar World in June. “We made some music together that we really love, and we’ll continue making music together forever. More importantly than that, we talk every day and we’re really close friends.”

The producer also took the stage at Back to the Beginning, the all-star tribute show that featured Steven Tyler, Tom Morello, Nuno Bettencourt and Chad Smith celebrating Ozzy and Black Sabbath’s legacy.

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The post “Do you want a kick in the balls?”: Andrew Watt pens heartfelt tribute to Ozzy Osbourne appeared first on Guitar.com | All Things Guitar.

You wouldn’t think it, but even Grammy-winning guitarists have been fired from studio sessions. Just ask Eric Johnson.

Speaking in a new interview with Guitar World, the Cliffs of Dover icon looks back on some of his earliest and most humbling experiences as a session player, and the one time he got sacked mid-session by a country singer because he simply couldn’t come up with the goods.

• READ MORE: Eric Johnson says “there’s so much option anxiety” when buying new gear in today’s market

“He was a pretty famous guy,” Johnson recalls. “But the piano player had played almost every fill in-between the vocals. Like, he was doing a thing between every vocal, you know?

“So, the producer wanted me to put something in there besides chords, but I couldn’t find any room to put anything in there or play it.”

In order to contribute meaningfully, he says, he would’ve had to learn “every single lick the piano player did” to “either harmonise, or double it, or come up with a continual part” – a task that proved impossible at the time.

“It was taking me forever,” Johnson says. “And I just got fired from the session because I couldn’t get it.”

Unfortunately, it wouldn’t be the last time Johnson found himself struggling in the studio.

“I was working on a session for Donald Fagan, and that didn’t work out too well, either,” the guitarist recalls. “Not because of him, he was just looking for a certain thing, and I don’t think that I came up with it immediately.”

“Like, sometimes, I guess you want to go with that first impulse. But I guess the first thing that I came up with wasn’t good enough. So, those two things were learning experiences, or some examples of times that it just didn’t work out.”

Not that any of that had slowed him down. If anything, those tough sessions were just part of the long road toward the tone and artistry he’s now celebrated for – a reminder that even guitar heroes have bad days at the office.

The post “I got fired because I couldn’t get it!”: Eric Johnson relives his most disastrous studio session appeared first on Guitar.com | All Things Guitar.

Paul Weller has said that he won’t be watching Oasis’ reunion shows – not because he’s not a fan, but because he hates “big gigs”.

Much as the ongoing Oasis tour will go down in history as a “big cultural moment,” the ex-Jam frontman says that even his friendship with Noel Gallagher isn’t enough to get him through the gates of a massive arena.

• READ MORE: Here’s how to build your own version of Noel Gallagher’s touring pedalboard – without rock star money

The Gallagher brothers launched their long-anticipated Live ‘25 tour with two shows at Cardiff’s Principality Stadium last month, before returning to their hometown of Manchester for five nights at Heaton Park, then playing five (of their seven) planned dates at London’s Wembley Stadium.

But despite being one of Noel’s closest mates, Weller is giving the whole thing a pass.

In an interview with Jo Whiley on BBC Radio 2, he explains, “I’ve not been to see them, no… I’m not a big fan of big gigs, I said to Noel, a few weeks or months ago: ‘Are you going to do any warm-ups?’ which he wasn’t, but, I’d go and see something like that in a smaller venue, but I just don’t like big gigs. It doesn’t matter who it was, really.”

For Weller, anything beyond the front row just isn’t worth it.

“Inevitably, it doesn’t matter too much where you’re sitting unless you’re right in the front row, you just end up watching the screens,” he says. “It kind of spoils a bit for me because I want to see whoever is playing or singing, and I want to be able to see them.”

That said, the musician insists he’s thrilled the band is back, and sees the reunion as more than just nostalgia.

“You know how it’s going to go for him, it’s going to be mad,” says Weller. “I said to him that it’s going to be a cultural moment because the amount of people I speak to just out on the street, not necessarily who you’d think would be an Oasis fan, but they are all going to it, and it’s a big cultural moment, I think that will be remembered forever.”

“There’s probably not too many bands like them [Oasis] at the moment, y’know, kind of guitar music,” he adds. “I can’t think of any, not from the UK anyway, maybe Fontaines DC is different and people like that. So, I think it’s definitely a younger audience who missed out on that ’90s thing.”

And while that younger crowd is getting a crash course in what made Oasis so iconic, gearheads are being treated to something special, too.

Gibson recently revealed the story behind Noel’s Oasis reunion Les Paul. Lee Bartram, Head of Commercial, Marketing & Cultural Influence at Gibson EMEA said that the guitar took “at least 18 months” to come together and that it wasn’t even designed specifically for the Live ‘25 tour at first.

“It really came from a conversation around creating a Les Paul that would accommodate P-90s (which Noel was playing a lot with NGHFB at the time, favouring Epiphone USA Casinos) at high volumes, without compromising on the sound and tone of the pickup,” Bartram said.

The post The bizarre reason Paul Weller is refusing to watch Oasis’ reunion shows – despite being good friends with Noel Gallagher appeared first on Guitar.com | All Things Guitar.