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Ritchie Blackmore’s band, Blackmore’s Night, have postponed their remaining 2025 tour dates due to medical reasons.

Limited information has been released at this point, but the postponement of their tour comes after shows in Newton and Delaware were individually called off for the same reason. The band is led by Blackmore and his wife Candice Night; they formed the group in 1997 and play folk rock music.

• READ MORE: Ritchie Blackmore on how Jeff Beck would wrestle with self-doubt: “He was always reaching for something he couldn’t find”

The news has been shared via Instagram, and the band have apologised for any inconvenience caused to fans. No new dates for the remaining shows have been provided at this time. It’s not yet certain which member has become unwell, but Night did open up on Blackmore’s health struggles in an interview earlier this year.

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In a new interview with Eonmusic, she said, “He actually had a heart attack about a year and a half ago, and he’s got six stents in his heart at this point. And we’re battling arthritis and some gout issues, and he’s still got his back problem that he’s had, so travel is difficult for him because of all that sitting.”

“Standing on stage, even standing with the guitars is tricky, although I do see a lot of people even younger than him at this point in the industry, showing up in wheelchairs. I don’t think he wants to be thought of like that or remembered like that.”

Blackmore’s Night was founded out of a love for renaissance music. In an interview with Long Island Weekly back in 2022, the pair were asked if they could ever picture the band’s mediaeval inspired-music soundtracking fantasy film and TV.

“It is interesting because there are so many period pieces, whether it’s on television or films that come out and do so well,” Night said. “The irony is that the only time one of our songs was used was in a Jim Carrey movie called Yes Man and they used Old Mill Inn at a party he was at.”

Blackmore added, “It’s funny, because I don’t follow that kind of thing. I’m more of a purist and want to be in the wood myself hearing a piece of music written in the 1500’s or 1600’s.I’m a little bit of a musical snob.”

While further information is yet to be released about their postponed tour, you can find out more about the band via the Blackmore’s Night website.

The post Ritchie Blackmore’s band postpone remaining tour dates due to medical reasons appeared first on Guitar.com | All Things Guitar.

This Black Friday, Gear4Music has rolled out the savings early – and you can grab an absolute steal on perhaps the coolest guitar the retailer makes under its G4M brand.

• READ MORE: Black Friday 2025: the best early deals are already here!

The G4M 638 Baritone is a 30-inch scale offset guitar, loaded with two humbuckers, and fitted with a sturdy hardtail – obviously this makes it pretty appealing for anyone looking to conjure downtuned chaos! The 30-inch scale is the same as a Bass VI’s, and therefore it’s more than capable of being tuned to one octave below E standard – or even lower.

Thanks to that long scale length, it’s also capable of handling super-speedy riffs – even in such extremely low tunings.

For a pretty demonstrative example of that, the guitar – in its previous  incarnation as a SubZero instrument – was notably played by former Loathe guitarist Connor Sweeney – check it out in action below.

Check out the deal below:

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The post Black Friday 2025: you can get Gear4Music’s coolest guitar for only £149 appeared first on Guitar.com | All Things Guitar.

The first photos of the Gary Moore statue that is planned to be erected in Belfast have been shared online, but the memorial project involved in its creation are calling out for donations to fund its completion.

Plans for the statue were announced back in January, with the news first shared by Belfast’s Green Party councillor, Brian Smyth, after he submitted a proposal on behalf of the Wild Frontier Memorial Project. The announcement arrived shortly after the unveiling of another honorary statue in memory of guitar legend Rory Gallagher.

• READ MORE: “You didn’t have to be a guitar player to appreciate what he’d write”: H.E.A.T guitarist on the genius of Gary Moore

Creation of the Gary Moore statue is well underway, and is being brought to life by sculptor David A Annand, who is based in Scotland. A clay impression of the statue has been completed, and has been approved by Moore’s family ahead of a final bronze casting.

Gary’s sister, Patricia Moore, says, “It was overwhelming to see the first images of Gary’s statue. It now feels like a reality. We always wanted this to be a statue that Gary’s fans had ownership of. We wanted to allow every fan to say, ‘I helped put this statue here.’

“It feels so close but there’s still a way to go. We are all looking forward to a day when people will visit Belfast to pay their respects to Gary and the statue. We just need a big push to get the funding needed, and we hope fans will be encouraged with the clay model images!”

The Wild Frontier Memorial Project is now asking fans to help them raise money to complete the final stage of construction, and to transport it over to his home city of Belfast. A crowdfunding page has been launched for donations.

Check out the statue below:

“The Wild Frontier Memorial Project was created by fans of Ireland’s legendary rock and blues guitarist Gary Moore, who sadly died on Feb 6, 2011,” reads a statement on the crowdfunder page.

“This campaign aims to erect a statue of the former Thin Lizzy member in his native Belfast, dedicated to celebrating his music, talent and legacy, and inspiring future generations.

“We estimate the statue will cost approx £80,000 and are raising funds offline via tribute shows across Ireland. This campaign has the support of members of Gary’s family, Belfast City Council and local councillors.”

It concludes, “Our target is now £70,000, having paid for the first stage – the clay model – which is awaiting bronze casting at the studio of sculptor David A Annand in Scotland. This was made possible due to kind donations from fans, and from Gary Moore tribute gigs in Belfast and Dublin.”

To help fund the statue, head over to the idonate page.

The post Creation of the Gary Moore statue for Belfast is underway – but your help is needed to complete it appeared first on Guitar.com | All Things Guitar.

Tube amps! While the talk these days may all be about digital modelling, it’s important to remember what these modelling pedals are actually recreating. For many there’s no substitute to having real glowing glass in your rig, whether that’s because you need uncompromising volume or the true touch-responsiveness or unmistakeable power-amp distortion.

But the world of tube amps is big and vast, ranging from affordable gigging combos to premium heads – so we’ve rounded up our best-reviewed picks no matter your budget and style. Let’s dive in.

At a glance:

• Best tube head for metal: Victory The Kraken MkII
• Best affordable tube combos: Blackstar TV-10B and TV-10A
• Best tube combo for metal: EVH 5150 Iconic EL34
• Best tube head for recording: Blackstar HT-20RH MkIII
• Best british-voiced tube head: Marshall ST20H JTM Studio
• Loudest tube head: Orange OR30
• Best lightweight tube combo: Blackstar St James 50 EL34 Combo
• Why you can trust Guitar.com

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Best tube head for metal: Victory The Kraken MkII

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The latest update to the Kraken, Victory Amplification’s flagship metal monster, refines an already great amp into an absolutely fantastic one. As well as an overall refine of the sound, major circuit additions come in the form of a new presence control – good for adding some cutting bite to things – and to a brand-new clean channel, acheived by attenuating the lower-gain, JCM800-based Gain I channel for a spongey, responsive clean sound woth bags of character. But, of course, the main appeal is the Gain II channel – a fire-breathing take on a modded 5150-style circuit.

The result is a near-perfect metal sound: plenty of crunch, more than enough gain, and it can be as aggressive as you like or as compressed as you like. That pretty much covers the metal guitar tonal palette, and the excellent performance at the other end of the gain scale makes this a very versatile offering indeed. Or, you know, good for that 10-second clean intro before 50 minutes of riffs.

Need more? Read our Victory The Kraken MkII review.

Best affordable tube combos: Blackstar TV-10B and TV-10A

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Without putting too fine a point on it, Blackstar’s new TV-10A and TV-10B are aimed squarely at Fender’s Blues Junior – affordable, one-hand-lift 12” tube combos wih simple control schemes that are loud enough to gig. You have either a US or British voice to choose from with the two amplifiers, and Blackstar has taken the bold approach of eschewing it’s normal approach of implementing the anonymising ISF control to instead just give you a straightforward, tube driven sound that takes pedals fantasatically.

Need more? Read our Blackstar TV10B review and Blackstar TV10A review.

Best tube combo for metal: EVH 5150 Iconic EL34

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In the metal world there are few better platforms for chugging than the 5150, and this compact combo is no exception. It balances the tight topology of the 5150 platform with the slighly more aggressive, midrange-forward sound of EL34 power tubes, leading to a metal amp with a character that harkens back to the more Marshall-driven soujnds of early Van Halen, as much as it’s still capable of chugging with the best of them. The Iconic line is also a more affordable range of amplifiers – great for getting a gigging rig together without breaking the bank.

Need more? Read our EVH 5150 Iconic EL34 review.

Best tube head for recording: Blackstar HT-20RH MkIII

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Blackstar’s veneralbe HT range has gotten a pretty substantial modernisaton update with the MkIII, including the integration of Blackstar’s awesome CabRig system for direct sounds, and USB-C connectivity. This means that if you want a tube amp that you can record at home with minimal fuss and without having to worry about expensive attenuation systems, the HT-20RH is a great solution – but thanks to its powerful voicing, portability and 20 watts of power, it’s still a very viable gigging option!

Need more? Read our Blackstar HT-20RH MkIII review.

Best british-voiced tube head: Marshall ST20H JTM Studio

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It’s no exaggeration to say that the JTM is part of the very fabric of rock music – after its introduction in 1962, it would shape the landscape of rock and blues by offering massive sounds to an exploding UK rock scene. This UK-made revamp of the JTM harkens back to the very earliest Marshall amps with that fawn cloth and ‘coffin’ Marshall badge. Sonically, the ST20H JTM Studio recreates all of the nuance of the original’s punchy, snarling take on a modified Fender bassman circuit, but there are some concessions to modernity, too. An effects loop and a power-reduction mode make this a very appealing prospect for the modern player indeed.

Need more? Read our Marshall ST20H JTM Studio review.

Loudest tube head: Orange OR30

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Don’t let the 30 watt power rating fool you here. The OR30 is an unbelievably loud tube head. I did the testing for this amp – it nearly shook my windows out of their frames. The difference in sheer volume between a 30-watt head and a 100-watt head isn’t actually much, as it’s an exponent relationship rather than a linear one – and so all it means is that you get access to power-amp distortion a little sooner. That’s a great fit with this amp’s overall voicing, which is as old-school Orange as you can get – full bore, single-channel, going from dirty cleans to extremely dirty, fuzzed-out drive tones.

Need more? Read our Orange OR30 review.

Best lightweight tube combo: Blackstar St James 50 EL34 Combo

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Tube amplifiers are notoriously heavy, but Blacksar’s St James line does a lot to cut the weight down to as low as posssible. The amps use lightweight cabinet constructons and switching-mode power supplies in place of transformers, meaning that these 50-watt combo amps are single-hand lifts and much more maneagable to transport around – and the good news is that the sounds are still there.

Need more? Read our Blackstar St James 50 EL34 Combo 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 in those guides is something that we’d be happy to have in our own rigs.

The post The best tube amps for all styles and budgets appeared first on Guitar.com | All Things Guitar.

Musical instrument retailer Sweetwater has been ranked as one of the top brands in the US for its customer service, according to Newsweek.

Earning its highest ranking in its 46-year history, Sweetwater places 8th on Newsweek’s America’s Best Customer Service 2025 list, beating out Disney Parks & Resorts, the Four Seasons and American Express, [per Guitar World].

• READ MORE: Does it matter that a 1958 Gibson ES-345 appeared in a Back to the Future scene set in 1955? According to Michael J. Fox, it makes “little difference”

The results – conducted by Sweetwater in partnership with market research company Statista – were achieved analysing 700 brands across 163 categories, with a total of 200,000 customer evaluations, and using an independent survey of over 28,000 US customers. Sweetwater scored 94.09 out of 100.

“Customer service is a cornerstone of a great shopping experience,” Newsweek writes. “Whether shopping online or in-store, customers want to feel valued, heard and supported. According to 2024 statistics from HubSpot, more than 85 percent of consumers say good customer service makes it more likely they will buy from a company again.”

“Sweetwater was founded on the idea of helping our friends make music,” says Justin Dunbar, Sweetwater’s Director of Customer Support, of the recognition. “That spirit drives everything we do. Providing the best customer service we can is simply an extension of that notion. We’re not just serving customers; we’re serving fellow musicians and our friends.”

Those in the market for new gear this Black Friday will no doubt be reassured by Sweetwater’s Newsweek customer service ranking.

While Black Friday isn’t until next Friday (28 November), Sweetwater is already hosting hundreds of killer deals which you can take advantage of right now.

Some of our favourites include $300 off the headless Strandberg Boden Essential 6 – bringing the final price to just $799 – $170 off the PRS Sonzera 20 combo amp, and a cool $300 off the Epiphone Dave Grohl signature DG-335.

You can take a look at all the latest early Black Friday deals on offer over at Sweetwater.

The post Sweetwater’s customer service ranked among the top brands in the US appeared first on Guitar.com | All Things Guitar.

In early 1969, it came time for Neil Young to record the album that would come to be known as Everyone Knows This is Nowhere. This was to be his second solo album, although his first with the backing band that he called Crazy Horse.

• READ MORE: The guitar gear used by Neil Young on his Harvest album

Crazy Horse consisted of guitarist, songwriter, and singer Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina. The album was co-produced by David Briggs, who would be a frequent collaborator for Neil Young all the way up until his passing in 1995.

Everyone Knows This Is Nowhere (EKTIN) is still considered one of the finest albums of the folk era, but not much is known about the gear used to record the album, but there is plenty of speculation. In this article, we will do our best to sift through all the evidence and come up with the best representation of what we know was used on the album.

Old Black

One guitar that has been confirmed to have been used on the album by multiple sources, including Young himself, was Old Black. For those who don’t know, Old Black has been a constant companion of Young’s throughout his solo career, much akin to Willie Nelson’s Trigger. Old Black has been subjected to several modifications over the years and the version of Old Black that we hear on EKTIN is different from the one we hear today. The most notable difference is the pickup. Today, Old Black has a Firebird humbucker in the bridge position, but that wasn’t added until 1973. In 1969, Old Black still had the original pickups in it, as Young explained:

“Well, there’s a lively Firebird pickup on the treble side of my Les Paul, but when I did Everybody Knows This Is Nowhere, it didn’t have that pickup, which had got a bad hum in it. I took it to a music store to see if they could do anything with it. I went back to get it, and the store was closed, and everything was gone. I never got the pickup back,
, so now there have been two or three pickups in place of the original. I guess I used the Firebird pickup on all the things I played on my black guitar since 1973.”, so now there have been two or three pickups in place of the original. I guess I used the Firebird pickup on all the things I played on my black guitar since 1973.”
Old Black began its life as a 1953 Goldtop which meant it would have originally had cream colored P-90 pickups in it. When Neil Young got the guitar, the neck allegedly had a Grestch DynaSonic single-coil pickup. There is some debate over whether the neck had been replaced or just the headstock. Old Black was certainly the main guitar used for the EKTIN sessions. A Bigsby vibrato had also been added by the time the sessions rolled around.

Other Guitars

Some claim that Neil Young used a Fender Telecaster on the record. Others claim that they can distinctly hear a Gretsch. Even some reports claim that he used a ’59 Gibson Les Paul Deluxe. While it is true that Neil Young did own all of those guitars at the time of the sessions, and some of them were probably used on the record, it is impossible to confirm what was used, and where. Neil Young had a Gretsch 6120 Chet Atkins that he used in Buffalo Springfield and traded to Jim Messina for Old Black. However, there is photographic evidence of Young playing Gretsch guitars during the timespan when the sessions were going on.

Having spoken with Billy Talbot and Nils Lofgren, I’ve come to understand that a Neil Young recording session is a situation where instruments are more communal than private possessions. I know there are instances where Nils Lofgren or the departed Danny Whitten would play some of Young’s guitars for live shows and in the studio. Whitten was known to play Young’s Gretsch 6120 through a bevy of Fender Tweed Deluxes and Bassmans, which were also largely thought to be owned by Young, at a series of shows that occurred in the weeks after recording EKTIN.

Whitten’s story is a tragic one; in fact, it would inspire the song The Needle and the Damage Done just a few years later. But EKTIN saw Whitten at his pinnacle. Listen to the guitar work on Down By The River for more proof of that. Many have insisted that he also used a Stratocaster but that remains unconfirmed and is only backed by those who claim to “hear” the sound of a Strat on the record.

Amps

As mentioned before, Young has long been a fan of vintage Fender amplifiers, and we may assume that they were the primary amp used for the recording of EKTIN, specifically Deluxe Tweeds and Bassmans – I think most would agree that the tone is pretty consistent with those amplifiers. The amplifier tone is even more clearly recognizable due to the lack of effects units on the album. The album is lauded for its raw and organic sound. If you hear distortion or fuzz, it is the amps being driven hard rather than some stomp box. Some speculate there may have been some amp reverb or studio spring reverb as that was pretty common at the time. But again, this is unconfirmed.

Everybody Knows This Is Nowhere was an incredibly important album for the career of Neil Young and Crazy Horse, not only because of its success, but it also established a new sound in rock and roll – loose, gritty, and raw, with distorted guitars at the core.

That sound is often cited as a precursor to the grunge movement that would take place decades later. The solos have an element of spontaneity to them that lends a genuine feel to the music. It stripped the polish of the studio away and focused on delivering the songs with a sound that was just as much a statement as the lyrics were. That sound is something that many tonechasers have spent their life pursuing.

The post The guitar gear used by Neil Young on the classic Everyone Knows This Is Nowhere appeared first on Guitar.com | All Things Guitar.

Though a cult classic adored by millions, Back to the Future famously features a historical faux pas, which many guitar gear aficionados have been consistent in pointing out since the film’s release in 1985.

The mistake, specifically, is that Marty McFly plays a Gibson ES-345 during the iconic “Enchantment Under the Sea” school dance scene. Only that scene is set in 1955, when the ES-345 didn’t arrive until three years later in 1958.

• READ MORE: Online games have been doing it for years – are guitar brands cottoning on to the lucrative nature of crossover collaborations?

Of course, this is a debate for the very niche guitar-nerd subsection of the Back to the Future audience, but how much does it really matter? According to Michael J. Fox, who plays the film’s main protagonist, not all that much.

In his recent memoir Future Boy – released last month – Fox says the decision on the part of the film’s producers to call on a Cherry Red ES-345 for the scene was not intended to be a “cinematic Easter egg”.

The film’s art department simply picked the ES-­345 because it evoked the iconic wine-red axe that Chuck Berry famously duckwalked across stages all over the world,” Fox writes [via SlashFilm].

Fox himself wasn’t bothered by the historical inaccuracy himself, as he notes that the 1958 ES-345 was very enjoyable to play while filming.

“Both the ’55 and ’58 versions of the Gibson electric are rare and beautiful instruments; for me, it makes little difference which I played,” he says. 

“I’ve always loved the Gibson E line: big, imposing guitars yet hollow-­bodied and therefore lightweight. Even a little guy like yours truly could sling ’em and fling ’em and still make ’em sing.”

That the inclusion of a 1958 Gibson ES-345 in a film scene set in 1955 turned out to be largely irrelevant, as the scene quickly became a favourite in the cult classic movie.

Now, 40 years after the movie’s original release date, the scene continues to inspire, so much so that Gibson just released a $20k Custom Shop recreation of the Back to the Future ES-345, alongside a more affordable Epiphone version, too.

Astonishingly given its price tag, the Gibson Custom Shop Back to the Future ES-345 sold out its 88 units – corresponding with the film’s 88 miles per hour needed for time travel – in mere hours.

It later emerged, though, that scalpers had gotten their hands on some of the guitars, with one of the $20k guitars later listed on Reverb for over $100,000. Similarly, the guitar’s $999 Epiphone counterpart was being listed on the gear marketplace for up to $7,000.

“Less than an hour after the first Back to the Future guitars went up on Reverb, 10 had sold – and it hasn’t stopped there,” said Cyril Nigg, Reverb’s Senior Director of Analytics, at the time. “Over the past week, ‘Back to the Future’ has been the number one trending search on Reverb.

“What we’re seeing is part of a larger, nostalgia-fuelled trend, as moments from the past continue to drive demand. In fact, the Epiphone edition is the top selling semi-hollow body guitar on all of Reverb at the moment, as buyer demand continues to outpace supply.”

You can learn more about the Back to the Future Collection, which alongside the two guitars includes a line of BTTF-branded memorabilia, over at Gibson.

The post Does it matter that a 1958 Gibson ES-345 appeared in a Back to the Future scene set in 1955? According to Michael J. Fox, it makes “little difference” appeared first on Guitar.com | All Things Guitar.

Five-time Grammy-winning multi-instrumentalist Mark Lettieri has become the latest musician to open his own Reverb Shop, selling a trove of his very own studio- and tour-used gear.

The shop, which is now live, features many pieces of gear from Lettieri’s illustrious career, including unreleased PRS prototype guitars, and an early ’90s Fender Stratocaster he brought on his first tour with Erykah Badu, as well as on solo tracks including Grillman from 2011’s Knows.

• READ MORE: Black Friday has started early at Reverb… save hundreds on Charvel Superstrats, signature drive pedals and more!
  

Elsewhere, the online shop features instruments used by Lettieri during his time with jazz-fusion band Snarky Puppy, and when he played alongside David Crosby and Cory Wong.

“You’ve heard this stuff on records, you’ve seen it on gigs, in videos, and it all holds a very special place in my heart, but I’m finally letting it go…and I hope that you get it so that you can make music!” Lettieri says.

Aside from the aforementioned PRS prototypes and extensively used ’90s Fender Strat, up for grabs are also a range of gloss-finished PRS Fiore guitars – in Hibiscus, Black Hyacinth, Sunflower, and Purple Satin colourways – as well as an ’80s Ibanez Roadstar II with “a lot of vibes”, a “one-pickup wonder” ’80s Peavey Patriot, a Line 6 M9 multi-effects pedal used on Bob Reynolds’ Guitar Band album, and Lettieri’s first-ever Ditto Looper.

There’s also an Audio-Technica AT4040 cardioid condenser microphone used by Lettieri on “a thousand acoustic guitar tracks for people”. There’s also some non-musical memorabilia, including, of all things, a pair of “Deep: the Baritone” fish socks and more.

You can check out what’s on offer at the The Official Mark Lettieri Reverb Shop now.

The post Mark Lettieri launches official Reverb store – with a stage- and studio-used ’90s Fender Strat and a selection of unreleased PRS prototypes appeared first on Guitar.com | All Things Guitar.

Guitar tabs for Ed Sheeran’s music are searched for more than those of The Beatles, according to a new study.

Retailer guitarguitar has done some serious digging on what artists and tracks are inspiring players to pick up their guitar and learn by analysing the 5,000 most-viewed tabs and chord sheets on Ultimate Guitar. Sheeran has amassed 229.5 million tab views on the site, according to the findings, with his 2017 single Perfect being one of the most sought after.

• READ MORE: Paul McCartney reflects on legendary Japan drugs bust that landed him in prison: “This stuff was too good to flush down the toilet!”

But fear not Beatles fans, as their catalogue is still in demand too – the report [shared via Guitar World] also places the Fab Four in second place with 226.1 million tab views. Coming in third is pop megastar Taylor Swift with 167.8 million, and Metallica in fourth place with 125.9 million views.

When it comes to the specific songs that are most viewed, Sheeran’s Perfect lands at fourth place, with Jeff Buckley’s Hallelujah, Oasis’ Wonderwall, and Jason Mraz’s I’m Yours all ranked above.

Whether you’re a Beatle fanatic or dedicated Swiftie, there’s one thing that we can surely all agree on – it’s great that people still want to pick up the guitar and learn something new, no matter the genre. And as noted by guitarguitar’s marketing director, Adam Speck, many of the songs within this study are pretty easy to learn, meaning less frustration and more dedication.

“It’s no surprise to see artists like Ed Sheeran, The Beatles, and Taylor Swift leading the list, with their timeless songs that translate beautifully to guitar,” he says.

“From classic ballads like Let It Be to modern favourites like Perfect, these are the tracks people dream of being able to pick up and play. What’s really encouraging is that so many of these songs are completely achievable for beginners with a bit of practice.”

Sheeran champions music across the talks he gives at UK schools, and he often donates guitars to the students. Earlier this year during his appearances on the Call Her Daddy podcast, he said that music helped him to build his self-esteem, as he felt he “wasn’t good at anything” as a child.

“I’d love my legacy to be [that] any kid, anywhere, literally anywhere, goes, ‘I can do that too,’” he said. “Music is a thing for kids that aren’t good at other things, who don’t have a lot of self-worth or self-confidence…

“[Music] gives you so much worth and confidence in yourself as a human being and in school there’s so much importance put on, ‘You must be good at this subject [to] actually be a good human being and to go out in the world and achieve’, and I just wasn’t good at anything as a kid and I didn’t have a lot of self-worth because of that – I felt like I was stupid,” he confessed.

Head over to Ed Sheeran’s official website to view the full list of his upcoming tour dates. 

The post Ed Sheeran is inspiring more people to play the guitar than The Beatles, according to a new study appeared first on Guitar.com | All Things Guitar.

Gretsch has partnered with legendary London recording facility Abbey Road Studios on a limited-edition electric guitar, the Abbey Road RS201 Studiomatic.

Designed specifically for recording, Gretsch says, the RS201 Studiomatic’s signal path is literally infused with Abbey Road technology, with the integration of a circuit inspired by the RS 97 Rumble Filter. This classic piece of tech – designed in the 1950s by the EMI team at Abbey Road – aims to remove ultra low-frequencies and mechanical vibrations from recordings.

• READ MORE: The Tube Screamer’s original inventor teams up with TWA for the next evolution of his iconic drive pedal

The incorporation of this circuitry, the brand says, offers guitarists “unprecedented tonal control, retaining clarity in complex arrangements without sacrificing warmth”.

For a brief history lesson on the naming convention of equipment at Abbey Road Studios, the facility uses “RS” numbering to refer to equipment designed and built in-house by Abbey Road engineers. Notably, the RS201 Studiomatic marks the first time ever the “RS” numbering convention has been used on a musical instrument.

“Partnerships like this are the kind guitarists dream about,” says Max Gutnik, Chief Product Officer at Fender Musical Instruments Corporation (FMIC). Gretsch is one of many guitar brands owned by Fender.

“Gretsch and Abbey Road Studios share a legacy built on tone, feel and musical innovation. The Limited Edition Abbey Road RS201 Studiomatic was born from the idea of crafting a guitar that thrives in the studio: responsive, inspiring and sonically rich.”

Gutnik explains that “every detail” of the guitar was refined via close collaboration between Gretsch/Fender and Abbey Road Studios.

“The result is an instrument that invites players to explore new sounds while tapping directly into the lineage of recordings that defined modern music.”

“The evolution of this unique instrument has been a true collaboration between Gretsch and Abbey Road, driven by a shared desire to craft a guitar designed for mix readiness, sonic flexibility and great tone,” says Jeremy Huffelmann, General Manager of Abbey Road Studios.

“The RS 201 assignation is a testament to the technical innovation encompassed in this unique instrument, placing the Studiomatic in Abbey Road’s storied lineage of groundbreaking new technologies. It has been a joy to collaborate with our friends at Gretsch in creating the Limited Edition Abbey Road RS201 Studiomatic, and we couldn’t be more excited to hear the music it inspires in guitarists around the world.”

Aside from the onboard Rumble Filter-inspired circuitry, the RS201 Studiomatic sports a thin hollow-body build, as well as Filter’Tron pickups that are “both vintage-inspired and modern-voiced”.

Abbey Road Studios is one of the most iconic recording facilities in the world, giving its name to the classic 1969 Beatles album recorded there, as well as hundreds of classic records including Pink Floyd’s The Dark Side of the Moon (1973) and The Piper at the Gates of Dawn (1967), and the Beatles’ White Album (1968) and Sgt. Pepper’s Lonely Hearts Club Band (1967).

The Gretsch Limited Edition Abbey Road RS201 Studiomatic is priced at £1,249/€1,499.

For more information, head to Gretsch.

The post Gretsch partners with Abbey Road on RS201 Studiomatic – a recording-focused hollow-body guitar infused with Abbey Road-designed circuitry appeared first on Guitar.com | All Things Guitar.

Every guitarist has different preferences and needs. For some, the warmth of a tube amp and physical pedalboard can’t be beat. I once had a lecturer who took a deep sniff of a new pedal box – to each their own. For others, chunky gear, cables and potentially unreliable electronics can’t match the cleanliness and efficiency of a digital signal chain.

It’s by no means an absolute, and you can love both. On this occasion, I’m going to assume that if you’re reading this guide, there’s a part of you that falls into the latter camp. If you’re after a comprehensive look at amp modellers and sim pedals, be sure to read our previous guide on setting up a digital signal chain for home playing and recording. Absent from that feature was any mention of guitar plugins and the reason is simple – it’s a big subject.

If you’re already playing and/or recording guitar via a computer, feel free to jump ahead. If this is all new to you then stick around, because the next section is all about how you get your guitar and computer talking with one another.

How to play and record guitar on your computer

Connecting your guitar to your computer is relatively straightforward – it just requires a few essential components.

A fairly modern computer or laptop is essential. A decent amount of hard drive space will enable you to have multiple plugins and software ready to go. When paired with 16GB – 32GB of RAM, you’ll be able to smoothly run all software in tandem along with live playback and recording.

Next you’ll need a Digital Audio Workstation or DAW. This is the software that takes your guitar signal and allows you to record and edit it. It’s also what you’ll likely be integrating your guitar plugins into so that you can load them up quickly. Below are the most popular options, many of which come with a free timed trial or free feature-limited version:

• Logic Pro (macOS only)
• Pro Tools (Windows/macOS)
• Ableton Live (Windows/macOS)
• Cubase (Windows/macOS)
• Tracktion Waveform Free (Windows/macOS)

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Now for the crucial link – an audio interface. This is what takes the signal from your guitar to your computer and DAW. Focusrite’s Scarlett 2i2 and Audient’s iD4 are popular choices for guitarists, but we recommend researching based on your needs. Many audio interfaces will come with a ‘lite’ version of a DAW, such as Ableton Live Lite or Cubase LE, which kills two birds with one stone.

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Finally, make sure you’ve got some headphones and/or speakers. When playing and recording, any half-decent pair of headphones or speakers will do the job.

Now, before we dive into our list, there are a couple of important things to mention. Every free and paid plugin we’ve featured is compatible with both Windows and macOS. Excluding Guitar Rig 7 Player, each plugin will work in all major DAWs or as a standalone app.

For the paid guitar plugins, all of them have free trials available and they regularly go on sale, so while I may reference their affordability or premium pricing, they are discounted throughout the year.

Now that you possess everything you need to play and record guitar using your computer, let’s check out the plugins we think are worth experimenting with.

Our favourite free guitar plugins

Best for beginners: Native Instruments Guitar Rig 7 Player

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A feature-limited version of their pro version, Native Instruments’ Guitar Rig 7 Player is a fantastic starting point for free amp simulation and multi-effects. Out of the box, you’ll find two amp and cabinet sets, plus 26 creative effects and sounds.

Building your signal chain is intuitive with a drag-and-drop interface. When coupled with Native’s Intelligent Circuit Modeling (ICM), which mimics the behaviour of hardware through machine learning, Guitar Rig 7 Player does a great job of delivering realism and depth to the sounds you’re creating.

If you’re interested in trying your hand at music production, I’d recommend downloading Komplete Start – a free plugin bundle that includes Guitar Rig 7 Player along with so many other instruments, sounds and creative effects.

Best for customisation: Neural Amp Modeller

Download at neuralampmodeler.com.

Next up is Neural Amp Modeller, an open-source software that offers almost unlimited options for both digital amps and effects pedals. It’s built around the Snapshot plugin – a simple device that allows you to load in your favourite amp and effects pedal sounds, which have been captured and uploaded by the community.

You can also load IRs or Impulse Responses. These are what adds realism to the sounds as IRs capture not just the amp and cabinet sound, but the microphone placement and reverb of the space in which they were captured.

You will need to visit TONE3000 to download your chosen suite of amp and effects sounds, but otherwise, Neural Amp Modeller is an easy-to-use and endlessly customisable free guitar plugin.

Best all-rounder: IK Multimedia Amplitube 5 CS

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If you like the sound of what the Neural Amp Modeller offers, but want it pre-packaged, IK Multimedia’s Amplitube 5 CS may be for you. Much like Guitar Rig, this is a feature-limited version of the paid version, but you’re still getting a great selection.

Amplitube 5 CS comes with digital recreations of 10 stompbox models, six amplifiers, seven cabinets, four speakers, three microphones, six rack effect units and six room sounds. Many of these bits of ‘gear’ are modelled on iconic real-world equipment such as Marshall’s JCM800, Fender’s Deluxe Reverb, AKG’s 414 microphone and the Neumann U87 microphone.

Amplitube also integrates IK’s TONEX modelling software, which I’ll be talking about later in our best paid guitar plugins.

Our favourite paid guitar plugins

Best for beginners: Blackstar St. James Plugin

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Unlike the other plugins I’ll be covering, the St. James Plugin is a very lean package – recreating just the EL34 and 6L6 amps.

Featuring a super straightforward UI, pre and post-effects and CabRig, there’s a surprising amount of depth to the sounds you can create, from crisp cleans to modern metal. Mic positions can only be set on- or off-axis, but you’ll still have lots of opportunities for customisation.

In our review, Cillian Breathnach said, “The St. James still offers a lot of great guitar sounds for less than the price of a single hardware pedal. The fact that it includes two wildly different flavours of tube amp also means it’s an inherently versatile thing to have in your production toolbox, and for those who want to dip their toe into what amps can offer, it’s a pretty great initial overview.”

Best specialised plugins: Neural DSP Archetype and amp sims

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When it comes to digital amp sims, Neural DSP has cornered the market. Before the Quad Cortex, Neural began life with stellar amp sims and their acclaimed Archetype series.

To date, Archetype has recreated the classic tones of Tom Morello, Tosin Abasi, Cory Wong, Plini, Gojira and many more. From recreating an artist’s studio signal chain and effects, to capturing their visual aesthetic in the user interface, Neural’s Archetype plugins are the perfect companion for players wanting to sound like their guitar icons.

If you’re looking for more versatility, Neural has many excellent amp sims to choose from. In our review of the Mesa Boogie Mark IIC+ Suite, we said, “…if you are drawn by the convenience of a good amp plugin, but didn’t want to leave behind the experience of a real amp, this might be the best €99 you could spend.”

Best for official emulations: IK Multimedia TONEX

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IK Multimedia’s TONEX stands apart by recreating real-world gear, so if you’re keen on trying out official digital versions of Fender, Orange and Marshall amps – to name a few – this will be right up your street.

As well as playing with iconic amps, you can also capture the sounds of your own equipment. There are three tiers available ranging from €49.99 – €249.99. The ‘Max’ version opens up 1000 tones and unlimited access to user-created Tone Models via IK’s ToneNET user community. As I alluded to earlier, TONEX can be paired with Amplitube, so if you’re working with a smaller budget, you can still create a fairly robust setup.

In our review of TONEX ‘Max’, Darran Charles said, “…TONEX offers you the ability to profile your own rig, with the added bonus of a wealth of professional quality tones on offer, for a price that is vastly more affordable than the competition. Impressive stuff.”

Best value for money: Two Notes Genome

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Offering a focused set of virtual amps, cabs and pedals, Genome is both affordable and a great way to experiment without being overwhelmed.

We loved the clean and distorted sounds, not to mention the endless tweaking of the IRs. Creating your signal chain is super easy thanks to an intuitive drag-and-drop block system, and best of all, Genome has excellent third-party compatibility. This means that if you’ve been experimenting with Neural Amp Modeller, for example, you can load these amp/pedal captures into Genome and tweak them using its EQ and effects.

In our review, Cillian Breathnach gave Genome a 9/10 and said, “With a focused set of virtual amps, cabs and pedals, Genome’s streamlined approach makes it a very appealing option for an affordable ‘full signal chain’ plugin.”

Best for JHS fans: MixWave: JHS Loud Is More Good Collection

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Our final pick is a bit of an outlier in that its focus is on digital emulations of stompboxes, rather than amplifiers – though they have included one amp for good measure. The MixWave: JHS Loud Is More Good Collection may be a mouthful to say, but the package is simple: five digital JHS stompboxes and a recreation of the JHS/Milkman Loud Is More Good amplifier.

As expected, the pedals on offer here sound fantastic, with the Morning Glory and Hard Drive overdrives featuring a bonus clean blend control, which is absent on their physical counterparts. In addition to these two overdrives, there’s the Pulp ‘n’ Peel compressor, Panther Club delay and NÖTASPRING reverb. The amp sim isn’t quite as feature-rich and customisable, but is a strong pedal platform.

In our review, we said, “It’s not going to solve all your problems… but if you’re broadly happy with your existing sim setup and just fancy adding a few high-quality extras, there’s no harm in taking MixWave’s free two-week trial for a spin.”

The post Plugins baby – An essential guide to free and paid guitar plugins appeared first on Guitar.com | All Things Guitar.

One of Ace Frehley’s ‘Smoker’ Les Paul guitars, which was used during his final tour with Kiss, is being sold at auction.

Frehley used a number of Smoker guitars across his time with the band, with the first instance of him debuting the trick dating back to 1975. The model that is currently under the hammer has a sunburst finish and was used during his final Kiss shows between 1999 and 2001.

• READ MORE: “I owe not just an artistic debt to him, but a life debt to him”: Tom Morello on the genius of Ace Frehley

The auction is live now via Gotta Have Rock and Roll, and will run until 5 December. The unique axe also comes with photographs of Frehley with the guitar, as reported by Rolling Stone. Frehley originally used smoke bombs to create the effect, which he placed in the back cavity of his Les Pauls, but this later adaptation was modified to smoke from the neck pickup.

The visual stunts Kiss implemented into their shows didn’t always go smoothly, and Frehley looked back on some of their biggest mishaps earlier this year. He told MusicRadar in January that his rocket-firing guitar trick nearly once collided with bassist Gene Simmons.

“I fired one of those rockets at Gene and it almost fucking hit him,” Frehley recalled with a laugh. “It flew right by his head. It would have burned him pretty bad.”

He also mentioned the nifty smoke bomb trick: “I burned my leg real bad once back in the ‘70s, man,” he said. “A smoke bomb ignited too early inside the cavity of the guitar, and it melted the asbestos – which our fucking costumes were made from – to my thigh.”

Frehley sadly passed away back in October, and reports later revealed his cause of death as blunt trauma injuries to his head, sustained following a fall. A number of musicians came forward and shared their tributes to the Spaceman, including his former Kiss bandmates, as well as artists such as Nuno Bettencourt, Tom Morello, and John 5.

Last week (14 November), Kiss also honoured Frehley during an unmasked acoustic performance as part of their KISS Kruise: Land-Locked in Vegas three-day celebration. The striped back set marked their first live appearance together since retiring from touring in 2023, and included classics such as Beth, Hard Luck Woman, and Nothin’ to Lose.

Before the music began, Paul Stanley invited fans to raise candles as the band reflected on Frehley’s legacy: “Before we get going, we just wanted to take a moment to think about somebody who was at the foundation of this band. We’re talking about Ace. Why don’t we take a moment, a little quiet, think about him looking down on us – from [the planet] Jendell, probably – let’s have a moment for Ace. Candles up,” he said.

Head over to Gotta Have Rock and Roll to find out more about the Smoker guitar auction.

The post Ace Frehley used a guitar that produced smoke on his final tour with Kiss – and it’s headed to the auction block appeared first on Guitar.com | All Things Guitar.

$229/£219, warmaudio.com

Texas based Warm Audio have earned a reputation for quality sonic hardware – based on classic vintage designs – with a look that often scrapes painfully close to the originals. Cheeky, but we will allow it. In the case of the new Throne of Tone this means a double wide anger box bristling with no less than eight knobs, seven toggle switches, and a heavy 1990s blue on black Marshall aesthetic. Oh Lord.

• READ MORE: Chase Bliss Brothers AM review: “it could easily be the last drive pedal you ever buy”

Warm Audio Throne Of Tone – what is it?

As the name and visuals might suggest, the Throne of Tone is an amalgam of the Marshall Bluesbreaker pedal and the Analog Man King Of Tone (itself a modified Bluesbreaker at heart) – not only that but you can double up on either option or run one circuit into the other. I’ll explain.

Each half of the Throne of Tone is identical and offers volume, gain, tone and presence controls with your choice of either the Bluesbreaker or KOT voicing. This can be further tweaked with a choice of Boost, OD and Distortion textures and a High or Low gain stage. A top-mounted toggle switch allows you to swap the pedal order in your chain and there’s an internal effects loop too. Fun!

Warm Audio Throne of Tone – usability and sounds

Here’s the thing. For Warm Audio to be doing anything other than trolling classic IPs, this USA designed, Chinese made pedal had better be pretty bloody good. Time to plug in a Les Paul!

The lower gain grumble of a Marshall JTM45 combo in the hands of Eric Clapton inspired the original Bluesbreaker pedal in the 1990s, and Marshall recently rereleased the Bluesbreaker pedal. We can thank a certain John Mayer for that. Having owned an original I can confirm that this is all but identical in voice but the additional tweaks offered here are very welcome.

The KOT side of things is also extremely convincing – a little creamier and more detailed than the original Marshall unit as you’d hope.

The most interesting addition here is the presence knob, which is not available on either of the original units. And it makes a big difference – adding a slice of 500Hz-2.3kHz top end sizzle.

The gain stage elements are also very immediate and intuitive in use. In particular the high gain option takes us off into Soldano territory with corresponding pick squeal and feedback hilarity. Joyful.

Warm Audio Throne of Tone – should I buy one?

At its heart this pedal can be as simple or complex as you need it to be. If you want fuss-free low and high gain options from the same box then it has you covered. If your sonic desires lean more towards achingly precise timbral sculpture you will find that here too.

The fact that you can tweak both sides of the pedal and/or run them together makes this a very versatile and heavy hitting option. No doubt some players will still lust after an original Bluesbreaker pedal or sit on the KOT waiting list for years, and that’s fine too. But now, there’s this. And it’s very good indeed.

Warm Audio Throne of Tone – alternatives

Whether you’re talking about the Bluesbreaker or the King Of Tone, there are various options out there that don’t require a Reverb deep dive or a years-long waiting list. Marshall reissued the Bluesbreaker ($199), complete with original enclosure, a few years back and it was very good indeed. For the KOT, you’ve got options at both ends of the price spectrum – the MXR Duke Of Tone ($159) offers one half of the original and sounds impressively close. If you want another ‘enhanced’ take on the format – albeit one that’s made in partnership with the Analog Man himself – the Chase Bliss Brothers AM adds presets, an extra boost circuit and various other under-the-hood shaping options.

The post Warm Audio Throne of Tone review: “this pedal can be as simple or complex as you need it to be” appeared first on Guitar.com | All Things Guitar.

Oh, another Tube Screamer clone? We know, big surprise. But this Tube Screamer isn’t a clone; it’s an evolution – and it was redesigned from the ground up by the Tube Screamer’s original inventor, Susumu Tamura.

While Tamura has worked on replica models of his original design, with Godlyke releasing the Tamura-Mod TS808 back in 2023, the TWA Source Code is something fresh. The pedal promises to be a “next-gen 808-style” overdrive wrapped in a sparkling green shell, re-imagining the pedalboard staple for a new era.

• READ MORE: Cause & Effects: Tube Screamer season has arrived – but why do guitarists love this pedal so much?

While the first Tube Screamer originally served as competition to Boss’ OD-1, it has made an indelible mark on guitar history, and remains one of the most sought-after overdrives on the planet. Now, the TWA Source Code is set to push the original pedal into a “new dimension” of tonal clarity, enhanced headroom and sonic richness, with a reimagined design consisting of not three, but four knobs.

The pedal consists of the usual Level, Drive, and Tone knows, but there’s a brand new Bite dial to toy with. As TWA explains, the dial allows you to adjust your balance of “even-order harmonics”, to achieve a whole slew of clipping “from smooth singing leads to aggressive, cutting drive”. Essentially, it that should allow you to muster tones and saturation not unlike a high-gain tube amp.

The amp-like feel is also heightened by the Magic IC OpAmp, while the multi-transistor input buffer ensures your guitar’s natural tone remains unscathed. The pedal also has top-mounted jacks and true bypass switching, making it easy and convenient to slot into your pedalboard or take out on the road.

In terms of headroom, the TWA Source Code can be run on 9V DC supply or battery, but it can also be pushed to take 18V if you’re keen for a little something extra. There’s also an onboard +6dB boost, if you’re wanting that extra kick without impacting your guitar tone.

If you’re keen to hear what the next evolution of the Tube Screamer sounds like, the demo videos are sure to do the trick. It sounds pretty ace, if you ask us.

The TWA Source Code is available to order now for £234, with plans to start shipping in mid-November.

The post The Tube Screamer’s original inventor teams up with TWA for the next evolution of his iconic drive pedal appeared first on Guitar.com | All Things Guitar.

With Megadeth’s final record set to drop next year, fans are expecting the band to go out with a bang – but they might be taking things a step further. In a new interview, Dave Mustaine has revealed that the ideal finale would see the band blasting off into the stratosphere.

Considering the band’s 40-year career has defined the face of thrash metal – and indeed the wider metal world – Mustaine’s ambitious plot would be one last push, taking the genre to bold new heights, literally. “I hope we’ll be playing up in space,” he tells Metal Hammer. “I think that will be a really fitting climax.”

Specifically, Mustaine has his sights set on a very particular stage – the face of the Moon. “I’m not talking about on the side of a vomit comet!” he insists. “A gig on the Moon, a full Moon landing. That would be cool.”

• READ MORE: Megadeth – Ride the Lightning CONFIRMED: “I wanted to pay my respects to where my career first started,” says Dave Mustaine

Of course, Mustaine joins a long list of artists hoping to pull off the first ever performance in space. Back in 2017, Metallica’s Lars Ulrich told SiriusXM Radio that the band wanted to be the first band to pull off a zero-gravity metal gig. If Metallica were to get up there, it would be another achievement to add to their belt; in 2013, they set a world record after performing in all seven continents within one year, including Antarctica.

Muse have also voiced similar dreams of an intergalactic performance. Rather unsurprisingly, frontman Matt Bellamy was very keen on the idea in 2011: “We’ve had some discussions about playing in space,” he told The Sun [via NME]. “I’m thinking of approaching Richard Branson to see if we could do it on his spacecraft.”

“I do think it will be possible in the future and I’m sure it will happen in my lifetime,” the Muse singer concluded. “We’d love to be part of that.”

While Matt Bellamy’s words are well over a decade old, we’re only just entering an era where space gigs might actually be within our grasp. Back in September, Ed Sheeran told BBC Radio 2 that he could have been the first artist to ever perform in space. However, he turned the opportunity down.

“I was offered to go to space a while ago… and it terrified me,” he explained [via The Independent]. “I want to go to space when it’s like flying to France and 40,000 people have done it – I don’t want to be a guinea pig. It’s still dangerous.”

“It was talk about doing the first gig in space… [but] I’ve got kids!,” he said. “I’m not going to risk that for a Guinness World Record.”

Megadeth, however, aren’t as worried about the risks. With celebrities like popstar Katy Perry jetting up to space, Mustaine is pretty sure it would be safe. “I saw they sent up a bunch of celebrities into space and I thought ‘Well, if them, why not me?’, you know?” he tells Metal Hammer.

Though, rest assured – Megadeth would eventually want to return to Earth after their grand performance. In the words of Sesame Street’s Ernie, Mustaine doesn’t want to live on the Moon. “Personally, I’d never want to live on a planet away from the world we live in,” he says. “People were talking about a trip to Mars, but all I can imagine is somebody suddenly going ‘Oh! I forgot my toothbrush!’ That would be the longest flight ever!”

Set to drop in January, Megadeth’s 17th record will be their last. The album is set to feature a cover of Metallica‘s Ride the Lightning – which Mustaine co-wrote alongside James Hetfield, Lars Ulrich and Cliff Burton in the ’80s. As for what other Easter eggs it may hold, only time will tell.

The album release will also be accompanied with a huge worldwide farewell tour – though there’s no confirmation of any out-of-this-world tour stops just yet.

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The band’s retirement was announced by their usually voiceless mascot, Vic Rattlehead. “For over four decades, I’ve been chained in silence, but the end demands my voice,” he explained. “It is confirmed, the next Megadeth studio album will be the last 40 years of metal, forged in steel, ending in fire, and when the New Year rises, the global farewell tour.”

“You’ve heard the warning, now prepare yourself, cyber arm,” he added. “Stay loud, stay tuned and meet me on the front lines.”

In a statement, Mustaine told fans “don’t be mad, don’t be sad, be happy for us all”. He welcomed fans to “celebrate” what the band has achieved over the years. “We started a musical style, we started a revolution, we changed the guitar world and how it’s played, and we changed the world,” he said.

“The bands I played in have influenced the world. I love you all for it. Thank you for everything.”

Megadeth’s self-titled final album will be released on 23 January 2026. For more information, head over to the band’s official website.

The post Dave Mustaine wants Megadeth’s last show to be in space: “I think that will be a really fitting climax!” appeared first on Guitar.com | All Things Guitar.

Ad feature with Elixir 

There’s an argument to be made that no company has been more influential and important in the guitar world over the last three decades than Elixir®. That’s a big claim, but one that holds up when you look closely.

Here in 2025, coated guitar strings are everywhere. Pretty much every major brand produces its own version of the technology – though Elixir remains the only one that fully coats the entire string protecting not only the outer string surface, but also the gaps between the windings.

But the reason other brands have followed suit is because Elixir Strings were so impactful that players now expect the benefits that come from a coated guitar string – Elixir showed that our strings can last longer, can sound better, they set the standard.

Elixir created that expectation, and it remains the master of string innovation to this day. Since the company’s first strings were launched, the brand has been relentless in pushing their revolutionary technology forward all the time, responding keenly to the needs and demands of real guitar players to produce better strings for every situation.

We’ve seen this with the company’s remarkable ultra-thin NANOWEB® Technology, which kept all the great features players loved about the traditional Elixir POLYWEB® Technology, while giving a less slick but a smooth, comfortable feel.

Then came the OPTIWEB® Technology for electric strings, which gives the strings a more natural feel to ensure you’re always in control of your bends and vibrato. While the feel of the strings may differ depending on the technology, a greater playability and corrosion protection remain unchanged.

Now, the brand is ready to change the string game yet again with the launch of its brand new Elixir® Attune Strings.

Guitarists are a complex and varied bunch – if you’re reading this you probably know that your tastes and preferences differ dramatically from the other guys in your band or at your jam night. There are no right or wrong answers – just different needs, tastes and use cases.

For the last three decades, a huge number of acoustic guitar players have found their home with Elixir Strings – the feel, tone and sound of the remarkable POLYWEB and NANOWEB Technologies are transformative enough that many players simply never go back after trying their first set of Elixir Strings.

But there are others for whom the Elixir tone and feel hasn’t quite meshed in the past – there’s something about traditional strings that they just prefer. But all that might be about to change.

The new Elixir Attune Acoustic Phosphor Bronze Strings offer the long life and corrosion resistance you’d expect from Elixir, but with a new voice and improved playability that challenges what was thought possible with coated strings.

The Attune Strings offer a crisp, clear tone and natural feel that will leave you wondering if you’re even playing a coated string at all. While many players love the slinky smooth feel of a POLYWEB Technology, the Attune Strings offer a firm and more traditional grip under the fingers, so you’re fully in control of your bends and vibrato.

But that’s not all – in addition to being the brand’s most natural-feeling strings yet, they’re also its most durable. The Attune Strings are capable of dealing with the most heavy-handed picking attacks with ease, with a tone that will outlast any other string on the market.

The Attune Strings aren’t meant to replace the POLYWEB and NANOWEB Technology strings in the market – millions of players have found their home with these strings and they’ll remain a part of the line-up. Attune is about offering the magic of Elixir Strings to a broader audience of players, so more of us can enjoy the benefits of longest-lasting tone.

The Attune Strings also speak to Elixir’s commitment to R&D and improving on their technology year after year. The brand says that its internal cycle of testing, refinement and testing is so rigorous that they may go through 100 prototypes to find the one that meets their high internal performance standards.

The Attune Strings are the proof of this commitment to excellence and innovation – bringing a game-changing new tone and feel to Elixir Strings that will win over new fans with a captivating playing experience that you know will last longer than any other. It’s what Elixir has done since 1997, and Attune shows they’re showing no signs of slowing down.

Shop Attune Strings at elixirstrings.com/attune

The post Everything you need to know about the game-changing new Elixir Attune Strings appeared first on Guitar.com | All Things Guitar.

€272/£299/$329, gamechangeraudio.com

Chorus is an effect that most people use to add subtle movement to a sound, like creating pretty ripples on a still pond. The Gamechanger Audio Auto Chorus wants to transform those ripples into rogue waves so intense they pose a danger to shipping – and it’ll let you automate the whole process with your playing.

• READ MORE: Gamechanger Audio Auto Delay review – a dynamic delay that lets you wire it up how you want it

So if you like the idea of a modulation pedal that can dramatically change its behaviour depending on how hard you hit the strings or how high up the neck you play, this could be for you… that is, as long as you’re prepared for some serious tinkering.

Gamechanger Audio Auto Chorus – what is it?

Perhaps you’ve already basked in the literary magnificence of my review of Gamechanger’s Auto Delay. This is essentially the same deal but with modulation.

So it starts off as a standard stereo chorus with controls for effect level, rate, depth and feedback, plus a couple of three-way mode switches: one for wave shape (up, down or sine wave) and one for modulation type (chorus, ensemble or flanger). Stick to the bypass footswitch on the right side and that’s more or less the whole story.

However, like the Auto Delay, this pedal has a patchbay in the middle and comes with a bunch of cables to stick into it. These allow you to set up dynamic effects when the left footswitch is engaged, morphing to secondary settings (selected via the four mini-knobs) when your signal crosses a threshold of volume or pitch. And that’s where things start getting weird.

Gamechanger Audio Auto Chorus – is it easy to use?

I was going to say yes, it’s easy enough… but then I watched a demo of this pedal on a YouTube channel with tens of thousands of subscribers and the guy clearly hadn’t understood it at all. So maybe not, then. If you’re easily thrown off by complex controls, you might struggle here.

The primary controls, as mentioned above, are straightforward. The more advanced stuff is not, but it’s really just a matter of getting your head around the ‘if this then that’ principle at the heart of the Auto Series. Once that’s clicked, it’s mostly quite intuitive – aided by the twin LED strips, and six handy diagrams of suggested settings in the manual.

There’s more to explore beyond that if you want to – notably external CV and MIDI control plus, included in the box, a splitter that allows the Auto Chorus to track a clean signal even if it’s placed after a bunch of other pedals in your chain. But let’s just get to the sounds, shall we?

Gamechanger Audio Auto Chorus – what does it sound like?

There are plenty of nice traditional chorus sounds available with the depth set low, especially in stereo, and you can also get close to pure pitch vibrato with the level at maximum. Things turn a bit clangy when you flip to ensemble mode, though – and even more so when the flanger gets its whine on. Maybe some sort of tone control would have been useful here to soften the edges?

Anyway the depth, rate and feedback dials are all capable of pushing deep into unhinged territory, and that’s where the patch cables come in handy – letting you go there only under certain conditions, before jumping straight back to normality. All you have to do is set up those conditions beforehand, using the relevant controls and cables.

As with the Auto Delay, this doesn’t always work out quite as well as you might imagine it in your head; but with Gamechanger’s suggested settings as a starting point, I did come up with a handful of dynamic effects that qualified as both unique and potentially useful. A woozy chorus that only comes on when you play above (or below) a certain volume level? A flanger that morphs into a freaky ring modulator when you hit a particular note range? Something like both of the above at the same time? It’s all in here somewhere.

Gamechanger Audio Auto Chorus – should I buy it?

If you’re looking for something that sounds just like your old Boss CE-2 or EHX Small Clone, don’t go anywhere near this thing – it will bite your leg. But if you’re keen to explore just how un-mellow the sound of a chorus pedal can be, and are prepared to spend a lot of time playing around with knobs and cables to get there, the Auto Chorus might just be worth having in your armoury.

Gamechanger Audio Auto Chorus alternatives

The Beetronics Seabee ($349/£409) is about as close as any other chorus pedal comes to this level of wildness. The Death By Audio Space Bender ($270/£319) is a fruity modulation pedal with an envelope-following option; and while it’s a flanger, not a chorus, the EarthQuaker Devices Pyramids ($349/£369) has some similarly kooky tricks in its locker, facilitated by a ‘trigger’ footswitch.

The post Gamechanger Audio Auto Chorus review – do you need dynamic modulation in your life? appeared first on Guitar.com | All Things Guitar.

Black Friday 2025 is still a little over a week away, but we’re already seeing an abundance of deals cropping up at all the big music retailers and marketplaces – so you needn’t wait to give your Gear Acquisition Syndrome its latest fix.

This year’s big sales event lands on 28 November, with Cyber Monday landing on 1 December, though to stay competitive, most online retailers offer huge discounts well in advance of Black Friday, and often for the week following Cyber Monday, too.

• READ MORE: Black Friday 2025: the best early deals are already here!

Over at Reverb, we’ve spotted a number of killer pre-Black Friday guitar deals you might wanna take note of. There’s massive savings to be had on electric guitars, amps and effects pedals, so without further ado…

Charvel MJ So-Cal Style 1 HSS FR M – was $1,679, now $899

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Courtesy of Franklin Guitar Works, this Charvel MJ So-Cal Style 1 HSS FR M is now discounted by almost $800 at Reverb. This Superstrat-style electric guitar is loaded with a trio of Seymour Duncan pickups – a humbucker in the bridge position and single coils in the middle and neck position – as well as a Gotoh double-locking tremolo for those juicy divebombs. And at an original price of $1,679 that’s a humungous 47% saving, so it would be rude not to…

MXR TBM1 Tom Morello Power 50 Overdrive – nearly 70% off

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The MXR Power 50 is a signature overdrive for Rage Against the Machine guitarist Tom Morello, so you can bet your bottom dollar (which you won’t be reduced to with this killer deal) that it’ll provide all the gnarly gain flavourings you’re after. Its circuitry even uses the same MOSFET technology to recreate the preamp stages of Morello’s own amp. It’s usually priced at $199.99, but it’s now just $64.99 (a 68% saving!). Get yours now.

Squier Limited Edition Paranormal Jazzmaster XII – only $299

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Let’s face it, every guitarist needs a 12-string in their collection – those jangly natural chorus-type tones are just indispensable. And right now at Reverb, you can get this Squier Limited Edition Paranormal Jazzmaster XII in Sherwood Green at over 40% off, meaning you pay just $299 instead of $517. That’s a bargain if ever we saw one.

Electro-Harmonix JHS Pedals Lizard Queen Octave Fuzz – just $45

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Perhaps you’re looking for a stocking filler ahead of Christmas? Well, a sub-$50 effects pedal is sure to do the trick, isn’t it? This Lizard Queen Octave Fuzz from Electro-Harmonix and JHS Pedals is just $44.95, and is based on a unique transistor-based octave fuzz distortion circuit designed by JHS head honcho Josh Scott.

View all the latest deals on guitar gear at Reverb.

The post Black Friday has started early at Reverb… save hundreds on Charvel Superstrats, signature drive pedals and more! appeared first on Guitar.com | All Things Guitar.

Though best known as a Rolling Stone – he’s been a member of the British rock juggernaut since 1975, in fact – Ronnie Wood’s ventures extend well beyond music, and his passion for painting is well documented.

And to celebrate the massive milestone of 50 years with The Rolling Stones, the guitarist has revealed a series of new paintings depicting Mick Jagger, Keith Richards and late drummer Charlie Watts, as well as a new self-portrait.

• READ MORE: “I just can’t set them right”: Jared James Nichols admits he doesn’t know how to use delay pedals

Coinciding with the Stones’ reissue of Black and Blue, the band’s cult classic album which saw Ronnie Wood made a permanent member of the band – and which featured the likes of Miss You, Beast of Burden and Start It Up – the four portraits comprise the Paint It Black collection, with limited-edition prints available, each signed by Ronnie Wood with a message of the buyer’s choice.

Ronnie Wood’s passion for painting goes back further than his success as a musician; he first started painting as a child after finding his older brother’s paints and falling in love with it.

“It’s hard to believe it’s been 50 years since I joined The Rolling Stones,” says Ronnie Wood. “In these portraits I wanted to capture the spirit of Mick, Keith, me, our late friend Charlie Watts, and the live shows we’ve been lucky enough to play together. Art has defined my life, and I’ve been painting even longer than I’ve been playing music.”

“I paint to music, and sometimes when I’m playing, in my head I’m doing it to a painting. Art fills my life, art is my life, and art will continue to be my life,” he continues.

Limited-edition prints of the Paint It Black collection are available now, while the Paint It Black Series can also be viewed in person at the RedHouse Originals Gallery at 15 Cheltenham Mount, Harrogate, HG1 1DW.

For more info, head to the official Ronnie Wood shop.

The post Ronnie Wood celebrates 50 years as a Rolling Stone with new paintings of bandmates Mick Jagger, Keith Richards and Charlie Watts appeared first on Guitar.com | All Things Guitar.

In the heat of a performance, even the greatest guitarists can stumble – and Eddie Van Halen was no exception. The Van Halen legend relied on a solid rhythm section to keep him in check; without the backbone of his brother Alex’s drumming, and later his son Wolfgang’s bass lines, the show might have unravelled into chaos.

When a 16-year-old Wolfgang Van Halen first joined the Van Halen ranks in 2006, there was a lot of pressure – but he knew his role was vital. Fully aware that the “big hits were about the groove”, Wolfgang knew that creating a “great rhythmic base” was integral. “I had to keep dad in check whenever he made a mistake,” he tells Guitarist.

• READ MORE: The best effect pedals for all styles and budgets

While Wolfgang stepped up to replace Michael Anthony on bass, his first love was drumming. In his own words, this h given him an innate sense of rhythm. “Being a drummer first helped, because I could understand what was needed,” he explains.

Even when more complex tracks were thrown into the mix, like 1981 B-side Dirty Movies, Wolfgang knew how to keep everyone in check. “Michael Anthony was doing these interesting harmonies for that intro… [it was] really experimental,” he says. “Dirty Movies was one of those tracks where I had to… check myself every time in order to ensure I didn’t mess it up.”

Ever since joining the Van Halen ranks, Wolfgang knew was committed to the rhythm. Even in a 2008 interview with Guitar World he explains his role: “I just like to be there to groove and keep the song going.”

And his father was more than happy to follow the groove of his teenage son. “Every now and then when we’re onstage playing, I’ll look at him and go, ‘God, that’s my son,’” Eddie smiled. “He’s only 16, but he’s not ‘16’. He’s an equal. Age doesn’t matter.”

While his Van Halen days are long behind him, Wolfgang has committed his sense of rhythm and multi-instrumental talents to carve out his own sound. Mammoth’s latest record, The End, is proof of that.

Speaking about the album’s title track, Wolfgang explains how his musical adaptability helped carve out its sound; the foundational groove began as a slap bass part, but Wolfgang translated it over to guitar. “I was showing [producer Michael Baskette] this idea but only had a guitar,” he tells Guitarist. “I asked him to imagine it on bass, and he told me it sounded cool on guitar.”

The End is out now.

The post “I had to keep dad in check whenever he made a mistake”: Wolfgang Van Halen on his role in Van Halen appeared first on Guitar.com | All Things Guitar.