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“I thought he’d look at me like, ‘Who the hell are you?’”: Why Warren Haynes “froze” and missed out on performing with BB King
Would you have the guts to jam with the one and only BB King? If you find the concept intimidating, you’re not alone; despite being an accomplished guitarist, Warren Haynes once “froze” when the blues legend invited him up on stage.
While Haynes has since worked up the nerves to perform alongside BB King, he was first presented with an opportunity to join King on stage back in the early ‘90s. After joining The Allman Brothers Band in 1989 for their reunion, the band would support King on tour in 1993. “We played with him in Texas,” Haynes tells Guitarist. “During the show, BB invited Gregg [Allman] to sit in [on organ].”
That’s when King shared an open invite to the rest of his musical peers backstage. “He asked, ‘Anyone else want to join me?’” Haynes recalls.
Considering Haynes hadn’t been properly introduced to the headline star, he felt like it wasn’t his place to waltz out on stage. “More than anything, I wanted to go… but I’d never met BB,” he continues. “I thought he’d look at me like, ‘Who the hell are you?’ So I just froze.”
Since he’d not been able to officially break the ice and chat to BB casually, Haynes still felt like a bit of a fanboy. The idea of going up on stage and performing with his icon was overwhelming. “I saw BB for the first time aged 19,” Haynes explains. “He gave me a guitar pick that I carried in my pants pocket for years until it eventually got lost.”
It’s not the first time Haynes has recounted the tale of his fanboy fears. In a 2012 interview with Classic Rock, the guitarist explained how the experience taught him a valuable lesson. “It taught to not be so shy and take advantage of opportunities when they come,” he said. “I had the opportunity several times to meet Stevie Ray Vaughan, but I didn’t want to bother him. I always thought I would meet him the next time. And, of course, there was no next time.”
That’s why, years later, Haynes took full advantage of the opportunity to perform with King. “It was years later that I finally got another opportunity to play with BB,” he tells Guitarist. “And I have to say that was an extremely proud moment.”
Haynes has recently worked alongside Joe Bonamassa on his BB King’s Blues Summit 100 tribute album, featuring on the track How Blue Can You Get. The record was released to mark what would have been King’s 100th year of life, as well as celebrating his musical legacy.
The post “I thought he’d look at me like, ‘Who the hell are you?’”: Why Warren Haynes “froze” and missed out on performing with BB King appeared first on Guitar.com | All Things Guitar.
Zakk Wylde Breaks Down Riffs, Gear, and Heavy Guitar Lineage
First things first. In case you’ve ever wondered, Zakk Wylde… hard case or gig bag? The answer is, “Neither, motherf—ers, I carry my guitar around sub-freezing New York City in proper Bezerker fashion, like a norse, warrior’s cudgel, exposed to the elements and ready for combat.” This is only one of the many questions that are answered when the Black Label Society, Zakk Sabbath, Pantera, and of course, Ozzy Osbourne guitarist visits the Axe Lords keep for some tough talk and hand-to hand-tomfoolery.
And while he’s ostensibly doing the rounds to promote Black Label Society’s forthcoming Engines of Demolition album, this is conversation that is delightfully far reaching: First guitars and why not to sell them, the meaning of the mysterious rune fretboard inlays on his Wylde Audio guitars, why Tony Iommi is the Henry Ford of hard rock, and how Ozzy Osbourne liked his ham sandwiches prepared. It’s a season-closer that feels like a hang—equal parts reverent, ridiculous, and obsessively specific.
Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas (Revoice Media). Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.
Follow Zakk @zakkwyldebls
Follow @axelordspod for news, updates, and cool stuff!
Behringer launches the Ring Stinger, a recreation of Lovetone’s classic boutique ring mod/fuzz pedal
Behringer has unveiled the Ring Stinger – a clone of the classic ‘90s fuzz/ring mod guitar pedal of the same name from boutique analogue pedal maker Lovetone.
Designed to offer a “world of sound sculpting carnage”, Behringer’s new Ring Stinger serves up guitarists – as well as synth players, bassists and other instrumentalists – classic ring modulation for metallic experimental sounds alongside a built-in fuzz circuit.
Alongside those core elements, the Ring Stinger also features a built-in pitch shifter, expression pedal compatibility for additional foot control, a low-frequency oscillator, for adding extra life to your tone via rhythmic pulses, a filter section for shaping your tone as you see fit, a range of waveforms, and a mix control for blending your wet and dry signal.
There’s also a voltage-controlled oscillator (VCO), plus true bypass for the total preservation of your signal when the unit is switched off. Multiple parameters are assignable to an expression pedal too, so you choose what an external pedal controls.
In terms of connectivity, the Behringer Ring Stinger has a DC power input plus a main mono output, expression pedal inputs for LFO depth and VCO, carrier in, VCO out and a main input jack.
“Guitarists, synth players, bassists, harpists, electric violinists and everything in between. You’re all welcome here!” says Behringer. “No matter what you’re looking to sonically tear apart and reinvent, Ring Stinger will welcome you with open arms.
“In fact the more creative the input source the better! Explore an entirely new soundscape for your instrument with a pedal previously reserved for boutique collectors.”
Credit: Behringer
No pricing info is available on the Behringer website, but we’re seeing the Ring Stinger on numerous retailer sites, like at Thomann, priced between £80 and £99.
This isn’t the first time Behringer has produced a Lovetone clone; in December, the company unveiled its take on Lovetone’s Meatball analogue envelope filter pedal.
Learn more about the Ring Stinger at Behringer.
The post Behringer launches the Ring Stinger, a recreation of Lovetone’s classic boutique ring mod/fuzz pedal appeared first on Guitar.com | All Things Guitar.
Manson and Matt Bellamy have faithfully recreated the crazy guitar from Muse’s Time Is Running Out video
[Editor’s Note: Meng Ru Kuok, Founder & CEO of Caldecott Music Group is a part owner of Manson Guitar Works. Guitar.com is part of Caldecott Music Group]
To perform intergalactic riffs, you’ll need an out-of-this-world guitar. And Matt Bellamy has you covered. The Muse frontman’s new Manson Signature Black Edition is his magnum opus, packed with every gadget you’d ever need for the perfect sci-fi axe.
Eagle-eyed fans might find the Manson Black Edition series familiar. And that’s because it’s a faithful recreation of one of Bellamy’s most eccentric guitars; back in 2003, the guitar made its debut in Muse’s Time Is Running Out video, boasting a body rammed with unique effects knobs and switches. Now, fans can get the guitar for themselves.
First up, the Black Edition OR (Origin Reissue) Relic comes as a totally accurate replication of Bellamy’s original matt black mahogany axe. Brainstormed over three years, the guitar has the same ‘worn-in’ look, complete with glued joint ‘repairs’, scrapes and scratches. It even has all the same components of the original guitar, which Manson says proved quite a challenge considering it’s been 23 years since the birth of Bellamy’s original creation.
As a result, the Black Edition series offers the same MIDI-controlled killswitch effects and slew of futuristic sounds in the form of the Z-Vex Fuzz Factory and theramin-style Wah Probe. There’s also Sustainer Intensity controls as well as a Sustainer three-way Mode Toggle, a pickup selector, and Comp and Stab controls.
On the back, there’s more – you can flick your LEDs on or off, as well as trim pots RF and LED Wah Probe trim pots, Ron Joyce Sub Board trim pot system, and volume controls for your Wah Probe and Fuzz Factory drive.
As a result, the OR Relic is the most exclusive release of the series. It’s limited to just nine guitars, and it’s set to cost £29,999. To make sure it gets to you with no extra dings, it also comes in a specially designed Protechnic flightcase.
Every OR guitar has also been personally road-tested and approved by Bellamy, with the Muse frontman having a go on each unique guitar before signing the back of its headstock. The strings Bellamy used will also come in a sealed bag with your guitar, together with a copper laser-etched certificate and some limited edition picks.
For those who can’t nab one of the ultra-scarce OR Relic models, there are also two New Era Black Edition models. The axes come as more modern interpretations of the original guitar, utilising newer, less rare components, as well as coming in both marked and squeaky-clean versions.
In terms of the components, the guitars still offer a slew of unique features. In terms of its integrated systems, there’s a Sustainiac Sustainer, Z-Vex Fuzz Factory, Manson/Ron Joyce FL Wah, and a MIDI Strip controller. Alongside volume and tonal controls, there’s a MIDI Rotary Program Potentiometer, Sustainiac Drive and a three-way Sustainic Mode Toggle, as well as a pickup selector. There’s also Fuzz Factory controls, as well as Comp and Stab controls.
However, the New Era editions are still pretty limited – after all, this is an all-in-one performance multi-tool, offering the “ultimate self-contained” instrument for the stage. For that reason, the New Era guitars are limited to just 25 pieces between them, costing £11,999 for an unmarked edition and £12,999 for a relic edition.
The New Era guitars ship in a Manson/Hiscox II case, as well as coming with a limited-edition strap and a hand-signed certificate by Bellamy and Manson’s Head of Production Tim Stark.
Whether you’re carving out rich art-rock words or fine-tuning your proggy licks, the Black Edition series is up to the task. Nicknamed the “Gadget Guitar”, Bellamy has explained that the Black Edition series is his definitive creation with Manson.
“If I could only have one guitar in the world, the Black Edition would be it,” he explains.
To date, Bellamy’s live rig and personal axe collection is rammed with Manson guitars. His first signature collaboration came back in 2001, where he conjured up his signature Mattocaster/MB shape to capture the feel of a Fender Telecaster with the sound of a Gibson Les Paul.
“Fundamentally, the way a guitar feels is so important,” he told us back in 2020. “When I was younger and I picked up a Strat or a Gibson or something like that, it would always send me down a certain way of playing, which I felt was less original than when playing my own design.”
“[When designing a guitar], I want to come up with a guitar that leads me down a path of 21st-century music rather than going backwards with a retro feel,” he added. “That’s always been the challenge with the guitar in the modern era of music.”
Learn more at Manson Guitar Works.
The post Manson and Matt Bellamy have faithfully recreated the crazy guitar from Muse’s Time Is Running Out video appeared first on Guitar.com | All Things Guitar.
Each guitar in Eastman’s new Kauffmann Series – created in partnership with Dutch builder Albert Kauffmann – is totally unique
Eastman has partnered with Dutch builder and master finisher Albert Kauffmann on its new Kauffmann Series, a line of guitars – each totally unique – across three body styles and four distinct aging levels.
Each guitar in the Kauffmann Series is powered by Lollar pickups, and sports Eastman’s innovative FullerTone neck system. This system, designed by Eastman head of design Otto D’Ambrosio, utilises a two-bolt neck joint to maximise neck-to-body contact and provide greater tone, sustain and stability.
Kauffmann Series guitars come in three body styles – with single-cut and double-cut options available, plus an offset – with each available in three distinct pickup configurations: Vintage, Classic and Deluxe, with Lollar Lollartron, Goldfoil, Soap Bar P90, Vintage Blonde, Royal T, and Special Sixty-Four pickups available across the board.
Meanwhile, each guitar sports a roasted pine body with a roasted maple neck, and has been given Albert Kauffmann’s signature “time travel” treatment, which essentially means four different levels of relicing: Light, Medium, Heavy or Extreme. Eastman says via this aging process, no two guitars in the Kauffmann Series are alike.
Credit: Eastman
Eastman draws parallels between Albert Kauffmann and the Dutch masters of light and shadow like Rembrandt van Rijn and Johannes Vermeer.
“Albert is a Dutch master in his own right,” the brand says. “Many works of art have left his workshop, each bearing his signature touch.
“It seems the Dutch truly have an eye for colour and light, and Albert brings that heritage to every guitar he creates. As an accomplished guitarist himself, Albert sets the benchmark: playability and tone above all else.”
Via this aging process, Kauffmann Series guitars are “built to feel instantly familiar – like an instrument you’ve trusted for years”.
The launch of the Kauffmann Series follows the FullerTone Offset, Eastman’s most player-centric electric yet, unveiled last month.
You can learn more about the Kauffmann Series at Eastman.
The post Each guitar in Eastman’s new Kauffmann Series – created in partnership with Dutch builder Albert Kauffmann – is totally unique appeared first on Guitar.com | All Things Guitar.
Five tips for your next guitar recording session – how to sound better on record
Recording can be a stressful affair, we all know that. Months, sometimes years of writing, producing, refining and editing your songs culminate in a couple of days (if you’re lucky and have the budget!) staring at the omnipresent red light, a metronome most likely ticking away.
Most anxiety inducing of all, is that sometimes despite your best efforts, you need to adapt, think, play and perform under unfamiliar circumstances, so you’ll need to be rehearsed enough to think and change on the fly. Being practiced and rehearsed should be a given, and while it’s not included in the five tips we’re exploring, that’s the best thing you can do to get the best out of yourself, as obvious as that seems. Practice aside, it can be really beneficial to…
1 Set up your guitar!
The microscopic nature of recording can exaggerate problems that weren’t so obvious in a noisy jam room. A couple of mics placed a few inches from your guitar amp will have you hearing things more clearly than you ever have before, so issues like fretbuzz, intonation, tuning and the other rattles that guitars impart will be, quite literally, amplified.
A professional setup will pay dividends as trying to perform around intonation and tuning issues is like adding hurdles to a marathon. If you’re having tuning stability issues, you can bet your bottom dollar that they’ll be at their worst during your best take, so get them sorted before the recording. Fresh strings are great, but a brand new set will take a little while to settle, so be prepared to tune between every take, or give them a day to wear in.
Tiny rattles from screws, bridge pieces, tremolo arms and loose components can also wreak havoc on an otherwise perfect take, so tightening, fixing and securing all those moving parts is a great step towards success as well!
2 Have various tools, tricks and options
With your guitar playing in tip top shape, your parts well rehearsed, there’s a handful of odd little tips and tricks to push your recording to the next level. Tonality, feel and timbre of your recording can elevate it sonically or push it further than with just good playing.
For this reason, a handful of different plectrums can be great to subtly change the sound, as can various types of strings (as long as you’re prepared to set-up on the fly). Things like foam and tape to stop rattles, a tool to mute strings (a sock or hair tie works well, but there’s commercial options available), or various pieces of foam and rubber to help mute tremolo springs, ring-y tailpieces and the like can help you ready to perform your best. High quality microphones will pick up every nuance of your guitar, and trying to ‘fix’ or EQ these out in the mixing stage will be at the detriment of your tone.
3 Bring extra leads, cables, isolated power and be ready to pull your pedalboard apart
You might have your sounds and tone sorted at home, but once you’re at the studio playing in a different acoustic space, you might want or need to change things up. Common tools for live performance like noise gates, EQs, effects loops and more can suck tone, and while it’s practical for live performance, you can afford to lose them in the studio in the pursuit of an extra 5-10 per cent of sonic bliss!
For this reason, be ready to pull your pedalboard apart to get down to the crux of what’s necessary. Less is more, and each patch cable and pedal is sucking a little life from your guitar before it reaches your amp. If they’re not being used, get ‘em out of there!
On the subject of pedals, isolated power supplies are a great idea for the studio because of how they handle hum, something that is greatly exacerbated once you begin to add gain, let alone EQ and compression in a mix. A worthwhile investment, isolated power supplies can power multiple pedals, all the while isolating the pedal’s power from each other for a quieter result.
4 Know your songs, and know how you like to record them
Now that you’re sonically sorted, we’ve got some more holistic approaches to a great recording. Notes, timing and performance are important to practice, but it’s equally important to know your song and arrangement inside out and back to front. You might need to drop in from multiple points in a song, and going straight into the verse instead of the intro can feel very odd. Your engineer or producer might have questions about timing, metering and arrangement that you’ll need to confirm on the fly. For example, you might need to record scratch and guide guitars for your drummer, so you’ll need to be ready to play the song back to front with just a click track bleeping in your face, without the vocals guiding the amount of repeats, the drummer feeling it out, or the bass player bopping along.
On top of knowing the music itself, it’s important to understand how you like to record. Do you play better with headphones, isolated from the outside world? Maybe you need to stand in front of your amp, the speakers pumping at you and allowing you to use feedback creatively, or maybe you need to sit? Stand? The choice is yours, but only if you know what makes you play your best!
5 Have an open mind
Finally, it’s really important to have an open mind in the studio. While it’s essential to have a vision in mind for how the resulting recording will sound, stubbornness can sometimes push and pull the entire session to a halt if it’s not exactly as you’d imagined.
A lot of the time we’re more concerned with what something isn’t, rather than what it is. Just because a recording isn’t precisely as we’d envisioned, that doesn’t mean it’s bad. That’s not to say you should let go of the reins and allow the producer and engineer to make the songs their own, but a little flexibility can make for a better result overall, and that’s what all of these tips will help you do!
The post Five tips for your next guitar recording session – how to sound better on record appeared first on Guitar.com | All Things Guitar.
One-Chord Vamps and the Truth
Improvising over one chord for long stretches of time can be a musician's best friend or worst nightmare. With no harmonic variation, we are left to generate interest through our lines, phrasing, and creativity. When I started learning to improvise, a minor 7 chord and a Dorian mode were the only sounds that I wanted to hear at the time. I found it tremendously helpful to have the harmony stay in one spot while I mined for new ideas to play. Playing over a static chord was crucial in developing my sense of time and phrasing.
The following is the first improvisational device I ever came across. I want to say I got it from a Frank Gambale book. The idea is that there are three minor pentatonic scales "hiding" in any given major scale. If we're in the key of C (C–D–E–F–G–A–B) we can pluck out the D, E, and A minor pentatonic scales. If we frame them over a Dm7 chord, they give us different five-note combinations of the D Dorian mode. In short, we are building minor pentatonic scales off the 2, 3, and 6 of the C major scale.
Viewing this through the lens of D minor (a sibling of C major and the tonal center for this lesson), D minor pentatonic gives us the 1–b3–4–5–b7, E minor pentatonic gives us 2–4–5–6–1, and A minor pentatonic gives us 5–b7–1–2–4. This means you can use your favorite pentatonic licks in three different locations and there are three different sounds we can tap into from the same structure.
If you smashed all of them together, you would get the D Dorian scale (D–E–F–G–A–B–C) with notes in common between the D, E, and A minor pentatonic scales. Ex. 1 uses all three scales, so you can hear the different colors each one creates over the chord.
Ex. 1
Ex. 2 is how I improvise with them, usually weaving in and out using different positional shapes.
Ex. 2
The next idea is one I stole from a guitarist who often came into a music store I worked at. On the surface, it's very easy: Just take two triads (in our example it will be Dm and C) and ping-pong between them. The D minor triad (D–F–A) gives us 1–b3–5, which is very much rooted in the chord, and the C major triad (C–E–G) gives us the b7–9–4, which is much floatier. Also, if you smash these two triads together, you get 1–2–b3–4–5–b7, which is a minor pentatonic scale with an added 2 (or 9). Eric Johnson uses this sound all the time. Ex. 3 is the lick I stole years ago.
Ex. 3
Ex. 4 is how I would improvise with this concept. Many different fingerings work with these, so experiment until you find a layout that's comfortable for your own playing.
Ex. 4
If two triads work, why not seven? This next approach will take all the triads in the key of C (C–Dm–Em–F–G–Am–Bdim) and use them over a Dm7 chord (Ex. 5). Each triad highlights different three-note combinations from the Dorian scale, and all of them sound different. Triads are clear structures that sound strong to our ears, and they can generate nice linear interest when played over one chord. Once again, all of this is 100% inside the scale. Ex. 5 is how each triad sounds over the track, and Ex. 6 is my attempt to improvise with them.
Ex. 5
Ex. 6
If we could find all these possibilities with triads, it's logical to make the structure a little bigger and take a similar approach with 7 chords, or in this case, arpeggios. Naturally, all the diatonic chords will work, but I'll limit this next idea to just Dm7, Fmaj7, Am7, and Cmaj7. I love this approach because as you move further away from the Dm7 shape, each new structure takes out a chord tone and replaces it with an extension. I notice that I usually come up with different lines when I'm thinking about different chord shapes, and this approach is a decent way to facilitate that. Ex. 7 is a good way to get these under your fingers. Just ascend one shape, shift into the next shape on the highest string, then descend and shift to the next on the lowest string.
Ex. 7
Ex. 8 is my improvisation using all four shapes and sounds, but I lean pretty heavily on the Am7.
Ex. 8
This last concept has kept me busy on the fretboard for the last five years or so. Check it out: You can take any idea that works over Dm7 and move the other diatonic chords. The result is six variations of your original lick. In Ex. 9 I play a line that is 4–1–b3–5 over Dm7 and then walk it through the other chords in the key. These notes are still in the key of C, but it sounds drastically different from playing a scale.
Ex. 9
In Ex. 10, I try to think about the shapes from the previous example, but I break up the note order in a random but fun way. The ending line is random but felt good, so I left it in.
Ex. 10
While all these concepts have been presented over a minor chord, you can just as easily apply them to any chord quality, and they work just as well in harmonic or melodic minor. Rewarding sounds are available right inside the harmony, and I am still discovering new ideas through these concepts after many years.
Though the above ideas won't necessarily be appropriate for every style or situation, they will work in quite a few. Developing any approach to the point that it becomes a natural extension of your playing takes considerable work and patience, so just enjoy the process, experiment, and let your ear guide you to the sounds you like. Even over just one chord, there is always something new to find.
Behringer Revives The Lovetone Ring Stinger
Faith Guitars Introduces Updated FX Series Acoustics
Faith Guitars has launched their updated FX Series of guitars with two new handmade, all-solid-wood electric-acoustic models offering striking exotic tonewoods, enhanced playing comfort, and upgraded cosmetic detailing.
Originally conceived as an exploration of exotic wood colouration techniques, the Faith FX Series has become known for visually remarkable, tonally rich instruments crafted from Solid Figured Javanese Mango. The two newly updated FX models – the FX Dark Natural Gold and FX Moondust Grey – retain their all-solid Mango construction, ebony fittings, and ‘Neptune’ Baby-Jumbo Cutaway design, while introducing significant new features designed to enhance player comfort and visual appeal.
Each updated FX model now features a beautifully sculpted Figured Maple ergonomic forearm contour, introduced to maximise long-playing comfort both on stage and at home. This new contour is paired with upgraded Figured Maple binding and a matching Figured Maple soundhole rosette.
• Faith FX Neptune Cutaway Electro Dark Natural Gold [FNCEDNG]: Finished in a warm, deep golden-brown transparent stain that highlights the natural grain complexity of the figured Mango, ensuring each guitar remains a unique piece.
• Faith FX Neptune Cutaway Electro Moondust Grey [FNCEMD]: A dramatic onyx-black, grey-washed finish that allows the Mango figuring to shine through with subtle depth and dimension.
FX Exotic Series | 2026 | Faith Guitars
Here's the newly upgraded Faith FX Series! New for 2026, a beautiful, Figured Maple ergonomic forearm contour has been introduced to the guitar body to maxim...
Both FX models feature:
– Solid Figured Javanese Mango top, back & sides
– Indonesian Ebony fingerboard & bridge
– Grover Rotomatic machineheads with Ebony buttons
– Graphtech TUSQ nut & saddle
Faith FX models come equipped with the Fishman INK3 preamp system, offering 3-band EQ, an onboard tuner, and a low-profile design paired with a Fishman Sonicore undersaddle pickup. This ensures the FX Series delivers the same tonal richness and clarity amplified as it does acoustically.
The Faith FX models each carry a $1,569 street price. For more information visit faithguitars.com.
How To Jam On Guitar With Others – A Confidence Guide
I won’t lie to you, I got a little carried away today and it’s a long one…
You can have your guitar in your hands if you want, but honestly there’s more here about what to expect and how to approach a jam, and not nearly as much about “play like this.”
So I’d suggest you grab a beverage (depends on the time of day as to which kind) and turn off the phone for the next 40 minutes or so.
If you are new to jam sessions and jamming, in general, this will help you immensely. And if you have been through this process, you’ll find yourself nodding along repeatedly :
Dig this:
Elixir Unveils Attune Strings — A New Era of Acoustic Guitar Tone and Feel
Elixir®, the brand that revolutionized the industry with breakthroughs in extended tone life and enhanced playability, announces the arrival of Elixir® Attune™, the next generation of acoustic guitar strings designed to give new voice to your guitar.
Building on decades of innovation, Elixir Attune Strings deliver a crisp, clear sound, an incredibly natural feel, and the longest-lasting tone of any string today. The secret lies in a groundbreaking new technology—engineered to be almost unnoticeable to the touch yet unmistakable to the ear. It’s a difference you can barely feel but clearly hear.
“Players experience a full voice for their guitars, many for the first time. Their instruments spring to life with the new Elixir Attune Strings,” said Justin Fogleman, Business Leader for Elixir, a W. L. Gore & Associates business. “Some players assume that a coated string is destined to sound mellow or dark and have an especially plastic-like feel. Over the years, Elixir has pushed that perception providing strings that deliver a range of playing experiences from warm with a slick feel to bright with a smooth touch —all with the added benefit of long tone life. Attune goes even further delivering our most uncoated coated string yet. Now acoustic players regardless of playing style have an incredibly durable, long tone life string without compromising tone and feel.”
Elixir Attune Strings: Key Benefits
- Crisp & Clear Tone
- Natural Feel
- Firm grip that puts players in control of bends and vibrato
- Exceptionally durable construction, engineered to withstand even the most aggressive playing styles
- The longest-lasting tone of any guitar string on the market today
A Contemporary Brand
“Elixir Attune Strings debut in a new gold-foil package that commands attention--- distinctive, modern and unmistakably Elixir,” said Bill Fabiszewski, Global Marketing Leader for Elixir. “The sharpened logo system, dynamic soundwave architecture, and high-tech typography suite build on the brand evolution we reignited last year and align with what today’s players expect from an authentic category leader.”
For Elixir technological leadership isn’t a moment—it’s a mindset. The company’s R&D team is constantly testing, refining, and retesting prototypes, often evaluating more than 100 variations before approving a candidate for further development.
That relentless pursuit of performance is what brought Attune Strings to life.
With its lively, crisp sound profile and naturally intuitive feel, Attune introduces a new tone and feel option within Elixir Strings acoustic lineup. It’s not just another string—it’s a new creative tool. One that inspires players to explore deeper, play longer, and get lost in the music with the renowned tone life of Elixir Strings.
Availability
Elixir Attune Strings are available currently in Phosphor Bronze Extra Light (10-47), Custom Light (11-52), Light (12-53), and Medium (13-56) gauge sets.
Elixir Attune — Feel the difference. Hear the revolution.
Gibson Marks 100 Years with the Return of the Original Collection
This year marks a milestone in music history as Gibson celebrates 100 years of crafting its world-famous flat-top acoustic guitars. From front porches to festival stages, from early folk pioneers to boundary-pushing modern artists, Gibson acoustics have shaped the sound of generations. To honor a century of craftsmanship and innovation, Gibson proudly unveils the latest chapter in its storied acoustic legacy with the return of the Original Collection, featuring the SJ-200 60s Original, LG-2 50s Original, and the J-160E Original. Each model captures the timeless character, unmistakable tone, and handcrafted excellence that have defined Gibson flat-tops since 1926. The Gibson Original Collection is available worldwide at authorized Gibson dealers, at Gibson Garage locations, and on Gibson.com.
Gibson’s tradition of acoustic mastery began with instruments that quickly became the bedrock of American music. Over the decades, these guitars became inseparable from cultural moments and the artists who defined them. From the introspective songwriters of the 1940s to the global icons of the 1960s and 1970s, Gibson flat-tops have been heard on countless historic records and carried on countless shoulders. Today, they continue to resonate with players seeking unmatched expression, enduring quality, and the authentic voice of a century old craft tops have been heard on countless historic records and carried on countless shoulders.
Gibson Original Collection featuring the LG-2 50s, SJ-200 60s, and the J-160E.
At the forefront of this anniversary celebration is the SJ-200 60s Original, a tribute to the era that cemented the guitar’s status as the “King of the Flat-Tops.” First introduced in 1937 and immortalized by artists such as Pete Townshend, Bob Dylan, George Harrison, and Jimmy Page, the SJ-200 became synonymous with power, presence, and unmistakable style. The new 60s SJ-200 Original honors that heritage with a AAA figured maple body, a solid AAA Sitka spruce top, vintage correct 1960s nitrocellulose lacquer, and the iconic no-border pickguard. Every detail—from the graduated mother-of-pearl crown inlays to the rosewood Moustache™ bridge—evokes the golden age of acoustic design while offering the reliability and performance needed by today’s artists.
Gibson Original Collection SJ-200 60s in Vintage Sunburst and Heritage Cherry Sunburst.
Gibson also revisits one of its most beloved small body acoustics with the LG-2 50s Original. First launched in 1942, the LG-2 quickly became a favorite for its balanced voice, compact size, and surprising projection. The new 50s Original revives this classic with era accurate character and craftsmanship, pairing a solid Sitka spruce top with scalloped X-bracing and solid mahogany back and sides. Its comfortable Rounded neck profile, rosewood fretboard, and vintage inspired aesthetic details recapture the charm of the 1950s models that remain highly sought after by collectors and players alike. The guitar’s intimate size and warm, articulate voice make it an ideal companion for songwriting, recording, or everyday playing, while the L.R. Baggs™ VTC pickup ensures it’s ready for any stage.
Gibson Original Collection LG-2 50s in Vintage Sunburst and Antique Natural.
Rounding out the Original Collection is the return of the iconic J-160E Original, a guitar forever linked to the early days of The Beatles and the electrifying shift of youth culture in the 1960s. Introduced in 1954 as one of Gibson’s earliest acoustic electric hybrids, the J-160E blended acoustic tradition with electric innovation. The new J-160E Original retains the guitar’s unmistakable character while elevating it for modern musicians. A solid Sitka spruce top with scalloped X-bracing replaces the laminated top of earlier models, delivering richer acoustic resonance, while the P90 DC pickup offers the classic tone with none of the hum. With its SlimTaper™ neck, trapezoid inlays, gold Top Hat knobs, and belly-up rosewood bridge, the J-160E Original preserves everything players have always loved while offering enhanced performance for contemporary music-making.
Gibson Original Collection J-160E in Vintage Sunburst.
All three Original Collection models are handcrafted in Bozeman, Montana, where Gibson’s team of world class luthiers continues the tradition of meticulous acoustic craftsmanship begun a century ago. From the careful selection of tonewoods to the hand applied finishes and precision shaped necks, each instrument carries forward the legacy of Gibson’s pioneering designs and the artists who made them iconic.
This year, Gibson invites players everywhere to celebrate 100 years of flat‑top excellence. Whether rediscovering a beloved classic, discovering a new favorite, or simply appreciating the soundtracks these instruments have defined, the Original Collection honors the past while inspiring the next century of music. With the SJ‑200 60s Original, LG‑2 50s Original, and J‑160E Original, the Golden Era of acoustics returns—ready to be played, cherished, and passed on for generations to come.
Martin celebrates 100 years of the Grand Ole Opry with stunning limited-edition guitar commemorating country’s most iconic show
Martin has partnered with the Grand Ole Opry and vintage guitar expert George Gruhn on a limited-edition acoustic guitar celebrating the 100th anniversary of country music staple The Grand Ole Opry.
Initially a one-of-a-kind guitar introduced to the public for the first time and played by Opry member Vince Gill on the Grand Ole Opry’s 100th Anniversary show on November 28, 2025, the guitar now gets a limited production run, with 650 instruments available.
Designed to honour a “century of music, storytelling and unforgettable moments on country’s most iconic stage”, the guitar is built on Martin’s HD-28 foundation, with a Sitka spruce top, East Indian rosewood back and sides and forward-shifted scalloped X-bracing delivering “bold, balanced” Dreadnought tone with “powerful bass, clear trebles and rich overtones.
Specs also include a bold herringbone top trim and antique white binding, as well as a Golden Era Modified Low Oval neck, 20-fret ebony fingerboard and 25.4” scale length.
Credit: Martin
But the allure really lies in the ornate visual appointments, which celebrate 100 years of country music’s most iconic show. They include a stunning custom mother-of-pearl/abalone headplate inlay of the Opry’s historic WSM microphone, as well as a matching commemorative inlay theme across the fretboard.
Further specs include a compensated bone saddle, Grover Nickel Open Gear V97 tuning machines, and a faux tortoise pickguard.
Credit: Martin
Founded in Nashville in 1925, the Grand Ole Opry remains the longest-running live broadcast show in the world, boasting a membership comprising country’s most emblematic artists, while also regularly showcasing new and emerging country talent.
The Opry’s diverse member roster currently includes legends like Dolly Parton and Garth Brooks, as well as more contemporary artists including Luke Combs, Carrie Underwood and Jelly Roll.
Side note: you can watch the heartwarming moment Jelly Roll was notified of his induction into the Grand Ole Opry last year during an appearance on the Joe Rogan Experience below:
The HD-28 Grand Ole Opry 100th Anniversary guitar is described as a “playable piece of history made for those who keep the circle unbroken”.
Each is priced at $4,299, and comes with a unique serial number and molded hardshell case.
To purchase or learn more, head to Opry.com.
The post Martin celebrates 100 years of the Grand Ole Opry with stunning limited-edition guitar commemorating country’s most iconic show appeared first on Guitar.com | All Things Guitar.
Rig Rundown: Heart
Classic-rock legends Heart, led by iconic sibling duo Nancy and Ann Wilson, tore across the United States last year on the Royal Flush tour. The show touched down at the Pinnacle in Nashville on December 21, and prior to the festivities, PG’s John Bohlinger met up with lead shredder Nancy Wilson and her tech/“guitar butler” Nathan McMurdo, plus guitarists Ryan Wariner and Ryan Waters. Check out some highlights from their rigs below, and tune in to the full Rundown for more!
Brought to you by D’Addario.
Stunner From ’63
On the advice of a former roadie, Wilson picked up this Lake Placid blue 1963 Telecaster when she was “nouveau riche” in the early ’80s, thanks to Heart’s success. Some encourage her to leave it at home, but Wilson insists she “can’t live without it.” Its neck pickup was changed to a PAF humbucker. Most of Wilson’s electrics use D’Addario NYXL strings (.010–.046).
Here, Fishy, Fishy
After retiring a ’60s SG, Wilson now brings this early-’80s model on the road. It sees use on “Barracuda.”
Sisters’ Signature
This custom-built acoustic was brainstormed by Nancy and the folks at Martin as a signature gift for her sister, Ann. Adorned with interstellar artwork, it’s one of only two ever made—one for each sister. All of Nancy’s acoustics use Go Acoustic pickups.
Buddhist Temple
Nancy’s electrics run through a Budda Superdrive 30 head, with a second on hand as a backup, and out to an Orange 412 cabinet with Celestion Gold speakers.
Nancy Wilson’s Pedalboard
McMurdo handles effect changes backstage throughout the show. Nancy’s board has a Line 6 HX Stomp, T.E.A. Barracuda, Revv G2, Keeley El Rey Dorado, MXR Studio Compressor, DigiTech Drop, Revv Tilt, and a channel switch pedal for the Budda. There are also Radial Big Shot ABY and Headshot utility boxes, and an Endorphines Plus 3 expression pedal.
Classic ’Caster
Ryan Waters bought this 1972 Telecaster Thinline in a New York City guitar shop in the mid-’90s. Loaded with Lindy Fralin pickups, it’s his top pick.
Thin Lindy
This thinline Telecaster serves as a loyal backup, with the same Lindy Fralins that are in his number-one, plus a Bigsby system.
… And Don’t Call Me Dirty Shirley!
Waters’ Friedman Dirty Shirley is his main amp, with an 18-watt Marshall plexi-style head as a backup. An Orange 412 pumps out the sound.
Ryan Waters’ Pedalboard
Waters’ board includes a TC Electric PolyTune Mini, TC Electronic Sub ‘N’ Up, MXR Phase 90, Mr. Black Tremolo, Keeley Super Rodent, Revv G2, Strymon Deco, Recovery Effects Moonstruck, and a Dunlop Volume Pedal.
MI6-String
This 2014 Les Paul is from Gibson’s Collector’s Choice series, and thanks to its serial number 007, it’s earned the nickname “Bondburst.” It has a Tom Holmes bridge pickup, and comes out for “Magic Man,” as well as Led Zeppelin covers in the set. Like Wilson, he uses D’Addario NYXLs (.010–.046) and D'Addario Nickel Bronze strings on his acoustics.
Double the Fun
Wariner acquired this lightweight double-neck from Gibson when he joined up with Heart for this tour. It has a Seymour Duncan Jimmy Page pickup in the bridge, and is used for a cover of Zeppelin’s “Rain Song,” as well as the title track off of 1977’s Little Queen.
Bringing Plexi Back
Wariner’s top dog is his 1973 100-watt Marshall head, modded by Dave Friedman. Another 1970 Marshall JMP head with the same mod is on deck as a spare. The heads run through a Friedman cab with a mix of Celestion Greenbacks and Vintage 30s.
Ryan Wariner’s Pedalboard
To the left of Wariner’s main board sits a smaller rig with a Peterson StoboStomp Tuner, a UAFX Heavenly, and a Grace Design ALiX Preamp. On the motherboard, there’s an Ernie Ball volume pedal, a second StroboStomp, MXR Phase 95, MXR Super Badass, DigiTech Drop, Klon clone, Pete Cornish NB-3, T.E.A. Barracuda, Analog Man GE-7, Crowther Hot Cake, Strymon Volante, EarthQuaker Devices Dispatch Master, and Strymon Cloudburst.
1963 Telecaster (Lake Placid Blue)
EarthQuaker Devices Dispatch Master
D'Addario Nickel Bronze Strings
These Custom Shop ‘57 Fender Strats with matching painted necks are sure to get guitar purists talking
The Stratocaster is widely regarded as the electric guitar, a design that’s remained largely unchanged since Fender nailed it decades ago. But that doesn’t mean the company can’t have some fun and shake up the blueprint every now and then…
And in a drop that’ll surely make the purists wince, Fender has partnered with New York specialist guitar store The Music Zoo on a range of Custom Shop 1957 Strats boasting body-matching painted necks and fretboards.
Body-matched headstocks are commonplace across Fender’s product lineup, but body-matched necks/fretboards? Much less common. John 5’s eye-catching Ghost signature Telecaster is a notable example – with an Arctic White finish across the entire guitar – while the Big F also collab’d with The Music Zoo in 2025 on two models painted all in Sherwood Green and Olympic White.
But this new drop from Fender x The Music Zoo is notably bigger, with seven guitars in total, all with a uniform colour scheme across the body, neck/fretboard and headstock. Finishes up for grabs include Candy Green, Desert Sand, Pink Pearl, Shell Pink, Ice Blue Metallic, Sonic Blue and Bright Amber. My personal favourite has to be Candy Green…
These Custom Shop guitars are sure to divide opinion but either way, you’ll need a pretty penny to get your hands on one, as they start from $4,999 apiece.
Finishes are the real draw here, but in terms of further specs, these guitars feature NOS finishes, vintage-style hardware, Custom ’50s Single-Coil Strat Pickups, alder bodies and maple necks.
Learn more at The Music Zoo.
The post These Custom Shop ‘57 Fender Strats with matching painted necks are sure to get guitar purists talking appeared first on Guitar.com | All Things Guitar.
Acoustic Guitar NAMM 2026 Report
“Is this yours?”: Watch the wholesome moment James Hetfield meets a 10-year-old fan – and signs his ESP LTD Iron Cross guitar
They say never meet your idols – but this truly wholesome moment between Metallica guitarist James Hetfield and a 10-year-old fan is proof that, sometimes, you should ignore that advice.
The inspiring meeting – which can be seen in newly uploaded social media clips – took place in Tampa, FL back in June 2025, when Metallica were passing through on their mammoth M72 World Tour.
In the footage, 10-year-old Jacob K – who has cultivated a following of several thousand on Instagram thanks to his impressive metal riffing – has his ESP LTD Iron Cross signed by the Metallica leader. “Is this yours?” Hetfield asks before scribbling his signature on the guitar’s lower bout, and turning it into an instrument Jacob will truly treasure forever.
In an Instagram post, Jacob K reflects on the “crazy” day, calling James Hetfield “the best musician/guitarist and the reason I play guitar”.
“He was so amazing and cool,” he continues, “and so kind with me. It was the best day ever! I will never forget it.”
Another post on Jacob K’s Instagram page sees his parents reflecting on the wholesome meeting, writing: “Some moments change everything. This was one of them.”
“On 7 June in Tampa, during Metallica’s M72 weekend, something completely unexpected happened. After a night of pure magic at the show, a morning spent at the popup store buying ALL the Metallica gear, and gearing up for night two, our then-nine-year-old son Jacob got to meet his hero James Hetfield.”
They continue: “What meant the most wasn’t just meeting the GOAT. It was how humble, kind, and genuine James was with our son. He stopped. He talked with him. He encouraged him. He told him to keep playing and never stop.
“Up until that moment, Jacob’s world was countless hours of watching interviews, concerts, performances, learning Metallica riffs, listening daily, and even saving up for his Iron Cross guitar!”
They say the meeting made them bigger fans of Hetfield and Metallica than ever before: “Talent is incredible, but character is everything. James isn’t just a rock star. He’s the real deal.”
So there, have another piece of evidence pointing to how James Hetfield is one of the coolest dudes in metal – and music.
The post “Is this yours?”: Watch the wholesome moment James Hetfield meets a 10-year-old fan – and signs his ESP LTD Iron Cross guitar appeared first on Guitar.com | All Things Guitar.
All gain, no pain: the 10 best overdrive pedals you can buy in 2026
At the start, the idea was a simple one: tube amps sound fabulous when they’ve overdriven, but you have to turn them up horribly loud to make that happen, so let’s design some pedals that will recreate the effect at lower levels. The story of overdrive could have ended there… but then people started tinkering with the formula, the options rapidly multiplied, and suddenly the whole thing had got catastrophically out of hand.
Still, as catastrophes go, this one has worked out pretty well for us guitar players: we get a vast array of shiny stompboxes to choose from, ranging from simple low-gain crunchers to complex amp emulators, via numerous modern interpretations of classic designs. As a rule, the intimidatingly expensive ones do tend to be spectacularly good, but there’s really solid stuff at the affordable end of the market too.
So this selection really is just the tip of an overdrive iceberg, and there are plenty of top-quality contenders just below the surface. But if you’re about to buy your first drive pedal, or are just looking to upgrade from a cheap knock-off to something a bit more respectable (and reliable), you’ve picked the right place to begin your search.
At a glance:
- Our Pick: Dinosaural Hypoid Drive
- Best Marshall-style overdrive: DryBell The Engine
- Best Tweed-style overdrive: Lazy J x ThorpyFX The J
- Best Dumble-style overdrive: J Rockett HRM V2
- Best Screamer-style overdrive: EarthQuaker Devices Plumes
- Best Klon-style overdrive: Warm Audio Centavo
- Best valve overdrive: Crazy Tube Circuits Venus
- Best affordable overdrive: Boss SD-1 Super Overdrive
- Best versatile overdrive: Silktone Expander
- Best dual overdrive: Hudson Electronics Broadcast AP-II
- Why you can trust Guitar.com
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Our Pick: Coggins Audio Dinosaural Hypoid Drive
Image: Richard Purvis
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Never before has such a scuzzy-looking pedal produced such polished tones. The British-made Hypoid Drive has pedigree going back to the very first boutique stompboxes of the 1990s, and it feels like the ultimate refinement of a brilliant formula.
Also available as the central section of the Cogmeister boost/drive/boost behemoth, this is a compact unit that provides a crunched-up and tastefully sweetened version of whatever you plug into it – with a toggle switch offering a couple of tone-thinning options, and a gain range that goes from gently fluffy grit all the way to a full-blown fuzzy roar. The only thing it can’t do is sound as lo-fi as it looks.
Need more? Read our Coggins Audio Dinosaural Hypoid Drive review.
Best Marshall-style overdrive: DryBell The Engine
If you want to start a massive argument on the internet, simply ask a guitar forum what the best ‘Marshall in a box’ overdrive is. Hundreds will pile on, each insisting their favourite is the best and everyone else is an idiot. Well, quite a lot of MIABs are indeed excellent… but DryBell’s offering is something else.
It has a smoothness that makes the average plexi-style pedal sound ever so slightly scrappy, is more tonally tweakable than most, and comes with the considerable bonus of having a separate boost circuit – based on the legendary Dallas Rangemaster but, again, tonally tweakable – built in.
Need more? Read our DryBell The Engine review.
Best Tweed-style overdrive: Lazy J x ThorpyFX The J
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It would have taken quite the balls-up for this collaboration between two of the world’s most distinguished tone-sniffers – Adrian Thorpe of ThorpyFX and Jesse Hoff of Lazy J – not to be a winner. Adrian makes superb pedals and Jesse makes superb amps, so it’s no surprise that The J is so good.
Inspired by the great tweed-clad Fender combos of the 1950s, Lazy J amplifiers are a joy to play through – but they do cost a fair few pennies, so this pedal offers a taste of the same chunky tones and touch-sensitive feel for a lot less dosh. The Origin Effects Deluxe55 does something similar in a more compact enclosure, but our reviewer described this pedal as ThorpyFX’s “crowning achievement”, and that really says it all.
Need more? Read our Lazy J x ThorpyFX The J review.
Best Dumble-style overdrive: J Rockett HRM V2
J Rockett HRM V2. Image: J Rockett Audio Designs
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Lactose-intolerant readers should look away now, because it’s impossible to describe the Dumble sound without using the words ‘creamy’, ‘buttery’ and ‘yogurty’ (alright, maybe not that last one). Made famous by the likes of Stevie Ray Vaughan and Robben Ford, these Californian amps are now hyper-rare and hyper-expensive, so naturally there’s a thriving market for D-style pedals.
This one is based on a Dumble with the so-called Hot Rubber Monkey tonestack modification. Whether that means anything to you or not is hardly relevant; all you really need to know is that the HRM V2 has all the creamy, buttery goodness you could ever wish for in an overdrive.
Need more? Read our J Rockett HRM V2 review.
Best Screamer-style overdrive: EarthQuaker Devices Plumes
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First launched in the late 70s, the Ibanez Tube Screamer is one of the absolute giants of pedaldom. It has a very distinctive voice, with a bump to the upper midrange and a sizeable chunk of bass scooped out… and for some players it’s still the only drive that matters. But if you want something a little less tonally radical, on a reasonable budget, then you’re better off with the EQD Plumes.
Launched back in 2019 and now on its way to becoming a classic in its own right, the Plumes sits somewhere in the zone between Tube Screamer raspiness and organic transparency, with a three-way clipping switch adding an extra layer of versatility. Some people find it too trebly; presumably those people are yet to notice that it has a tone knob.
Need more? Read our EarthQuaker Devices Plumes review.
Best Klon-style overdrive: Warm Audio Centavo
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There are two ways for pedal designers to pay tribute to the magic of the Klon Centaur, arguably the ultimate low-gain overdrive: either build on its template with an original product that goes somewhere new, or simply create a straight-up ‘klone’. Warm Audio took the second path with the Centavo, setting out to make the sound of the Centaur available at a sensible price point and nothing more.
If you’re OK with that, you’re likely to be very happy with this pedal’s wondrous clarity and sweetly pushed midrange, close enough to the real thing that nobody will ever notice the difference. And if you’re not? Get the Bondi Effects Sick As – it’s an artful improvement on the old Klon design, and it’s an absolute stunner.
Need more? Read our Warm Audio Centavo review.
Best valve overdrive: Crazy Tube Circuits Venus
Image: Adam Gasson
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Despite its name, Greek company Crazy Tube Circuits does not generally make pedals with tubes in them – but as those glowing glass bottles are such an important part of real amplifier overdrive, doesn’t it make sense to squeeze them into stompboxes too? Well, there are a few practical considerations involving space, heat and voltages that might suggest otherwise… but then, on the other hand, there’s the Venus.
Based on the old BK Butler Tube Driver, this handsome stomper is fuelled by a full-size preamp valve yet comes in a compact enclosure and runs off a standard 9v power supply. It packs in a host of added features, and sounds so warm and harmonically rich that our reviewer was forced to break out the ‘m’ word: masterpiece.
Need more? Read our Crazy Tube Circuits Venus review.
Best affordable overdrive: Boss SD-1 Super Overdrive
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The SD-1 has seen a lot of changes around these parts since its original release way back in 1981. But the pedal itself hasn’t changed, and has never been out of production – which is surely an indicator of some kind of timeless perfection.
It’s simple and sturdy, and it does a solid job: providing mids-focused grit in a similar vein to the rival that inspired it, the Ibanez Tube Screamer, only with a slightly different distortion character. Want your SD-1 to be made in Japan like the originals? Go for the Waza Craft version, which adds a ‘custom’ sound mode and is still cheaper than almost everything else on this list.
Need more? Read our Boss SD-1 Super Overdrive review.
Best versatile overdrive: Silktone Expander
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Silktone supremo Charles Henry started out making cables for people to plug into their amps and pedals, before deciding he might as well build those amps and pedals himself. Smart move, because everything he’s done so far has been ridiculously good. The Expander, though, is something else: a beautiful tone machine, yes, but also something of a multi-purpose hero.
It works superbly as a low-gain crispy cruncher, it’s just as good as a medium-gain transparent drive, and it’s arguably even better as a high-gain flatulo-fuzz with enough low-end warmth to defrost a woolly mammoth. There are a couple of fantastic British-made boxes that rival it for tone-sculpting power – namely the Great Eastern FX Co Design-A-Drive and Bleak District Terra – but nothing beats the Expander for chameleon-like class.
Need more? Read our Silktone Expander review.
Best dual overdrive: Hudson Electronics Broadcast AP-II
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It’s perfectly reasonable to want more than one overdrive pedal – heck, some of us seem to need about 50 of the effing things – but sometimes a single device can be a better option than two separate ones. A dual stomper takes up less space, only needs one power supply outlet and saves you a patch cable – and, as the two halves have been designed together, you can be confident they’ll ‘stack’ nicely when one is run into the other. That’s certainly the case with the Hudson Broadcast AP-II.
A signature model for slide guitar master Ariel Posen, this version of the Broadcast has a germanium channel and a silicon channel, which can be used independently or stacked for double dirt deliciousness. So it’s essentially three pedals in one – and they all sound glorious.
Need more? Read our Hudson Electronics Broadcast AP-II 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 All gain, no pain: the 10 best overdrive pedals you can buy in 2026 appeared first on Guitar.com | All Things Guitar.
“Hip-hop does not belong in the Rock and Roll Hall of Fame”: Gene Simmons explains why rap doesn’t speak to him like rock and roll
What does Gene Simmons make of rap and hip-hop’s place in the musical pantheon? Not much apparently.
Speaking on the Legends N Leaders podcast, the Kiss bassist says the genres simply don’t resonate with him, maintaining that rock music’s blend of melody, songwriting craft and cultural longevity puts it in a different league altogether.
Simmons begins by questioning rap’s place in the Rock Hall: “The fact that, for instance, Iron Maiden is not in the Rock And Roll Hall Of Fame, when they can sell out stadiums, and Grandmaster Flash is,” he says [via Blabbermouth].
It’s an argument Simmons says he’s taken up directly with hip-hop artists themselves: “Ice Cube and I had a back-and-forth [on this subject], and he’s a bright guy and I respect what he’s done,” he says. “[But] it’s not my music. I don’t come from the ghetto. It doesn’t speak my language. And I said in print many times, hip-hop does not belong in the Rock And Roll Hall Of Fame – nor does opera, symphony orchestras.”
“How come the New York Philharmonic doesn’t get [inducted into] the Rock And Roll [Hall Of Fame]? ‘Cause it’s called the Rock And Roll Hall Of Fame’. But he shot back and said, ‘No, it’s the spirit of rock and roll.’ OK, fine. So Ice Cube and Grandmaster Flash and all these guys are in the Rock And Roll Hall Of Fame. I just wanna know when Led Zeppelin’s gonna be in the Hip-Hop Hall Of Fame. ‘Oh, you can’t do that?’ Oh, really?”
As Simmons explains, “music has labels because it describes an approach. By and large, rap, hip-hop is a spoken-word art. You put beats in back of it and somebody comes up with a musical phrase, but it’s verbal. There are some melodies, but by and large it’s a verbal thing – it’s rhyming and all that. And I know Eminem can [rap really quickly]. I wish him more success. I really don’t give a fuck. It just doesn’t speak to me.”
That distinction, he argues, is why rock songwriting still carries more weight for him. “With the genius of being able to put words and music and arrange it, it’s much more complex,” Simmons says. “The hardest thing to do is to write a simple, memorable song.”
Those values also shape his view of modern pop and electronic music. While Simmons insists he enjoys EDM and respects its ability to ‘make people happy’, he questions the genre’s long-term cultural impact.
“In terms of talent? … There are no tribute bands to [electronic artist and DJ] Skrillex. Nobody covers those songs,” he says. “There’s not a garage band, a new band that goes, ‘Fuck. The Swiss Mafia [Simmons is presumably referring to Swedish House Mafia here] have got this thing that I love. Let’s try to do a version of it and play it in the club.’ Nobody does that.”
Despite his criticisms, Simmons insists he isn’t anti- modern music. “I think it’s wonderful,” he says of today’s talent. His concern, instead, is the “business” behind it. Without record advances and sustainable income, he argues, artists can’t build the kind of careers that once defined entire generations.
“The biggest problem is that the next Beatles, the next Elvis is not gonna have a chance because record companies don’t give out advances… There’s no business. Fans are downloading for zero, next to it, so if you’re a musician, you can’t get paid for your art.”
For Simmons, that economic shift helps explain why modern popularity doesn’t always translate into lasting influence.
“Where’s that pivotal artist that shakes the rafters? You have popular artists. Taylor [Swift] has been the most popular artist, perhaps of all time. That does not move the needle,” he says. “New bands don’t form and say, ‘Let’s do 10 Taylor songs.’ No, that’s fame versus something deeper. So when you go to see a bar band, they’re gonna be playing the song. They’ll play Freebird, they’ll play Satisfaction, they’ll play the songs that have stood the test of time.”
The post “Hip-hop does not belong in the Rock and Roll Hall of Fame”: Gene Simmons explains why rap doesn’t speak to him like rock and roll appeared first on Guitar.com | All Things Guitar.
“Everything you need to create truly iconic tones”: Fractal Audio brings Axe-Fx modelling to DAWs with ICONS, its first-ever plugin
Known for its high-end Axe-Fx processors, Fractal Audio has now made the leap to native software with ICONS – a new line of amp-modelling plugins and standalone applications that brings its acclaimed modelling and effects tones directly to DAWs and desktop setups.
The brand’s debut series, ICONS: Fullerton, centres on classic American-style amps, delivering 36 models inspired by some of Fender’s most iconic designs from the ’50s, ’60s and ’70s and beyond. With “Deluxes, Bassguys, Double-Verbs, Vibrato Verbs, Supers, Princetones, Champlifiers and more” on offer, we’ve got quite the comprehensive tour of the vintage Fender canon.
At the heart of ICONS is Fractal Audio’s advanced amp modeling, which recreates analogue circuits at the component level so that “each model sounds, feels, and responds just like the real thing at any setting.” In practice, that means you can dial in the model the same way you would the physical amp.
Each ICONS volume includes DynaCab selections chosen specifically to complement its included amp types. You can position a virtual mic on a virtual speaker and hear the results in real time – just as with traditional analogue gear.
The package also includes a selection of stompbox and studio effects based on the same algorithms used in the flagship Axe-Fx. These include authentic spring reverb and tremolo, more than a dozen accurate drive pedals, plus delay, compressor, GEQ, additional reverbs, and more.
That said, “ICONS is not an Axe-Fx in software,” says Fractal. “Its effect blocks feature streamlined types and controls that make it fast and natural to create great, complete tones centered on the amp and cab.”
Additional features include a modern preset manager, complete with tags, favourites, and metadata to keep you organised and focused on creating. ICONS also includes an input calibration system for third-party interfaces and features near-instant setup when used with Fractal Audio hardware.
“With support for automation, MIDI control, and essential tools like a built-in tuner, ICONS is designed to fit seamlessly into modern recording and performance workflows,” says the company. “ICONS delivers the sound and feel that Fractal Audio is known for – now available for your DAW or desktop, with everything you need to create truly iconic tones.”
The full ICONS: Fullerton suite is available now for $299; individual volumes are priced at $99 each.
For more information, head to Fractal Audio.
The post “Everything you need to create truly iconic tones”: Fractal Audio brings Axe-Fx modelling to DAWs with ICONS, its first-ever plugin appeared first on Guitar.com | All Things Guitar.
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