Norse Guitar Feeds

If you were reading guitar magazines in the ’90s, you’re familiar with Steve Morse’s “Open Ear” column. Running for many years in Guitar (née Guitar for the Practicing Musician), Morse shared his thoughts on session work, practice routines, practical tips for guitarists, and various other parts of his life. For years before I’d ever heard a note of his playing, I read his wisdom monthly.

With every column was a short bio that began, “Steve Morse is one of the busiest guitarists in the industry.” At the time, that busy-ness played out in his writing—Steve was very active. Eventually digging into his background, I learned just how prolific he really was.

Morse first caught ears with the Dixie Dregs—whose origin story reached back to their time as students at the University of Miami (alongside luminaries like Pat Metheny, Jaco Pastorius, and Hiram Bullock), where wunderkind headed after leaving high school early. Together, they assembled a barn-burning blend of ’70s Southern rock, jazz, and bluegrass.

When the Dregs ran their course, Morse joined Kansas. And after that, he joined Deep Purple. (By the time they parted ways in 2022, he was Purple’s longest-running guitarist.) In 1985, he introduced the Steve Morse Band, along the way racking up a list of collabs and guest spots that’ll make your head spin.

Offstage and amidst musical globetrotting, his drive has kept him working well beyond the fretboard, and he has, at times, pursued a career as a commercial airline pilot—he still flies to this day—and he currently owns and oversees the daily operations of a small Florida hay farm.

All the while, the music never stopped. His latest Steve Morse Band release, Triangulation, featuring bassist Dave LaRue and drummer Van Romaine, is a high-flying shredathon that treats glorious rock melody and proggy twists and turns with equally explosive abandon. Below the surface, there’s a heavier backstory, the album’s origin tracing back to the passing of Morse’s wife Janine in 2024, and Morse in a physical battle with arthritis that has been slowly deteriorating his technique. So it is, then, that his first solo record since 2009’s Out Standing in Their Field stands as a testament to the power of music, of the human spirit, and, ultimately, of Morse’s hard work and perseverance. It’s also a coming together of sorts for the band as well as for the friends the guitarist has gathered as guests, which include Eric Johnson, John Petrucci, and Morse’s son, Kevin.

We caught up with Morse while he was on tour in New Jersey to have an inspiring talk about Triangulation, his guitar habits, and the importance of hard work.

​Steve Morse’s Gear

Guitars

• Ernie Ball Music Man Steve Morse Signature
• Buscarino custom classical guitar

Amps

• Engl Steve Morse Signature E656 100-watt head
• Engl Steve Morse Signature 20 E658 20-watt combo

Strings and Picks

• Ernie Ball Paradigm Slinky strings (.009–.042)
• Ernie Ball Heavy Nylon picks

Effects

• TC Electronic Polytune
• Keeley Compressor
• TC Electronic Flashback (x3) with Steve Morse Delay TonePrint
• GigRig Wetter Box
• Ernie Ball volume pedal
• Roland GK-3 pickup
• Roland GR-55 Guitar Synthesizer

So this is the first new music you put your name on since 2009. You’re back with Dave LaRue and Van Romaine, and then you have a couple collaborators on here. And let’s start by talking about the collabs. You’ve got Eric Johnson, John Petrucci, and, of course, your son, Kevin. How did those collaborators end up on the record?

Steve Morse: It was kind of late in the game. We’d already been recording the album. I felt like, at this rate of putting out one every 16 years, that I was going to be pretty old by the time the next one rolls around, so that could be it. I have some old friends that’re just amazing guitar players, and I hate to ask them for favors, but I finally broke down and did. When it comes to favors from friends, even if it’s not convenient for them, they will probably say yes, so I felt guilty about doing it. But it turned out everybody, I think, had a good time.

The Eric Johnson tune, “TexUS,” I wrote in the style of that late-’70s sound that I heard him playing—melodic rock, not jazzy at all, just straight down the middle but with a lot of melody.

“Triangulation,” the John Petrucci tune, was also arranged for him, like “you play this part, I’ll play this part.” John doesn’t do anything halfway. He was playing the song super perfect, as usual, right in the middle of just being as busy as he’s ever been with Portnoy back in the band.

The third tune with my son, Kevin, we played at my wife's memorial. He, on his own, volunteered to make a recording of it. It grew organically. It starts off real lonely and minor key, I was imitating an oboe with the electric guitar and playing classical at the very beginning, and then Kevin comes in and it keeps slowly growing from there.

Obviously there’s a much greater significance on that song, but this isn't the first time you collaborated with Kevin. What’s it like to have your son as part of your records? How did he get involved?

Morse: Well, it’s the biggest deal. I’ve been one of those people that never pushed music on him. Of course, if I owned a 7-Eleven, I would have him come in and learn by working here. Yes, you’re my son, but you still have to work, you know? That’s what dads do.

I think it really pushed him to have his own identity. But we’re planning on doing more music in the future.

Why was now the time to make a new record?

Morse: I always have ideas, and I’m always working on ideas. After my wife died, there was no big project coming up. There was nothing. I was stuck in this sort of limbo. I just decided to start working on an album. Dave [LaRue] lives in the same town as I do. He would come over and be the guinea pig for the new bass and guitar parts.

We made a template of each song by working on the parts, sitting next to each other in the studio, and making fine adjustments and constant editing. Everybody had the same template and tempo to work on their parts.

When you were on Rick Beato’s podcast, something that caught my attention was you were talking about coping with arthritis. When did that first start affecting you?

Morse: I was in Purple, and it was killing me then, probably eight or 10 years ago. It just got to the point where I’ve tried every cure there is. In fact, I just did a bunch of radiation treatments; it’s supposed to help the inflammation and pain.

I just have a genetic predisposition, but I’m doing more things. I’m eating better and concentrating on an anti-inflammatory diet and all these cures, plasma injections and cortisone injections, the radiation, every supplement known to man. Obviously, you can’t cure it.

“Imagine writing, and they say, ‘You’ve got a six-year-old’s vocabulary.’ How do you do it? With music, it involves making artful placement of things.”

On the record, you sound like you have full control of your technique. I think it’s great that you talk about it because it’s something that so many players deal with.

Morse: It reduces my vocabulary, and I hate that, but there’s nothing I can do. Imagine writing, and they say, “You’ve got a six-year-old’s vocabulary.” How do you do it? With music, it involves making artful placement of things. So there’s a lot of time spent finding the ideal phrase.

Something that’s really interested me about your career is that you’ve had other professional trajectories. You were a commercial airline pilot. Is that something you still do?

Morse: Yeah, I fly all the time. I’ve never stopped flying.

And you also own a farm, right? Is that an active business?

Morse: Yeah, it’s small, like 56 acres. It’s open grass hayfields. I also have a little runway for the airplanes.

I had helpers when I first took this over, but it just didn’t go well, so I just do everything myself. I’ve scaled down to a manageable level of hay production. I cut the hay first, then ted it with a fluffer, then rake it into rows, and then bail it into square bales and round bales. I have to pick up the bales and put them all in my hay barn to keep them from spoiling when the rains come. And then I deliver them over the winter to my customers that are nearby using my tractor and big wagons. The people on my road hate me because I go slow—I can’t go fast.

How do these parts of your life—flying and running your farm—influence your art? And how important is it to have a life outside of music?

Morse: That’s cool that you’re touching on that. I think it’s very important, because you have more to say with the music if you have a life outside of it.

The biggest part of my extracurricular thing is fixing stuff because I’ve got old hay equipment, old machines—like my lifts that I use to cut the trees, it puts me 70 feet in the air and it’s got a whole level of maintenance that it needs—and I have to learn the systems for each one. So, a lot of my life is spent looking for manuals and looking for sources of parts and learning hydraulics and learning the way that electrical systems work, so that I can basically fix everything.

Every once in a while, I have to ask for help. Like, if I’m rebuilding a cylinder, a hydraulic cylinder is really big, I can’t do it. I have to take it to the shop, and that bugs me.

But my main thing is just that I’m known as the handyman. I’ve fixed stuff all around the farm. Two other families live there—my wife’s mother and my stepdaughter—and they live in the other two houses on the farm, so I have to keep those up and then cut the grass for everybody.

“A lot of my life is spent looking for manuals and looking for sources of parts.”

So I work all day, basically. I don’t wake up early, but when I do wake up, I just go straight outside and start working until dark. Then I’ll work on music after dinner.

I think it’s super important, because when I’m doing laps in the tractor, cutting weeds or whatever, I’m thinking about stuff. And I’m always experimenting with things in my mind. Melodies and parts come to mind that I've been working on recently, and I just kick it around.

I’ve never been bored. I remember it as a kid. When I was trapped somewhere, in school or something, I remember that it was a horrible, horrible feeling.

When I’m at a gig and I walk by and see a guy welding something in back, I stop and ask questions: How are you doing that? Did you preheat that? Does that make it crack? I’m a student of everything.

Have you always been into fixing things?

Morse: Well, it’s necessity. I’d see my dad doing his thing in the workshop, and part of me paying off my guitar and amplifier was to paint the house and do manual labor outside—cutting the lawn and shoveling snow. So there was always stuff to do that gets you familiar with the real world.

But I wasn’t good at mechanic-ing until it became a matter of necessity. My first car, the radiator hose blew and I was out on the interstate and I hiked over to a store. I bought a radiator return hose, and I was like, “Wow, I fixed my car and made it home.”

“Everything that breaks gives you an opportunity to learn.”

After that, it was me pulling the band trailer with my station wagon forever and never having a trip without a mechanical problem, so I got more and more used to that and more and more interested in the science of things. And as an airplane pilot, I think the safest way to fly is to understand every system on the aircraft. Part of me getting ready for my airline career involved getting my mechanic’s license for working on aircrafts—that made me more employable, just one of the things you had to put in your resume back then.

Everything that breaks gives you an opportunity to learn. But man it feels good when it works right.

With all this work on your plate everyday, it makes me very curious about your daily guitar habits.

Morse: It depends on the day. I try to rotate things. People that are in training, they might do cardio one day and heavy lifting the next day and cross training another day. I do a mix between technique, discovery and writing—discovery could be transcribing if you’re not into composing—and, of course, playing for gratification, which means playing along with something and exercising what you’re doing. But the technical part is probably what I concentrate the most on, because it gets harder and harder to make things work. And now I have to keep up a technique where I pick with two fingers and a thumb and flex a little bit of my wrist, and a technique holding the pick the same way with a stiff wrist when that starts to really hurt. And when I can’t grasp the pick any more, I hold it with the side of my thumb using a stiff wrist also. There’s a lot of challenges, but I have a strong desire to keep playing as long as possible.

Ad feature with Lutefish

Remote jamming is a phrase that incites a certain degree of scepticism – with a lot of solutions, the latency is inevitably too high thanks to lengthy processing delays. But the Lutefish stream is a new solution that aims to get around the normal roadblocks and offer a super low-latency experience while you jam with musicians hundreds of miles away.

What is the Lutefish Stream?

The Lutefish Stream is a pretty straightforward unit. To some degree it resembles an audio interface, but it is by no means a traditional one. Each bandmate requires a Stream, and can easily connect their instrument either direct or via microphones – there are two mono combo XLR/¼” inputs with individual gain controls, two headphone outputs for your preferred connector size, an overall master volume and finally a talkback mic to communicate with your bandmates.

So, why a hardware solution as opposed to software that uses your own interface? Rather working like a traditional interface, the Lutefish Stream instead uses a direct ethernet connection, straight into your router – which is what lets it achieve such low latency. Going direct via ethernet means the minimum possible delay in sending the digitised audio stream – no lag is added by unstable WiFi connections or your computer’s audio processing path.

With a good connection, the Stream’s latency can be around 3ms. Sound travels through air at roughly one metre per millisecond – and so a 3ms delay is about what you’d get from just standing on the other side of the room to the rest of your band.

All of the audio is routed through this connection, including the talkback mic. This allows for seamless, lag-free chats alongside your practice session. The video call for a session is sent separately through your laptop or phone’s own connection, which keeps as much bandwidth as possible available for the audio stream.

To the test

I put the Lutefish Stream to the test with the help of my band Epimetheus. Gathered in different practice spaces, we connected everything up and joined the session. I was worried that remote jamming of any kind would be pretty obstructive to our music – we play downtuned shoegaze that occasionally veers totally off-piste, or at least I do, while the rhythm section keeps things grounded. We don’t play to a click or backing tracks, and we often rely on cueing each other back in for different sections – so we really need to be in sync!

However the Lutefish Stream handled it all with aplomb! Remote jamming is never going to feel exactly like you’re in the same room, mainly because you’re hearing everything through headphones – but the latency was so low it felt really great playing with my bandmates. Check out the video to see for yourself!

The benefits of a solution like this really speak for themselves – there are lots of reasons why you might not be able to all get into the same room and practice as often as you’d like. And thanks to Lutefish’s network of musicians, once you have a stream you can also start connecting with a load of other players and expand your musical horizons.

The Lutefish Stream is by no means a complete replacement for playing in a room together, however it’s a great solution for those of us who find life getting in the way of music. It lets you work to a more flexible schedule, and spend more time playing – and less time lugging gear across your city.

Find out more about Lutefish at lutefish.com.

The post The Lutefish Stream is a remote jamming solution that actually works appeared first on Guitar.com | All Things Guitar.

Mateus Asato has been thinking about suggestions to add vocals to his instrumental pieces, and has concluded that the music alone is “enough”.

Asato rose to fame by sharing videos of himself playing online, and has toured with artists like Bruno Mars and Tori Kelly. This year, he began releasing music of his own with singles Cryin’ and The Breakup Song. Both tracks form part of his debut album, which is due for release in 2026.

• READ MORE: “Hurt yourself a bit”: Mateus Asato is one of the world’s best guitar players – and his latest practice tip is certainly unconventional

Neither song features any lyrical content, and fans of Asato have been suggesting different vocalists that should collaborate with him on his music. In a Story post on Instagram, he says he’s not offended by these suggestions, but plans to keep his music purely instrumental.

“If there’s a person who’s considered having vocals and lyrics on my songs, that person was definitely me,” he begins. “Now that I have been releasing my own music these days, it’s been a common thing to read something like, ‘I can picture [this artist] singing over this’. I don’t feel offended – actually, most of the time, I agree or even thought the same thing.

“But… let me explain this. I’m aware of how a human voice and words could be the closest bridge from a creator to the listener. The message doesn’t get any more clear than that. I am not a singer – and never wanted to be one. The only reason I make music today is because I fell in love with the sound of the electric guitar one day.”

Asato goes on to explain how for a number of years, he felt there was something missing from the music he was making, which he now puts down to external pressures from others: “That never started from myself, always from others. Former managers, family members and so on.

“After hearing their words, I’d come home and started to re-shape in my head the creation that made me proud and alive. Until the day I realised that I truly like these guitar pieces how they are. It’s meant to sound that way and it’s enough. For me, at least. And that’s what matters,” he says.

“The coolest thing of instrumentals is how SUBJECTIVE it could be. Like a painting with no description. And I’ve been enjoying the effect of it at this season of my life. It’s grown on me at a point that I finally decided to release these songs in an album that will be out soon. The time with songs with vocals and melodies might come, if my identity as a creator understands it needs some extensions. Right now there’s a lot of satisfaction where it is.”

Hear his latest single below:

You can learn more about Asato and find tabs for his new music via his official website.

The post Mateus Asato doesn’t mind you imagining vocals on his instrumental music, but this is why he’s not going to do it appeared first on Guitar.com | All Things Guitar.

John 5 has played for some huge rock artists, and unlike some guitarists, he doesn’t believe in putting his own spin on other artists’ songs.

John joined Mötley Crüe in 2022 after Mick Mars stepped down due to health reasons. As well as his own solo career, he’s played for David Lee Roth, Rob Zombie, and more, and says he only plays for artists whose music he enjoys so that he’s a better fit for the job.

• READ MORE: “It will never stop – thank God”: John 5 names three modern guitarists who are ensuring that the guitar will “keep evolving”

There are lots of guitarists out there who are set on putting their own spin on things when filling in the shoes of another player, with some arguing they want to leave that artist’s work and legacy alone out of respect, but John feels that nailing the parts as intended is more honourable.

Speaking to Metal Hammer for its new print issue, he explains, “[For every band I’ve played with], I have such respect for the music and the artist, and the person that I’m stepping in for. Be it Eddie Van Halen [with David Lee Roth], Mick Mars [with Mötley Crüe], or anyone like that, I have such respect for them.

“I show respect by playing the songs just as they were written. I’m not trying to do my own thing. As long as you play the parts directly and do a good job at it, everything will be OK, because that’s what people want. They love these bands that they’ve seen their whole lives.”

He goes on to add, “I do only join musicians that I’ve loved most of my life as well. It makes it easier on me. It’s easier for the audience, too, because there have been a lot of people who joined certain bands, and were like, ‘Oh, I never really even listened to them before’, and that idea is just so foreign to me.”

In other John 5 news, the guitarist was honoured with a birthday cake that replicated his Boss-heavy pedalboard earlier this year. After turning 55 in July, a fan named Merredith Mooth commissioned the cake, which was made by Angie Martinez Hrndz (Cakes from the Crypt). All six of his pedals were expertly recreated, from his CE-2W Chorus to his NS-2 Noise Suppressor, to his DD-8 Digital and DM-2W Delay pedals.

Find out more about John 5, or view the full list of dates for Mötley Crüe’s 2026 Carnival Of Sins anniversary tour. 

The post John 5 explains why he doesn’t improvise when playing other people’s songs: “I show respect by playing the songs just as they were written” appeared first on Guitar.com | All Things Guitar.

€329/£299/$399, gamechangeraudio.com

I’m going to be very careful to avoid hyperbole here. The Gamechanger Audio Motor Pedal is almost certainly the wildest, hairiest, scariest stompbox I have ever used. Now imagine what that sentence would have been like with the hyperbole left in…

• READ MORE: Warm Audio WA-TS Tube Squealer review: “it offers a great deal in a small enclosure”

To be clear, while the Latvian mavericks’ latest concoction very much comes under the ‘synth’ category, we’re not dealing with boops, bleeps, moving filters or emulated organ sounds here. This is a whole different kettle of piranhas.

Image: Adam Gasson

Gamechanger Audio Motor Pedal – what is it?

Okay, here’s the easy part: it’s a monophonic synthesizer pedal for guitar. More specifically, according to the manual, this is “the world’s first electromechanical synth engine in pedal format”. It’s built around a spinning motor oscillator with three rotating coils and a fixed electromagnetic pickup, driven by a pitch-tracking engine.

For anyone thinking that might as well be written in Greek, you’re not far off – it’s written in geek. And here’s what it means in basic English: the higher the note you play, the faster the motor spins, and that’s what generates the output signal. It’s an idea taken from the desktop Motor Synth, but now offered in much-simplified (and guitarified) form.

Image: Adam Gasson

Gamechanger Audio Motor Pedal – is it easy to use?

Ten knobs looks like a lot, especially when they’re crowded around a bamboozling display of multicoloured lights, but they’re ripe for picking off one at a time.

Begin with the ones at bottom left and right, which aren’t really knobs at all but five-way rotary switches: one for selecting the synth mode, and one for assigning the function of the built-in expression pedal. Between those two you’ve got plenty of housemate-horrifying power on tap even with everything else parked at halfway.

Let’s not forget the other controls, though. There’s a seven-way switch for setting a pitch-shift interval between one octave down and one octave up, dials for dry and wet volume plus tone and drive, and three more for tweaking the synthesized signal.

And then, of course, you’ve got the expression pedal. This looks and feels like a car’s accelerator, and I don’t think that’s a decision Gamechanger has made just to fit in with the automotive theme: push it down and it will spring back up when you let go, which is useful, and you can also squeeze it down harder to push through into ‘floor-it’ mode. Intriguing, no? Better buckle up…

Image: Adam Gasson

Gamechanger Audio Motor Pedal – sounds

Sure, the vroomy-vroom concept is cute and all – it’s even got racing stripes! – but if you pop it in the first mode and note-bend your way along the low E string, the Motor Pedal can sound uncannily like an F1 car going through the gears. It’s a ‘synth’ sound, yes, but with a grindingly atonal thickness that’s distinctive and exhilarating, if not exactly musical in any familiar sense of the word.

Some of the other sounds are more traditionally synthy – throw away your keyboards now, Gary Numan fans! – but you always have the feeling that unpredictable overtones are just waiting to grab the wheel and drag you into the crash barriers. The knob marked ‘mod’ can make this even more pronounced, while you also have the option of cranking the drive for maximum furiousness.

There’s a wonderfully wobbly vibrato on board, as well as adjustable sustain for softening the in-built gating effect – which is helpful, but can’t always stop it cutting off a hanging note when you really don’t want it to. This can be absolutely maddening, and will make you envy those key-prodders with their un-decaying notes.

For the real high-octane thrills, though, you need to step on the expression pedal. It can be set to go up or down an octave, engage infinite sustain, add momentary vibrato or serve as a volume pedal. Push down extra-hard in vibrato mode and it increases the speed; in either of the octave modes it will soar beyond its range like a satanically possessed Whammy. All of this happens without any distracting latency or tracking issues, and with the entertaining visual bonus of a spinning chequered wheel to distract you from all your mistakes.

Image: Adam Gasson

Gamechanger Audio Motor Pedal – should I buy one?

The Motor Pedal pushes at the boundaries of what a guitar stompbox can do before it becomes simply a generator of unpleasant noises. Its practical uses, unless you’re in some sort of neo-industrial electro-goth dada-brutalist ensemble, are limited. It’s large, heavy and somewhat expensive. Worst of all, it sounds better with keyboards than it does with guitars. Still with me after all that? Then yes, you probably should buy it.

Gamechanger Audio Motor Pedal – alternatives

Nothing else will take you anywhere quite like this, but other unapologetically rebellious stompboxes for noisemongers include the Noise Engineering Dystorpia ($299/£299), Electro-Harmonix POG3 ($645/£599) and Mantic Flex Pro ($269/£230).

The post Gamechanger Audio Motor Pedal review – a radical synth pedal for sonic extremists appeared first on Guitar.com | All Things Guitar.

John Scofield is an absolute titan of jazz guitar. He’s had an illustrious solo career spanning over four decades and he’s shared the stage with the most important musicians of our time. In this lesson we’ll look at his brilliant single-line approach that endears him to jazz audiences around the globe.

Ex. 1 is about as Scofield as we can get without consulting a patent lawyer, though a good case could be made that he took this idea from pianist Thelonious Monk. You can hear this descending whole-tone-based lick in many of Sco’s solos. The notes impart a strong Bb7#11 sound and the final note is pushed off the fingerboard and returned in a vibrato-like motion. That’s another great Scofield-ism that just can’t be ignored.

Ex. 1

Turn up that chorus pedal and hone your string-skipping chops with Ex. 2, a 1980s-style 16th-note funk lick. The basic sound is G7, but with a host of alterations. The G half/whole diminished scale (G–Ab–Bb–B–C#–D–E–F) is clearly important, but it doesn’t explain everything Scofield plays. As Scofield has mentioned regarding playing over vamps like this one, “I’m not really sure what I’m doing. It’s just an in-and-out bop style.” Feel free to include chromatic approaches and blues licks as done here as well.

Ex. 2

The IIm–V–I lick in Ex. 3 shows how Scofield could extend basic bebop mannerisms into something distinctly original. It’s clear that the thinking is F Lydian dominant (F–G–A–B–C–D–Eb) over both the Cm7 and the F7 chords. Scofield would occasionally “summarize” both chords as simply F7.

Ex. 3

Scofield’s now-classic albums with Medeski, Martin, and Wood have garnered mass appeal among funk and jam band enthusiasts over recent decades. Most of his playing on these records is roots-based and you’ll hear plenty of straightforward, blues-inspired licks like this one (Ex. 4) in B minor.

Ex. 4

The B Dorian (B–C#–D–E–F#–G#–A) lick in Ex. 5 is a good example of how Scofield develops a simple motive and answers it with contrasting material. Pinch harmonics can always be used in Scofield’s style. Don’t be concerned with these harmonics generating a specific pitch or even getting them to sound perfect—the randomness is all part of the charm.

Ex. 5

Superimposing ideas in novel ways is important to Sco’s approach and a great way to generate interest over static harmonies. Ex. 6 begins with a simple root/fifth figure in Bb that’s shifted up a half-step to B, and finally resolving back to Bb at the end. It’s an effective way to establish tension and release in a line.

Ex. 6

In recent years, Scofield has embraced a cleaner tone on some of his straight-ahead recordings. Think Vox amp and no RAT. Ex. 7 is an ever-flowing line that he might play over the first phrase of an F blues. Notice how the pickup bar is a G7 idea over the C7 and the first part of measure 1 is actually a C7 line over the F7. This kind of “misalignment” is something that intermediate players often miss, trying to faithfully match the chords all the time. Before long, the music is back on track and matching the chords in a more predictable manner, at least until the eclectic use of an A major line leading into the Bb7. Finish everything up with a Sco trademark major seventh double-stop.

Ex. 7

Ex. 8 is a particularly guitaristic way to play over the second phrase of an F blues. Even though the line is fingered in the 6th position, why not use an open string? The open high E (a #11) gives us the opportunity to get a cool angular sound to the Bb7 line that would otherwise be impossible.

Ex. 8

This phrase (Ex. 9), which begins in the 8th measure of the blues, shows Scofield’s mastery of bebop language. The D7b9 lick pushes into Gm7, which begins the final phrase of the 12-bar form. The IIm–V is clearly a simple sequence from C Lydian dominant (C–D–E–F#–G–A–Bb). The big lesson here is the importance of knowing your bebop fundamentals.

Ex. 9

Now that we’ve broken out the nuts and bolts of this lesson, let’s listen to few essential Scofield tracks to get our ears right. Even jazzers were making music videos in the 1980s.

John Scofield Protocol

“Protocol” from Still Warm, has a classic fusion groove thanks to drummer Omar Hakim and bassist Darryl Jones (both of whom played with Scofield in Miles Davis’ group). Sco’s tone is wide thanks to his signature chorus sound, an often-imitated element of his style.

Wee

When Enroute landed in 2004 it instantly became a classic guitar trio album. Recorded live at the Blue Note, it featured Sco’s longtime trio of drummer Bill Stewart and mentor/electric bassist Steve Swallow. “Wee” is a “rhythm changes” tune, which isn’t that groundbreaking, but the playing takes Denzil Best’s most well-known composition to another planet.

Chicken Dog

In 1998, Scofield teamed up with funk-jazz stalwarts Medeski, Martin, and Wood for A-Go-Go, which is a standout in Sco’s discography. This was the album that introduced him to the jam band scene and informed many of his more recent albums.

Back in August, at Cory Wong’s Syncopated Summer Camp in Nashville, Wong hosted a late-night interview and hang session with Italian guitar hero Matteo Mancuso. If you weren’t there, you’re in luck: This week’s episode of Wong Notes features that exclusive rendezvous in its entirety, recorded live in front of an audience of camp attendees.Mancuso unearths his roots on the guitar, from starting on the electric guitar to learning Deep Purple, Led Zeppelin, and Jimi Hendrix while using his father’s finger-picking style. “Later on, I discovered about the pick, but I was too lazy to start again,” says Mancuso, who shouts out other fingerstyle players like Wes Montgomery and Django Reinhardt.

Mancuso credits his unique playing vocabulary to his atypical approach to the instrument, which meant he had to “find some solutions to some technical problems” that he encountered while learning to play. What kind of warm-ups does he turn to when he wants to get his fingers and brain moving? Mancuso has a few thoughts, but it all has to be “goal-oriented.”

Mancuso and Wong, both veteran bandleaders at this point, swap advice and techniques on heading your own band, arranging, and writing, plus scores of other obscure tricks of the trade. Tune in and listen to get the goods.

Back in August, at Cory Wong’s Syncopated Summer Camp in Nashville, Wong hosted a late-night interview and hang session with Italian guitar hero Matteo Mancuso. If you weren’t there, you’re in luck: This week’s episode of Wong Notes features that exclusive rendezvous in its entirety, recorded live in front of an audience of camp attendees.Mancuso unearths his roots on the guitar, from starting on the electric guitar to learning Deep Purple, Led Zeppelin, and Jimi Hendrix while using his father’s finger-picking style. “Later on, I discovered about the pick, but I was too lazy to start again,” says Mancuso, who shouts out other fingerstyle players like Wes Montgomery and Django Reinhardt.

Mancuso credits his unique playing vocabulary to his atypical approach to the instrument, which meant he had to “find some solutions to some technical problems” that he encountered while learning to play. What kind of warm-ups does he turn to when he wants to get his fingers and brain moving? Mancuso has a few thoughts, but it all has to be “goal-oriented.”

Mancuso and Wong, both veteran bandleaders at this point, swap advice and techniques on heading your own band, arranging, and writing, plus scores of other obscure tricks of the trade. Tune in and listen to get the goods.

A new Google feature lets you prioritize the guitar content you trust most—here's how to set it up.

Google has rolled out a feature that gives you more control over what you see when searching for news. Called Preferred Sources, it allows you to customize which outlets appear most prominently in your search results—and for guitarists, that means ensuring Premier Guitar's gear reviews, artist interviews, and playing tips stay front and center.

Once you’ve added Premier Guitar as a preferred source, our articles will show up more prominently in Google's Top Stories section whenever we've published fresh, relevant content on the topic you're searching for. You might also see a dedicated "From Your Sources" section featuring our stories.

How to Set It Up

Getting started takes just a few seconds. To set Premier Guitar as a preferred source, just click this link. Or, go to Google’s homepage and search for any topic in the news. When the Top Stories section appears in your results, look for the icon that resembles two overlapping cards with a star on top.

Click that icon, and a pop-up will prompt you to choose your preferred sources. Type “Premier Guitar” into the search field, select us from the list, and hit “Reload results.”

You can add as many preferred sources as you'd like by repeating the process. Managing your list is simple, too—just return to the same menu to add or remove sources at any time.

What You'll See

Once Premier Guitar is set as a preferred source, our articles will be prioritized when you search for guitar-related topics. You'll still see content from other outlets, but our stories will appear more prominently when we have fresh coverage on what you're looking for.

Whether you're researching new pedals, diving into player profiles, or looking for lesson content, this feature ensures Premier Guitar stays at the top of your search results.

YouTuber KDH has made name for himself calling out others – be they guitarists or brands – in the guitar space. And the latest to find themselves in his crosshairs is Brandon D’Eon, a popular YouTuber with over 800,000 subscribers.

It comes after KDH – who himself boasts over 110,000 subscribers on the platform – discovered an old video posted to Brandon’s channel which saw him approaching guitar brands stationed at the 2024 NAMM Show asking for free instruments.

• READ MORE: The story of Tom Morello’s ‘Arm the Homeless’ Guitar

KDH subsequently posted a video to his channel titled ‘The WORST Guitar YouTuber I’ve ever Seen”, listing the ways he felt Brandon had been rude in his approach to said brands.

While it’s not uncommon for brands to work with influencers in the guitar space – with many such deals seeing these influencers furnished with free instruments in exchange for publicity or exposure – KDH takes an issue with how Brandon communicated with the brands he approached. “The real problem is how it was executed,” he says.

“Instead of Brandon approaching people and brands with respect… he chose the option to just walk up and demand free stuff, thinking that everybody would recognise him as the big star that he thinks he is,” he continues.

KDH’s video has since gone viral, amassing well over 300,000 views in just six days, and the pair have since had a conversation to straighten things out. And lucky for us, that conversation was recorded, and can now be viewed on KDH’s channel.

“A lot of the things that you said in that video [were] very fair…” Brandon tells KDH. “I did act in a way that was not super polite. I was a bit of an ass.”

Brandon contends, however, that his more “aggressive” and inflated “ego” was a persona, and not a true reflection of himself. “In my head, I thought that I did have to act like a bit arrogant to create engagement,” he explains. “I’m not saying I was right to do that, but I’m just trying to explain where my head was at.”

But when Brandon notes that his “yelling” at brand reps was part of this persona and performance, KDH is quick to point out the difference between yelling at a camera for engagement and yelling at real people.

“If I record a video and I’m being aggressive or rude, it’s not directed at anybody,” he explains. “When you take that [performed aggression and] speak directly to one person, then it’s directed at them.”

KDH also raises the point that those working at NAMM have to contend with less-than-ideal conditions, purely by virtue of the nature of the show. “When you’re working NAMM you’re hearing 50 guitar players play 50 different songs at 50 different tunings [all at once] and it’s just horrible,” he explains. “Then they’ve got two cameras on them, they know that it’s going to go on YouTube. They have to just accept whatever is said, because it reflects on the company.”

Again, freebies in exchange for exposure is part and parcel of the guitar space – and indeed many other markets. But the backlash recently faced by Brandon D’Eon is a reminder that how you might approach brands as an influencer is still important, and blindly pursuing engagement metrics like views – and adopting abrasive personas in the process – might be counterproductive…

The post “I was a bit of an ass”: This YouTuber asked brands for free guitars at NAMM, and a viral video called him out – now Brandon D’Eon has set the record straight appeared first on Guitar.com | All Things Guitar.

D’Addario expands its XPND Pedalboard Series with two new products designed to simplify, strengthen, and elevate modern pedalboard setups: the XPND Core Pedalboards and the Backline Core Pedalboard Transport Bags.

XPND Core Pedalboards

Available in both compact 2-rail and larger 4-rail sizes, XPND Core Pedalboards include pre-applied hook-and-loop strips and an integrated cable management system for clean, secure setups. Players can easily upgrade with XPND Expansion Kits, transforming Core Pedalboards into a fully adjustable XPND Pedalboard that grows with their style and musical needs. XPND Core is the non-adjustable version of our revolutionary expanding pedalboard and designed for players who want a simple, ready-to-build layout with no setup time.

Highlights

• Durable Construction: Aluminum frame built for stage and studio.
• Organized Setup: Integrated cable management for clean signal chains.
• Ready to Go: Pre-applied hook-and-loop for secure pedal placement.

Expandable: Compatible with XPND Expansion Kits.

Availability & Pricing

XPND Core Pedalboards are available now through daddario.com and authorized retailers.

• XPND Core Small: $69.99
• XPND Core Large: $129.99
• Expansion Kits: $64.99–$111.99

For more information, visit: ddar.io/xpndcoreboard-pr

Backline Core Pedalboard Transport Bags

Designed as the perfect companion to the Core Pedalboards, the new Backline Core Pedalboard Transport Bags offer players a tough, lightweight, gig-ready solution for transporting pedalboard systems. Each bag is tailored specifically to fit the Core 1 (single-row) and Core 2 (double-row) pedalboard sizes.

Featuring rugged exterior construction, reinforced handles, soft padded interior protection, and dedicated storage compartments for accessories and cables, Backline Core Bags deliver dependable protection and convenience for musicians on the move.

Highlights

• Tailored Fit: Designed specifically for Core 1 and Core 2 pedalboards.
• Durable Exterior: Heavy-duty fabric with reinforced straps.
• Padded Interior: Soft liner safeguards pedals and gear.
• Extra Storage: Interior/exterior compartments for cables and accessories.
• Lightweight & Gig-Ready: Built for easy transport without added bulk.

Availability & Pricing
Available now through daddario.com and authorized retailers.

• Small: $45.99
• Large: $79.99

For more information, visit ddar.io/backlinecorebags-pr

Ad feature with the t.bone

While there are myriad effective and great sounding ways to record your guitar direct in 2025, there’s something about the classic recipe of sticking a microphone in front of your amp or instrument that can’t be beaten.

But what mic to use? For the uninitiated, the sheer variety of different types of microphones available – and the huge spread of prices they can cost – can put you off before you’ve even had the chance to experience the wonder of a properly mic’d acoustic or guitar amp.

But it doesn’t have to be this way – most mics can be grouped into three broad categories that offer utility for certain types of instruments and recording situations. In this guide, I’ll be running you through the three most common categories, and explaining how they can be used to make your at-home recording experience even better.

The other issue often putting people off is cost, but here the good folks at t.bone are here to help. The t.bone offers a wide selection of common mic types, often ones that channel the spirit of a classic mic at a fraction of the cost you might have seen elsewhere – each mic you’ll see us talk about below costs less than €200. Let’s dive in.

Dynamic Microphones

Also known as ‘moving coil’ microphones, dynamic mics are in many ways the easiest and most straightforward type of mic to understand, as they operate effectively like a loudspeaker in reverse. When sound waves hit the microphone, the membrane of the moves to the rhythm of the sound waves, and the magnetic coil on its back moves along with it, converting that movement into an electric signal.

In practice, this makes for a very simple and robust mic, which is part of their appeal – they also don’t require phantom power from your audio interface. Dynamic mics tend to have a more focused tone than other mic types, which means they’re less likely to pick up on external sound and background noise. If you’re recording at home in an environment without much acoustic treatment, having a dynamic mic might be the best option.

Two really great dynamic mic options in the t.bone range are the MB75 and MB75 Beta. The MB75 is inspired by a classic dynamic mic and offers fantastic feedback resistance and directional quality, making it perfect for mic’ing up guitar amps both live and in the studio, or for close-recording of acoustics in non-treated environments.

The Beta version keeps much of the 75’s character and usability, but offers a greater dynamic range (more high and low frequencies) while being even more directional – perfect for mic’ing up a noisy guitar amp.

Whatever dynamic mic you choose, they’re great all-rounders for whatever you want to put them in front of.

Ribbon Mics

Ribbon mics are technically a variation of the dynamic microphone, but such is their distinct sonic character, most musicians will treat them as an entirely distinct type in their own right. Like a dynamic mic, ribbon mics use electromagnetic induction to capture sound, but rather than moving a magnet, it uses a thin piece of aluminium foil that moves inside the magnetic gap.

In practice this means that ribbon mics are able to reproduce the sound more accurately and sensitively than a regular dynamic mic, though they tend to lack a bit of top end. This makes them best suited for mic’ing up guitar amps and cabs. One thing to be aware of, however, is that ribbon mics are very fragile, and have a natural ‘figure 8’ (ie they record sound both in front and behind, not the sides) recording pattern – so probably not the best option for quiet recording in untreated environments.

As you’d expect, the t.bone offers a wide selection of quality ribbon mics, but the standout is the RB 500 – a lovely microphone with a warm, natural sound that’s perfect for sticking in front of your amp and capturing its authentic tone.

Condenser Mics

The final type of microphone you might wish to consider for your home recording set up is a condenser. Condenser mics can capture a sound source in the most rich and accurate detail possible and work in a different way to dynamic mics – the mic capsule contains an extremely thin membrane (known as the diaphragm) that sits parallel to a charged metal plate. As sound hits this membrane, it vibrates and creates a current in the metal plate.

Condensers offer a detail and dynamic range not found in dynamic mics, and as such they’re perfect for capturing the nuances of acoustic guitars – though they’ll often also pick up a lot of other extraneous background noise, so might not be perfect for recording for non-treated environments.

There are two types of condenser mics – large diaphragm and small diaphragm. Large diaphragm condensers tend to generate less self-noise, and will impart their own sonic character to the recording, which is usually warm and lush. A great example of this type of mic is the t.bone SC 1100.

Small-diaphragm condensers offer a greater frequency range than their larger counterparts – meaning that you’ll have a more neutral and accurate depiction of the sound in the room. If you’re wanting to capture the full nuance of an acoustic guitar, it’s common to use a pair of small-diaphragm mics in ‘X/Y/ configuration positioned 6-12 inches from the 12th fret with the mics angled 45 degrees from the fretboard.

Thankfully, the t.bone SC 140 is an affordable small-diaphragm condenser that means it doesn’t cost much to grab yourself a pair. And don’t forget with condenser mics, you’ll need to run them into an audio interface or mixer with phantom power!

Choosing the right mic for your needs can be the difference between a good recording and a great one – thankfully, t.bone makes things so affordable that you can experiment with a minimal outlay, and find the perfect mic for you.

To find the right mic for you, shop now at tbone.audio

The post Choosing the right mic can transform your home guitar recordings – here’s how to do it on a budget appeared first on Guitar.com | All Things Guitar.

After sitting untouched for nearly half a century, Bob Myer’s long-lost dual Op-Amp Big Muff design has finally been brought to life as the EHX Big Muff 2.

Built in partnership with JHS Pedals, the new Big Muff 2 is described as “a sharper, louder, more aggressive take on the classic Big Muff voice.”

• READ MORE: “Legends never die”: Ross revived under Bud Ross’s grandson with new Era 6 pedals after failed JHS relaunch

In 2021, while digging through Big Muff inventor Bob Myer’s archives for the forthcoming Electro-Harmonix history book, Made On Earth For Rising Stars: The Electro-Harmonix Story, JHS founder Josh Scott unearthed something unexpected: a hand-drawn schematic labeled “BIG MUFF USING (2 DUAL OP AMPS)”.

It wasn’t a variation anyone had heard of, but rather, Myer’s own attempt to reimagine his landmark fuzz using the newer Op-Amp technology that had emerged in the 1970s.

Credit: JHS Pedals

“Once discovered, [we] breadboarded the circuit exactly as Bob drew it, and immediately knew they had something worth making,” says JHS. “We found that Bob’s design is unique when compared to the now famous late ‘70s Op-Amp Big Muff designed by Michael Abrams. Different clipping arrangement, an extra gain stage and various other elements that made this lost version extremely special.”

Where the original Big Muff is known for its “sweet violin-like sustain”, the Big Muff 2 is built to hit harder. It dishes out a sharper edge, significantly more volume, and what the companies describe as the “most pronounced low-end and midrange” of any EHX Big Muff ever released.

Controls remain reassuringly familiar – with the usual Volume, Sustain, and Tone knobs – on top of a classic big-box wedge enclosure.

Production is limited to 5,700 units, with the Big Muff 2 priced at $249.

The pedal’s launch also coincides with Made On Earth for Rising Stars: The Electro-Harmonix Story — a 500-plus-page archival volume chronicling the company’s history, created with JHS Pedals, Third Man Books and archivist Daniel Danger. The book is available to pre-order now via Third Man Records.

Order the Big Muff 2 today at JHS Pedals.

The post Electro-Harmonix and JHS Pedals revive Bob Myer’s forgotten circuit with the Big Muff 2 appeared first on Guitar.com | All Things Guitar.

How session ace, producer and Pat Benatar guitarist Neil Giraldo took over the ‘80s airwaves and earned a spot in the Rock & Roll Hall of Fame.

Neil Giraldo joins the Axe Lords for a deep dive into the guitars, amps, and outboard gear behind mega-hits like Pat Benatar’s “Hit Me With Your Best Shot” and Rick Springfield’s “Jessie’s Girl,” on which he nailed the legendary solo in one take, thank you very much.

The Ohio native (just like Dave!) walks us through his go-to BC Rich Eagle and Marshall 2x12 combo rig, how a Schaefer-Vega wireless feeding an Eventide H949 became his signature stereo sound, and why he leans on heavy strings, aggressive muting, and low gain instead of shred-style distortion. Neil also talks about how music grounded him as a kid, discusses his touring rig, and shares some of the secret recording tricks he uses to shape his tone in the studio.

Along with his musical partner and wife Pat Benatar, Neil is also the author of best-selling children’s book My Grandma and Grandpa Rock!

Follow @neilgiraldoofficial and @benatargiraldo for news, tour dates, and more.

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 at Revoice Media. Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.

Follow @axelordspod for updates, news, and cool stuff.

He may be the son of one of rock guitar’s greatest shredders, but Wolfgang Van Halen has argued that “shredding” is rarely the point – and that fans who expect him to play like his father Eddie are missing the bigger picture.

Speaking on the Song Cake podcast, the Mammoth leader addresses the fixation certain listeners have with his technique, and shares how reducing music to shred metrics does a disservice to what makes songs matter.

When host Phil Wilding notes that rock fans and critics often zero in on the playing rather than the writing, Wolfgang didn’t hesitate to agree.

• READ MORE: “It’s not about having a guy jumping around on stage… It’s about playing the f**k out of your instruments”: Wolfgang Van Halen on what really matters onstage

“I think that’s the big thing where people tend to lose focus,” he says. “Especially when it comes to be they just sit there and go, ‘Oh, he doesn’t play as well as his dad,’ or ‘It’s not as good as this Van Halen song.’”

“It’s all focused on the fact that I might not be tapping well enough in their opinion, or not playing well enough, rather than, ‘hey, isn’t it cool that I created this whole thing by myself with all these different pieces, all these different parts?’”

The guitarist also emphasises that his priorities are the same as his father’s were – even if listeners sometimes forget.

“It’s about the song construction at the end of the day, for me, as it was for Dad, even though people seem to focus on the playing,” Wolfgang explains. “It’s about creating the song. Because if you don’t have that, you have just shredding through scales. And there’s not really much soul on that.”

To stress the point, Wolfgang draws attention to megastar Taylor Swift, who was voted eighth best guitarist of the last two decades in a 2024 poll conducted by UK guitar retailer guitarguitar.

“Do you see Taylor Swift shredding scales?” he asks. “I don’t think so. She writes a song that makes you feel stuff. At the end of the day, if you’ve got a melody and a song that makes you feel things, makes you remember somebody you lost, makes you miss something, makes you think of being back home, at the end of the day, that’s what a song is about.”

While there’s “room for shreddiness and stuff,” Wolfgang concedes, “at the end of the day, like I mentioned, that’s what it’s about for me.”

The post “Do you see Taylor Swift shredding scales? I don’t think so”: Wolfgang Van Halen explains why fans who expect him to shred like Eddie are missing the point appeared first on Guitar.com | All Things Guitar.

Seymour Duncan has teamed up with Fear Factory riff-machine Dino Cazares on the new signature Machete humbucker.

Long known as the secret weapon inside Cazares’ signature Ormsby guitars, the Machete now makes its standalone debut for players everywhere. Engineered for guitarists who demand articulation and low-end definition without sacrificing organic feel, this active pickup in a passive mount combines high-output coils with a custom preamp circuit to deliver ferocious attack and surgical precision.

• READ MORE: Is this the first relic’d Strat? Andrian Belew and Seymour Duncan’s chaotic ‘relic-ing’ session revealed: “He laid it in the grass, doused it with lighter fluid, and poof!”

“The Machete looks like a traditional passive pickup, but it’s actually an active pickup with a preamp hidden inside the housing, right underneath the pole pieces,” Cazares explains. “That design gives this pickup extra bite, precision, and clarity – built to cut through any mix like a blade.”

Built on the foundation of Seymour’s popular Retribution model, the Machete dials in a sharper treble edge and thicker low-mids, giving it an aggressiveness that’s perfect for machine-gun picking, tight chugs, and searing leads.

Credit: Seymour Duncan

“I wanted the best of both worlds. The open, less compressed feel of a passive pickup combined with an aggressive bite and articulation of an active preamp,” says Cazares. “It delivers the raw clarity, but still hits with the force of an active pickup.”

“The machete pickup is an incredibly diverse pickup,” he adds. “I designed it to sound great for any style that I play, and for any type of player. It delivers beautiful, open, clean tones without that heavy, active compression, but it also gives you the precise, aggressive staccato attack that I would need for Fear Factory or Divine heresy, and anything in between.”

Hand-built in Santa Barbara, California, the Machete is available for six-string guitars in Black, White, and Red, and for seven-strings in Black, White, and Zebra. Prices come in at $149 for the six-string model and $159 for the seven-string version.

Learn more at Seymour Duncan.

The post “Built to cut through any mix like a blade”: Seymour Duncan launches the Dino Cazares signature Machete humbucker appeared first on Guitar.com | All Things Guitar.

Kurt Cobain’s famed Martin D-18E, the guitar he played during Nirvana’s iconic MTV Unplugged performance and the most expensive guitar ever sold at auction, has been donated to the Royal College of Music in London.

Widely regarded as one of the most culturally significant guitars in rock history, the rare electro-acoustic was modified for Cobain’s left-handed playing style. After his death, the instrument was inherited by his daughter, Frances Bean Cobain, who stored it in a Seattle vault. It later became part of a divorce settlement and was ultimately sold by Isaiah Silva.

• READ MORE: The guitar influences of Kurt Cobain

In June 2020, the D-18E went under the hammer at Julien’s Auctions, fetching a staggering $6,010,000 (£4.51 million), a record-setting price that cemented its status as the world’s most expensive guitar.

The buyer, Peter Freedman AM – founder of RØDE Microphones and a founding supporter of the Royal College of Music’s Australia Commonwealth Scholarship Fund – has now donated the instrument to the conservatoire in memory of his father, Henry Freedman. The guitar will join the RCM Museum’s extraordinary collection, which includes what is believed to be the oldest surviving guitar in existence, made in 1581 in Lisbon by luthier Belchior Dias.

The Royal College of Music has also confirmed that Cobain’s D-18E will anchor a new international touring exhibition planned for 2026, following the success of Kurt Cobain: Unplugged, an in-house exhibition that drew more than 15,000 visitors.

“I am delighted to gift this iconic guitar to the Royal College of Music so that they might realise the guitar’s value and profile for the benefit of young musicians at the RCM and reach people around the world,” says Freedman. “This gift is dedicated to my father Henry who loved music and London, and it’s an honour for me to support the next generation of musicians.”

James Williams, Director of the Royal College of Music adds, “The Royal College of Music is deeply grateful to Peter Freedman for his incredible generosity in gifting the College Kurt Cobain’s Martin D-18E guitar.”
“This asset opens future opportunities to share the Kurt Cobain: Unplugged exhibition with an international audience; it is also emblematic of Peter’s unstinting support for the performing arts and his steadfast belief in the power of education to transform lives.”

The post Kurt Cobain’s $6 million MTV Unplugged Martin D-18E finds a permanent home at London’s Royal College of Music appeared first on Guitar.com | All Things Guitar.

Few guitarists have had more of an influence on modern rock and roll than Eddie Van Halen. His playing was hugely inventive, technically astounding and perhaps most importantly of all, designed to elevate and enhance the songs he was playing on.

• READ MORE: The Gear Used By Eddie Van Halen on ‘Van Halen I’

But even the greatest musicians of all time had inspirations of their own, and EVH was no different – and there are a few peers and precursors who had a significant influence on the way he approached the guitar. Let’s take a look at the ones whose impact was most significant.

Eric Clapton

Van Halen himself stated that his biggest influence early on when it came to electric guitar was another guitar hero who needs no introduction — Eric Clapton.

“My main influence was Eric Clapton,” he told Guitar World. “I could play everything he did when I was 14. I would play the live version of Crossroads from the Cream album note for note. I was a big fan of Jimmy Page, Ritchie Blackmore, and Allan Holdsworth, too. But Clapton was it. I knew every note he played. That’s what I was known for around home… Clapton was my favorite.”

Eddie and Clapton eventually did cross paths and become friendly, but the two never collaborated on any music. Given their very different but equally influential styles, that would have been quite a pairing – Slowhand meets the definitely-not-slow-hand.

Jimmy Page

A lot has been said about the origins of Van Halen’s legendary two-hand tapping technique – it was something that Eddie did not invent but certainly popularised to a huge degree. As a result, many have speculated who inspired Eddie to start tapping – Canned Heat’s Harvey Mandel being a common name mentioned. Van Halen himself insisted it came from something further back, however.

“I think I got the idea of tapping watching Jimmy Page do his Heartbreaker solo back in 1971,” he told Guitar World. “He was doing a pull-off to an open string, and I thought, ‘Wait a minute, open string … pull off. I can do that, but what if I use my finger as the nut and move it around?’ I just kind of took it and ran with it.”

Page was one of the most famous and influential guitar players on the planet when Eddie was coming of age, and so it stands to reason that he would have taken elements of Page’s technique and style and tried to evolve it.

It’s also equally plausible that he would have been familiar with contemporaries like Mandel, or the likes of Dave Bunker or Jimmie Webster – both of whom were tapping in their own ways long before EVH did.

Ritchie Blackmore

Like so many of us, Eddie was heavily influenced by the pioneers of heavy rock music like Pete Townshend and Jimi Hendrix. But Ritchie Blackmore seemed to affect Eddie Van Halen’s playing on a fundamental level. According to a conversation Eddie had with Classic Rock magazine in 1978, he pointed out that Blackmore got him “hooked on the whammy bar”. The whammy bar would come to be a big part of his signature sound in the years to come.

Ludwig van Beethoven and Wolfgang Amadeus Mozart

Eddie’s father, Jan Van Halen, was a professional musician who played saxophone and clarinet. He actually did record a song with Van Halen on clarinet on their 1982 album Diver Down. Eddie’s birthname, Edward Lodewijk Van Halen, was given to honor Ludwig van Beethoven (Lodewijk is Dutch for Ludwig) and when Eddie had his son, he named him Wolfgang, in honor of Wolfgang Amadeus Mozart, which is incredibly telling of his admiration for classical music in general. It’s fair to say that Mozart and Beethoven, two titans of classical composition, were both heavy influences on Eddie early on when he began learning to play the piano.

The lessons Eddie would learn on piano would have a direct influence on his understanding of music composition in general and when he picked up the guitar, his classical background would have informed his early development in learning guitar as well.

Tony Iommi

Early on in his career, Eddie would cover Black Sabbath songs on stage, even taking on vocal duties. As we know, the bands we idolize early in our guitar playing development have a lasting impact on us when we develop our own original sound. Like many of us, Eddie was drawn to the powerful riffs that Iommi is known for. In 1978, Van Halen toured with Black Sabbath, and Eddie may have gotten some direct guidance from the godfather of heavy metal himself.

Eddie also probably had influences on his playing style that he was perhaps not always forthright about – for example, George Lynch claims that he and Eddie both saw Mandel do neoclassical tapping on stage with Canned Heat long before he did it.

Similarly, the unique Frankenstrat paint job looks very similar to the paint job of a guitarist named Chip Kinman of a punk band called The Dils, who often played in Los Angeles. All of which is worth mentioning because it shows that it’s entirely possible that there are other musicians out there who influenced Eddie but never got directly acknowledged by the man himself.

What is interesting is that most of Eddie Van Halen’s influences are not uncommon or unusual – you probably have a lot of them in common with him. What made him such a game-changing guitarist was the way that he took those inspirations and added his own special ingredients and ingenuity that made him truly unique, and an inspiration to millions.

The post The Guitar Influences of Eddie Van Halen appeared first on Guitar.com | All Things Guitar.

New Pop Album w/Vocalists Out in Feb 26

GRAMMY® Award-nominated genre-defying songwriter, producer, podcast host, and guitarist extraordinaire Cory Wong has shared his new single, “Blame It On The Moon (Feat. Magic City Hippies).” The jazzy disco track in collaboration with the Miami-based indie-funk trio Magic City Hippies is the third song released from his upcoming album, Lost In The Wonder, set to arrive on February 3, 2026. “Blame It On The Moon (Feat. Magic City Hippies)” is streaming everywhere now.

“This is the first time that Magic City Hippies and I have worked together,” says Cory Wong. “I randomly met some of the guys in Japan during my last tour. They came out to one of my Tokyo shows and, at the end of the night, said, ‘We should do something sometime.’ That usually means something along the lines of, ‘I respect your artistry and think you’re cool, ’ but rarely means ever getting together to actually ‘do something sometime.’ I have made it a point in the last couple of years to really mean it when I say ‘let’s write together.’

“I got home from Japan and sent over a demo of a song I was working on. The guys in the band said, ‘Yep, we know what to do with this.’ They flipped the arrangement around and added new parts, and sent back what was the majority of what you hear in the final song. We did a few rounds of remote feedback on the writing, and I polished off the arrangement with some added horns and keyboards, and it was done! It’s always more fun to work in a room together on something creative like this, but it works really well to work on remote collaboration projects when both parties are really comfortable in their artistry and also the craft of recording/ collaborating. This, to me, felt like the pinnacle of remote collaboration.”

Lost In The Wonder was initially heralded with the release of the album’s hook-heavy and irresistibly catchy first single “Tongue Tied (Feat. Stephen Day).” The crisp yet dreamy mid-tempo title track, “Lost In The Wonder,” followed last week. A national headlining tour, featuring special guests Devon Gilfillian, Stephen Day, and Marc Scibilia, is set to begin in April, with confirmed performances in Los Angeles, San Francisco, Seattle, Denver, Austin, and more. The full itinerary is below.

Lost In The Wonder spotlights Wong’s remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. The album further affirms Wong’s enduring love of musical collaboration, boasting a truly eclectic range of guest artists, including Taylor Hanson, Devon Gilfillian, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Theo Katzman, and Magic City Hippies.

“There are lots of sides to me as an artist,” says Wong. “A lot of people know me as a guitar guy, or even more specifically, ‘rhythm guitar guy’. That’s an accurate description, but it doesn’t tell the whole story. I see the guitar as just one of the avenues for my music and creativity. It’s been an absolute joy to develop and form a signature sound as a guitarist, but a huge part of my artistry is in my production/writing/arranging/band-leading. I’ve worked on and honed those skills just as much as my guitar playing, so I wanted to make an album that really showcased that side of my creative expression. Does that mean there’s less guitar on this album than on others? No! It’s actually quite the opposite. I feel like some of my best guitar work is done on this album. There’s everything from my classic rhythm guitar sound to multiple layers of orchestrally arranged guitar to blistering solos when the music calls for it.

“I think anyone who’s a great producer/writer/arranger also really likes to collaborate with other people because it gives you different colors and textures to ‘paint’ with. My aim is to showcase different sides of my artistry by putting several collaborators in front of the music and having me build the world that it lives in.”

Wong – who just wrapped up a series of historic live performances in China and South Korea – will celebrate Lost In The Wonder with a non-stop global live schedule that includes headline shows, top-billed festival sets, and more. Highlights include performances in Los Angeles, San Francisco, Seattle, Denver, Austin, as well as a one-night-only concert event at Toronto, ON’s Koerner Hall at The Royal Conservatory of Music backed by the Royal Conservatory Orchestra (December 11); a headline performance at Tucson, AZ’s historic Fox Tucson Theatre as part of the annual Tucson Jazz Festival (January 24, 2026); Dave Koz and Friends at Sea 2026, an eight-night musical cruise adventure making stops in Brazil, Uruguay, and Argentina (March 22-30, 2026); a co-headline festival appearance alongside Snarky Puppy at Charlotte, NC’s The Spring Mix (April 26, 2026); and a visit to San José del Cabo, Mexico for Goose’s three-day destination festival, Viva El Gonzo (May 7-9, 2026). Additional dates will be announced.

For complete details and ticket availability, please see www.corywongmusic.com/tour.

CORY WONG ON TOUR 2025-26

DECEMBER

11 – Toronto, ON – Koerner Hall at The Royal Conservatory of Music ^

JANUARY 2026

24 – Tucson, AZ – Fox Tucson Theatre

MARCH 2026

21 – São Paulo, Brazil – Casa Natura

22-30 – São Paulo, Brazil – Dave Koz and Friends at Sea 2026 †

29 – Buenos Aires, Argentina – C Art Media

APRIL 2026

11 – Charlotte, NC – The Spring Mix at The Amp Ballantyne †

15 - Kansas City, MO - The Truman (Devon Gilfillian, Marc Scibilia)

17 - Denver, CO - The Mission Ballroom (Devon Gilfillian, Marc Scibilia)

18 - Salt Lake City, UT - The Depot Devon Gilfillian, Marc Scibilia

20 - Portland, OR - Crystal Ballroom (Devon Gilfillian, Marc Scibilia)

21 - Seattle, WA - The Paramount (Devon Gilfillian, Marc Scibilia)

23 - Sacramento, CA - Channel 24 (Devon Gilfillian, Stephen Day)

24 - San Francisco, CA - The Warfield (Devon Gilfillian, Stephen Day)

25 - Los Angeles, CA - The Wiltern (Devon Gilfillian, Stephen Day)

26 - Del Mar, CA - The Sound (Devon Gilfillian, Stephen Day)

27 - Las Vegas, NV - Brooklyn Bowl (Devon Gilfillian, Stephen Day)

30 - Houston, TX - White Oak Downstairs (Devon Gilfillian, Stephen Day)

MAY 2026

1 - Dallas, TX - House of Blues (Devon Gilfillian, Stephen Day)

2 - Austin, TX - Stubb’s Waller Creek Amphitheater (Devon Gilfillian, Stephen Day)

7-9 – San José del Cabo, México – Viva El Gonzo †

† Festival Appearance

^ w/ the Royal Conservatory Orchestra

After a devastating theft in 2021, the metal band’s guitarist rebuilt his tone empire around some life-changing loans.

Chicago post-metal band Russian Circles had to battle their way back to gear heaven. In 2021, the bulk of the band’s gear was stolen while on tour, leading to a years-long rebuild. As a result, many of the items you might’ve seen in guitarist Mike Sullivan’s Rig Rundown back in 2017 are long gone.

PG’s Chris Kies recently met up with Sullivan at the band’s Chicago practice space, where they’ve resided for nearly 20 years. Check out some highlights from Sullivan’s new, resurrected rig below.

Brought to you by D’Addario.

Dun Deal

Sullivan has been favoring Dunable guitars of late, borrowing one from tourmate Chelsea Wolfe after his other guitar was nabbed. The green one is based on the Dunable Narwhal, with a more Gibson-like scale—comparable to Sullivan’s old Les Paul. This Narwhal has a mahogany body and neck, maple top, and a coil-tap function for the two humbuckers: a DiMarzio PAF 26th Anniversary and a DiMarzio Joe Duplantier Fortitude signature. Vibrating atop those pickups are D’Addario strings—a set of .011–.056, with the low E swapped for a .058. Sullivan uses a number of different down tunings, all with D-A-D-G-A-D as a starting point.

The white Dunable has a maple neck, a 25.5” scale, and is tuned lower, with a .062 for the low E string. It’s used for drop-A tunings, and has the same DiMarzio pickups.

Gettin’ Hi

Sullivan was turned onto Hiwatts after acquiring some on loan in the wake of the gear theft, and he hasn’t turned back since. The cabinets are loaded with Hiwatt Octapulse speakers.

Mike Sullivan’s Pedalboard

Sullivan runs two pedalboards. The first includes a Peterson tuner, Shure P9HW, Dunlop CBM95 Cry Baby Mini, DigiTech Drop and Whammy Ricochet, and MXR Phase 95.

The motherboard carries a Dunlop DVP3 volume pedal, a Friedman BE-OD Deluxe, Strymon Dig, TimeLine, and Flint, a T-Rex Image Looper, DigiTech JamMan Stereo, MXR CAE Boost/Line Driver, Foxrox Octron3, Electric Eye Cannibal Unicorn, Maxon Apex808, Fortin-Modded Ibanez Tube Screamer, and a Radial Shotgun Guitar Splitter and Buffer.

Shure P9HW
MXR Phase 95
Peterson Tuner
DigiTech Drop
DigiTech Whammy Ricochet
Strymon Dig
Strymon Timeline
Strymon Flint
DigiTech JamMan Stereo
Dunlop Volume Pedal
Friedman BE-OD Deluxe
Dunlop CBM95 Cry Baby Mini
Radial Shotgun