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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!”
Who invented the relic’d guitar? Depending on who you ask, the answer might be the Fender Custom Shop… or a young Adrian Belew watching Seymour Duncan set his freshly purchased $285 Stratocaster on fire in their backyard.
The prog legend has now shared never-before-seen photos from that gloriously unhinged afternoon, giving guitar fans a rare peek at what may well be one of the earliest relic jobs ever attempted.
In a new Instagram post, Belew recounts the brutal treatment his brown sunburst Strat endured that fateful day.
“Seymour Duncan just sent these cool photos from the day he and I (mainly he) battered and burnt the $285 strat I had just bought,” the post begins. “It had to have been one of the earliest examples of ‘relic-ing’ a guitar.”
“He laid it in the grass, doused it with lighter fluid, and poof! The relic-ing ritual began. When we were finished gouging it with screwdrivers, spraying blops of paint on it, dragging it around the yard, and banging it on the driveway, we hung it up in a tree.”
The next day, Belew brought the battered Strat to rehearsals – where Frank Zappa couldn’t resist commenting: “If you wanted to ruin your guitar, Adrian, why didn’t you loan it to a friend?’”
And while Belew’s backyard burn session was pure chaos, most professionals would agree that relic’ing today is a very different beast. For all the debate the practice stirs up, the modern process is often meticulously planned, measured, and executed down to the last scratch.
Max Gutnik, Fender’s Chief Product Officer recently explained just how involved modern-day relic-ing really is: “You know, relicing is hard to do. It’s ironic because people think you can just drop it a few times and drag it down the street. But it’s actually a really intensive process that adds a lot of hours to the guitar.”
“Trying to make the relicing not look uniform is really important. The processes we use have improved so much: you want the feel and the look of a broken-in guitar, but you don’t want anything actually broken! So we just keep improving that process, the lacquer and paint…”
The post 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!” appeared first on Guitar.com | All Things Guitar.
What's New 12/6/25
PRS SE Chleo Herman Li Signature Review
In shape and sound, the Chleo Limited Edition is a very different PRS. It is, in part, a product of the vision of Herman Li, who is one half of the virtuoso lead guitar team behind DragonForce. With a total production of just 200 instruments, and a price tag just below $7,000 (and currently fetching upward of $12,500 on Reverb) the original Maryland-built version remains well out of reach for many of Li’s core fans (not to mention some wealthy landowners).
Billy Reid’s Guitar-Obsessed Style
Designer, guitarist and Gibson collaborator Billy Reid joins Axe Lords to talk about Jimmy Page’s favorite jacket, his Gibson Hummingbird collab, the benefits of wearing spandex, and why your guitar has to look as cool as it sounds.
How Much Practice Do You Need on Your Instrument?
Whenever I’m asked a question about learning, it’s almost always followed by an inquiry as to how long that thing might take to learn. Ultimately, the student wants to know exactly how much they should practice, and when they should expect to see results.
Reader Guitar of the Month: An Esquire-inspired Solidbody on the Cheap
Andrew Waugh’s “Ebenezer” proves that tone and craftsmanship don’t have to come with a big price tag.
The Strangest—and Biggest—Gibson Ever Built
Sometime in the ’90s, Gibson Custom Shop luthier Roger Griffin played Frankenstein, raising this 18-string monster to life.
Mr. Black Mod.One Review
An all-analog flange and chorus with a lot of character.
Latest News
MONO Introduces PFX Instrument Cables
Electro-Harmonix Introduces ABRAMS100 100-Watt Guitar Amp
Guns N' Roses Debut Two Highly Anticipated New Songs "Nothin" and "Atlas"
RhPf Electronics Unveils the Tri-Hormonic Phalanx
RhPf Electronics has introduced the Tri-Hormonic Phalanx, an overdrive which allows you to decide which frequencies stay clean and which ones clip.
Using a MOSFET-based circuit and soft-clipping overdrive, the Tri-Hormonic Phalanx reacts very naturally to pick attack and guitar volume knob changes. Its tone-shaping design splits the signal into lows, mids, and highs, processes each band independently, then blends them back together with dedicated level control. This approach gives players something most drives cannot offer: the ability to assign saturation per frequency while keeping the overall loudness completely consistent.
With the Tri-Hormonic Phalanx you can shape your tone to achieve clean low tones with no mud, creamy, focused mids pushed into breakup, and snappy highs that cut without harshness -- or any other combination you desire.
Features include:
- Triple-band parallel signal paths for lows, mids, and highs
- Independent Gain (cream colored knob) and volume Level controls (black knob) for each band, labeled IGF-1 (Bass), GH (Mid), and ACTH (Treble)
- Soft-clipping MOSFET stages for organic, amp-like harmonic response
- Can be used as full-spectrum clean boost or band-targeted saturation
- Powered by external 9v DC supply, center-negative, no battery compartment
- True bypass on/off switching
- Built in Switzerland
Where traditional drives treat the signal as one block, the Phalanx isolates the fundamental regions of the guitar and lets players shape them independently. This means the lows can stay clean and full, the mids can be pushed into focused breakup, and the highs can be driven into crisp harmonic lift without harshness.
Beyond its technical design, the Phalanx carries a personal tribute to the medical condition acromegaly, quietly raising awareness through the IGF-1 (Bass), GH (Mid), and ACTH (Treble) labels that define its identity.
Tri-Hormonic Phalanx carries a street price of $179 and is available at select retailers and directly from RhPf Electronics.
Guns N' Roses Debut Two Highly Anticipated New Songs "Nothin" and "Atlas"
Powerhouse rock icons Guns N’ Roses have returned today with two brand new singles. Marking their first new music release since 2023, “Nothin’” and “Atlas” find the long-running band still at the height of their powers, showcasing two different sides of their personality. “Atlas” is GNR in full surging rock mode, while “Nothin’” grows more introspective over floaty keys and an emotive guitar.
Both songs are available today via Interscope Records.
LISTEN TO “NOTHIN’” HERE
LISTEN TO “ATLAS” HERE
Guns N’ Roses have steadily been releasing new material in recent years in conjunction with their sold-out tours across the globe. Following 2023’s “The General” and “Perhaps,” “Atlas” and “Nothin’” join as vital additions to setlists otherwise featuring all the classic hits and deep cut fan favorites from GNR’s early catalogue. On December 12th, “Nothin’” and “Atlas” will be available for pre-order on 7” vinyl, a Guns N’ Roses store exclusive cassette and a Japan exclusive SHM-CD. To pre-order, or for more information, please click HERE.
Most recently, Guns N’ Roses announced they will hit the road in the spring and summer of 2026 (please see dates below) on a world tour that will see the band visit Mexico and Brazil before headlining additional EU markets as well as stadiums across the US and Canada. The tour will include a special performance at LA’s Rose Bowl, marking a historic return to the venue for the first time in over 30 years. This 2026 tour follows on the heels of a sprawling 2025 world tour that saw the band make their long-awaited return to Europe, the Middle East, Asia, and Latin America.
Tickets are available at gunsnroses.com. In North America, the tour will also offer a variety of different VIP packages and experiences for fans to take their concert experience to the next level. Packages vary but include premium tickets, behind-the-scenes tour, invitation to the pre-show VIP Lounge, limited edition merch & more. VIP package contents vary based on the offer selected. For more information, visit vipnation.com.
2026 Tour Dates
Saturday, March 28 2026 - Monterrey, Mexico // Tecate Pa’l Norte*
Wednesday, April 1 2026 - Porto Alegre, Brazil // Estádio Beira Rio
Saturday, April 4 2026 - São Paulo, Brazil // Monsters Of Rock*
Tuesday, April 7 2026 - São José do Rio Preto, Brazil // Alberto Bertelli Lucatto
Friday, April 10 2026 - Rio de Janeiro, Brazil // Engenhao
Sunday, April 12 2026 - Cariacica, Brazil // Estádio Estadual Kleber José de Andrade
Wednesday, April 15 2026 - Salvador, Brazil // Arena Fonte Nova
Saturday, April 18 2026 - Fortaleza, Brazil // Arena Castelão
Tuesday, April 21 2026 - Sao Luiz, Brazil // Estádio Governador João Castelo “Castelão”
Saturday, April 25 2026 - Belém do Para, Brazil // Estadio Olimpico do Para “Mangueirão”
Tuesday, May 5, 2026 - Hollywood, FL // Hard Rock Hollywood
Thursday, May 7, 2026 - Daytona Beach, FL // Welcome To Rockville Festival*
Thursday, June 4 2026 - Gliwice, Poland // PreZero Arena Gliwice
Saturday, June 6 2026 - Gliwice, Poland // PreZero Arena Gliwice
Wednesday, June 10 2026 - Dublin, Ireland // 3Arena
Friday, June 12 - Sunday, June 14 2026 - Donington, UK // Download Festival*
Thursday, June 18 2026 - Amsterdam, Netherlands // Ziggo Dome
Saturday, June 20 2026 - Amsterdam, Netherlands // Ziggo Dome
Tuesday, June 23 2026 - Berlin, Germany // Uber Arena
Thursday, June 25 2026 - Berlin, Germany // Uber Arena
Sunday, June 28 2026 - Antwerp, Belgium // AFAS Dome
Wednesday, July 1 2026 - Paris, France // Accor Arena
Friday, July 3 2026 - Paris, France // Accor Arena
Thursday, July 23 2026 - Raleigh, NC // Cater-Finley Stadium
Sunday, July 26 2026 - Saratoga Springs, NY // Saratoga Performing Arts Center
Wednesday, July 29 2026 - Tinley Park, IL // Credit Union 1 Amphitheatre
Saturday, August 1 2026 - Hershey, PA // Hersheypark Stadium
Wednesday, August 5 2026 - Toronto, ON // Rogers Stadium
Saturday, August 8 2026 - Shakopee, MN // Mystic Lake Amphitheater
Wednesday, August 12 2026 - East Rutherford, NJ // MetLife Stadium
Sunday, August 16 2026 - St. Louis, MO // Busch Stadium
Wednesday, August 19 2026 - Kansas City, MO // Morton Amphitheater
Saturday, August 22 2026 - Las Vegas, NV // Allegiant Stadium
Wednesday, August 26 2026 - Edmonton, AB // Commonwealth Stadium
Saturday, August 29 2026 - Vancouver, BC // BC Place
Wednesday, September 2 2026 - San Diego, CA // Snapdragon Stadium
Saturday, September 5 2026 - Pasadena, CA // Rose Bowl
Wednesday, September 9 2026 - Arlington, TX // Globe Life Field
Saturday, September 12 2026 - Ridgedale, MO // Thunder Ridge Nature Arena
Wednesday, September 16 2026 - San Antonio, TX // Alamodome
Saturday, September 19 2026 - Atlanta, GA // Truist Park
*Festival appearance
Metal Guitarist David K. Starr Releases “Not Dead Yet”
Press Release
Source: Chipster PR & Consulting, Inc.
Veteran metal guitarist/bassist David K. Starr (WildeStarr, Vicious Rumors, Chastain) returns with a slamming new track and video
“Not Dead Yet” is Dave’s own testimony of life’s twists and turns after being diagnosed with Parkinson’s disease in 2020.
Dave says… “I originally started writing the song about what I have gone through, but then I realized it’s bigger than me, this song is for anyone out there dealing with life changing events, be it their health, death of a loved one, a broken heart, or whatever comes your way”. Dave continues.. “I never mention my health problems in the song, that would be too corny, so I broadened my scope and made it for anyone out there who’s going through pain”…”It’s basically about standing tall and fighting for yourself, fighting to stay alive, no matter what kind of hell life throws at you”
“Not Dead Yet” was directed by London Wilde, and features Dave singing lead vocals for the first time, as well as playing all the guitars. Backing up Dave on this new track & video are Rich Gray on bass (Annihilator, Aeon Zen) and drummer Fabio Alessandrini (Annihilator, Bonfire).
Click here to view the embedded video.
David K. Starr was the bassist with Vicious Rumors from 1984 – 1993, and again from 2005 – 2007. He is featured on the albums; Soldiers Of The Night (1985), Digital Dictator (1988), Vicious Rumors (1990), Welcome To The Ball (1991), Live In Tokyo (1992), and WARBALL (2006)
David played bass for CHASTAIN from 2001 – 2005 and recorded the 2004 album, In An Outrage.
More recently, David K. Starr released 3 albums with WildeStarr: Arrival (2010), A Tell Tale Heart (2012), Beyond The Rain (2017) with David K. Starr on guitars and bass, London Wilde on vocals, and Josh Foster on drums.
Steve Cropper, legendary Booker T. and the M.G.'s and Stax Records guitarist, dies at 84
On December 3, 2025, the night before we heard the news of Steve Cropper’s passing, my wife and I were jamming to a simple loop. Distracted, at one point I strayed into a noodle that wasn’t doing my wife or the song any favors. Then a voice spoke loudly in my head: “Booker T. and the M.G.’s, you idiot! Cropper! Now!” In a shot I was off the noodle bus and back on track.
That voice, it seems, sat at the shoulder of many guitarists. Such was the reach and influence of a musician that could be hookmeister, bedrock, silk, switchblade, or the lonely cry at the root of a heartbreaking melody. Cropper’s signature, however, was his economy and restraint—much of which was reinforced by his keen producer’s ear. Keith Richards, one of the kings of rhythm and timing, was once asked what he thought of Cropper. Richards, who can spiel when moved, was reduced to two words: “Perfect, man.” And truly, it’s hard to find a moment in Cropper’s body of work as rhythm guitarist, lead ace, and producer that isn’t, by some measure, impeccable.
Steve Cropper was born on October 21, 1941, in rural Dora, MO. But before he was 10, his family moved to Memphis. Like any open-minded, musically inclined individual with access to a radio in that time and place, Cropper found a feast for the ears in Memphis in the 1950s—blues, gospel, rhythm and blues, country, and the rockabilly percolations bubbling up from Sun Records.
Cropper was playing guitar by the time he was 14. And his influences around that time tell much about the sum that would become the Cropper style. From jazz giant Tal Farlow he learned how to dance around a melody with precision. From Chet Atkins, he took a sense for how chord melody and the twang and pop of an electric guitar could work together. Chuck Berry opened his ears to the power of relentless, uptempo, driving rhythm. And Jimmy Reed taught him the ways of deriving swing from skeletal, haunting simplicity.
By the time he was 20, Cropper had joined forces, along with future Booker T. and the M.G.’s bassist Donald “Duck” Dunn, in an instrumental band that evolved into the Mar-Keys, which hit number 3 with “Last Night,” a release on Memphis-based Satellite Records. Within a few years, Satellite became Stax, and on the strength of the Carla Thomas single “Cause I Love You,” entered a distribution deal with Atlantic Records. Stax’s agreement with Atlantic meant product and hits had to keep coming. And that effort was facilitated by Stax’s in-house band, which featured Cropper, drummer Al Jackson Jr., and bassist Lewis Steinberg. That trio, with organist Booker T. Jones, further boosted Stax’s fortune and profile, when an impromptu jam intended as a B-side became “Green Onions”
Though “Green Onions” showcases the awesome collective strength of Booker T. and the M.G.’s as a mighty groove machine, Cropper’s contributions to the track included a lock-step doubling of Lewis Steinberg’s bass, a horn section-style stab on the one, and a lead that is the essence of economy and attitude, reflecting Ike Turner or Johnny Guitar Watson’s fiery r&b fretwork. Cropper, in fact, provided much of the tune’s dynamics. The song may have legitimized Stax. But it also cemented Booker T. and the M.G.’s reputation as a band’s band, revered by surf and garage bands on the West Coast, soul and r&b artists working in the South and on the East Coast, and perhaps most notably, the bands that would soon make up the British Invasion.
Had the M.G.’s left behind “Green Onions” alone, they would have been legendary. But the band, and Cropper, in particular, would go on to make Stax one of the most vital and important labels of the 1960s, and he would lend a hand in nourishing the careers of some of some of soul music’s most titanic figures.
Cropper ultimately became the front-line producer at Stax and their subsidiary Volt. And his production style mirrored his approach to guitar. It was lean, hard-hitting, dripping with groove, but also spacious enough to make room for the awesome voices that passed through Stax’s Memphis studios. Cropper’s production was so powerful and full of sinewy punch that it practically tormented British artists who struggled to find Stax’s potency in their own studios. At one point the Beatles were slated to work with Cropper on the LP that eventually became Revolver. That didn’t pan out, but Cropper’s production, recording, and performing prowess would still touch millions of people through hits from Sam and Dave, Carla Thomas, Wilson Pickett, Eddie Floyd, and, most monumentally, Otis Redding, who co-authored “(Sittin’ On) the Dock of the Bay” with Cropper (who also adorns the yearning track with pearls of subtle guitar shading that virtually define the instrument’s role in soul balladry).
Cropper didn’t stop working after Stax’s hits dried up. He continued to produce records and play sessions, and reached millions more playing himself in the Blues Brothers film. He toured—once again with the M.G.’s—backing Neil Young at the height of Young’s volcanic reawakening in the 1990s. Cropper was, generally speaking, a quiet, gentlemanly guy, quite happy to deliver the goods in relative anonymity as sparks flew around him—qualities evident in essential performance films like Shake! Otis Live at Monterey and footage from the Stax tour of Europe in 1967. And improbably, perhaps, in light of his reserve, Cropper’s music and his impeccable touch as a guitarist and producer is everywhere where people listen. His legacy and influence are matched by few.
MONO Introduces PFX Instrument Cables
MONO (monocreators.com), the world’s leading design-driven brand for the modern musician, introduces the Studio and Stage Instrument Cables, the latest addition to its growing PFX Series. The PFX Series, known for its world-renowned pedalboards and power supplies trusted by artists like Mateus Asato, Yvette Young, and Faye Webster, now expands into instrument cables with the same commitment to clarity, durability, and performance. Designed to elevate musicians’ lives through thoughtful design, these new cables deliver studio-grade fidelity, innovative connector options, and rugged, handbuilt-in-Japan quality for every stage.
The new PFX Instrument Cables are crafted to capture every sonic detail. The Studio Instrument Cable is built around 150 strands of 0.08 mm oxygen‑free copper in the core conductor, paired with precision insulation to ensure your tone remains crystal clear and free from interference or coloration. For live performance, the Stage Instrument Cable combines a high‑purity oxygen‑free copper core with a braided shield and flexible outer jacket, minimizing signal loss and offering rugged reliability in demanding environments.
The new cables come equipped with versatile connector configurations designed to accommodate any playing environment—from home studios to festival stages. The connectors’ lineup include:
- The Standard Connector features a robust brass build with a compact short-shaft design, making it ideal for tight pedalboard layouts or cramped jack placements.
- The 180° Connector flexes between angled and straight orientations, offering flexible routing options and reduced strain on the cable and jack—perfect for hybrid or frequently adjusted setups.
- The Silent Connector includes an intelligent auto-mute function that cuts the signal the moment it’s unplugged, eliminating unwanted pops and hum for seamless instrument changes during a live set or studio session.
Billy Reid’s Guitar-Obsessed Style
Fashion designer, guitarist and Gibson collaborator Billy Reid joins Axe Lords to talk about Jimmy Page’s favorite jacket, his Gibson Hummingbird collab, the benefits of wearing spandex, and why your guitar has to look as cool as it sounds.
esigner, guitarist and certified culture tinkerer Billy Reid drops by Axe Lords to talk about the overlap between great guitars and great clothes — and why both have to look cool.
Tom, Dave and Cindy grill Billy on the leather jacket he made for Jimmy Page, the custom Gibson Hummingbird he designed, and his deep obsession with ’70s Japanese acoustics like Yamaha “red labels” and Tokai Cat’s Eyes.
Billy breaks down how Japanese builders and denim heads chase “perfect imitation,” how he hides signature details inside garments, and why some designs bomb at first only to become cult favorites — including wool shorts.
Follow Billy @Billy_Reid
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, NYC. Artwork by Mark Dowd. Theme music by Valley Lodge.
Follow @axelordspod for updates, news, and cool stuff.
PRS SE Chleo Herman Li Signature Review
In shape and sound, the Chleo Limited Edition is a very different PRS. It is, in part, a product of the vision of Herman Li, who is one half of the virtuoso lead guitar team behind DragonForce. With a total production of just 200 instruments, and a price tag just below $7,000 (and currently fetching upward of $12,500 on Reverb) the original Maryland-built version remains well out of reach for many of Li’s core fans (not to mention some wealthy landowners).
PRS Chleo SE Herman Li Signature Guitar Demo | First Look
Someone apparently heard the clamor for a more accessibly priced version, though. Enter the PRS SE Chleo. It features the same contoured, maple-topped mahogany body, super-thin neck with 20" fretboard radius, and trifecta of Fishman Fluence single- and double-coil pickups as the more expensive version. It even features Li’s preferred “Eclipse Dragon” fret inlays—a major departure from PRS practice.
All this still comes at a cost. While more affordable than the Limited Edition model, the SE Chleo is priced just under $2,000, which isn’t exactly modest. That raised some eyebrows in the guitar community. After all, the excellent PRS SE DGT David Grissom is around $700 new. The sought-after SE Silver Sky is usually around the high $600 mark. Even the SE Mark Holcomb Signature, the SE Mark Tremonti, and the classic SE Custom 24 Floyd are less than a grand.
Given that the SE Chleo’s materials and build-quality seem on par with those less expensive guitars, what exactly tilts this ostensibly metal-centric SE toward the price range of a U.S.-made PRS Silver Sky or Mark Lettieri Signature Fiore?
Dragon's Teeth
SE Chleo is as well-made and designed as any of the SE class, which is to say, it is very well built. But the SE Chleo also boasts a carbon-fiber reinforced bolt-on maple neck and a custom-contoured maple-topped mahogany body, with an artfully scooped lower cutaway offering unfettered access past the neck’s top 24th fret. The super-flat fretboard radius, smooth ebony fingerboard, and jumbo fretwire mean even the biggest hands will find sure purchase while blazing three-notes-per-string runs and sweep-picked arpeggios. The Chleo’s generous 1.75" nut width also suits the flat radius and is ideal for bigger hands and fretting fanned-out Allan Holdsworth chord voicings.
That said, the body—whose narrow upper and lower horns evoke a 1980s Veillette-Citron—can feel small and a bit awkward while sitting or standing. Whether or not you find the guitar’s ergonomic design beneficial is very personal and subjective, but the SE Chleo’s limited upper-bout surface will offer less support for some players' forearms beyond the wrist. Given that the included steel-saddled Floyd Rose 1000 Tremolo Bridge (with PRS locking nut) practically demands a default palm-mute posture for the right hand, the smaller dimensions sometimes feel like an odd design choice. Herman Li might disagree, however. Weight, by the way, is about 7 pounds, 4 ounces, around the same as an SE Silver Sky.
How to Train Your Dragon
For my money, the most compelling thing about the SE Chleo, and something it shares with its much pricier Limited Edition confrere, is the HSH-arrayed trio of Herman Li Signature Fishman Omniforce hum-free pickups. And with the push-pull volume and tone knobs and 5-way pickup selector blade switch you end up spoiled for choice when it comes to tone blends. Two voicings are available for each pickup using the push-pull tone pot alone. But the push-pull volume pot opens up coil-tap options for each humbucker which can be paired with the middle single-coil pickup. You can also jump the middle pickup entirely and blend the bridge and neck humbucker.
The Chleo’s generous 1.75 nut width suits the flat radius and is ideal for bigger hands and fretting fanned-out Allan Holdsworth chord voicings.
The sound of these single- and double-coil pickup configurations, in concert with the Chleo’s unique body resonance, mean few settings are evocative of a classic Stratocaster, Telecaster, Les Paul, or SG in a literal sense. They can be impeccably clean and have presence, but they are clearly meant to complement the kind of technical, progressive metal that DragonForce excels at with, perhaps, a tip of the cap to PRS-based riff and lead sounds from bands like Opeth, Periphery, and Sevendust.
That said, the bridge pickup’s voicing is aggressive and tight, great for fifth- and sixth-string-based pedal-tone riffing. It also kicks up syrupy sustain for soaring metal lead work (Bleed From Within’s Craig Gowans and Sam Vellen of Caligula’s Horse come to mind). Many other pickup blends hint at the coppery-clean semi-acoustic sounds you associate with King Crimson’s Beat period or latter-day Porcupine Tree.
The Verdict
So, does the PRS SE Chleo merit its nearly $2,000 price tag? Whether it does or doesn’t will be a judgement best left to the beholder. DragonForce’s best-selling record, Inhuman Rampage, moved more than 600,000 copies in the U.S. alone, a prodigious figure for a band and genre outside the mainstream. But that number suggests a lot of possible customers for the SE Chleo, with all its idiosyncracies, as well.
Factor in the persona of Li himself, an affable gentleman rocker and role model who performs challenging technical passages with ease, and the appeal grows. The SE Chleo’s build quality is excellent, so if the guitar design suits your style you should round the “build/design” score up. Similarly, players that favor the Fishman Fluence pickups’ precision should adjust upward accordingly. If Li’s sensational sweep-picking salvos and DragonForce’s fantasy concept albums are your cup of mead, this is a solidbody worth experiencing.
“He said, ‘You have something the others don’t’”: Steve Lukather recalls the night Jimmy Page complimented him – while he was hanging out with Eddie Van Halen
Earning a nod of approval from the Jimmy Page is the sort of once-in-a-lifetime trophy moment most guitarists would brag about for decades. For Steve Lukather, that moment unfolded under even more surreal circumstances – with Eddie Van Halen standing right beside him.
Speaking to Forbes, the Toto legend and session ace shares the story of the only time he ever met the Led Zeppelin icon and how the night had left an unexpectedly deep mark.
“I have a funny story about Jimmy,” Lukather begins. “It was the one and only time I ever met him. I went over to this Guitar Center thing honouring Nigel Tufnel from Spinal Tap. In fact, I ended up producing four tracks on their next record because of that night.”
Lukather arrived with Eddie Van Halen, expecting nothing more than a fun hang and a chance to meet one of his heroes. But what happened next caught him completely off-guard.
“I showed up with Eddie and my boys,” he recalls. “Hey, we’re going to meet Jimmy Page, a big deal, right? Jimmy’s standing there greeting everyone. He points at me. I think he’s pointing at Ed, of course, but it’s me, and he motions for me to come over.”
Then came the compliment of a lifetime.
“He said, ‘You have something that these other guys here don’t.’ And I go, ‘What’s that, Jimmy?’ He said, ‘You understand and I understand, but those other guitarists don’t. We were studio players. They don’t know what that means.’”
Page then explained that he knew people sometimes dismissed Lukather because he was a “studio guy” – a notion he shut down instantly, speaking as someone who’d carved his own career in the studio trenches.
“‘That’s the opposite of the absolute truth. That sets you above these other guys,’ Jimmy said. I asked if I could give him a hug, and tell people he had said that,” Lukather continues. “He laughed, gave me a hug and said, ‘Sure.’ That meant the world to me.”
The post “He said, ‘You have something the others don’t’”: Steve Lukather recalls the night Jimmy Page complimented him – while he was hanging out with Eddie Van Halen appeared first on Guitar.com | All Things Guitar.
“Virtually indistinguishable from the all-tube original”: EVH’s first digital amp, the 5150III Hypersonic, delivers Eddie Van Halen’s iconic tube tones without the heft
EVH has officially entered the digital arena with the 5150III Hypersonic 6L6, a 1×12 combo designed to deliver the power, clarity and feel of Eddie Van Halen’s legendary 5150III tube amp – without the bulk or maintenance that comes with traditional valves.
Built using “massive digital processing power”, the Hypersonic 6L6 is said to deliver “EVH tone, volume and dynamics” that’s “virtually indistinguishable from the all-tube original”.
With a premium Celestion speaker and closed-back cabinet, it dishes out the familiar growl, punch and high-gain aggression players expect from the brand.
The launch also marks EVH’s first fully-digital amplifier, positioning it alongside the modern convenience trend pioneered by Fender’s Tone Master series. According to EVH, the Hypersonic aims to solve the long-standing challenge of capturing true EVH tube tone in a form factor that’s practical for home studios and travelling musicians alike.
The amp sticks to the familiar three-channel layout – Clean, Crunch and Lead – but with added features for greater precision. Clean and Crunch come with concentric EQ controls, while each of the three channels comes equipped with its own noise gate and trim control. The result is a setup that stays tight and controlled, even with high-gain tones or loud stage volumes.
The redesigned footswitch allows players to toggle reverb and the effects loop on the fly, and an onboard power selector offers full power plus five attenuation levels, making it easy to dial in your ideal tone at any volume.
Credit: EVH
Recording and live routing options are equally comprehensive. A balanced XLR line out with built-in IR cabinet sims provides studio-ready tones straight to a mixer, while a mute switch enables silent monitoring and late-night tracking. A headphone jack, MIDI input and USB-C port round out the modern connectivity.
Weighing just 39 lbs – roughly 40% lighter than the Iconic Series 5150III 50W combo – the Hypersonic offers exceptional portability without sacrificing tone. The amp is available in Black or Ivory vinyl, and is priced at $1,699.99.
“This represents the next evolution in EVH amplification, delivering Eddie’s iconic tone through innovative digital technology,” says Jon Romanowski, VP of Product of EVH Guitars. “The Hypersonic 6L6 1×12 breaks down the barriers that have kept players from accessing authentic EVH sound, making it more portable and versatile than ever before. Whether players are recording at home or performing on stage, this amp delivers that unmistakable EVH tone that made Eddie’s sound iconic.”
Learn more at EVH.
The post “Virtually indistinguishable from the all-tube original”: EVH’s first digital amp, the 5150III Hypersonic, delivers Eddie Van Halen’s iconic tube tones without the heft appeared first on Guitar.com | All Things Guitar.
“He came up with the guitar parts we all studied. He produced the records we all worshipped”: Guitar community pays tribute to legendary guitarist Steve Cropper, who has died aged 84
Steve Cropper, the legendary guitarist for Booker T. & the MGs and key architect of the Stax Records sound, has died at the age of 84.
A statement shared on Cropper’s official Facebook page confirms that the musician passed away “peacefully in Nashville” on Wednesday (3 December): “Steve was a beloved musician, songwriter, and producer whose extraordinary talent touched millions of lives around the world,” the statement reads.
“While we mourn the loss of a husband, father, and friend, we find comfort knowing that Steve will live forever through his music. Every note he played, every song he wrote, and every artist he inspired ensures that his spirit and artistry will continue to move people for generations.”
Born in 1941 in Dora, Missouri, Cropper rose to prominence as the guitarist for Booker T. & the MGs, the house band for Stax Records in Memphis. Often hailed as one of the finest backing bands in soul, the group helped define the label’s signature grooves, with Cropper’s distinctive guitar work featuring in many of Stax’s hit tracks.
In the ’60s, Cropper co-composed the famed instrumental Green Onions and (Sittin’ On) The Dock of the Bay, the latter of which won the first Grammy Award for Best R&B Song in 1969. As a member of the MGs, he was inducted into the Rock & Rock Hall of Fame in 1992.
Beyond the band, Cropper also collaborated with legends like Otis Redding, Queen’s Brian May, and John Lennon, co-writing and producing tracks that remain staples in American music.
Tributes have poured in from across the guitar and music community following news of the musician’s passing.
Describing Cropper as a “true great”, Joe Bonamassa writes, “Words fail me in describing Steve Cropper’s impact on music. He was on the session when history was made. He came up with the guitar parts we all studied. He produced the records we all worshipped. He was my friend and a true great. Rest in peace. This one really hurts.”
Australian guitarist Tommy Emmanuel, too, calls Cropper “one of the most influential guitar players of our time”, saying “Thank you for all your beautiful music… and for being so kind to me, coming to my camp in Memphis.”
Tyler Bryant, who performed at Cropper’s Songwriters Hall of Fame induction in 2005, also recalls the experience: “I was so nervous that I wrote the lyrics to Midnight Hour on the top of my guitar. I knew the song by heart, but I etched them into the top of my favourite guitar anyways,” he states. “The guitar got stolen and the lyrics were sanded off. After many years, the guitar came back to me. I think about that night every time I play it. Some things just live on, especially when they are pure. The way Steve Cropper made music was pure.”
View more tributes below.
In Memoriam: “Play it, Steve!” Immortalized with a shout-out in Sam and Dave’s “Soul Man,” 1992 Inductee Steve Cropper was one of music’s most recognized and in-demand guitarists. (1/3) pic.twitter.com/hwRAXPgOvQ
— Rock & Roll Hall of Fame (@rockhall) December 3, 2025
RIP Steve Cropper… a blues brother to the end. pic.twitter.com/QPpJDFOWdx
— ✭Marc✭ (@marcmonster76) December 3, 2025
The post “He came up with the guitar parts we all studied. He produced the records we all worshipped”: Guitar community pays tribute to legendary guitarist Steve Cropper, who has died aged 84 appeared first on Guitar.com | All Things Guitar.
How Jan Akkerman created a timeless guitar riff that soundtracked adverts, TV and beyond: this is the story of Hocus Pocus by Focus
Some songs take on a life that sprawls far beyond their intended audience to become something altogether more impactful. It’s certainly been the case with Hocus Pocus, the signature song of 70s Dutch prog-rockers Focus.
Decades after its release, the song has become a staple of film and TV soundtracks, covers, and advertisements – perhaps most iconically as the soundtrack to Nike’s legendary “Write the Future” advert in 2010. But for guitarist Jan Akkerman, moving outside of what’s expected is nothing out of the ordinary.
“My guitar playing influences go much further than just the rock scene,” he exclaims. “I like jazz guitar players like Django Reinhardt, because of his approach to playing the melody, and also Wes Montgomery in the way he uses phrasing. So, in my own style, I tried to do a mishmash of those things. In turn it triggered my interest in playing more than the usual straightforward chords. So, in a way, you could say I really make a kind of fusion music.”
As a founding member Focus from 1969 until his departure in 1976 for a solo career, Akkerman and his cohorts broke through internationally in 1973 with two instrumentals, Sylvia and Hocus Pocus. Having studied classical guitar in his early years as well as, attended Amsterdam Music Lyceum where he was awarded a scholarship, Akkerman brought a mindset and approach to making music that were in many ways, virtuosic.
On Hocus Pocus Akkerman’s heavy guitar riffage, fire-y guitar soloing, classical elements and use of jazzy major seventh chords within an instrumental framework that set him apart from his guitar contemporaries – though the hair-raising yodeling courtesy of keyboardist/flautist Thijs van Leer also helped Hocus Pocus stand out.
“I used to listen to a lot of Frank Zappa and really liked his eclectic approach to making music,” says Akkerman when asked how Hocus Pocus came to be. “The main heavy rock guitar motif that is throughout the track is actually very Chuck Berry based. We were just jamming, then when our organ player in the band started yodeling on the piece, we said, ‘Yeah, man, keep on doing that’ not realizing the consequences of doing that, and what it would bring to the song.”
Bet On Black
The track’s driving guitar riff, is courtesy of a late 60s Gibson Les Paul Custom, of which Akkerman has become synonymous with ever since, and used extensively throughout his playing career. “It was the first Les Paul I laid my hands on in the early 1970s,” he says. The first time I saw a Black Beauty was with a Dutch-Indonesian rock band called The Tielman Brothers. They were using that guitar and the first moment I saw it I said, ‘that’s going to be my guitar’. And to my great surprise, when I finally got one, it had everything I wanted. But I thought that the sound of the humbuckers’ middle position was a little bit too muddy so I decided to put my Gretsch White Falcon Filter’tron pickups in it instead to give me more middle. But later I put the pickups back into my White Falcon again.”
When Akkerman turned 75 years of age in 2021, Gibson approached the guitarist offering to build him a signature model based on the Black Beauty. “They kind of did a signature model, but it wasn’t the thing for me,” he says. “So, they came up with another signature model from their custom shop called the Les Paul Custom JA, which is based on the ‘54 Custom that I used with Focus on the Live at the Rainbow album. The production was limited to only ten guitars, with each guitar unique, having the name of one of the songs I played at the concert, on the headstock.”
Akkerman’s warm distorted guitar tone on Hocus Pocus was achieved via a Coloursound Power Boost pedal through a Fender Super Showman. Some may pour scorn on Akkerman’s use of a much-maligned solid-state amp to achieve his tone, but he’s having none of it.
“I bought the Coloursound pedal on Shaftsbury Avenue because, the Showman though it was extremely loud, it didn’t have a boosting sound,” he says. “But once I came across this Coloursound, I checked it out and realized it was exactly what I needed. On the new live recording of Hocus Pocus that I did on My Focus – Live Under the Rainbow, I used two Voxs and the big Line 6 Helix as a preamp. The Helix is wonderful, you can go anywhere with that, straight in the PA or whatever. I even brought two of them; one for the road and one for my studio.”
One could argue that Akkerman’s fast and furious soling on Hocus Pocus set the foundation for what later became speed metal. His guitar work on the track was also noted by Melody Maker magazine who in 1973 awarded him the title of ‘Best guitarist in the world’, above other iconic guitar players such as Eric Clapton, Ritchie Blackmore and Jimmy Page. In addition to its regular place in film and TV, the track has gone on to become a popular choice cover by acts such as Marillion, Iron Maiden, The Vandals, Vanessa Mae and German heavy metal kings Helloween.
“I think Marillion’s version is really great,” says Akkerman. “Steve Rothery is such a great guitar player, that I’m actually very proud of that cover.”
Whereas instrumentals were regularly heard on radio playlists in the Seventies and Eighties, Akkerman believes that in today’s musical climate’s obsession with style over substance, instrumentals have become nothing more than a guilty pleasure for many. “Today everybody does their own thing and everything else is bad,” he says. “And that gets pretty boring after a while, so because of that, I don’t listen to new music anymore. The only thing I listen to now are the old classic boys like Django or Wes Montgomery and others like them.”
The post How Jan Akkerman created a timeless guitar riff that soundtracked adverts, TV and beyond: this is the story of Hocus Pocus by Focus appeared first on Guitar.com | All Things Guitar.
Electro-Harmonix Introduces ABRAMS100 100-Watt Guitar Amp
Expanding their line of lightweight, compact amplifiers, Electro-Harmonix has introduced the ABRAMS100 100-watt solid state guitar amplifier. Clocking in at a mere 2.5 pounds, the ABRAMS100 can be easily transported from the practice space to the stage without breaking a sweat.
The ABRAMS100 features 100 watts of Class D power, a high-headroom preamp with plenty of clean gain, a 3-band EQ, a bright switch, and an on-board digital spring reverb. An FX Loop allows additional effects to be inserted post-EQ. The FX loop return input can also be used by those with preamp pedals or modelers to bypass the preamp and use only the power amp.
Features include:
- 100 Watts of Class-D power
- Lightweight – only 2.5 pounds
- High headroom for use as a powerful pedal platform
- 3-Band EQ with Bright switch
- Series FX loop with dedicated input/output jacks
- Built-in digital spring reverb
- 4 – 16 ohms output
As a pedal platform or modeler power amp, the ABRAMS100 is a lightweight solution for players looking for big volume from a little head. The ABRAMS100 has a U.S. street price of $299.00. For more information visit ehx.com.
Rig Rundown: Marty Stuart & His Fabulous Superlatives
The legendary country musician and his right-hand man, guitarist Kenny Vaughan, prove that Fender guitars through Fender amps can still take you a long way in this world.
Today, we’re excited to bring you a Rig Rundown that we’ve been chasing for years: country legend Marty Stuart, and his right-hand man in his band the Fabulous Superlatives, Kenny Vaughan. Stuart and the Superlatives hit the road this year supporting their new instrumental record, Space Junk.
PG’s John Bohlinger recently convened with Stuart and Vaughan onstage at the CMA Theater in Nashville, where the duo walked us through the most prized pieces from their bottomless tone trunks. Tune in to get the details and stories in this special Rundown!
Brought to you by D’Addario.The Fifth Fabulous Superlative
“Clarence is like a band member,” Stuart explains of his iconic Telecaster. “Still, in my mind, it’s Clarence’s band.” Stuart procured the Tele, which belonged to guitarist Clarence White, in the 1980s while playing in Johnny Cash’s band. Stuart has only modified two things on it: He moved the “Scruggs” tuning peg from the fifth string, and added a special, Ralph Mooney-built bender for the low E string. It’s triggered by the black “button” beneath the bridge—Mooney drilled a hole in the guitar and installed the rubber footing from one of the legs of his pedal-steel guitar. The rest of the guitar is stock—well, Clarence White-stock. The Jerry Jones sitar to Clarence’s left runs through the upper Deluxe Reverb, and through the Radial PZ-DI direct to front of house.
Stuart’s backup is a 1952 Fender Esquire, which he guesses is the best electric he owns. He bought it off of dealer and friend Danny Shea in New York City; before it entered Shea’s possession, it belonged to Mick Ronson. “You can tune it and come back a week from now, and it’s still in tune,” says Stuart.
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Stuart bought this mandolin from Roland White for $650, and turned it into a guestbook of sorts. It features signatures from Johnny Cash, Doc Watson, and plenty of others. Miked with an AEA Nuvo Series N22 ribbon mic, it sounds “big as a house,” says tech Mick Conley.
California Dreamin’
The “voice” of Stuart’s guitars is a silver-panel Fender Deluxe Reverb that he acquired in California from rental company SIR. “When I plugged into that amp, I saw palm trees and sunsets, and California popped out of the speaker,” recalls Stuart. He played it for three days, then bought it from SIR when he returned.
An AmpRx Brownie powers the pair of Deluxes.
Marty Stuart’s Pedalboard
Stuart’s main tools are a Boss TU-12EX, JHS Mini A/B, Radial BigShot PB-1, and an MXR Six Band EQ, plus an AEA R92 ribbon mic on his Deluxe Reverb. A JHS Switchback effects loop can engage a Keeley Super Phat Mod for solos; the MXR Reverb is on hand in case the Deluxe’s onboard ’verb fails, and the Flamma FS06 has a Deluxe Reverb emulation that shoots to front of house.
Acoustic instruments run through the Radial PZ-DI, and the Radial BigShot ABY is used for large shows when Stuart runs two amps.
Triple Threat
Vaughan’s principle instrument is this 3Bender T-style, built by Wade Black in Arkansas. Custom-made for Vaughan, it sports a pine body, maple cap, 21 frets, and is capable of bending three strings: the A, G, and B. A Fender Stratocaster is on standby.
Dan, Rick, and Marty
This Danelectro DC-12 is tuned to an open F major 9 chord, and runs through one channel of the Vibrolux with a bit of delay and compression. Vaughan plays it with both pickups engaged, and its flat radius makes it a speedy player.
After recording with Mike Campbell’s Rickenbacker 12-string, Vaughan picked up one of his own from a music store in Berry Hill. But this one is unique: It lacks the model’s classic sound hole, has Martin-style trim down its back, and the neck dates to 1969, while the pickups are from the early ’80s. The best hypothesis so far is that it was made by an employee at a music store in Pennsylvania.
The Martin D-45 dates to 1988, and is equipped with a Fishman Matrix pickup
Special ’67
Vaughan trusts his 1967 Vibrolux Reverb, miked, like Stuart, with an AEA R92.
Kenny Vaughan’s Amp and Pedalboard
Vaughan bought his first pedal back in 1966, and from his collection of hundreds, he’s chosen these special few for his live setup. There’s a Peterson Stobostomp, Dunlop volume pedal, Xotic XW-2 wah, Keeley-modded Ibanez Tube Screamer, Xotic SP Compressor and EP Booster, MXR Smartgate and Joshua, and Keeley Magnetic Echo, Comp Mini, Zoma, and Eccos.
Vaughan’s Rickenbacker runs through the Radial Pro-48 to front of house. A JHS Mini A/B handles switching, and the Radial PZ-DI handles acoustics.
“No self-respecting classical player is going to play with a pick”: Marcin declares himself “a true enemy” of the humble guitar pick
Marcin Patrzałek is arguably a guitar’s best friend – take one look at the Polish musician’s percussive fingerstyle technique, and it’s as if his acoustic is an extension of his body. Picks on the other hand… well, Marcin has some “heated” opinions on them.
In a new interview with D’Addario, the guitarist has officially declared himself as a “true enemy” of the humble guitar pick. “I don’t use a pick, ever,” he declares. “I don’t need a pick! Even if I play electric, I’m not gonna use a pick! Why do I need a pick if I have five picks right here on this hand?”
Rather than a classic plectrum, Marcin has grown out his nails on his right hand. While the left hand’s fingernails are short to tap on his guitar, his taloned right hand essentially means he’s got five ‘picks’ ready to go at all times.
While some might question the choice, he argues that using the nails rather than a pick gives far more control. “This is something that comes very much from classical and flamenco,” he explains. “No self-respecting classical player is going to play with a pick, man! Dude, I can’t even imagine what that would look like… I’m never using a pick.”
He goes on to show his nails in action, showcasing how the nails make a light job of a rasguedo performance, easily navigating the intricate flamenco strumming technique. “How am I using a pick and doing that?” he exclaims. “It’s the most limiting thing in the world!”
He even goes so far as to “grab a pick from behind [his] back” to show the difference. When he performs with an equal degree of confidence, unleashing a great burst of flamenco, he reveals it was a trick; he obviously hadn’t been able to conjure up a real pick from thin air. “Where’s the pick, where’s the pick?” he gasps, feigning shocked. “The nails, dude!”
“Sorry,” he concludes with a laugh. “I got heated!!”
The post “No self-respecting classical player is going to play with a pick”: Marcin declares himself “a true enemy” of the humble guitar pick appeared first on Guitar.com | All Things Guitar.
Nuno Bettencourt says bands often sabotage guest guitarists at gigs on purpose with sub-par gear: “I’ve dubbed it the ‘punishment’ rig’”
While hazing rituals are often associated with college sports teams, its also a rite of passage to humiliate your musical peers every now and then. Sometimes, stepping out on stage as a guest guitarist can feel like playing a game of Russian Roulette – and, as Extreme’s Nuno Bettencourt reveals, he bands have tried to sabotage him numerous times with a crappy rig.
Speaking to Guitar World in its new print issue, Bettencourt explains how many bands have a designated “second rig” to prank their guest performers. “It’s not the same rig as they’re playing through,” he says. “I’ve dubbed it the ‘punishment rig’.”
According to Bettencourt, the “punishment rig” often has very little “distortion or sustain”, and “the guitar has action three miles off the neck and there are no special pedals, no special sauce”. But, regardless of the tools you’ve been dealt, you just need to suck it up.
“You’re gonna have to get up there and battle it out with whatever it is,” he laughs. “You’re gonna have to show the fuck up, no excuses! That’s where you separate the men from the boys – on the punishment rig!”
Of course, strong guitarists wont be too tripped up by a “punishment rig”. In fact, Bettencourt is adamant that gear has minimal impact on how good a guitarist can sound. Downright sabotage can obviously have a negative impact, but he argues that the most important piece of gear you can always rely on is a good pair of hands.
“We know amps are important… But for anybody who’s chasing gear to make themselves sound better, that’s never going to happen,” he tells Guitar World.
“You need to find pieces of gear that allow your hand to allow you to express yourself the best way,” he adds. “It’s like finding a head that doesn’t tamper too much with what your hands are saying and doing and – tonally – finding pedals that don’t get in the way of that, like to where they process so much that it’s not you anymore.”
In his opinion, the key is finding what you find most comfortable to play with, and then the rest is up to you. “Find a string, a pedal, a pick, an amp and a speaker that best interprets you and doesn’t get in the way of the power, expression and voice that your hands have,” he explains. “Your hands are your secret weapon.”
The post Nuno Bettencourt says bands often sabotage guest guitarists at gigs on purpose with sub-par gear: “I’ve dubbed it the ‘punishment’ rig’” appeared first on Guitar.com | All Things Guitar.
Stevie Ray Vaughan’s actual 1967 Fender Twin Reverb is almost £140,000 off for Cyber Week – but here’s the gargantuan figure it’ll still set you back…
With countless deals across guitars, amps and pedals, the chaos of Cyber Week is truly in full swing. But you’ll be hard-pressed to find a saving better than this one – that is, if you’re willing to splash out £458,796.89 exactly on Stevie Ray Vaughan’s actual 1967 Fender Twin Reverb.
You might be thinking “Guitar.com, that’s still an awfully expensive bit of gear”, and we hear you. But the amp usually costs just under £600,000, which means you’re actually saving around £140,000. So, if you’re enticed by hefty discounts – and willing to ignore how much you’ll still pay – this Reverb deal is for you.
While the price tag may still scare people off, the amp is a pretty cool piece of blue rock history. Not only was it used during the recording of a slew of Stevie Ray Vaughan’s records, including 1983’s Texas Flood, 1984’s Couldn’t Stand The Weather, 1985’s Soul To Soul and 1989’s In Step.
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It was also used during a number of live shows between 1982 and ‘89, and even during rehearsal sessions for David Bowie’s Serious Moonlight Tour in 1983 – a tour where Vaughan was supposed to play as the opening act, before plans fell through.
The Twin has also been heavily modded, with the listing explaining that Cesar Diaz and René Martinez were likely involve in the amp’s tweaked electronics, which also sees the amp employing Electro Voice SRO, otherwise known as ‘coffee can’, speakers.
In an interview with Guitar World, the seller, Björn Groenen, explained that: “This amplifier was one of Stevie Ray Vaughan’s most favourite and important amplifiers. He owned many, but only one Twin Reverb with Electro Voice coffee can speakers.”
“In the five years that I have owned it, I have played the amplifier just once. It deeply shocked me how an amplifier could sound like that! I immediately recognised the sound of Stevie Ray Vaughan’s most famous songs… this amp is the most important amplifier in blues musical history.”
READ MORE: I’m finding the best Cyber Monday guitar deals in the US and UK across Thomann, Sweetwater and more
The seller has also got a number of engineers, techs and tour managers to confirm the authenticity of the £458,796.89 amp. His sources vary from Stevie’s mate, fellow blues rocker Bill Carter, to the Stevie’s guitar tech, Richard Spencer, to David Bowie’s guitarist, Carlos Alomar. The list goes on, and on, and on – and he’s even got Stevie Ray Vaughan’s ex-partner, Janna Lapidus (now Leblanc), to sign on the dotted line to prove it’s the real deal.
Credit: Reverb
He’s also included a number of photos pointing out where the amp has appeared in old recordings, all helpfully circled or highlighted. So, its fair to say the man has been thorough.
For Stevie Ray Vaughan mega fans, this is certainly a cool bit of kit. The listing also serves as a great history lesson; there’s loads of insight into how Vaughan used the Twin. “The guitar techs would wire wired Stevie Ray Vaughan’s signal into [the Twin and a Marshall combo] and sometimes a sheet of plexiglass would be placed in front to lower the volume because he played extremely loudly,” the listing reads.
Frank Pavlich, another of Stevie Ray Vaughan’s guitar techs, has also provided some insight into the amp’s life. “Yes, this is absolutely authentic. I had the privilege of working with Stevie Ray Vaughan during David Bowie’s rehearsal period… I worked on that crazy Fender Twin Reverb amplifier with Electro Voice SRO speakers. I never understood how it made such fabulous noise.”
The tech also shines some more light on why the Bowie and Vaughan tour may have fallen through. “The concept colour for David Bowie’s Serious Moonlight was blue… when the set designer said ‘blue’, Stevie Ray Vaughan went ballistic!” he explains. “The collaboration with David Bowie went downhill afterwards. It was a very tumultuous rehearsal period. David Bowie had very specific ideas about the set, costumes and crew. Stevie Ray Vaughan didn’t want anything changed.”
Head to Reverb for more information.
The post Stevie Ray Vaughan’s actual 1967 Fender Twin Reverb is almost £140,000 off for Cyber Week – but here’s the gargantuan figure it’ll still set you back… appeared first on Guitar.com | All Things Guitar.
Bring a Traditional Welsh Dance Tune to Life with Expressive Ornamentation and Dynamic Techniques
EarthQuaker Devices Barrows review – a titchy fuzz pedal with a huge voice
$129/£139, earthquakerdevices.com
Somebody at EarthQuaker Devices really wants to confuse people. How else do you explain the decision to make an aggressive fuzz pedal, name it after a kind of burial mound and cover it in sinister skulls… then opt for the colour palette of raspberries and ice cream?
This is the Barrows Fuzz Attacker, a mini-pedal based on the Tone Bender MkII of 1966 – one of the absolute greats of the early days of guitar filth. It looks cute and dinky, but it should sound anything but.
Image: Press
EarthQuaker Devices Barrows – what is it?
There won’t be an ‘is it easy to use?’ section in this review, because it’s a two-knob fuzz and even my dog could handle that (on a good day). The Barrows is powered by three germanium transistors in classic MkII style, and the knobs are marked level and attack; that matches what you’ll see on any original pre-MkIII Tone Bender, letting you adjust the loudness of the output, the wildness of the fuzz, and nothing else. If you want to be able to tweak the EQ or the bias, look elsewhere.
Is that a drawback? Not necessarily: those old fuzz circuits were all about brutal simplicity, and that’s the spirit that EQD has tried to capture here. For my money the MkII is the best of all the Benders, taking the smoothness of the Fuzz Face sound but sharpening up the midrange, and some would argue that’s a recipe best left unembellished.
Image: Press
EarthQuaker Devices Barrows – what does it sound like?
Surely nobody needed this much gain in 1966? But it was there if they wanted it, and it’s here as well: the Barrows is as heavy as a five-tier wedding cake, and every bit as sweet.
This is about as thick as fuzz gets, with whumping bass and just enough headroom to avoid completely splatting out. Even with a Telecaster on the bridge pickup it’s not a natural choice for tight power chords – in fact ‘tight’ is not in its vocabulary – but what you do get instead is an ultra-creamy lead tone with just a hint of pinch when you dig in hard.
And there is a way to lighten things up a bit… but it doesn’t involve the attack control. While this is effective at making things more sensible, you’re still dealing with full-on fuzz even when it’s set to minimum – and it’s still on the bloomy side. Turn down your guitar’s volume knob a few notches, however, and the treble is no longer being squeezed out of the picture – resulting in a mid-gain crunch sound that’s much more fresh and tonally transparent. This is great, but it just makes me wish EQD had found room for a cheeky bass-cut switch so we could enjoy that more open tone at full blast.
Image: Press
EarthQuaker Devices Barrows – should I buy it?
The Barrows is a lovely little pedal, and if you’re after a high-gain fuzz that will sneak into the tiniest gap on your pedalboard then it’s definitely worth a look. Just bear in mind that this isn’t the last word in faithful MkII replicas: it prioritises phatness over clarity, which might suit you fine if you’re a sludgy doom-rock merchant – or indeed a bassist – but isn’t much good for disciplined riffing.
EarthQuaker Devices Barrows alternatives
For similarly thick and fluffy fuzz tones with a couple more knobs to play with, try EarthQuaker’s own Dirt Transmitter ($179/£189). The Electro-Harmonix Bender Royale ($149/£149) is another new TB type, this time based on the MkIII circuit; but for old-school handwired quality, you won’t find better than the Williams Vintage Tone MkII Professional (£155).
The post EarthQuaker Devices Barrows review – a titchy fuzz pedal with a huge voice appeared first on Guitar.com | All Things Guitar.
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