Norse Guitar Feeds

The singer-songwriter reflects on her musical life: touring habits, writing rituals, and the role the acoustic guitar has played in shaping her voice and songs.

Guitar is an unusual instrument, yet somehow we human beings invented it and refined it, both technologically and artistically. There are some days when everything flows, while other days it feels like we’re complete beginners again. This is totally normal. If we really considered how much information our bodies are processing just to be alive in our version of the world, perhaps we’d be a bit kinder to ourselves about our off days and humbler about our good days! I want to share a few perspectives on the core technical aspects of playing that can be helpful to work on and remind ourselves of regularly. Let’s dive in!

Muting

The guitar can be a sensitive instrument. The slightest movements can cause sounds that are both wanted and unwanted to come out. Some of these sounds are natural and part of the character of guitar. However, even though we can’t be perfect we can aim to be as clean as possible in our playing with a few simple maneuvers.

Ensuring the picking hand is covering the strings without bearing down on them too hard keeps the lower strings in check. Depending on your picking-hand style, you can also use the 3rd and 4th fingers to lightly mute the upper three strings.

The fretting hand’s index finger takes control over a lot as well. The fingertip can fret a note on the 5th string and tuck under the 6th string at the same time. The flat side of the index finger from the knuckle area towards the hand can also mute higher strings.

It’s important to consider the type of sound we’re using as well. The more gain or compression we use, the more unwanted noise can come flying out of the guitar. Even with the muting techniques above, if we’re too “hard” with them they can start to create noise themselves. So, keep this in mind.

Less gain gives a more dynamic tone, which is harder to play with, but much easier to control dynamically and keep clean. This isn’t to say it’s better or worse, it’s a stylistic choice. But it’s worth considering how much gain we really do need. Noise gates can help, but they can’t fix or hide poor muting and out of sync hands. (More on keeping sync later in this column.

Keep these muting considerations in mind as we go over the areas of technique to address.

Confidence and Subdivisions

Our fretting hand does a lot of work. Picking synchronization is very important. We’ll look at this next. However, I’ve got some working considerations for the fretting hand.

There are many exercises we can do, but ensuring that you’re not pressing down too hard on the fretboard is the first step. We don’t have to press hard unless we have unreasonably high action. If your action is high and it’s slowing you down, I’d suggest going up a string gauge and lowering the action if you want to keep the “resistance” feel. When we lighten up our touch with the fretting hand, we find that our fingers generally stay closer to the fretboard, which helps with economy of movement.

The next thing to consider is timing. Timing is everything no matter what technique you’re using. If the pistons in the engine aren’t firing at the right time, they’ll go out of sync, all fire at once, and boom, there’s an explosion. I don’t know anything about cars, but it’s an analogy that might make sense. Being aware of the subdivisions you’re playing and where the downbeat is ensures that both hands are confidently making those maneuvers.

Here's an experiment you can try: Take a simple two-octave scale pattern of your choosing. In Ex. 1 I picked a simple D minor scale. The idea is to change subdivisions in each measure. Here, I started with a measure of eighth-notes then went to triplets, back to eighth-notes, 16th-notes, eighth-notes again, and then I wrapped with quarter-notes. No matter where the “1” of the next measure starts within the scale position, we keep the hands synced up. We can make this more complicated by using a sequence of thirds or triads and doing a similar thing. The goal here isn’t to master every position, sequence, and sub-division. It’s to keep testing different areas out, iron out the errors, and keep it fresh. It’s a great warm up when done slow and bound to get you in sync.

Picking Sequences

We also need to do similar things for the picking hand. The same idea we discussed above about subdivisions applies to picking as well. The extra thing to consider of course is pick direction and string skipping.

It’s worth practicing alternate picking here, keeping the confidence and control in place even if purely for technical reasons, to ensure the technique is as even as possible. Take a melody pattern like Ex. 2, where I repeat the same two-measure melody, but I change fingerings in the second half. This changes the amount of picked notes on each string, which changes different aspects of how this melody can feel both technically and from an articulation point of view. A simple way of getting more out of this exercise is to start with an upstroke. With practice, it can be quite an effective picking workout.

String Crossing and Skipping

A lot of guitar playing uses one-note-per-string ideas which can sometimes trip us up. In Ex. 3, I wrote an easy chord progression and created a picking patter that I could alternate pick without losing momentum. It’s a practice that can never get old. Just get creative.

In Ex. 4 we take a minor pentatonic shape (here we are using B minor and F# minor) and move through the pattern with string skipping. A super-simple idea, but worth spending time on. Simple skipping patterns like these keep your playing fresh and focused.

You’re training an impersonal organic system, respect it!

When we’re practicing, we can get quite contracted and tense. There can be a pushiness and anxiety about the process, forcing ourselves through the practice session. We have a lot of internal commentary about how it’s all going, often quite unfair.

“This lick should be fast by now!”

“I don’t have the technique or natural ability to do this.”

“Steve Vai practiced for 10 hours a day, so should I.”

“I’ll never make it as a guitarist.”

All of these thoughts are abstractions as they are not based in reality. What is happening in the moment is practice. Our attention gets divided between these thought patterns and our feeling of anxiety. Very little attention gets spent on really listening and feeling what we’re practicing with no internal commentary. Because of this we become aversive to practice, we feel that practice doesn’t work or that we don’t have a natural ability or talent.

Therefore, wise practice sessions that are simplified and put into short time frames are most effective. It can be helpful to calm ourselves down before practicing so that our practice is effective.

Why do we practice? We practice because it helps us achieve results. We want to play a riff, we listen carefully, we learn the riff, and then we then practice the riff. Generally, that gets results. However, we are impatient. Humans believe that our thoughts can speed up our bodies and brains. This is a misplaced belief. We can set the conditions to get results, but we can’t control the speed at which our body learns. Practicing trains our bodies, our nervous system, our consciousness.

Our bodies are not separate from the world around us; we are what we eat and breathe. Our thoughts are the thoughts we are exposed to, our feelings are consciously and unconsciously triggered by the world around us. We are no different from nature, we are no different from a tree. We don’t will our fingernails to grow, we don’t will our heart and lungs to keeping going. We have no control over our senses, we can’t choose not to hear sounds around us, we can’t choose not to see when we open our eyes. And in the same way, we can’t force our body to speed up.

We must be grateful for the fact we’re alive before we practice, that there’s a body and mind to practice with. Rather than fighting our fingers and our thoughts, we must approach them with compassion. As you’re practicing, your body is busy programming all this information. Just like growing a plant or vegetable, you can set the right conditions, get the soil right, and water it. But you can’t force it to grow immediately, you must treat it with compassion and trust that you’re doing the right process. You can’t plant the seed then as soon as you see any sprouting, start pulling on the sprouts, that will stop growth all together.

In summary: Appreciate your body, your mind, the fact your conscious to even play guitar. Make sure you set reasonable goals in your practice, make your sessions simple and effective. Then, let the practice happen, trust that you’re programming the right information.

Record producer and engineer Ken Scott says that barely any studio personnel who worked on The Beatles’ famous White Album can remember the experience of Eric Clapton recording the solo for While My Guitar Gently Weeps.

Scott has worked with the likes of Pink Floyd, David Bowie, and the Jeff Beck Group across his career, and was one of five main engineers for the Fab Four. Though Clapton’s famed uncredited work on the track has gone on to be seen as an important part of Beatles history, it seems those who worked with the band at the time can’t remember much about how it came together.

• READ MORE: Eric Clapton’s 20 greatest guitar moments, ranked

In an interview with Rick Beato, Scott says he even tried hypnotherapy to try and revive his memory. In part, he feels his recollection of that time may be hazy as it was another day in the office at that time. Little did he know back then how significant it would go on to be.

“I remember absolutely nothing about it,” Scott says [via Guitar World]. “But I’m not the only one. When I was writing my book [Abbey Road to Ziggy Stardust], [I was] asked the question, ‘What was it like Eric coming and playing on that? How did they react?’ and all of that, and I’ve just had to answer, ‘I can’t remember.’”

He adds, “I went to John Smith, who was my assistant engineer, my button pusher at that point [who said], ‘I don’t remember anything about it.’ I went to Chris Thomas, George Martin’s assistant, who was producing at that point because George was on holiday, and [he said], ‘I don’t remember anything about it.’

“The one thing I vaguely remember – Chris and I have talked about it – is Eric saying that the only way he’d play on it is if he sounded like The Beatles, as opposed to Eric Clapton.”

To achieve Clapton’s wishes, Scott says they used ADT on his guitar: “ADT is either artificial double tracking or automatic double tracking, whichever you choose to use. It stemmed from John [Lennon] not wanting to sing the song twice.

“He went to Ken Townsend, who was one of the amp room guys, and said, ‘Is there a way you can come up with something so that I don’t have to sing it twice?’ Ken went away, and as brilliant as he was, he came back and said, ‘I may have got it.’”

You can watch the full interview below:

The post “I remember absolutely nothing about it”: Abbey Road engineer shares mystery surrounding Eric Clapton’s While My Guitar Gently Weeps solo appeared first on Guitar.com | All Things Guitar.

The mystery silver Gibson SG that Metallica’s Kirk Hammett played at the final Black Sabbath show back in the summer has sold for a whopping $76,800 at auction.

The model had fans in a frenzy following the Back To The Beginning reunion concert in Birmingham last July, and was later identified as the SG CEO#4 – a one-of-one model built by Gibson’s CEO, Cesar Gueikian. Its estimated sale price was originally predicted to be a far smaller sum in comparison, at $6,000.

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

The guitar hosts custom appointments and was played by Hammett during Metallica’s cover of Sabbath’s Hole In The Sky. The guitar has a 24.75-inch scale length mahogany neck, a bound 22 fret ebony fretboard, and a mahogany body with a multi-ply bound flame maple top finished in Ghost Burst. It was even sold with Gueikian’s Back To The Beginning backstage pass included, signed by the CEO himself.

The guitar was signed by Hammett following the show, and was listed for sale via Julien’s Auctions as part of its annual Played, Worn & Torn auction, which featured over 800 guitars and rare pieces of music memorabilia. The unique SG formed part of a collection of Gibson goodies in support of its Gibson Gives charity, consisting of 15 lots.

Gueikian’s previous CEO builds include the a CEO#1 Les Paul, a CEO#2 Explorer model – built for Jason Momoa’s son – and the CEO#3, a Gibson Victory. Another CEO model which was also included in the auction was the Flying V Custom CEO#8, which sold for $12,800. Gueikian played this one himself on stage at Bridgestone Arena in Nashville with rock band Maná for the song Clavado En Un Bar.

Outside of the Gibson Gives lots, a number of other guitars played by Hammett featured in the auction. In total, 150 models from Hammett were put on sale. Among the CEO#4, the highest grossing Hammett-played models were the 1985 Gibson Custom Shop Michael Schenker Flying V, which sold for a huge $160,000, a 1996 ESP Wavecaster ($89,600) with a clear body and very cool glowing goo inside, and his Mamma Said 1990s ESP Custom Shop M2 ($32,000).

You can check out all of the sale results from Played, Worn & Torn via Julien’s Auctions.

The post Kirk Hammett’s CEO4 SG – created by Gibson CEO Cesar Gueikian and played at Black Sabbath’s last show – sells for over $76,000 at auction appeared first on Guitar.com | All Things Guitar.

£299 / $299, oldbloodnoise.com

By this point, digital signal processing is a world of basically infinite possibilities – we’ve reached the guitar equivalent of when old tech journalists would sit atop piles of phone books to demonstrate the data storage capacities of a 32mb floppy. Multi-effects units, big-box delays and reverbs let you create virtual signal chains that would otherwise require a whole warehouse’s worth of analogue guitar pedals.

• READ MORE: Gamechanger Audio Auto Chorus review – do you need dynamic modulation in your life?

But as enticing as those endless options can be, they can also be creative poison. One brand that’s been particularly good at balancing the genuine power that digital allows with a healthy dollop of much-needed limitation is Old Blood Noise Endeavours – always pretty forward looking, its latest release promises to be a new kind of effect – a ‘liminal’ delay. Here I’d normally use the phrase “let’s dive in”, and while I am trying to vary that up, this pedal is ultimately called the Bathing, so… let’s dive in.

Image: Press

Old Blood Noise Endeavours Bathing – what is it?

Depending on what corners of the internet you’ve frequented over the last few years, you may have a very different relationship to the word liminal. In modern parlance it often refers to an aesthetic trend that’s concerned mostly with abandoned hotel pools, snowed-over petrol stations and those little plastic chairs you used to get at McDonald’s. Whereas the Bathing’s take on the concept is a little more true to the more general, magical sense of in-betweenness that ‘liminal’ has historically evoked.

Its artwork isn’t a grainy digital photograph of a playpen, but is instead a gorgeous illustration that to me evokes the clean lines and abandoned fantasy visuals of something like Hyper Light Drifter.

So how does that translate sonically? What is the Bathing ‘between’? Technically, it’s between a delay, a phaser and a reverb. Its signal path consists of a digital delay that gets modulated in several complex ways by a resonant LFO in the feedback loop. The LFO control is pretty in-depth, and there’s a good deal of stereo functionality and some extra pitch-modulation if you need things to get even more wobbly.

Image: Press

Old Blood Noise Endeavours Bathing – build quality and usability

The Bathing is housed in Old Blood’s newest enclosure format – it’s a slightly sloped bent-steel enclosure with an interesting sort of overhang on the front side. It’s a pretty nice layout – it’s wide, but by no means a “big box reverb” kind of size. The important thing is that the bypass and tap-tempo switches have enough room to be hit individually. The layout also lets the pedal art really shine, leaving a big space in the centre for the illustration – OBNE’s aesthetics have, of course, always been a strong point, and this is a truly gorgeous addition to any pedalboard.

That’s not to say it’s a perfect layout – while most of the build is present and correct, with nicely knurled knobs, the controls for the dry/wet mixes and the depth of the chorus are PCB-mount mini pots – the ones that are a little fiddly and much less of a joy to turn. The LFO wave selector is also quite frustrating to use, as it has a continuous action as you rotate it, despite the fact it selects from a set number of discrete settings. A selector switch would, for me, be a better choice here to give clearer feedback on which LFO you have selected.

The I/O layout is also worth calling attention to. It is a stereo pedal, and it can work fully mono, fully stereo or in MISO – mono in, stereo out. The stereo connections are accessed via TRS, which saves a little space on the back panel and allows for all of the I/O (expression jack and MIDI included) to be in one place. Nice in some ways, but it does mean the stereo-inclined will have to find some slightly more idiosyncratic patch connectors. The ins and outs are also relatively close together – not insanely so, but it does make it harder to use pancake-style connectors with the pedal.

Image: Press

Old Blood Noise Endeavours Bathing – sounds

When you pitch a pedal as a unique, new type of effect, it’s always a pretty bold claim. However, my expectations as to what the Bathing would sound like were well and truly drowned after a few minutes of use – because these few minutes of use quickly spiralled into a few hours of noodling before I noticed where the time was going. Which is to say, the Bathing is indeed pretty unique and intriguing.

Thanks to how the feedbacking modulation works, your notes are fairly quickly filtered again and again into very modulated echoes. Depending on the position of the filter knob, you can wash your repeats out into underwater bassiness or sharpen them into walkie-talkie crackle – or leave it in the middle for a slightly more neutral sound.

The function of the LFO is interesting. When the delay time is short, the resultant effect on the repeats is pretty much in the world of phase/flange. Things can get pretty resonant, making me thankful for that filter knob on the more extreme settings. The LFO also has a huge frequency range – you can literally stop it dead at position zero, and it goes all the way up to audio-frequency, ring-mod levels on max. The wave shapes are also very impactful, ranging from a standard sine to disorienting sawtooths. There are even envelope-activated ramps, although I find these a little unwieldy.

When you set the delay time longer, the LFO starts to pull your repeated signal apart, leading to cascading, marble-down-a-metal-staircase sounds. Delay repeats phase totally outwards from themselves, orbiting the main delay time with clattering extra repeats. You can adjust the intensity of this aspect of the sound with both the depth and the stages control – the depth adjusting how far out they go, the stages adjusting how many there are.

Individual dry and wet controls are very much appreciated here – due to just how weird and abstract the effect is, it’s both cool to isolate it for some total echoey strangeness, and mix it in more subtly if I don’t want it to totally overtake my playing. Relatedly, the added dimension control creates a warbling vibrato in mono mode (one side is left un-vibratoed in stereo for a chorus effect) that helps the wet signal sit “around” your dry signal. The Bathing does excel at providing a wash of weirdness behind some spacious playing, but with the settings cranked to their extremes and you’ve got sounds that barely resemble a guitar at all.

Image: Press

Old Blood Noise Endeavours Bathing – should I buy one?

So back to liminality. With pedals like this, there does seem to be two extremes of approach – either total lo-fi signal crush that makes your delay repeats sound like they’re coming back via an emergency telephone line, or the kind of total expansiveness that stretches single notes out into entire Brian Eno albums. The Bathing, appropriately enough, is between those two approaches – there is a degree of expansiveness going on, but you’d be hard pressed to call it lush or particularly ‘ambient’ in a traditional sense. It’s too sharp a sound for wide droning pads. However, its ear-catching character is still not totally summed up by just “lo-fi delay” either.

In all, idiosyncratic effects like this don’t come with simple “definitely buy it” recommendations. Will it fill a basic slot in your ‘board if you just want some echo? Not really, but that’s obviously not a mark against it. The best pedals in this genre transcend traditional use-cases as well as traditional sounds – and so if you’re the kind of player that wants to take a trip down to the weird, moving waters of the Bathing, you’ve hopefully already been persuaded if it’s for you or not.

Old Blood Noise Endeavours Bathing – alternatives

While there’s not a glut of other liminal delays out there to recommend, there are plenty of effects that take a similar approach to weirding the digital delay format. There’s the sort-of-delay, sort-of-looper Chase Bliss Habit ($339), the more aggressively strange Death By Audio Echo Dream 2 ($280 / £269), and EarthQuaker’s revived Disaster Transport Sr, which I actually found myself reminded of a lot with the Bathing thanks to the wobbly multi-delay sounds.

The post Old Blood Noise Endeavours Bathing review: a weird and wonderful ‘liminal’ delay appeared first on Guitar.com | All Things Guitar.

Portable headphone amp and TONEX rig is now available

For nearly two decades, jazz-fusion collective Snarky Puppy and Audio-Technica have shared a relationship built on trust, innovation and the pursuit of uncompromising sound. That connection is vividly realized on the group’s latest album, Somni, a project that captures Snarky Puppy’s daring compositions and world-class musicianship while pushing technical boundaries in both stereo and immersive formats.

Following the approach of their 2022 LP Empire Central, Somni was recorded in front of a live audience to capture the energy and spontaneity that define the band’s sound. Recorded over three nights in January 2025 in Utrecht, the Netherlands, the sessions united Snarky Puppy with the renowned Metropole Orkest and conductor Jules Buckley. Bandleader Michael League and his ensemble performed the album start to finish as fans surrounded the musicians in the room.

“The idea is that the audience provides energy for the band,” says engineer and longtime collaborator Nic Hard. “That excitement translates into the recordings, keeping the performances fresh and alive.”

To achieve this hybrid recording environment, Hard and his team transformed a nightclub-style venue into a professional studio. The space was fully carpeted, draped, and acoustically treated, with truss-mounted fabric controlling reflections. More than 200 audio channels fed four synchronized Pro Tools systems running at 96 kHz. Because there was no PA system, all 300 audience members monitored the session through Audio-Technica headphones paired with wireless RF packs delivering a custom live mix from front-of-house engineer Michael Harrison.

Audio-Technica products have been integral to Snarky Puppy’s sound for 18 years. For Somni, the band used ATH-M50x Limited Edition Ice Blue headphones for the musicians, ATH-M50x White headphones for the Metropole Orkest, and ATH-M20x Black headphones for the audience. The microphone arsenal included the new ATM355VF compact clip-on cardioid condenser for violinist Zach Brock; AT4081 bidirectional ribbons on horns; AE6100 hypercardioid handhelds for talkback; AT5047 large-diaphragm condensers on vocals and woodwinds; AT5045 instrument condensers for percussion; AT4033a condensers for Hammond organ; and PRO35 condensers across the string section.

“It was absolutely breathtaking to walk into that room,” recalls Roxanne Ricks, Audio-Technica Artist Relations Manager. “Over 300 people seated among the orchestra, every single person wearing A-T headphones with their own personal mix. It was overwhelming in the best possible way. You weren’t just watching a recording session; you were immersed in an incredible experience and part of history.”

Hard notes that mic choice and isolation were crucial in capturing dozens of instruments, four drum kits, violins, and percussion, all sharing the same room. “We relied heavily on AT4050s in the percussion setup, about 20 mics covering 50 to 60 instruments, constantly changing polar patterns between cardioid, omni, and figure-eight depending on the song. For horns, I paired AT4081 ribbons with other condensers, using both for redundancy and to compare bleed. The ribbons sounded fantastic; in the mix I kept about a 50/50 blend of the two.”

The newly introduced Audio-Technica ATM355VF was used on violinist Zach Brock, capturing his acoustic tone alongside a direct signal from his pedalboard. “The acoustic mic added a beautiful detail that the DI alone couldn’t provide,” Hard explains. Ricks adds, “Snarky Puppy has trusted A-T mics for every album project they’ve recorded over the last 18 years, from their earliest tours to Sylva in 2014, and now Somni. Our products have been part of their journey every step of the way.”

Dirk Overeem, staff sound engineer for the Metropole Orkest, served as technical producer and monitor engineer. “Nic and I made a general patch list with all the lines and microphones, and I was glad Audio-Technica once again joined the project,” he recalls. “We needed over 400 headphones for the audience, orchestra, and band. Since then, we’ve used them on every gig. I even mix in them now, since I know them so well.” Overeem praises the ATM355VF’s performance: “For me, its tone was noticeably richer and fuller compared to the PRO35. The mounting system is simple, effective, and very stable, and it allows the player to move freely without affecting tone or introducing unwanted noise.”

After the sessions wrapped, Hard mixed Somni entirely in-the-box at his home studio in Spain, managing more than 200 tracks per song before creating a Dolby Atmos® mix that placed instruments dynamically around the listener. “I wanted to make it as fun as possible without being distracting,” he says. “The four-drummer trading section moves seamlessly around the listener, it’s completely immersive.”

From their earliest collaborations to the ambitious production of Somni, Audio-Technica and Snarky Puppy continue to evolve together. “Audio-Technica provided us with the flexibility and reliability we needed to make such a complex production work,” says Overeem. “From microphones to monitoring headphones, everything delivered.” Ricks concludes, “This project brought together Snarky Puppy, the Metropole Orkest, and an audience of hundreds into one immersive space. Audio-Technica was there not just as a sponsor, but as a partner helping to shape the entire experience. To be in that room, surrounded by sound and energy, was something I’ll never forget.”

With Somni, Snarky Puppy once again demonstrates why they remain one of the most forward-thinking ensembles in music today, and Audio-Technica is proud to continue playing a role in bringing that vision to life.

The final round of Pedalmania is here and PG contributor Tom Butwin welcomes 2 brand new drive pedals from Warm Audio plus reveals the legend behind the EX Tower from Solo Dallas, a recreation of the legendary Schaffer-Vega wireless systems that were the foundation of arena tones of the 70's and 80's.

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The final round of Pedalmania is here and PG contributor Tom Butwin welcomes 2 brand new drive pedals from Warm Audio plus reveals the legend behind the EX Tower from Solo Dallas, a recreation of the legendary Schaffer-Vega wireless systems that were the foundation of arena tones of the 70's and 80's.

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Monger Pedals has introduced the Snake Wine Fuzz Germanium, a versatile hybrid germanium fuzz pedal.

The pedal represents a dramatic restructuring of Monger’s original Snake Wine Fuzz: the new germanium Snake Wine Fuzz Germanium uses NOS 1T313 germanium transistors in two clipping stages, with a fuzz circuit that is completely redesigned to have deliver improved mid-range presence and a warmer tone. It also cleans up better with your guitar’s volume knob and has more headroom than the original. The new pedal also features a redesigned parallel clean blend and gain that allows you to combine clean and fuzz signals with more precision and clarity.

The Snake Wine Fuzz Germanium features include:

• New old stock Russian germanium transistors
• Controls for: Volume, Tone, Fuzz, Blend & Gain
• Fully parallel Clean Blend & Clean Gain
• Focus on a less mid scooped tone stack
• Soft switch latching relay true bypass, 9-volt standard DC input, top mounted I/O

The Snake Wine Fuzz Germanium carries a street price of $199 and can be purchased directly from the Monger Pedals online store at www.MongerPedals.com.

What really matters when you watch a band live? Is it the stage antics, the pyrotechnics, or the sweat and skill of musicianship? For Wolfgang Van Halen, the answer is simple: it’s all about “playing the fuck out of your instruments”.

In a recent chat with Classic Rock, the Mammoth frontman lays out his philosophy for life on the road, arguing that the thrill of a live show comes not from over-the-top theatrics or “jumping around on stage”, but from simply playing a killer set.

• READ MORE: “I had to keep dad in check whenever he made a mistake”: Wolfgang Van Halen on his role in Van Halen

“At the end of the day that’s what matters to me more than anything,” says Wolfgang. “It’not about having a guy jumping around on stage and saying [adopts boorish rock star boom] ‘Are you fucking ready!’ It’s about playing the fuck out of your instruments.”

“Bands like Tool and Meshuggah, they will stand right there and they will destroy. That’s what I aspire to be.”

As Wolfgang explains, Mammoth’s live show is a tightly knit operation. The band rehearses for roughly two weeks ahead of a tour, using soundchecks to polish their performance while keeping it feeling alive and spontaneous. And while Van Halen leads the band, he maintains a hands-off approach.

Asked if he’s a demanding boss, Wolfgang replies: “No, not at all. I don’t think I’ve ever actually said: ‘Hey, you’re playing that wrong.’ I think it’s important that they feel themselves in the material.”

Beyond the stage though, Wolfgang’s responsibilities carry a heavier weight. The 34-year-old musician, who recorded Mammoth’s third album, The End, in Eddie Van Halen’s legendary 5150 studio, says protecting the space is now a lifelong duty.

“I live in my childhood home now, so the studio’s right there,” he tells Classic Rock. “Yeah, I feel very protective over 5150. It’s what I need to watch and protect, for the rest of my life now.”

The post “It’s not about having a guy jumping around on stage… It’s about playing the fuck out of your instruments”: Wolfgang Van Halen on what really matters onstage appeared first on Guitar.com | All Things Guitar.

Nirvana’s rise may have inspired a generation of guitarists, but for The Darkness frontman Justin Hawkins, the grunge explosion brought unexpected competition that nearly derailed his dreams of a professional music career.

Speaking to Rick Beato in a recent interview, Hawkins reflects on the seismic impact of Nirvana and grunge on young guitarists in the UK.

• READ MORE: Justin Hawkins thinks there’s one guitarist who could have rivalled Eddie Van Halen – if only he was born 10 years earlier

“Nirvana was massive. Nirvana was so big when I was like, 13 or 14. I was starting to play guitar, and it was my thing,” he says [via Ultimate Guitar]. “And I was like, ‘Okay, so this is what separates me from [the other kids].’ That’s my sigma, not taking part in the hierarchy. That’s my identity. I’m a fucking guitar player. Everyone else can do their thing, as there was [the guitar] completely defining me.”

But what started as a defining identity soon became a source of frustration.

“I was also into sports. I played football for local teams and other activities, but I didn’t really fit into the football scene. I was a music guy, and then, suddenly, all these other football players were picking up guitars and playing Nirvana-type stuff, and [played] in bands. And I was like, ‘It’s not my thing anymore,’” Hawkins explains.

The guitarist admits that he felt “kind of furious” about how Nirvana and the grunge movement affected his corner of the guitar world. While he loved aspects of grunge and industrial music, Hawkins felt increasingly distanced from the mainstream guitar scene as it became dominated by younger players and nu-metal influences in the late ’90s.

“The guitar scene was definitely dominated by that kind of stuff,” he says. “But at that point in my life, I was kind of like, done. I thought I was too old, because there’d been some bands that came through sort of mid to late ‘90s that were way younger than even I was at that time, and they’re all good looking and doing guitar music.”

“And I was like, ‘Yeah, I’m going to concentrate on doing music for adverts and television programs and things like that, and my band will be my hobby. And that’s fine.’ I was happy with that.”

The post “Suddenly, all these football players were picking up guitars. It’s not my thing anymore”: Justin Hawkins recalls being “furious” about how Nirvana shook the guitar scene overnight appeared first on Guitar.com | All Things Guitar.

Despite a decade-long love of guitars and songwriting, breakout star Aaron Rowe has twice almost given up on his music dreams – first as a teenager, and more recently in his twenties.

As a youngster growing up in a working-class pocket of South Dublin (Monkstown Farm, Dun Laoghaire), he feared being bullied if he were to admit that he liked to sing. “I put it on the back burner for a long time,” he remembers, having instead made boxing and kickboxing his childhood hobbies.

• READ MORE: “I want people to think of me as a musician. That’s what I’m here for” Country upstart Ty Myers is championing guitar for a new generation

However, that all changed when, aged 15, he saw a friend busking in Dublin town. “My mates and I were getting into smoking weed whereas he was making £20 in an hour,” he recalls of watching him play guitar. An epiphany-like moment followed: “I thought ‘this is class! I could do this’.”

After sharing his newfound passion with his mum, she rushed out and bought Rowe his first guitar. “I think she had been waiting for me to say that I wanted to get into music, because when I was a kid I hid it from everyone,” he remembers, having returned home to find a cheapo guitar (“it’s the ones you can get for around €100”) on his bed, as well as a CD with instructions for how to tune chords. “From that moment, I pretty much just started playing.”

Though Rowe found it easy to pick up and learn, he admits “I probably thought I was better than it was”, adding that he began to write his own songs almost instantly. “I knew that was eventually what I wanted to do,” he says, citing Paul Brady (“I think he’s an amazing guitar player and very underrated”), Derek Trucks (“although I can’t play like him, I’m a big admirer of his work”), Dire Straits frontman Mark Knopfler, Rory Gallagher, and David Gilmour (“my dad was a big Pink Floyd fan”) among his guitar heroes.

Thanks to knowing some older lads who were in bands, support slots at pubs followed for Rowe. “They would say ‘here, do you want to do half an hour?’” he recalls, adding that “they used to throw me a few bob”. Soon after, he started getting booked to play gigs of his own. Within a year-and-a-half, it was his job.

“I wasn’t really making much money out of it, but it was income that I never really had,” he says of taking every gig he could. This resulted in him playing up to three times a day, which was equivalent to six or seven hours performing “cover after cover”. “They pretty much took over my whole life,” he considers.

Though Rowe enjoyed the experience, he would have preferred to be able to test out his own songs. “I lost sight of what I initially intended to do,” he reflects on his regular Temple Bar slots. “I didn’t want to sing Sweet Caroline [by Neil Diamond] and Take Me Home, Country Roads [by John Denver] for the rest of my fucking life,” he says candidly. “It’s a trap because those songs are basically all people want to hear.

“It’s a rotation of people because you’ll have a hen or stag party and, as soon as you finish, they’ll see the other guy coming on, or you could be the other guy, and they’ll be like ‘fuck this guy, we like the last guy’.” Because of this, he suggests that “everyone’s just doing the exact same set… it gets a bit soul-destroying, to be honest”.

Perhaps understandably, all this resulted in him losing his love of music for some time — so much so that Rowe neglected practicing his guitar at home. In fact, his “one size fits all” acoustic never really left the case that would sit in the corner of his room.

Instead, he “learned things on the fly from other people” while he was on stage. “I never really seemed to have the chops to be able to play the blues,” he considers, “or maybe it was because I didn’t have the opportunity to get stuck into the electric guitar, because I was constantly gigging”.

With this in mind, he describes playing the pub circuit as a double-edged sword. “It definitely taught me everything I know,” he says; “it was very beneficial in some ways and, in other ways, it kind of stopped me from songwriting, which was a shame…”

Through The Motions

By his early 20s, Rowe started to feel “burnt out” from going through the motions day in and day out for so many years. “I was on the verge of giving up,” he recalls, now aged 24. “I didn’t really know what to do anymore.”

Thankfully, his moment finally came last year — just as he was about to “pack it in”. He was singing covers at his regular Saturday gig in The Dame Tavern when one of his future managers walked in and discovered him playing. A few weeks later, one of the biggest artists in the world – Lewis Capaldi – was on a stag-do when he stumbled into Cassidy’s where Rowe was performing. “I just said hello and didn’t think I would see him again,” he laughs of that particularly memorable Sunday set.

In what felt like an act of fate, he bumped into the Scottish chart-topper again a few weeks later while on a writing trip to Nashville. “Lewis was standing beside me at the bar, we had a few pints and became very good friends,” Rowe remembers, adding that Capaldi also introduced him to his best mate (who would go on to become his manager). “It all happened really fast,” he reflects. “It was really nice the way it worked out and, since then, Lewis has helped me a lot.”

With such a huge name backing him, Rowe’s star has been in ascendance from that point. In late May, he released his emotional debut single Hey Ma and, a month later, made his Glastonbury debut (at the same weekend as Capaldi’s return to the festival). However, as the booking was very last minute, he brushed it off as a “consolation so I can have my name on the poster”.

Initially, when Rowe walked up to the Wishing Well tent and there was no one there, he feared he was right. However, that all changed when he walked on stage to a packed crowd that included Emily Eavis, Fred again.., and Taron Egerton. “It was one of my favourite and most surreal moments so far,” he recalls, adding that the show almost didn’t happen due to a broken guitar string; thankfully, someone backstage gave him a new one and all was well.

That hasn’t been the only bucket list moment of the year for Rowe, however, as he released his first EP, Exodus, in September and went on a UK arena tour with his pal Lewis [Capaldi] in the same month. “I don’t know how to put it into words,” he says humbly of those support slots — “I just feel lucky. I know there are probably better musicians out there than me that don’t get the same opportunities,” he suggests, “so I’m really grateful.”

Aaron Rowe and Lewis Capaldi. Image: Press

Ed Boy

Next year is set to be even bigger for Rowe: he’ll tour Australia and America with one of his heroes and now mentor, Ed Sheeran, who he says has “been like a brother to me over the last few months”. The global star has even given him a guitar. “It’s the nicest thing I’ve ever seen,” he gushes of the ‘Wee Lowden’ acoustic. “I still look at it sometimes and think ‘what is this doing in my house?’ Beyond the gift, Rowe describes Sheeran as “an absolute gent”.

Amid finding international fame, Rowe is keen to keep putting Ireland on the global music map. “There is a wave of Irish artists coming through at the moment that previously might not have existed,” he says, suggesting that Irish people “took a little bit longer than the UK to start believing in their own identity”.

He expands on this point: “it’s confidence that the UK would have found maybe 20 years ago, and that America always seemed to have thanks to using their own accent and identity in music. Whereas, I feel like Ireland is only coming into that now,” he adds, highlighting the gap since “amazing artists” Sinéad O’Connor, The Cranberries and Shane MacGowan. “But, now, it seems like a whole generation of people, especially with the way they use their accents.”

Rowe – who recently sang the Irish national anthem before the World Cup qualifiers – hopes to inspire the next generation to pick up a guitar or start writing songs. “That’s the most important thing,” he says. “It kept me out of trouble as a kid, and gave me a path that a lot of people around me might not have”.

True to his reflective nature, Rowe is taking things one song at a time. “I just enjoy making good tunes, and that’s all I really look forward to,” he says. As for big goals, he’s refreshingly down to earth: “I already feel like I’ve won, so I just want to keep doing what I’m doing.”

The post Meet Aaron Rowe, the Irish singer-songwriter who has toured arenas with Lewis Capaldi and is heading to America and Australia with his ‘mentor’ Ed Sheeran appeared first on Guitar.com | All Things Guitar.

When it comes to rockin’ ’n’ rollin’, it doesn’t get more classic than Aerosmith. Guitarists Joe Perry and Brad Whitford have spent decades bouncing their riffs off each other, and these days they’re still at it with the Joe Perry Project.

For this episode, we called up JPP bassist Robert DeLeo—best known as a Stone Temple Pilot—to talk about his longstanding relationship with Aerosmith, what it’s like to be on stage with 3/5th of Aerosmith, and learned why he calls Perry and Steven Tyler his uncles.

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A short excerpt from our interview with Andy Shauf in the Fretboard Journal 57. 

I first came into contact with Andy Shauf’s music by comparison. In high school, after a gig, someone asked me if he was one of my main inspirations, and I embarrassingly admitted not knowing him. Getting compared to someone I’d never heard before gave me this strange sense of kinship, like I was about to encounter an artist who would change my life. The Party had just come out; a sprawling narrative following a group of characters that weave in and out of songs, and a template he would go on to use for albums like Neon Skyline and Norm. Unsurprisingly, I became an instant fan. I’ve always been interested in both song and fiction, which Shauf seamlessly blends in an observant, cinematic and writerly way. His albums are their own kind of novels.

When Shauf is not releasing music under his own name, he is a member of the band Foxwarren, who have just released their highly anticipated second album entitled 2. The album’s distinct sound was born out of Shauf’s love for a specific piece of gear: the sampler, which he used to cut up and remix sound bites and recordings contributed by his bandmembers. Resultingly, 2 has this uncanny feel — real instruments rendered and synthesized through technology in a way that feels both incredibly Shauf-ian and distinct from any of his prior records.

What was originally supposed to be a conversation about a specific piece of gear inevitably turned into a discussion of writing and recording processes, a love of literary structures, a lost disco record, and, as promised, a six-stringed family heirloom.

Photograph by Angela Lewis. 

Sofia Wolfson: I would love to first hear about the out-of-the-ordinary process of making of this record.

Andy Shauf: We started out with the idea that we wanted to make a live, off-the-floor record, which is maybe the dream of all indie musicians, to have that kind of old-school experience. But it wasn’t going very well. But then we tried to figure out how we would be able to collaborate from a distance. It coincided with my buying a certain piece of gear, which was a sampler. It was a Maschine MK3, which is not what I use now, but the standalone version wasn’t available yet. I was trying to think of ways to change up my process where you sit at the guitar, you sit at the piano, and you end up reaching for the same notes all the time. Your hand is used to certain chords. I thought the sampler would be a good way to shake it up. My idea was: I’ll record a voice memo of myself playing an instrument, I’ll plug it into the sampler and chop it up, and then I can blindly find things just with my ear.

I was messing around with that idea around the same time that we started meeting for Foxwarren. We made this shared folder to upload song ideas to. I uploaded a song called “Dance” that was written on a chopped-up piano, and the guys really liked it. So I said, Okay, if you guys want this song, then we have to go in this direction of continuing to use the sampler and seeing how we can keep exploring this. At the time, I wanted to make two records. I wanted to make a synth record and a sampler record. Foxwarren called the sampler record. The synth record is actually my record Norm, which maybe isn’t the first thing you’d think of.

SW: So you were playing the sampler like it was its own instrument?

AS: Yeah, essentially. It’s like a middleman. I’ll just sit down at an instrument and noodle for a minute, and then I’ll put it into the sampler. There will be some good ideas in there sometimes, but my big problem is my short-term memory.

SW: What do you mean?

AS: Well, when I’m playing, I’m not thinking in theory. I think in hand shapes, like Phoebe from Friends. I forget what I’ve played. If something I play really strikes my ear and I want to revisit it, I will have forgotten it already. But when I’m using the sampler this way, I can do whatever I want, I can move my hands however far away from each other, and then I can find it again. It’s unlocked a lot of unique things that I would have never been able to find, or would have never been able to re-find in just letting my hands wander the keys.

SW: How did the contributions from the other members of Foxwarren start to factor in? Did you find that it was a similar process, or did the process develop and change because now you weren’t the only source material of the sound?

AS: The hardest thing for me is that I don’t have much of a singing range. My voice is limited in these ways that are hard to explain. When I find a melody, I know that I can sing it. When someone else writes a melody, I know that it’s going to be a struggle for me to sing it. It’s going to be too low or it’s going to reach too high. I don’t have enough of a range for what people think singers’ ranges should be. That was kind of a limitation that we were running into early where the guys would send in a song idea and the vocal melody would be something that I couldn’t do. So, having the sampler to reorganize their thoughts, if I couldn’t find anything directly from it, was really useful. It felt like a way that we could actually collaborate on ideas from a distance.

It’s kind of the same thing when you’re in the room collaborating on writing. A person’s idea is going to push you to expand on your own, and then they’ll expand on it, and so on. This felt like the distant equivalent of that.

There was also the limitation of us all having different degrees of home studio. Avery [Kissick] would send in a drum take and it sounds like he’s just playing drums in a basement, because he is. For a full take of that, there’s a certain dimension that you’re stuck with. But what we found is: That sound isn’t bad. It’s unique and it sticks out. If you use it more like a collage with looping and accentuating certain quirks in the sound, then it takes on a whole new life. It’s not as flat anymore, even though you’re totally flattening it. The repetition of it brings a vibe to it that isn’t just “basement.” It’s more interesting than that.

To read the rest of the interview, order the issue or subscribe. 

The post Excerpt: Andy Shauf in the Fretboard Journal 57 first appeared on Fretboard Journal.

If you’re ever keen to learn a little bit about space, Blink-182’s Tom DeLonge is your guy. He’s been screaming that Aliens Exist since 1999, and his fascination with the stars hasn’t dulled a day since. In fact, he’s just partnered with Fender for 10 limited edition Meteorite Starcasters – and they each contain genuine fragments from meteorites.

DeLonge performed his own custom job on his Fender Starcaster back in 2023, sprinkling it with ‘stardust’ by mixing meteorite dust into the finishing coat. This new run of Starcasters takes a similar approach; each guitar in the Ad Astra 10 is sprinkled with crushed fragments under a clear finish.

The ‘dust’ comes from 10 unique meteorites, including Mars, the Moon, famously blazing Chelyabinsk superbolide meteor, as well as other pieces from the cosmos’ brightest visible asteroid, 4 Vesta.

• READ MORE: Black Friday 2025: the best deals so far

While the Ad Astra 10 line started out life as 10 classic Starcasters, each guitar has been fully hand-customised with its own unique colourway and transformed by punk-rock skate veteran Brian Thrasher. A hand-drawn illustration by DeLonge serves as the finishing touch on each piece.

The release of the Ad Astra 10 line marks the 10-year anniversary of DeLonge’s multimedia brand, To The Stars. The guitars comes with a lavish price tag, costing $3,500 apiece.

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Each guitar also comes with a signed certificate of authenticity, as well as a snap of DeLonge doodling on the guitar in question. A separate fragment of one of the meteorites included in the guitar’s finish will also be included.

The guitars are set to drop on Black Friday (28 November). However, the guitars can only be shipped within the USA – we’re not too sure that a FRAGILE label will be sufficient when transporting genuine, precious fragments of the galaxy.

“I’ve always believed music connects us to something bigger – and these guitars literally came from outer space,” DeLonge explains. “They’re playful, they’re punk, and they each have their own weird little soul. I’m excited for people to hold something this special.”

It has to be said – the Starcaster is a fabulous guitar, even without the added perks of moondust. We awarded it a strong 9/10 just last year, deeming it a versatile axe packed with plenty of premium features. So, even if you don’t get your hands on one of the limited Ad Astra 10 like, the original Starcaster line is well worth considering if you’re looking around for a new guitar.

Head to To The Stars for more information.

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The post Tom DeLonge reveals 10 limited-edition Fender Starcasters – and they all contain genuine meteorite fragments appeared first on Guitar.com | All Things Guitar.

It’s fair to say that basically all of Positive Grid’s lineup is a compelling case for the idea that portable amps have well and truly arrived. However there’s perhaps none more important to that idea than the Spark Go, an amp barely bigger than your wallet – and, particularly for Black Friday, also pretty kind to the same.

• READ MORE: Black Friday 2025: the best deals so far

The Spark Go is a miniscule little amplifier, but Positive Grid has a few tricks up its sleeve to up the bass response and create a full sound – including a passive radiator to get the kind of low end you’d never expect from an amp like this.

For control, you get access to the Spark app, which is a very neat and functional solution for loading presets and saving your own tones, as well as a bunch of other educational tools. On the review bench we found it pretty impressive – it earned a 9/10 for both its sounds overall and for just being a pretty remarkable feat of engineering.

This Black Friday there’s a $30 discount on its already reasonable price thanks to Sweetwater’s sales – check out the deal below.

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Positive Grid not up your street? Check out some other places to save below, or some more deals here.

UK/EU Deals	US Deals
Thomann Save up to 70%	Reverb Up to 80% off
Reverb UK Up to 80% off	zZounds Black Friday savings
Positive Grid Up to 50% off	Sweetwater Up to 80% off
Gear4Music Black Friday deals	Positive Grid Up to 50% off
PMT Up to 70% off	Guitar Center Save up to 50%
Amazon UK Big savings	Amazon Black Friday deals
Guitar Tricks 20% off monthly sub	Tim Pierce Masterclass Free trial
Tim Pierce Masterclass Free trial	Guitar Tricks 20% off annual sub
Ultimate Ears EU Shop savings	Music & Arts 20% savings

The post We called it “the first truly great portable electric guitar amp” – and it’s on sale for Black Friday appeared first on Guitar.com | All Things Guitar.

Gibson, the iconic global instrument brand, is proud to announce its continued partnership with one of the most influential rock legends of our generation, Dave Grohl. Introducing the Dave Grohl DG-335 Limited Edition from Gibson Custom. Made in close collaboration and with significant input from Dave Grohl, only 50 of these DG-335 models will be available worldwide in this highly exclusive limited run via Gibson.com and the Gibson Garage locations in Nashville and London.

Grohl, a 19-time GRAMMY® winner and two-time Rock and Roll Hall of Fame inductee, has performed with an Alpine White version of his iconic DG-335 at Foo Fighters shows around the world since 2021. This new edition captures the same striking look and tone, finished in Alpine White gloss nitrocellulose lacquer.

A longtime Gibson user, Dave’s previous Gibson signature guitars have remained extraordinarily popular and continue to command premium prices on the vintage market. This new limited-edition DG 335 from Gibson Custom blends elements of the ES-335™ and Trini Lopez designs, as specified by Dave himself. The DG-335 features a semi-hollow three-ply maple/poplar/maple body, bound diamond-shaped sound holes, single-ply cream binding, and a solid maple center block to reduce feedback and enhance sustain. The mahogany neck, carved to a standard Trini Lopez profile, is paired with a bound Indian rosewood fretboard, 22 medium jumbo frets, and split diamond inlays. A Firebird™/Trini Lopez–style headstock with Grover® Mini Rotomatic® tuners ensures reliable performance.

Premium hardware includes a TonePros™ ABR-1 bridge with nylon saddles, a locking TonePros Stop Bar tailpiece, and unpotted Custombuckers with aged Alnico 3 magnets. Electronics are wired with CTS® potentiometers, paper-in-oil capacitors, and a Switchcraft® three-way toggle. Gold Top Hat knobs with silver reflectors complete the setup.

Each Dave Grohl DG-335 arrives with a Gibson Custom hardshell case and features a soundhole label signed by Dave Grohl. With previous DG-335 releases selling out rapidly, this limited run is expected to become a coveted collector’s item.

Foo Fighters will kick off their 2026 global stadium tour on June 10 in Oslo, Norway. It will be their first stadium tour since the massive 2023–2024 Everything or Nothing at All run, which sold out football and baseball fields around the world. The new tour will bring the maximum-volume euphoria of the band’s recent surprise U.S. club gigs and overseas outdoor and arena spectaculars to more than 20 cities spanning the globe, concluding (for now) on September 26 at Las Vegas’ Allegiant Stadium.

Queens of the Stone Age will be direct support on all dates except September 12 in Fargo. For all Foo Fighters tour dates and tickets, visit: https://foofighters.com/tour-dates/. Foo Fighters are Dave Grohl, Nate Mendel, Pat Smear, Chris Shiflett, Rami Jaffee, and Ilan Rubin.

FOO FIGHTERS

2025 Tour

November 14 — Mexico City, MX — Corona Capital

November 25 — Monterrey, MX — Estadio Banorte

2026 Stadium Tour

June 10 — Oslo, NO — Unity Arena

June 12 — Stockholm, SE — Strawberry Arena

June 15 — Warsaw, PL — PGE Narodowy

June 17 — Munich, DE — Allianz Arena

June 19 — Paris, FR — Paris La Defense Arena

June 25 — Liverpool, UK — Anfield Stadium

June 27 — Liverpool, UK — Anfield Stadium

July 1 — Berlin, DE — Olympiastadion

July 3 — Vienna, AT — Ernst-Happel-Stadion

July 5 — Milan, IT — I-Days-Milano Ippodromo

July 8 — Madrid, ES — Mad Cool

July 10 — Lisbon, PT — NOS Alive

August 4 — Toronto, ON — Rogers Stadium

August 6 — Detroit, MI — Ford Field

August 8 — Chicago, IL — Soldier Field

August 10 — Cleveland, OH — Huntington Bank Field

August 13 — Philadelphia, PA — Lincoln Financial Field

August 15 — Nashville, TN — Nissan Stadium

August 17 — Washington, DC — Nationals Park

September 12 — Fargo, ND — Fargodome

September 15 — Regina, SK — Mosaic Stadium

September 17 — Edmonton, AB — Commonwealth Stadium September 20 — Vancouver, BC — BC Place

September 26 — Las Vegas, NV — Allegiant Stadium

Sit down with Dan Murphy for a crash course tutorial with tips and tricks on how to use the POG3 polyphonic octave generator pedal with the EHXport app.

Learn more at https://www.ehx.com/products/pog3

PG's lovable host takes us through a quick tour of the Windy City megastore and shows off his top picks. Does he buy anything? Tune in to find out!