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Black Friday 2025 isn’t for another week, but the team here at Guitar.com have our ears to the ground on all the early deals on guitar gear, and when we came across this one, well, we just had to let you know…

Right now at Sweetwater, you can get an absolutely massive $300 off the Epiphone DG-335, the widely loved signature model for Foo Fighters frontman and former Nirvana drummer Dave Grohl.

[deals ids=”1wKGfVmItbiSKFHBoWzo3t”]

Epiphone launched the DG-335 back in March 2024 after the guitar community demanded a more affordable version of Grohl’s Gibson signature model.

Essentially, the Chinese-made Epiphone version offers many of the same features as its Gibson counterpart, but for a fraction of the price. Normally, the Epiphone DG-335 is priced at $1,299, but in this killer deal at Sweetwater, you can grab it for just under a grand (just $999).

In terms of specs, the guitar features elements of Gibson’s ES-335 and Trini Lopez models, and is finished in the same Pelham Blue that’s become somewhat synonymous with Dave Grohl.

The guitar is built using a layered maple/poplar body with a one-piece mahogany neck, Firebird-style headstock and laurel fingerboard – with mother-of-pearl split diamond inlays – while electronics come by way of a pair of Gibson USA Burstbucker humbucking pickups, controlled via two volume and two tone knobs.

Other specs include Grover Mini-Rotomatic tuners, a Locktone Tune-O-Matic bridge and stopbar, a Switchcraft toggle and jack, CTS pots and Mallory capacitors. The guitar also comes with an Epiphone hardshell Dave Grohl case.

The guitar is subject to Sweetwater’s 55-point inspection, too, so you know you’re getting an instrument that’s perfectly set up straight out the box.

And better yet, you can even choose the exact guitar you want; there are five available on the Sweetwater website, and you can take a look at each and select the exact serial number that takes your fancy.

Take a closer look at the guitar at Sweetwater.

The post Epic Black Friday deal alert: Save a massive $300 on Dave Grohl’s Epiphone DG-335 signature model appeared first on Guitar.com | All Things Guitar.

One dares not wonder how much Joe Bonamassa has spent acquiring his legendary gear collection, currently housed in two separate museum-type locations, Nerdville East and West in Nashville and LA, respectively.

He’s had to be cut-throat along the way to get his hands on the gear he wants, too; Joanne Shaw Taylor recently revealed Bonamassa helped her by a $5,000 Albert Collins Telecaster when she didn’t have the money, only to keep it for himself. JoBo later gave it to Taylor after a suspected slap on the wrist from his father, Len…

• READ MORE: Creation of the Gary Moore statue for Belfast is underway – but your help is needed to complete it

Bonamassa’s latest gear acquisition comes totally fair and square, though; Gary Moore’s Soldano SLO-100 amplifier, bought for £19,200 (nearly $25,000) via London-headquartered auction house Bonhams.

The amp – sold as part of the The Gary Moore Collection: The Final Encore – hit the auction block yesterday (20 November) at 14:00 GMT.

The 100-watt amp head – serial number 89257 – came in a visibly worn wheeled flight case adorned with Gary Moore and BBM stencils, the latter being the power trio formed in 1993 by Moore alongside bassist Jack Bruce and drummer Ginger Baker.

“I have never been a fan of grabbing a paddle and slogging it out buying guitars and amps at auction,” Bonamassa says in a new post on his Instagram page. “There are exceptions, though. I’m super chuffed to have this one. Gary’s playing and that album Still Got the Blues (1990) changed my life as a kid!”

View this post on Instagram

You can learn more about the auction and Gary Moore’s SLO-100 amp head – now in the possession of Joe Bonamassa – via Bonhams.

The post Joe Bonamassa spent nearly $25,000 buying Gary Moore’s Soldano SLO-100 amp head appeared first on Guitar.com | All Things Guitar.

Editor’s note: Heritage Guitars and Guitar.com are both part of the Caldecott Music Group.

$2,599, heritageguitars.com

As a company, Heritage has had to tread a fine line over the years. Formed by a bunch of former Gibson employees who didn’t want to leave the brand’s iconic Kalamazoo, Michigan home when the Big G decided to shift operations to Nashville in the 80s, there was always going to be a certain familiarity there in terms of design.

• READ MORE: Warm Audio Throne of Tone review: “this pedal can be as simple or complex as you need it to be”

In fact, this evolved into an agreement signed between the two brands back in 1991 that effectively gave Gibson’s ascent to Heritage, continuing to produce instruments that were inspired by the guitars originally built in that famous 225 Parsons Street factory back in the 50s.

All this has meant that for the last 30-plus years, Heritage has focused primarily on producing high-quality instruments that have one foot rooted in that established tradition, albeit with its own personality and vibe.

Now however, Heritage has launched the Standard II – a new take on the brand’s flagship H-150 model that keeps things suitably classic in the visual sense, while evolving things under the hood to move away from the vintage revivalism that dominates much of Gibson’s current outlook and move in a more player-centric direction.

This feels like a savvy move. There’s no doubt that Gibson’s pivot away from Robot Guitars and Firebird X’s to focus primarily on instruments that are recreating the feel, look and sound of the Golden Era classics has been hugely successful both in the hands and on the balance sheet.

But there are also players out there for whom baseball bat necks and hulking great slabs of mahogany and maple are not the holy grail. It’s these players that the Standard II H-150 is trying to tempt in.

Heritage Standard II H-150 – what is it?

Like all H-150s, this Standard II is a close cousin to the Les Paul, and much of the same basic recipe has been retained for this new model. That means you get a 24.75” scale length, a single cut mahogany body with a carved figured maple cap and a glued-in mahogany neck.

Unlike your Les Paul Standard however, the Heritage equivalent isn’t a fully solid body – it’s been weight-relieved to take the edge off the heft that often accompanies Gibson’s favoured son. Anyone who has worn an LP or similar guitar for any length of time will breathe a sigh of relief here.

This is something that was also a feature of the Asian-made Ascent+ H-535 Ed Oleszko looked at for us earlier this year, so we can probably say that Heritage wants this whole ‘LP-style guitar that doesn’t give you a sore shoulder’ thing to be part of the brand’s identity going forward.

Another thing that emulates that Ascent+ guitar is the internal wiring – you get a pair of push/pull tone pots to activate series/parallel mode to enhance the tonal options of the two humbuckers.

Heritage describes this wiring tweak as offering the benefits of coil tapping bit without the resulting drop in volume. Could this hint at a more versatile tonal palette than we might expect from a double-humbucker guitar? I’m going to have to find out the fun way!

Finally, whereas the original Standard series guitars came with Seymour Duncan humbuckers, the Standard IIs are fitted with Heritage’s own USA-made Custom Shop units – the aptly named 225 models.

Heritage Standard II H-150 – build quality and playability

In the past I have taken issue with some elements of the Heritage aesthetic, but in this case the lines of the guitar are balanced and well judged. The deep, brooding Chestnut Sunburst finish is excellent and tiny nuances such as the new headstock veneer and truss-rod cover tie the look together as a cohesive whole.

The mahogany neck is also obviously carved with comfort in mind. Based on a 1960s shape, it is a lot more immediate than the blunderbuss feel of a ’58 original. Heritage has always done this sort of thing very well and this feels great from the first position all the way to the body join. There is a handsome rosewood fretboard too with an excellent fret job.

Strapping it on, the difference between the Standard II and its antecedents are subtle but immediately tangible. That chambered mahogany body really does make this feel like a different beast to a Les Paul – removing some of the deep, dead weight that you often feel when hanging one over your shoulder, tipping the scales at the good end of 9lbs.

Heritage Standard II H-150 – sounds

There are very few instances where an LP-style guitar would be your first choice for a clean sound. The H-150 Standard II however greets us with a surprisingly polished and articulate voice straight into the amp. The neck humbucker remains open and detailed throughout making it a beautiful choice for neo-soul explorations. I pulled out my most expensive chords and can confirm.

The middle position is flutey and engaging – Jimi-style double stops always feel slightly naughty on anything other than a Strat but that organic bluesy approach really works here. Nudging the push/pull tone knobs flips the wiring and brings out some extraordinary jangle tones too and as ever, the joy of blending the pickup volumes and tone controls comes into its own here and there is wide scope to get creative. You can get your stutter on with the selector switch too. Go on, you might like it.

Even clean I can tell that the bridge unit is a beauty. There’s a snarl to it that I haven’t heard before in a Heritage guitar. It’s not just brute force though, there’s something else going on here. Is it the chambered body? The new pickups? All of the above? Either way this is an immediately pleasing squeeze.

Clean tones dissected, it’s time to hit the dirt and give it the thrashing it obviously deserves. Standing on an enraged Crowther Hotcake is always very revealing – I plug in to see how the H-150 Standard II responds. Put simply, it loves the filth.

The neck humbucker loses very little of its clarity as the gain hits. It barks and snarls like a good ‘un without getting muddy. In the interests of science I also hit it with a Bigfoot Engineering King Fuzz pedal which smears hairy chunks of saw-toothed glory up the walls of my studio in a delightful manner.

The middle position can take a surprising amount of gain before it dawns on me that the bridge alone might be a kinder choice. For pick-free blues explorations à la Jared James Nichols however, it is excellent. Grunty and responsive with a lot of grip.

Given that so many iconic performances have involved a bridge-mounted humbucker fired in anger you could be forgiven for feeling a little overwhelmed, jaded even. The bridge position on this H-150 Standard II reminds us what this sort of thing is all about.

From chunky, muscular rhythmic playing to soaring lead lines, this guitar does it all elegantly. It even supports my enthusiasm when I abandon all sense of decorum and go for some widdly nonsense above the neck join. It screams, it roars, it purrs. In fact, it is surprisingly vocal throughout.

The series/parallel switching is a very good idea, which not only allows for snappier sounds but also brings out all manner of delicious overtones and harmonic feedback when you wind up the gain and find the sweet spot on the tone control.

Heritage Standard II H-150 – should I buy one?

While many of the Heritage guitars I’ve reviewed in recent years have been vintage-inspired custom shop beauties, it’s interesting to see Heritage take an intentional and pointed step to the left with its flagship production instrument like this.

There’s no doubt that by blending traditional aesthetics with more modern ergonomic and sonic appointments under the hood, the brand is attempting to carve its own niche – and it does so extremely well – while also being a fair wedge cheaper than a Les Paul Standard.

The new Standard II H-150 offers more than just tonal variety. It is an immediately engaging and rewarding instrument that feels as good as it sounds.

Heritage Standard II H-150 – alternatives

The elephant in the room is always going to be Gibson, but it’s notable that nothing in the current Standard range has the same blend of old-school looks and modern convenience as the Standard II H-150. The Les Paul Standard 60s ($2,999/£2,239) offers classic looks and a skinny neck, but no series/parallel wiring. If you want that, you’ll have to tap the Les Paul Modern ($2,999/£2,239) but with that comes a full modern aesthetic (and clear plastic knobs) that you may come to regret. If you want a muscular modern take on the single-cut from a USA brand, the PRS Mark Tremonti Signature ($4,079) is a mean, lean rock machine.

The post Heritage Standard II H-150 review: “It screams, it roars, it purrs” appeared first on Guitar.com | All Things Guitar.

Winzz Guitars proudly announces the launch of the WGS150 Gravity PRO, the flagship model in the company’s new Gravity Series of electric guitars. The WGS150 stands as Winzz’s statement of purpose — combining refined design, precision craftsmanship, and professional-level performance at an unbelievable player-friendly price point. Built for musicians who demand more from their instruments, the WGS150 bridges traditional craftsmanship and modern innovation to inspire guitarists around the world.

The WGS150 features a flame maple top paired with either a selected North American alder body (offered in Maldives Blue and Cherry Red) or African mahogany (available in Jungle Green and Midnight Purple). Its contoured offset body merges comfort and style, while a curved arm cut and ergonomic asymmetric heel joint allow effortless access to the highest frets. The 25 ½-inch scale, five-bolt roasted Canadian maple neck, and rosewood fingerboard deliver both strength and silky playability. Winzz’s signature “glider neck” C+D profile blends speed with comfort for a feel that adapts to any style. Medium stainless-steel frets improve sustain and accuracy, while white ring inlays and Luminlay side dots ensure precision even on dimly lit stages.

At its core, the WGS150 is powered by a custom Alnico V SSH pickup configuration, combining a medium-high-output humbucker with vintage-voiced single coils for a wide tonal palette. A push-pull tone control engages series-parallel switching, delivering everything from crisp single-coil shimmer to full-bodied humbucker punch. The carefully tuned internal circuitry and durable anti-oxidation components provide consistent, noise-free performance for both stage and studio environments.

Every detail of the WGS150 is designed for reliability and expression. A premium two-point tremolo bridge with block saddles enhances tuning precision and sustain, while a synthetic bone nut, locking tuners, and 4+2 headstock layout maintain stable string tension and balance. Each instrument ships fully set up and ready to perform right out of the box.

Born from a partnership between passionate guitar builders from Germany’s village of Winz and Aileen Music in China, Winzz Guitars blends German precision with Chinese industriousness — a union that celebrates both artistry and innovation. Guided by the belief that music should be accessible to everyone, Winzz creates instruments that invite players to “find their voice and make every stage their own.” The WGS150 embodies that mission, offering a professional instrument that welcomes beginners, creators, and seasoned musicians alike.

For more information on the WGS150 Gravity PRO and other Winzz Guitars instruments, please visit www.winzzguitars.com

Or Visit Winzz Guitar at NAMM in Booth 9740

Street Price: $429.99

Peavey Electronics adds the new VTM™ Preamp Pedal to its new Legacy Series. As part of its 60th Anniversary celebration, Peavey is releasing a run of preamp pedals based on the company’s most iconic amplifiers giving players the opportunity to explore vintage tones with easy to use and affordable pedals. The VTM pedal is now available worldwide through online and local retailers.

In the 1980’s, amp modifications became the norm. The off-the-shelf amplifiers were just not cutting it anymore. In typical Hartley Peavey fashion, Peavey set out to provide players with what they really wanted without all the hassle and expense of aftermarket upgrades. By the middle of the decade Peavey debuted the VTM 60 and VTM 120 guitar amplifiers. While the 6L6GC power tubes were a factor in how the amp performed, what really set this amp above all the rest was a bank of 8 DIP switches on the front panel that allowed the guitarist to customize the amplifier to replicate any number of aftermarket modifications. This was groundbreaking.

The Peavey VTM Preamp pedal features TransTube® technology to recreate the legendary 1987 preamp circuit. Pre and Post Gain controls help dial in the details of those famous 8 DIP switches with a passive three band EQ with separate LOW, MID, and HIGH pots. A Hard Bypass, anti-click switch triggers the on/off with an internal HV TransTube supply from a standard 9V supply/battery.

As for the 8 DIP switches, all switches in the off position deliver a vintage British-style tone. Gain #1 adds an added gain stage. Gain #2 maximizes that added gain stage. Switch #3 is the COMP adding diode compression for smoothness and sustain. The remaining five switches provide fine-tuned mods for enhanced LOWS, MIDS, and HIGHS.

Each pedal in the Peavey Legacy Series is housed in a durable die-cast metal enclosure with top shelf pots, switches, and jacks. The PCBs are fiberglass with 2-ounce copper and plate-through holes on all components. Output levels are adjustable, and all pedals require less than 100mA from a standard 9VDC power supply. Battery power is also an option.

To learn more, please visit www.Peavey.com

Retail $199.99 USD

For his work in Guns N’ Roses and as a successful solo artist, Slash has inspired countless guitarists the world over. And he can also count actor Charlie Sheen as a fan, it would seem.

But Sheen – real name Carlos Irwin Estevez – is no casual Slash fan; in fact, he once “fanboy chased” Slash all the way to Ireland to watch him perform with his band the Conspirators.

• 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”

Charlie Sheen has been friends with Slash for many years, and even gave a roast-style tribute to the guitarist at his Hollywood Walk of Fame induction ceremony back in 2012.

And in a new interview with Loudwire, he shares that he once introduced a show for the Conspirators, and asked them to play one of his favourite songs of theirs – leaving Myles Kennedy and the rest of the band a short window of time to rehearse it.

“I actually fanboy, stalker chased him to Ireland for a Conspirators show,” Sheen explains, “and they asked me to introduce the band at this big, ancient royal hall that they were in. And there’s a song that Myles didn’t sing on. Do you remember the compilation album? [2010’s Slash] Where he was kind of auditioning singers?

“I asked them to play it, and I think I asked them the day before, so Myles had like 10 hours [while] jet lagged out of his mind to learn that song. Slash comes up to the mic, and he goes, ‘This is for Carlos!’, and they played the song. It was incredible,” he recalls.

“Slash and I had a drink afterwards, or I drank and he watched, but he said, ‘So, you’re here for other stuff, right?’ I said, ‘What other stuff? What else matters right now?’ And then it dawned on him, post show in Ireland, that I flew in just for that thing.”

You can watch the full interview with Charlie Sheen below:

Slash has just released a new live album, Live at the S.E.R.P.E.N.T. Festival, and you can find out more via his official website.

The post “Slash comes up to the mic and goes, This is for Carlos!”: Charlie Sheen once “fanboy chased” Slash to Ireland appeared first on Guitar.com | All Things Guitar.

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

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

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

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

View this post on Instagram

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

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

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

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

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

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

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

For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration, Converge have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination.

It seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love Is Not Enough— incoming February 13, 2026— might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge.

Today, Converge shares the album's title track / music video "Love Is Not Enough." The song is intensely emotional, and lyrically it "...explores what it means to remain empathetic and compassionate in the modern world. A reckoning with who we are today and hope to be in the future— if we can fend off the scavengers," comments Bannon.

Love Is Not Enough features no special guests, no studio trickery, no relentless massaging of human imperfection in trying to manufacture the perfect take. “I think that realism is missing from a lot of modern music of any genre, but especially our genre,” Bannon says. “Things either go super raw and almost chaotic to the point where it's distracting, or bands take the life out of what they’re doing by editing every aspect. Sometimes the perfect take is the one that has some wildness to it. It's not perfectly executed. There’s a lot of powerful moments on this record and a lot of angry moments. The realism amplifies that.”

Unlike so many albums that adhere to a time-honored sequencing format, cherry-picking favored tracks for the all-important first, second, and final spots, Love Is Not Enough is all about momentum. “It does a thing that no other Converge record does—it keeps ramping up,” Bannon says. “And that’s definitely by design. Internally, we passed around dozens of ideas for sequencing because everyone interprets music differently and there’s no right way of doing it. When we do that, we always joke that we all have to be equally unhappy. But this is the one that works.”

Love Is Not Enough was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Jacob Bannon did the artwork and design, creating an image for each song and a commanding cover depicting a celestial witness to a world aflame. “We still identify this band as the outlet that’s essential to our lives,” Bannon says. “We give everything we have to it. Being past your average middle age, we’re starting to see deeper than before into a variety of places. And I don’t think that’s specific to us. I think that’s something that’s utterly relatable.”

Converge will perform at Saddest Day fest on December 13th in Boston, MA with Touché Amoré, Coalesce, The Hope Conspiracy, Full of Hell, Soul Glo and more. Pre-order Love Is Not Enough here and look for more information to surface soon.

Love Is Not Enough track list:

1. Love Is Not Enough
2. Bad Faith
3. Distract and Divide
4. To Feel Something
5. Beyond Repair
6. Amon Amok
7. Force Meets Presence
8. Gilded Cage
9. Make Me Forget You
10. We Were Never The Same

Affordable, expertly built in Berlin, mechanically noise-free and with our signature eye catching looks, our Utility Series of little helpful boxes have graced thousands of rigs the world over.

Consistent Connectivity Part II

Complementing our existing range of useful Utility pedals, KMA Machines bring you the all-new DUAL LOOP SWITCHER pedal. This diminutive mini sized pedal allows for dead simple switching between two distinct loops of Mono or Dual Mono/Stereo signal chains, to help you easily avoid tap dancing on your pedal boards. It can even combine signals and change the loop order in Mono or Stereo, making super creative flexibility a breeze.

In addition, we are introducing fully Active versions of our Passive AB/Y and STEREO AB/Y pedals to our line-up. The Active AB/Y and Active STEREO AB/Y also incorporate Phase and Y Direction switches and as they are buffered, are ideal for those who like to use the splitting or combining functions with some signals that don’t always play nicely together. So, whether you want the choice of Passive or Active models, even more musos can now have the choice of how they want to split, combine or simply switch between audio devices with ease, no matter your setup or signal demands.

All three new Berlin made devices retain our Silent Soft Switching, which heavily reduces mechanical noise and pops on stage, plus feature KMA’s high quality buffered bypass circuit, to maintain your tone on even the lengthiest of cable runs.

DUAL LOOP SWITCHER

EUR: 139 € ERP - USD: $159.99 MAP - GBP: £119 ERP

Active ABY:

GBP: £79 ERP

Active STEREO ABY :

GBP: £119 ERP

Guitarist Doug Gillard breaks down his iconic black Les Paul, his tone secrets, early Cleveland punk roots, composed solos, and the gear behind “I Am a Tree.”

Doug Gillard (Guided by Voices, Nada Surf) joins the Axe Lords to dissect his signature sound , explain why why he’s one of the few “indie rock guys” running a Mesa Dual Rectifier and—bonus!-gives the A-Lords a guided tour of his battle-worn ’76 Les Paul Custom.

Doug — who also played bass in Dave’s Band Valley Lodge — breaks down his approach to composed solos, the harmony and capo tricks behind “I Am a Tree,” and how Cleveland punk, college radio, glam, and right-hand tapping shaped his style. Along the way: how annoying Tom is to work with in the studio, early guitars from Sears and Gibson, Cleveland-scene lore, surviving GBV’s marathon shows, and the most intense comedy monologue since Andy Kaufman shuffled off this mortal coil.

Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas at Revoice Media. Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.

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

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

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

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

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

Check out the deal below:

[deals ids=”5ttdbKPTJUGb9HIsTfgJav”]

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

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

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

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

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

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

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

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

Check out the statue below:

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

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

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

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

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

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

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

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

At a glance:

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

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Best tube head for metal: Victory The Kraken MkII

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

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

Need more? Read our Victory The Kraken MkII review.

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

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

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

Best tube combo for metal: EVH 5150 Iconic EL34

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

Need more? Read our EVH 5150 Iconic EL34 review.

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

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

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

Best british-voiced tube head: Marshall ST20H JTM Studio

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

Need more? Read our Marshall ST20H JTM Studio review.

Loudest tube head: Orange OR30

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

Need more? Read our Orange OR30 review.

Best lightweight tube combo: Blackstar St James 50 EL34 Combo

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

Need more? Read our Blackstar St James 50 EL34 Combo review.

Why You Can Trust Us

Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.

That means that when you click on a Guitar.com buyer’s guide, you’re getting the benefit of all that experience to help you make the best buying decision for you. What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended in those guides is something that we’d be happy to have in our own rigs.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Old Black

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

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

Other Guitars

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

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

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

Amps

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

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

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

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

Anygig has unveiled the AGE TE Travel Guitar, a compact, full-scale electric guitar that redefines portability and performance. Priced at an exceptional $249.99 USD, the AGE TE embodies Anygig’s mission to deliver a design focused purely on playability, aesthetics, and compactness — free of unnecessary or ambiguous features. Its lightweight, headless design makes it the perfect companion for musicians on the move.

Unlike typical travel guitars derived from modified full-sized models, the AGE TE features a stylish, original design conceived entirely by Anygig. Its comfortable neck shape and smooth fret access stem from years of guitar-making experience, ensuring a natural feel and ease of playability. Despite its portable dimensions, the guitar boasts a 25.5” standard scale, delivering the same response and tension as a traditional instrument — which is ideal for players who demand full-scale performance wherever they go.

The latest Anygig model's adaptive design includes the new attachable ‘Flow’ Arm and Leg rests for improved playing posture, bridging the gap between compact design and ergonomic comfort. Fully compatible with the growing range of modern headphone amps, it gives players the freedom to practice and perform anytime, anywhere. Each AGE TE Travel Guitar ships with a travel-size gig bag, fret protector sleeve, Flow leg and arm rest, guitar scale booklet, pick, strap, digital tuner, and Allen key, providing everything needed for an immersive, portable playing experience. .

Features include:

• Frets/ Scales: 24 Frets / 25.5”(=648mm) scale
• Nut: 42mm Graphite
• Truss Rod: 2-way truss rod
• Neck & Body wood: Hard maple 3pcs
• Neck: C shape (1F: 20mm/ 12F: 21mm)
• Fingerboard radius: 16”(=400mm)
• Fingerboard: Rosewood
• Fingerboard inlay: Dot inlay
• Bridge: Tune-O-Matic bridge
• Tuner: Anygig M-11
• Pickup: Anygig Glow Humbucker
• Output Jack: EG-2P
• Strings: 010-046
• Dimension of Gigbag, Included Guitar & All Accessories : 91cm x 18cm x 10cm ● Net Weight: Fully assembled around 2.1 KG / 4lbs

The Anygig travel guitar is built around a minimalist, ergonomic design that emphasizes portability without sacrificing comfort or control. Whether you're practicing at home or touring across the globe, its slim profile fits wherever you need it to go. Available from $249.99usd on our Website www.anygigguitar.com , Amazon and Reverb.

Lamb of God return to the road this March for what promises to be the heaviest tour of 2026, with the North American trek, produced by Live Nation, featuring support from Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg.

Tickets for all shows are on-sale this Friday, Nov. 21 at 10 a.m. local time. An artist pre-sale launches today at 12 noon eastern. Tickets and VIP packages will be available at Lamb-of-god.com/tour.

“We are beyond thrilled to announce the loudest, proudest, floor shakin’-est, earth quakin’-est, ear-splittin’-est, mosh pittin’-est, undiluted, undisputed HEAVIEST tour of the whole damn year,” Mark Morton declares. “Is this the largest collection of RIFFS ever assembled under one roof? It would seem so. Lamb of God, Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg. Do not miss this shit.”

The tour news follows the recent release of “Sepsis,” the band’s first new original song since 2022’s Omens, and now the #1 song on the U.S. metal radio charts. Produced by longtime collaborator Josh Wilbur, the track celebrates the Richmond underground and the bands Lamb of God performed alongside during their early years. The band also shared a live video for “Sepsis,” capturing the electrifying live debut of the song at Aftershock Festival.

Consequence named the three-and-a-half minute track its “heavy song of the week,” describing the single as “crushing” while Revolver spotlighted “Sepsis,” calling it a “rock-solid addition to their ever-crushing canon.”

Lamb of God tour dates:

March 17 National Harbor, MD The Theater MGM National Harbor
March 19 Montreal, QC Bell Centre
March 20 Toronto, ON GCT Theatre
March 22 Detroit, MI Fox Theatre
March 24 Minneapolis, MN Armory
March 25 Chicago, IL Byline Bank Aragon Ballroom
March 27 Denver, CO Fillmore Auditorium
March 28 Salt Lake City, UT The Union Event Center
March 30 Portland, OR Theater of the Clouds
March 31 Seattle, WA WAMU Theater
April 1 Vancouver, BC PNE Forum
April 3 San Francisco, CA The Masonic
April 4 Inglewood, CA YouTube Theater
April 5 Phoenix, AZ Arizona Financial Theatre
April 7 Albuquerque, NM Revel Entertainment Center
April 10 Austin, TX Moody Amphitheater
April 11 Irving, TX The Pavilion at Toyota Music Factory
April 12 Houston, TX 713 Music Hall
April 14 Nashville, TN War Memorial Auditorium
April 15 Atlanta, GA Coca-Cola Roxy Theatre
April 16 Raleigh, NC Red Hat Amphitheater
April 18 Reading, PA Santander Arena *
April 19 Virginia Beach, VA The Dome
April 21 Buffalo, NY Buffalo RiverWorks
April 23 Brooklyn, NY Brooklyn Paramount
April 25 Uncasville, CT Mohegan Sun Arena *
April 26 Boston, MA MGM Music Hall at Fenway

*-Not a Live Nation show

2026 Festival Performances
May 14 – 17 Columbus, OH Sonic Temple Art & Music Festival
July 24 – 27 Plovdiv, BG Hills of Rock
July 27 – 31 Râşnov, RO Rockstadt Extreme Fest
August 1 Wacken, DE Wacken Open Air
August 5 – 9 Lisbon, PT Vagos Open Air
August 6 – 9 Kortrijk, BE Alcatraz Open Air
August 7 Walton-on-Trent, UK Bloodstock Open Air
August 12 – 16 Dinkelsbühl, DE Summer Breeze
August 13 – 15 Sulingen, DE Reload Festival
August 14 – 16 Eindhoven, NL Dynamo Metalfest
October 30 – November 3 Miami, FL Headbangers Boat

Tickets to the band’s previously announced dates, including the 2026 edition of their annual Headbangers Boat cruise, are on-sale now via their website.

Levy’s Music has introduced two new additions to its popular Amped Leather Series, expanding one of the brand’s most recognized strap collections.

The M26PD-BLK-MAT brings a sleek matte black finish for players drawn to a rugged, understated look. The strap is adjustable from 43”–51" in length and its no-gloss finish highlights the natural texture of the leather. It carries a street price of $32.99.

The M26PD-BLK-XL extends the series’ best-selling black leather strap to suit taller musicians and lower playing preferences. Adjustable from 55.5"–63" in length, it provides an enhanced fit and added comfort for a variety of playing styles and carries a street price of $34.99.

Handcrafted in Nova Scotia from genuine top-grain leather, the Amped Leather Series is known for its 3-inch-wide design and soft ¼-inch foam padding wrapped in garment leather for long-lasting comfort.

Both new models carry forward the craftsmanship and comfort that define the Amped Leather Series, reinforcing its status as a go-to choice for musicians seeking reliability and style in equal measure. Each strap is proudly handcrafted in Nova Scotia, Canada.

To learn more about Levy’s guitar straps and music accessories, please visit levysleathers.com.

The Wilco frontman’s ’90s pawn shop raids are paying off decades later.

Back in September, Wilco’s Jeff Tweedy released his fifth solo album, Twilight Override. The triple album, recorded at the band’s Chicago studio, the Loft, features 30 tracks total. Tweedy set out across the U.S. this fall to celebrate the monumental release.

On October 29, he performed at the Caverns in Grundy County, Tennessee, and welcomed PG’s Nashville correspondent John Bohlinger to the bat cave to check out a ripping collection of pawn-shop specials.

Brought to you by D’Addario.

Pawn Shop Prize

Tweedy has had this heavily modded Jaguar for a very long time—he bought it at a pawn shop when they were still cheap. He guesses it’s a 1964, and it’s been modded to run only on its Seymour Duncan Antiquity bridge humbucker.

Root of All Evil

Tweedy got this Fender Jazzmaster at a pawn shop in Chicago for around $500. With its Mastery bridge, he tunes it with bass strings for some of Wilco’s heavier, lower-tuned material like “Dawned On Me.”

Half Moon Fun

Ric Ocasek is one of the few other well-known guitarists to play one of these Kawai MoonSaults, a Japan-made guitar from the 1980s with a scorching-hot preamp wired into it. Tweedy has a soft spot for them, and has collected six or seven of the oddities. He strings this one with flatwounds.

Everyman’s SG

Tweedy didn’t like the feeling of being handed his $20,000 Gibson SG onstage. He wanted to model some more reasonably priced instruments to his fans, so he started bringing out this early-’80s-built Greco SG copy. It features PAF-style Maxon Dry Z pickups.

Tele: Fully Loaded

Fender didn’t make many of these Telecasters with top-loaded strings, and Tweedy loves the sound of this one’s snarl into his Fender Deluxe. It was purchased at New York’s RetroFret Vintage Guitars and lives in open-G tuning.

Tweedy’s Tweed

Tweedy bought this 1954 Fender Deluxe in 1994 for just a couple hundred bucks. This wide-panel, 10-watt 5D3 model still has its original speaker and transformer.

Jeff Tweedy’s Pedalboards

One of Tweedy’s boards is dedicated almost entirely to pedals by Fairfield Circuitry, based in Hull, Quebec. In addition to a TC Electronic Polytune 3 Noir, Electro-Harmonix Holy Grail, and Black Mountain volume pedal, there are seven Fairfield units: the Accountant compressor, Barbershop overdrive, ~900 fuzz, Randy’s Revenge ring modulator, Shallow Water k-field modulator, and two Meet Maude analog delays.

On a second board for his acoustics, Tweedy runs another Holy Grail, Polytune 3 Noir, and three more Black Mountain volume pedals, plus a Radial Shotgun splitter and buffer and three Rupert Neve RNDI-M direct interface boxes.