Norse Guitar Feeds

If you’ve kept up with the rocky relationship between Metallica and Megadeth’s Dave Mustaine over the years, what you’re about to read may have your jaw on the floor: Megadeth have re-recorded Ride The Lightning out of “respect” for their thrash metal contemporaries, and namely James Hetfield’s guitar prowess.

After his sour exit from the band, it seems Mustaine wants to make it clear that he actually respects Metallica, and patch up any old wounds. Though he was fired before their 1983 debut Kill ‘Em All was released he still received a writing credit on a number of Metallica tracks, including Ride The Lightning from their second record of the same name.

• READ MORE: David Ellefson says Megadeth’s music is the “most timeless” of all the big thrash bands

The track is due to feature on Megadeth’s final album before they retire, which lands in January 2026, and was originally teased by the band online through an intentionally illegible graphic. Some believed the cover was a final ‘up yours’ to the band, but it truly is the opposite.

Speaking to Rolling Stone in a new interview, Mustaine explains, “It wasn’t really that I wanted to do my version, I think that we all wanted it to turn out a certain way, and for me, this was about something so much more than how a song turns out. It was about respect.”

Mustaine goes on to refer to Hetfield as a “fucking powerhouse” when it comes to guitar, and says he’s “always respected him” as a player. He further adds, “I wanted to do something to close the circle on my career right now, since it started off with [Mustaine’s band before Metallica] Panic and several of the songs that ended up in the Metallica repertoire, I wanted to do something that I felt would be a good song.

“Our intentions were pure,” he states. “I didn’t have any reason I was going to say, ‘Oh, hey man, this thing that we’ve had for 40 years where you guys will never tour with me, me doing the song is going to change things.’ That wasn’t it at all. It was more about: This is my life going forward. I want to do things that are respectable… I mean, I hate to say this, because it’s just so fucking arrogant, but the guitar playing in Metallica changed the world.”

Mustaine also says Megadeth didn’t reach out to Metallica about the re-recording’s existence ahead of time, but “it was not for lack of having the thought”. He shares, “I know the last time James and I talked, we were talking about some business stuff and I haven’t spoken to him since. I’ll be more than happy to talk to him when I get the opportunity, but I don’t have his number anymore.

“I think the whole purpose of this was not to try and rekindle relationships or anything. It was about showing respect to a man that… I don’t believe he thinks I respect him and I wanted to make that clear,” he states.

Megadeth’s self-titled final album will be released on 23 January. You can find out more or pre-order the record via their official website.

The post “This was about showing respect to a man that I don’t believe thinks I respect him”: Dave Mustaine on James Hetfield and why he’s re-recorded Ride The Lightning appeared first on Guitar.com | All Things Guitar.

London-based singer-songwriter and guitarist Maya Delilah has announced a deluxe edition of her debut album The Long Way Round, which will arrive 9 January bringing four new songs.

And if you just can’t wait until January, one of the four fresh cuts, the dreamy folk-pop number California out now. You can check out the official visualiser below, and also watch Delilah perform the track live in London.

It’s hard to pin The Long Way Round down to one genre only, but that’s the point, explains Delilah. An alternative/indie record with strong streaks of soul-pop, injections of country and blues and even touches of choral and gospel music, it was from this vast array of influences that the album’s title was born.

“This album is a combination of so many parts of me,” says Maya. “I get so influenced by different genres, people, places, and experiences that it’s always felt hard for me to fit my music into a consistent sound or mood. It took me a long time (hence The Long Way Round) to realise that it’s a beautiful thing to have a body of work that explores so many different influences.”

Personnel on the album includes producers Peter Miles, Josh Grant, Doug Schadt, Seth Tackaberry, and Aquilo’s Ben Fletcher and Tom Higham, alongside collaborators Samm Henshaw, Grace Lightman, members of FIZZ, organist Cory Henry, and drummer Aaron Sterling (John Mayer, Taylor Swift).

Since The Long Way Round landed in March this year, Maya Delilah has earned well-deserved praise from many corners of the music industry, with mentions from CLASH, The Sun, Daily Mirror, Guitar World, The Evening Standard and others. 

A graduate of the BRIT School, she was also part of the Fender Next Class of 2024, and has even caught the eye of guitar superstar John Mayer, who also happens to be one of her biggest inspirations. She’s also been tipped by Spotify as an ‘Artist to Watch’ for 2025.

The Long Way Round is garnering Maya Delilah some very well-deserved recognition, and so she’s continuing to promote it with an ongoing European tour, with upcoming dates in Switzerland, Iceland, the Netherlands, France and the UK.

You can view a full list of Maya Delilah’s upcoming tour dates below:

• Oct 29 – Villanos Del Jazz – Madrid, Spain
• Oct 30 – La Piñata Festival – Barcelona, Spain
• Oct 31 – JAZZNOJAZZ Festival – Zurich, Switzerland
• Nov 6 – Iceland Airwaves Festival – Reykjavik, Iceland
• Nov 8 – Rockit Festival – Groningen, Netherlands
• Nov 9 – Bitterzoet – Amsterdam, Netherlands
• Nov 16 – Bataclan – Paris, France **with Lawrence**
• Nov 19 – Bristol Beacon – Bristol, UK **with Lawrence**
• Nov 20 – Academy 1 – Manchester, UK **with Lawrence**
• Nov 21 – Beckett Students’ Union – Leeds, UK **with Lawrence**
• Nov 22 – NX Newcastle – Newcastle, UK **with Lawrence**
• Nov 24 – O2 Academy Brixton – London, UK **with Lawrence**

And you’ll probably want to pre-save the album, too. To do that, head to Maya Delilah’s website.

The post Singer-songwriter Maya Delilah announces deluxe edition of her breakout debut album, The Long Way Round appeared first on Guitar.com | All Things Guitar.

At long last, EarthQuaker Devices enters the amp simulator market with Easy Listening, a $99 mini pedal that is designed for use with headphones but can also work in between your pedalboard and your DAW. The Akron, OH, builders designed Easy Listening around an all-analog circuit meant to mimic the sound of a black-panel Fender Deluxe Reverb, the amplifier through which EQD boss Jamie Stillman tests all his circuits. In an era where many of us have grown accustomed to digital amp simulators with menu-diving and multi-platform connectivity, you’re either going to love or hate the straight-ahead simplicity of Easy Listening. But there’s no denying the possibilities it offers.

Easy Peasy

Easy Listening is one of EarthQuaker’s first mini pedals, and the downsized housing is charming and practical. It fits anywhere you need it to, an inconspicuous but slick-looking addition to the end of any signal chain, or simply a space-saving desktop unit while demoing.

The power jack sits on the crown of the pedal, with an input on the right and output on the left. On the upper-middle of the pedal’s face is the lone control: a simple volume knob. With headphones on, I found 9 o’clock on the dial more than loud enough, but when running Easy Listening into an interface, I found it often needed more juice. Either way, the pedal’s name is not a coincidence. Its one-size-fits-all design encourages you to get down to business.

Lush Listening

Run your guitar chain into Easy Listening, plug in some decent over-ear headphones, and you’ll hear more than a little 1965 black-panel Fender Deluxe Reverb right in your ears. The sound is punchy, clear, and whole, with definite vintage-Fender mojo. And the clean base tone has just the right amount of sparkle and presence to make playing through headphones actually enjoyable.

Easy Listening really comes to life (and displays its powers) when you slam it with dirt pedals. The breakup is deliciously balanced, with neither the burnt high-end of many digital amp solutions nor the unpredictable frequency spikes you might encounter when running your pedals through a tube amp and whatever speaker it’s loaded with. It handles everything from boost to dirt to mountain-rending fuzz with ease and dynamic depth.

I had to do some overdubs for a project while reviewing Easy Listening, so I plugged it into my interface and gave it a shot. The rhythm tones I pulled out of it were so harmonically pleasing that it almost made me want to redo the ones I’d recorded on my Dr. Z. At any rate, it made me feel confident that I could tackle a number of home-recording scenarios with Easy Listening. Usually, jamming with headphones is a grudging obligation, but with Easy Listening, it became my first choice for home play. It just sounds so good.

The Verdict

EarthQuaker smashed a homerun with Easy Listening. Its ease of use is thrilling compared to most amp pedals’ demanding interfaces, and the tones it produces are impressively full and 3-dimensional. At $99, you can’t ask for a better (or better-sounding) home practice and recording tool.

BODY COPY:
Reader: Steve Agosto

Hometown: Jennings, Louisiana
Guitar: #1

I started my journey into guitar back in the 1980s. Lindsey Buckingham of Fleetwood Mac was my biggest influence because I was mesmerized by his ability and presence. I wanted to play like him, and though I could never really master his licks, I did teach myself to play guitar. It just took 30 years.

I never had the time to play much because I was in the service and worked on the road for so many years. But when I finally settled down, I was almost 50, so I got serious. I played every day, soaking up information—and, yeah, Premier Guitar was there with me every month since 2008. Over the course of my search for that mojo, I’ve had Stratocasters, Telecasters, an Epiphone Casino, a Takamine, a Firebird, SGs, and Les Pauls (a lot of ’em). I’ve lost count of all the mods I’ve done. But through those experiences, I learned that no guitar would have everything I need unless I had it custom built. So, getting near retirement (and now pretty good at playing, too), I decided I would build my own in my garage. I’m one of those guys that loves his garage.

About a year before retiring, I started educating myself by watching videos and speaking with other builders in my area. Then I started to put it all together. My father-in-law knew about my interest, and while I was visiting his farm in southwest Louisiana, he showed me something he’d kept for years, thinking I might appreciate it. Long ago, he had been to another family’s farm and discovered old-growth bald cypress hidden in the rafters of a barn. According to him, the wood had likely been there for at least a century. This wood, like some other boards that were found, was likely from a tree felled during a hurricane. Bald cypress is slow growing, and these particular pieces were probably 200-300 years old. I kept two and gave one to a coworker who had guided me through the building process.

Having owned and played so many different guitars, I learned that P-90s are my favorite pickups. I like a short scale because it keeps my elbows tucked in, which is good for my old shoulders. I also fell in love with a 7.25" radius thanks to an old Telecaster, because it was easy on the hands. Because of this, I decided to use a Fender-licensed Jaguar neck by Allparts with a bone nut. The 6-saddle bridge is a Fender-licensed component, too. The pickup is a Korea-made staple P-90, which the seller said came from a Peerless-series Epiphone. Electronics include 250k CTS pots and .047uF Orange Drop capacitors.

It’s very comfortable to play—like a parlor size guitar that’s 1 3/8" thick.

Then, of course, there’s the bald cypress body. I settled on the shape because one of my favorite acoustics is a parlor-sized guitar, but it’s also inspired by the Model 1 that Rick Turner built for Lindsey Buckingham. I literally traced my parlor and then placed the pickup where Buckingham had his. (I was always amazed at the tone he got from playing with just that one pickup, not realizing it was actually more Lindsey than the hardware). The entire body is shaped by hand, which isn’t saying much, because I love a flat top guitar like an SGs or Firebird. That made things easy. After I cut the neck pocket and cavity with a Dremel router attachment, I put it together. I darkened the body with 15 to 20 coats of Tru-Oil (I actually lost count), and it was done.

This guitar is my #1. Like my wife, there can be no other. It’s light (not even 6 pounds), and very comfortable to play—like a parlor size guitar that’s 1 3/8" thick. It’s also resonant. The P-90 is amazing—I wish I could find another just like it. It’s smooth and clean, but can get nasty when you open the volume knob. I play through a 1965 Fender Showman and a Friedman Runt 50, and they love this guitar as much as I do. When I play another guitar, I’m usually looking over my shoulder, telling myself, “This would sound a lot better on my #1.” And it always does!

I recently spoke at a webinar with pedal rental service Buy or Borrow. The topic I submitted was, “Can the dirt pedal market ever be oversaturated?” I thought it would be fun to approach the subject like a debate, take the dissenting position, and present my argument. I’d like to explore this same question here. Now, since this column isn’t an in-person debate against an opponent, there won’t be a back-and-forth dialogue and I won’t be constructing and presenting a syllogism. I’ll be keeping it more casual and outlining talking points with supporting information and examples.

Here are some reasons I believe the dirt pedal market will not become oversaturated.

Classics that transcend generations

These are the industry staples—pedals that transcend trends and feel almost like part of the public domain. They originate from large manufacturers whose advanced production capabilities and buying power enable them to scale efficiently and keep costs low, resulting in affordable, player-friendly options ideal for those just starting their pedal journey. Classic examples include the Fuzz Face, Electro-Harmonix Big Muff Pi, Ibanez Tube Screamer, Pro Co RAT, and Boss DS-1.

New versions

Brands that become well known for one or several dirt pedals will inevitably and subsequently release new versions with updated and/or added features. These releases help carry the lineage forward and keep it in the public eye. A classic example is the Big Muff Pi, with more contemporary counterparts like the JHS Morning Glory, Fulltone OCD, and Way Huge Green Rhino.

Brand loyalty

Customers looking for a specific dirt circuit or tonal style tend to seek out their preferred brand’s take on it. For instance, if you’re after a Tube Screamer and happen to be an EarthQuaker Devices fan, you might reach for a Plumes.

Tweaks that appeal

This category centers on the appeal of both subtle and significant tweaks to well-known circuits. Take the Tube Screamer, for example: Voodoo Lab’s Sparkle Drive adds a simple but beloved clean blend, while EarthQuaker’s Palisades takes the classic three-knob overdrive to extremes with seven knobs, two toggles, and three footswitches.

The newest thing/hype

The gear market is perpetually chasing the next new thing. Online buzz can fuel hype around both familiar formats and groundbreaking designs alike. On the classic side, there’s the 1981 DRV; on the innovative end, the Chase Bliss Automatone Preamp MKII.

“The gear market is perpetually chasing the next new thing. Online buzz can fuel hype around both familiar formats and groundbreaking designs alike.”

Artist versions

Musical artists could be categorized as the original “influencers.” For decades, they’ve partnered with guitar and amp makers, and in recent years, those collaborations have expanded into the pedal world. Fans of these artists often gravitate toward the gear that bears their name. Notable examples include the Wampler Paisley Drive with Brad Paisley, the EarthQuaker Gary with Lee Kiernan of IDLES, the Union Tube & Transistor Bumblebuzz with Jack White, and Horizon Devices, founded by Misha Mansoor of Periphery.

Collaborations

Just as artists collaborate with brands, we’ve also seen pedal companies team up with one another. These partnerships create double the exposure and broaden awareness for both brands. Notable examples include the JHS/Boss Angry Driver, Chase Bliss/Analog Man Brothers AM, Spruce Effects/Pelican Noiseworks Pelitaur GE, and MXR/Fuzzrocious Bass Distortion.

2-in-1 combos

Most brands offer multiple dirt pedals in their lineup, and many include 2-in-1 or dual-drive options. These are a great way to save space, power, and money—all while expanding tonal flexibility.

Limited editions (or colors)

Limited-edition models—and even limited finishes of standard models—have become commonplace in today’s gear world. Larger manufacturers have taken note of this boutique trend and joined in. Examples include Ibanez’s hand-wired 808 with its metal enclosure, MXR’s gold-finished Phase 90, and even JHS’s Germanium Boost.

Legacy reissues

When a brand has been around for a decade or more, it often builds a loyal fanbase that knows its entire catalog, past and present. To honor that history, some manufacturers release small-batch reissues of legacy models. Recent examples include EarthQuaker’s Dirt Transmitter and White Light, the original-format JHS Morning Glory, and the iconic EHX Ram’s Head.

Same model, different size

Whether driven by manufacturer design or consumer demand, some brands offer a “family” of a particular model. This approach provides options to suit a wide range of needs. Two companies that do this especially well are Analog Man, with the Duke, Prince, and King of Tone, and Wampler, with the Mini, Standard, and Deluxe Plexi Drive.

Multiple on boards

Simply put, dirt is an effect category that often appears multiple times on a single pedalboard. It’s not uncommon to see a setup featuring a boost, an overdrive, a distortion, and a fuzz all together.

Cost friendly and artisan

From a purely financial standpoint, boost and fuzz pedals typically have fewer components, allowing them to be sold at very appealing prices. An $80 boost that does its one job effectively solves a problem while remaining low-risk for the buyer.

At the other end of the spectrum are companies operating on a “beyond artisan” model. These makers produce small batches using rare, vintage, or unique components, often built on stripboard, tagboard, or even point-to-point wiring—a meticulous and impressive approach that draws enthusiasts. Notable examples include Reeves Electro, Elephant Pedals, and R2R Electric.

This is the condensed version of the argument, but I still find it compelling in supporting the idea that the dirt pedal market is unlikely to become oversaturated. Do you find it convincing?

The offset twins get a makeover that lends stability and a streamlined sensibility while enhancing the guitars’ classic ,’60s, surfy essence.

The American Professional Classic Jazzmaster: Under the hood, vintage-inspired Coastline ’65 Jazzmaster pickups deliver depth, punch and sparkle while the sleek Modern “C” neck provides exceptional comfort and playability. Fender Staggered ClassicGear™ tuners deliver classic looks and precise tuning stability. Boasting custom-faded vintage and signature Fender finishes, this professional-grade instrument looks as good as it sounds. From studio to stage, The American Professional Classic Jazzmaster All the soul of a golden-era Fender, evolved for today’s player. Options include Rosewood Fingerboard in 3-Color Sunburst, Faded Firemist Gold, Faded Sherwood Green Metallic and Faded Dakota Red.

The American Professional Classic Jaguar: Under the hood, vintage-inspired Coastline ’65 Jaguar pickups deliver depth, punch and sparkle while the sleek Modern “C” neck provides exceptional comfort and playability. Fender Staggered ClassicGear tuners deliver classic looks and precise tuning stability. Boasting custom-faded vintage and signature Fender finishes, this professional-grade instrument looks as good as it sounds. From studio to stage, The American Professional Classic Jaguar All the soul of a golden-era Fender, evolved for today’s player. Options include Rosewood Fingerboard 3-Color Sunburst, Faded Sherwood Green Metallic and Faded Firemist Gold as well as Maple Fingerboard in Faded Lake Placid Blue.

Martin Guitar has launched two Jason Isbell signature models, both of which take after his beloved pre-war 0-17 guitar heard across the entirety of his latest record, Foxes In The Snow.

The launch includes a super-limited model, with just 50 guitars available, and a slightly more accessible option that still offers plenty of vintage character. The new signature acoustics are accompanied by the release of Isbell’s first-ever signature set of strings, part of an all-new line known as Martin Era.

• READ MORE: Martin Road Series SC-10E review: “I’ve played every iteration of the SC platform that Martin has produced and this one is my favourite”

The limited-edition model, the Martin 0-17 Jason Isbell, is built entirely from solid sinker mahogany, and is paired with Adirondack spruce Golden Era scalloped X-bracing for a warm, expressive voice.

A sinker mahogany neck is accompanied by a Brazilian rosewood fingerboard and bridge, which taps into that classic feel and playability. It also features 17-style inlays, Waverly nickel open-gear tuners, and has a vintage gloss finish. This model includes a signed label and a hardshell case.

“This one replicates the 1940 0-17 that I used on Foxes In The Snow,” says Isbell. “The Brazilian [rosewood] for the bridge and the fingerboard is a really special thing. The fact that Martin was able and willing to do that for these guitars makes me really, really happy… and the neck on this one is pretty identical in shape to the original guitar. It’s a very simple guitar to look at and to play, but certainly not simple to put together.”

The Martin 0-10E Retro Jason Isbell shares a handful of similar features with its limited sibling. Joining Martin’s Road Series, this guitar features a satin-finished all-mahogany 0 14-fret body, scalloped spruce X-bracing, and Martin E1 electronics with a built-in tuner for plug-and-play performance.

With East Indian rosewood accents, 17-style inlays, and nickel open-gear tuners, it “balances vintage-inspired looks with modern versatility”. This one comes with a soft case.

“This guitar meets the artist’s criteria that the instrument can’t be the challenge,” adds Isbell. “They’re well made, they’re easy to play, they sound good, and they don’t scream, ‘Look at me.’

“At this price point, a whole lot of people are gonna have access to it – and that’s great because it encourages beginner guitar players and singer-songwriters to have something that is quality. I could take this guitar and just make a living with it.”

The limited Martin 0-17 Jason Isbell is priced at $4,999.00, while the 0-10E Retro version comes in at $1,049.00. Both are available from Martin Guitar in a left or right handed format.

The post Jason Isbell’s new signature Martins are modelled after his treasured pre-war 0-17: “They’re well made, they’re easy to play, and they don’t scream, ‘Look at me.’” appeared first on Guitar.com | All Things Guitar.

Moth Electric has introduced their first modulation pedal, the M. stellatarum Tremolo, adding to their existing lineup of four dirt pedals.

The M. stellatarum is a multi-mode optical tremolo featuring an all-analog signal path, tap tempo with four subdivisions, an on board boost and a total of 32 sonic combinations between its four modes of operation and eight waveforms.

Features:

• Four distinct modes of operation. Classic amplitude tremolo, harmonic tremolo, bass only modulation and treble only modulation.
• Eight waveform selections provide a wide variety of textures, from classic to experimental. Sawtooth, Reverse Sawtooth, Square, Triangle, Sine, Hypertriangle, Reverse Hypertriangle, Random level generation.
• Tap tempo with four subdivisions allows for hands free rate manipulation while playing live. Subdivisions include ½ notes, ¼ notes, ⅛ notes and 1/16 notes.
• Dedicated tone knob to dial in your preferred sweet spot in each mode or to tame overly harsh or boomy amps.
• Onboard pre-amp boost adds warmth without overly coloring your sound. Enough gain on tap to push your amp if desired.

M. stellatarum Basics:

• Controls: Volume, Tone, Rate, Depth, Sub, Wave, Mode
• Bypass and Tap Tempo footswitches
• True-bypass switching, top-mounted jacks for easy placement on crowded pedalboards
• 9-volt DC operation with external power supply – no battery compartment
• Designed and hand-built in the USA using through hole components

The M. stellatarum carries a $219.99 price and is available for purchase at mothelectric.com.

Yep, Oasis-mania is still very much alive. Still in the thick of their world tour – one of the most widely anticipated in history – and currently Down Under for a series of dates in Melbourne and Sydney, Liam and Noel Gallagher’s reunion has dominated the mainstream entertainment world for months. But us guitar nerds have been going crazy, too…

When Noel Gallagher debuted his new P-90-equipped Gibson Les Paul at their first comeback show, we knew it was only a matter of time before there’d be an official Gibson production run, and that came with a limited-run Custom Shop release in August.

While we’re all acutely aware of the concept of supply and demand – brands will want to keep the level of supply under demand to foster the feel of exclusivity around a guitar launch – it would have been frankly cruel not to let the wider cross-section of the Oasis x guitar lover Venn diagram get in on the action. So Gibson has come through with a wider, less limited – and more affordable – release of the Noel Gallagher Les Paul Standard.

“This guitar is simply too iconic and cool not to be released more widely and made available for more fans to get their hands on,” says Lee Bartram, Head of Commercial and Marketing EMEA at Gibson. Amen, we say.

“Noel’s original Gibson Custom version of this Les Paul was the first guitar he played during the biggest rock ’n’ roll reunion of the 21st century. This Gibson USA version embraces that legacy, capturing a historic moment in British and global live music.”

And not only that, but Epiphone – also owned by Gibson – has also launched new signature models for guitarists Bonehead and Gem Archer, a Riviera and Sheraton, respectively. Yes, what a day to be an Oasis fan and guitar lover.

Let’s take a quick look at specs for each of the new Oasis guitars, and we’ll include links throughout this page, should you wish to dive deeper.

Gibson Noel Gallagher Les Paul Standard

Credit: Gibson

Featuring a non-weight-relieved mahogany body – for that authentic heavy Les Paul feel – with a bound maple cap, the Noel Gallagher Les Paul Standard also sports a mahogany neck with Gallagher’s preferred SlimTaper profile, with a bound 22-fret rosewood fingerboard with acrylic trapezoid inlays.

Hardware includes an ABR-1 Tune-O-Matic bridge and aluminium Stop Bar tailpiece for precise intonation and sustain, as well as Grover Rotomatic tuners with kidney buttons, as well as a chrome switch washer and output jack plate. There’s also a five-ply black pickguard, similar to those typically found on Les Paul Customs.

Credit: Gibson

Electronics come by way of chrome-covered Gibson P-90 Soapbar pickups, handwired to individual volume and tone pots – black Top hats with silver reflectors and dial pointers – and a three-way pickup selector switch. Visual touches include an artist signature reproduction decal on the back of the headstock, while the guitar also comes with a hardshell case.

The Noel Gallagher Les Paul Standard is priced at £2,699, and even comes with five free Maestro pedals.

Learn more at Gibson.

Epiphone Bonehead Riviera

Credit: Jill Furmanovsky

Inspired by the Epiphone Riviera Bonehead used throughout the 1990s – including on sessions for Definitely Maybe and (What’s the Story) Morning Glory?, and at Oasis’s legendary Knebworth shows in 1996 – the new Epiphone Bonehead Riviera features a five-ply maple body with a solid maple centreblock for “improved sustain and feedback resistance”. This is accented by a single-ply cream-binding on the top and back, while it also features a three-piece maple neck with a SlimTaper C profile, and a 22-fret bound rosewood fretboard with pearloid parallelogram inlays.

The guitar’s Epiphone Sloped Dovewing headstock is fitted with premium die-cast tuners with the Epiphone “E” logo and oval metal buttons, while the guitar also features a two-ply crescent bullet truss rod cover with the “E” logo, and an Epiphone logo alongside the Gibson Crown inlaid in mother-of-pearl. There’s also a recreation of Bonehead’s signature in gold on the rear of the headstock.

In terms of electronics, there’s a pair of Epiphone Alnico Classic PRO pickups – wired to individual volume and tone pots with black with-hat knobs, silver inserts and dial pointers. The guitar also comes with a hardshell case.

“Epiphone Rivieras have been with me from the early rehearsals at the Boardwalk in Manchester all the way up to those historic shows at Knebworth and on into Liam’s solo career,” says Paul “Bonehead” Arthurs.

“I’m still playing my original 1984 guitar on the Oasis 2025 tour, and I wouldn’t have it any other way. I’m excited to bring this new guitar to audiences who experienced it back in the day, as well as those coming out to see us on this tour. It plays great and sounds massive; you’re gonna love it.”

The Epiphone Bonehead Riviera is priced at $899.

Learn more at Gibson.

Epiphone Gem Archer Sheraton

Credit: Epiphone

Based on the Sheraton originally lent by Noel Gallagher on a long-term loan, the semi-hollow Masterbilt Gem Archer Sheraton features a five-ply layered maple/poplar construction with a maple centreblock for “enhanced sustain and improved feedback resistance”, as well as a one-piece mahogany neck with a ’60s C profile, topped with a rosewood fingerboard with 22 medium jumbo frets and mother-of-pearl block and abalone triangle inlays.

The guitar also features a large 60s-style Sloped Dovewing headstock, with the historic Epiphone logo and Tree of Life inlay in mother-of-pearl. It also has gold hardware, with Grover Rotomatic tuning machines with Milk Bottle buttons, and a low-friction Graph Tech nut. There’s also an ABR-1 bridge and Casino-style raised diamond trapeze tailpiece.

Electronics include a pair of USA-made Gibson Mini humbuckers, each with individual volume and tone controls with CTS potentiometers and Mallory capacitors. These are routed through a Switchcraft three-way toggle switch.

“The Epiphone Sheraton first came into my world when I borrowed Noel’s for Oasis tours and recording,” says Gem Archer.

“When I started playing with him again in the High Flying Birds in 2017, this was the guitar I asked if he still had. I’m playing it again together with my signature model based on his ’66 original, on the Oasis Live ’25 tour. It’s got a ring and a clang to it, with loads of definition and clarity that I haven’t found in any other model.”

Available in both right-and left-handed versions, the Masterbilt Gem Archer Sheraton comes with a hardshell case, and is priced at $1,299.

Learn more at Gibson.

What does Gibson say about the new slew of Oasis signature guitars?

“2025 is turning out to be quite the year for live music, and we’re thrilled to play a small part in paying tribute to one of the greatest reunions of the 21st century!” says Lee Bartram at Gibson.

“The first time I remember seeing Gem playing that Cherry Red Epiphone Sheraton was on July 2, 2005, in Manchester—what a show! Gem was such an important part of the Oasis sound in the 2000s, and to see him carry that on with Noel Gallagher’s High Flying Birds makes it a privilege to be part of this project.

“Spotting that Epiphone Riviera on stage during the Be Here Now tour in 1996 is something that stuck with me and inspired me to get my first Epiphone guitar. Nearly 30 years later, I’m honored to have played a tiny part in bringing the Epiphone Paul ‘Bonehead’ Arthurs Riviera to life.”

Check out a list of Oasis’s upcoming tour dates at the band’s official website.

The post What a day to be an Oasis fan, as Gibson launches wider-release Noel Gallagher Les Paul Standard – and Epiphone Bonehead and Gem Archer signature guitars appeared first on Guitar.com | All Things Guitar.

Very nearly four years ago, a feature appeared on the cover of Guitar Magazine heralding “The Greatest Guitar Collection On Earth”. Given that over the years we’ve brought you an up-close look at some of the most interesting and drool-worthy guitar collections on the planet, including the personal treasures of some of the biggest artists of all time, that was quite a claim.

But the collection of Indianapolis Colts owner Jim Irsay was different. This wasn’t just a bunch of Golden Era instruments with six-figure price tags – this was a remarkable archive of not just classic desirable musical instruments, but the very fabric of rock ‘n’ roll history.

Reeling off just a smattering of the artist instruments in the collection is enough to take your breath away. There’s John Lennon’s 1963 Gretsch 6120 Country Gent that he played on Paperback Writer, there’s George Harrison’s SG that he used on The White Album, Ringo’s Ed Sullivan Show drum kit, Bob Dylan’s Newport Folk Festival Strat, Jerry Garcia’s Tiger, Clapton’s ‘Fool’ SG, David Gilmour’s Black Strat, Kurt Cobain’s Teen Spirit Mustang…

On and on it goes, to the point where we didn’t even have space to include the guitars he owned that were played by Hendrix, Van Halen, The Edge, Cash and so many more in our feature. Imagine that? It is almost certainly the most comprehensive and historic private collection of genuine guitar history that exists in the world.

And now, following his death earlier this year at the age of just 65, every bit of this painstakingly assembled collection is going to go under the hammer – with Christie’s New York conducting a series of sales in March 2026.

David Gilmour’s iconic Black Strat, which was one of the crown jewels of the collection (Image: Eleanor Jane)

When I read that news yesterday, my first reaction was one of disappointment and no small amount of sadness. A weird thing to experience when talking about what was effectively a billionaire’s hobby, assembled at the sort of expense that can best be described as gauche given the wealth imbalance that exists in the world today.

But the thing is, on some level, Irsay understood this. He understood how privileged he was to be able to spend tens of millions of dollars buying the instruments that literally shaped the music that he loved, and he invested a significant amount of his own time and money into ensuring that these treasures did not spend their lives trapped behind glass and locked away from the general public.

Jim Irsay was an eccentric character with some well-publicised demons, but he was not shy about sharing his collection with the world.

Between 2021 and his death, highlights from the collection travelled across the country as a living museum. The Jim Irsay Collection would rock up in a city, and go on display to the general public so people could experience these iconic pieces of pop culture history up close.

What’s more, the city would also be treated to a performance from the Jim Irsay Band – a revolving cast of all-star musicians that included the likes of Kenny Wayne Shepherd, Tom Bucovac, Buddy Guy, Stephen Stills and Vince Gill – who would perform using the collection’s instruments so the audience could hear and feel them in the way they were meant to be experienced.

Irsay purchased Jerry Garcia’s Tiger for $957,500 in 2002. Built by luthier Doug Irwin, it was the Grateful Dead star’s main guitar from 1979 onwards and in 1995 was the last guitar he ever played in public (Image: Eleanor Jane)

“History is so important,” Irsay told Guitar.com in 2021. “So much of what we’re about as a world, as humanity, is tied to music. It’s been that way ever since the cavemen were around the fire… To me, it’s really important that the museum is alive. How you experience it when you walk in? I want it to be interactive.”

Irsay spoke to us in that interview about a plan to create a more permanent museum for his collection – something similar to Seattle’s MoPOP, which was created to display the similarly remarkable collection of late Microsoft founder Paul Allen.

That dream sadly seems to have died with Irsay, and the world’s most remarkable and important guitar collection is to be broken up and sold piecemeal to collectors who may be more inclined to keep the guitars safely hidden from the public than their previous steward.

I don’t begrudge Irsay’s family for not wanting to continue his passion project – it was his thing, after all. The sheer size, scope and value of the collection made it a mammoth logistical undertaking.

Jim was happy to pour his time and resources into, but you can’t blame his daughters – who also have the small matter of running an NFL team to worry about – for not sharing that same passion. Still, it was clear that he took his responsibility to his collection very seriously.

This 1977 Les Paul Deluxe was formerly owned by Neal Schon and featured on the band’s smash hit Don’t Stop Believin’ (Image: Eleanor Jane)

“Like any music lover or fan I want to try to have fun with it and share it,” he told us. “But I don’t possess it. I don’t have any ownership over it. I want to make that very fucking clear. With the museum it’s about, ‘How do you create the Willy Wonka factory? How do you sell the golden tickets?’ I can’t be Pete Townshend or Chrissie Hynde or Natalie Merchant or whoever, because that’s just not me. But I can be a steward and a curator.”

No doubt in part because he viewed himself as a custodian of these instruments, Irsay famously turned down an offer of over a billion dollars (yes, a billion) to sell the collection outright and move it to Dubai. In Irsay’s words the plan was “kind of like what’s been going on in golf”.

It showed the strength of Irsay’s conviction that these were not simply collector’s pieces to be traded as status symbols for the fantastically wealthy.

They are vitally important objects in the cultural and social history of America – and they should be preserved and accessible to its people. Not hidden away in private collections or whisked overseas to be used as tools of political soft power.

Whatever happens in next year’s sale, I have no doubt we’ll have to update our list of the most expensive guitars sold at auction. It would be nice if some of the guitars ended up taking a similar path that Rory Gallagher’s guitar did, and end up in museums and public spaces for all to appreciate – but even then they’ll surely be scattered across the world.

The Greatest Guitar Collection On Earth will be no more, and as guitarists and lovers of the history of guitar music, we’ll all be a little poorer for it.

Bob Dylan’s ‘Newport’ Strat. (Image: Eleanor Jane)

The post Why the sale of Jim Irsay’s Greatest Guitar Collection On Earth is a sad moment in guitar history appeared first on Guitar.com | All Things Guitar.

$499.99/£469.99, fender.com

I remember the first time I ever played a Squier guitar. I must have been 14 or 15 years old and the frontman of our band had just spent what at that time seemed an unbelievable amount of money on a classic butterscotch blackguard Squier Tele.

• READ MORE: Gretsch CVT review: a cult classic reborn as a stripped-down rock machine

Up until this point, I’d been the big-spender of the band – having splashed the cash on an £80 Hohner Strat copy and a £30 Carlsbro keyboard amp from the local pawn shop – but to say this first encounter with a Fender-adjacent instrument was formative would be an understatement.

Here was an electric guitar that didn’t weigh so much that my shoulder ached after a few minutes of playing, that played like it actually wanted you to keep making music on it. That sounded, even through that godawful Carlsboro, like a real fucking guitar. Within a month the Hohner was back in a Cash Converters’ window along with my PS2 and I was the owner of a shiny new Squier Stratocaster.

All of which is to not simply fill up my intro with middle-aged reverie, but to remind us of the importance of Squier guitars to all of us. More affordable than Epiphones, their purpose as the first rung on what can be a life-altering ladder of guitar obsession for pretty much every guitar player I’ve ever met means that it remains, arguably, the most important part of Fender’s many-headed hydra of sub-brands and price brackets.

But if you’ve been paying attention to Squier over the last few years, you’ll have noticed something slightly unsettling. Yes, Squier still makes some scandalously affordable guitars – you can buy a Debut Series Strat for barely more than I spent on my Squier in 2004, and the genuinely great Sonic Series still cost under 200 bucks.

But at the other end there’s something of a bloat occurring – Squier guitars like the one we have on test here that scrape so close to the bottom end of the ‘Real Fender’ range you could stop for some lunch on the way home from the guitar shop and end up spending more than you would on something that says Fender on the headstock. But does this matter? Well, let’s find out…

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – what is it?

There’s an argument to be made that they must be charging by the letter at the top end of the Squier range – the callous disregard the brand shows for brevity in full display with this ‘Classic Vibe Custom Telecaster SH w/ Bigsby’.

Breaking it down, however, and we can of course learn a lot from this. The Classic Vibe range is one of those things you’ll hear guitarists conspiratorially whisper to one another down the pub – “I’ll tell you what…” they’ll say. “Those Squier Classic Vibes are serious guitars for the money… you could even argue they’re better than the cheapest Fender stuff…”

And broadly speaking, they’re not wrong. With more vintage-inspired aesthetics, better quality hardware and proper alnico pickups (as opposed to the ceramic ones in the cheaper guitars) the Classic Vibe range has become a quiet phenomenon. So good are these guitars that you’ll occasionally even see proper bands with record deals playing their trusty Classic Vibe guitars on stage.

And this Custom Telecaster really does emphasise the appeal of the CV range. If you put a bit of tape over that script logo, you really would have to be a proper nause to guess that this wasn’t a lovely old Fender from a distance – with its artfully tinted gloss neck and double-bound Lake Placid Blue body, it certainly looks the part. Even the laurel fingerboard here is a deep, chocolatey brown that would make you wonder if someone hadn’t put rosewood on here by mistake.

It’s all further enhanced by the added extras that differentiate this from the standard CV Custom Tele in the shape of the addition of a humbucker in the neck (borrowed from the limited edition 60s Custom SH) and now a licensed Bigsby B50 vibrato. It’s all quite a departure from that Squier Tele I played 20-something years ago… but at very nearly $500, it ought to be…

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – build quality and playability

The general level of fit and finish on the Classic Vibe series is a reason why the range has proved so popular with modders and upgraders – as a rule they provide an impressively solid base from which to work with, and so it is with this Custom Telecaster.

The finish is immaculately applied all over, with no cracks or overspray anywhere to be seen and clean, precise binding around both the top and back edges. The worry with any gloss neck is that it’s going to be a bit sticky, but in addition to looking handsome, Squier’s craftspeople have done a nice job in keeping it on the right side of ‘smooth without being tacky’ here.

It’s a pleasure to play, frankly – even if the 21-fret C-shaped neck is inevitably a little generic compared to some of the necks being produced by Fender in Mexico, for example. Generic doesn’t mean bad, however – it gets out of the way and does its job with aplomb.

The Bigsby vibrato is a temperamental beast at the best of times. It’s wonderfully musical and expressive tool, but the various points of friction inherent in the design, combined with the unreliability of the spring in terms of returning you to pitch consistently can make even USA-made examples somewhat eccentric when used with the lighter gauge strings most modern players prefer (rather than the telegraph wires the Bigsby was designed to work with in the 1950s).

That all tends to get magnified in the cheaper licensed Bigsbys you see on affordable guitars such as this, so it’s with a certain degree of trepidation that I approach the wobbly stuff here. Mercifully at least, the B50’s string-through design makes restringing much more straightforward than the classic method. Given that it’s likely to be many players’ first encounter with a Bigsby, it’s a smart move on Squier’s part to make this part less painful – it’s the sort of thing that can cause people to swear off a vibrato for life.

The vintage-style sealed gear tuners are solid and smooth, and that’s good because you’re definitely going to need them. That said, this is by far not the worst performance I’ve ever experienced from a Bigsby on a more budget guitar. I don’t doubt that the presence of the floating Mustang-style bridge is helping here – you can see it moving in concert with the bar and that certainly helps keep things more stable than it might be otherwise.

That said, it’s still not great – I wonder if the nut slots need to be lubricated or widened a little as they certainly look a little snug in places on my example. Such concerns are par for the course when it comes to owning a guitar with a Bigsby – just don’t expect Floyd Rose-level returning to pitch here and you probably won’t be disappointed.

One other thing to note on the build and playability stakes is the weight – this guitar tips the scales at a not-unreasonable 8lbs and 1oz. Now, the Bigsby is a big ol’ chunk of metal and adds a fair amount of mass to the guitar, so the poplar body has been routed internally to remove some of that weight – how that works out in terms of sound we’ll find out in a minute…

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – sounds

The danger when you start hacking chunks out of a solidbody guitar to make it weigh less is, of course, that it starts to behave not at all like a solidbody guitar when it’s plugged in. While this Telecaster is nowhere near as feisty and temperamental as a proper semi-hollow, running it into a cranked Princeton with a Chase Bliss Brothers in front of it does showcase a bit of unruliness that you wouldn’t expect from a Telecaster. Every knock on the body or clunk of the selector switch is audible through the amp and not exactly pleasant if you’re trying to record the damn thing.

There’s definitely a bit of that liveliness on the bridge pickup with this configuration too. It’s brash, and a little on the cutting side – I was instantly reaching for the tone control to tame some of this bratty excess, but if you like your Tele bridge pickup to cut through, you’ll have no real complaints here.

Conversely, the neck pickup is a much darker and more woolly affair – if you want some classic sustain-heavy leads it’s great, but things get quite messy when you add chords to the mix.

The middle position is often the poor relation of many a guitar configuration, but here it actually splits the difference between the two – taking the depth and warmth of the neck and blending it with the clarity and punch of the bridge to create something that’s balanced and rather lovely.

Step off the gain, however and all three selections make a lot more sense – you can get fiery with the chicken picking with the bridge, while adding some delay and reverb to the neck pickup is a warm, comforting bath of a sound. It’s very nice indeed – especially when you introduce the hazy wobble of that Bigsby.

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – should I buy one?

There’s no escaping that Fender is really pushing the boundaries of Squier’s credibility with the pricetag of these top-end Classic Vibe instruments. For another hundred bucks you can get yourself a Standard Series Telecaster with Fender on the headstock, after all.

But the thing is, this is a demonstrably superior guitar to the Standard series in every meaningful way, bar that headstock decal – it certainly looks better in every meaningful way, and I’d say the sounds are better too, thanks to the presence of proper alnico magnets in the pickups here.

However, $500 is still a lot of money for a Squier guitar, and it’s complicated by the fact that it’s not as well sorted as it perhaps could be – the Bigsby is still a temperamental beast and the pickups are definitely in the ‘good but not great’ category – something that’s probably been accentuated by the weight-relieving body routing making it feel a bit like a rollercoaster straining to keep on the rails at times.

But here in 2025, where $500 is roughly half the cost of a flagship mobile phone and a trip to the cinema will leave you needing to take out a personal loan, this is an awful lot of guitar for the money. It’s a guitar that could take you places, and it won’t let you down on the way.

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – alternatives

Would you believe that there are no other Telecasters in Fender’s current line-up that offer both a Bigsby and a HS configuration? If you can live without the Bigsby, however, there are some interesting options – the regular Squier Classic Vibe Telecaster Custom 70s ($449.99/£385) takes things in a more 70s direction visually, while the Fender Player II Modified SH ($1,079.99/£999) offers an upgraded take on the format with Noiseless pickups and other player-friendly additions. If you want something outside of the Fender stable that keeps a lot of the vibe, the Schecter PT Fastback II B ($849) offers a pair of humbuckers to go with the Bigsby B50.

The post Squier Classic Vibe Custom Telecaster SH w/ Bigsby review – “this is a guitar that could take you places” appeared first on Guitar.com | All Things Guitar.

Today’s feature: the Revv G3 Anniversary Edition — a high‑gain ‘amp‑in‑a‑box’ based on Revv’s Purple Channel, redesigned with a refined circuit and custom black finish with purple knobs.

Stompboxtober 2025 - Win Pedals All Month Long!

G3 Anniversary Edition

The Revv G3 revolutionized high gain pedals in 2018 with its tube-like response & tight, clear high gain tones. Suddenly the same boutique tones used by metal artists & producers worldwide were available to anyone in a compact pedal. Now the G3 returns with a new V2 circuit revision that raises the bar again.

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Get ready to dive into the gear-head dream: we teamed up with our friends at East Side Music Supply and pedal-wizard Blair White to build a pedalboard inspired by Queens of the Stone Age. From fuzz to filter sweeps, octaves to tape echo, we traced the band’s signature sound and then assembled a stacked board you could win. Whether you’re chasing heavy riffs or sculpting atmosphere, this one’s for pedal lovers and riff monsters alike.

Full board and details below!

Enter here to win: https://www.premierguitar.com/win-stuff/pg-giveaways/ultimate-qotsa-pedalboard

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CIOKS DC7

The groundbreaking DC7 has a one-inch (25,4mm) profile and weighs 1.1 pound (500 grams) thanks to the pure 2-stage switch-mode technology inside. The profile may be low but the power ratings are certainly not – the DC7 puts out a maximum of 48W and allows the user to connect multiple high-current effects such as devices from Effectrode, Line 6 and Eventide without noise of any kind.

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Digitech Whammy Ricochet

The Whammy Ricochet lets you bounce your playing up or down in pitch in controlled or crazy shifts. A momentary switch and customizable independent rise and fall time ballistics, allow you to get the Whammy action you know and love without the use of a treadle. Just hold your foot on the footswitch and let the Ricochet do the rest. Seven pitch selections – 2nd, 4th, 5th, 7th, Octave, Double Octave, and Octave+Dry, as well as a toggle to select up or down for the selected pitch.

The Whammy Ricochet also has latching footswitch mode so you can rise or fall to pitch and stay there, and an LED ladder that shows your shift trajectory at all times.

All these controls combine to create classic Whammy pitch-shifting as well as new sounds never heard before.

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Empress ParaEQ MkII Deluxe

We've brought back the most sought after Parametric EQ pedal with groundbreaking updates.
We kept everything people loved about the original ParaEq and added more fidelity and control.

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Mr. Black Doubletracker Stereo

In late 2023, we had a cool idea for a compact pedal, based on a recording technique pioneered in the 1950's… This radical, yet deceptively simple technique elevated great recordings to downright incredible, enhancing the depth, character and tonality through a process called Double Tracking. This simple, yet elusive concept was initially executed by recording a track twice and overlaying the two [nearly] identical takes on top of each other.

Fast forward 70-some years and we can now create "double-tracked" sounds in real-time, delivering the full, rich and complex intensity that was once only possible by employing slick studio tricks during a session!

The 2023 compact DoubleTracker was an instant hit, and we received a ton of feedback and praise regarding the pedal, but there was a reoccurring theme within…

Make it STEREO!!

Well, it wasn’t easy, but we are VERY proud to say: we did it! And it sounds marvelous. (Literally marvelous, as in something one will marvel at/about.)

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D’Addario XPPB-02 Double Row Pedalboard

XPND is the pedalboard that adapts to you. With its patented telescoping technology, XPND lets you instantly change the size of your board and number of pedals – forever expanding your sonic potential. XPND also features a unique cable management system and comes fitted with loop Velcro, keeping everything neat, while making swapping pedals super easy. XPND 1 is built to accommodate one row of pedals and is expandable from 14" to 24" and XPND 2 is built to accommodate two rows of pedals and is expandable from 17"to 31".

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D'Addario Flat Patch Cables

D’Addario’s Custom Series Flat Patch Cables optimize pedalboard space by allowing you to place pedals closer together while accurately transferring all the subtle details of your playing. Utilizing the latest in high-quality instrument cable manufacturing technology, these cables feature an oxygen-free coaxial copper conductor with two layers of noise-rejecting shielding, formulated for extremely low capacitance and handling noise. The lower cable capacitance allows your instrument’s brilliance, presence and character to be transmitted with the utmost transparency. The Flat Patch Cable plugs feature the patented Geo-Tip™, ensuring a secure connection in any instrument, pedal, or amplifier. Additionally, encapsulated soldering points and molded strain relief combine to deliver the ultimate long lasting, high-performance patch cable.

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WAY HUGE® SMALLS™ GREEN RHINO™ OVERDRIVE MKV

This pedal packs the Green Rhino Overdrive's beloved stampede of gritty, gnarly overdrive tones into a super pedalboard-friendly housing.

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Strymon Ultraviolet

A warm grittiness to the warble, a rippling, wooshing, bubbling irregularity to the modulation and a dynamic response to your picking are all hallmarks of the true vibe experience.

Thicker and chewier than any chorus, earthier than any phaser and uniquely magical in front of a driven amp, the perfect vibe pedal moves you to dig in and play without inhibition.

This feeling has been difficult to find outside of large and expensive fully-analog boutique units, but the search for that elusive experience is now over.

Delivering vintage vibe tone that’s second to none with simple and powerful controls for instantly obtaining a rich variety of captivating sounds, UltraViolet is the vibe pedal you’ve been looking for.

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Peterson Tuners Strobostomp Mini

The StroboStomp Mini™ delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks.

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Boss RE-202 Space Echo

Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and our latest innovations, the RE-202 faithfully delivers the authentic sound and behavior of the Space Echo like never before. Built by the company that designed the original, this advanced pedal captures the RE-201’s magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colorful preamp circuit. And to take things even further, we’ve expanded the vintage Space Echo experience with lots of new features tuned for today’s music.

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Earthquaker Devices Dispatch Master

The Dispatch Master is a hi-fi digital Delay & Reverb Device that combines independent delay and reverb effects into one space-saving enclosure, so you can keep deep ambient echoes (or just a quick slapback) on speed-dial.

The best-selling EarthQuaker Devices pedal just got bester [sic] with new Flexi-Switch® Technology! Want to dip into ambient delay and reverb sounds for just one note? Press and hold the footswitch for as long as you use the effect, release it when you’re finished, and resume your regularly scheduled dry sound. To use the Dispatch Master as a normal effects pedal, press the switch once to activate and again to bypass.

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Yesterday Effects Private Military Auditor

The Private Military Auditor is a collaboration between Yesterday Effects and us, your favorite real life music store in the whole world, eastside music supply.

What we got here is a highly tuned, 2-in-1 fuzzstortion + filter. One knob a piece, with the optional expression port out to sweep the frequency of the filter if you should choose to do so!

Left side of the pedal is the fuzz, the knob controls the volume. That's all you need because this baby is DIALED. Harmonically rich, with great note definition and insane sustain. The volume cleanup is killer and reminiscent of how fuzz faces feel. Plays well with every pickup combo we've thrown at it. And gives a surprisingly large amount of tonal variation depending on your pickup/volume/tone situation. Just a really great fuzz/distortion on it's own.

Right side of the pedal is the filter, the knob controls the sweep of the frequency. Kick this baby on when you're ready for your leads to stand out, or just to give yourself that gnarly parked wah tone.

Ten Years Is A Decade

this is an analog preamp inspired by the Decade practice amp, which was the secret to the bassist of Stone Temple Pilot‘s tone. Get that on your board and secure the crunch for whatever you run through it! Works with 9v or 18v (for a more amp-like response).

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ZVex Fuzz Factory

Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz. Includes an on/off LED and center-negative DC power jack.

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Mythos Argonaut Octave Up

The Argonaut is a no frills pedal offers a clean-ish octave up sound. Using it alone offers you a gnarly, ring mod-esque sound that is pretty funky. The fun begins when you combine it with your favorite overdrive or fuzz pedals. Once combined all the iconic octave tones we know and love begin to jump out of your signal. It’s very touch responsive, weird, and fun all rolled into a small little package. The Argonaut uses a pair of Hand matched NOS Germanium Diodes, this gives the most prevalent octave up effect that is present all over your guitar neck. Unlike traditional octave pedals the octave effect can be heard up and down the guitar neck, so get ready to get weird once you add this bad boy to your setup.

We like the Argonaut after a fuzz pedal but before an overdrive. Like all things though, your mileage may vary and there is no right answer with guitar tones. Experiment and you’ll find what works best with your setup and hands.

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Echopark Echodriver

he Echodriver Limited-Edition Reissue has been the core distortion sound of Troy Van Leeuwen (Queens of the Stone Age), delivering a harmonically rich, mid-scooped voice with the clarity and power to cut through any mix over his last few years of touring.

The tone stack uses a notch-style filter, similar to classic fuzz circuits, offering a broad sweep of EQ flexibility. The Tone control scoops mids at center, rolls off low end when turned down, and rounds off highs when pushed up—letting you shape the pedal’s response to your guitar and amp with surgical precision.

Clipping is handled by a dynamic combination of MOSFET and NOS Germanium diodes, producing warm, touch-sensitive gain. A right-side toggle engages Silicon clipping for a more aggressive, compressed response. The left toggle bypasses the tone stack completely, delivering a full-range, unfiltered drive straight to your amp.

Win the ultimate Queens of the Stone Age–inspired pedalboard! Built by Premier Guitar and Eastside Music Supply, this custom rig packs fuzz, filter, octave, and echo tones worthy of the desert rock kings themselves. Enter now for your shot at owning this one-of-a-kind board.

Win This Queens of the Stone Age–Inspired Pedalboard!

See the board and full details here: 

By most accounts, the guitar collection of late Indianapolis Colts CEO and billionaire businessman is the greatest on Earth. No other collection features as many important instruments from the pages of guitar history.

Now, following Irsay’s death earlier this year at the age of 65, the entire monumental collection is headed to the auction block, with a series of auctions set to be hosted by Christie’s New York beginning March 2026.

• READ MORE: Gibson’s $20k Back to the Future ES-345 is being listed on Reverb for over $100k – as scalpers look to flip the highly sought-after guitars for mega profit

The billion-dollar guitar collection – valued as such when Irsay was once offered the insane 10-figure sum by a “Middle East element”, an offer he ultimately turned down – includes some of the most important instruments in guitar history, including items owned and played by John Lennon, Sir Paul McCartney, George Harrison, Jimi Hendrix, Prince, Jerry Garcia, Bob Dylan, Kurt Cobain, Eddie Van Halen, Eric Clapton, Bo Diddley, Janis Joplin, David Gilmour, and dozens of others.

Highlights, in particular, include Kurt Cobain’s Smells Like Teen Spirit Mustang and David Gilmour’s Black Fender Stratocaster – two guitars which hold the #2 and #3 spots on the list of the most expensive guitars ever sold at auction – as well as Eric Clapton’s legendary Fool SG, which sold for $1.27 million in 2023, and John Lennon’s Gretsch 6120 Country Gentleman. And this is just a tiny handful in the massive collection.

Credit: Press

Free public exhibitions will accompany the auctions at Christie’s New York – located at 20 Rockefeller Plaza – and a portion of the proceeds will be donated to philanthropic causes championed by Irsay throughout his life.

“Christie’s is honoured to offer this magnificent collection, so lovingly compiled, maintained, and shared by legendary collector Jim Irsay over decades,” says Julien Pradels, president of the Christie’s Americans region. 

“These extraordinary objects will be made available to passionate collectors around the globe, who have a once-in-a-lifetime opportunity to own a piece of history, and provide this exquisite collection its next chapter.”

More information on the forthcoming auctions will be available in the coming months. 

We’ll endeavour to keep you updated here at Guitar.com, but you can also stay tuned via christies.com/irsay.

Credit: Press

The post Jim Irsay’s entire $1 billion guitar collection – featuring Kurt Cobain, Eric Clapton and Jimi Hendrix guitars – is headed to auction appeared first on Guitar.com | All Things Guitar.

D’Addario announces the John Lennon Art Series Signature Collection, a limited-edition lineup of instrument straps and picks, all honoring the imagination of a legend.

About the Series

The Collection includes two unique strap designs and two pick assortments, each featuring Lennon’s original animal illustrations, as well as drawings inspired by the life and love he shared with Yoko Ono. From playful sketches to bolder, more intimate designs, every item in this Collection honors Lennon’s vision while giving players unique, premium tools they can rely on, all backed by elite D’Addario craftsmanship. The Collection also includes the Imagine Animals small instrument strap, perfect for

kid-sized instruments or adult ukuleles and mandolins, with matching collectible picks.

Highlights

• Secure & Reliable Straps. Each strap features durable leather ends for long-lasting security. That means a comfortable and dependable fit for every player.
• Premium Picks for Superior Playability. Crafted from high-quality celluloid, these picks deliver a smooth feel and warm tone that’s perfect for players at any level.
• Exclusive Collectible Items. These limited-edition designs put Lennon’s visual artwork on a new canvas, making them not only perfect tools for players, but one-of-a-kind stocking stuffers for collectors and fans.
  

D’Addario Celebrates Lennon’s Legacy
“John Lennon’s art was as imaginative and honest as his music,” said Cassie Meloy, Accessories Product Manager. “This Collection celebrates Lennon’s creativity for players of all ages and introduces D'Addario’s first strap designed for kids, perfectly inspired by his playful Animals artwork.”

Availability & Pricing
The John Lennon Art Series is available now through daddario.com and authorized retailers. Pick packs are priced at $7.99, with straps starting at $16.99.

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

Chris Benson has been designing something cool with Tim Marcus from Milkman Sound. We present to you: Benson The Amp.

Using the same form factor as Milkman’s The Amp 100, Chris and Tim have combined a high voltage tube Chimera style preamp with a 100 watt class D solid state power amp. It is available from Milkman and Benson dealers today.

Benson The Amp’s feature set makes it versatile enough to handle live shows, silent stages, and direct recording situations with ease:

• High voltage Chimera style tube preamp
• Independent High and Low EQ controls
• Boost with dedicated footswitch (drives the preamp section)
• 100 Watts of class D power
• Built in digital Reverb (designed by Keeley Electronics)
• Direct out with bypass-able analog cab simulation and Room ambience control
• Headphone output

For more details and back story, check out this video from Milkman Sound.

Also, we’d be remiss if we didn’t inform you that our Oversized 1x12 cab with our Custom Ceramic speaker is the perfect companion to The Amp. In fact, it’s what the Benson The Amp’s cab simulation is modeled after (along with an AEA N22 ribbon mic). These two make a potent pairing that works for most any stage volume (we genuinely tried everything to make sure the Custom Ceramic speaker can handle Benson The Amp’s output without failing, and it performed like a champ).

To hear the OS 1x12 A/B’d with the cab sim, check out our latest episode of Bensayin…

For current ordering information on Benson The Amp, visit Milkman Sound here. The Oversized 1x12 cab is available directly from our online store (current build time is 8-10 weeks).

Last year, Tetrarch guitarist Diamond Rowe became Jackson’s first ever female signature artist, and the monster single-cut Monarkh guitar that came of that partnership quickly established itself as an unrelenting weapon of EMG-loaded brutality.

• READ MORE: Creeper on the best horror-themed albums

One thing that didn’t make it into her DR12 guitar however, was a tone knob. And in the latest episode of Guitar.com Originals Series My Guitars & Me, the queen of ‘freak tone’ explained why she has absolutely no need for such things – and never has.

“Honestly, the first adjustment I made when we were putting the specs together for this guitar was to get rid of the tone knobs,” she reveals. “It was like the very first thing I told them, because in all the years I’ve been playing since I was a child, I don’t remember ever adjusting a tone knob for literally anything. So, I’m like, you know what? Clearly, I’m not going to miss it. So, I just did two volume knobs.”

Diamond also had a word for the often-maligned EMG pickups, and poured cold water on those who think that active pickups can suck your tone.

“I gravitated towards playing what my favourite bands played because when I was 11, I didn’t know anything about, you know, different pickups, active, passive, string gauges, nothing like that,” she explains. “It was just like, oh, Kirk Hammet plays EMGs, you know, so that’s what I want to play. So my first guitars had them in there. And I feel like it just became a part of my sound.”

“Whenever I play EMGs, it just it’s that metal sound that everyone knows. And some people like that about them and some people don’t. They feel like it might take away some of like the, you know, uniqueness of their playing or like the, you know, whatever. I don’t. I love them. I plug and play EMGs and I’m like, ‘Yeah, that’s what I need.'”

Check out the full episode of My Guitars & Me with Diamond below, and check out the band’s latest album, The Ugly Side Of Me here.

https://www.youtube.com/watch?v=JXgZG_vfci0

The post Tetrarch’s Diamond Rowe explains why you don’t need tone knobs on your guitars appeared first on Guitar.com | All Things Guitar.

C. F. Martin & Co.® is proud to announce a new collaboration with multi-GRAMMY Award®-winning singer-songwriter Jason Isbell: two signature acoustic guitars and the launch of his first-ever signature set of strings, part of the all-new Martin Era™ line. The guitars, modeled after the 1940 0-17 that accompanied Jason through every track of Foxes in the Snow, bring his unmistakable sound within reach of players everywhere.

The Martin 0-17 Jason Isbell is a limited-edition model crafted to replicate the pre-war 0-17 at the heart of his latest album. Limited to just 50 instruments, it’s built entirely from solid sinker mahogany paired with Adirondack spruce Golden Era scalloped X-bracing for a warm, expressive voice. The sinker mahogany neck, inspired by Jason’s pre-war 0-17, combines with a Brazilian rosewood fingerboard and bridge for classic feel and playability. 17-style appointments and a vintage gloss finish complete its timeless look.

“This one replicates the 1940 0-17 that I used on Foxes in the Snow,” said Jason. “The Brazilian [rosewood] for the bridge and the fingerboard is a really special thing. The fact that Martin was able and willing to do that for these guitars makes me really, really happy… and the neck on this one is pretty identical in shape to the original guitar. It’s a very simple guitar to look at and to play, but certainly not simple to put together.”'

The Martin 0-10E Retro Jason Isbell brings that spirit to the Road Series in a stage-ready form. Featuring a satin-finished all-mahogany 0 14-fret body, scalloped spruce X-bracing, and Martin E1 electronics with a built-in tuner, it delivers warm, focused tone and plug-and-play performance. With East Indian rosewood accents, 17-style inlays, and nickel open-gear tuners, the guitar balances vintage-inspired looks with modern versatility.

“This guitar meets the artist’s criteria that the instrument can’t be the challenge,” Jason said. “They’re well made, they’re easy to play, they sound good, and they don’t scream, ‘Look at me.’ At this price point, a whole lot of people are gonna have access to it—and that’s great because it encourages beginner guitar players and singer-songwriters to have something that is quality. I could take this guitar and just make a living with it.”

In addition to the new guitars, Martin is launching an all-new line of strings: Martin Era™ Strings. Designed to set the standard for acoustic tone and playability, they combine the best of Martin’s string-making innovations into one premium offering. Era strings feature a patented Lifespan® treatment to protect against corrosion, Flexible Core construction to enhance comfort and fretability, and silk-wrapped ball ends to help protect your prized instrument. Together, these features establish a new benchmark for what phosphor bronze acoustic guitar strings can deliver.

Within the Era line is Jason’s first-ever signature set: Martin Era™ Jason Isbell Signature Strings. Developed with a traditional SP® core to match his distinctive sound, this Artist Light set is custom-voiced for strength, balance, and consistency. Finished with distinctive red silk-wrapped ball ends, they reflect his exact touring and studio-tested preferences, giving players direct access to the same feel and performance that inspire his music.

“I’ve used Martin phosphor bronze strings for a long time—12-54 on almost all of my acoustics,” said Jason. “I know how they’re going to react, how many shows I can get out of them, and they don’t take long to break in. You stretch them right when you put them on, they won’t go out of tune. This is a really big honor for me.”

Durability and reliability were essential to the design. “I don’t have to worry about being fragile, being gentle with the strings,” he added. “They sound good for a long time, I don’t have to change every show, which my tech loves, and I love also.”

To learn more about these signature guitars and strings, visit martinguitar.com/jason-isbell.