Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
New From Acoustic Guitar— ‘Fingerpicking the Great American Songbook’
Totally Wycked Audio Source Code Review
When Japanese engineer Susumu Tamura designed the Maxon OD808 overdrive, he could hardly have known that it and its export twin, the Ibanez TS808 Tube Screamer, would become perhaps the most influential and, probably, imitated pedals in stomp box history. In fact, upon its introduction in 1979, the Tube Screamer, whose smooth sound is characterized by a bass roll off, midrange bump, and slight high-end attenuation, was not an instant success. But as the pedal was adopted by players as disparate as Stevie Ray Vaughan and Kirk Hammett, it gradually became a ubiquitous presence on pedalboards of all persuasions.
Tumura, a guitarist himself, spent several of the intervening decades working on wireless designs. In recent years, however, he began modifying Tube Screamers for Japanese guitar stores. But now in his seventies, he found the pace—almost 1,000 pedals annually—exhausting. Why not, he thought, just make a pedal that incorporated all his refinements? Enter the TWA SC-01 Source Code, which is exactly that. Handmade in the U.S., the SC-01 features improvements on the TS design, including 18V operation via an internal regulator, a +6 dB boost, an op amp that claims to inject “complex harmonics and an amp-like feel,” and, most importantly, a “Bite” control that can mix in asymmetrical, tube-like clipping to the symmetrical clipping-based sound of the original.
Source in Session
Using a Stratocaster and Fender Princeton Reverb as my test platform—a made-for-Tube Screamer rig if there ever was one—I first determined whether the Source Code could speak traditional Tube Screamer by A/B-ing it with a recent Ibanez TS-9 reissue. It does, producing tones indistinguishable from the traditional circuit when the bite control is at zero. That said, if your take on Tube Screamers has always been, “if it could only just…,” you’ll find that the bite knob opens up a whole new world. Goosing it adds the extra measure of sizzle, zing, and teeth that more common iterations of the design always lacked. And adjusting the balance of the drive and bite controls dials in an enhanced and expanded range of overdrive tones that truly transcend the original TS.
The Verdict
Whether you deploy Susumu Tamura’s latest refinement of the TS circuit to hit the input of an amp that’s already breaking up or as your primary source of overdrive, you won’t be disappointed. It offers all the essence of the original, but it’s the extra oomph and range that impresses.
Why Ariel Posen Chose Freedom Over Fame
The velvet-voiced, smooth-slide-playing solo artist details his journey from sideman to frontman, shares the his approach to designing a fresh Strat model, explains how a forced reset reshaped his career path, of course, he and host John Bohlinger share a few jams.
Luthier on Luthier: Ben Wilborn
On this episode of Luthier on Luthier, I’m joined by guitar maker Ben Wilborn. Based in Reno, Nevada, Ben brings a musician’s perspective to his designs, drawing on his background in performance and composition to build instruments that are focused on tone.
For episode 110, Ben shares the origins of his business and discusses how his instruments have evolved through prototype testing, data collection, and hands-on experience at the bench.
https://www.wilbornguitars.com
Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by the Looth Group, Dream Guitars and StewMac.
Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.
The post Luthier on Luthier: Ben Wilborn first appeared on Fretboard Journal.
Noah Kahan found global acclaim with his Stick Season album – and he’s just announced its followup
Singer-songwriter Noah Kahan has announced his highly anticipated fourth album The Great Divide, kicking things off with its first single and title track, out now.
Arriving 24 April via Island/Mercury Records, The Great Divide finds Kahan reflecting on his rapid-but-deserved rise to global acclaim in recent years, which was supercharged by his 4x Platinum 2022 album Stick Season. That album’s title track was a breakout single which earned him numerous Grammy nominations, billions of streams, and even sold-out shows at Madison Square Garden and Boston’s Fenway Park.
Produced by Kahan’s Stick Season collaborator Gabe Simon and Grammy-winning producer Aaron Dessner, The Great Divide was recorded at a secluded farm outside Nashville, Gold Pacific Studio in Nashville and Dessner’s famed New York studio, Long Pond.
“The last five years have been the single most challenging, complicatedly beautiful, and life-altering of my career,” Kahan explains.
“I was somewhere I understood, and suddenly I was somewhere completely foreign. I was living in the opportunity I always wanted but felt disoriented and unsure of whether I deserved it.
“Writing for this album was a balancing act of trying to go back in time and move forward in the same moment. Songwriting has always been the way I reflect on my life, and I hope these songs show you a glimpse of what this journey has looked like.”
You can listen to the album’s lead single and title track below. A music video will be premiering during Mastercard’s 2026 commercial break at the Grammy Awards, airing this Sunday, 1 February on CBS.
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Brian May says Queen won’t tour the US again: “It’s not what it was. Everyone is thinking twice about going there at the moment”
Queen wrapped their last US tour back in 2023, but guitarist Brian May says they have no plans to head stateside again any time soon on account of it being too “dangerous” to do so.
In a new interview with the Daily Mail, May explains the band’s decision not to tour America again for the foreseeable future.
“America is a dangerous place at the moment, so you have to take that into account,” May says. “It’s very sad because I feel like Queen grew up in America and we love it, but it’s not what it was.”
Queen have toured extensively in America throughout their career, performing hundreds of times in the mid-to-late-‘70s and early-80s, and with singer Adam Lambert since 2014.
But, Brian May adds: “Everyone is thinking twice about going there at the moment.”
May’s comments come amid heightened tensions in the US as thousands protest against ICE – United States Immigration and Customs Enforcement – following the killings of Renee Good and Alex Pretti at the hands of ICE agents.
Many musicians have spoken out against ICE and Donald Trump in recent weeks, including Green Day, Neil Young, Moby, Duran Duran, Billie Eilish, Sabrina Carpenter and Bruce Springsteen, the latter of whom recently released a new single, Streets of Minneapolis, in protest against ICE and Trump.
Elsewhere, Brian May recently commented on the state of things, saying if people spent more time being creative, the world would be a better place.
“I feel despondent about the world of humans,” he said. “It keeps me awake at night. The cruelty, the ignorance, the lies, the rewriting of history. I think an understanding and love of art and music make it impossible to be the kind of person who wants to go out and be cruel to others.
“There’s so much suffering in the world, why would we want to add to it? We’ve lost the ability to discuss things and respect other people’s point of view, we have a horrendous polarisation. If people spent more time looking at the stars and making music, none of this would be possible.”
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Historic Gathering Celebrating the Future of Global Music Industry at 2026 NAMM Show
NAMM (The National Association of Music Merchants), the largest global not-for-profit music trade organization, celebrated 125 years of NAMM at The 2026 NAMM Show — a powerful week that concluded on Jan. 24 and set the music industry’s narative for years ahead. Featuring five days of incredible education, live concerts and special events, alongside three days of extraordinary exhibits and brand activations, this year’s show featured 1,650-plus exhibitors representing over 5,400 brands and more than 200-plus educational sessions for NAMM member communities.
The 2026 NAMM Show highlighted innovative music technologies, product introductions and trends that will shape the future of the music industry during a five-day-long platform for networking, connections and meetings that are critical for uniting and growing music makers globally.
“The 2026 NAMM Show once again delivered an incredible week of unity and energy for our global NAMM members, showcasing products, partnerships and networking for the entire music industry,” said John Mlynczak, NAMM president and CEO. “NAMM continues to be the global stage for our industry to announce groundbreaking products, establish transformative partnerships and gain valuable education that drives success for our industry for the rest of the year.”
NAMM SHOW 2026 BY THE NUMBERS
- 60,000+ show attendees, including 8,760+ international attendees from 122 countries, regions and territories
- 1,650+ exhibitors representing 5,400+ brands, which is 25% more than 2025
- Nearly 15,000 artists demonstrating and endorsing products and brands
- 200+ education sessions with 550+ speakers
- 1,600+ media, influencers and content creators reaching over 200+ million followers, which is 50% more than 2025.
NAMM SHOW 2026 SET LIST HIGHLIGHTS
Product Launches
The NAMM Electronic Press Kit, an online book of product and show announcements, tripled in size from 2025, with nearly 400 brands and companies using the platform to launch new products at The NAMM Show.
NAMM Global Media Day
Now in its third year, NAMM’s Global Media Day featured iconic brands spanning music, sound and entertainment technology categories to announce more than 500 ground-breaking products and business news to an exclusive media/creator/podcast-only audience of 750-plus guests.
NAMM Events and Awards Shows
Providing the platform for some of the industry’s best awards shows and live events, The 2026 NAMM Show saw sold-out crowds all week long, starting with the TEC Awards, followed by The Bass Awards Show, She Rocks Awards and The Parnelli Awards. Each show catered to a thriving professional community that gathered to honor the best of the best in each category.
Looking Back on NAMM, 125 Years Later
NAMM has been consistently guided by the best minds in the music business, who share a common desire to grow the industry and music making. Ever since 1901, NAMM leaders have come together, even as competitors, to ensure their association is helping the entire industry expand. The 125-year timeline is fully digitized and available to everyone on NAMM.org
NAMM’s Music for Life Honor Awarded to Industry Icon Rick Beato
NAMM presented globally acclaimed producer, educator, musician and YouTube creator Rick Beato with its highest honor, the Music for Life Award, in recognition of his lifelong contributions to music and commitment to inspiring music makers. In an exclusive Thursday morning Q&A with NAMM President and CEO John Mlynczak, Beato discussed his early musical influences, the music products that have helped define his career and the future of the music business in the age of AI.
NAMM’s Grand Rally for Music Education
NAMM rallied the industry around its mission Saturday morning, highlighted by magical moments with Grammy Award-winning artists Victor Wooten and Chad Smith. The session, hosted by John Mlynczak and Julia Rubio, brought the audience to its feet with inspirational performances, conversations and messages, as well as live performances from Roots of Rhythm.
The NAMM Foundation
In honor of our 125th “NAMMiversary,” and the upcoming 250th anniversary of the United States, the NAMM Foundation — with a generous $125,000 matching donation from Chris Martin, past chair of NAMM — announced at the 2026 show a total of $250,000 in funds to give back.
The Return of NAMM NeXT Europe and New NAMM NeXT Latin America
Coming off the success of last year's inaugural event, NAMM NeXT Europe will return and NAMM NeXT Latin America will debut in 2026. These NAMM NeXT events are one- to two-day leadership conferences that will gather our industry to focus on how we can grow the industry and address common challenges.
The 2027 NAMM Show is already in the works for January 26-30, 2027, at the Anaheim Convention Center. Booths with early bird rates and discounts are available now at NAMM.
Cort Guitars Introduces the G290 Modern Electric Guitar
Cort Guitars announces the G290 Modern, a new electric guitar designed for players looking for a contemporary, high-performance instrument that delivers tonal flexibility, premium components, and modern playability in a single platform. Available now directly online and through select retailers worldwide, the G290 Modern reflects Cort’s approach to purposeful design, pairing upgraded materials with carefully selected electronics and hardware to meet the demands of today’s guitarists across genres and performance environments.
The G290 Modern features a bolt-on poplar body, paired with a roasted maple neck for enhanced stability and response. The neck is carved into Cort’s slim Ergo V profile and measures 25.5" (648mm) in scale length, with a neck thickness of 21mm at the first fret and 23mm at the 12th fret. A roasted maple fingerboard with a 12"–15.75" compound radius supports smooth playability across the neck, while 22 tall medium-jumbo stainless-steel frets provide durability and a consistent feel. Black dot inlays are complemented by luminous side dots for improved visibility on dark stages. A Graph Tech® Black TUSQ nut with a width of 1 21/32" (42mm) completes the neck design.
Electronics on the G290 Modern are built around an HSS pickup configuration designed for tonal versatility. A Seymour Duncan® TB4 humbucker in the bridge position delivers punch and clarity, while Cort® Voiced Tone VTS-63 single-coil pickups in the middle and neck positions provide balance, articulation, and sparkle. Controls consist of a single volume knob, a single tone control with push-pull coil-splitting functionality, and a five-way selector switch, allowing players to move quickly between a wide range of sounds.
Hardware appointments on the G290 Modern reflect its performance-focused intent. The guitar is equipped with a Cort® CFA-III S tremolo bridge, Cort® staggered locking tuners, and chrome hardware throughout. Strings are factory-installed D’Addario® EXL120s, and a two-way adjustable truss rod with spoke nut allows for precise setup adjustments. The instrument is offered in Pale Graphite (PGR), Dusty Rose (DRS), and Military Beige (MBG) finishes, with a matte neck finish for a smooth playing feel.
For more information on the G290 Modern electric guitar, visit www.cortguitars.com.
Street Price: $699.99 USD
Epiphone Unveils the All-New Inspired by Gibson Collection
Epiphone today announces a refreshed and expanded lineup within the Inspired by Gibson Collection, delivering elevated playability, upgraded hardware and electronics, and refined body contours across a suite of classic, Gibson-inspired instruments. Designed to bring authentic design DNA to players at every level, the 2026 collection blends timeless style with modern reliability, premium feel, and refined performance, making these guitars perfect for every player and every stage.
The refreshed Epiphone lineup spans some of the most iconic silhouettes in guitar history, including the Explorer™ 80s EMG, Firebird™, Flying V™ 70s, Les Paul™ Special Double Cut, Les Paul Special Double Cut Figured, Les Paul Junior™, SG™ Special P‑90, Les Paul Standard 50s, Les Paul Standard 60s, and SG Standard. Each model has been thoughtfully updated with rosewood or ebony fretboards, high‑quality hardware and electronics, and improved body contours and specifications—delivering the unmistakable feel of a classic with the performance demands of today’s stage and studio.
The Epiphone Inspired by Gibson lineup is now available worldwide at Gibson Garage locations, via authorized Epiphone dealers, and on Epiphone.com.
To complement these refreshed builds, Epiphone introduces a bold finish palette that honors heritage while inviting self-expression. Available colors include Classic White, Wine Red, Vintage Sunburst, Maui Blue, TV Yellow, Cherry Red, Bourbon Burst, Ocean Water, Goldtop, Washed Cherry Sunburst, Ebony, and Iced Tea Burst. Whether you’re stepping into the spotlight, tracking in the studio, or rehearsing for the next tour, there’s an Inspired by Gibson model—and a finish—that’s‑ unmistakably yours.
“Epiphone has always been about opening doors,” says Lewis McKinney III, Brand Manager of Epiphone. “Inspired by Gibson brings real heritage into the hands of players who want more than the look—they want a guitar they can count on, in any situation, every time they plug in. This all-new collection stays true to that mission: guitars that feel right, sound right, and show up, always.”
These refreshed Epiphone models bring classic tones and familiar feel together with contemporary reliability—ideal for gigging artists, studio professionals, and emerging players alike. The result is a lineup that honors decades of music history while meeting the demands of modern performance.
Epiphone is celebrating the launch in true punk fashion, teaming up with San Francisco Bay Area firebrands Spiritual Cramp, whose raw energy fuels the accompanying release video. Guitarist Nate Punty tears through “Go Back Home,” a standout from the band’s recent full-length album Rude, delivering a performance as gritty and immediate as the track itself.
The collaboration doesn’t stop there. As Spiritual Cramp head back out on the road in February, Epiphone will join them once again for an exclusive Epiphone Live Session, “Live at Alexandra Palace,” captured on location in London during their late‑2025 tour with The Hives.
And with the band’s headlining Rudest Band in the World Tour, sponsored by Alternative Press, kicking off in February, fans across the country will have plenty of chances to experience the chaos firsthand. The coast-to-coast run features rotating support from Bass Drum of Death, Mizery, Guv, and more.
Catch Spiritual Cramp live—and see their Epiphone guitars in full swing on tour—by grabbing tickets at: https://spiritualcramp.com/pages/tour-dates.
Explorer 80s – EMG
First launched in 1958, the Explorer™ was ahead of its time. Initially met with mixed reactions, its bold design and commanding tone eventually won over players. By the 1970s, its futuristic look became a favorite among rock icons, and in the high-energy 1980s, it truly hit its stride, earning a place in the hands of some of the era’s most influential guitarists. The new Explorer 80s – EMG pays homage to the sought-after 1984 model, a standout in Gibson’s history for its striking aesthetics and powerful sound. Artists like The Edge, Billy Gibbons, and James Hetfield helped cement the Explorer’s legendary status. For players who love retro-futuristic style, the Explorer 80s – EMG delivers the attitude and edge of that iconic decade.
This modern tribute features a mahogany neck with a fast-playing 60s SlimTaper™ profile, paired with a rosewood fretboard that hosts 22 medium jumbo frets and pearloid dot inlays. The headstock is fitted with mini die-cast tuners and a Graph Tech® nut for rock-solid tuning. At the other end, an Epiphone LockTone™ Tune-O-Matic™ bridge and LockTone Stop Bar tailpiece provide exceptional stability and sustain. The angular mahogany body is loaded with active EMG™ pickups—an EMG 60 in the neck and an EMG 81 in the bridge—delivering the fat, aggressive tones that defined the era. Powered by a 9V battery housed in a rear compartment for easy access, the electronics include dual volume controls, a master tone, and knurled metal knobs. With no pickguard, the Explorer 80s – EMG boasts a sleek, slightly menacing look. Complete with a premium gig bag, it’s ready to bring classic attitude to modern stages.
Firebird
Epiphone’s Inspired by Gibson Firebird™ brings back the bold reverse body and headstock design that made waves when the Firebird debuted in 1963. Conceived by renowned automotive designer Ray Dietrich, the Firebird was Gibson’s first neck-through-body guitar, a groundbreaking innovation at the time. Its 9-ply mahogany and walnut neck-through construction delivers exceptional sustain and warm, resonant tone. Because the tuners, pickups, bridge, and tailpiece are all mounted on the same continuous piece of wood, the Firebird offers unmatched resonance and stability. The SlimTaper C-profile neck is paired with a bound rosewood fretboard featuring 22 medium jumbo frets and pearloid trapezoid inlays, ensuring smooth playability and classic style.
This refreshed Firebird is equipped with ProBucker™ FB720 pickups, designed with Alnico 2 magnets and built to the original 1960s Firebird specifications. Wired to CTS® potentiometers, they recreate the bright, hum-free tone that made the Firebird famous. Unlike mini humbuckers, Firebird pickups use two blade magnets inside the coils and a steel reflector plate, omitting pole pieces entirely for a sound that’s truly unique among humbucking designs. Premium hardware includes an Epiphone LockTone™ Tune-O-Matic™ bridge, LockTone Stop Bar tailpiece, Grover® Mini Rotomatic tuners, and a Graph Tech® nut for rock-solid tuning. The pickguard proudly displays the iconic Firebird emblem in red. With its radical silhouette, distinctive voice, and included premium gig bag, the Firebird is ready to deliver pure rock ’n’ roll attitude on any stage.
Flying V 70s
A 70s rock icon that’s ready to help today’s players rock the world
Today, the Gibson Flying V™ is one of the most famous and instantly recognizable guitar designs of all time, but its rise to fame and popularity wasn’t instantaneous. Upon its initial release in 1958, it was met with a less-than-enthusiastic reception. However, as the years passed, guitarists soon began to discover its many charms, with famous players adopting them later in the 1960s. However, it was when hard rockers adopted its futuristic shape and powerful sound in the 1970s that the Flying V truly began to come into its own in the hands of players like Michael Schenker, Jimi Hendrix, K.K. Downing, Marc Bolan, Steve Jones, and many more. The new Epiphone Inspired by Gibson Flying V 70s is based on those iconic 70s models that changed music history forever.
The Flying V 70s features a two-piece, center-seamed mahogany body that is sure to turn heads. The mahogany neck has a comfortable, Rounded C profile and a volute at the neck/headstock junction, just like the vintage models from the 70s. The neck is topped with an ebony fretboard that features 22 medium jumbo frets and simple pearloid dot inlays. The slightly shorter 70s-era arrowhead-shaped headstock is equipped with Grover® Rotomatic® tuners with spade buttons and a Graph Tech® nut, ensuring solid tuning stability. The other ends of the strings pass over an Epiphone LockTone™ Tune-O-Matic™ bridge and are anchored with a LockTone Stop Bar tailpiece. The iconically shaped mahogany body is outfitted with Epiphone’s new T-Type PRO™ humbucking pickups. They accurately capture the unique, fat-toned sound and rich sustain of the Flying V models that many players preferred during that era. The pickups are wired to individual volume controls and a master tone control; the controls are capped with Witch Hat control knobs. Other era-correct details are present, including a 70s-style Flying V pickguard and a 70s-style truss rod cover with the Epiphone logo hot stamped on it, and highlighted with black nickel hardware. With eye-catching gloss finishes, style, and sound that can’t be ignored, the new Epiphone Flying V 70s is ready to help you rock the world. If you’re into retro-futuristic guitars, this is a model you need in your collection. A premium gig bag is included, so the Flying V 70s is ready to go wherever and whenever you are.
Les Paul Special Double Cut
An Inspired by Gibson classic that truly lives up to its name
When Gibson introduced the Les Paul™ Special in 1955, it was designed as a step up from the Les Paul Junior, adding a second pickup and refined touches like a mother-of-pearl headstock inlay and a bound fretboard. This positioned it between the elegant Les Paul Standard and the student-friendly Junior. In 1958, the model evolved with a double-cutaway body for improved upper fret access, and by 1960, the neck pickup was slightly repositioned and paired with a SlimTaper™ profile for faster, more comfortable playability.
Epiphone proudly brings back that spirit with the Les Paul Special Double Cut, an Inspired by Gibson recreation of those early 60s favorites. It features a solid mahogany body with a double-cutaway design for unrestricted fretboard access. The glued-in mahogany neck sports a 60s SlimTaper profile and a bound rosewood fretboard with 22 medium jumbo frets and pearloid dot inlays. The 1960s Kalamazoo-style headstock includes Epiphone’s three-on-a-plate tuners with ivory buttons, a Graph Tech® nut for tuning stability, and a mother-of-pearl Epiphone logo for vintage flair. At the other end, an Epiphone Lightning Bar compensated wraparound bridge anchors the strings directly to the body for exceptional sustain and resonance.
Powering this classic are two Epiphone P-90 PRO™ Soapbar pickups, delivering everything from shimmering cleans to raw, gritty overdrive. Each pickup has its own volume and tone control for maximum versatility. Complete with a premium gig bag, the Les Paul Special Double Cut is a timeless design made more accessible than ever.
Les Paul Special Double Cut Figured
The Les Paul Special, reimagined with premium style
Originally introduced in 1955, the Gibson Les Paul™ Special was conceived as an upgrade to the Les Paul Junior, adding a second P-90 pickup for greater tonal range, along with refined details like fretboard binding and a mother-of-pearl headstock logo. This positioned it between the elegant Les Paul Standard and the entry-level Junior. By 1958, the model evolved into a double-cutaway design for improved upper fret access, and in 1960, a SlimTaper™ neck profile and repositioned rhythm pickup enhanced playability and stability.
Epiphone now proudly unveils the Les Paul Special Double Cut Figured, an Inspired by Gibson model that elevates this classic design with stunning visual flair. It features a mahogany double-cutaway body topped with a AAA figured maple veneer and bound edges for a premium look. The glued-in mahogany neck sports a fast-playing SlimTaper profile and a bound rosewood fretboard with 22 medium jumbo frets and acrylic dot inlays. The 1960s Kalamazoo-style headstock is fitted with Grover® Rotomatic® tuners and adorned with a mother-of-pearl Epiphone logo for vintage authenticity.
Unlike traditional Les Paul Specials, this version swaps P-90s for a pair of Epiphone ProBucker™ humbuckers—a ProBucker 2 in the neck and a hotter ProBucker 3 in the bridge—delivering everything from warm rhythm tones to searing leads. Individual volume and tone controls, plus a three-way toggle switch, provide versatile sound-shaping options. Complete with a premium gig bag, the Les Paul Special Double Cut Figured combines timeless playability with next-level style.
Les Paul Junior
Classic simplicity meets P-90 punch
Introduced in 1954 during Gibson’s first Golden Era, the Les Paul™ Junior was created as a high-quality yet affordable solidbody electric guitar for students and beginners. Stripped of the ornate features found on standard Les Paul models—such as carved maple tops, binding, and multiple pickups—the Junior offered a straightforward design with a slab mahogany body and a single pickup, making it accessible without sacrificing tone. It didn’t take long for players of all skill levels, including top professionals, to embrace its raw power and versatility. Legends like Leslie West, Martin Barre, Charlie Starr, Glenn Frey, Johnny Thunders, John Lennon, Billie Joe Armstrong, and Steve Howe have all relied on the Junior’s distinctive voice. Its simplicity hides a surprising tonal range, with endless possibilities unlocked by adjusting picking position and the master volume and tone controls.
Epiphone proudly introduces the modern Les Paul Junior, a faithful Inspired by Gibson recreation that captures the essence of the original while meeting the needs of today’s players. It features a single-cutaway mahogany body, a mahogany neck with a comfortable 50s Vintage profile, and a rosewood fretboard with pearloid dot inlays. A single Epiphone P-90 PRO™ Dogear pickup delivers everything from shimmering cleans to gritty rock tones. Vintage-style Epiphone Deluxe tuners with ivory buttons, paired with a Graph Tech® nut, ensure tuning stability, while a compensated Lightning Bar wraparound bridge anchors the strings directly to the body for exceptional sustain and resonance. Complete with a premium gig bag, the Les Paul Junior is ready to go wherever inspiration strikes.
SG Special P90
Rock royalty with the bite of P-90s
The SG™ Special returns to the classic design that made it a favorite across decades and genres. First introduced in the early 1960s, the Gibson SG Special was created as a middle ground between the entry-level SG Junior and the SG Standard, blending the Junior’s simplicity with added versatility and refined styling. Despite its streamlined approach, it quickly became a cornerstone of rock history, powering countless iconic riffs and performances. This Epiphone recreation captures the look, feel, and tone of those early 60s models that defined an era.
Part of the Inspired by Gibson Collection, the Epiphone SG Special P-90 features a solid mahogany body with the signature double-cutaway shape, paired with a mahogany neck sporting a fast-playing 60s SlimTaper™ profile. The bound rosewood fretboard includes 22 medium jumbo frets and pearloid dot inlays for classic appeal. The 1960s Kalamazoo-style headstock is fitted with Epiphone Deluxe tuners with ivory buttons, a Graph Tech® nut, and a mother-of-pearl Epiphone logo. At the other end, a compensated wraparound bridge anchors the strings for vintage authenticity, solid intonation, and
impressive sustain.
Under the hood, a pair of Epiphone P-90 PRO™ Soapbar pickups delivers the raw, dynamic tone that players love—bright and articulate when clean, aggressive, and punchy when driven. Individual volume and tone controls for each pickup, plus a three-way toggle switch, provide exceptional tonal flexibility. Complete with a premium gig bag, the SG Special P-90 is ready to bring classic rock attitude to any stage.
Les Paul Standard 50s
Experience the legend
The Gibson Les Paul™ Standard models of the 1950s are among the most iconic guitars ever made. Celebrated for their stunning looks, effortless playability, and unmatched tone, these instruments have graced countless stages and recordings, earning a place as some of the most sought-after vintage guitars in history. Epiphone proudly presents the refreshed Les Paul Standard 50s, part of the Inspired by Gibson collection, designed to capture the essence and sound of those revered originals. Epiphone’s connection to Les Paul dates back to 1940, when Les crafted one of the first solidbody electric guitars at the original Epiphone factory in Manhattan. His pioneering design, known as “the Log,” laid the foundation for what would become the Les Paul Standard—widely regarded as one of the greatest electric guitars ever built.
The Les Paul Standard 50s features a mahogany body topped with a maple cap, delivering the warm midrange of mahogany complemented by the brightness of maple—hallmarks of the classic Les Paul tone. Its mahogany neck sports a 1959 Rounded Medium C-profile and a long neck tenon for superior strength and sustain. A rosewood fretboard with pearloid trapezoid inlays and 22 medium jumbo frets adds to its vintage appeal. The Kalamazoo-style headstock is fitted with Epiphone Vintage Deluxe tuners and a Graph Tech® nut for reliable tuning, while the strings run across an Epiphone LockTone™ Tune-O Matic™ bridge and LockTone Stop Bar tailpiece. Power comes from a pair of acclaimed Epiphone ProBucker™ humbuckers™, with a ProBucker 1 in the neck and a hotter ProBucker 2 in the bridge for a versatile tonal range. The electronics use CTS® pots with 50s-style wiring, and the controls are finished with gold Top Hat knobs and dial pointers. A premium gig bag completes the package. The Les Paul Standard 50s is an accessible homage to a legendary instrument, ready to inspire players everywhere.
Les Paul Standard 60s
Authentic 60s Les Paul style, tone, and feel for every player
The Gibson Les Paul™ Standards from 1958–1960 are among the most celebrated guitars ever made. Known for their stunning looks, smooth playability, and legendary tone, these instruments have appeared on countless stages and recordings, earning their place as some of the most desirable vintage guitars in history. Epiphone proudly introduces the Les Paul Standard 60s, part of the Inspired by Gibson™ Collection, designed to capture the sound and spirit of those iconic models.
Epiphone’s relationship with Les Paul began in 1940, when Les built one of the first solidbody electric guitars while working nights at the original Epiphone factory in Manhattan. His groundbreaking creation nicknamed “the Log,” paved the way for the Les Paul Standard—widely regarded as one of the greatest electric guitars ever produced. The Les Paul Standard 60s recreates the look, feel, and tone of early 1960s Les Pauls, featuring a mahogany body with a maple cap for classic warmth and clarity. Its mahogany neck is paired with a rosewood fretboard, pearloid trapezoid inlays, 22 medium jumbo frets, and a fast SlimTaper™ 60s C-profile for effortless playability. The Kalamazoo-style headstock comes equipped with Grover® Rotomatic® tuners and a Graph Tech® nut for exceptional tuning stability, while the strings pass over an Epiphone LockTone™ Tune-O-Matic™ bridge and Stop Bar tailpiece.
Tone comes from a perfectly matched set of Epiphone ProBucker™ humbuckers™, with a ProBucker 2 in the neck and a hotter ProBucker 3 in the bridge, each wired to individual volume and tone controls with high-quality CTS® pots. Finished with gold Top Hat knobs and packaged in a premium gig bag, the Les Paul Standard 60s delivers an authentic playing experience at an accessible price point.
SG Standard
The SG Standard – a legendary favorite
Part of the Inspired by Gibson™ Collection, the Epiphone SG Standard has been updated for today’s players while staying true to its iconic roots. The SG™ has earned its place as one of the most influential guitars in history, embraced by artists across genres. From Sister Rosetta Tharpe, Eric Clapton, and George Harrison to Robbie Krieger, Angus Young, Tony Iommi, and countless others, the SG has shaped the sound of generations.
The Epiphone SG Standard features a lightweight, double-cutaway mahogany body that offers effortless access to all 22 frets. Its set mahogany neck enhances sustain and is carved to a fast SlimTaper™ C profile. A bound rosewood fretboard with pearloid trapezoid inlays, 22 medium jumbo frets, and a 12-inch radius delivers smooth playability for chords and bends alike. Premium Grover® Rotomatic® tuners and a Graph Tech® nut work in tandem with an Epiphone LockTone™ Tune-O-Matic™ bridge and Stop Bar tailpiece for rock-solid tuning and precise intonation.
For tone, the SG Standard is equipped with a pair of Epiphone ProBucker™ humbuckers™ that deliver the classic SG sound players love. A ProBucker 2 sits in the neck position, while a hotter ProBucker 3 occupies the bridge, each wired to individual volume and tone controls with a three-way selector for maximum versatility. Complete with a premium gig bag, the Epiphone SG Standard is a modern take on a timeless classic—ready to inspire players everywhere.
Teisco Goes Huge in Tone, Mini in Size: Introducing a New Line of Pedals
Teisco (teisco.com) expands its pedal lineup with the introduction of a new collection of Mini pedals, delivering huge, expressive tone in a compact footprint. Designed to offer a comprehensive selection of essential sounds, the Mini pedals empower players of all levels to craft their own voice with confidence. True to Teisco’s fearless spirit, the brand’s bold personality and unmistakable aesthetics remain front and centre in this new collection.
Joining the celebration of this launch is a lineup of incredible artists and creators — Pedalboard Of The Day (@pedalboard_of_the_day), collector//emitter (@collectoremitter), Weish (@wweishh), and Old Dog (@oldoguitar) — who bring out the sonic brilliance and clever controls of these pedals.
The Teisco Mini collection features an extensive lineup of twelve all-new pedals, covering every essential need on the pedalboard, from fuzz and overdrive to delay, modulation, and tuning. Defying their compact footprint, these pedals deliver powerful, inspiring tones, proving that portability no longer comes at the expense of sound quality. Inspired by Japanese aesthetics, each model showcases a distinctive, eye-catching design that stands
out on any pedalboard. But it’s not just about looks: modern circuitry and true bypass switching ensure optimal signal integrity, offering the best of both worlds. Competitively priced, with US MAP starting at $59, the Teisco Mini pedals offer an accessible entry point for musicians seeking high-quality effects without compromise.
The pedals are now available worldwide via teisco.com and through select dealers.
Recent and Remarkable: Records from Winter 2025–’26
Pat Metheny doesn’t believe there’s much difference between rock, pop and jazz: “It all seemed more about the dress code than the music”
There’s a certain preoccupation with the idea of genres; we all love to signify our adherence to rock music, jazz, pop, EDM or whatever else floats our boat. But should we care as much as we do about placing our favourite music into well-defined categories?
In an interview in the latest issue of Uncut magazine, Jazz ace Pat Metheny suggests people place too much emphasis on the idea of musical genres.
“It’s always been kind of mysterious to me,” he says. “What is rock? What is pop? What is jazz?
“If I think of the spectrum of all the sounds that human beings could possible make, it is interesting to me how it’s so tightly clustered around a very tiny part of that spectrum that has to do with somebody playing the root on one, somebody smacking the crap out of two, maybe something on three, and then somebody smacking that crap out of four. It all seemed more about the dress code than the music… And I don’t get that, man. I’ve never gotten that.”
Let’s be honest, genres aren’t going anywhere. Humans are tribal; it’s in our nature to seek out and form groups with those with similar interests to us. Not to mention it’s hella fun to be at a rock show surrounded by thousands of fellow heavy music lovers. But at a certain point, does being too boxed in with the genres we like prevent us from being open to new music which may move us? Something to think about…
Elsewhere in the interview, Metheny reflects on how it took him “a couple years” to get into Jimi Hendrix.
“I did hear Are You Experienced and I was like, ‘Well, this cat, at least he can really play the blues.’
“I liked it, but I was just in a different place at that time. So it took me a couple years, and then I got it. I more than got it. Everything on those first two records, it’s just the greatest. The guy was incredible. In some ways, his thing was transcendent of guitar, even.
“It’s a little like Trane [John Coltrane] for me: the guy was probably the greatest saxophone player ever, but that’s about the fourth thing you would talk about with him. That’s not really what it’s about, and I think it’s the same way with Hendrix.”
You can view a full list of Pat Metheny’s upcoming live dates via his official website.
The post Pat Metheny doesn’t believe there’s much difference between rock, pop and jazz: “It all seemed more about the dress code than the music” appeared first on Guitar.com | All Things Guitar.
“I brought my guitar, there was Rick, an engineer and the guys from Run DMC. One was late because they towed his rental car!”: Joe Perry on the recording of Walk This Way
Joe Perry has opened up about the now-legendary collaboration between Aerosmith and Run-D.M.C. that turned Walk This Way into one of the most important crossover hits in rock history.
Speaking in a new interview with Guitar World, Perry shares how the unlikely team-up came together at a pivotal moment for both artists. By the mid-’80s, Aerosmith’s career had stalled, while Run-D.M.C. were rising stars in hip-hop. With some convincing from producer Rick Rubin, the two camps ended up in the studio together.
“It was a lot of fun and definitely a high point of our career,” Perry says of the 1986 remake, which not only reignited Aerosmith’s commercial fortunes but also helped introduced rap to a wider audience.
At the time, the guitarist was already getting an education in hip-hop at home: “My son, who was 11 or 12, was blasting it in his room. I dug the groove. It was really basic music; it’s all about rhythm and guys standing on a street corner with a boombox,” says Perry.
So when Rubin proposed linking up with Run-D.M.C., Aerosmith were game.
“Aerosmith was up for anything. That’s why our music goes from hard rock to almost heavy metal to blues to ballads. We thought, ‘Let’s try it!’”
The recording session itself, however, started off a little more chaotic than one would expect.
“We were, I think, in North Carolina,” Perry recalls. “They sent us plane tickets, and me and Steven [Tyler] went to Queens. I brought my guitar, and there was Rick, an engineer and the guys from Run-D.M.C., and one was late because they had towed his rental car. [Laughs] He was flipping out because he didn’t know what he was gonna do about it, but Rick kept saying, ‘Listen, you’ve got Aerosmith here. Focus. We’ll take care of the car later. Don’t worry about it.’ After that, everybody settled down.”
From there, the track quickly took shape: “We got the drum beat down, which was the common ground for the song – from our version and theirs. I think Rick said, ‘You’re using the drums to rap to anyway; you might as well take it all the way. Let’s try it.”
The guitarist also reveals how he ended up playing bass on the track, thanks to a surprise assist from some future hip-hop royalty.
“There were these three kids in the studio sitting on the couch… I didn’t know who they were, but they were cool guys and a little younger. We were listening to the mixdown, and Rick said, ‘I think we need to put a bass on it.’ We looked around the studio, and there were no basses, but one of the kids said, ‘My apartment ain’t too far, I got a bass there.’”
Those “kids” turned out to be the Beastie Boys: “He went to his apartment and was back in 15 minutes with a P-Bass or a Jazz. Anyway, I played the bass,” says Perry.
The post “I brought my guitar, there was Rick, an engineer and the guys from Run DMC. One was late because they towed his rental car!”: Joe Perry on the recording of Walk This Way appeared first on Guitar.com | All Things Guitar.
“He took offense to that”: Dave Mustaine on why he and James Hetfield don’t talk anymore
Even decades later, the relationship between Dave Mustaine and former bandmate James Hetfield remains… complicated.
In a new interview, the former Metallica guitarist shares how a long-simmering dispute over songwriting credits on some of the band’s earliest material became a lasting “bone of contention” – and ultimately the reason he no longer speaks to Hetfield.
While Metallica has spent the last few years reissuing just about everything from Kill ’Em All through Load, one crucial piece of their history has mostly been left behind: the band’s first demo, No Life ’Til Leather. Recorded in 1982 by Hetfield, Mustaine, Ron McGovney, and Lars Ulrich, the tape has become the stuff of legend among fans – yet it’s only ever seen a small Record Store Day re-release in 2015, limited to just 10,000 copies.
Speaking to Classic Rock, Mustaine says the songwriting credits tied to the demo were never properly sorted out.
“I wrote all the music on Phantom Lord, all the music on Metal Militia, all the music on Jump In The Fire and The Mechanix,” he says. “And I wrote the lyrics for Jump In The Fire and The Mechanix. So do the math: if I wrote the music and James wrote the lyrics, then the credit is 50 per cent me, and 50 per cent James.”
“Well, that’s not what went down when I left. James and Lars figured out that they were going to give Lars some percentage of the songs he didn’t write anything on, and that happened on all four songs.”
The disagreement over credits became a “bone of contention” that affected Mustaine’s relationship with the band moving forward: “It just wasn’t fair. You guys got more money than God, why do you have to take my money?” says Mustaine.
And years later, when Metallica approached him about reissuing the demo, the conversation went south just as quickly.
“So James called me up, ‘Hey, man, we want to release this No Life ‘Til Leather thing, and we want to get all this publishing stuff straight, and, you know, we really don’t remember what went down,’” Mustaine recalls. “I said, ‘Well, that’s good, because I do. I remember what went down, and I can help with that.’”
“And then the conversation took a turn,” he continues. “James goes, ‘Well, that’s not the way that we remember it.’ And I went, ‘Well, James, honestly, there’s three ways to look at this: there’s your way, my way, and the truth, which is some combination of the two.’”
That remark, Mustaine says, shut down the discussion entirely: “That was the end of the conversation. He took offense to that, and we hung up, and I don’t remember speaking to him since then.”
Meanwhile, Mustaine and Megadeth are in the midst of what they’ve announced as the band’s final chapter. Following the release of their self-titled studio album last week, the group is set to embark on an extensive farewell tour running through 2026 and beyond.
View the full list of dates on the Megadeth website.
The post “He took offense to that”: Dave Mustaine on why he and James Hetfield don’t talk anymore appeared first on Guitar.com | All Things Guitar.
“You never say never”: Zakk Wylde says new music with Pantera’s tribute lineup is possible
Could fans ever hear new music from Panetera’s touring tribute lineup? Possibly – but don’t expect it to arrive under the Pantera name, says Zakk Wylde.
The guitarist – who shares the stage with classic Pantera members Phil Anselmo and Rex Brown, alongside Anthrax drummer Charlie Benante – speaks in a new interview with Music Radar, where he addresses a question fans have wondered about since the lineup first hit the road 2022.
“Yeah, you never know,” says Wylde. “We could do something as like The Traveling Wilburys or something! [Laughs] Nah, you know what I mean, call it something different.”
Originally formed to honour the legacy of Dimebag Darrell and Vinnie Paul, the tribute lineup has since taken in arena tours, major festivals and high-profile support slots with Metallica. With all four players juggling multiple bands and projects, though, finding time to create something in the studio together wouldn’t be easy.
“Well, I mean, Phil’s busy right now. He’s doing a Down thing, and then he has En Minor,” Wylde explains. “I think he’s doing a Scour thing, too. So Phil’s doing that. I think Rex is still writing, and he’s doing another Rex Brown record, and then, obviously, Charlie has Anthrax, so he’s been doing that, and then, obviously, we got the new Black Label [album], so I don’t know.”
Still, the door isn’t closed.
“I don’t know. But you never say never,” he continues. “Because it’s just like, we could all [be sitting there] one day, Philip might just call and go, ‘Guys, why don’t we get together, and we’ll do something, all of us – and we’ll get two other of our buddies in here, and then we’ll do a band.’ You know what I mean? So yeah, you never know.”
And if that hypothetical project ever did take shape, don’t assume it would stick to the current four-piece setup. Wylde imagines something looser – think rock supergroup as opposed to a traditional band.
“Like the Eagles or whatever!” he says. “They have six guys in a band or something like that, and everybody’s kind of singing or whatever, you know?”
In the meantime, Black Label Society’s US tour kicks off on 27 February in San Antonio, Texas, while Pantera’s next show is set for 24 May as part of a four-date European run supporting Metallica.
The post “You never say never”: Zakk Wylde says new music with Pantera’s tribute lineup is possible appeared first on Guitar.com | All Things Guitar.
Gretsch Professional Series Falcon Center Block LTD review: “it has the looks, the attitude and the sound that you’ve been dreaming of”
$3,789/£3,699, gretschguitars.com
The big-bodied outline of a single-cut Gretsch Falcon is one of the most recognisable guitar shapes out there. But even the kindest observer will admit that historic iterations of the double-cut Falcon have lacked the elegance of the single-cut – or indeed its double-cut rivals from other brands.
In recent years, however, the DC Falcon has enjoyed something of a resurgence – perhaps in part due to the benediction of the beatified Johnny Thunders, but also the success of the signature models of Guns N’ Roses man Richard Fortus. I can hand on heart say that those Fortus guitars are some of the best Gretsch guitars I’ve played in recent years.
Now then, fans of the form can enjoy a new “refined” take on the concept – and it all looks very promising indeed.
Image: Adam Gasson
Gretsch Professional Series Falcon Center Block LTD – what is it?
Professional Series guitars represent the top end of the Gretsch production instruments – they’re hand-crafted in Japan, and are the very best guitars the brand makes outside of the very limited number of USA instruments made by the Gretsch end of the Fender Custom Shop in Corona, California.
The “Center Block” bit of the model designation refers to the fact that while traditional Falcons were big, unrestrained hollowbody instruments, this is one of the semi-hollow designs that the company has been producing since 2013 in a concession to the demands of actual playing musicians.
The body shape here is, as Gretsch tells it, a “refined” version of the classic Gretsch DC design, and in practice this is a sleek instrument with tight curves. Seen in silhouette, the all-maple body is almost identical to a Gibson ES-355. This won’t be a coincidence.
There are other similarities here too; the most important being the 24.6” scale length – unusual for a Gretsch Falcon, which usually boasts a full fat 25.5”. This is halfway to a Fender Jaguar and a touch shorter than the Gibson standard. Whatever next?
It’s a limited edition beast, however, so if you’re keen to make friends with this particular bird of prey, you’ll have to be quick sharp about it.
Image: Adam Gasson
Gretsch Professional Series Falcon Center Block LTD – build quality and playability
Decanting the Falcon from its posh leather hard case, and a sigh of satisfaction is unavoidable. Let’s face it – the aesthetics of a Gretsch guitar are a large part of the story and will doubtless help prospective buyers decide if they want it, need it or can’t live without it.
This is a very grown-up guitar. Much like a midnight blue tuxedo looks better under lights than a black fabric variant, the Midnight Sapphire metallic finish, sparkly gold flake bindings and gold hardware are a definite statement of intent. It’s pretty fucking rock and roll to be honest.
That same gold hardware contains some very Gretsch flourishes. We have the bejewelled gold arrow knobs typical of a Falcon – in this case with a master volume on the treble side ear which has a treble bleed circuit, an individual volume knob for each pickup and a master no-load tone control with “Squeezebox” capacitor.
Premium appointments should be expected with a Professional Series guitar, and it doesn’t disappoint here.
For starters, we have a pair of bona fide TV Jones Filter’Trons bringing the noise – a Classic at the neck and a Classic plus at the bridge – this by itself is a reliable indication of an incoming good time.
Providing the wobble, we have the reassuring presence of a Bigsby B7, and praise be: it’s a string-through version, and therefore much less of a hassle to restring. The Adjusto-Matic bridge is pinned in place and while it lacks vibrato-friendly niceties such as roller saddles, Gretsch has provided stability with a set of locking Grover Imperial tuners.
Further professional accoutrements can be found in the shape of a set of gold strap locks tucked in the case pocket, and you even get Luminlay glow-in-the-dark position markers – which give you a much better chance of seeing what is going on under stage lights than a Gretsch Falcon usually affords the player.
Image: Adam Gasson
Gretsch Professional Series Falcon Center Block LTD – sounds
As a Gretsch enthusiast of many years, I have experienced the agony and the ecstasy of a Falcon on stage and in the studio. It has often been said – especially of vintage models – that if a Gretsch is the most reliable guitar in your arsenal then you need all the luck you can get. That’s why so many come with a horseshoe inlaid on the headstock.
Yes, they have their foibles, and as such I was pretty confident I would know what to expect with this guitar, but my expectations are blown out of the water with the first open chords.
There is magic to be found in a guitar built around a shorter scale length – the trebles are sweet, woody and expressive and if you get it right there should be no compromise in bass content or articulation. Gretsch has got this very right indeed.
The neck Filter’Tron is velvet smooth, complex and responsive. It makes even the simplest shell chords sound expensive and delicious. Add a touch of harmonic tremolo pedal, a gentle dip of the Bigsby and then bask in throbbingly joyful economy of style.
The middle position is a blender’s dream, which allows a little of the bite of the bridge unit to come through – hinting at delights to come. Okay, there’s only one tone control for both pickups, but the guitar is responsive enough to hand position and playing dynamics that this really doesn’t feel like a compromise.
The bridge pickup on its own is probably where these guitars will spend the majority of their time. From Neil Young-style rhythmic grumbling to Lana Del Rey sex riffs, this is an immediately nourishing sound – evocative and uniquely Gretsch.
But let’s face it, double-cut aficionados treading the path of Thunders, Fortus and Duffy will be just as intrigued to see how this Falcon handles the rough stuff. Backhanding it with a Crowther Hot Cake, I am immediately rewarded with a bellicose roar that would fit nicely in any genre that demands a more hooligan approach.
The scale length and rolled fretboard edges make for a grippy playing experience that encourages bends and double stops – the improved access to the higher end of the neck is also appreciable.
The humble chunk of maple inside the body is responsible for a huge amount of this guitar’s tonal identity. While there is ample “air” in the voice, the instrument remains immune to unwanted feedback at all but the highest volumes.
Wanted, longed-for, even cherished harmonic feedback however, is here in spades and there are few things more joyful than feeling that controllable surge under the fingertips – a touch of vibrato is all it takes to make the beast spiral off into a howl. Yum.
Image: Adam Gasson
Gretsch Professional Series Falcon Center Block LTD – should I buy one?
If you’re training your sights on spending the thick end of four grand on a semi-acoustic electric guitar, you expect something special to come of it. Thankfully, Gretsch knows exactly what those sorts of players require and have perfectly calibrated this bird accordingly.
It’s also an impressively versatile and responsive instrument, no matter what you throw at – within reason. Okay, it’s rubbish for Malmsteen covers but you knew that already. In fact, that’s probably a relief.
This is indeed a special instrument – it has the looks, the attitude and the sound that you’ve been dreaming of. The only question is, have you got the minerals?
Image: Adam Gasson
Gretsch Professional Series Falcon Center Block LTD – alternatives
You’re dealing with some true heavyweights at this price point, and you won’t go far wrong with any of the options at this point, really. I was very impressed with the Heritage Custom Shop Core Collection H-555 ($4799) I reviewed last year. If you really want to give it the beans, price-wise, the Collings L-235 LC ($6,925) is a truly superlative take on the semi-hollow concept. Finally, if money really is no object, a Gibson Custom Murphy Lab 1964 ES-335 Reissue ($8,099) is hard to beat.
The post Gretsch Professional Series Falcon Center Block LTD review: “it has the looks, the attitude and the sound that you’ve been dreaming of” appeared first on Guitar.com | All Things Guitar.
Billy Corgan Blueprint
Ever wondered how Billy Corgan achieves that massive "chainsaw" fuzz tone that defined an era of alternative rock? In this edition of "Blueprints", PG contributor Tom Butwin dives deep into the gear that makes it possible, featuring the Reverend Billy Corgan Z-One with its unique Bass Contour control, the Electro-Harmonix Op-Amp Big Muff Pi for that essential seventies-style grind, and the Gosh Amplification Problem Solver to provide a classic Marshall-style foundation.
CIOKS DC7 Pedal Power Supply - Black
CIOKS SOL Pedal Power Supply - Cassette
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Gosh Problem Solver
Ernie Ball 2221 Nickel Regular Slinky Electric Guitar Strings - 24 Pack
Billy Corgan Blueprints Giveaway!
We’ve teamed up with Reverend Guitars and Electro-Harmonix to give you the ultimate Smashing Pumpkins rig. Enter now for a chance to win a Billy Corgan Signature Z-One and an Op-Amp Big Muff Pi! Ends Feb 28, 2026.
Bill Corgan Prints Giveaway
See them in action!
Billy Corgan Signature Z-One
The Reverend Billy Corgan Z-One, a third signature collaboration between Billy Corgan & Joe Naylor, is inspired by the heavier songs in the Smashing Pumpkins Catalog. An alder body creates a thick tone, while deep cutaways provide easy access to the higher frets. Railhammer Z-One pickups have a fat midrange and a smooth top end, with custom artwork etched into the covers. An aluminum pickguard and a “Z” icon at the headstock make this one futuristic-looking guitar. The Billy Corgan Z-One is for anyone who wants to rip big rock solos with a thick yet smooth tone.
Op-amp Big Muff Pi Fuzz Pedal
illy Corgan and James Iha (Smashing Pumpkins) built an empire on Siamese Dream's distinct brand of psychedelia-meets-rock-alternative. A key ingredient to this record's iconic sound, as guitarists today know, is Billy's famed late-'70s V4 IC Big Muff. Now, Corgan and EHX have carefully bottled the tone and response of the original in the Electro-Harmonix Op-Amp Big Muff Pi. This pedal faithfully captures the fuzz-laden and explosive textures of Billy's op-amp equipped '70s Muff. Controls for Volume, Tone, and Sustain (gain) make it quick to dial in the textures your music demands. Meanwhile, a tone bypass toggle temporarily bypasses the pedal's tone circuit for maximum output and aggression. The new compact size and die-cast durability preserve the Siamese Dream tone for a new generation of fuzz fans.
Podcast 535: John Stropes
Fingerstyle guitar authority John Stropes joins us this week to talk all about his new two-volume book featuring transcriptions of every track on Leo Kottke’s monumental ‘6 & 12 String Guitar’ album!
Get the book here: https://www.stropes.com/product/leo-kottke-6-and-12-string-guitar-a-companion-by-john-stropes-and-benjamin-kammin/
During our chat, we hear about Stropes love for fingerstyle, how the Old Town School of Folk Music (home of the Fretboard Summit) shaped his playing, collaborating with Kottke and Michael Hedges, and so much more.
Our 58th issue of the Fretboard Journal is now mailing. Subscribe here to get it.
Our next Fretboard Summit takes place August 20-22, 2026, at the Old Town School of Folk Music in Chicago. https://fretboardsummit.org
We are brought to you by Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).
Stringjoy Strings: https://stringjoy.com
Mike & Mike’s Guitar Bar: https://mmguitarbar.com
Mike & Mike’s Substack: https://mmguitarbar.substack.com
The post Podcast 535: John Stropes first appeared on Fretboard Journal.
“Maybe he felt my part was getting bigger than a band member should be”: Jake E. Lee on contract negotiations for Ozzy’s The Ultimate Sin
![[L-R] Ozzy Osbourne and Jake E. Lee](https://guitar.com/wp-content/uploads/2026/01/Jake-E-Lee-Ozzy-new-hero@2000x1500.jpg)
Six-string sidekick on landmark albums Bark at the Moon (1983) and The Ultimate Sin (1986), Jake E. Lee is an integral part of the Ozzy Obsourne story.
When hired by Ozzy in 1982 at the fledgling age of 25, he had limited experience, and as he explains in a new interview with Guitar World, his limited songwriting and publishing rights on Bark at the Moon led to him pursuing a more robust contract prior to the recording of The Ultimate Sin.
“They realised they got away with something on Bark at the Moon,” Lee explains. “They knew it was something that would never happen again.”
When it came time to discuss Ozzy’s Bark at the Moon followup, Lee says he was adamant on signing a contract before going any further.
“I told him, ‘I’m not doing anything until I get a contract,’ and so, that came pretty quickly…’” he says.
“It was something that lingered over the Bark at the Moon sessions. When those were done, I became unhappy, so with The Ultimate Sin, before I gave him my demos, I said, ‘I want a contract that says exactly what I’m gonna get out of this record. I need a songwriting credit. I want the publishing I deserve.”
Lee had a vision for The Ultimate Sin which he clashed with producer Ron Nevison over, and that vision ultimately shaped the sound of the record.
“I wanted to hear the guitar like an orchestra. Kind of like having violins on top, cellos on bottom and then having moving and melodic parts. It was about more than basic chords and one guitar sound. That wasn’t my vision…”
He goes on: “I remember we had a big band dinner, and Ozzy raised his glass and said, ‘This is a toast to Jake E. Lee, who practically produced this record and was a very important part of making it.’ Maybe he felt like my part was getting bigger than a band member should be.
“I don’t know; a lot of things came with that. We were writing for the next record; I was pushing boundaries and getting rejected. I was bored with the restrictions. I’m sure Ozzy didn’t like that. But as far as The Ultimate Sin, I stand by it.”
Jake E. Lee ended up being dismissed by Ozzy’s wife Sharon Osbourne in 1987, and was subsequently replaced by Zakk Wylde.
The post “Maybe he felt my part was getting bigger than a band member should be”: Jake E. Lee on contract negotiations for Ozzy’s The Ultimate Sin appeared first on Guitar.com | All Things Guitar.
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