General Interest

Widely considered to be the Holy Grail for guitar enthusiasts and collectors, 'Bursts feature on many of the most important rock albums ever made. So what exactly went into the secret sauce?

Though their string of collaborations sprung from an offhand joke made to record executives, the singer/songwriter best known for his singular, gravelly, time-weathered vocals clicked immediately with the wizened rhythm guitar master who's lived a thousand lives

The name Baby Face would end up being used as a song title on Thin Lizzy’s next album

Abyss is right. Electro-Harmonix’s Ocean’s Abyss, with two stereo reverbs and 10 reverb types, is fundamentally a reverb pedal. But it is deeper than that. Much, much deeper. EHX calls the Abyss an Advanced Reverb Laboratory. I’d venture that it is more like a reverb-centric multieffects unit, because the Oceans Abyss enables you to add effects that include chorus, distortion, delay, and bit-crushing to the expansive array of reverbs. But I’m not even sure my modified description does the pedal justice. It is a sound-design machine of impressive power—especially if you have the time and will to explore the breadth of its functions.

For a pedal that makes so many sounds, the Oceans Abyss’ control layout is fairly straight ahead, and compared to some of EHX's other superpedals it’s actually downright economical. The center screen displays a virtual pedalboard where you can manipulate effects and signal routing via a control knob and just a few buttons. The reverb controls themselves, meanwhile, are easy to tailor via a knob-switch-and-slider array that enables adjustment of effects blend, EQ, pre-delay, reverb time, pan position in a stereo field, and more. The input/output array is capable but straightforward, with stereo I/O, effects send and return, plus MIDI, USB, and expression-pedal capability.

Deep Diving

The individual reverb sounds in the Abyss are excellent, which, given my experience with previous Oceans-series reverb pedals, is what I would expect. The more complex factory presets range from weird-but-inspiring to verging on impractical. But the simpler reverbs exude elegance. Even the other built-in effects are incredible. I got delightfully lost in the bit crusher for some time, dialing in a very interesting and buzzy fuzz tone.

“The simpler reverbs exude elegance.”

The factory presets are great jumping-off spots and rewarding to use. But to take full advantage of the pedal’s capabilities—and, perhaps, to justify the lofty $495 price—you’ll need to spend significant time with the Abyss and its manual. Creating and editing presets (you can save up to 128) isn’t always intuitive. For many users, customization will be easier using the available desktop patch editor or the not-yet-available EHX patch editor app. Even power users may be hard-pressed to utilize all of the Abyss’ capabilities. I am anxious now, knowing that somewhere in my house the Oceans Abyss is flashing red—still signaling intolerance of my refusal to fully commit to a pre-delay time.

In name, function, and price, the Ocean’s Abyss is much more than its predecessor, Oceans 12. It’s seemingly infinite, endless in every direction. Whether it’s a fit for you will come down to your appetite for exploration and study, and the scale of your musical ambitions.

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Abyss is right. Electro-Harmonix’s Ocean’s Abyss, with two stereo reverbs and 10 reverb types, is fundamentally a reverb pedal. But it is deeper than that. Much, much deeper. EHX calls the Abyss an Advanced Reverb Laboratory. I’d venture that it is more like a reverb-centric multieffects unit, because the Oceans Abyss enables you to add effects that include chorus, distortion, delay, and bit-crushing to the expansive array of reverbs. But I’m not even sure my modified description does the pedal justice. It is a sound-design machine of impressive power—especially if you have the time and will to explore the breadth of its functions.

For a pedal that makes so many sounds, the Oceans Abyss’ control layout is fairly straight ahead, and compared to some of EHX's other superpedals it’s actually downright economical. The center screen displays a virtual pedalboard where you can manipulate effects and signal routing via a control knob and just a few buttons. The reverb controls themselves, meanwhile, are easy to tailor via a knob-switch-and-slider array that enables adjustment of effects blend, EQ, pre-delay, reverb time, pan position in a stereo field, and more. The input/output array is capable but straightforward, with stereo I/O, effects send and return, plus MIDI, USB, and expression-pedal capability.

Deep Diving

The individual reverb sounds in the Abyss are excellent, which, given my experience with previous Oceans-series reverb pedals, is what I would expect. The more complex factory presets range from weird-but-inspiring to verging on impractical. But the simpler reverbs exude elegance. Even the other built-in effects are incredible. I got delightfully lost in the bit crusher for some time, dialing in a very interesting and buzzy fuzz tone.

“The simpler reverbs exude elegance.”

The factory presets are great jumping-off spots and rewarding to use. But to take full advantage of the pedal’s capabilities—and, perhaps, to justify the lofty $495 price—you’ll need to spend significant time with the Abyss and its manual. Creating and editing presets (you can save up to 128) isn’t always intuitive. For many users, customization will be easier using the available desktop patch editor or the not-yet-available EHX patch editor app. Even power users may be hard-pressed to utilize all of the Abyss’ capabilities. I am anxious now, knowing that somewhere in my house the Oceans Abyss is flashing red—still signaling intolerance of my refusal to fully commit to a pre-delay time.

In name, function, and price, the Ocean’s Abyss is much more than its predecessor, Oceans 12. It’s seemingly infinite, endless in every direction. Whether it’s a fit for you will come down to your appetite for exploration and study, and the scale of your musical ambitions.

Zeppelin’s power lay in their timing, the low-end giant explains, but there was more in the method to the band's madness

These 5 shapes showcase the range of acoustic sounds and textures this open tuning grants access to

The guitar amp of the future, more passengers on the PRS party train, and Squier’s newest Classic Vibe collection – all that and more headline this week’s gear round-up



One last Fretboard Summit 2025 announcement: Jayne Henderson (EJ Henderson Guitars and Ukuleles) stops by the Fretboard Journal to tell us about the Asheville Guitar Project group build that she’ll be unveiling at our annual guitar gathering.

This group guitar build – combining the talents of Asheville-based luthiers Jayne, Kyle Landers, and Judson Riviere – features domestic blowdown woods from Hurricane Helene.

We talk about the region and its recovery from the storm, the unique tone woods used for this guitar, what it’s like to build a guitar with other makers, and so much more!

Come see Jayne at the Fretboard Summit taking place this week: https://fretboardsummit.org/

We are brought to you by: Stringjoy Strings: https://stringjoy.com

(Use the code FRETBOARD to save 10% off your first order)

Mike & Mike’s Guitar Bar: https://mmguitarbar.com

Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout).

Pic: Jayne showing off her entry in our Luthier’s Tool Box book.

The post Podcast 513: Jayne Henderson on the Asheville Guitar Project first appeared on Fretboard Journal.

Consisting of world premiere recordings of three works based around Cuban rhythms, ‘Romántico’ features the exquisite classical guitar work of the reliably great Isbin.

MONO has introduced the M80 Classic Ultra – the latest evolution of the company’s sleek, iconic gig bag, now enhanced with smarter storage, effortless mobility, and tougher protection.

Building on the innovation of the original M80, the Classic Ultra features a refined silhouette and thoughtful upgrades designed to make life on the move easier for gigging musicians, touring professionals, and everyday players alike.

At the core of the Classic Ultra is the patented Freeride® Wheel System, allowing users to attach wheels for seamless transport when navigating airports, sidewalks, or venues. The system is especially impactful on Dual models, lightening the load while moving two instruments at once. Storage has also been supercharged. A newly designed expandable front pocket offers more room for tools and gigging essentials, while built-in compartments help keep everything in place. For even more capacity, the Classic Ultra case is Tick-ready and compatible with the MONO Tick 2.0 and Tick+ 2.0 Accessory Cases.

Inside, the instrument is protected by the Headlock® neck suspension system, keeping it securely in place and shielded from impact. A discreet tracker tag-compatible pouch adds peace of mind for travel. The exterior is built tough with water-resistant 1680D ballistic nylon, waterproof zipper tape, and reflective strips for added safety.

Key Features of the M80 Classic Ultra:

• The patented Freeride® Wheel System allows users to seamlessly attach wheels to the case, providing smooth and effortless mobility.
• Expanded smart storage includes dedicated internal compartments and an expandable front pocket, offering ample space for tools and gigging essentials.
• The case is Tick-ready, fully compatible with MONO’s Tick 2.0 and Tick+ 2.0 Accessory Cases for even greater storage flexibility.
• The signature Headlock® neck suspension system keeps your instrument securely in place, now enhanced with a discreet pouch designed to hold a tracker tag.
• The durable exterior is constructed from water-resistant 1680D ballistic nylon and features waterproof zipper tape and reflective detailing for added protection and visibility.

The Classic Ultra is available in versions for guitar, bass, dual guitar, and dual bass, ensuring a fit for every player’s needs.

The MONO M80 Classic Ultra carries street prices of $359.99 (Guitar/Bass) and $459.99 (Dual Guitar/Bass) and is available via monocreators.com and select authorized dealers worldwide.

In electric guitar terms, I’ve always thought the Beatles are pretty underrated as tone meisters. We all know how good the records sound as complete works. But you rarely encounter rabid enthusiasm for the guitar tones themselves. Holy cow, though, I adore them. The electric tones that shape their 1966-’68 LPs are among the most beautiful, thrilling, and influential forces in my life. Barcelona company Aclam shares my sentiments, apparently. To date, the company built the Dr. Robert, which honored the sounds of the Vox UL730s on Revolver and Sgt. Pepper, and the Mocker, which aped the fuzz circuit from that amp.

Aclam’s latest, the Go Rocky Go, pays homage to another Vox amp that graced Abbey Road in those groundbreaking years: the Conqueror. The Conqueror left a less distinct, less well-chronicled mark on the Beatles' work than the UL730s or UL7120s. But it was definitely a part of The Beatles recording sessions (you can clearly hear the amp’s “MRB” selector at the end of “Birthday”) and is the likely source of many sounds on Magical Mystery Tour. Aclam’s Go Rocky Go dishes many fantastic Conqueror tones, and it’s dripping with psychedelic-era Beatles-ness—especially if you enjoy the more aggressive and distorted sounds from that period.

Magical Mystery Re-Routes

Aclam say they reproduced the Conqueror’s preamp topology part-for-part using an original Conqueror specimen (serial number 2004) as reference. With the MRB switch and distortion, they recreated much of the Conqueror’s functionality. There are a few significant differences, however. Aclam recreated the 2-channel amp’s brilliant channel exclusively. They added a second gain stage called the crunch channel, which splits the difference between the standard and distortion channel’s gain profiles. Aclam also made the bass pot more linear and precise than the amp’s. And unlike the Conqueror, the distortion circuit has its own output-level control.

Heavy Tripping the Light Fantastic

Though the Go Rocky Go will summon compelling tones from any guitar/amp combination, its basic voice is a natural fit for humbuckers and an EL84 amp. And depending on where you set the tone controls, it adds midrange focus and top-end running from sparkly to vicious. Black-panel Fender amps are less easily flattered by the humbucker/Rocky combo, but those tones can be carved into very precise, high-mid rhythm and lead sounds. With Fender single-coils, too, EL84s are a more organic match, but I’d be psyched to record with many of the hyper-focused high-mid sounds from the Go Rocky Go and a Fender guitar-and-amp pairing.

Adding the MRB switch to the mix (by pressing both footswitches) boosts either the 500, 700, and 1k MHz frequencies, just like three positions on a wah. Ostensibly, this narrows the pedal’s range. But the single-coil/Rocky tones with both Fender and EL84 amps are fascinating, generating sounds that would positively pop in mixes. Humbuckers seemed to summon the best from the MRB settings in both amp types—coaxing uniquely focused and burly midrange tones.

“You might think you know this distortion from Beatles records, but in the flesh it’s something much more substantial.”

Given the Beatles’ legacy as masters of pop, it’s easy to forget how tough they could be, and the Go Rocky Go gleefully, colorfully embodies that facet of the band’s personality in the distortion section. With any guitar and amp combination these sounds are snarly, nasty, and biting, but also massive. You might think you know this distortion from Beatles records, but in the flesh it’s something much more substantial. And while 6L6- or EL34-type distortion might be more even and full-spectrum in harmonic terms, the Go Rocky Go delivers a wicked, room-filling punch.

For a specialized pedal, $348 is a big investment. Listen with open ears and mind, though, and you’ll hear scads of different and brilliant tone colors in this stomp, including many that—surprise!—would benefit and intrigue curious and intrepid studio artists. In my humble opinion, Go Rocky Go is a ripper. But ’66-’68 Beatles tones may not be everyone’s ideal, and though often muscular and hard-hitting, they dwell some distance from Marshall or Fender archetypes. That, however, is the beauty of the Go Rocky Go, and if it’s good enough for the Fabs, it’s good enough for me.

With a 'bang for your buck' reputation, Squier introduces a classic vibe Telecaster with a twist - a Bigsby Licensed trem.

Sum 41’s Deryck Whibley has been reunited with his beloved Fender Telecaster, which had spent 20 years on display at the Hard Rock Cafe in Florida.

Back in February, Whibley wrote a post on Instagram about his love for the guitar, in which he asked if he could “work something out” with the cafe in order to have it back. He owned the guitar for a few short years during the band’s Does This Look Infected? era before he gave it away.

• READ MORE: Sum 41 on their swansong: ”We’re all, seriously, having the time of our lives right now”

In his original post shared earlier this year, Whibley spoke of the guitar’s origin story and how it accompanied him for most performances the band did alongside Iggy Pop, including an MTV Awards performance of their collaborative track, Little Know It All, which features on Pop’s 2003 album, Skull Ring.

“Back in 2003, I had just started playing Fender and only had one black Telecaster, but needed a backup. We were on the road in the US when I asked them if they could send me out something quick,” Whibley wrote. “I never specified any particular colour or style, I just said I needed something fast.

“A few weeks later, this pewter grey Telecaster showed up. I fell in love with it immediately. I went to town decorating it in my own style. I tried lighting it on fire the same way I did with my Les Pauls, but the finish just didn’t burn up the same way so I just threw some stickers on it instead,” he said.

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A post shared by Deryck Whibley (@deryckwhibley)

Having missed the guitar so much, the cafe has happily to return the guitar to his ownership once again. In a new Instagram post featuring the Tele, Whibley writes, “After 20 years on display at the Hard Rock Cafe, this guitar is finally back in my hands — and it feels amazing to plug it in again.”

He continues, “I was happy to have it on display at the Hard Rock for so long – it felt like part of my history belonged in their collection. But getting it back now, after all these years, feels like being reunited with a piece of myself I thought was gone forever. Thank you Hard Rock Cafe.”

Whibley also notes that the guitar is now fitted with a Seymour Duncan SH-4 JB humbucker, and in his new Instagram video, he’s running it through a Wizard MC II 50-watt. Take a look below:

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A post shared by Deryck Whibley (@deryckwhibley)

The post “Getting it back feels like being reunited with a piece of myself I thought was gone forever”: Deryck Whibley has been reunited with his Fender Telecaster that spent 20 years on display appeared first on Guitar.com | All Things Guitar.

Vai – who had a gruelling practice routine growing up– has shed some light on what it takes to become a virtuoso

Your guide to the best savings on guitar gear from all corners of the web

When Master of Puppets featured in Stranger Things back in 2022, it brought Metallica and metal music back into the eye of the mainstream once again.

Yep, when the band’s 1986 thrash metal mega-hit featured in the hit Netflix show’s Season 4 finale, people went wild, with many guitarists clamouring to test their downpicking mettle and learn its now-legendary riffs.

• READ MORE: “A bottle rocket of creative spirit” and a “motherf**ker on six strings”: The guitar world pays tribute to Mastodon’s Brent Hinds

And now that Master of Puppets – or an industrial-flavoured remix of it, at least – has featured in the latest trailer for Black Ops 7, the upcoming installment of Call of Duty, are we about to see a similar revival?

The Call of Duty franchise reportedly has over 100 million active monthly players across all its titles – with many regularly tuning into Warzone, the battle royale behemoth whose popularity was massively propelled during Covid.

So it stands to reason that a large subsection of this enormous player base will have checked out the trailer for the upcoming Black Ops 7, and not all of those will be familiar with Metallica and the thrash classic that is Master of Puppets.

In my mind, two things stand in the way of the track having a revival similar to that ignited by Stranger Things, though.

One: the track is quite significantly chopped up, edited and remixed, with a futuristic industrial sound which more closely aligns with Black Ops 7’s future-tinged aesthetic and gameplay. Thus, the frantic 200bpm-plus downpicked riffs are slightly harder to make out, and will likely cause fewer ears to perk up as a result.

And two: the track’s inclusion in Stranger Things saw protagonist Eddie Munson literally playing the song mid-episode on his electric guitar in order to scare away a flock of demonic bats. Yep, MoP will tend to do that.

The fact that this scene appeared during the season finale, when the audience had built up a strong affinity for one of the main characters who played the riffs, would have no doubt contributed to many picking up a guitar and giving it a go themselves.

Therefore, it’s unlikely Master of Puppets will have quite the same resurgence – pardon the pun, for the very select few of you that will understand that reference – as it did in 2022. But ultimately, we’re always happy to see metal represented in the mainstream. So props, Call of Duty.

At the time of writing, the new trailer has received nearly 35 million views on YouTube in just two days. Check it out below:

That said, the Call of Duty franchise is no stranger to collaborating with metal artists on its titles. Huntington Beach metal juggernaut Avenged Sevenfold – who have supported Metallica on numerous occasions – have worked with CoD developers many times, contributing tracks including Not Ready to Die and Carry On to the series’ soundtracks.

Watch the video for Carry On below, in which members M. Shadows, Synyster Gates, Zacky Vengeance and Johnny Christ are transformed into in-game characters.

The post Is Master of Puppets about to have ANOTHER ‘resurgence’? Metal fans rejoice: Metallica’s 1986 mega-hit features in new Call of Duty trailer appeared first on Guitar.com | All Things Guitar.

Ted Drozdowski considers his time at his favorite guitar magazine, his life in music and journalism, and what the future holds as he retires.

I’ve truly enjoyed sharing stories and ideas with you these past few years, and value the time I’ve been able to spend with every member of the Premier Guitar community. But—even though horses make me a little anxious—it’s time to ride on down the road. Not into the sunset, though. You can expect to see my byline in future issues and still drop me a line at my email address here. Or you can connect with me on social media and join me in my creative exploits, where I will continue to chase music and the adventures it brings.

I’ve been at Premier Guitar for a decade now, and have served as editorial director for most of the past three years, so this decision doesn’t come lightly. I’ve been able to do a lot of work here that I’m proud of, from interviewing artists ranging from Carlos Santana to the Messthetics, to writing odes to personal heroes like R.L. Burnside and Sonny Sharrock, to gently guiding the magazine in a direction that I hope has served you well and will continue to do so under the leadership of my colleague and friend Richard Bienstock. Rich and I met when I was writing for him at Guitar World and Guitar Aficionado years ago, and more recently he’s taken to writing for us here at PG. The wheel turns. Rich is an exceptional editor and I know you will enjoy what he brings.

“You can never have enough friends in this life. And the ones who inspire and encourage you are especially precious.”

Will I miss feeling the pulse of exciting new gear and music on a daily basis? Sure! But after 47 years as a music journalist, I won’t miss the perpetual deadlines—or the tyranny of the alarm clock! I have a long list of personal musical projects to shepherd and pursue—most prominently the feature film The River: A Songwriter’s Stories of the South, which I made with my cosmic roots band Coyote Motel. It’s a psychedelic musical cultural history that is plucked from the pages of my interests and life over the past 30 years. In a final shameless plug within these pages, it is available on several streaming outlets now and as a DVD, and I urge you to satisfy any curiosity you might have about me and my musical interests—think David Gilmour and Sonny Sharrock meeting R.L. Burnside, the Band, and Son House at the intersection of highways 61 and 49.

Speaking of community, which I value greatly, one of the most wonderful things my time at PG has allowed me to do is reconnect with guitarists and other musicians I’d fallen out of step with during the years I was breathlessly freelance writing and ripping around the U.S. and parts of Europe with my earlier bands. Like touring, it’s also allowed me to make many wonderful new friends, from readers who‘ve exchanged emails with me and come to my gigs (you know who you are—thank you!) to artists whose art and personalities have inspired and delighted me, and with whom I’ve grown close. That is certainly something that I hope continues, because you can never have enough friends in this life. And the ones who influence and encourage you are especially precious.

Finally, I’d like to compliment my colleagues in every department of this magazine. They are a tight-knit bunch with myriad skills, and it’s been a pleasure working with them. Many of them are damn fine guitar players, too. Premier Guitar is not part of an international publishing conglomerate. It is an independent business that has stood the test of time, the challenges of Covid, and now the economic uncertainties that each day’s headlines seem to bring. It’s been an honor, my friends—and for me, a beautiful way to bring my journalism career to a crescendo. Although, once again, not a finale.

Now, if you’ll excuse me, I’m heading to the beach.

A capo can offer your playing so much more than a key change. Here are my favorite creative ways to use a capo

As a player who always wanted to be weird, LaLonde is in the right band. Recent adventures include saving the guitar Alex Lifeson gave him from a wildfire, dealing with 7,000 drummer applications, and raiding a Guitar Center when Primus' gear got stuck in snow