General Interest

The high-powered Southern rockers return for a full-on Rig Rundown.

From couchsurfing to playing the Ryman, rockers Whiskey Myers of Palestine, Texas, have had one hell of a Cinderella story. We caught up with guitarist John Jeffers back in 2021 for a virtual Rig Rundown, but this time around, ahead of the September release of their seventh LP, Whomp Whack Thunder, PG’s Chris Kies met up with Jeffers and rhythm guitarist Cody Tate before their July 19 gig at Nashville’s Ascend Amphitheater to get a tour of their latest and loudest noisemakers.

Brought to you by D’Addario.

Parting Gift

This ’90s Gibson Les Paul is Jeffers’ most treasured guitar, gifted to him by Tate’s uncle—an avid collector—before he passed away. It’s loaded with a DiMarzio Super Distortion and a “Jeff Beck” pickup, which is how it came to Jeffers. He strings it with .0105s.

Murphy Magic

This 1960 Les Paul reissue was hand-painted by Gibson’s custom-shop whiz, Tom Murphy.

Flavor of the Night

Jeffers has long been a Vox AC30 Hand-Wired player, but recently he’s been throwing Oranges into the mix, including a Custom Shop 50. He’ll decide night-to-night which amp he wants to go with. The Voxes have Weber Silver Bell and Blue Dog speakers, and the Orange has Celestion Vintage 30s.

John Jeffers’ Pedalboard

After a Lehle volume pedal, Jeffers stomp station has a Boss TU-3w, a Dunlop wah, PCE-FX Aluminum Falcon, Union Tube and Transistor More, Empress Compress Mk II, Interstellar Octonaut Hyperdrive, Boss BF-2, EarthQuaker Devices The Depths, two Skreddy Echos, and a Hermida Audio reverb. Jeffers jumps around them all with a Voodoo Lab PX-8 PLUS True Bypass Programmable Pedal Switcher.

Guitar Center Special

Tate calls this Fender Stratocaster a “Guitar Center special,” which he’s had for 15 years now. It’s mostly stock, save for some custom wiring. He plays it with Ernie Ball Slinkies, mostly in the middle position for rhythm playing.

Brown Beauty

Tate fell in love with this heavily modded Strat when he saw it on Reverb, and he had to pull the trigger. He’s not sure what the pickups are—especially the Gretsch Filter’Tron-style bridge unit—but it’s got the signature Strat bounce with a bit of extra grease.

Marshall Law

Tate runs two Marshall JCM800s, one 50-watt and one 100-watt, through four custom cabs loaded with Weber 12" speakers.

Cody Tate’s Pedalboard

Cody’s board is slightly more restrained than Jeffers’. It includes some of the same units, including a Boss TU-3w, Dunlop wah, and Empress Compressor Mk II, plus a JHS Unicorn, Prestige, and Morning Glory. A Boss ES-5 handles the switching.

Boss TU-3w

Empress Compressor Mk II

EarthQuaker Devices The Depths

Orange Custom Shop 50

AmpRx Backline 1200

Voodoo Labs Switcher

Boss ES-5

JHS Morning Glory

JHS Unicorn

JHS Prestige

Dunlop Wah

Boss TU-3w

Marshall JCM 800

Fender Stratocaster

Gibson Les Paul

Gibson SG

Gibson Firebird

Hinds has seemingly shed more light on his surprise Mastodon departure in a recent comment on social media

The virtuoso has recently been leaning into more soundtrack-adjacent work, with her guitar chops on full display in the soundtrack of the new DC Universe movie

The MS-00 is a guitar that’s straightforward, well-balanced, and built to be played, not pampered

The early 1980s custom build, which was played on tour and once owned by Mick Mars, ushered in a watershed moment for Kramer and the guitar industry

It’s the kind of guitar that belongs in a museum – but this October, it’ll be on the auction block instead.

Eddie Van Halen’s custom-built 1982 Kramer electric, one of the most recognisable instruments in rock history, will go under the hammer for the very first time at Sotheby’s this fall.

The sale is part of the auction house’s inaugural Grails Week in New York (21-28 October), where it’s expected to fetch between $2 million and $3 million.

• READ MORE: “For someone to do it better than him, they’re gonna have to reinvent the guitar all over again”: Kirk Hammett thinks no guitarist will ever eclipse Eddie Van Halen

Based on Eddie’s original “Frankenstein” from 1975, the Kramer was personally modified by Van Halen himself during a visit to the Kramer factory in Neptune, New Jersey. Photos from the time show him working on the guitar with an electric drill before it was finished in his trademark black, white, and red striped design. The back of the headstock is marked “#1 Edward Van Halen Model.”

The guitar made its live debut on Van Halen’s Hide Your Sheep Tour in 1982 and was played throughout 1982 and 1983 on US and South American dates, including shows in Philadelphia, Caracas, São Paulo, and Buenos Aires.

Eddie later gifted the instrument to his longtime guitar tech and friend Rudy Leiren, inscribing it: “It’s Been a Great Ten Years – Let’s Do Another Ten. Eddie Van Halen.” Leiren eventually sold it to Mötley Crüe’s Mick Mars, who used it extensively during the recording of Dr. Feelgood.

“Van Halen was endlessly striving to create the ultimate guitar for tone, playability and dependability,” the listing notes. “This Kramer guitar personifies not only EVH’s innovative playing style but also his passion for design and engineering.”

As Sotheby’s notes, the original 1975 Frankenstein guitar – which this Kramer was based on – was the manifestation of Eddie Van Halen’s goal to combine elements of Fender and Gibson electric guitars into a new instrument not commercially available at the time.

The auction lot also includes the original Kramer hard case and a letter of authenticity from Mars, who wrote: “Hope you enjoy it as much as I did. Also it’s a great piece of history.”

Learn more at Sotheby’s.

The post “#1 Edward Van Halen Model”: Eddie Van Halen’s modded 1982 Kramer guitar – also used by Mick Mars to record Dr Feelgood – is headed to auction appeared first on Guitar.com | All Things Guitar.

What can $300,000 get you? Dozens of Gene Simmons’ “roadie for the day” experiences, an actual private island in the UK – or, if you’re a Foo Fighters fan, the very first Gibson DG-335 signature prototype ever made for Dave Grohl, complete with a “disgusting dried sweat soaked strap” for that extra slice of rock ’n’ roll DNA.

• READ MORE: The Story Of Dave Grohl’s Signature Gibson DG-335

Currently listed on Reverb by Skylight Guitars in Bakersfield, California, the instrument is being sold on behalf of its current owner – one of Grohl’s former guitar techs. According to the listing, this Pelham Blue-finished prototype was played on Echoes, Silence, Patience & Grace and toured extensively from 2005 until the first production models arrived in 2007, after which it was retired.

Built at the Gibson Custom Shop in Nashville, the DG-335 was inspired by Grohl’s favourite guitar, the Trini Lopez ‘67 signature model. The seller says they had a hand in the axe’s “design, neck shape, pickups, and choosing a more road-worthy tailpiece than the original Trini’s trapeze – even at Dave’s protestations”.

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The project reportedly began in 2001 “after Dave expressed an interest in his own signature guitar” but it took until 2005 for the prototype to reach his hands – “a very slow process that nearly dissolved several times,” the seller recalls.

Which is why parting with the guitar, they admit, isn’t easy.

“The selling of this guitar is an emotional endeavour,” they write. “It was given to me by the best boss and one of the most wonderful human beings I have ever known. This is the most valuable thing I own in terms of emotional attachment.”

The guitar is said to be “in near perfect shape,” thanks to years of care from the very tech now selling it. It’s housed in a “custom fitted anvil style case that’s pretty much bulletproof” and, for the full Grohl experience, comes shipped with a guitar strap that’s racked up some serious Foo Fighter mileage.

“We will also include the disgusting dried sweat soaked strap that was used from 2005 to 2007,” the listing states.

Learn more at Reverb.

The post Got $300k to spare? Dave Grohl’s Gibson DG-335 prototype – complete with its “disgusting dried sweat soaked strap” – is now up for grabs on Reverb appeared first on Guitar.com | All Things Guitar.

NYC’s the Wants return with Bastard, a sophomore album that transforms personal tragedy – and yeah, some additional bad luck – into a groundbreaking sonic landscape

Walrus Audio’s new utility pedal is designed to sit at the end of your pedalboard and deliver silent practice options

Weight is one of the thorniest issues in guitar. We all have our preferences – but should there be a limit?

Physical Graffiti was Led Zeppelin’s sixth album and probably still stands as the most diverse and experimental LP. The 1975 double-album stylistically it blended middle eastern music, folk, hard rock, blues, funk, and orchestral music into something that was still cohesive and sounded like Led Zeppelin.

• READ MORE: The story of Jimmy Page’s Led Zeppelin Les Pauls: four guitars that shaped Led Zeppelin

This experimental nature may have owed itself partially to the fact that the band now had its own label, Swan Song Records, which gave them much more creative control over their music than ever before. In this article, we’ll discuss the gear that Jimmy Page used to create the diverse tones we hear on the record.

Physical Graffiti was recorded over the span of just a few months, but some of the songs had been bouncing around the Led Zeppelin camp since 1970, consisting of outtakes from previous records. Others were written and recorded at Headley Grange, the same place where the band recorded their iconic fourth album.

Electric Guitars

By the time of Physical Graffiti, Jimmy Page reports that he was very much partial to his Gibson Les Paul Standards (“Number One” and “Number Two”) as the main electric guitar for most tracks. The two 1959 Les Paul Bursts were very similar and often confused, but Number Two served as more of an experimental platform for Page. Both guitars had necks that had been shaved down to a thinner profile. Page told Guitar World in 1998, “By the time of Physical Graffiti, the Les Paul was my main guitar for almost everything.”

Page received his Gibson EDS-1275 Double-Neck guitar in 1971 and found it useful in the studio for songs where a 6 and 12 string were both needed at different points in the song. This was the case on Ten Years Gone especially. There is also some speculation that a Stratocaster or Telecaster was used on Ten Years Gone, but as far as we can tell, Page’s blue Stratocaster and his Brown 1953 Telecaster with the B-Bender were purchased after the recording of that song which took place in early 1974. It doesn’t mean that a Strat or Tele were not used on the album, but at least it was not one of those two, as some online sources claim.

Page also had a 1961 Danelectro 3021 model that he used for alternative tunings and slide work such as on the cover of the classic blues song In My Time of Dying. It is also widely believed that Page used this guitar on the iconic track, Kashmir, as Page told Guitar World in the aforementioned 1998 interview, “The Danelectro was essential for open tunings.” In the live setting, Page generally relied on his “Number Two” Les Paul to perform Kashmir.

Acoustic Guitars

The album does have some acoustic tracks, which were the product of a Martin D-28 and a Harmony Sovereign H-1260. Page told Acoustic Guitar in 2010, “The Martin and Harmony were my go-to acoustics for that era.” The Martin was purchased in 1970 and outfitted with a Barcus-Berry Model 1355 Transducer pickup, paired with a Barcus-Berry Model 1330S Preamp sometime around the time of the recording of Physical Graffiti. The Harmony had also been in Page’s collection for several years prior to the recording of Physical Graffiti. We know he owned it and it was believed to be at Headley Grange during the time the album was recorded but there is no confirmation which acoustic was used on which songs.

Amplifiers

According to Page, Physical Graffiti’s sound was the result of three different amplifiers. The primary amp for electric guitar and “heavy” tones was a collection of Marshall Heads, which, as far as we know, consisted of two 1959 Super Leads and one modded Super Bass, with the Super Bass being Page’s main amp at the time and it is presumed that this was the main amp used on the album.

As for the mods on the Super Bass, that is a bit of a mystery (not an uncommon finding in the world of Jimmy Page). In a Guitar Player interview in 1977, Page claimed that Tony Franks made them “200 watts” and put “KL88” tubes in them. So, there is still some confusion on the exact nature of the mods done to his amps that we may never know. The folks at Page’s amp brand, Sundragon, made a recreation of the modified Marshalls, but when we reached out to them, they were, predictably, unwilling to share what the mods in the original were.

The clean tones and overdriven tones were often the result of a Fender Super Reverb (a 1968 model). While it’s not confirmed that the Supro Coronado 1690T that he used for all of Led Zeppelin’s first album was used on Physical Graffiti specifically, we know he still had it and would occasionally use it for “different colors” in the studio. This sort of experimentation and using different amps for different tones was almost essential given the wide range of sonic textures found on Physical Graffiti.

Effects

While Page was not a man known for outlandish use of effects, relying instead of his guitar, amp and fingers to build his tone, he did use some effects on Physical Graffiti that are worth examining. He used a Maestro Echoplex EP-3 for tape echo, and more subtly as a preamp boost. The EP-3 was the first solid state version of the Echoplex which came out in 1970. Page used a Vox V846 Wah as well. He used a Sola Sound Tone Bender Mk II for fuzz and some of the more saturated lead tones. He used an MXR Phase 90. Lastly, a violin bow, most notably on the song, In the Light.

Physical Graffiti still stands as one of Led Zeppelin’s most diverse-sounding records, and, not unlike a lot of Led Zeppelin lore, it still has some mystery regarding the gear that is used on it. As much as it pains me, as someone who tries to track down this sort of information, perhaps that’s how it should be – after all, the mystique of Led Zeppelin is as much a part of their legacy as their sound was.

The post The Gear Used by Jimmy Page on Led Zeppelin’s Physical Graffiti appeared first on Guitar.com | All Things Guitar.

"The Best Telecaster I've Ever Played" —John Bohlinger

Pablo Picasso had his famous Blue Guitar. Now, so does Brad Paisley, courtesy of the Fender Custom Shop. Last Wednesday, Paisley unveiled his latest signature model, the “Lost Paisley” Telecaster, at a Q&A session and mini concert at Fender’s East Nashville headquarters. The instrument is an exacting reproduction of Paisley’s own, rare 1967 Tele in a stunning, practically glowing, blue-flower paisley finish, with custom-wound Seymour Duncan pickups and a bender that can be set to the B string or, as Paisley prefers, the G string. Spoiler: It looks and sounds badass, even with Paisley playing through a Fender Champ, which you’ll experience when you watch our video. The street price for this limited edition instrument is $7,000.

A Soulful Sound for More Players: Taylor’s Gold Label Collection Grows

For years, Taylor Guitars design guru Andy Powers was ruminating on a sound. It was something deep and warm, with the soul of a bygone era—but unrealized in Taylor’s lineup.

The BIGGEST Metal Pedalboards We've Covered | Rig Rundown BEST-OF

Step into the world of colossal, meticulously crafted pedalboards that power some of the heaviest, most creative guitar tones in modern music.

A Mysteriously Excellent Kay Effector

Guitar players today don’t know how good they have it. Inexpensive guitars imported from outside the U.S. are widely available, dependable, and high quality for the price. Folks in the ’60s and ’70s weren’t so lucky. Most instruments made at beginner-friendly price points by brands like Harmony and Kay were inferior to the Martins and Gibsons they copied, but a top-of-the-line Harmony had high-end features. Once you started looking at models with fancy inlays and multiple pickups, some cost even more than low-end and mid-priced Gibsons.

Where to Start with Funk Guitar

The 1960s saw the rise of many legendary guitarists bringing us revolutionary new styles and techniques that we still use and build upon to this day. Arguably, one of the less heralded is Jimmy Nolen whose recordings with James Brown gave birth to the funky 16th-note, scratchy staccato-style playing that has become such an iconic building block of popular music to this day. To cover all the great players who have added their own unique flavor, from Freddie Stone to Nile Rodgers up to Cory Wong, would fill a whole book. But to think of funk guitar playing as purely a gimmick would be a huge mistake as these techniques can be seen across so many styles of music. Ultimately, if you want to be hired as a guitar player, chances are you will need to funk it up at some point. Here are the building blocks to start grooving with the best of them.

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Pablo Picasso had his famous Blue Guitar. Now, so does Brad Paisley, courtesy of the Fender Custom Shop. Last Wednesday, Paisley unveiled his latest signature model, the “Lost Paisley” Telecaster, at a Q&A session and mini concert at Fender’s East Nashville headquarters. The instrument is an exacting reproduction of Paisley’s own, rare 1967 Tele in a stunning, practically glowing, blue-flower paisley finish, with custom-wound Seymour Duncan pickups and a bender that can be set to the B string or, as Paisley prefers, the G string. Spoiler: It looks and sounds badass, even with Paisley playing through a Fender Champ, which you’ll experience when you watch our video. The street price for this limited edition instrument is $7,000.

In 1968, Fender introduced the short-lived Paisley Red and Blue Flower finish options on the Telecaster and Telecaster Bass—drawing influences from the “Summer of Love.” These instruments were adorned with decorative Cling-Foil and finished with a matching metallic burst, highlighting the vibrant colors in the intricately patterned paper. Many of these guitars fell victim to the unstable mix of thick paper, weak adhesives, polyester clear coats and time, eventually showing major chipping and flaking, driving players to refinish their guitars. Others we simply repainted to cover up the polarizing original finish. Once discontinued in late 1969, these guitars and basses seemed to vanish into the ether.

Over the following six decades, these unsung heroes of free spirit movement would pop up in vintage guitar shops and for sale online, eventually beginning to accrue a cult-like following. Call it nominative determinism or sheer luck, country music singer-songwriter and Telecaster evangelist Brad Paisley became enamored by these misfit late-‘60s guitars, ultimately becoming the modern-day face of any and all paisley-themed finishes.

Flash forward to present day, and through a fortuitus twist of fate, while Brad was studying guitar building, he was gifted what looked to be lightly used sheets of Blue Paisley patterned Cling-Foil – straight from the ‘60s. Driven by his newfound obsession over this Blue Paisley Cling-Foil, Brad teamed up with close friends Zac Childs and Joe Glaser to not only refinish one of his road-tested 1967 Telecasters, but to meticulously recreate vintage-accurate Paisley Cling-Foil paper.
In partnership with Brad Paisley, the Fender Custom Shop is proud to introduce the Limited Edition 1967 “Lost Paisley” Telecaster. The swirling, pulsing and blinding carousel of blues, greens and silvers of the Blue Paisley Relic finish brings a perfect balance of vintage charm to the unique alder, paulownia and spruce Telecaster body. Featuring a custom ‘60s Oval “C” shaped maple neck and round-laminated maple fingerboard, Seymour Duncan "Lost Paisley" Telecaster Pickups and a Glaser “G” Bender System, this guitar looks, sounds and feels like Brad’s #1 Tele.

Other premium features include 7.25" (184.1 mm) radius, 21 narrow tall (6105) frets, Modern Tele wiring, 3-way switch, ’67 Telecaster bridge with Glaser Bender System, vintage-style tuners, bone nut, wing string tree, period-correct Fender strap and certificate of authenticity.

Attention, tone chasers! Ever dreamed of harnessing that legendary Klon-like overdrive with modern versatility? Now’s your chance.

Keeley Electronics Manis Overdrive Giveaway

Keeley Electronics Manis Overdrive

The Keeley Manis Overdrive uniquely combines both germanium NOS transistors and diodes for more compression and saturation plus a 3db bass-boost makes it unlike any other mythical Klone!

Keeley pens the next chapter in the legend of the mythical Klone with several storied upgrades and features. First up is the germanium diode switch. The “essential” germanium diodes are at the heart of the myth. By substituting essential germanium diodes with germanium transistors (circa Cold War era) we increase the compression and saturation of the tone. The Manis can give you a softer attack that sounds more like a tube amp. Less ice-pick, more tube amp. This feels incredible under your fingertips too. Wouldn’t you like to hear a little more of the natural low end from your guitar? The bass boost switch lowers the cutoff by exactly one octave and increases the output by +3dB. It’s the perfect low end recovery and push for single coil guitars. True Bypass or Buffered Silent Switching on the fly. The Manis is built like a tank and is the first klone you can power with 18 volts. The Manis is a Hard Clipping ‘clean boost’ that has been updated and modernized with our power supply improvements as well as other mind bending fixes to the inherent tonal problems of the original circuit.

• The Manis is Hard Clipping “clean boost” using Russian transistors as germanium diodes
• Ge-Trans Switch – Diodes or Transistors – Huge difference in feel with increased saturation and tube like compression
• The Bass+ Switch – Lowers the frequency response by one octave and then pushes 3dB harder
• True-Bypass or Buffered Bypass/silent Switching – Whichever works and sounds best in your rig.

At just 39 years old, Barry Stock experienced a life-threatening incident on stage

For years, Taylor Guitars design guru Andy Powers was ruminating on a sound. It was something deep and warm, with the soul of a bygone era—but unrealized in Taylor’s lineup.

Like any relentless innovator and natural luthier, Powers set out to develop an instrument that could channel this “new-old” sound while preserving the essential feel and musicality of a Taylor guitar. That effort came to life with the unveiling of the Gold Label Collection, launched at the 2025 NAMM Show. This new family of guitars introduced a warmer, fuller, more robust acoustic voice to the Taylor landscape—one that lives comfortably alongside the high-fidelity sound Taylor players have long embraced.

The new heritage-style sound has been made possible by a three-part sonic recipe, including one of two new non-cutaway body shapes (the Super Auditorium and deeper-bodied Grand Pacific, a round-shoulder dreadnought), a new internal bracing pattern and an innovative long-tenon neck joint design.

The Super Auditorium was designed with a slightly longer body and wider lower bout than Taylor’s flagship Grand Auditorium, serving up an open, muscular sound with warm, heavy-bodied trebles. “There’s a kind of honesty in this voice,” Powers says. “It’s not about hi-fi precision or isolated detail—it’s about a more natural kind of musicality. There’s warmth and fullness, but it still responds easily to your touch.” With its comfortable proportions and balanced tone from the lower to upper register, the Super Auditorium retains the versatility of Taylor’s original Grand Auditorium while delivering a fuller, more traditional tone.

But the Super Auditorium wasn’t the only body style envisioned for the collection. Equally central to the lineup is a reimagined version of Powers’ original slope-shoulder dreadnought Grand Pacific, an acoustic shape that doubles down on the sonic warmth and depth that inspired the entire project. For the Gold Label Collection, he’s added an extra 3/8-inch of depth at the soundhole. The extra lung capacity creates a deeper resonant frequency and contributes to a sound that has been compared to “sonic comfort food.” Compared to the Super Auditorium, the Grand Pacific’s broader curves and deeper body yield enhanced low-end power and projection, with a more seasoned, blended sonic character that invites players to really dig in.

The aforementioned long-tenon neck joint is just one design element of Powers’ patented Action Control Neck™—currently featured exclusively on Gold Label models. The glueless, long-tenon design enhances the wood coupling between neck and body, further boosting low-end resonance. Perhaps the most ingenious part of the Action Control Neck’s design is its namesake string height adjustability. Players and technicians can adjust the action in seconds by using a quarter-inch nut driver (or standard truss rod wrench) on a bolt in the neck block, accessible through the soundhole. For guitarists jumping between different climate conditions, playing styles and musical applications, or just looking to dial in their ultimate playing setup, the Action Control Neck is a game changer. And the neck’s slim profile ensures players have the familiar hand-friendly playing experience expected from a Taylor guitar.

The first guitars to showcase the old-school sonic personality of the Gold Label Collection were a group of Super Auditorium models introduced at Taylor’s traditional 800 Series level, including the torrefied spruce/Honduran rosewood Gold Label 814e. After playing a Gold Label Super Auditorium for the first time, singer, songwriter and Asking Alexandria frontman Danny Worsnop says he was “blown away” by the warmth and fullness of the sound, and that he loved the easy neck adjustability. “It is a massive deal,” he says. “When it comes to traveling musicians, it’s absolutely game changing.”

Since the collection’s initial launch, Taylor has introduced a family of powerhouse Gold Label Grand Pacific models—three at Taylor’s 500 Series level, built with solid mahogany and torrefied spruce, and three at the 700 Series level, with Indian rosewood and torrefied spruce. Each model comes with one of three top finish options. The Gold Label 517e and 717e feature a natural top for a classic acoustic look. A black top finish and cream colored pickguard give the Gold Label 517e Blacktop and 717e Blacktop a bold, stage-ready visual presence. Players can choose either a cream or firestripe pickguard for the sunburst-top Gold Label 517e SB and 717e SB. The mahogany models offer a woody, dry attack and seasoned warmth, while the rosewood versions add extra depth and harmonic complexity.

Artists across genres have rallied around the Gold Label Grand Pacific models, praising their warmth, resonance and stage-ready presence. “There’s not a more popular instrument to play in Nashville than an acoustic guitar,” says solo artist Gina Venier, “and I feel like I’ve got the top dog in the game right now.” Others echo that sense of discovery and connection. Chris Conley of Saves the Day calls the Gold Label 717e “the world’s most perfect acoustic guitar,” citing its “neck so buttery and beautiful” and “resonance so rich and warm.” Tiger’s Jaw’s Ben Walsh describes his Gold Label 717e as “the acoustic guitar I will grow old with,” while Jon Simmons of Balance and Composure praises his Gold Label 517e for feeling “so natural to play” and sounding “perfect” both unplugged and onstage. Longtime producer and engineer Ben Moore (Blink 182, Switchfoot) put it succinctly: “At this point, I thought I knew what a Taylor guitar sounds like. I couldn't have been more wrong.”

Each guitar in the Gold Label lineup sports Andy Powers’ modified headstock shape, with an angled back cut and a script-style Taylor logo inlay. His newly stylized pickguard shape is another visual hallmark of the collection and gets a dual-layer treatment with an engraved “Continental” design on 800 Series models.

The Gold Label Collection introduces a new sonic dimension to what’s thought of as the “traditional Taylor sound”—one rooted in tradition and elevated by innovation. Whether you’re drawn to the versatility of the Super Auditorium or the power of the Grand Pacific, these guitars invite players into this new breed of Taylor tone, where old-heritage inspiration meets modern musical expression. Gold Label guitars are available at authorized Taylor dealers.

Metal is a musical multiverse, made up of wildly diverse sounds and sub-genres. Any two metal guitarists might want very different sounds out of their guitars – from doom-laden chugging and speedy sweep-picking to atmospheric arpeggios and emotive lead playing.

When choosing a metal guitar, think about your playing style first. Do you need the lower lows of an extended range guitar with seven or eight strings, or a baritone model? Is a six-stringer with excellent all-round capabilities better suited to your genre-blurring stylings? Are you partial to a spot of shredding?

To help find the best metal guitar for you, we’ve unleashed our resident metalheads on some of the best-loved instruments in the genre. You can read short summaries of their reviews below, or click the links for more detail on each guitar.

At a glance:

• Our Pick: Jackson Lee Malia LM-87
• For modern metal: Jackson Diamond Rowe Monarkh
• Best headless guitar: Strandberg Boden Essential 6
• Best seven-string guitar: Jackson Pro Series Signature Jeff Loomis Soloist SL7
• Best eight string guitar: Cort KX508MS
• Best thrash guitar: Gibson Dave Mustaine Flying V EX
• Best guitar for doom and stoner metal: Yamaha Revstar RSS02T
• Best shred guitar: Jackson Pro Plus Series Dinky DKA
• Best guitar for downtuning: Rivolta Mondata Baritone VII
• Best hardtail S-type for metal: Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras
• Best affordable guitar for metal: Guild Polara
• Why you can trust Guitar.com

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Our Pick: Jackson Lee Malia LM-87

Jackson Lee Malia LM-87 guitar. Image: Press

This sleek-looking Jackson may be a signature for Bring Me The Horizon’s Lee Malia, but it’s far from a one-trick pony. Thanks to Lee’s healthy appreciation for the vintage and the strange, his new Jackson signature covers a lot of sonic ground – there’s a slim neck and awesome weight and balance to the thing, perfect for long sets of extremely speedy riffs. The bridge humbucker is also voiced from grunt, and will provide all the beef you could ask for when smashing out down-tuned aggression.

But it also has a restrained P90-style single coil in the neck position, meaning you can get some much more restrained sounds out of it, and you can split the bridge to turn the whole guitar into something a lot more bright and articulate. Plus, its vibey offset shape and cool, thin finish helps it blend in no matter what style of metal you’re playing. At $899, too, it’s a pretty affordable guitar given the specs. A set neck, great frets and an open-pore finish for this kind of money shouldn’t be sniffed at!

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Need more? Read our review of the Jackson Lee Malia LM-87.

The best guitar for modern metal: Jackson Diamond Rowe Monarkh

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Tetrach guitarist Diamond Rowe’s signature Monarkh is an extremely cool metal-focused single-cut. With a shred-friendly cutaway and a tried-and-tested set of EMG humbuckers, it sticks to the things that work – while still having tons of its own personality. The finish is an awesome fiery burl, and the new headstock design is a little more “classic” while still being sharp and aggressive.

Being one of two Jackson signature metal guitars we reviewed relatively close together, there’s a temptation here to compare it to the Lee Malia signature – and in that respect, it takes quite a different tack. While Lee Malia’s guitar harkens back to the vintage and strange, Diamond Rowe’s offers a tighter focus on thrashy, heavy sounds.

Lee also spec’d his guitar to be light for extended stadium sets, whereas Diamond has opted for a more Les Paul-like experience – meaning this guitar is a good deal heavier, with a bit of a thicker neck.

Need more? Read our review of the Jackson Diamond Rowe Signature Monarkh.

Best headless to buy for metal: Strandberg Boden Essential 6

The Strandberg Boden Essential 6 in Elemental Blue

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Heads, you lose. Prog and tech metal stalwart Strandberg has been making high-spec headless guitars since the mid-noughties – and with the advent of the Boden Essential 6, you can now grab one of the brand’s convention-defying instruments for well under a grand.

Not only is this guitar a relative bargain; it’s a superb entry point into the uncanny world of headless guitars. Our reviewer rated the Essential Boden 6 highly for its lightweight, ergonomically contoured body, shred-friendly triangular neck profile and resonant tone. With a metal nut in place of conventional headstock hardware, open string notes meld imperceptibly with fretted playing.

Need more? Read our Strandberg Boden Essential 6 review.

Best seven-string guitar: Jackson Pro Series Signature Jeff Loomis Soloist SL7

We’re not usually the sorts to call a guitar an ‘axe’ – but in this case, the term seems apt. The SL7 is a masterfully realised metal archetype, geared for fast playing and all-round aggression – a la Nevermore’s Jeff Loomis.

As you’d expect, our reviewers get to grips with a lot of guitars. Even so, the SL7 has one of the skinniest necks and one of the lowest actions we’ve flung our fingers around in years – not to mention one of the gloomiest aesthetics, thanks to that satin-black basswood body. This guitar is no-frills, low-friction and metal to the bone.

Need more? Read our Jackson Pro Series Signature Jeff Loomis Soloist SL7 review.

Best eight string guitar: Cort KX508MS

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Making a great extended range guitar is pretty much rocket science – minus the E.T.. Cort has nailed the mission with its KX508MS eight-stringer, which combines an alien-looking sassafras body with down-to-earth playability.

The fanned fret layout is surprisingly intuitive, with excellent intonation across the ’board. Meanwhile, the KX508MS’s Fishman Fluence Modern pickups deliver a sculpted low-end that won’t compete for sonic space with your bassist.

As extended range guitars go, the KX508MS is affordably priced – although you’ll pay a little extra each time you need a fresh set of strings. Our reviewer reckoned this ‘entry level’ guitar could go toe-to-toe with pro models costing three times the price.

Need more? Read our Cort KX508MS review.

Best thrash guitar: Gibson Dave Mustaine Flying V EX

Thrash metal legend Dave Mustaine and Gibson sounds like a match made in Heaven (or should that be Hell?) The signature-edition Flying V EX proves it.

We loved the detailing on this toughened-up classic – especially the ebony fretboard and fang-shaped mother-of-pearl inlays. These innovations complement a classic V build, with the rounded wings, mahogany body and glued-in neck Gibson fanatics have come to expect. Tonally, we’re talking focused low end, moderate mids, and ultimately, a thrash-first sonic fingerprint.

Above all, the V EX looks like an authentic Flying V, and sounds like a legit Dave Mustaine signature guitar. Mid-century style meets hard metal substance in a symphony of destruction.

Need more? Read our Gibson Dave Mustaine Flying V EX review.

Best guitar for doom and stoner metal: Yamaha Revstar RSS02T

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This guitar oozes Matt Pike-style cool, and features two P90s that deliver some bona fide early Sabbath vibes.

Talk to any guitarist who was lucky enough to start out with a Pacifica, and they’ll tell you Yamaha guitars have a knack for outperforming their price point. The Revstar RSS02T is a higher-spec example, but the same rule applies.

When you’re done gawking at the RSS02T’s gorgeous sunburst finish and nostalgia-inflected silhouette, you’ll find it’s equally easy on the ear, with superb note articulation, rich cleans and some headily out-of-phase tones at positions two and four on the pickup selector.

Need more? Read our Yamaha Revstar RSS02T review.

Best shred guitar: Jackson Pro Plus Series Dinky DKA

Jackson Pro Plus Series Dinky DKA. Image: Adam Gasson

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If super-fast shredding is your obsession, look no further than the Pro Plus Series Dinky DKA. From the elegantly recessed control knobs to the super-slim neck, this guitar’s every detail seems honed for speed.

The Dinky DKA will get you where you’re going, fast, but it provides plenty of proverbial flowers to smell along the way. Our reviewer admired the arched top to the body, which acts as a comfortable armrest while your wrist runs riot, and the superlative Floyd Rose 1000 Series tremolo fitted as standard with this high-spec shredding machine. Meanwhile, the direct-mounted Seymour Duncan JB and ’59 humbuckers provide resonance, sustain and space for expression.

Need more? Read our Jackson Pro Plus Series Dinky DKA review.

Best guitar for downtuning: Rivolta Mondata Baritone VII

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We’ll come out and say it: more guitarists should play a baritone guitar, with heavier strings tuned to a range somewhere between a regular guitar and a bass. The Rivolta Mondata Baritone VII is a shining, brooding example of the often-overlooked species, offering up super-hefty sounds via its bridge pickup.

Chords, riffs and lead lines sound thrillingly thick and meaty with this guitar, especially when you run it through your best overdrive pedal. You can reassure the bassist or fellow guitarist in your band that you won’t be crowding them out of the mix, as the Mondata Baritone VII gives plenty of options to tweak your tone via the pickup selector and phase switch.

Need more? Read our Rivolta Mondata Baritone VII review.

Best hardtail S-type for metal: Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras

Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras

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Some metal musicians shy away from S-style guitars due to their sometimes-iffy bridge stability (or maybe because they’re more John Frusciante than John Matos).

If you do want the iconic shape and fluid playability of a Strat, but without those infamous tuning issues, check out the San Dimas Style 1 HSS HT E Sassafras from Charvel’s Pro-Mod series. This Stratalike incorporates a rock-solid, recessed Floyd Rose 1000 Series double-locking vibrato bridge that keeps your strings in-tune, even during virtuoso playing.

We should probably point out that this guitar sounds great, too. Its sassafras body adds depth beyond what you’d typically hear from alder or swamp ash, and that translates into some really meaty rock tone at the bridge pickup.

Need more? Read our Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras review.

Best affordable guitar for metal: Guild Polara

Image: Adam Gasson for Guitar.com

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Hovering bumblebee-like around the £500 mark, the Guild Polara is an accessibly priced model that doesn’t skimp on tone and playability.

This might look a world away from your average Jackson or Strandberg, but the SG-inspired Polaris is primed for hard rock and classic metal. Its tone is absolutely monstrous (a good thing!), and the machine heads do a great job of holding tune during high-octane playing.

You’ll get on with the Guild Polara if you’re all about thrills, and not so bothered about frills. Its design cuts right to the chase, with a simplified control layout consisting of master volume and a tone knob to wrangle its twin-set of HB-2+ humbuckers.

Need more? Read our Guild Polara review.

Why You Can Trust Us

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

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

The post The best electric guitars for metal – our top-rated Jacksons, Gibsons, Strandbergs & more appeared first on Guitar.com | All Things Guitar.

Fender has debuted the American Ultra Luxe Vintage series, a line of Strats and Teles which sit at the highest end of the brand’s current electric guitar lineup.

Offering vintage finishes with modern player-friendly features, the American Ultra Luxe Vintage range “redefines the balance between heritage and innovation”.

• READ MORE: The inside story of Noel Gallagher’s Oasis reunion Hiwatt amps: “We unapologetically make colossal sounding, big and heavy amps”
  

The new series comprises five models in total: the American Ultra Luxe Vintage ‘50s Stratocaster, ‘60s Stratocaster, ‘60s Stratocaster HSS, ‘50s Telecaster and ‘60s Custom Telecaster.

According to the Big F, this collection represents the “pinnacle of Fender innovation and craftsmanship, setting the benchmark for premium electric instruments whilst showcasing the finest of the brand’s heritage”.

Key features on all models include Heirloom lacquer finishes, Pure Vintage pickups and stainless steel frets. But naturally, we’ve got to first talk about those Heirloom finishes…

In fact, the American Ultra Luxe Vintage range is the first time Fender’s proprietary Heirloom finishes have featured on production line guitars, after first being introduced on Bruno Mars’ signature Strat in 2023.

Speculated to be an answer to Gibson’s Murphy Lab aging process, Fender’s Heirloom finishes aim to create a vintage worn look by letting the tonewood “breathe as it wears naturally and uniquely”.

Features present on each of the five guitars also include stainless steel frets with rolled edges – for “fast playing”, as well as “consistency and durability” – Modern D shape neck profiles and sculpted neck joints for uninhibited upper-fret access, deluxe locking tuners for quick string changes and superior tuning stability, Luminlay side dots and Graph Tech TUSQ nuts.

In terms of pickups, the new American Ultra Luxe Vintage models feature Pure Vintage single coils, while the ‘60s Stratocaster HSS is also loaded with a Haymaker humbucker. S-1 switches are present on each of the guitars’ volume pots, which allow guitarists to tap into a wider selection of pickup wiring options.

Colour options for each of the five models are as follows:

• ‘50s Stratocaster: 3-Color Sunburst, White Blonde
• ‘60s Stratocaster: Ice Blue Metallic, Surf Green
• ‘60s Stratocaster HSS: Fiesta Red, Seafoam Green
• ‘50s Telecaster: Butterscotch Blonde, White Blonde
• ‘60s Custom Telecaster: 3-Color Sunburst, Lake Placid Blue

“With the American Ultra Luxe Vintage series, we’ve redefined the balance between heritage and innovation,” says Fender’s Chief Product Officer Max Gutnik. “This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship.

“Every detail is built for exceptional tone, feel, and timeless style. We’re proud to offer players an elevated experience that respects tradition and sets a new standard for performance.”

“The American Ultra Luxe Vintage series offers musicians the best of both worlds: classic Fender design, timeless elegance, and historical significance, combined with modern sonic engineering’s unparalleled performance and versatility,” the brand adds.

“These instruments are an evolution that honours the legacy that continues to define the Fender brand while being cherished by a new generation of players.”

Pricing for each American Ultra Luxe Vintage model varies depending on specs chosen, but range from $2,849 to $2,999.

For more information, head to Fender.

The post Meet the new Fender American Ultra Luxe Vintage collection: Aged lacquer finishes meet stainless steel frets, locking tuners and shred-ready necks appeared first on Guitar.com | All Things Guitar.

The session legend proves once again that price is not always a representative of a guitar’s quality

Latest models combine modern playability with authentic vintage vibes, thanks to elements like Pure Vintage pickups, aged Heirloom™ lacquer finishes, and stainless-steel frets.

Fender Musical Instruments Corporation (FMIC) today announces the launch ofAmerican Ultra Luxe Vintage. Built upon the original American Ultra II models, this new collection represents the pinnacle of Fender innovation and craftsmanship, setting the benchmark for premium electric instruments whilst showcasing the finest of the brand's heritage – where timeless classics meet uncompromisingly modern technological refinement.

At the heart of this collection are the '50s and '60s custom editions of the legendary Stratocaster® and Telecaster® models. Paying homage to the golden era of Fender's innovation, these instruments all feature Pure Vintage Pickups with advanced electronics and S-1 Switching, to capture the distinctive sound and feel that has propelled the brand to pioneer status in its field. Every curve, contour, and detail has been carefully reproduced and finished in Meticulously Aged Heirloom™ Nitrocellulose Lacquer, with each guitar model boasting a quartersawn maple neck with upgraded stainless steel frets.

Complementing these classics is the HSS '60s Stratocaster® model, an instrument designed to offer expanded tonal versatility without sacrificing its vintage soul. With its powerful Pure Vintage ‘61 Single-Coil Strat® pickups at the neck and a Haymaker™ Humbucker sitting by the bridge, this model provides an extensive sonic palette; from warm, nuanced cleans to searing, high-gain leads, all while maintaining the iconic Stratocaster® voice, also finished in Fender’s trademark Meticulously Aged Heirloom™ Nitrocellulose Lacquer.

Key Features Include:

• Heirloom™ lacquer finish: A meticulously aged Heirloom lacquer finish lets the tone wood breathe as it wears naturally and uniquely.
• Iconic pickups: Get genuine classic Fender tone from the Pure Vintage pickups and powerful,

articulate crunch from the Haymaker™ Humbucker.

• Stainless steel frets: Fast playing and nearly indestructible, stainless steel frets are preferred for their consistency and durability

“With the American Ultra Luxe Vintage series, we’ve redefined the balance between heritage and innovation,” said Max Gutnik, Chief Product Officer, FMIC. “This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship. Every detail is built for exceptional tone, feel, and timeless style. We’re proud to offer players an elevated experience that respects tradition and sets a new standard for performance.”

The American Ultra Luxe Vintage series offers musicians the best of both worlds: classic Fender design, timeless elegance, and historical significance, combined with modern sonic engineering's unparalleled performance and versatility. These instruments are an evolution that honours the legacy that continues to define the Fender brand while being cherished by a new generation of players.

American Ultra Luxe ‘50s Stratocaster®

($2,849.99-$2,999.99 USD, £2,899.00-£2,949.00 GBP, €3,449.00-€3,499.00 EUR, $5,199-$5,399 AUD, ¥489,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 50s Stratocaster® features premium ash or alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless-steel frets, Luminlay® side dots and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’57 Strat® pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability. The American Ultra Lux Vintage 50s Stratocaster® delivers flawless modern performance with distinctive classic design. Available in3-Color Sunburst and White Blonde.

Fender American Ultra Luxe Vintage '50s Stratocaster Maple Fingerboard Electric Guitar

American Ultra Luxe ‘60s Stratocaster®

($2,849.99 USD, £2,899 GBP, €3,449, $5,199 AUD, ¥489,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 60s Stratocaster features premium alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless- steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’61 Strat® delivers classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability. The American Ultra Lux Vintage 60s Stratocaster® delivers flawless modern performance with distinctive classic design. Available in Ice Blue Metallic and Surf Green

Fender American Ultra Luxe Vintage '60s Stratocaster Rosewood Fingerboard Electric Guitar

American Ultra Luxe ‘60s Stratocaster®

($2,899.99 USD, £2,749 GBP, €3,249 EUR, $5,299 AUD, ¥500,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement.The American Ultra Luxe Vintage 60s Stratocaster® HSS features premium alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless-steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register.Under the hood, Pure Vintage ’61 Strat® single-coils deliver classic Fender tones, from sparkling cleans to rich, expressive leads while the Haymaker™ humbucker brings powerful, articulate crunch. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability.The American Ultra Luxe Vintage 60s Stratocaster® HSS delivers flawless modern performance with distinctive classic design. Available in Fiesta Red and Sea Foam Green.

Fender American Ultra Luxe Vintage '60s Stratocaster HSS Rosewood Fingerboard Electric Guitar

American Ultra Luxe ‘50s Telecaster®

($2,999.99 USD, £2,949 GBP, €3,499 EUR, $5,399 AUD, ¥511,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 50s Telecaster® features premium ash with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless- steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’51 Tele® pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 6-saddle string-though-body bridge with brass block saddles and deluxe locking short post tuners for quick string changes and superior tuning stability. The American Ultra Luxe Vintage 50s Telecaster® delivers flawless modern performance with distinctive classic design. Available in Butterscotch Blonde and White Blonde.

Fender American Ultra Luxe Vintage '50s Telecaster Maple Fingerboard Electric Guitar

American Ultra Luxe ‘60s Custom Telecaster®

($2,999.99 USD, £2,949 GBP, €3,499 EUR, $5,399 AUD, ¥511,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 60s Custom Telecaster® features premium alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless-steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’63 Tele® pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 6-saddle string-through-body bridge with chromed brass block saddles, and deluxe locking short post tuners for quick string changes and superior tuning stability. The American Ultra Luxe Vintage 60s Custom Telecaster® delivers flawless modern performance with distinctive classic design. Available in 3-Color Sunburst and Lake Placid Blue.

Fender American Ultra Luxe Vintage '60s Custom Telecaster Rosewood Fingerboard Electric Guitar