General Interest

If you’ve ever wondered what really happens at floor level in a Nashville studio, this one’s for you. We stitched together a handful of Rig Rundowns with the city’s busiest session guitarists, all focused on the real heroes of their rigs: the pedalboards. It’s equal parts gear tour, tone philosophy, and survival strategy for players who have to nail a part in one take.

Tom Bukovac Rig Rundown

Rob McNelley Rig Rundown

Sol Philcox-Littlefield Rig Rundown

Derek Wells Rig Rundown

Charlie Worsham - Full Rundown

Adam Shoenfeld

The acoustic guitar remains relevant because of the people who continue to do meaningful work with it. That’s why we make this magazine: to document and celebrate that work, and to keep the conversation going between musicians, makers, and listeners.

ILIO, leading distributor of virtual instruments and audio processing software, and Overloud, renowned for their innovative audio plug-ins and acclaimed Gem Series, proudly introduce Gem Fuse. Bringing together six analog-style processors in a single plugin, Fuse emulates an acclaimed modern stereo outboard unit with a level of authenticity never before achieved in software.

Designed for the mix bus and mastering, Fuse provides the tonal color, weight, and cohesion that define great analog hardware. At its heart is Overloud’s Harmonic Matching Technology, which precisely captures the frequency-dependent harmonics and “memory effect” of transformer-based circuits—where most digital emulations, even official ones, fall short.

Introductory Price: $69 (regularly $119).

Download the free trial or purchase here - https://www.ilio.com/overloud-gem-fuse

Six Processors, One Plugin

- Analog Preamp & HPF: Adds subtle coloration and warmth with a low-cut “Fat” option for preserving deep bass.
- Analog Drive: Harmonic saturation and gentle compression, from smooth thickening to aggressive tone.
- Indigo EQ: Musical low and high shelving EQ with carefully tuned phase response.
- HF Smoother: High-frequency dynamic processor for taming harshness with tape-like smoothness.
- Stereo Image: Frequency-dependent stereo enhancement based on the “Stereo Shuffling” technique.
- Transformer: Authentic low-end thickening and high-end sparkle through accurate transformer emulation.

Beyond the Hardware

Fuse enhances and expands upon the original hardware with modern conveniences:

- Resizable interface
- Built-in Mid-Side matrix
- Internal operating level calibration
- Multilevel undo/redo
- Extended parameter control for added flexibility

Whether placed across the mix bus or used in mastering, Gem Fuse adds the finishing character and cohesion that transform a mix into a record—now with the unmatched accuracy of Overloud’s Gem Series.

Learn more - https://www.ilio.com/overloud-gem-fuse

Cort Guitars announces the launch of the Earth GO, a compact acoustic guitar that seamlessly blends classic tonewoods with modern smart technology. Designed for musicians seeking portability, versatility, and innovative features, the Earth GO brings intelligent performance capabilities to a traditional acoustic form.

The Earth GO features a 3/4 size mini dreadnought body, making it ideal for travel, casual play, or players with smaller hands. A solid Sitka spruce top delivers clarity and responsiveness, while mahogany back and sides provide warmth and depth. This time-honored tonewood pairing ensures a balanced and resonant acoustic voice. The guitar’s neck is constructed from mahogany and shaped with a comfortable “C” profile, paired with a 22.8” (578mm) scale length for easy playability. A laurel fingerboard with 6mm white dot inlays and a 15.75” radius adds to the natural feel, while the PPS nut (43mm wide) and 19-fret configuration support accurate intonation. Both open pore and open pore brown burst finishes complete the vintage aesthetic.

At the heart of the Earth GO lies the HyVibe H2 smart system, which turns the guitar into a self-contained performance hub. Built-in features include customizable effects such as reverb, chorus, delay, tremolo, octaver, phaser, and distortion—without the need for external pedals. Players can stream backing tracks via Bluetooth, loop melodies, tune up with the integrated tuner, or keep time using the onboard metronome. Whether practicing at home or playing live, these intuitive tools offer unmatched creative freedom.

Hardware details include die-cast tuning machines with black knobs, a dual-acting truss rod for neck adjustments, and a laurel bridge paired with a PPS saddle. The Earth GO comes factory-equipped with coated strings for extended life and best feel. Each guitar includes a gig bag for even more portability and convenience when travelling.

For additional information on the Earth GO, please visit www.CortGuitars.com.

Street Price: $549.99 USD

So-called “jazz” or “jazzy” chords were in use long before jazz, but it’s jazz musicians who have, arguably, made those most of 7th and extended harmonies. So, what are they? Simply put, jazz chords are triads—chords built from the 1, 3, and 5 of any given scale—with added 7, 9, 11, or 13 intervals. They can also include alterations, such as b5s, #5s, b9s, and #9s.

Rather than bog you down with more theory, let’s put these chords into practice, with plenty of points of reference from the rock genre. Along the way you should naturally start to develop an ear for, and an understanding of, their colorful sounds and benefits.

Classic Rock

Let’s start with one of the best-selling albums of all time, Pink Floyd’s Dark Side of the Moon. Maybe Floyd’s inclusion of jazzy chords is one of the reasons people still find this album appealing and refreshing.

Ex. 1

Ex. 1 is a variation on the end of Floyd’s “Time”—aka “Breathe (Reprise).” This example, complete with flange effect, demonstrates both Em9 and A13 arpeggios. In the key of D, that’s the IIm chord moving to the V chord, an E Dorian sound. These are followed by the essential chord shapes for both major 7 and minor 7 (in this case Cmaj7, Bm7, Fmaj7, Em7). We end with the so-called “Hendrix chord,” a 7#9, moving to a 7b9 chord (uncommon in rock), resolving to a second major 7 shape. This is a tremendously valuable progression, and time (no pun intended) should be taken to memorize all of the chord shapes.

Ex. 2

Ex. 2 comes to us via Led Zeppelin’s eclectic double album Physical Graffiti, specifically “Ten Years Gone.” This track contains more major 7 chords, including one slash-chord version. A slash chord is when the note in the bass is different than the root of the chord, in this case Bbmaj7/A. Here we also find a diminished 7th chord (this is another fundamental shape all guitarists would do well to memorize) functioning as a hip passing chord between Amaj7 and Em7.

Ex. 3

Ex. 3 has the great Edward Van Halen getting into the jazzy chord game, kind of. This progression, à la “Secrets,” contains sus chords—triads wherein the 3rd is replaced (or suspended) by the 2nd or 4th. And, while not uncommon in jazz, these are probably not the first jazz chords that come to mind. Nevertheless, Van Halen’s use of them is unique and worthy of mention. After running through the sus chords, Eddie lands on a rather ambiguous chord that I have labeled Dmaj9, but which could also be thought of as an A/D. Either way, it’s the sophisticated nature of this chord that earns it a spot in this lesson.

Ex. 4 

While Bob Marley is known as a reggae icon, there was plenty of crossover between reggae and rock, which allows us to take a look at Marley’s “Waiting in Vain” in Ex. 4. This example once again features the major 7th shape we worked on in Ex. 1, as well as a new shape for major 7 chords—in this instance, the Gmaj7. This shape can be tricky for players as it employs all four fingers, with the pinky far across the fretboard.

Funky Strums

Ex. 5

Let’s keep moving with some jazz chords in a funky rock situation. Ex. 5 is an imitation of Steely Dan’s “Kid Charlemagne,” featuring four different chord shapes, including an F6, with the bass note fretted with the thumb. Make an effort to mute the 5th string on each of these chords. Also, note how the Bb13 chord substitutes for an E7#9 at the end (other than their roots, the chords share three of the same notes).

Ex. 6

Ex. 6, reminiscent of the Red Hot Chili Peppers’ “If You Have to Ask,” contains the biggest variety of chords in this lesson, and time should be taken to master both the shapes and the funky right-hand strum pattern. These 9th chords are funk essentials but also play a big role in jazz.

Jazzy Metal Arpeggios

Our final two examples represent the world of contemporary metal. In both cases, their functions as mellow, arpeggiated intros that transition into heavier verses and choruses, have their roots in the classic metal of the 1970s and 1980s.

Ex. 7

Ex. 7 was inspired by Deftones’ “Sextape” and contains a lush major 7 shape, moving between the I and IV chords. In the first four measures, the shape contains only fretted notes; in the following four, the open high-E string is included, adding even more color, changing the major 7th into a major 9 and major 6.

Ex. 8

Finally, Ex. 8 features not only jazzy arpeggios, but also some mixed meters, with the time signature moving between 6/8 and 7/8. This progression was inspired by “The Coma Machine” by Between the Buried and Me, and introduces us to both a minor 6 chord and an augmented shape.

Keep It Clean?

You may have noticed that all of the examples in the lesson (except for the last group of arpeggios) feature a clean, non-distorted tone. One reason for this is that all the points of reference (except Ex. 8) I mentioned were recorded with clean tones. Another reason is that using distortion on these chords with extensions can make them sound messy and undefined, detracting from the point of the extensions. By contrast, distortion on power chords makes the chords sound sharp and biting. That said, feel free to crank up the overdrive and test for yourself. With enough experimentation, you may create the perfect combination of rock and jazz.

The next generation of IK's critically acclaimed studio monitors offers superior acoustic correction with ARC X, along with enhanced performance and more mounting options.

IK Multimedia is proud to release the iLoud Precision MKII studio monitors, which build on the legacy of their critically acclaimed predecessor to offer unparalleled accuracy, advanced DSP control, and seamless integration with the new ARC X room correction and calibration software, providing the fastest and most accurate mixing yet.

Next-level Precision and Integration

When monitors reveal every nuance, issues can be addressed before they develop into problems. The iLoud Precision MKII delivers the unfiltered truth of a mix, enabling users to work more efficiently, maintain their flow, and finish with confidence, knowing that the sound will translate on any system, anywhere. Whether producing music, mixing for clients, or creating content for global platforms, these monitors provide the ultimate reference.

Key MKII Enhancements:

• New ARC X Acoustic Correction: ARC X dramatically upgrades Precision's auto-calibration to full acoustic correction.
• ARC X Customization: Coupled with new speaker customization options and virtual monitor profiles, ARC X and iLoud Precision MKII deliver the most advanced and versatile mixing experience yet.
• New Advanced Tweeter Design: Ultra-lightweight construction and graphene reinforcement enhance rigidity, improve transparency, and minimize distortion.
• Improved Enclosure: A new enclosure optimizes sonic clarity, providing precise transient response and an improved soundstage presentation critical for immersive setups.
• New Mounting Options: New built-in fixing mounts and dedicated metal brackets (available separately) make it easier to mount speakers and precisely set angles for optimal positioning.

Reference-grade Clarity and Translation
The Precision MKII is designed to deliver best-in-class transparency. Its linear phase and time-coherent design ensure exceptional imaging accuracy, allowing users to position every element of their mix with confidence. With an impressively flat response of ±1 dB from 45 Hz to 30 kHz and an extension down to 37 Hz at -4 dB, it provides full-spectrum clarity and precise low-end reproduction.

The outcome is impressive clarity across the frequency range, enabling users to create more efficiently, make informed decisions, and trust that their mix will translate effectively anywhere.

Includes New ARC X System
The Precision MKII integrates seamlessly with the ARC X system, IK's new Advanced Response Correction technology, delivering intelligent 3D acoustic correction directly into users' workflows.

ARC X enhances IK's award-winning ARC 4 by automatically analyzing the listening area at three distinct heights, creating a 3D snapshot of the space and effectively identifying acoustic issues without over-processing the sound. The result is a remarkably natural correction that feels like simply mixing in a properly treated room.

With just a few moments of measurement, ARC X generates and applies a precise correction for a flat frequency response, eliminating room-induced issues that can obscure mixing decisions. The correction profile is then loaded onto the iLoud monitor, which stores the profile for standalone use.

Beyond correction, ARC X enhances any setup with customizable system tuning and advanced speaker emulation. Users can tailor their monitoring systems to match their personal preferences or emulate over 20 iconic speaker systems, ranging from high-end studio monitors to consumer playback devices. Whether working in a professional studio, a treated home environment, or a portable setup, ARC X ensures that all monitors function at their full potential.

A Free Update and Upgrade
ARC X software replaces both X-MONITOR and ARC 4 software and comes included with the Precision MKII. Registered owners of the original iLoud Precision studio monitors can download ARC X for free through the IK Product Manager, along with the firmware update below.

ARC X is also fully compatible and free for all registered owners of iLoud Micro Monitor Pro, iLoud MTM MKII, ARC Studio, and ARC 4 software, enabling users to mix more effectively anywhere, whether on their iLouds or through the plug-in on another set of monitors.

A Future-proof Investment
The Precision Series MKII features completely redesigned firmware, enabling faster feature updates within the ARC ecosystem. This leads to continuous improvements in setup, correction, and control, keeping systems at the forefront of audio innovation. With seamless ARC X integration, users will benefit from automated room correction and advanced calibration, ensuring their studio monitor remains cutting-edge.

Professional Integration
Built-in fixing mounts and optional mounting brackets simplify the integration of the iLoud Precision MKII into immersive environments such as Dolby Atmos rooms or complex multi-channel setups. For enhanced control, the iLoud Precision Wired Remote Control is a compact device that allows users to switch between up to four ARC X profiles, assign functions like Mute or Dim, and directly manage the room correction process from their listening position.

With unmatched transparency, precision, accuracy, and advanced calibration tools, the iLoud Precision MKII redefines what's possible in modern monitoring, enabling users to create more efficiently, finish with confidence, and trust their audio.

Pricing and Availability
iLoud Precision MKII studio monitors are available for purchase from the IK Multimedia online store and IK-authorized dealers worldwide at the listed prices. All Precision models include ARC X control software and plug-in, and Precision pairs also come with an ARC Measurement microphone (a $/€199.99 combined value).

iLoud Precision 5 MKII - €699.99/$799.99* ea. - 5" Woofer + 1.5" Tweeter, 135W RMS
iLoud Precision 6 MKII - €799.99/$899.99 ea. - 6.5" Woofer + 1.5" Tweeter, 150W RMS
iLoud Precision MTM MKII - €899.99/$999.99 ea. - 2 x 5" Woofers + 1.5" Tweeter, 175W RMS

iLoud Precision Isolation Pods - $/€49.99 - 4-pack (suitable for one monitor)
iLoud Precision MKII Mounting Brackets - $/€99.99 (5 and 6), $/€129.99 (MTM)
iLoud Precision Remote Control - $/€99.99

ARC X - $/€99.99 intro price (reg. $/€199.99) - Advanced room correction plug-in and measurement microphone.

*All pricing is excluding taxes.

For more information about the iLoud Precision MKII series or to see the studio monitors in action, please visit: www.ikmultimedia.com/iloudprecision

Thomann is hosting its massive Guitar Days sale – with up to 70% off a huge range of guitars, amps, effects pedals and more.

Between 18 September and 28 September, around 500 products – including from top brands like Fender, ESP, PRS, Taylor and Marshall – are available at heavy discounts.

• READ MORE: Multi-effects signal chains explained – everything you need to play and record direct

Here at Guitar.com, we’ve taken the liberty to cherry pick some of the very best deals in the Guitar Days sale, so read on to see what we’ve found…

Are you a Metallica fan looking for the perfect V-style guitar to add to your collection? Look no further than the ESP LTD KH-V in a striking Black Sparkle finish. A signature model by none other than Metallica lead guitarist Kirk Hammett, the KH-V is loaded with a pair of EMG Bone Breaker humbuckers for unrivalled high-gain tones. And during Guitar Days, you can get yours at just £777, down from £1,222. That’s a huge 36%, or £445 off.

Or if you’re looking for something a little more budget-friendly, this Sterling by Music Man S.U.B. Axis AX 3 in Neptune Blue is now only £353 down from £508. Specs include a maple neck and fingerboard, 22 narrow frets, two alnico humbuckers and a five-way selector switch.

If money’s less of an object and you’ve got a little to blow, why not consider the ESP Snakebyte in Camo? A signature model of thrash riff master and right-hand demon James Hetfield, this camouflaged beauty is loaded with a pair of EMG JH ‘HET’ SET pickups, with other features including a TOM bridge and Gotoh locking tuners.

There’s a hefty £500 saving available on this one, bringing what you pay down from £6,099 to £5,599. Hey, if you wanna play the best you’ve gotta pay the best, right?

In terms of amps, there’s a range of deals available to suit different budgets, like 12% off this more high end Friedman Small Box or this Supro Amulet 1×10 combo for just £798.

In the effects department, there’s cool discounts to be had on the Universal Audio UAFX Brigade Chorus & Vibrato, Electro Harmonix POG3 Octaver, Pigtronix Chromatic Tuner, TC Electronic Hall of Fame 2 and so many more.

These are only a few of the deals available in the Guitar Days sale. To browse the full lineup yourself, head to Thomann.

[deals ids=”2prupufigYqEqnupYFJOsa”]

The post Save up to 70% on guitars, amps and effects in Thomann’s massive Guitar Days sale appeared first on Guitar.com | All Things Guitar.

In February, Eagles legend Don Felder suffered a collapse while performing onstage during the Rock Legends Cruise.

The cause turned out to be dehydration, and after he was taken to receive medical attention he made a speedy recovery. “I have always said that I’m going to rock till I drop. I never knew it would be in the middle of Tequila Sunrise, instead of like [Life in the Fast] Lane or Hotel [California] or something really fun,” he said at the time.

• READ MORE: What’s more important, your guitar or amp? Phil X reckons he has the answer

Now, in a new interview with Guitarist, Felder recounts the experience, confirming that he’s now “feeling fantastic”.

“I didn’t realise what dehydration was, or what it could do to you,” he explains. “When it hit me in the middle of the set on that cruise ship, I had no idea what was going on. It was like somebody reached over, took the light dimmer and just slowly dimmed it down to zero.

“I was holding onto the microphone stand just to keep myself from collapsing when Jaden [Osborne], my girlfriend, who was on the side of the stage, recognised it immediately and came over to help me get off the stage.

“Ironically, there happened to be a paramedic in the crowd from Gainesville, Florida, of all places – where I come from – who came backstage and took me down to the medical place.

He explains that he was given an IV and “30 minutes later” he was back “saying, ‘Let’s go finish the set.’ But they said, ‘No, everybody left,’ so I took the rest of the day, and the next day I continued the show”.

“But I didn’t realise how important it was to stay hydrated, especially at sea. I don’t drink alcohol or do any drugs, so I couldn’t figure out what the hell it was. But it was just a total matter of not drinking enough electrolytes. So I’m back to 100 percent.”

Eagles currently have a string of dates planned at the Sphere in Las Vegas. For tickets and a full list of dates, head to the band’s official website.

The post “I didn’t realise what dehydration was!”: Eagles legend Don Felder reveals the truth behind his terrifying on-stage collapse appeared first on Guitar.com | All Things Guitar.

Many guitarists contract Gear Acquisition Syndrome and end up with stacked pedalboards, but the fundamentals of any electric guitar rig will always be your guitar and amplifier.

It’s only natural, then, that the debate surrounding whether your choice of guitar or amp is more important has raged since time immemorial.

• READ MORE: Gibson celebrates 50 years in Nashville with the relaunch of the Les Paul Custom 70s

And there’s prominent voices on both sides of the debate. Math rock whizz and Covet guitarist Yvette Young reckons amp is more important, asserting that a “cheap guitar doesn’t mean a bad guitar”.

But Bon Jovi guitarist Phil X finds himself on the other side, saying the guitar is the core of everything, so getting a good one should be your priority.

Asked in the new issue of Guitarist whether he’d rather have a cheap guitar and an expensive amp or an expensive guitar and cheap amp, he replies: “You know, what’s in your hands is almost more important.”

He explains: “But I think I’d have to get a better guitar and a cheaper amp. You can always get around on a cheaper amp or then go get a cheap pedal to make the cheap amp even better.

“But if you’re playing a really shitty guitar, you’re really limiting your progress.”

Of course, the guitar vs amp debate is highly nuanced, and although price point offers some measure of product quality, this isn’t always the case.

Phil X does make the good point that if you’re a beginner playing a poorly setup guitar – with high string action, for example – you’ll be hindering your ability to get to grips with certain techniques and get the most out of your playing.

That said, on the other side of the argument, the sound that comes out of your amp has a huge effect on inspiration. If the sound isn’t right, your creative spark may not be ignited in the same way as if you were working with a better guitar tone.

So what can we conclude from all this? The guitar vs amp debate will remain aflame for the long-foreseeable future. But at least proponents on the guitar side can count Phil X among their allies.

The post What’s more important, your guitar or amp? Phil X reckons he has the answer appeared first on Guitar.com | All Things Guitar.

Anthology Gear has released its newest guitar strap called Harvest, inspired by the aerial view of farmlands - the patchwork of squares in varying colors of gold, brown and green that blankets the landscape. Coinciding with the 40th anniversary of Farm Aid on September 20, Harvest will support family farms via donations made to the organization.

Just prior to the release of the Harvest guitar strap, Anthology Gear made its first donation to Farm Aid and will continue to donate $10 for every Harvest strap sold on the Anthology Gear website www.anthologygear.com. Additionally, one Harvest guitar strap will be included in the Farm Aid 40 Memorabilia Auction. Often autographed by artists at the festival, these items will be open for bidding September 20 through October 3 on the Farm Aid website at farmaid.org/auction. Proceeds raised by the auction support Farm Aid’s work.

“In addition to providing high quality crafted leather goods, we want to add even more meaning to our small business and support organizations that matter to us,” says Katya Hirsch, Co-Owner of Anthology Gear.

All Anthology Gear guitar straps offer the following features:

Straps are made with high quality full grain leather which burnishes and beautifies with use

Leathers are chosen for their ability to fully distribute the weight of the guitar across the strap, for a more comfortable playing experience

A high-density premium padding maximizes comfort

Straps adjust from 39" - 54" in length; length can be extended to up to 63” with an optional jumbo tongue

Pricing for the Harvest guitar strap is $149 (with free shipping within the USA) and can be purchased directly from Anthology Gear at www.anthologygear.com.

It’s been 50 years since Gibson set up shop in Nashville, and the company is celebrating by reintroducing a classic model to the current Gibson line – its the return of the Les Paul Custom 70s, with era-correct specs in honour of the original model.

Originally created in 1953, the first Les Paul Custom was created with a simple brief: a black signature that “looked like a tuxedo”. Over the years, it gradually shifted, with Gibson trialling out both single and double cutaway models throughout the ‘60s before settling on the single cutaway in 1968.

• READ MORE: Gibson collaborates with Loog for child-friendly range of Les Paul and SG guitars

For two decades, the Custom 70s has only been available via Gibson’s Custom shop. Now, it’s back on the official Gibson line-up, and it has plenty of nostalgic nods to the original models. There’s plenty of classic ‘70s specs, from the mahogany body boasts a three-piece maple top, to the volute headstock adorned with the iconic Custom Split Diamond headstock inlay.

The guitar also has a ‘70s profile on the maple neck, as well as a bound ebony fretboard with 22 medium jumbo frets and mother-of-pearl block inlays. The Custom 70 also has gold hardware, including an aluminium Nashville Tune-O-Matic bridge, an aluminium Stop Bar tailpiece, and smooth-turning Grover Rotomatic, which adds a very classy, timeless touch.

Credit: Gibson

More ‘70s-approved features come in the form of the diamond-shaped Posi-Lok strap locks, Witch Hat control knobs and a pair of Calibrated T-Type humbuckers that are hand-wired to Orange Drop capacitors.

The Les Paul Custom 70s come in four glossy finishes: Tobacco Burst, Ebony, Buttercream Top, and Wine Red. Each guitar also comes with its own hardshell case.

This isn’t the only way Gibson has been celebrating its 50 years in Music City, Nashville. There has been plenty of nostalgia and reflecting on the company’s growth since 1975; back in July, the company announced that it was releasing 650 limited-edition Les Paul Music City Special guitars, which were inspired by Gibson’s 1970s Marauder.

The Les Paul Custom 70s costs £3,499 and is available now.

The post Gibson celebrates 50 years in Nashville with the relaunch of the Les Paul Custom 70s appeared first on Guitar.com | All Things Guitar.

We’ve all daydreamed about our perfect guitar, mentally building a Frankenstein-ian model out of different bodies, necks and headstocks. However, not everyone has the chance to make their dream a reality – but YouTuber Samurai Guitarist has worked for over two years to bring his perfect guitar to life.

In a new YouTube video, Steve Onotera has announced that he has founded his own guitar company, Otera Guitars. The Otera TK-1 serves as the company’s debut guitar, with the turquoise electric wearing a boxier version of a Telecaster silhouette. As Onotera puts it, the Otera TK-1 is “the guitar [he] always wished existed – and now it does”.

• READ MORE: Martin D-X2E review – is this the new must-have budget dreadnought acoustic?

In his announcement videos, he explains the thought process behind the guitar. “Like so many guitar players, ever since I picked up the instrument I’ve been dreaming up my own signature model,” he reflects. “However, 10 years in… no brands have expressed any interest in doing a signature guitar with me. So I figured, you know what, forget them. I’ll do it myself.”

Credit: Otera Guitars

Limited to 100 units, the TK-1 was manufactured in Cort’s factory, a factory that has churned out gear for Fender, Epiphone, PRS and many other quality brands over the years. And it certainly sounds like a decent guitar, based on Onotera’s preview of the axe in action on his channel.

The guitar boasts a three-piece maple neck with a vintage U profile, 9.5” radius rosewood fingerboard and 21 jumbo frets. We’ve also got an ash-topped basswood body, which is finished off with a striking turquoise sheen. There’s also a choice of two interchangeable pickguards; you can opt for a standard white pickguard, or there’s an engraved floral option that’s hand-signed by Onotera himself.

The guitar also boasts a pair of Seymour Duncan pickups, with a P90 Silencer Soapbar in the neck, as well as a BG1400 in the bridge. There’s also a four-way selector.

“I want the first Otera guitars to mean something, that’s why we’re starting small,” Onotera writes on the Otera website. “For years, I imagined a guitar that felt different – one that captured everything I love about the classics, but with its own character… The TK1 is the guitar I always wished existed. Every detail was chosen for a reason, with the hope that it inspires the same passion in you that it inspires in me.”

The debut Otera TK-1 guitar costs $1,299, and comes with a Otera/Cort branded gig bag. But, of course, its only limited to 100 guitars – so once its out of stock, it will never be produced again.

Head to Otera Guitars to find out more information.

The post “It’s the guitar I always wished existed – and now it does”: YouTuber Samurai Guitarist launches his own guitar brand appeared first on Guitar.com | All Things Guitar.



On this week’s episode of the Fretboard Journal Podcast, we introduce you to Brooklyn-based guitarist Isaac Stalling.

Isaac sits down with editor Sofia Wolfson to talk about his musical roots in Oklahoma City, moving to NYC, playing in dozens of bands at once, and his solo project.

https://www.instagram.com/i_stalling_/?hl=en

Our new, 57th issue 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: 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).

Above photo: Nicole Barley

The post Podcast 516: Isaac Stalling first appeared on Fretboard Journal.

Sammy Hagar has criticised Alex Van Halen for leaving out his era of Van Halen in his memoir Brothers, even accusing the singer of “blasphemy”.

Contention is nothing new in the Van Halen world, but the latest spat comes after Hagar posted a photo of himself and Eddie Van Halen heading to the stage before a show in 1991, with discussion mainly centering around the clothes they were wearing in the era.

• READ MORE: “The noise of us playing thrash metal upstairs was traumatising the children”: Biffy Clyro’s Simon Neil claims the local council tried to shut down a studio he was recording in because of its proximity to a nursery

But the comments section took a turn when several commenters began discussing the different Van Halen eras, with one writing: “My dad always said the [David Lee] Roth days were about the party; the Sammy days were about the music.” [via Ultimate Classic Rock]

Another wrote: “No disrespect to Alex but it’s okay to like Van Halen with Sammy, even if he doesn’t anymore,” while another wrote: “Most purists believe Van Halen ended with David Lee Roth.”

Unfortunately, the latter comment provoked a response from Hagar, who wrote: “It could have [ended], my friend, but instead we went on to sell over 50 million records for [a] No. 1 album [then] sold out every building and stadium in the world for a whole decade. That never happened again.

Hagar goes on to say that Alex Van Halen is “not doing his brother’s musical legacy justice by not acknowledging all the No. 1 albums and some great music Eddie and I wrote together – not Alex – but Eddie and I wrote together”.

He adds: “To not acknowledge [those] 10 years of music is blasphemy to his brother’s musicianship, songwriting and legacy.”

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Following the departure of frontman David Lee Roth in 1985, Sammy Hagar became Van Halen’s second singer, and fronted the band for 11 years until 1996. He also fronted the band again for a brief period between 2003 and 2005.

Sammy Hagar recently expressed an interest in settling his differences with David Lee Roth. After rumours swirled that DLR had mocked Hagar for claiming Eddie Van Halen visited him in a dream, Hagar asserted that this wasn’t the case, saying: “This is the first real olive-branch moment Dave and I have had in 100 years.”

The post “Alex is not doing his brother’s musical legacy justice”: Sammy Hagar blasts Alex Van Halen for ignoring his era of Van Halen in his book appeared first on Guitar.com | All Things Guitar.

Although Biffy Clyro have made their mark on the world of alternative rock, they’re no strangers to heavier sounds. When frontman Simon Neil kickstarted his own heavy metal side-project back in 2023, Empire State Bastard was the perfect outlet of extreme thrash carnage. In fact, the project was so chaotic that it nearly got a recording studio shut down.

In a new interview, the raucous Scotsman reveals that Empire State Bastard’s debut, Rivers Of Heresy, had some rather loud recording sessions. So loud that the council had to get involved. “We spent eight days [in Todmorden’s Lapwing Studio] and it was hilarious,” Neil tells The Guardian. “Below the studio, there’s a nursery. The day we left, the council wrote to the studio asking them to close, because the noise of us playing thrash metal upstairs was traumatising the children.”

• READ MORE: Billianne on viral success, battling imposter syndrome and her years-in-the-making debut album

The “traumatising” clash of sound was a combined effort from Neil, guitarist Mike Vennart and Slayer’s very own Dave Lombardo on drums. Just listen to pummelling war cry of Stutter or Tired, Aye? and it’s hardly a lullaby – you can hardly blame the council for being a tad concerned.

However, it seems the studio was able to avoid any long-term closure. Lapwing Studio is still open, and the team have even responded to Neil’s Guardian interview – and there’s absolutely no bad blood. “Nice little quote about the studio here from Simon!” the team write on Facebook. “Said complaint is framed here in all its glory.”

When they weren’t in the studio, Neil also made a point of education Slayer’s Lombardo on the joys of Todmorden, otherwise known as the “UFO sightings capital of Europe”, apparently. “We took Dave for a curry and a pint, and whenever anyone recognised him they were in disbelief,” Neil laughs.

Elsewhere, today marks the release of Biffy Clyro’s tenth studio album, Futique. As Neil explains, it’s a record about acceptance, growth and living in the here and now. “I realised that, by ignoring painful memories, I’d been denying part of myself,” he reflects. “I found joy in understanding that everything that happens makes you who you are. It pulled me out of a fog – so the album is about embracing whatever’s happening now.”

The post “The noise of us playing thrash metal upstairs was traumatising the children”: Biffy Clyro’s Simon Neil claims the local council tried to shut down a studio he was recording in because of its proximity to a nursery appeared first on Guitar.com | All Things Guitar.

£99, funnylittleboxes.co.uk

Britpop was a moment in cultural history. Which is another way of saying that it all felt like great fun at the time but, let’s be frank, much of the music it produced has aged like raw meat in an unplugged freezer.

• READ MORE: Earthquaker Devices Fuzz Master General review – “the full gamut of vintage-adjacent fuzz tones”

People seem to have fond memories of Supergrass, though – and the Oxford trio have now provided the inspiration for an effects pedal: the Funny Little Boxes Caught By The Fuzz.

Image: Press

Funny Little Boxes Caught By The Fuzz – what is it?

It’s Britpop in a box! Released in 1994, Caught By The Fuzz was the debut single that made Supergrass famous. It’s fast and catchy… and best of all, it’s got the word ‘fuzz’ in the title. To be honest, the one thing it doesn’t have is a particularly memorable guitar sound, but maybe that doesn’t matter – we’re talking about capturing the spirit of an era here, not copying an EQ curve.

FLB’s previous pedals have all been focused on American grunge tones, and this one brings a simplification as well as a change of accent: fuzz and volume are the only controls. That suggests a classic noise box in the style of the early Fuzz Faces and Tone Benders, which is certainly a promising starting point.

It’s built in the otherwise tranquil English city of Norwich, and there is one extra feature worth mentioning: instead of a simple status LED, it has a pair of blue ones that flash in sequence like the lights on a police car. Escaped convicts might find this a tad unsettling; for everyone else, it’s a welcome bit of fun.

Image: Press

Funny Little Boxes Caught By The Fuzz – what does it sound like?

It turns out this pedal has more in common with the fine upstanding officers in the front of that police car than with the stoned teenager in the back – because it’s an eminently sensible and disciplined fuzz.

With both knobs pointing northwards, the first thing to report is a tidy bass/treble balance that will let you quickly forget the absence of a tone control. The mids are even-handed too – neither raspy nor scooped – and the fuzz itself is tight but thick-grained, with a nice Marshall-esque edge to hard-punched chords. It doesn’t exactly clean up when you pull back on the guitar’s volume, but it does soften down very sweetly.

There are no surprises when the gain is cranked: it’s more of the same, keeping things clear and balanced as the distortion thickens. It won’t go anywhere near Big Muff territory in terms of sheer fuzziness, though – if you need something that can also cover the sludgy grunge side of the 90s, this probably isn’t it.

Turn the fuzz down to around 9 or 10 o’clock, on the other hand, and suddenly it’s more like a low-gain overdrive: the punky element is gone, replaced by something tonally transparent but with an injection of extra body and sustain that gives real authority to single-note melodies. This low-gain sound can get rough and scuzzy with sustained chords, but it’s an extra dimension that adds genuine value to the pedal.

Image: Press

Funny Little Boxes Caught By The Fuzz – should I buy it?

Does it sound like the Supergrass song? Well, yes, it can in the right setup – so if you’re planning to be Gaz Coombes in a tribute band, this pedal might be as essential as a good pair of sideburns. But, defying the apparent limitations of the two-knob format, it also has plenty to offer for anyone else who’s in the market for a really nice general-purpose fuzz.

Funny Little Boxes Caught By The Fuzz alternatives

There aren’t as many pure two-knob fuzzes around as you might think. The Jam Pedals Fuzz Phrase Si (€229/£219) is one, although it cheats slightly by having an internal trimpot for bias, and the Pedal Pawn Fuzz (£197) is another. Want something even simpler? The Beetronics Tuna Fuzz ($99/£99) only has one knob.

The post Funny Little Boxes Caught By The Fuzz review – a two-knob dirt machine that goes beyond its Britpop brief appeared first on Guitar.com | All Things Guitar.

The list of artists scheduled to appear at Sweetwater’s GuitarFest has been finalized. GuitarFest is taking place Saturday, September 27, on the company’s Fort Wayne, Indiana, campus. Music legends, industry leaders, and more than 70 top brands will welcome guitar lovers to this all-day event scheduled from 9AM to 5PM.

As the nation’s leading online retailer for music makers, Sweetwater has a full day of activities planned for GuitarFest attendees. Renowned guitar brands such as Gibson, Fender, Marshall, and many others will have booths, giving guitar enthusiasts the chance to speak directly with brand experts about their favorite brands. Guitar lovers will be able to get up close to thousands of guitars on display, including an entire section of unique and one of a kind guitars only available at Sweetwater.

GuitarFest will also feature appearances by major artists and other music industry notables. Confirmed artists for this year’s GuitarFest include PhilX, Yvette Young, Ariel Posen, Rob Scallon, Courtney Cox, Reeves Gabrels, Ken Susi, Freekbass, Fluff, Danish Pete, Chris Holt, Bella Perron, Bakithi Kumalo, Al Joseph, Beau Burcell, and Phil Demmel. You can see the full list of artists appearing at Sweetwater.com/guitarfest/.

Sweetwater will showcase legendary gear from the exclusive Rock & Roll Hall of Fame collection. The gear on loan includes Nita Strauss’s personal Signature Series Ibanez from her Wrestlemania tour, Slash’s Appetite for Destruction prototype that was used live from 2011 to 2025, Zakk Wylde’s iconic Gibson Les Paul, and Joe Satriani’s 1997 Ibanez JS Series Chromeboy.

“We will have something for everyone,” said Samantha Hunter, Director of Artist Relations and Campus Events at Sweetwater. “We are creating an unforgettable celebration for music lovers. You can check out the booths from all our partner vendors, meet some amazing artists, see some amazing gear, as well as save some money with the fantastic deals we have planned.”

This year’s GuitarFest will feature the return of DealZone, a popular destination from previous events. Attendees can enjoy exclusive, in-person savings of up to 70%.

Registration for this free event is available now at Sweetwater.com/guitarfest/, where visitors can stay up to date on all the planned activities. Registrants will also be entered for a chance to win a $2,500 Sweetwater giveaway.

This event is family friendly and takes place on Sweetwater’s state-of-the-art campus located at 5501 US Highway 30 West in Fort Wayne. The Sweetwater campus includes the largest music store in the United States and other attractions for visitors to enjoy.

There are more flexible means for mashing up fuzz and delay than Benson’s Deep Sea Diver. And in a time of preposterously low-priced pedals, there are more economical methods, too. But there’s no guarantee that a more traditional and cost-conscious path will yield results as interesting—or inspirational—as those offered by the Deep Sea Diver. It’s a pedal that often serves up zigs where you seek zags—depending on your sense of adventure and creative latitude, it can feel versatile, forgiving, and full of exciting surprises.

Bathyspheric Battiness

The Deep Sea Diver was developed with Jessica Dobson, who fronts the band that shares the pedal’s name—and for whom more unusual applications of the fuzz/delay equation are a sonic cornerstone. The basic architecture of the Deep Sea Diver makes a great departure point for any player keen to ply the odder corners of that stompbox formula. It’s hard to know firsthand exactly what that architecture is—Benson flipped the circuit board so that you don’t see components, but rather a stylized representation of Dobson’s face in silhouette. (For the record, the solders you can see all look exceptionally tidy).

Chris Benson says that the 3-transitor fuzz section of the circuit uses a mutant mix of the 2-transitor Tone Bender MK 1.5 and the 3-transistor Tone Bender MK 2.0 as a foundation. Dobson says she envisioned a less hectic version of the ZVEX Fuzz Factory—a relation borne out here by the gate and bias controls. The delay section, meanwhile, is built around a PT2399 chip. This is a device many builders have put to creative use in spite of first turning up in karaoke machine delays. Its sonic signature—lo-fi, hazy—can be similar to that of bucket brigade delays, but still occupies a different lane than the analog EHX Memory Man and Diamond Memory Lane devices that underpin Dobson’s rig. As a whole then, the Deep Sea Diver doesn’t really replicate any particular part of Dobson’s tone recipe as much as it adds a new color formed in the spirit of where her playing has been and where it might be going.

One Deep Sea Diver feature that is a fixture of Dobson’s tone is a delay that is situated before the fuzz—except for when it isn’t. By holding down the bypass switch while powering up, you can reverse the order of the effects. If you’ve never experimented with switching fuzz and delay, the results can be revelatory.

Submarine Flip Flops

Given how interesting it is to move between the order of effects on the Deep Sea Diver, it’s a shame that you can’t make the switch without powering off the unit. Obviously, that’s not the most complicated process, but it’s also not one you’ll attempt in the middle of a song or set. Many pedals enable effect-order switching via a toggle or alternate footswitch input. In this case, the latter possibility was difficult for good reason, as pressing and holding the footswitch activates an endlessly entertaining runaway oscillation effect.

To a passively listening bystander, a switch in fuzz/delay effects order isn’t always glaringly obvious. In a very general sense, fuzz before delay results in greater clarity, and vice versa. But on the Deep Sea Diver, situating the delay before the fuzz lends a gauzy, foggy smear around the edge of transient notes and the repeats that you feel as much as hear. Comparing the Deep Sea Diver to a bucket brigade delay and a ZVEX Fuzz Factory, you can hear why Chris Benson employed the PT2399 chip. There’s a slightly more lo-fi blur to the Deep Sea Diver’s delay signature, which, to my ears, lends extra mystery.

One Deep Sea Diver feature that is a fixture of Dobson’s tone is a delay that is situated before the fuzz—except for when it isn’t.

But it’s the fuzz section of the Deep Sea Diver that really expands its performance envelope. The gate and bias controls both have impressive range and work together pretty seamlessly to broaden the pedal’s fuzz voice. There are lots of collapsing, fractured fuzz-on-the fritz and dying-AM-radio sounds made more appealing by the smoky delay signal. You’ll find many shades of super-cool mid-1960s buzz, too. But it’s also capable of unique, punchy drive sounds that hit hard and are easy to compose with, and situate in a mix without sounding entirely unhinged. The Deep Sea Diver will happily go bonkers if that’s what you’re after though, and as you get a feel for the way the gate and bias controls interact you might not even miss the conspicuously absent gain level control—which, I venture, would complicate matters significantly.

The Verdict

I played the Deep Sea Diver next to a few different fuzz/delay combinations, and there is an audible cohesiveness in the two effects at the Benson's core. Furthermore, the resulting dovetailed fuzz/delay voices lend the Deep Sea Diver a truly individual voice at many settings. Though it falls short of mimicking the butter-smooth sustain of, say, a Big Muff and a Boss DD-5, it can still dish many rich fuzz tones in that spirit—just a bit filthier. The Deep Sea Diver is most certainly eccentric, just as its creators no doubt intended. But it’s not exclusively weird. There are plenty of sounds here for classicists, even if the Deep Sea Diver tends to beckon the player toward more unorthodox ends.

While the classic Led Zeppelin lineup we all know is Jimmy Page, Robert Plant, John Bonham and John Paul Jones, another musician was once in the running to front the band: the late Terry Reid.

Though fans often disagree as to why Reid ultimately passed on the opportunity – with some saying he outright turned it down and others saying it was due to his prior commitments with the Rolling Stones, Reid – who passed away in August 2025 – sets the record straight in his final interview with MOJO.

• READ MORE: “They used a lot of the old tricks that we all kind of did”: Aerosmith recall being ‘annoyed’ by Van Halen at first

“I didn’t turn Jimmy down,” he insists. “I told him, I’ve got to go do this tour with the Stones. When I get back, let’s have a go.”

While Reid ultimately never joined Led Zeppelin, the story goes that he suggested to Page who would become the band’s singer and drummer, Robert Plant and John Bonham.

“In Birmingham I’d played with The Band Of Joy a couple of times – bunch of fucking hooligans,” Reid continues.

“When Peter [Grant, Led Zeppelin manager] and Jimmy were talking about getting people for the band, I said, ‘Whatever you do, you’ve got to try these guys out.’ I contributed half the band. That’s enough on my part!”

That he was in the running to join Led Zeppelin wasn’t the first time Terry Reid found himself with the opportunity to join bands, including Deep Purple and the Spencer Davis Group.

“I suppose I didn’t really want to be part of a band,” he says. “The only time I really considered it was with Jeff Beck. He had a sensitivity that was totally different [from] any other guitar player. But he was always going down his own path, too, so it never happened.”

“I’ve lived my life the way I wanted,” Reid concludes. “Running around, chasing your tail, chasing after this, chasing after that, it’ll do one of two things: it’ll either drive you crazy, or it’ll get you in a whole load of trouble.”

The post “I suppose I didn’t really want to be in a band”: The late Terry Reid explains why he turned down Jimmy Page’s offer to front Led Zeppelin in final interview – but reveals the other guitar icon he nearly said yes to appeared first on Guitar.com | All Things Guitar.

On this episode, James Bay joins Cory Wong from backstage at the 9:30 Club in Washington, D.C. (It takes Wong all of 10 seconds to recognize and name the green room.) Bay is still supporting his fourth full-length record, Changes All the Time, and Wong picked up on a different guitar approach on the new album. Bay walks him through how his playing matched the collection’s title.

Bay also reveals the first solo he learned to play (or, rather, failed to learn to play; it’s a Bon Jovi hit), and how Jack White’s philosophy of struggle against his instrument has shaped Bay’s relationship to his own guitars. As bandleaders, Wong and Bay both have plenty of experience hiring players to join them in studio and on the road, so what do they look for when selecting colleagues? Tune in to find out.

It wouldn’t be a chat with a Minnesotan guitarist without some Prince talk, so stick around to learn the appropriate etiquette for covering The Artist when touring his home state.