General Interest

The forthcoming David Gilmour live album and film entitled THE LUCK AND STRANGE CONCERTS and LIVE AT THE CIRCUS MAXIMUS, ROME, beautifully capture the 2024 Luck and Strange tour.

The tour accompanied Gilmour’s fifth solo album, LUCK AND STRANGE, which hit #1 in the UK, Germany (his first #1 there), Poland, Netherlands, Czech Republic, Switzerland, Portugal and Austria. It reached #2 in France, Italy, and Belgium, the top 5 in Spain, Japan, Norway, Denmark, and Hungary, and the top ten in the USA, Australia, Finland, Sweden, Ireland, and New Zealand.

The shows began with two sold-out warm-up shows at the Brighton Centre before moving to Circus Maximus in Rome for six sold-out nights, followed by the same at London's Royal Albert Hall before moving Stateside for sold-out evenings at the Intuit Dome and Hollywood Bowl in Los Angeles, before concluding with five sold-out nights at Madison Square Garden in New York.

All twenty-three dates were sold out, and with no new shows on the horizon, THE LUCK AND STRANGE CONCERTS and LIVE AT THE CIRCUS MAXIMUS, ROME is the best and only way to experience the master of his art on stage.

LIVE AT THE CIRCUS MAXIMUS, ROME, which is being released via Sony Music Vision and Trafalgar Releasing, will be shown in cinemas & IMAX worldwide on 17th September for a limited time only. The film sees Gilmour return to Rome's historic Circus Maximus at the beginning of the Luck and Strange tour, his first in nearly a decade. Long-time Gilmour collaborator Gavin Elder filmed the sublime spectacle against the backdrop of the ancient ruins of Rome. Tickets at cinemas around the world will go on sale 6th August at 2pm BST/ 9am EDT / 6am PDT. Full screening details for both IMAX and standard format cinemas will be available at davidgilmour.film. LIVE AT THE CIRCUS MAXIMUS will also be released on 2 Blu-Ray and 3 DVD sets with bonus unseen footage and the full THE LUCK AND STRANGE CONCERTS mixed in 5.1 and Atmos (Blu-Ray only) on 17th October.

THE LUCK AND STRANGE CONCERTS features 23 tracks across 4LPs or 2CDs recorded at selected shows from the tour and blends solo tracks from David’s most recent album, including a stirring rendition of Between Two Points with Romany Gilmour as well as classic Pink Floyd anthems such as Sorrow, High Hopes, Breathe (In The Air), Time, Wish You Were Here, and Comfortably Numb. The super deluxe edition of the album features all the formats as well as a 120-page hardback book, DAVID GILMOUR LUCK AND STRANGE LIVE, featuring Polly Samson’s photographs taken on the tour.

The audio for THE LUCK AND STRANGE CONCERTS and LIVE AT THE CIRCUS MAXIMUS, ROME has been co-produced by David and Charlie Andrew, who co-produced the Luck and Strange album.

For the lucky fans who experienced these once-in-a-lifetime shows, THE LUCK AND STRANGE CONCERTS and LIVE AT THE CIRCUS MAXIMUS are the perfect reminders of Gilmour’s soulful, expressive, and meticulously melodic guitar playing and the brilliance of his incredible band. For those who missed the shows, the album and the film offer a once-in-a-lifetime chance to experience this extraordinary musical event.

Zach Wish puts the L.R. Baggs Align Series pedals through their paces on his personal AEG-1 acoustic, demonstrating how each pedal brings studio‑quality effects to your DI signal. Hear the Session, Chorus, Delay, and Reverb in action and watch Zach dial in a pro-level tones from a compact package. Whether you want a simple, all‑in‑one acoustic board or individual pedals to suit your rig, the Align Series is ready to strum.

LR Baggs Align Session Acoustic Saturation/Compressor/EQ Pedal

Align Session Pedal

LR Baggs Align Chorus Acoustic Chorus Pedal

Align Chorus Pedal

LR Baggs Align Delay Acoustic Delay Pedal

Align Delay Pedal

LR Baggs Align Reverb Acoustic Reverb Pedal

Align Reverb Pedal

RhPf Electronics has unveiled the Mosferatwo, a handcrafted MOSFET overdrive pedal designed for players who want to sculpt saturated tones with clarity, nuance, and punch.

Built around a 100% original circuit, it delivers everything from clean boost to greasy fuzz through a stack of carefully voiced gain stages and precision EQ shaping — all with the touch sensitivity and harmonic richness of a cranked tube amp.

• Dual-stage Drive control: One knob, two gain stages — for smooth transitions from subtle grit to snarling overdrive.
• Interactive Focus control: Shapes both dynamic feel and frequency response — bold and bloomy to tight and articulate.

Heart and Bite EQ: Two tuned boost controls with toggleable center frequencies, for sculpting warmth and cut through the mix with precision.

Initially designed with gritty garage-blues duos in mind — where a single guitar needs to fill the entire sonic spectrum — Mosferatwo has since earned praise from a wide range of players for its amp-like response and bold, characterful voice. It’s already landed on boards across styles, from raw vintage blues to modern fuzzed-out riffing.

Like all RhPf Electronics creations, Mosferatwo is not a clone, mod, or tweak — it’s a fresh, fully original circuit built from the ground up.

Street price is $179. They’re available at select retailers and can also be purchased directly from the RhPf Electronics online store at rhpfelectronics.com.

The Xvive H3 Transmitter Holder is specially designed for the Xvive A58 andP58 Guitar Wireless Systems.

It allows you to securely fasten the A58T Transmitter to your guitar strap, keeping it away from the instrument’s output jack to avoid interference from active electronics. This setup helps reduce high-frequency noise that can be caused by active circuits in electric guitars or basses. For acoustic guitars with integrated microphone pickup systems, the H3 also helps to eliminate wireless signal interference issues.

Constructed from durable leather and equipped with a secure hook-and-loop strap, the H3 ensures that your transmitter stays firmly in place during performances. It includes a ¼” TS male to ¼” TS female adapter cable to easily connect the transmitter to your instrument’s output jack. If your guitar or bass has a recessed or unusually placed output jack, the H3 adapts with ease. Its compact, lightweight design makes it ideal for stage, studio and home use.

H3 is available from Xvive dealers and online stores worldwide for $28.99 (USD MAP).

H3 product page: www.xvive.com/audio/product/h3-transmitter-holder
A58 product page: www.xvive.com/audio/product/a58-guitar-wireless-system/
P58 product page: www.xvive.com/audio/product/p58-guitar-wireless-system-with-tuner-pedal/

For those of you in the beginning of your Fender amp journey, there are myriad options and you might be uncertain where to start. I’ll introduce two of the most famous guitar amps on the planet: the Deluxe Reverb and the Princeton Reverb. (If you’re more experienced with Fender amps, see if you agree with my analysis of their qualities and differences.)

The Deluxe Reverb and Princeton Reverb amps were first introduced in Fender’s black-panel era (1964–1968). These amps are still made somewhat close to the originals; modern reissue models are available with either printed circuitboards or more exclusive point-to-point wiring, like their predecessors.

The strengths of both models lie in their simplicity, portability, and the much sought-after ability to break up at moderate volumes. Up to a certain point, they’ll deliver similar clean tones, characterized as the scooped Fender black-panel tone, intended to amplify the guitar as transparently as possible. Both are perfect amps for professionals and hobby players who want a stripped-down, reliable tube amp with only reverb and tremolo.

Both amps have dual 6V6 tubes in a push/pull class AB configuration, but their power amp sections are quite different. The Deluxe Reverb has a larger output transformer, a larger power transformer, higher 6V6 plate voltages, and the more efficient long-tail PI (phase inverter) circuit, versus the Princeton Reverb’s flabby-sounding cathodyne PI. The long-tail PI is widely used across 2-channel 6L6 Fender amps like the Vibrolux, Super, Twin, and Pro—the AB763 circuit amps.

The Deluxe produces 22 watts, and the Princeton a modest 12 to15 watts. Additionally, the Deluxe has a bigger speaker and a larger cabinet. The 1x10" Princeton Reverb is 16" tall, just under 20" wide, and 9 1/2" deep, weighing approximately 34 pounds. The 1x12" Deluxe Reverb is approximately 17 1/2" tall, 24 1/2" wide, and 9 1/2" deep, weighing approximately 42 pounds, and all this contributes to a louder and cleaner tone with more ambience and a bigger low end.

What does this mean? If you are looking for maximum portability and the earliest breakup, opt for the Princeton. In a recording or miked context, you won’t be bothered by its smaller, boxy tone. Plug in your Telecaster and you will be transported directly to Nashville. The Princeton Reverb can even be used with a single 6L6 tube in class A operation for ultra-low power (5 to 7 watts).

On the other hand, the Deluxe sounds slightly bigger on its own at home, in the practice room, and on stages where you need to cut through. It can even take 6L6 tubes for more power and clean headroom (about 30 watts). This 6L6 trick is not possible with the Princeton Reverb. However, the smaller Princeton is still quite capable if we do something with the speaker. It can be much louder if you swap a vintage speaker to a highly efficient modern speaker or, even better, disengage the built-in speaker and use a 1x15" extension cabinet. I love the combination of the Princeton’s early breakup through a big and full speaker cabinet loaded with a 15" Eminence Legend 1518. It’s huge and punchy, but not ear-breaking. Both amps require an 8-ohm speaker impedance, allowing a wide set of extension speakers in the range of 4 to 16 ohms.

The preamp sections of these amps are more similar, but with a few differences. The controls are the same: volume, treble, bass, reverb, tremolo intensity, and tremolo speed. Obviously, the Deluxe Reverb also has a second normal channel without reverb and tremolo. It also lacks the 47 pF bright cap, making it smoother and warmer than the vibrato channel, just like the single-channel Princeton Reverb, which also comes without this bright cap. This explains why many players think the Princeton handles pedals and bright guitars better than the Deluxe. Personally, I never use the normal channel of classic Fender amps other than sometimes routing my reverb return signal into it. That way, I can control the reverb with the normal channel’s volume and EQ knobs for more tonal options, like a dark and long reverb tone. I use a phono/jack adapter plug for this trick. Other than the bright cap, the tone stack is similar in these amps.

While the tremolo controls are the same on these amps, the tremolo circuits are built differently. The Princeton Reverb’s bias tremolo can get really deep, but only if you set the bias correctly, which can be a bit of a hurdle since it lacks an adjustable bias screw. If you struggle with weak tremolo, you can experiment with different 6V6 power tubes, rectifier tubes (either 5U4GB or GZ34, depending on the model), and 12AX7 tremolo/PI tubes (the one closest to the 6V6s). If that doesn’t help, the caps and resistors in the tremolo circuitry must be inspected. With the Deluxe Reverb’s AB763 optoisolator tremolo design, the sound is easier and more consistent.

I hope you are inspired to try out at least one of these legendary amps. I guarantee you will not be disappointed.

Depp and his Gibson Flying V lined up alongside Cooper and Nita Strauss for the performance

Stay cosmic with this lesson in how Carlos Santana took the blues as practiced by B.B. King and Peter Green, plus the new radical rock styles of the '60s, and put his signature spin on them

Neural DSP has launched a brand-new update, NanOS 2.1.0, for its Nano Cortex mini amp modeller.

The game-changing brand has introduced this new update rather swiftly after the last upgrade, which arrived back in April this year and introduced a customisable signal chain, 47 new effects and utilities, plus new workflow tools. Stepping things up once again, this update ticks off a list of more highly-requested features.

• READ MORE: “We were not expecting that amount of hatred”: Neural DSP founders break silence over Nano Cortex teaser videos, “we thought they were quite fun”

NanOS 2.1.0 brings a plethora of new enhancements, including Incoming MIDI CC, Tap Tempo, IR Loader Bypass for a specific output, MIDI Thru, and other improvements for better usability and performance.

Tap Tempo is a welcomed feature, and can now be accessed by holding Footswitch I to enter the Tap Tempo mode. The LED will blink at the current tempo, and you can set the tempo you want by simply pressing the footswitch. You can exit the mode by pressing Footswitch II, and you can even operate it through the Cortex Cloud app too.

Also, Nano Cortex can now receive MIDI CC messages for bypassing individual device slots, controlling the expression pedal position, Tap Tempo, and Tuner On/Off.  Users can also mute the direct monitoring path of an analogue input, “essential for re-amping workflows to hear only the processed signal from your DAW”, and mute analogue outputs to prevent signal doubling when monitoring within the DAW.

View this post on Instagram

A post shared by Neural DSP (@neuraldsp)

As well as all these newbies, the update brings some bug fixes too. Critical issues that could cause Nano Cortex to crash or freeze, particularly when downloading a Neural Capture or when left idle for an extended period, have been resolved. A bug that would result in no audio passing through the Nano Cortex if a preset was loaded that used a deleted Neural Capture is also fixed.

To view the full list of new features and fixes, head over to Neural DSP.

The post Neural DSP’s new Nano Cortex update introduces a Tap Tempo mode and other “highly requested” enhancements appeared first on Guitar.com | All Things Guitar.

Is our favorite instrument set to go the way of the once ubiquitous accordion?

Since last month’s installment of Esoterica Electrica, I’ve been thinking about another instrument that rose and fell in the public consciousness. There was a time when the accordion was king. Not cool, maybe, but unavoidable—wheezing its way through dance halls, weddings, and smoky cafés. On TV, accordionist Lawrence Welk squeezed out over 1,000 episodes of his immensely popular show in one of the longest running serials of all time. Then, the electric guitar as we know it showed up, with its raw edges, bad attitude, and built-in middle finger, and the accordion got shoved in the closet next to grandma’s fondue set. But over the last few decades the accordion has been creeping back from the shadows, and that tells us something strange—maybe even prophetic—about where guitar culture might be headed.

The guitar has always been more than a musical instrument. It was rebellion you could strap on and crank up. It said, “I don’t care about your rules, and I’m not going to college.” Eventually, rebellion got turned into a brand. It became a logo on a shirt and a preset in a digital amp. The raw energy of rock, blues, and even jazz got scrubbed up and packaged for mass consumption. And that’s where things started to get boring. Even saturated, detuned 7-string metal got—yawn.

Guitarists might wonder if this is the decline of civilization. Probably not, but it might be the decline of a scene—the kind of place where you could write poetry about your friends, your lovers, or your city’s crumbling infrastructure. The clubs in Paris before the revolution, the jazz dives in Harlem, the punk storefronts in the Midwest—their influence was all replaced by sports bars, chain restaurants, and multi-use “event spaces.” There’s nowhere left to be inspired by place, because everywhere is the same. Meanwhile, popular music culture is drowning in junk. But that’s not new—it’s always been full of crap.

Every era had its disposable acts, cheesy hits, and manufactured stars. But now we’ve added infinite shelf space and instant access to the mix, and it’s overwhelming. Bad music isn’t the problem. It’s the sheer volume of it. Anyone with a phone can make a song, a video, and a fake album cover in 15 minutes, and then post it. And then maybe go viral. Or not. No one really knows. Algorithms don’t help, they are the sycophant friend that won’t tell you that you suck. They track clicks, not quality. In the analog days nobody knew if an album got played 50 times in someone’s bedroom—but those plays meant something. Now, we’ve turned music into data points. If it gets enough hits, it must be good, right? But we know that’s not true.

“Algorithms don’t help, they are the sycophant friend that won’t tell you that you suck.”

Now social media stumbles under its own weight. Platforms are changing their algorithms weekly, creators almost outnumber their audiences. Trends change faster than guitar strings at a sweaty club gig, and to me, the whole thing feels a bit stale. Yes, it’s easier than ever to record music, and technically that’s a good thing. But most of it isn’t great. That’s fine—most of anything isn’t great. But it’s harder than ever to find something sublime because everything’s buried in the feed. So as the accordion started to pop back up, it wasn’t just nostalgia—it was a sign that we were looking for something different. Something that didn’t feel polished to death. My observation is that music always steals from the past with a new twist. In a world that’s been flattened by sameness, an unfashionable instrument starts to seem kind of interesting again.

Which brings us back to the guitar. It still works. It still says something. But maybe now it has to fight harder to be heard. Rebellion isn’t gone—it’s just out of frame, figuring out its next move. The scene might be harder to find, but it’ll come back. It always does. Talent tends to survive, even if it doesn't trend. The guitar is a chameleon in a way that a synthesizer or computer can never be. In our hands, and strapped close to our sweaty bodies, it’s a living, breathing, organic extension of our humanity that we can twist, bend, and strangle into an emotional connection with anyone within earshot. Rock guitar was never built to last—it was meant to blow the doors off and then disappear. But that’s its super power. The guitar is like a coiled spring wound tight with the potential energy to leap back into the fray. Maybe the world is just waiting for the next weird, noisy, honest thing to kick down the door, and hopefully it has six strings and a little dirt on it.

Esoterica ElectricaIs our favorite instrument set to go the way of the once ubiquitous accordion?

Since last month’s installment of Esoterica Electrica, I’ve been thinking about another instrument that rose and fell in the public consciousness. There was a time when the accordion was king. Not cool, maybe, but unavoidable—wheezing its way through dance halls, weddings, and smoky cafés. On TV, accordionist Lawrence Welk squeezed out over 1,000 episodes of his immensely popular show in one of the longest running serials of all time. Then, the electric guitar as we know it showed up, with its raw edges, bad attitude, and built-in middle finger, and the accordion got shoved in the closet next to grandma’s fondue set. But over the last few decades the accordion has been creeping back from the shadows, and that tells us something strange—maybe even prophetic—about where guitar culture might be headed.

The guitar has always been more than a musical instrument. It was rebellion you could strap on and crank up. It said, “I don’t care about your rules, and I’m not going to college.” Eventually, rebellion got turned into a brand. It became a logo on a shirt and a preset in a digital amp. The raw energy of rock, blues, and even jazz got scrubbed up and packaged for mass consumption. And that’s where things started to get boring. Even saturated, detuned 7-string metal got—yawn.

Guitarists might wonder if this is the decline of civilization. Probably not, but it might be the decline of a scene—the kind of place where you could write poetry about your friends, your lovers, or your city’s crumbling infrastructure. The clubs in Paris before the revolution, the jazz dives in Harlem, the punk storefronts in the Midwest—their influence was all replaced by sports bars, chain restaurants, and multi-use “event spaces.” There’s nowhere left to be inspired by place, because everywhere is the same. Meanwhile, popular music culture is drowning in junk. But that’s not new—it’s always been full of crap.

Every era had its disposable acts, cheesy hits, and manufactured stars. But now we’ve added infinite shelf space and instant access to the mix, and it’s overwhelming. Bad music isn’t the problem. It’s the sheer volume of it. Anyone with a phone can make a song, a video, and a fake album cover in 15 minutes, and then post it. And then maybe go viral. Or not. No one really knows. Algorithms don’t help, they are the sycophant friend that won’t tell you that you suck. They track clicks, not quality. In the analog days nobody knew if an album got played 50 times in someone’s bedroom—but those plays meant something. Now, we’ve turned music into data points. If it gets enough hits, it must be good, right? But we know that’s not true.

“Algorithms don’t help, they are the sycophant friend that won’t tell you that you suck.”

Now social media stumbles under its own weight. Platforms are changing their algorithms weekly, creators almost outnumber their audiences. Trends change faster than guitar strings at a sweaty club gig, and to me, the whole thing feels a bit stale. Yes, it’s easier than ever to record music, and technically that’s a good thing. But most of it isn’t great. That’s fine—most of anything isn’t great. But it’s harder than ever to find something sublime because everything’s buried in the feed. So as the accordion started to pop back up, it wasn’t just nostalgia—it was a sign that we were looking for something different. Something that didn’t feel polished to death. My observation is that music always steals from the past with a new twist. In a world that’s been flattened by sameness, an unfashionable instrument starts to seem kind of interesting again.

Which brings us back to the guitar. It still works. It still says something. But maybe now it has to fight harder to be heard. Rebellion isn’t gone—it’s just out of frame, figuring out its next move. The scene might be harder to find, but it’ll come back. It always does. Talent tends to survive, even if it doesn't trend. The guitar is a chameleon in a way that a synthesizer or computer can never be. In our hands, and strapped close to our sweaty bodies, it’s a living, breathing, organic extension of our humanity that we can twist, bend, and strangle into an emotional connection with anyone within earshot. Rock guitar was never built to last—it was meant to blow the doors off and then disappear. But that’s its super power. The guitar is like a coiled spring wound tight with the potential energy to leap back into the fray. Maybe the world is just waiting for the next weird, noisy, honest thing to kick down the door, and hopefully it has six strings and a little dirt on it.

As we continue to edge closer to the release of Line 6’s incredibly hyped-up Helix Stadium amp modellers, the brand has released some more content revealing what they sound like, and what they’re capable of.

The new Stadium line was announced in early June, promising the “most powerful and most flexible” Helix yet. The range includes the flagship Helix Stadium XL Floor and a streamlined version, both of which will be arriving this year in autumn/winter.

• READ MORE: Buyer’s guide to the best compact multi-effects: sound-shifting units from Neural DSP, BOSS & Line 6

Not only will these new additions bring highly-anticipated upgrades, including new cloning capabilities and high-resolution touch screens, but they also introduce an entirely new modelling methodology called Agoura.

Agoura replaces Helix’s former HX modelling tech for improved authenticity when modelling physical amps, as well as offering increased accuracy when it comes to how amps respond to you. And, until now, we’ve not really heard how these new floorboard modellers actually sound.

As we grow closer to the drop, Line 6 has been releasing a number of tour videos on its Youtube channel. In a new sound sample video, you can hear its Marshall-inspired ‘Brit Plexi’ amp, which is played through a ‘jumped’ channel and hooked up to two virtual 4×12 Greenback30 cabs and runs through an LA2A Studio Comp, a delay pedal, and a Dynamic Plate reverb – all of which are displayed on its new, snazzy screen.

Hear it below:

Other recent demos include a tour of its search field to show you how to locate models, presets, and more, plus two wider tours on both the touch screen – in this one, you can hear a little bit more of the Brit Plexi in play via the background music – and the range of Agoura models available at launch.

To view more details about the Helix Stadium amp modellers, head over to Line 6.

The post If you’re as excited about the Line 6 Helix Stadium as we are, you’ll be pleased to know you can now hear it in action appeared first on Guitar.com | All Things Guitar.

A player was recently scammed out of $1,000 after falling prey to a scam website – and the retailer’s CEO has shared the red flags you need to be mindful of

“Analog voicing” in digital delays typically refers to approximations of the foggy, frayed echoes created by a chain of analog bucket brigade devices. Digital devices aspiring to analog-ness usually accomplish this with little EQ tweaks elsewhere in the chain. And it sounds cool when done right.

Austin, Texas’ Berserker Electronics employs a multi-pronged approach to generating analog warmth from their very inexpensive, well-made, USA-built Aquanaut. To start, designer James Millican uses analog filtering at the input and output—inspired in part by the analog Way Huge Aqua-Puss and Boss DM-2. And for generating the repeats, he employs the PT2399 chip, an inexpensive and abundant digital unit originally conceived for karaoke machines that also drives delay devices like the EarthQuaker Space Spiral, Death By Audio Echo Dream 2, Caroline Kilobyte, and others categorized and marketed under the “vintage” and “lo-fi” umbrellas. This formula really works in the Aquanaut, adding an appealing analog-like toastiness that, apart from the absence of clock noise, could fool experienced analog delay users.

Deftly Walking the Digital Divide

The few limitations in the Aquanaut design have little bearing in basic delay applications. If you use oscillation effects at high mix and repeat levels, however, you might find the Aquanaut’s controls feel a little uptight compared to true BBD effects. Some users might like this less twitchy and temperamental feel. But it’s likely everyone can appreciate the generously proportioned and easy-to-manipulate blend and delay knobs, which facilitate hands-on Nigel Godrich flying-saucer-liftoff effects, Jimmy Page Echoplex manglings, and other outer-limits oscillation-based sounds.

“The Aquanaut responds to dirty, distorted tones in the same visceral, haunted way a BBD device does.”

As for the repeats, they’re warm and contoured at the edges, with a little more capacity for midrange detail than the Supa-Puss and Carbon Copy I used for comparison. That said, there is haze aplenty. By pushing the PT2399 beyond its usual 300ms maximum repeat time spec, Millican introduced some distortion to the repeats. The analog input stage filtering, meanwhile, removes some of the high frequencies in that distortion. There’s also a diode limiter before the delay chip. This recipe adds a lot of the ambience—some might call it signal pollution—that makes real bucket brigade echoes sound so hazily mysterious and immersive. I’d be lying if I said I didn’t hear slightly more of this ambience in the repeats of a Supa-Puss and Carbon Copy. But the Aquanaut’s version is pleasing and practical in other ways. And like my real BBD echoes, the Aquanaut responds to dirty, distorted tones in the same visceral, haunted way a BBD device does—rounding off edgy harmonic peaks and adding a very open compression that allows plenty of room for aggressive picking dynamics.

The Verdict

At $129, the Aquanaut is just $20 less than the genuine bucket brigade MXR Carbon Copy and the same price as digital delays like the TC Flashback, which features a less dimensional “analog” simulation. Yet it’s a high-quality pedal, and the compromises inherent to this kind of design are executed in a way that doesn’t require many sacrifices in sound, quality, or value. James Millican and Berserker pulled off a nice balancing act here—assimilating virtues from great, straight-ahead BBDs without the clock noise, and with a little extra headroom and midrange fidelity that dovetails beautifully with drive, distortion, and fuzz.

Mysterious modulations and Leslie sounds abound in a compact, straightforward, and streamlined rotary simulator complete with variable drive settings.

BOSS announces the RT-2 Rotary Ensemble, the latest member of the company’s famous compact pedal lineup. Rotary speaker cabinets are a vital part of the classic combo organ voice, and guitarists and other musicians have also used them to infuse iconic tracks with their distinctive depth and rich modulation. Powered by the latest BOSS advancements, the RT-2 distills this expressive spatial effect into a pedalboard-friendly footprint with three sound modes, deep tonal shaping, multiple audio output configurations, and advanced real-time sound control.

The most revered rotary speaker designs feature a spinning high-frequency horn (treble rotor) and a woofer that feeds into a rotating drum (bass rotor). Changing rotor speeds between fast and slow creates a steady stream of tonal shifts that players have long used for interesting sonic movement. The RT-2 authentically replicates these complex audio behaviors, coupled with two-way speed control, a Rise/Fall Time switch for adjusting the transition time between speeds, and a colorful indicator that shows the current rotation of the virtual rotors.

The versatile RT-2 has a three-position Mode switch for selecting a classic rotary speaker sound or two modern variations developed with custom BOSS tuning. There’s also a Drive knob to add pleasing distortion inspired by the tube amplification circuits in vintage rotary speaker cabinets. Via a rear-panel switch, this dual-function control can be assigned to adjust the volume balance between the treble and bass rotors for different tonal characteristics.

Boss RT-2 Rotary Ensemble Pedal

RT-2 Rotary Ensemble Pedal

The 88-year-old blues star says the lack of mainstream platforms for blues concerns him – but his Sinners cameo gives him cause for hope

It’s easy to get stuck in our own way. We’re all guilty of it in varying degrees: we find the artists we like, put a metaphorical wall up around our tastes and treat those new to our radars with scepticism.

This is exacerbated generationally. You don’t need to go far to hear the ‘back in my day’ platitudes uttered by those who grew up in what they’d call rock’s ‘golden generation’. 

They might be talking about glam metal’s heyday in the ‘80s, the emergence of grunge in the ‘90s, or even the new wave of American heavy metal (NWOAHM) in the late ‘90s and early 2000s. 

But nostalgia is a hell of a drug.

When Black Sabbath announced the lineup of their monumental farewell 5 July show at Villa Park, metal fans rejoiced at the inclusion of a pantheon of metal’s elite (Metallica, Slayer, Anthrax and Pantera, to name but a few).

However, some were a little more hesitant at the mention of Yungblud, the Doncaster native whose music already spans so many genres it’s hard to keep up.

In the lead up to the show, I spotted a number of comments on social media and online forums poking fun at the 27-year-old, real name Dominic Richard Harrison.

“I’d hope he’s just going as a guest of the Osbournes as a spectator,” one Reddit comment read. “Surely they’ve got enough awareness to know Yungblud’s not going to go down well with a die-hard metal crowd! If he does come on stage I hope the bars are well staffed!”

Of course, Yungblud did not simply attend the event as a “spectator”; he performed a breathtaking cover of Sabbath’s Changes – from 1972’s Vol. 4 – channeling Ozzy Osbourne and, it must be said, Freddie Mercury at Live Aid, in quite frankly one of the day’s most rousing performances.

In the video above, it’s clear to see that the sold-out Villa Park crowd was enraptured by his performance, and, indeed, anyone who did visit the bar during missed out big time.

I’d say it’s satisfying to see haters silenced, but I don’t think that’s the source of the gratification here. I think it’s more to do with previously closed off people opening their minds and discovering new things that they genuinely love.

“I’m here from Back to the Beginning,” one metal fan wrote following the show. “Never heard of this dude before. I’m an old punk metalhead that doesn’t really seek out new music, ‘cause it’s mostly trash. This dude, though. This dude is fucking good. I started watching his music videos. Brilliant.”

“He got us all in a chokehold after that Ozzy performance,” replied another. “I have been listening all day. This isn’t even my usual kind of music/aesthetic at all. But I don’t know why I’m captivated by him. His voice is amazing.”

Another put simply: “I have not been this juiced for any new music or new artist for, literally, DECADES. Dude is something special.”

It can’t be ignored that in our attention economy where people make their minds up about things in seconds, a name like Yungblud might make someone think, ‘Okay, SoundCloud rapper. Next.’

But in reality, Yungblud represents the young blood – sorry, that was awful, but it’s true – that rock music so desperately needs. He’s a formidable songwriter – take parents, Zombie and acting like that (with mgk) as evidence of that – and an even better performer.

And the best part? The guitar is so often front and centre in his music. For those new to his catalogue, check out his 2021 single fleabag, which features a killer tapping-laden guitar solo at the 2:05 mark.

So as people continue to debate the future of guitar music, will Yungblud save it? The jury’s out on that one, but he’ll definitely help.

Yungblud’s also got that from-the-heart rebellious nature that made us all fall in love with our now-aging rockstar heroes in the first place.

In a newly resurfaced clip that’s been doing the rounds on social media as the world continues to discover him following Back to the Beginning, Yungblud hilariously recounts defying a no-moshing order at his 2022 Summer Sonic performance in Tokyo.

“After his show in Osaka yesterday, I am very worried about this next performer,” the announcer says. “Whatever he says, you must not mosh or shout.” Of course, what follows is a clip of the crowd in the palm of his hands going absolutely mental – and, yes, moshing.

View this post on Instagram

A post shared by Lisa Diane Holt (@lisaholt777)

Now, we’re not encouraging the defiance of venue rules and safety measures by any stretch. But rebellion has always been synonymous with rock ‘n’ roll, and Yungblud possesses it in abundance. And with his out-of-this-world voice, stellar songwriting skills and unrivalled stage presence, what more do you want?

Contrary to what you might think if you’re just discovering him, Yungblud is not an outsider to this world of rock and metal we all love. He’s very much in it, and even formed a close personal relationship with Ozzy Osbourne prior to his death on 22 July.

In an emotional post on social media following the news, Yungblud proclaimed Ozzy as the “greatest of all time”.

“You will be in every single note I sing and with me every single time I walk on stage,” he wrote. “Your cross around my neck is the most precious thing I own. You asked me once if there was anything you could do for me and as I said then and as I will say now for all of us the music was enough. You took us on your adventure – an adventure that started it all. I am truly heartbroken.”

View this post on Instagram

A post shared by YUNGBLUD (@yungblud)

In an earlier clip of the pair talking backstage at Back to the Beginning, it’s hard not to well up as Yungblud and Ozzy embrace. “I love you,” Ozzy tells the young musician. “I fucking love you, man,” Yungblud replies.

View this post on Instagram

A post shared by YUNGBLUD (@yungblud)

Reflecting in another post in the days following Ozzy’s passing, Yungblud wrote: “I’m trying to compute the last couple of days and honestly I’m absolutely fucking shattered.

“I owe so much to you, your wife and your family – you all gave me a road to run down and supported me when people would turn their nose up…

“To sing this song for you at an event surrounded by legends inspired by you to a crowd that loved you was truly my life’s greatest honour and I vow to play this song every night for the rest of my life.

“You’re my hero in every regard. I hope you’re up there ‘avin a drink with Randy [Rhoads].”

View this post on Instagram

A post shared by YUNGBLUD (@yungblud)

View this post on Instagram

A post shared by Black Sabbath (@blacksabbath)

 

It’s a cliché that rings true in rock and guitar music as it does everywhere in the world: the only constant in life is change. Rock music will never be what it was in the ‘70s, ‘80s and ‘90s. But is that necessarily a bad thing? 

Why can’t we crystallise those memories and continue to enjoy them while making room for newer artists whose music is actually pretty exciting.

And if Ozzy Osbourne, the guy who – with his Black Sabbath bandmates – invented an entire genre, took him under his wing, maybe it’s time you started paying Yungblud some attention…

You can see a full list of Yungblud’s upcoming live dates at his official website, and given his comments, you’ll probably hear Changes if you go…

The post He brought the house down at Black Sabbath’s farewell gig, and once hilariously defied a no-moshing order at a Japan show. Like it or not, Yungblud is the star rock music needs appeared first on Guitar.com | All Things Guitar.

The Black Sabbath singer passed away earlier this month, weeks after completing his Back to the Beginning farewell show

Some may beg to differ, but Bryan Adams feels guitar-driven music isn’t all that popular right now.

Despite this, it seems the legendary rock artist isn’t too concerned about it, and feels that no matter what, guitar will always stick around regardless of its presence in popular music. Adams is gearing up to release his 17th studio album this August, Roll With The Punches, which is described as “packed full of powerful rock anthems” no less.

• READ MORE: Bryan Adams reveals the story behind his “first real six-string” in hit song Summer of ’69 – and it actually wasn’t bought at a five and dime

Though steeped in classic guitar music territory, the new record also shows Adams moving with the times, as it marks his first full length record of new material to be released via his own independent label, Bad Records – a move a lot of artists both big and small are now pursuing.

Speaking to Classic Pop magazine, Adams explains why he feels no fear over the changing landscape of music: “I know that guitar music isn’t particularly popular at the moment, but it doesn’t matter to me ‘cause I know there are people out there that really like it, if they get a chance to hear it. So, I play to the converted.”

Elsewhere in the interview, Adams discusses the making of the album, and how he prefers to keep recording simple and avoids over-producing for a natural ‘band in the room’ feel.

“That’s the key,” he says. “That is how I make all my records. I don’t really know how else to do it. I don’t have enough keyboard savvy to be sitting there behind a bunch of synths. I just put everybody in the room, it’s easier!”

Roll With The Punches will be released on 29 August. You can also catch Bryan Adams on tour now.

The post “It doesn’t matter to me”: Bryan Adams says guitar music “isn’t particularly popular at the moment”, but he’s not concerned – here’s why appeared first on Guitar.com | All Things Guitar.

The iconic Strat was reportedly stolen at a later date

Wylde was the Black Sabbath icon's guitarist and friend for decades. He reflects on his instant connection with the Prince of Darkness, how their relationship evolved both on and offstage, and that emotional final show at Back to the Beginning