General Interest


Martin Simpson is a true icon of the global acoustic music scene. As a guitarist, he has done a huge amount to push the boundaries of the acoustic steel string instrument – showing it can be an expressive and lyrical voice. As a songwriter, he is a masterful storyteller whose poignant lyrics are shared with a disarmingly gentle, no-frills delivery that makes those of us who grew up in the North of England very glad to have done so, and everyone who didn’t wish that they had.

Throughout his career, Martin Simpson has been a vocal proponent of luthier-made guitars – from his early adoption of the work of Northumberland’s Stefan Sobell and Cumbria’s Fylde Guitars to his championing of the next generation of British lutherie with instruments by Taran Guitars in Scotland and Turnstone Guitars in England.

It is no exaggeration to say that Martin Simpson’s musicality and expectations from a guitar have informed the voice of the modern steel-string guitar, perhaps more than any other player. This is very cool indeed.

During my visit to Martin’s home, I had the good fortune to record him playing slide on his Taran guitar. You can watch that video here https://youtu.be/eFJK1zvmPc0, as well as exploring my own instrument by Casimi guitars: https://youtu.be/45WnYusgR4w.

This episode of Life on the Fretboard is brought to you with the kind sponsorship of the author John Stubbings, whose new novel ‘The Guitar Detective’ is a beautiful companion piece to his debut ouvre ‘The Devil Is In It.’ You can get your copy of ‘The Guitar Detective’ right here: https://orpharionpress.com.

You can learn more about Martin Simpson here:

https://martinsimpsonmusic.com

https://www.youtube.com/@MartinSimpsonOfficial

https://www.instagram.com/martinsimpsonmusic

To support Life On The Fretboard please click here https://michaelwattsguitar.com/tip-jars/4745

Michael Watts:
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The post Life on the Fretboard: Martin Simpson first appeared on Fretboard Journal.

Source Audio, a leader in next-generation guitar and bass effects pedals, proudly introduces the Encounter Ambient Delay+Reverb, a fully loaded, dual-engine effects pedal designed to unlock immersive, atmospheric soundscapes. Building upon the legacy of Source Audio’s award-winning Collider Delay+Reverb, the Encounter features dual signal processing, allowing users to combine any two of the pedal’s six delay and six reverb effects. Where the Collider focused on classic delay and reverb effects, Encounter ventures into uncharted tonal territory, delivering new, otherworldly effects for guitar, bass, synth, and adventurous sound designers of all kinds.

“You asked, so we delivered!” says Roger Smith, President of Source Audio. “Ever since the release of the Collider Delay+Reverb, players have asked us to push further — into more adventurous, exploratory delay and reverb textures. Encounter answers that call. It opens up an expansive new universe of sonic possibility, combining reimagined classics with brand-new algorithms that explore both the familiar and the beautifully unknown.”

At the heart of the Encounter are six delay and six reverb engines that can be used individually or combined in pairs — this includes dual delay and dual reverb setups. Users can route dual effect combinations in series, parallel, or split stereo, with independent footswitch control for each engine, effectively offering the power of two pedals in one easy-to-navigate enclosure. Stereo ins and outs, full MIDI implementation, 8 onboard preset slots (128 presets with MIDI), external expression control, and seamless integration with Source Audio’s free Neuro 3 editing software for iOS, Android, macOS, and Windows further elevate the pedal’s flexibility and creative potential.

The Encounter’s effects collection features brand-new engines such as Hypersphere, a gravity-defying ambient reverb inspired by infinite spatial reflections, Kaleidoscope, a cascading, harp-like delay effect, and Shimmers, a rich, dual-pitched shimmer reverb designed for lush harmonic layering.

Modernized favorites from Source Audio’s acclaimed Ventris Dual Reverb and Nemesis Delay ADT also make a return — Reverse, Lo-Fi, Trem Verb, and Swell reverbs, along with Helix, Drum Echo, Noise Tape (based on the Roland Space Echo) and Resonant delays — all reimagined with expanded parameter control.

In addition, musicians can preview and explore the sounds and editing capabilities of the Encounter before purchasing the pedal, using the Neuro 3’s new SoundCheck™ feature. Neuro 3 is Source Audio's entirely free effects editing, preset sharing, and organizing software. SoundCheck features prerecorded, unaffected guitar, bass, keyboard, and drum loops that can be played through bit-perfect replications of Source Audio One Series pedals. Users can audition presets or use the effect editor and hear changes in real-time, using only a smartphone or computer.

Adding to the company’s lineup of premium US-made pickups, Brickhouse Toneworks has introduced the Mason Deluxe P.A.F. pickup. Available individually or in matched sets, the Mason Deluxe delivers the classic, exquisitely balanced tone of a vintage 1960s P.A.F. humbucker with added bite. They are a direct drop-in replacement for standard sized humbuckers.

Sporting AlNiCo 4 magnets for enhanced attack and articulation, the Mason Deluxe P.A.F. has the clarity of a lower wind with the power of a fuller wind. Pickup master David Shepherd designed the pickup with two slightly different wire thicknesses on each coil, along with carefully calibrated asymmetrical coils, to bring out the maximum frequencies and dynamic range possible.

Expanding on the legacy of Brickhouse Toneworks’ highly regarded 1960 P.A.F. and Semi 60 P.A.F. humbuckers, the Mason Deluxe P.A.F.'s deliver a unique tonal profile characterized by a chimey, bell-like clarity and exceptional articulation. The sound is both smooth and responsive, with a dynamic range that allows for a sweet, rolled-off tone as well as a powerful, aggressive distortion. A defining feature is the rich, harmonic overtones that bloom and sustain, providing a heightened sense of depth and dimensionality. The pickups also exhibit a slight microphonic effect, which enhances pick attack definition. This results in a complex, yet clear sound—fat and woody in the neck position, and sparkling with pronounced punch and tonal definition in the bridge.

The result: an extraordinarily responsive P.A.F. humbucker with a transparent and open sound, allowing the guitar and player's natural tone to be the star of the show.

Key Features of the Mason Deluxe:

• AlNiCo 4 Roughcast Long Bar Magnets, Unpotted Coils
• Vintage Correct Long Leg Frames and Butyrate Plastic Bobbins
• Vintage Correct Alloys, Coil Wire and Braided Single Conductor Leads
• Vintage Correct Hand Ground, Hand Buffed P.A.F. Covers
• DC Resistance - Bridge: 8.1k (Average)
• DC Resistance - Neck: 7k (Average)
• Made in the USA with premium quality materials

The Brickhouse Toneworks Mason Deluxe P.A.F. street price starts at $195 each and starts at $390 per set. Visit www.brickhousetone.com or contact info@brickhousetone.com for more information and order yours directly.

Mad Cat!—The 2 X EL84, 20-watt Ocelot can breathe fire when it’s not sounding silky smooth. The Ocelot brings together the warmth of pure analog tube circuitry with advanced digital features, redefining what’s possible in a small-format amp. Whether you're recording at home, gigging, or practicing silently with headphones, the Ocelot adapts to your environment without ever compromising your tone.

Channel 1 features sparkling, high-headroom cleans with the ability to nudge into rich edge-of-breakup tones via a Hi/Lo mode switch. Channel 2 brings tight, punchy crunch and full-bodied, high-gain saturation—with articulate response and massive sustain.

Each channel has its own volume control, and the amp includes shared Treble, Mid, Bass, and Presence EQ for easy tone shaping.

Two Notes Torpedo DynIR integration with six onboard virtual cabinet presets from the official Bad Cat DynIR Pack. Selectable Power Modes – Choose between 20W for full punch or 1W for quiet playing. XLR and Headphone Outs – For silent practice or direct-to-DAW recording, complete with Cab Sim and adjustable Cab Level control. Buffered Effects Loop – Keep your pedals sounding pristine and punchy. USB-C Port – For firmware updates and remote editing via Two notes Torpedo Remote software. MIDI Control – Full MIDI implementation for switching channels, modes, and cab presets on the fly. And thanks to its internal speaker load, you can use the Ocelot without an external cabinet—perfect for late-night jams or tracking in a silent setup.

Fender has expanded its Vintera II range – which pairs vintage ‘50s, ‘60s and ‘70s specs with forward-thinking appointments for the modern player – with a limited-edition line of Road Worn models.

Fender’s Road Worn guitars, of course, come pre-aged – or “relic’d” – to give brand-new guitars the look of an instrument with years of use.

• READ MORE: Gibson partners with Marc Jacobs on super-limited Les Pauls

They have however, become rarer in the Fender catalogue in recent years, but the introduction of these new Road Worn Vintera II models signals that the Big F might have further plans to dive back into artificial aging.

Your mind when you think Road Worn might go to noticeably battered instruments which signal years of heavy ‘road’ use. But the new Vintera II Road Worn range introduces a new – and far more subtle – aging process which aims for a less in-your-face ‘closet classic’ vibe.

It’s a similar aesthetic to the Heirloom finish introduced on Bruno Mars’ 2023 signature Stratocaster, and on the American Ultra Luxe Vintage collection – which landed just last month – with minimal obvious dings and scratches and an emphasis on soft patterns of wear and semi-gloss finishes.

Naturally, the Vintera II Road Worn range is headed up by its artificial aging process, but it also features a series of specs designed for vintage guitar lovers, including ‘50s and ‘60s era-correct pickups for “vintage-accurate tone”, and authentic neck shapes for a period-correct feel.

The range comprises four models – a Stratocaster, Telecaster, Jazzmaster and Precision Bass – with colours including Sonic Blue, Black, 3-Color Sunburst, Fiesta Red, Blonde, Charcoal Frost Metallic and Burgundy Mist Metallic.

“Featuring a variety of vintage colours finished in Road Worn aged nitrocellulose lacquer, the Vintera II Road Worn ‘60s Stratocaster recreates the look and feel of a well-played classic,” says Fender.

“The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders.”

Price-wise, the Limited-Edition Vintera II Road Worn Stratocaster and Telecaster are priced at £1,349, the Jazzmaster and Precision Bass at £1,399. 

For more info, head to Fender.

The post Fender is making Road Worn guitars again – this time with the Vintera II line appeared first on Guitar.com | All Things Guitar.

EBS is proud to unveil the newly enhanced NeoLine 112 Mk2 bass cabinet, now shipping with key upgrades that bring even more power, low-end, and reliability to the stage.

The first significant change: the cabinet is now 4 inches deeper, offering a noticeable improvement in low-end response, projection, and overall tonal richness. This enhancement ensures that today's bassists get the punch and presence they need from a compact cabinet, whether they're in the studio, on tour, or pushing the limits live.

Second, EBS has swapped out the previous flip handles in favor of a single heavy-duty deep-dish handle. This small but significant upgrade helps eliminate the risk of rattling noise, making the cab perform securely even at high volumes, while also improving durability and ease of transport.

Third, the high-performance tweeter is now isolated and sealed from the rest of the cabinet, which also helps to reduce the risk of noise due to the sound pressure within the cabinet.Despite the deeper cabinet, and due to the Neodymium speakers and choice of wood, it remains a lightweight cabinet, weighing in at 14.35 kg (31.6 lb).

Already a favorite for its lightweight construction and road-ready build, the updated NeoLine 112 (Mk2) now delivers even greater performance with no compromises. It's a compact speaker for serious players. Despite the improvements, the price remains intact.

The updated NeoLine 112 Mk2 is available now.

Find out more at https://ebssweden.com/cabs/neoline/

Today, Fender is expanding its acclaimed Vintera® II series with a Limited Edition Road Worn® lineup, era-correct classics from the ‘50s and ‘60s pair vintage-inspired designs and modern upgrades with the lived-in look of a well-loved instrument. Each model features a new subtle aging process—light checking, gentle wear patterns, and a semi-gloss finish—delivering unmistakable vintage feel and unmatched sound of a classic Fender®.

Limited Edition Vintera® II Road Worn® ‘60s Stratocaster®

($1,599.99 USD, £1,349 GBP, €1,599 EUR, $2,649 AUD, ¥269,500 JPY)

Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘60s Stratocaster® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘60s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a trio of vintage-style ‘60s pickups that deliver all the warm, sparkling tones that made Fender® famous. Other features include a synchronized tremolo with bent steel saddles for expressive vibrato and vintage-style tuning machines for enhanced tuning stability. Options include Rosewood Fingerboard in Sonic Blue and Maple Fingerboard in Black.

Fender Vintera II Road Worn '60s Stratocaster Maple Fingerboard Electric Guitar

Limited Edition Vintera® II Road Worn® ‘60s Telecaster®

($1,599.99 USD, £1,349 GBP, €1,599 EUR, $2,649 AUD, ¥269,500 JPY)

Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘60s Telecaster® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘60s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a pair of vintage-style ‘60s pickups that deliver all the crystal-clear chime and raw, steely twang that made Fender® famous. Other features include a vintage-style 3-saddle bridge with slotted steel saddles and vintage-style tuning machines for enhanced tuning stability. Options include Rosewood Fingerboard in Burgundy Mist Metallic and Maple Fingerboard in Blonde.

Fender Vintera II Road Worn '60s Telecaster Rosewood Fingerboard Electric Guitar

Limited Edition Vintera® II Road Worn® ‘50s Jazzmaster®

($1,699.99 USD, £1,399 GBP, €1,649 EUR, $2,799 AUD, ¥275,000 JPY)

Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘50s Jazzmaster® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘50s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a pair of vintage-style ‘50s single-coil pickups that deliver all the sweet and sparkling, warm and woody tone that made Fender® famous. Other features include a vintage-style floating tremolo for expressive vibrato and vintage-style tuning machines for enhanced tuning stability. Options include Rosewood Fingerboard in 3-Color Sunburst and Rosewood Fingerboard in Fiesta Red.

Limited Edition Vintera® II Road Worn® ‘60s Precision Bass®

($1,599.99 USD, £1,399 GBP, €1,649 EUR, $2,649 AUD, ¥269,500 JPY)

Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘60s Precision Bass® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘60s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a vintage-style ‘60s split-coil Precision pickup that delivers all the warm, dynamic and powerful tone that made Fender® famous. The vintage-style 4-saddle bridge and vintage-style tuning machines provide classic looks with enhanced intonation and tuning stability to complete the package. Options include Rosewood Fingerboard in Fiesta Red and Charcoal Frost Metallic.

Collaborations between fashion brands and guitar makers aren’t a totally novel concept – Fender has partnered with such brands as streetwear label Supreme and high-end fashion house Yves Saint Laurent, for example.

But it’s slightly rarer for Gibson to partake in similar left-field collabs. That said, the guitar maker has just partnered with Marc Jacobs to create a series of Les Pauls complete with custom artwork, straps and even pick tins.

• READ MORE: Nigel Tufnel uses BIG EAR Pedals’ Slice Of Pie fuzz in Spinal Tap II – can you work out the other pedals across his three ‘boards?
  

Unveiled at Marc Jacobs’ popup store at New York Fashion Week – during which Gibson Spotlight artist Devon Thompson performed a solo set with one of the guitars – the collection comprises four new Gibson Les Pauls, three with artwork by renowned artist Hattie Stewart, and a Standard model with Marc Jacobs’ Daisy Joy design.

“Music and fashion have long been inseparable as forms of self-expression, so this collaboration in the name of joy felt incredibly fitting and necessary,” says Gibson’s Katie Knipper.

“Our Gibson team worked tirelessly with the Marc Jacobs and Nordstrom teams to make ‘Joy’ happen, and having Devon bring things to life in real time was a cherry on top.”

View this post on Instagram

A post shared by Marc Jacobs (@marcjacobs)

 

Gibson hasn’t been quite as prolific as Fender in collaborating with fashion brands, but after Fender’s collabs with the likes of Supreme, Yves Saint Laurent and even Bvlgari, which resulted in an ultra-limited run of Stratocasters in 2024, perhaps Gibson has been inspired.

The four super-limited Les Paul guitars are available to buy at Nordstrom NYC and select Marc Jacobs stores.

Learn more at Gibson.

 

The post Gibson partners with Marc Jacobs on super-limited Les Pauls appeared first on Guitar.com | All Things Guitar.

“Everything started with singing,” begins Canadian musician Billianne. From the age of four, she would go around her family home singing random songs that she had heard on TV shows or when listening to the car radio with her mum. “Everything was my stage,” she says. Her parents even turned their front porch into one. “I was always pretending,” she recalls, having joined school funk bands, played trombone and regularly performed recitals during her childhood. “I can’t remember not singing.”

• READ MORE: Between the Buried and Me rank their own albums from worst to best

A family trip to Nova Scotia during which her brother put on Mumford & Sons’ first album is another fond music memory. “I liked the way that it brought us all together, memorising the words on a 19-hour drive and head-banging in the van,” she recalls of listening to 2009’s Sigh No More in full. Beyond the family bonding, a young Billianne was enamoured by Marcus and co’s lyrics: “I love their storytelling, they are such great songwriters and it’s really great folk music”.

While the foundations were set, it wasn’t until her late teens that she first picked up a guitar. “My dad always had a Norman in the house,” she reflects of the “Canadian staple”. He also had a Simon and Patrick, which Billianne used for most of her learning. Around the age of 17, she started trying to learn the instrument properly by covering songs. “I was always on Guitar Tabs and trying to figure out the songs,” she remembers, specifically citing doing a lot of two chord movements.

Image: Press

Best Is Yet To Come

Taking guitar as a subject during her last year of high school enabled her to “learn a little bit more”. She found it easy to pick up – at least at first. “With a lot of instruments, I always find it really exciting and fun at the beginning,” she says, having learned the G chord, D chord, A minor and F. “But getting past that point… I still feel that every time I try to learn something new on the guitar, it does feel hard to me.”

She persevered and, in 2021, began uploading cover videos to social media. “A lot of times I was singing to karaoke tracks from YouTube,” she recalls. But it was her rendition of Noah Reid’s 2018 song Simply the Best that proved the turning point. “That video was my first time finger picking,” Billianne recalls. “Half of the things with the guitar and me, I’m just like ‘well, I’ll give it a shot’.”

It worked: the cover caught the attention of Taylor Swift, Joe Jonas, P!nk, Oprah and Michael Bublé. “It’s wild,” she recalls. “I can’t believe those people may have found my name and looked me up and listened to my music.” The most surreal moment was the Joe co-sign: “he posted an Instagram story at a campfire with the track paired, which must mean he was listening to it, so that feels intimate to me”. Equally thrilling was the comment from Taylor – especially as she and her brother were Swifties and bonded over her albums Fearless and Red.

Aside from impressing big names, TikTok proved educational for Billianne. “I always look out for what guitars people are playing,” she says. Watching friends online also helped her discover alternate tunings. “I didn’t realise it was a thing. Obviously, there’s these three pegs that do something, but I didn’t realise people lowered the tune of their guitar and had these open tunings that create such inspiration. I felt like ‘wait, your guitar sounds so different from mine, what is going on?’”

As Billianne’s popularity on social media grew, she began playing shows. “There’s nothing like it, but when I first started performing with guitar, I was very nervous on stage,” she says. “It’s not my main thing, but I love how it pairs with my voice,” she adds. “And, once I do get it, it feels really special to be able to accompany myself in that way.”

While her nerves have decreased, she thinks those initial feelings came from still being in the process of learning the instrument. “I think it was a bit of imposter syndrome,” she considers. “I was thinking ‘I’m not a guitar player and there are probably guitar players in the crowd’.” Another worry was whether or not she was “playing the part well – the guitar part and the guitar player part”.

Remembering what she had learned in high school – about the importance of practicing – helped to gradually minimise these concerns. “That is what will make you feel more comfortable on stage,” she says. “I had to tell myself that, and I still believe that about guitar, especially with how much I know about it now. I think so many of my mistakes come from a lack of confidence rather than knowledge about what I’m doing. I need to be confident about where my fingers are going and what’s happening, but that comes with practice.”

Image: Press

Show And Tell

Billianne’s biggest test came with her TV debut – on NBC’s Today, in April 2024. “That was really fun, and I was playing guitar live, which I was so nervous about.” With her band’s encouragement, her performance of folk-pop song Daydream went off without a hitch. “It was really cool to be live on TV while my parents are back in Canada; I think they must have thought ‘she’s the same little girl but she’s on TV’.”

In February this year, she made her second screen appearance, this time singing her song Enough on the TV show of a music “idol” she once messaged: Kelly Clarkson. “I don’t DM celebrities a lot, but I DM’d her way back in the day,” Billianne laughs, adding that she was a big fan of American Idol when she was a mentor on the talent show. “I said ‘I want to sing with you one day’, so hopefully that comes true,” she says. “It was great to have her hold the cover art of my song and introduce me.”

As well as building a name for herself across the US, Billianne scored a hometown hit with her song Crush, which made the Top 10 at Canadian Top 40 Radio. “These things are crazy to think about, like that was a real thing that happened,” she laughs of the success last summer. “It was being played everywhere. We would be in the car and hear it. My friends would send videos while they were in the dollar store.”

Billianne has since toured with Julia Jacklin, KT Tunstall and “Canadian legend” Serena Ryder – during a double-bill, the latter two met her on the night. “It’s so kind when big names care like that.” Serena has been keeping tabs on her growth since: “she DM’d me and said ‘you’re doing amazing, I’m just checking up on your page and everything looks so great’.”

Transportation Station

Now, Billianne is gearing up to release her debut album, Modes of Transportation, which has been in the works for three years.

“To have this big project that had so much thought and care and people working on it, that makes me feel more like an artist,” she says. As she rode her bike, took the train and learned to drive on the highway during that time, its layered title has multiple meanings. “It’s a metaphor of being in your twenties and figuring out how you get from who you are to who you want to be in the next 10 years.”

This journeying sense of discovery is channeled through the tracklist and pacing of the record, which was recorded across Ontario – from a downtown Toronto house to a quiet cabin in Huntsville and a family basement studio in Etobicoke. “We wanted to try out different sounds,” she says, adding that there are “there are so many guitars on this record”.

Having used them throughout the writing process and to channel different emotions, she doesn’t remember exactly how many, but says her collaborators Duncan [Hood] and Nick [Ferraro] are “a little bit geeky with this stuff”. They would choose a Nylon instead of a steel string “to suit the vibe of the song,” she says, adding that the lyrics usually come first. “I tend to have song starts and ideas. Sometimes it’s a full verse, or the chorus melody, or a line and then I take it to Nick and Duncan and we work it out.”

For the song Future Emma, she remembers them discussing the tone of the electric guitar because it starts the track and “needed to be exactly what I wanted”. Meanwhile, the track ‘Let Me Run’ sees the three of them each play a different guitar: “I start that track and then they come in on guitar, so that was special”. It’s also the only one where she plays guitar on track, which is something Billianne is keen to do more of. “Recording a guitar is a totally different thing,” she says; “it’s so humbling”.

As an artist who is always working on the next thing – “there’s lots more to come,” she teases – her message to aspiring guitar players is simple. “You’ve just got to pick it up and try something,” she encourages. “Sometimes it looks so scary sitting in your room. It’s like ‘Oh my God, there’s this thing with six strings and you can do so many things on it… but the options are endless’.”

Modes of Transportation out August 15. Billianne tours the UK in November.

The post Billianne on viral success, battling imposter syndrome and her years-in-the-making debut album appeared first on Guitar.com | All Things Guitar.

Encounter is designed for atmospheric soundscapes

POG2's Attack Slider in a standalone PICO pedal

Gibson is proud to introduce five new acoustic reissues for the Gibson Custom Murphy Lab Light Aged acoustic collection, delivering well-worn favorites, built brand new, with the look, tone, and played-in feel of cherished vintage originals.

Each one of the five new additions to the Gibson Custom Murphy Lab Light Aged acoustic collection is a masterfully crafted reproduction of a cherished Gibson acoustic guitar model from Gibson’s first Golden Era. The Murphy Lab Light Aged acoustic lineup from Gibson Custom all feature either red spruce or Sitka spruce tops that have been thermally aged to give them the sound of a well-seasoned vintage guitar. The new additions to our Murphy Lab Light Aged lineup of vintage acoustic reissue models feature light lacquer checking, light dings, pick trails, and rounded fretboard edges, giving them the tone, look, and played-in feel of cherished vintage originals. Gibson Custom Murphy Lab Light Aged acoustic guitars are well-worn favorites, built brand new.

Explore the full Gibson Custom Murphy Lab Light Aged acoustic collection, now available worldwide on Gibson.com HERE.

Each acoustic guitar in the Murphy Lab Light Aged collection comes with an era-correct hardshell guitar case that corresponds with the style of case that was in use when that model was released, adding to the vintage ownership experience.

1929 Nick Lucas Special Light Aged

A small-bodied legend with a big voice

Nick Lucas, known as “The Crooning Troubadour,” was a pioneering entertainer of the 1920s—one of the first to record guitar solos and perform with a guitar on the radio. His influence helped elevate the guitar as both a solo and accompaniment instrument. In 1926, Gibson honored Lucas’s request for a custom design, resulting in the Nick Lucas Special—the company’s first artist signature model, featuring a deeper body for enhanced bass response and tonal richness.

Now, Gibson Custom proudly introduces the 1929 Nick Lucas Special Light Aged, a stunning recreation of this historic model. Built with a deeper mahogany body shaped like the L-00, it features a thermally aged red spruce top, gold sparkle multi-ply binding, and a matching L-2 style rosette. The mahogany neck joins the body at the 12th fret and has a C-shaped profile. The bound rosewood fretboard is equipped with 20 frets and is adorned with mother-of-pearl Nick Lucas inlays with engraved details. Gold Waverly tuners with ivoroid oval buttons are installed on the headstock, which also features a vintage-style “The Gibson” logo in mother-of-pearl. Finished in Argentine Grey with Murphy Lab Light Aging, it captures the look and feel of a well-loved original. Housed in a Red Line-style case, this model delivers timeless tone and unmatched character.

1963 Dove Light Aged:

All the tone, charm, and character of a vintage Dove—reborn

First introduced in 1962, the Gibson Dove™ quickly became an icon of the square-shoulder acoustic family, following the Hummingbird™. With its bold voice and distinctive look, the Dove has been favored by legends like Elvis, Tom Petty, and Alex Lifeson. Now, Gibson Custom proudly presents the 1963 Dove Light Aged—a meticulous recreation of the early Dove models, crafted to deliver vintage tone and feel in a brand-new instrument.

Featuring a thermally aged Sitka spruce top with traditional scalloped X-bracing and beautifully flamed maple back and sides in a Cherry finish, this Dove sings with clarity and power. The mahogany neck has a comfortable Round profile, paired with an Indian rosewood fretboard adorned with mother-of-pearl parallelogram inlays. A longer 25.5” scale length and maple body give it a bright, full voice that stands apart from the Hummingbird.

Details like the rosewood Dove bridge with inlaid doves, engraved pickguard, and Kluson® Waffleback tuners complete the vintage aesthetic. Lightly aged by the Murphy Lab, it offers the look and feel of a well-loved original and comes housed in a vintage-style black hardshell case for the full Gibson Custom experience.

1955 J-45 Light Aged:

A faithful tribute to the mid-50s Workhorse

First introduced in 1942, the Gibson J-45™ quickly earned its nickname, “The Workhorse,” for its straightforward design, warm tone, and unmatched versatility. By 1955, key updates—like a longer fretboard with 20 frets and a larger pickguard—helped define the model’s enduring legacy. Today, it remains one of the most recorded and best-selling acoustic guitars of all time.

The 1955 J-45 Light Aged from Gibson Custom is a masterfully handcrafted recreation of this pivotal model, built in Bozeman, Montana. It features a round-shoulder mahogany body with a thermally aged Sitka spruce top and traditional X-bracing installed with hide glue for vintage tone and resonance. The mahogany neck has a comfortable Round profile and is joined with a compound dovetail neck joint. A rosewood fretboard with mother-of-pearl dot inlays, bone nut and saddle, and vintage-style Grover® strap tuners complete the classic look.

Finished with Murphy Lab’s Light Aging treatment and lightly aged hardware, it captures the feel of a well-played original. Packaged in a 1950s-style Lifton™ hardshell case, the 1955 J-45 Light Aged delivers the authentic tone, vibe, and craftsmanship of Gibson’s Golden Era.

Pre-War SJ-200 Rosewood Light Aged:

All the vibe, feel, and vintage allure of the rare rosewood Pre-War Super Jumbo

Originally introduced in 1937, the Gibson SJ-200™ quickly earned its title as “the King of the Flat-Tops” thanks to its bold sound, impressive projection, and commanding presence. Early models featured rosewood back and sides, but due to limited demand during the post-Depression era, production numbers remained low—making these early rosewood-bodied SJ-200s highly sought-after by collectors today. Gibson Custom now proudly presents the Pre-War SJ-200 Rosewood Light Aged, a meticulous recreation of those rare originals. It features a thermally aged red spruce top with traditional scalloped X-bracing, rosewood back and sides with a three-rope marquetry strip, and ornate multi-ply binding throughout. The AAA maple neck includes a walnut stringer and stinger detail, while the ebony fretboard and bridge are adorned with mother-of-pearl inlays. Gold Grover® Imperial™ tuners and a tortoise pickguard with multi-colored dots complete the look.

Finished with Murphy Lab’s Light Aging treatment and housed in a period-correct Red Line case, this model captures the spirit and craftsmanship of Gibson’s Golden Era—delivering vintage tone, feel, and aesthetic in a stunning modern build.

1957 SJ-200 Light Aged:

All the vibe, feel, and vintage allure of the iconic 1950s Super Jumbo

Introduced in 1937, the Gibson SJ-200 earned its reputation as “the King of the Flat-Tops” for its bold tone, powerful projection, and striking presence. By 1947, maple replaced rosewood for the back and sides, and the SJ-200 became a favorite among legends across genres—from Hollywood cowboys to rock royalty. Today, vintage 1950s models are prized by collectors.

Gibson Custom now presents the 1957 SJ-200 Light Aged, a faithful recreation of this celebrated era. It features a thermally aged Sitka spruce top with scalloped X-bracing installed using hide glue, AAA flamed maple back and sides with a checkerboard marquetry strip, and ornate multi-ply binding. The AAA maple neck includes a walnut stringer and stinger detail, while the rosewood fretboard and Moustache™ bridge are adorned with mother-of-pearl inlays. Gold Gotoh® tuners and a classic tortoise pickguard complete the vintage aesthetic.

Finished with Murphy Lab’s Light Aging treatment and paired with lightly aged hardware, this model captures the look and feel of a well-played original. It comes housed in a period-correct 1950s-style Lifton™ case, delivering an authentic vintage experience only Gibson Custom can offer.

Brooklyn-based jazz-rock innovators Alex Skolnick Trio (AST) return this fall with PROVE YOU’RE NOT A ROBOT, the group’s sixth LP, arriving November 7, 2025. The album’s first single, a wildly inventive take on Tom Petty’s “Breakdown,” is available today. Listen here.

Blending fearless improvisation, genre-defying arrangements, and the virtuosity of its members, PROVE YOU’RE NOT A ROBOT captures AST at the height of their creative powers. The title reflects both a wry nod to our tech-saturated era and a deeper meditation on humanity, direct interaction, and the irreplaceable spark of live musicianship in an age of artificial intelligence.

Recorded with a range of vintage and custom instruments — from a Roger Sadowsky archtop to a 1935 Gibson L-00 acoustic — the album spans moods from the uplifting “Guiding Ethos” to the mind-bending Chick Corea/Steve Howe mashup “Armando’s Mood.” Alongside Skolnick’s inventive guitar work, bassist Nathan Peck and drummer Matt Zebroski bring rhythmic complexity and emotional depth, with odd-time signatures and genre twists that have become AST hallmarks.

“I feel this album represents my strongest work as a composer,” says Skolnick. “Nathan and Matt really brought their A-game throughout. I think it’s safe to say this is the record we’re all most proud of.”
Since forming in the early 2000s, AST has reimagined the jazz guitar trio, melding influences as far-reaching as Wes Montgomery, Black Sabbath, Prince, tango, calypso, and Western swing. Known for their adventurous covers of rock and metal classics, they’ve earned praise from outlets like Billboard, Downbeat, Jazziz, The Village Voice, and NPR, and have toured internationally, captivating audiences from Norway’s Larvik Guitar Festival to Paris’s The Olympia and New York’s Radio City Music Hall.

PROVE YOU’RE NOT A ROBOT promises to be a bold addition to the AST legacy — as engaging for jazz aficionados as it is for rock fans curious about the inventive, genre-bending journey of Testament original guitarist Alex Skolnick.

Album Release Date: November 7, 2025
First Single “Breakdown” Release Date: September 12, 2025

PROVE YOU’RE NOT A ROBOT Tracklist

1. Parallel Universe
2. Armondo’s Mood
3. Infinite Hotel
4. Prove You’re Not A Robot
5. Guiding Ethos
6. Breakdown
7. The Polish Goodbye
8. Asking For A Friend

AST on Tour
September 30 - New York, NY, The Cutting Room (Album launch party)
November 15 - Montreal, QB, Piranha Bar
November 16 – Ottawa, ON, Brass Monkey
November 17 – Pittsburgh, PA. City Winery
November 19 – Detroit, MI, Token Lounge
November 20 – Chicago, IL. Reggie’s
November 21 – Cleveland, OH, Irishtown Bend Tap Room
November 22 – Buffalo, NY, Nietzsche’s
November 23 – Anniville, PA, The Allen Theatre
2026
January 8 – The Woodlands, TX, Dosey Doe
January 9 – McKinney, TX, Guitar Sanctuary
January 11 – San Antonio, TX, Fitzgerald’s
January 13 – Los Angeles, CA, Baked Potato
January 14 – Sacramento, CA, Harlow’s
January 15 – Seattle, WA, Funhouse
January 16 – Portland, OR, Jack London Revue
January 17 – Redding, CA, The Dip
January 18 – Mill Valley, CA, Sweetwater Music Hall
Alex Skolnick Trio is:
Alex Skolnick – Guitar
Matt Zebroski – DrumsNathan Peck - Bass

D’Addario announces the launch of the Players Choice Custom String Shop, a new online tool that lets players design their own string sets, all backed by D’Addario’s long-standing quality and craftsmanship.

Available exclusively on daddario.com, the platform allows players to select their instrument of choice and then choose from the most popular gauges and alloys across electric and acoustic guitar strings. Even better, no minimum order is required. Custom sets can be saved to a Players Circle profile for fast reorders, and every purchase you make in the Custom String Shop earns Players Circle rewards points.

From the Visionary Behind D’Addario 

“Musicians looking for their ‘perfect string set’ need an intuitive way to experiment on screen and find the perfect combination of gauges and alloys to satisfy their requirements,” said legendary founder Jim D’Addario.

“We created the Players Choice Custom String Shop to satisfy everyone’s customization needs.”

Availability & Pricing

Players Choice Custom String Shop is available in the USA, Canada, and Europe, where Players Circle is available. Prices start at $10.30 for electric sets and $11.70 for acoustic sets.

Key Highlights

• Build custom sets for electric and acoustic guitars now, with support for more instruments coming in the future
• Choose from our most popular gauges and alloys, including the lightest and heaviest gauges, and even half gauges
• Design sets for standard 6- and 12-string guitars, as well as extended-range 7-, 8-, and 9-string guitars
• Choose from our most popular strings, including industry-standard XL, Chromes, and Phosphor Bronze strings. Or upgrade to premium NYXL and XS coated options
• Name your set, printed right on the label
• No minimum order quantity
• Save, reorder, and earn Players Circle rewards

Learn more! www.daddario.com/custom-strings

Hit-making guitarist Mike Scott—who’s worked with everyone from Justin Timberlake to Janet Jackson—showed up in Minneapolis from his hometown of D.C. and started snatching everyone’s gigs. Soon, he ended up at Paisley Park, jamming with the man himself and joining his band, New Power Generation.

This masterful storyteller joins 100 Guitarists to talk all things Prince, cracking us up along the way with firsthand recollections of playing onstage and in the studio, the only time he played the “Purple Rain” solo live, and some insight on Prince and his gear.

Thanks to our sponsor EMG

LEARN MORE! emgpickups.com

Hit-making guitarist Mike Scott—who’s worked with everyone from Justin Timberlake to Janet Jackson—showed up in Minneapolis from his hometown of D.C. and started snatching everyone’s gigs. Soon, he ended up at Paisley Park, jamming with the man himself and joining his band, New Power Generation.

This masterful storyteller joins 100 Guitarists to talk all things Prince, cracking us up along the way with firsthand recollections of playing onstage and in the studio, the only time he played the “Purple Rain” solo live, and some insight on Prince and his gear.

Thanks to our sponsor EMG

LEARN MORE! emgpickups.com

Electro-Harmonix is excited to introduce the Pico Swello Attack Envelope pedal. Inspired by the legendary POG2 ATTACK slider, the core effect of the Swello is a polyphonic attack filter which applies individual volume swells to each note you played, even within chords and through sustained arpeggios. This unique effect is paired with an adjustable Low Pass Filter for smooth swells and envelope filter-style effects.

Housed in EHX’s Pico-sized chassis, the Swello has a simple four knob/one button layout. VOL adjusts the overall output of the pedal while ATTACK sets the attack envelope time. Low ATTACK settings attenuate just the initial attack of your instrument, while higher settings offer epic, long note swells. The Low Pass Filter is controlled by the FILTER button as well as the FREQ and MOD knobs. FILTER engages the LPF and applies an adjustable high or low resonance setting. The FREQ knob sets the cutoff frequency of the LPF and the MOD knob controls the depth and direction of the filter modulation akin to an envelope filter. Turn MOD up from noon for an upward filter sweep or down from noon for a downward filter sweep.

The EHX Pico Swello comes equipped with a standard EHX 9 Volt power supply. It will be available Mid-September and features a U.S. Street Price of $149.50.

What was already a standout moment of this year's Wacken Open Air, the world's largest metal festival, turned into something even bigger when legendary guitarist Michael Schenker pulled a surprise no one saw coming. The architect of hard rock used the world's loudest stage to announce that a brand new Michael Schenker Group studio album, titled Don't Sell Your Soul, will be released on October 3 via earMUSIC.

To mark the occasion, Schenker and his band closed the show with a world-exclusive live premiere of the new album's title track — a powerful encore that took the Wacken crowd by surprise and was met with instant enthusiasm on the muddy festival fields. You can now listen to the new track HERE.

• Don't Sell Your Soul is the second part of an album trilogy that began with 2024's My Years With UFO. This will be the first studio album for MSG since Universal in 2022.
• The album was produced by Michael Schenker and Michael Voss, and recorded with Schenker's longtime allies: Bodo Schopf (drums), Barend Courbois (bass), and Steve Mann (guitar, keys). On vocals: the impeccable Erik Grönwall (Skid Row, H.E.A.T) – undoubtedly one of the finest rock voices of his generation. Guest appearances on vocals by Robin McAuley, Dimitri "Lia" Liapakis, and Michael Voss round out the cast.
• The Michael Schenker Group was formed in 1979 and has released 12 studio albums with many different members over the years, with Schenker the only constant presence.
• Michael Schenker played in the rock band UFO and leads the Michael Schenker Group (MSG). He was an early member of the hard rock band Scorpions, a band co-founded by his elder brother Rudolf Schenker.
• Michael Schenker is regarded as one of the most influential guitarists of the 1970s, and is widely known as a legendary figure in the history of metal guitar.

Michael Schenker is an undisputed living legend and it is time to sell your soul with MSG. Let us know what you think! Michael IS doing a limited amount of interviews so let's talk and see what we can set up!

Of course Spinal Tap’s Nigel Tufnel has a massive pedal set up – what else would you expect from a rockstar whose amp can be cranked all the way to infinity?

Nestled in one of his three pedalboards spotted in the sequel to the legendary mockumentary, Spinal Tap II: The End Continues, Tufnel is found to be using the Slice Of Pie pedal from boutique brand BIG EAR – one of just two pedals that were specifically written into the script, according to BIG EAR itself.

• READ MORE: The Tone Mob Podcast’s Blake Wyland on the Slice Of Pie pedal and the guitar he’d save in a fire

Shaped like a slice of pizza and made in collaboration with The Tone Mob Podcast, this fuzz pedal’s quirky design is very apt for the over-the-top – and sadly fictional – band. It’s a good job it’s not shaped like tiny bread, however, or there would be a problem.

Writing on Instagram, BIG EAR shares its joy at having its pedal featured within the film, and also handily identifies a vast number of other pedals across the boards. Some do remain a mystery though, with film only just having landed in cinemas and imagery of still scarce.

“Got the first visuals from the new Spinal Tap movie.. They’re not the best quality, but that’s a Slice Of Pie right up front! I haven’t seen the film yet myself, but apparently our pedal was one of two pedals that were specifically written into the script!” says BIG EAR.

“The second slide here shows Nigel’s full rig, which is MASSIVE and has many unidentified pedals! Can you help me identify any of these?! The third slide has a list of the pedals we’ve been able to identify so far.. but there are still 13 pedals to figure out! Heelllpppp!!”

With a little help from Eric Merrow and 1981inventions, BIG EAR has spotted the following on Tufnel’s main board, working from left to right:

Bottom row

• RJM – Mastermind PBC/10
• Danelectro – Back Talk (Reissue)
• BIG EAR pedals x The Tone Mob – Slice Of Pie (Cheese version)
• Littletone – CLYDE Wah

Middle row

• Strymon – Cloudburst
• TC Electronic – CHOKA
• Strymon – Timeline
• T-Rex – Replica

Top row

• Strymon – Zuma (Power Supply)
• Strymon – Ojai (Power Supply, on top of Zuma)
• TC Electronic – Polytune Mini
• Vahlbruch Effects – Kaluna II HV Tube Drive
• BOSS – BD2 Blues Driver
• BOSS – CS-3
• KORG – Miku Stomp (On what appears to be a Junction Box)

And there are many more, especially across his other two boards… Check out the full list in the Instagram post below, and see if you can fill in the blanks:

View this post on Instagram

A post shared by BIG EAR pedals (@bigearpedals)

Spinal Tap II is in cinemas now. You can also check out more from BIG EAR Pedals. 

The post Nigel Tufnel uses BIG EAR Pedals’ Slice Of Pie fuzz in Spinal Tap II – can you work out the other pedals across his three ‘boards? appeared first on Guitar.com | All Things Guitar.

David Gilmour is hoping to watch a Pink Floyd avatar show at the Las Vegas Sphere one day, and apparently, it’s something he’s always wanted to do.

With the Sphere already having hosted acts such as Dead & Company, the Eagles, and U2, Floyd could make for a great band to take to the stage next, allowing for its core lineup to reunite for the first time since 2005 in digital form.

• READ MORE: “My father always thought you were a c**t”: Jack Osbourne slams Roger Waters for saying he “couldn’t give a f**k” about Ozzy Osbourne’s music

During a Q&A at the UK premiere of his Live At The Circus Maximus concert film at London’s BFI IMAX, Gilmour was asked about the Sphere: “I’m hoping one of these days to go there and sit and watch myself doing it, which is something I’ve always wanted to do. My avatar, you know? So I don’t actually have to get up and do it,” he replies (via MusicRadar).

Gilmour also shared interest in the Sphere in an interview with Rolling Stone earlier this September, in which he said, “In the future, who knows. I haven’t got that far. It will be in there amongst the plans that we are to think about.”

The Las Vegas sphere cost over $2 billion to construct, and hosts the world’s largest LED screen. Take a look at one of U2’s performances from inside the venue below:

If Pink Floyd were to be immortalised as avatars, they’d be joining the likes of Kiss – who announced a virtual, eternal era for the band following their final ever show at Madison Square Garden – and ABBA, whose Voyage concerts popularised the format.

Earlier this year, Paul Stanley spoke of the band’s retirement and their next, virtual steps: “Do I miss being on stage in front of 50,000 people, 100,000 people? Hell, yeah… Everybody who’s attained that kind of success, sure, you miss it, but there’s a difference between missing and yearning,” he told S.E Cupp on her podcast.

“We sold Kiss, which is something that’s unheard of, that doesn’t even exist in the lexicon of music. We sold Kiss [several] months ago – I mean, everything: the logo, the makeup, the music. And there’ll be an incredible, immersive musical experience that’ll debut in ‘27 that George Lucas [filmmaker] is involved in… That lives forever, but I can’t.”

Find out more about the Las Vegas Sphere, or view the full list of cinema screenings for the Live At The Circus Maximus concert film via David Gilmour’s official website. 

The post David Gilmour is open to a Pink Floyd avatar show at the Las Vegas Sphere: “I’m hoping to go there and watch myself… So I don’t actually have to get up and do it” appeared first on Guitar.com | All Things Guitar.