General Interest

New week, Joe Bonamassa will be playing a trio of Rory Gallagher tribute concerts in Cork. It’s a feat he’s called “the biggest honour and challenge of my musical life”, and he’s taking it very seriously – he’s even copped his own Fender Stratocaster from the exact shop that sold Gallagher his in 1963.

Bonamassa shared the news on Instagram, showing off his new sunburst Strat as he poses with the Crowley’s Music Store team. “I’ve always wanted to buy a sunburst Fender Stratocaster from Crowley’s Music Centre in Cork,” he writes. “Today I did. Big thanks to Sheena [Crowley] and all the great folks I met today.”

• READ MORE: The 15 Most Expensive Guitars Sold At Auction

Hopefully, the guitar will help Bonamassa capture Gallagher’s sound onstage. The blues rock legend originally bought his own sunburst Strat for just £100. It was worth every penny; Gallagher used the ‘61 Strat until the finish had mostly worn away, the combination of sunburst and exposed dark alder wood giving it an almost rusted look.

While Bonamassa wasn’t sold his Strat by the man that sold Gallagher his, he was sold it by his daughter, Sheena Crowley.

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A post shared by Joe Bonamassa (@joebonamassa)

Sheena was one of the first to respond to Gallagher’s Strat infamously being put up for auction last year. She launched a petition to raise $1 million to buy the guitar and have it permanently displayed in a local museum.

The Irish government also responded to the infamous auction, instantly plotting to attain the guitar and keep it in its home of Cork. They noted that the ‘61 Strat was “an important item culturally”.

Lord Mayor of Cork Cllr Dan Boyle, who saw Gallagher play Cork City Hall several times in the early 1980s, also backed the plans. “Rory was one of the first to put Irish rock on the international stage,” he told the Irish Times. “I think it’s important that it should be kept in the State.”

In October, it was confirmed that the guitar would stay in its rightful home of Cork. It was purchased by Live Nation Gaiety Ltd for $1.16 million, with the company planning to donate it to the National Museum of Ireland.

Image: Bonhams

Catherine Martin, Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media, expressed her appreciation: “I am absolutely delighted that Rory’s guitar is coming home to Ireland,” she said. “I look forward to hearing more of the museum’s plans to showcase the famous Strat, which I understand will include Cork, where the legendary musician grew up.”

Thankfully, Bonamassa wont be making that faux pas. He’ll have his new sunburst Strat to honour Gallagher’s legacy on 1, 2, and 3 July at his tribute gigs. The guitarist will be joined by British drummer Jeremy Stacey, bassist Aongus Ralston, and keyboardist Lachy Doley.

Earlier this year, a statue commemorating Rory Gallagher – who died in 1995 – was unveiled in Belfast, but it drew a few notes of criticism from fans. “I so confidently assumed it was Weird Al,” one person wrote.

The post Joe Bonamassa has bought his own sunburst Fender Strat in preparation for his Rory Gallagher tribute gigs appeared first on Guitar.com | All Things Guitar.

Over the decades Norman Greenbaum’s iconic psychedelic tinged 1970 hit, Spirit In The Sky has fuelled much debate on internet forums and among guitar enthusiasts, regarding how its uniquely sounding fuzz tone as heard on the song, in particular, it’s opening hypnotic guitar riff which underpins much of the song, was created.

• READ MORE: Chris Buck’s five top tips to improve your guitar solos

Many theories have been put forth, everything from it being a Gibson Maestro Fuzz pedal, to an amplifier speaker that had slots cut into it with a razor blade, to it being simply a Jordan Bosstone plugged into the guitar jack.

Spirit In The Sky is not a song short on debate – the song’s religious overtones have been at various times cited or dismissed for playing a key role in the development of the now globally influential Christian rock genre.

“It came out around the same time, maybe a year or two earlier,” Greenbaum recalls today. “To put that type of music to a religious lyric, hadn’t been done before. But in terms of being that type of music put to a religious theme song, and especially the fuzz box, it was the first of its kind.”

Hitch Your Wagon

The initial idea for the song came to Greenbaum from an unlikely source. “I had come across a greeting card of two American Indians sitting at their teepee with a little fire looking up to the sky, and beneath it was written, ‘spirit in the sky’, he remembers. “So ‘I go, oh, that’s quite interesting as everybody has their own way of God’. And as I liked country music too, I had watched this TV show, The Porter Wagoner Show where halfway through the show, Porter would always perform a gospel song. And on one particular episode, he had sung a song about a man who hadn’t been down to the church for many years. Until one day he went to the door of the church only to find a sign saying; ‘Pastor’s Absent on Vacation’. And I thought, ‘oh boy, that’s something for a song’.”

Once inspiration struck, Greenbaum picked up his guitar, and began writing the song’s lyrics. Needing music for it, he revisited a guitar riff he had in his bag of ideas, that until now, he hadn’t been able to put to use.

“The opening lick of the song, I had been playing it without the fuzz tone for years,” he explains. “I was just fooling around with it and never knew what I should do with it because I didn’t want to just write a blues tune; that was too simple and not really meaningful. So, I didn’t use it and just put it away. And then I came across the idea that I wanted to do a religious song, and because I don’t do things the normal way, the riff seemed to really fit the song.”

Photo: Arthur Grimm/United Archives via Getty Images

Fuzzy Logic

Not one to follow trends, Greenbaum decided to add a splash tonal color to the mesmerizing riff he had at his disposal. What he had in mind was some sort of fuzz sound. One that would make the alluring guitar riff stand out.

“I was talking to one of my guitar players about fuzz boxes and I said to him that I wanted to get a fuzz box, as I was thinking of using one on this song,” he reveals. “And he said that he knew someone who could build one for me right into my Fender Telecaster. I said, ‘really?’ And he replied, ‘He knows how to do it’, so I told him to go ahead and get him to do it. And that’s what he did. And it just had a great sound to it.”

Now souped up with fuzz sounding tone, it became one of the most sought after and much copied by guitarists, yet in the ensuing years, none have been able to replicate its original sound.

“Honestly, it’s never been captured the same way even after all these years,” says Greenbaum. “No one can do it. They can try to play the song which is hard enough in itself, but they can’t get the sound right.”

According to Greenbaum, this is largely due to the fact that no actual effect pedal was used. The sound was purely birthed from a device built into Greenbaum’s Fender Telecaster that was plugged into a Fender Twin Reverb.

“The guy who built the device, placed it in the guitar under the pickguard with a battery and a switch,” he points out. “And so, when I wanted to have the fuzz sound, all I would need to do was flick the switch, and that was it. When we eventually got to the studio to record the song, we weren’t even sure it was going to record. But surprisingly it [fuzz box] recorded well to tape. For a long time whenever I did interviews, it was always referred to as ‘Norman’s Heavy Duty Fuzz Box’.”

Photo by Don Paulsen/Michael Ochs Archives/Getty Images

That’s The Spirit

Greenbaum was joined on the session by guitarist Russell DaShiell who contributed two lead solos – as well as some cool dive bombs. DaShiell’s set-up was more conventional, comprising an early ‘60s SG Les Paul, through a ‘68 Marshall Plexi 100-watt half stack, and for effects, a home-made overdrive pedal.

Released in January 1970, Spirit In The Sky would become Greenbaum’s signature song, and go on to top music charts in many countries around the world, including Australia, the US and UK. Surprisingly, it almost came close to not being released. Greenbaum’s insistence prevailed, and the rest as they say, is history.

“There was also the problem of it being four minutes long,” he recalls. “When you go back to the early days of AM hit radio, two minutes and 20 seconds was what they liked. And so, the record company weren’t to sure about releasing it, so they were going, ‘I don’t know, it’s four minutes long’, but they eventually gave in, everybody gave into it as they realized it was a hell of a song. And in the end, it all worked out as it went to number one in just a month later. Everywhere!”

The reissued version of Spirit In The Sky is out now.

The post Why everyone is wrong about the iconic ‘Spirit In The Sky’ guitar sound appeared first on Guitar.com | All Things Guitar.

Guy would later invite Slick to jam with him, and it was a night that blew the Bowie guitarist’s mind

Last weekend, Muse paid tribute to French metallers Gojira during their headline Hellfest set in Clisson, western France.

Considering Gojira performed at the 2024 Paris Olympics opening ceremony, they’re the emblem of French pride right now – and, with Hellfest being hosted in France, Muse opted to honour the country’s most exciting metal export. The group churned out a snippet of Gojira’s Stranded, a single off of 2016’s Magma.

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The performance was sprinkled in to spice up the band’s own track, a 2022 Will Of The People cut, We Are Fucking Fucked.

Elsewhere in the set, Muse paid respect to a handful of other artists. We Are Fucking Fucked was rounded off with a short snippet of Nirvana’s Heart-Shaped Box for good measure, while they also included nods to Rage Against The Machine during both Stockholm Syndrome and New Born.

The set also included another glimmer of metal inspiration, including a pinch of Slipknot’s Duality during Kill Or Be Killed.

It’s not uncommon for Muse to throw the odd cover into their sets. They’re famous for favouring jams over idle chit-chat, essentially letting the music do the talking. While some are pieced together in the spur of the moment, the group’s MK and Helsinki instrumental jams are favourites among the fans.

While Muse have certainly dipped a toe into metal on certain tracks, it seems like they’re keen to go a little heavier this year. The Gojira cut may just be a cover, but their latest single, Unravelling, hints at the group wanting to explore their heavier side.

The track could very well be a taste of Muse’s new record, and it’s an exciting development on from 2022’s Will Of The People. It captures an almost cyberpunk grit through punchy, crunchy breakdowns, balanced out with soaring choruses.

The post Muse continue their growing foray into metal with a nod to Gojira during France show appeared first on Guitar.com | All Things Guitar.

A new body shape with radical contours, custom Fishman pickups, 13 tonal voices, and a floating trem stabilizer headline the Chleo, which ushers in a new era for PRS guitars

Smith reflects on his decades-long involvement in the guitar making space

Behringer appears to have changed the name and artwork of its Klon Centaur overdrive pedal clone, following a recent legal filing from Bill Finnegan, creator of the original Klon Centaur.

Finnegan recently filed a lawsuit against Behringer’s parent company Music Tribe with the Massachusetts federal court following the release of its $69 Centaur Overdrive. Finnegan called the pedal a “blatant counterfeit” of his original Centaur.

• READ MORE: The inventor of the Klon Centaur is suing Behringer over its $69 clone – now owners are listing them for up to $2,000

Now, the Behringer website – along with product pages on several online retailers – show the newly refinished pedal, now sporting the name “Centara” instead of “Centaur”, and featuring an updated version of the cartoon centaur on the front, now holding a different pose than the centaur on the original Klon Centaur.

Crucially, the updated pedal now features Behringer’s logo on its front face where the first Behringer Centaur did not. This is important because trademark laws, in large part, are set up so that consumers are not misled into unknowingly buying an inauthentic product.

In his lawsuit against Behringer, Finnegan noted that “consumers expressed extensive actual confusion… with many rushing to purchase Defendants’ counterfeit pedal believing Defendants are delivering on a mass scale a discounted product licensed or endorsed by Plaintiffs”. By now putting its logo front and center, Behringer hopes to squash these accusations.

Credit: Behringer

It looks to be a somewhat stealthy rebrand, with no press release or official communications from Behringer shared with Guitar.com, and minimal coverage elsewhere online.

While there has been no official update on the original lawsuit against Music Tribe, it does appear that Behringer has at least bowed to Finnegan’s original cease and desist. The case will likely continue as the exact relief offered to Klon LLC is calculated.

For a bit of background on the legalities of guitar pedal clones, it’s not possible – in most cases – to patent the design of an electronic circuit, so designers instead use trademarks to protect their products’ trade dress, effectively the way the product looks.

Bill Finnegan would have seen Behringer’s first Centaur clone as an infringement of the trade dress of his original design, as it used both the same name and centaur logo. Now that the name has been changed and the logo altered, will it be enough for Behringer to avoid further legal challenges.

It’s also worth noting that, at least in the US, trademark laws are essentially written so that if a company doesn’t enforce its trademarks, it makes it much harder to fight trademark infringements – including exact clones and copies – in the future.

This formed the basis of Dean/Armadillo’s defence during its fight with Gibson – it argued that Gibson had taken too long to decide to enforce its trademarks. Despite the fact that Gibson was broadly successful, some of its trademarks might now be cancelled due as the jury ruled Gibson did not defend them strongly enough.

As we’ve said, where this leaves Bill Finnegan’s lawsuit against Behringer is unconfirmed, but stay tuned to Guitar.com for future developments.

Learn more about the Centara at Behringer.

The post Behringer changes name and artwork of its “counterfeit” Klon clone after legal filing appeared first on Guitar.com | All Things Guitar.

This signature collaboration with Yvette Young incorporates chorus, delay, grain effects and reverbs for atmospheric soundscapes

The blues rock giant sits down with Guitar World to go through his back catalog of riffs, picking out a few favorites along the way

The blues guitarist and renowned tone hound talks through his pedalboard – and tells us that one pedal rules them all

Another fabled Les Paul joins ‘Greeny’ in Epiphone’s top-end lineup

Mick Ralphs’ burly guitar tone and arrangements made “Ready for Love,” “Can’t Get Enough,” “Bad Company,” “Feel Like Makin’ Love,” and others part of the soundtrack of the ’70s.

English guitarist, vocalist, and songwriter Mick Ralphs was among a select group of performers who achieved both consistent commercial success and artistic triumph throughout a career that extended from the mid-’60s until 2016, when a stroke led to his hospitalization and, eventually, retirement. Ralphs, who died on Monday, June 23, at age 81, was a founding member of two seminal British rock bands, Mott the Hoople and Bad Company. But he also had other collaborations and led groups that faithfully performed the other idiom he loved besides rock—the blues. Bad Company was recently voted into the Rock and Roll Hall of Fame, with its induction ceremony scheduled for November. His co-founding Bad Company member Paul Rodgers issued a statement Monday on the group’s website shortly after the news broke.

“Our Mick has passed; my heart just hit the ground,” Rodgers said. “He has left us with exceptional songs and memories. He was my friend, my songwriting partner, an amazing and versatile guitarist who had the greatest sense of humor. Our last conversation was a few days ago, we shared a laugh, but it won’t be our last. There are many memories of Mick that will create laughter. Condolences to everyone who loved him—especially his one true love, [Ralphs’ wife] Susie. I will see you in heaven.”

Ralphs was born in 1944 in the Western English county of Herefordshire, and began playing with blues bands in his teens. As a soloist, Ralphs could deliver either flashy, speedy licks or thoughtful, intricate riffs and phrases. His songwriting prowess reflected an ability to create catchy lyrics and pen engaging melodies that would hook audiences. His fame and recognition expanded during his tenure in Mott the Hoople. Initially known as the Doc Thomas Group, and later the Shakedown Sound and/or Silence, the band began in 1966 with Ralphs on guitar, vocalist Stan Tippis, and bassist Pete Overend Watts. Later they added drummer Dale “Buffin” Griffin and organist Verden Allen.

They changed their name to Mott the Hoople after signing with Island in 1969, doing so on a request from producer Guy Stevens. He’d read a novel by Willard Manus titled Mott the Hoople, about an eccentric working in a circus freak show. Before releasing their debut album, Ian Hunter was recruited as frontman. The band’s early records didn’t make much impact, but David Bowie was a fan of their sound. He penned their first huge hit, “All The Young Dudes,” and produced their breakout LP of the same name in 1972. The Bowie influence heavily shifted the band’s idiomatic focus to glam. Still, Ralphs had one of his first big hits as a songwriter, “Rock and Roll Queen,” while with them. He also wrote a tune that would become a much bigger hit later: “Ready For Love.”

Ralphs’ dynamic guitar style would be headlined on yet another Hoople hit, “Roll Away the Stone.” This came right before he departed the band in 1973, in large part due to tensions with Hunter. Their beef even reached the rock press, though Ralphs’ decision would lead to a different pathway and subsequently more personal success as an instrumentalist and songwriter. He’d developed a friendship with vocalist Paul Rodgers, who’d also recently left the band Free. What was first viewed as only a writing partnership blossomed into a recording session, and drummer Simon Kirke asked to sit in. They would recruit former King Crimson member Boz Burrell as the bassist, and Bad Company was born. The self-titled debut LP topped the charts, Ralphs’ tune “Can’t Get Enough” (also known as “Can’t Get Enough of Your Love”) reached number five on Billboard Hot 100, and the album was ultimately certified as a five-times-platinum seller.

Instantly identifiable power chords, crackling riffs, and engaging, entertaining lyrics were the assets of the best Bad Company singles and albums. Ralphs’ array of compositional gems also included “Good Lovin’ Gone Bad,” and a re-recorded, bigger hit version of “Ready for Love.” In addition, he co-wrote “Bad Company,” “Feel Like Makin’ Love,” and many other staples of the classic-rock canon. Bad Company cut 12 albums in one incarnation or another between 1974 and 1996. Ralphs and Rodgers would maintain their friendship and work together periodically during Ralph’s later years. He’d also have reunions with his mates in Mott the Hoople (2009, 2013) and Bad Company (2008, 2010, 2016). He even toured with Hunter in 2002. One of his finest post-Hoople/Bad Company achievements was co-writing “Flying Hour” with George Harrison in 1988, plus he toured with David Gilmour in the mid-’80s, for Gilmour’s second solo album, About Face.

“Feel Like Makin’ Love” and “Ready for Love” might be the most familiar essays in Ralphs’ guitar style. He favored Marshall stacks and explored both their clear and overdriven characteristics. In “Feel Like Makin’ Love,” his blend of acoustic and electric guitar helped define that classic rock trope, and the crushing chords of the refrain are the stuff air-guitar fantasies are made of. Plus, his closing solo, a backdrop to Rodgers’ singing, is pure Les Paul and Marshall bluster. In the latter, his sweet-toned playing walks a line between blues and rock balladry, with a pre-chorus and chorus reinforced by his stinging chords. And while the solo is yielded to Rodgers’ piano, it’s Ralphs who creates the song’s spine. His usual tools: Gibson Les Paul Standards and Juniors, Firebirds, SGs, and a Flying V in the video for “Feel Like Makin’ Love,” as well as Fender Stratocasters, Telecasters, and Esquires.

Ralphs’ forays into solo albums wouldn’t prove quite as successful as his group projects. He cut Take This, his first, in 1984, and released It’s All Good in 2001, and That’s Life—Can’t Get Enough in 2003. None of those replicated the success of the Mott the Hoople or Bad Company releases, but in 2011 Ralphs would return to his early musical love. He formed the Mick Ralphs Blues Band. Though his final performing years weren’t marked with the big hits that characterized his greatest commercial period, Mick Ralphs had a lengthy and impressive career, and he’ll long be remembered for being a prime contributor to some of rock’s finest ensembles. His brawny guitar tones will remain a signature of classic-rock radio as long as the format exists. PG

Mick Ralphs’ burly guitar tone and arrangements made “Ready for Love,” “Can’t Get Enough,” “Bad Company,” “Feel Like Makin’ Love,” and others part of the soundtrack of the ’70s.

English guitarist, vocalist, and songwriter Mick Ralphs was among a select group of performers who achieved both consistent commercial success and artistic triumph throughout a career that extended from the mid-’60s until 2016, when a stroke led to his hospitalization and, eventually, retirement. Ralphs, who died on Monday, June 23, at age 81, was a founding member of two seminal British rock bands, Mott the Hoople and Bad Company. But he also had other collaborations and led groups that faithfully performed the other idiom he loved besides rock—the blues. Bad Company was recently voted into the Rock and Roll Hall of Fame, with its induction ceremony scheduled for November. His co-founding Bad Company member Paul Rodgers issued a statement Monday on the group’s website shortly after the news broke.

“Our Mick has passed; my heart just hit the ground,” Rodgers said. “He has left us with exceptional songs and memories. He was my friend, my songwriting partner, an amazing and versatile guitarist who had the greatest sense of humor. Our last conversation was a few days ago, we shared a laugh, but it won’t be our last. There are many memories of Mick that will create laughter. Condolences to everyone who loved him—especially his one true love, [Ralphs’ wife] Susie. I will see you in heaven.”

Ralphs was born in 1944 in the Western English county of Herefordshire, and began playing with blues bands in his teens. As a soloist, Ralphs could deliver either flashy, speedy licks or thoughtful, intricate riffs and phrases. His songwriting prowess reflected an ability to create catchy lyrics and pen engaging melodies that would hook audiences. His fame and recognition expanded during his tenure in Mott the Hoople. Initially known as the Doc Thomas Group, and later the Shakedown Sound and/or Silence, the band began in 1966 with Ralphs on guitar, vocalist Stan Tippis, and bassist Pete Overend Watts. Later they added drummer Dale “Buffin” Griffin and organist Verden Allen.

They changed their name to Mott the Hoople after signing with Island in 1969, doing so on a request from producer Guy Stevens. He’d read a novel by Willard Manus titled Mott the Hoople, about an eccentric working in a circus freak show. Before releasing their debut album, Ian Hunter was recruited as frontman. The band’s early records didn’t make much impact, but David Bowie was a fan of their sound. He penned their first huge hit, “All The Young Dudes,” and produced their breakout LP of the same name in 1972. The Bowie influence heavily shifted the band’s idiomatic focus to glam. Still, Ralphs had one of his first big hits as a songwriter, “Rock and Roll Queen,” while with them. He also wrote a tune that would become a much bigger hit later: “Ready For Love.”

Ralphs’ dynamic guitar style would be headlined on yet another Hoople hit, “Roll Away the Stone.” This came right before he departed the band in 1973, in large part due to tensions with Hunter. Their beef even reached the rock press, though Ralphs’ decision would lead to a different pathway and subsequently more personal success as an instrumentalist and songwriter. He’d developed a friendship with vocalist Paul Rodgers, who’d also recently left the band Free. What was first viewed as only a writing partnership blossomed into a recording session, and drummer Simon Kirke asked to sit in. They would recruit former King Crimson member Boz Burrell as the bassist, and Bad Company was born. The self-titled debut LP topped the charts, Ralphs’ tune “Can’t Get Enough” (also known as “Can’t Get Enough of Your Love”) reached number five on Billboard Hot 100, and the album was ultimately certified as a five-times-platinum seller.

Instantly identifiable power chords, crackling riffs, and engaging, entertaining lyrics were the assets of the best Bad Company singles and albums. Ralphs’ array of compositional gems also included “Good Lovin’ Gone Bad,” and a re-recorded, bigger hit version of “Ready for Love.” In addition, he co-wrote “Bad Company,” “Feel Like Makin’ Love,” and many other staples of the classic-rock canon. Bad Company cut 12 albums in one incarnation or another between 1974 and 1996. Ralphs and Rodgers would maintain their friendship and work together periodically during Ralph’s later years. He’d also have reunions with his mates in Mott the Hoople (2009, 2013) and Bad Company (2008, 2010, 2016). He even toured with Hunter in 2002. One of his finest post-Hoople/Bad Company achievements was co-writing “Flying Hour” with George Harrison in 1988, plus he toured with David Gilmour in the mid-’80s, for Gilmour’s second solo album, About Face.

“Feel Like Makin’ Love” and “Ready for Love” might be the most familiar essays in Ralphs’ guitar style. He favored Marshall stacks and explored both their clear and overdriven characteristics. In “Feel Like Makin’ Love,” his blend of acoustic and electric guitar helped define that classic rock trope, and the crushing chords of the refrain are the stuff air-guitar fantasies are made of. Plus, his closing solo, a backdrop to Rodgers’ singing, is pure Les Paul and Marshall bluster. In the latter, his sweet-toned playing walks a line between blues and rock balladry, with a pre-chorus and chorus reinforced by his stinging chords. And while the solo is yielded to Rodgers’ piano, it’s Ralphs who creates the song’s spine. His usual tools: Gibson Les Paul Standards and Juniors, Firebirds, SGs, and a Flying V in the video for “Feel Like Makin’ Love,” as well as Fender Stratocasters, Telecasters, and Esquires.

Ralphs’ forays into solo albums wouldn’t prove quite as successful as his group projects. He cut Take This, his first, in 1984, and released It’s All Good in 2001, and That’s Life—Can’t Get Enough in 2003. None of those replicated the success of the Mott the Hoople or Bad Company releases, but in 2011 Ralphs would return to his early musical love. He formed the Mick Ralphs Blues Band. Though his final performing years weren’t marked with the big hits that characterized his greatest commercial period, Mick Ralphs had a lengthy and impressive career, and he’ll long be remembered for being a prime contributor to some of rock’s finest ensembles. His brawny guitar tones will remain a signature of classic-rock radio as long as the format exists. PG

PG contributor Tom Butwin details four pedalboard options that can help your acoustic sound its best onstage or in the studio. From subtle enhancements to total tone control, these preamps and effects from Grace Design, LR Baggs, and Radial cover the needs of any serious acoustic player.

Grace Design MOXi Acoustic Instrument Preamp

Moxi 2-chan Acous Inst Preamp

Grace Design’s Moxi is a powerful dual-channel preamp and blender that offers studio-level control in a surprisingly compact footprint. With independent EQ and high-pass filtering on both channels, it’s perfect for managing multiple instruments or pickups—especially in live scenarios where switching between guitars can be a headache. What sets it apart is the ability to blend two sources (like mic + pickup) or quickly toggle between instruments with different EQ profiles. Whether you’re solo or managing your own sound, the Moxy keeps your setup flexible without sacrificing tone.

LR Baggs Align Session Acoustic Saturation/Compressor/EQ Pedal

Align Session Pedal

The Session from LR Baggs is a smart, stage-ready pedal designed to give your acoustic guitar signal that final polish. Even if your pickup already sounds great, this pedal adds subtle compression and harmonic richness that really elevate your tone. With controls for volume, gain, saturation, and a simplified “comp EQ,” it's incredibly intuitive—especially for those of us who don't want to get lost in compressor settings. The goal here is to retain the natural sound of your acoustic while giving it a warm, studio-finished edge.

LR Baggs Align Chorus Acoustic Chorus Pedal

Align Chorus Pedal

The Align Chorus by LR Baggs gives acoustic players a lush, musical modulation option without compromising their guitar’s natural tone. Instead of overwhelming your sound, the pedal preserves your guitar’s character while adding subtle to rich chorus textures. The tone knob only affects the chorus effect itself, not your dry signal, which is key if you love the core tone of your instrument. With intuitive controls for depth and size, it’s easy to dial in anything from a gentle shimmer to a more expansive chorus that still feels organic and usable.

Radial PZ-Pro 2-channel Acoustic Preamp Pedal

PZ-Pro 2-ch Acous Preamp Pedal/Switcher

Radial’s PZ Pre is a tone-shaping Swiss Army knife for acoustic players. With two inputs, full EQ, a notch filter, effects loop, and multiple output options (pre- and post-EQ), this pedal is all about adaptability. It excels in complex stage setups where you might need different EQ profiles for monitors and front of house, or if you’re switching between instruments. The A/B toggle makes instrument changes seamless, and the boost function is perfect for stepping out during a solo. Whether you play acoustic guitar, upright bass, or even switch between them, the PZ Pre handles it all with pro-level control.

The Rig Rundown Rig Rundown!

I've been lucky to serve as host, producer, and editor of the Rig Rundown for Premier Guitar for over a decade, and in this video, we'll walk through the cameras and audio gear we're currently using to bring you in-depth looks at your favorite artists' rigs. You'll see how Chris Kies and I have evolved our video and audio setup over the years and how a recent chance encounter led to a major upgrade with help and advice from our friends at Sweetwater.

John Fahey: The Black Flag of Solo Steel-String with Hayden Pedigo

You could call John Fahey the Johnny Appleseed of solo steel-string guitar playing, but Black Flag is probably a more appropriate reference. Like the punk progenitors would do many years later, Fahey not only crafted a uniquely rooted musical approach that would be adopted by legions of practitioners, he self-released his records on his Takoma Records label and hit the road, well before DIY was a common approach.

Transform Your Acoustic Tone with These 4 Pedals

PG contributor Tom Butwin details four pedalboard options that can help your acoustic sound its best onstage or in the studio. From subtle enhancements to total tone control, these preamps and effects from Grace Design, LR Baggs, and Radial cover the needs of any serious acoustic player.

Martin D Jr E StreetLegend Review

In some ways, it’s hard to know whether to categorize the Martin D Jr E StreetLegend as a backpack or travel guitar. After all, Martin still maintains the LX Little Martin line, which is marketed in very specific terms as a travel instrument. And the D Jr E’s size, which isn’t a whole lot smaller than my Martin 00-15, stretches the boundaries of that classification. But Martin definitely leans into the go-anywhere appeal of the D Jr E and its brethren in the new revamped Junior Series. If the soft case fits, wear it. Assuming it lives, at least partly, in that category, it is among the best sounding travel guitars I’ve ever played. Thanks to the all-solid spruce and sapele body construction, it possesses a warm, woody, and organic voice that is likely made richer by the new, longer 24.9" scale.

Introducing the Marcus King ES-345

Guitars represent a rich musical legacy and hold a special place in our hearts. The new Marcus King ES-345 is a beautiful example of that tradition—a recreation inspired by his main guitar, “Big Red,” the 1962 ES-345 handed down from his grandfather to his father and finally to him.

Limitless Limitations: A Guide to Better Blues Solos

Improvisation is one of the great joys in music that celebrates spontaneity and self-expression. It gives us a chance to explore our instrument and what we naturally hear and feel in an open format. Limitations help challenge us to improvise inside specific parameters and, as a result, can break us out of our typical musical vocabulary.

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Ever dreamed of building your own custom electric guitar from scratch? In this 8-part series, StewMac’s Brock Poling walks you through the entire process — no big workshop or expensive CNC machines required! You just need a little patience, imagination, and attention to detail to create a guitar you'll treasure for a lifetime.

T-Style Electric Guitar Kit

T-Style Electric Guitar Kit If you're new to guitar building this kit's a great way to start: this is the classic electric guitar design that's fun to build, and you'll learn a lot.

Episode #2 - Gluing up the foundation of your guitar  

Now the real fun begins! In Episode 2, we’re making all the big decisions that will define your custom electric guitar. What body shape will you choose? What types of wood will bring out the tone you want? What style hardware will complete your vision? Join Brock as he walks through his own design process of crafting a stunning rosewood tele, and sharing expert tips along the way.

Tools and supplies featured in this video include:
Luthier’s Digital Caliper https://www.stewmac.com/item/0447
Stewmac Hygrometer/Thermometer https://www.stewmac.com/item/5814
Fret/Fingerboard Leveler https://www.stewmac.com/item/4579
StewMac Machinist Square Set https://www.stewmac.com/item/4950
Titebond Original https://www.stewmac.com/item/0622
Aluminum Bar Clamp https://www.stewmac.com/item/3714
Stewmac Ultimate Scraper https://www.stewmac.com/item/103469

Episode #3 - Cutting a tele build to its final shape  

A great guitar starts with a rock-solid foundation! In Episode 3, Brock walks you through the crucial steps of prepping and gluing up your body blank. Learn how to avoid imperfections in the wood, line everything up perfectly, and clamp it all together for a super strong, stable body.

Episode #4 - Cutting a tele build to its final shape  

In Episode 4, Brock walks you through the process of cutting and shaping your guitar body. You’ll learn how to accurately trace your body template, make a rough cut on the bandsaw, and then carefully route the blank to its final shape. By the end of this step, you’ll have a guitar body that looks and feels like the real deal—and you’ll be one step closer to playing your own custom build!


Tools and supplies featured in this video include:
Precision Straightedge https://www.stewmac.com/item/3849
Cam Clamp https://www.stewmac.com/item/3723
Titebond Original Glue https://www.stewmac.com/item/0662
Swivel Handle Clamp https://www.stewmac.com/item/3705
Routing Template for Vintage Tele https://www.stewmac.com/item/2376

Episode #5 - Picking hardware and routing the neck pocket  

Now it’s time to gear up! In Episode 5, we’re going shopping for all the essential hardware that will bring your custom guitar to life—pickups, bridges, ferrules, knobs, jack plates, and more! Once the parts are picked, it’s back to the build. Brock shows you how to customize and use a neck pocket template to anticipate an oil finish, then carefully route the neck pocket for a perfect fit. To wrap things up, we true up the body sides using a variety of sanding cauls for a clean, pro-level result.


Tools and supplies featured in this video include:
TV Jones Classic Pickup https://www.stewmac.com/item/6536
Hipshot Hardtail Bridge https://www.stewmac.com/item/3550
Dome Knob https://www.stewmac.com/item/0169
Electrosocket Jack Mount https://www.stewmac.com/item/4284
Neck Mounting Plate https://www.stewmac.com/item/0131
Neck Pocket Routing Template for Fender https://www.stewmac.com/item/2276
Orange Multi-Purpose Tape https://www.stewmac.com/item/0678
Double-stick Tape https://www.stewmac.com/item/2711
Routing Template for Vintage Tele https://www.stewmac.com/item/2376
StewMac Machinist Square Set https://www.stewmac.com/item/4950
Bridge Spatula https://www.stewmac.com/item/4466
3M Stickit Gold Abrasives https://www.stewmac.com/item/5766
StewMac Shop Rule https://www.stewmac.com/item/4905

Episode #6 - How to get PERFECT bridge placement on your guitar

In Episode 6, we’re focusing on one of the most critical steps in your guitar build—precisely locating and mounting the bridge. A well-placed bridge is essential for great playability, intonation, and tuning stability, so getting this right is a must! Brock walks you through his method of using a surrogate guitar neck to dial in the exact bridge position. Then, we temporarily mount the bridge to the body to determine the perfect placement for the string ferrules—a step that can be tricky, but Brock shares a game-changing tip to get it right every time.

Tools and supplies featured in this video include:
Fender Roasted Maple Telecaster Neck https://www.stewmac.com/item/5839-M
StewMac Shop Rule https://www.stewmac.com/item/6246
Cam Clamp https://www.stewmac.com/item/3723
Hipshot Hardtail Bridge https://www.stewmac.com/item/3550
Double-stick Tape https://www.stewmac.com/item/2711
Inlay Tracing Scribe https://www.stewmac.com/item/1672
Bridge Spatula https://www.stewmac.com/item/4466
ColorTone Naphtha https://www.stewmac.com/item/0766
Flush-fit Guitar String Ferrules https://www.stewmac.com/item/0196

Episode #7 - Creative routing for pickup and control cavities

In Episode 7, Brock guides you through routing the pickup and control cavities using customized templates. He covers what to consider when positioning your pickups and explains why making your own jigs is an essential skill for any guitar builder. And if you make a mistake? No problem—Brock shows how to recover from a routing slip using rosewood dust and superglue.

Tools and supplies featured in this video include:
TV Jones Classic Pickup https://www.stewmac.com/item/6536
Double-stick Tape https://www.stewmac.com/item/2711
StewMac Shop Rule https://www.stewmac.com/item/4905
StewMac Pocket File https://www.stewmac.com/item/4160
10 Thin StewMac Super Glue https://www.stewmac.com/item/0010

Episode #8 - Drilling for electronics and prep sanding for finish!

We’ve made it to the final step! In Episode 8, Brock Poling walks you through the last crucial details—drilling holes for the electronic wires, locating and drilling the jack hole, and rounding over the edges for a smooth, comfortable feel. To wrap it all up, Brock carefully sands the entire body, getting it prepped and ready for an oil finish. After this step, your guitar will be fully shaped and ready for a neck!

Tools and supplies featured in this video include:
12” Aircraft Extension Drill Bit https://www.stewmac.com/item/4840
Inlay Tracing Scribe https://www.stewmac.com/item/1672
Orange Multi-Purpose Tape https://www.stewmac.com/item/0678
Cam Clamp https://www.stewmac.com/item/3723
StewMac Shop Rule https://www.stewmac.com/item/4905
Electrosocket Jack Mount https://www.stewmac.com/item/4284
3M Stickit Gold Abrasives https://www.stewmac.com/item/5766

We’re giving away a KERNOM MOHO, a wild and expressive fuzz-octave pedal that pushes analog tone into new territory. Don’t miss your chance to win!

Kernom MOHO Multi Fuzz

Kernom MOHO MultiFuzz

A New Era of Fuzz Exploration

MOHO is your fuzz time machine. Go from Hendrix’s 60s fuzz to Smashing Pumpkins’ wall of sound. Whether you crave the velcro-like bite of under-biased transistors, the roaring sustain of a Big Muff, or the unpredictable chaos of a ring modulator, MOHO morphs between legendary tones and new sonic territories.

• Seamless Morphing: Explore fuzz tones from vintage to modern with the MOOD knob
• Analog Warmth + Digital Precision: No emulation, just real analog fuzz circuits
• Built-in Octaver & Ring Modulator: Create wild, glitchy, and synth-like textures
• MIDI & Preset Control: Save and recall 128 presets for total control
• Expression Pedal Input: Morph between two fuzz settings in real time

As Oasis have proven, being in a band with your brother isn’t easy. Lamb Of God have their own case of familial estrangement, with the removal of drummer Chris Adler in 2019 putting a rift between himself and his brother, guitarist Willie Adler.

Speaking to Blabbermouth, Chris reveals that he hasn’t spoken to his brother at all in the 6 years since his Lamb Of God removal. “I wish him all the best; I’m wishing them all the best, and I think about him all the time,” he says. “But I would say we are estranged. Since that email that I got, where he was not even willing to talk to me about it, we haven’t spoken.”

• READ MORE: “Everybody loves to pick on Dave, but man that guy can play guitar – it’s unreal”: Former Lamb of God drummer recalls working with Dave Mustaine

“At this point, I’ve got to work through resentments and regrets and all that stuff,” he notes.“I’m happy where I’m at. I hope [my brother is] happy where he is. Everything is cool with me.”

While Willie still remains in the band, Chris was replaced by drummer Art Cruz. Cruz had initially been a temporary stand-in whilst Chris was out of action in 2018 and 2019, a result of a motorcycle incident. However, Chris seems to think the incident put fear in Lamb Of God’s minds.

Chris believes that his permanent removal was the result of another physical issue he was struggling with – a movement disorder impacting that had been his foot since 2003. “Slowly, it got worse,” he explains. “By around 2016, I was touring with Lamb and Megadeth, and it was making a difference in the show in that there were points where I felt like I couldn’t control it.”

“I started going through all sorts of physical and occupational therapy,” he continues. “I ended up in a place in Richmond called Neurological Associates, which, because of the symptoms, had me bring in my pedals to solve what was going on… and I was diagnosed with a thing called musician’s dystonia.”

Task-specific focal dystonia causes involuntary muscle contractions due to it misfiring of nerves. In Chris’s case, the issue was his foot. “It happens to people who perform a repetitive motion for an extended amount of time,” he explains. “The nerves that are telling my foot to do this are worn out. Eventually, it stops doing what you want it to do.”

“It uses the muscles that [do the] opposite to the intended motion. If I were trying to depress my right foot, often it would lift, shoot to the side, or shoot back. It kept getting worse and worse.”

For drummers, Chris admits the diagnosis can be “a death sentence in many ways”. However, he is opening up about it due to Cannibal Corpse’s Alex Webster and Nickelback drummer Daniel Adair recently coming forward about their own experience with the issue.

However, Chris also believes an element of jealousy lead to his dismissal. “From my perspective, and I don’t mean to speak for anybody, I think when I took the Megadeth gig, that really strained things even further,” he says. “Nobody said, ‘We don’t want you to do it,’ or ‘You’re cheating on us’, [but] that was still the vibe. When Megadeth won a Grammy, that pushed it further.”

Despite Chris looking back and seeing the warning signs, the drummer has still struggled to accept how things turned out. “[It] was very difficult for me,” he reflects. “In many ways, that band was my identity. It’s everything that I worked for. I spiralled.”

“It was a big shock to me… I wasn’t given much of a choice. It was one of those emails: ‘Services no longer required.’ It took a while to dig out of that. I’m happy I did. It could have gone a different way.”

After a period of “spiralling”, Chris sought to re-invent himself. “I was just trying to find myself and even define what chapter two would look like; the only way around dystonia is to re-learn how to play,” he reveals.

To compensate for his nerve issues, Chris now drums with his left foot as his lead foot. “I worked out and talked to the doctors and specialists about changing it,” he says. “I have to build a different connection for it to work. That connection is now strong. I’m able to do it well, but not some of the things I was doing in Lamb.”

The post “I would say we are estranged”: Lamb of God’s ex-drummer Chris Adler hasn’t spoken to his brother and former bandmate Willie in six years appeared first on Guitar.com | All Things Guitar.

The legendary 1954 LP starred alongside Beck for much of his career and sold for more than $1 million at auction. Now, Epiphone has launched a $1,200 replica

The NYC noise-rock pioneer looks back to 1987, a time when Sonic Youth were growing up in public and expanding their vocabulary of alternate tunings