Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
Fender Acoustasonic Standard Telecaster review: “these are sounds you don’t hear in a live context very often”
$629/£569, fender.com
At this point, you probably already know how you feel about the Fender Acoustasonic phenomenon. Since Fender’s hybrid acoustic-electric arrived in 2019, it’s probably been the most polarising concept the world’s biggest guitar brand has foisted on the guitar-buying public since the Katana.
- READ MORE: Taylor 314ce Studio review: “Forget where the neck is made, this is every bit the US-made instrument
In truth though, a lot of opprobrium that the Acoustasonic has inspired in the last half a decade has primarily been down to how it looks. For a not-insignificant proportion of the guitar-buying public, sticking a soundhole in the middle of a Tele is akin to doodling a toothbrush moustache on the Mona Lisa.
And if that is you, I’m sorry but this review is unlikely to either change your mind, or indeed confirm your preexisting negative feelings. Because despite being a little unconvinced by the concept when it was unveiled at NAMM back in January 2019, any misgivings I had about the aesthetics were soon sidelined by the experience of using one in practice.
It might not be the perfect middle-ground between acoustic and electric guitar that Fender’s most feverish press releases may claim, but as a guitar that can provide decent electric and acoustic sounds in a live or home environment, it’s pretty bloody effective.
What’s also been impressive over the last few years is that despite the online grumbling, Fender clearly believes in this concept. Not only has the concept been expanded to include both Jazzmaster and Strat body shapes, but it’s also made its way down the pyramid, with the Mexico-made Player versions being hugely impressive when I checked one out a few years back. It’s also correlated with seeing a fair few more of these guitars in the wild being used as they were intended. Unsurprisingly the more you drop the barrier of entry, the more likely people are to take a chance on something unusual – so what if they dropped that bar even lower?
Image: Adam Gasson
Fender Standard Acoustasonic Telecaster – what is it?
You’ll have noticed that the ‘Standard’ designator has been revived by FMIC in 2025 to denote its latest attempt to blend Asian manufacture and prices with the Fender brand. Previously, this was only the outlet for leftfield Fender releases like the Starcaster or the Modern Player series, the gradual inflation of Fender’s Mexico range meant that there was a gap in the market that was filled with a new series of classic designs made by Cor-Tek in Indonesia.
The results of that were a mixture of ‘pretty good’ and ‘fine’, so the decision to add a pair of Acoustasonic guitars to that range did have me wincing a little. A bolt-on solidbody electric guitar is a damn sight easier to mass-produce than a hollowbody hybrid, and I’ve heard a few eyebrow-raising QC horror stories with the Mexico-made Player versions – would this be a bridge too far?
And what about that price? At less than $600 it’s basically half the price of the Player version. That can’t be entirely down to the reduced cost of Asian manufacturer – compromises will have to be made somewhere.
Image: Adam Gasson
For starters, the body wood is not mahogany anymore, but nyatoh – a popular and common substitute for mahogany on budget guitars. As with the Standard Telecaster, the three-piece back isn’t the most artfully matched, and the grain patterns are distinct enough that they barely look like the same species of wood, let alone the same tree. But honestly, we’re dealing with a $600 guitar here, what else do you expect? Conversely, the top is actually quite a nice bit of solid Sitka spruce, considering – the grain is straight and pretty even, with some subtle figure that I think looks pretty good.
It’s an effect helped by the thinly-applied Aged Natural finish – it’s the most unadorned of the three options at launch, but I think it’s perhaps the best. The finish is nicely applied, letting you feel the texture of the wood under your fingertips, without being so delicate that fingerprints or scuffs feel like a pressing concern.
Another big change can be found under the hood – whereas the Player Acoustasonic paired an undersaddle piezo with a Noiseless single-coil pickup, here we have a new Shawbucker humbucker in the bridge position.
The electronics themselves have also been streamlined – gone is the pickup selector switch, replaced with a master blend switch that allows you to choose exactly how much of each pickup you want at any given time.
Image: Adam Gasson
Fender Standard Acoustasonic Telecaster – build quality
Despite some of the material differences, and that huge price drop, I was pleasantly surprised with how this guitar played and felt out of the box. Body still feels nicely ergonomic in a way that a regular Tele isn’t, and the overall fit and finish of the purfling, joining and general build feels impressively solid.
The neck is a pleasingly chunky ‘Modern Deep C’ in Fender’s parlance, with a 12mm radius and 22 frets. In practice, that makes for a slightly chunkier feel than the regular Standard guitars, but still more than slinky enough for easy playing – in truth I wish they put this neck on the regular guitars. The enjoyable playing experience is further enhanced by Fender’s latest trick – rolling fingerboard edges. It’s subtle again here, but it really does make the playing experience feel more worn-in and enjoyable.
In truth, a lot of the differences between the Player and Standard Acoustasonics can be found in the neck, and not all of them are great. Gone is the lovely routed Fender logo on the Tele peghead, replaced with a slightly cheap looking mirrored affair, but the other end is more jarring.
A feature of Acoustasonics past has been a chamfered neck heel allowing easier access to the upper frets. Here however we have a standard chunky Tele-style four-bolt square heel with blank silver plate. It’s only a big deal if you are planning to spend a lot of time up the top end of the neck, and you could argue that the standard Tele arrangement hasn’t done much to put players off that. Still, it’s something that I missed when picking it up for the first time.
Image: Adam Gasson
Fender Standard Acoustasonic Telecaster – build quality
When the Acoustasonic first launched it had all sorts of fancy sonic options under the hood – including various modelled acoustic sounds to choose from and blend them accordingly. It was a bit much, in all honesty, and it was no surprise to see the Player version simplify things a great deal. Here however, we’re stripping things back even further – with none of that modelling stuff at all, and not even a pickup selector to work with.
All the control is based around that blend knob – at one end it’s all piezo, at the other it’s all electric, and you can find your happy place somewhere in between. The only other control is a volume knob, which feels somewhat superfluous in this context, you have to say. It’s a somewhat frustrating layout, to be honest – the ability to switch between all-electric and all-acoustic at the flick of a selector switch was useful on the Player version, and sweeping a knob is nowhere near as immediate.
Mercifully, Fender abandoned the endlessly annoying built-in rechargeable battery of the American version long ago and as with the Player here you power the whole thing with a 9V battery accessed by a hatch in the back of the rear control cavity.
Image: Adam Gasson
Fender Standard Acoustasonic Telecaster – sounds
In my review of the Acoustasonic Player Jazzmaster, I extolled the virtue of the guitar as the ultimate couch guitar – after all, it has the easy playability of an electric with the tonality of an acoustic, and the family-friendly volume of a semi.
It’s unlikely that anyone is buying an Acoustasonic purely to play on the sofa, but I’d be surprised if it hadn’t ended up in that role in a lot of homes that own one. That being said, the Standard continues the Acoustasonic’s impressive track record of sounding much bigger and fuller than its body shape should allow. It’s perhaps not as loud as the Jazzmaster I tested a few years ago, but the Stringed Instrument Resonance System (aka the soundhole) once again does an impressive job of making it sound like an acoustic, but just quieter.
Plugging in, and with no digital ‘images’ (Fishman’s term for models that aim to mix the mic’d sound of an acoustic with the piezo) colouring the tone here, the onus really is on that undersaddle transducer to sound decent, and mercifully it does – with a surprising amount of bottom-end and minimal piezo honk. It’s not going to go toe-to-toe with pickup systems that cost more than this guitar of course, but it sounds better than most entry-level pickup systems despite its diminutive size.
What is a little disappointing is what happens when you plug it into an electric amp. It’s perhaps not surprising that an acoustic pickup loses some of the pizazz when plugged into an amp set up for raucous electric guitar… but there is the small matter of that honkin’ great humbucker in the bridge. It seems weird to me that you wouldn’t try to voice the pickup to sound better with an electric amp given its stated purpose. Maybe the thinking is that you’ll always have an ABY switch or a modelling solution to cater to each sound… but it just seems weird to me.
The Shawbucker itself is punchy and fun, in a polite kinda way – this is a humbucker on an acoustic guitar don’t forget so expecting it to soak up endless lashings of gain is perhaps unrealistic. As with the other Acoustasonics, the sweet spot really is found in the blending – it adds real depth and presence to your sound that occupies neither the fully electric or fully acoustic world. This feeling is enhanced with the addition of some subtle time-based effects – these are genuinely sounds you don’t hear in a live context very often, and they’re hugely compelling in practice.
Image: Adam Gasson
Fender Standard Acoustasonic Telecaster – should I buy one?
The more prescient question is probably, ‘Have you ever been intrigued by an Acoustasonic before?’ Because if the answer is any kind of yes, you no longer have any excuse not to dip your toe in and see what the fuss is about. I would never accuse a giant multinational corporation of having anything so human as ‘guts’, but it has taken a lot of organisational fortitude for Fender to ignore the naysayers and persist with the Acoustasonic programme for over half a decade now. And to gradually make it more and more accessible along the way. The Standard is probably the final word in that direction (it’s hard to see what else could be trimmed to make a Squier version), and it’s a definitive one. Try it.
Fender Standard Acoustasonic Telecaster – alternatives
A lot of the thinline acoustic guitars out there are more classical crossovers, which I think is a different ballgame entirely, and so many of the Standard’s rivals are found in Fender’s own stable. You have the Acoustasonic Player Telecaster ($1,199/£1,029), of course, but also if you want your guitar to be more acoustic-shaped the Highway Parlor ($999/£819) is a stage-ready option. If you want a small, stage-ready acoustic with no sonic compromises, LR Baggs’ AEG-1 ($1599/£2,099) is hugely impressive – but it’s acoustic only.
The post Fender Acoustasonic Standard Telecaster review: “these are sounds you don’t hear in a live context very often” appeared first on Guitar.com | All Things Guitar.
“Keith didn't want anything to do with it. He hated my records”: Dann Huff and Keith Urban got off to a rocky start – but they went on to create a string of number 1 singles together
Geezer Butler has “given up talking about the end of Sabbath”: “Every time I think it’s over, things like this show come along”
Black Sabbath’s final reunion show may be set in stone, but Geezer Butler isn’t ready to rule anything out just yet.
After countless shows, lineup changes, a farewell tour dubbed The End, and more “final” moments than most bands have riffs, Black Sabbath are gearing to bow out – supposedly for real this time.
The heavy metal pioneers will reunite on 5 July at Villa Park in Birmingham for what’s being billed as their last-ever performance. The one-day extravaganza, headlined by Sabbath, and preceded by Ozzy Osbourne’s own mini set, is supported by heavy hitters like Metallica, Pantera, Slayer, Gojira and more.
All four original members – Ozzy, Butler, Tony Iommi, and Bill Ward – have spoken publicly about the occasion, though not all are equally convinced it’s the end.
Iommi, for one, is done. “I won’t be doing it again,” he tells MOJO. “This will be the final show. I mean, can you imagine us trying to tour? No, this will be it.”
Ward, meanwhile, chuckles when prompted on Osbourne’s repeated promises to call it quits. “He says a lot of stuff,” the drummer reasons. “But the gist of it was, ‘I’m gonna do one last time.’”
Then there’s Geezer Butler, who shares in the same interview that he’s “given up talking about the end of Sabbath.”
“Every time I think or say it’s over, things like this show come along,” he says. “Someone will probably have our DNA and resurrect us in the distant future… Who knows?”
In Ozzy’s case, that may not be entirely hypothetical. The frontman recently partnered with canned water company Liquid Death on a limited run of iced tea cans supposedly infused with his actual DNA.
At 76 and amid significant health challenges – including Parkinson’s and spinal injuries – Osbourne has kept his role at the upcoming show modest. The Prince of Darkness previously revealed that he’s “not planning on doing a set”, even though he has been working out in preparation for the big night.
To be fair, Sabbath have ‘ended’ before. Their last farewell tour wrapped in 2017, also with a final performance in their hometown of Birmingham. But here they are again, plugging back in for one more glorious send-off. And as Butler reminds us, with Sabbath, you never really know.
The post Geezer Butler has “given up talking about the end of Sabbath”: “Every time I think it’s over, things like this show come along” appeared first on Guitar.com | All Things Guitar.
“His strength and resilience remain unwavering”: Hatebreed guitarist diagnosed with benign brain tumour after Download Festival appearance
Hatebreed guitarist Wayne Lozinak has been diagnosed with a non-cancerous brain tumour following the band’s recent appearance at Download Festival.
According to a statement shared by the band, Lozinak began experiencing “mild symptoms that raised concerns of a possible stroke” on the night of 14 June while at Download Festival. When the band travelled to Lille, France the following day, Lozinak sought medical attention out of an “abundance of caution”.
A CT scan performed at a local ER revealed a brain tumour, prompting immediate hospital admission for further testing. After a 24-hour evaluation, including an MRI, doctors identified the mass as a benign meningioma – a slow-growing tumour that has “likely been present for years.”
“We are immensely relieved that Wayne’s diagnosis is the best possible outcome given the circumstances,” says the band. For now, Lozinak will be returning to the United States to prepare for surgery and focus on his recovery.
In the meantime, Hatebreed will continue their European and UK dates as planned, with touring bassist Matt Bachand stepping in on guitar, and Carl Schwartz of First Blood and Terror joining the group on bass duties.
The group closed their announcement with gratitude to fans, friends, and the wider music community for their support during this time. Lozinak, who has been a key part of Hatebreed’s hard-hitting sound since rejoining the band in 2009, is reportedly eager to return to the stage “as soon as he is able”.
Hatebreed’s UK and European tour is set to wrap up with a London show on 6 July, after which the band will head straight back to the US to headline the Summer Slaughter Tour, beginning 8 July in St. Petersburg, Florida.
Check out the full list of tour dates and get your tickets at Hatebreed.com.
The post “His strength and resilience remain unwavering”: Hatebreed guitarist diagnosed with benign brain tumour after Download Festival appearance appeared first on Guitar.com | All Things Guitar.
“You are always part of a team, not a solo artist at all”: Why Carol Kaye has declined her Rock and Roll Hall of Fame induction invitation
Carol Kaye, session veteran and one of the most prolific bassists of all time, is the latest musician to turn down the Rock and Roll Hall of Fame’s invitation this fall.
Kaye, who’s set to be inducted as part of the Hall’s Class of 2025, says she won’t be attending the ceremony because it “wasn’t something that reflects the work that studio musicians do and did in the golden era of the 1960s recording hits.”
The 90-year-old, estimated to have played on over 10,000 recording sessions, including works by the Beach Boys, Simon & Garfunkel and Frank Zappa, was part of a group of session musicians known as the Wrecking Crew during the Sixties and Seventies.
“People have been asking: NO I won’t be there,” Kaye writes of her decision in a now-deleted Facebook post. “I am declining the rrhof awards show and Denny Tedesco process [director of the 2008 documentary The Wrecking Crew]”.
Underlining the collaborative nature of studio musicians, the bassist explains, “You are always part of a team, not a solo artist at all. There were always 350-400 studio musicians (AFM Local 47 Hollywood) working in the busy 1960s, and called that only. Since the 1930s, I was never a ‘Wrecker’ at all…. that’s a terrible insulting name.”
Kaye also clarifies that she found her way to the bass not by choice, but by chance.
“Just so you know, as a working Jazz musician (soloing jazz guitar work) in the 1950s working since 1949, I was accidentally asked to record records by producer Bumps Blackwell in 1957, got into recording good music, with Sam Cooke, other artists and then accidentally placed on Fender Precision Bass mid 1963 when someone didn’t show.”
“I never played bass in my life,” she continues. “But being an experienced recording guitarist, it was plain to see that 3 bass players hired to play ‘dum-de-dum’ on record dates, wasn’t getting it…..it was easy for me to invent good bass lines…..as a Jazz musician, you invent every note you play……and they used a lot of Jazz musicians (and former big-band experienced musicians on all those rock and pop dates too).”
Kaye ends her note by declaring: “I refuse to be part of a process that is something else rather than what I believe in, for others’ benefit and not reflecting on the truth – we all enjoyed working with EACH OTHER.”
Carol joins a growing list of musicians who’ve taken issue with the Rock Hall’s decisions and supposed credibility.
Duran Duran bassist John Taylor previously called their own induction a farce, saying, “It’s such a joke that Duran Duran are in anything with ‘rock and roll’ over the top of it.”
Liam Gallagher was even less diplomatic when Oasis was nominated in 2024. “Fuck the Rock and Roll Hall of Fame – it’s full of bumbaclarts,” he posted on X. When a fan urged fellow supporters to vote, Gallagher replied, “Don’t waste your time… it’s all a load of bollox.”
Or as he put it most succinctly, “I don’t need some wank award by some geriatric in a cowboy hat.”
The post “You are always part of a team, not a solo artist at all”: Why Carol Kaye has declined her Rock and Roll Hall of Fame induction invitation appeared first on Guitar.com | All Things Guitar.
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.
Rig Rundown cameras and microphones have had many iterations since the series launched in 2007
Rig Rundown Gear Through The Years
Blackmagic Design Pocket Cinema Camera 6K Pro (Body Only)
The Pocket Cinema Camera 6K Pro offers the robust video, audio, and connectivity of Blackmagic’s Pocket Cinema 6KG2 camera but with some added features geared toward professionals. With sky-high UHD definition, the Pocket Cinema Camera 6K Pro is easily one of the most powerful compact videography tools sold today! The camera itself is solid, light, and easy to manage during extended shoots. A high-strength carbon composite body reinforced with carbon fibers gives the body rigidity and shock resistance without adding bulk, so you can safely take it anywhere without fear. A full-size Super 35 HDR sensor captures 6K images at up to 60 fps, while a 5-inch tilting touchscreen with touch focus tools and advanced overlay monitoring handles controls and monitoring. The 6K Pro’s screen also features an enhanced 1500-nit display that performs better in harsh light than other Pocket Cinema cameras. The Pro model offers switchable ND filters for bright daytime shoots with clear, 2, 4, and 6-stop options. Low light performance is equally stunning with enhanced dual native ISO with 13 stops and a massive 25,600 ISO ceiling to ensure clarity with minimal noise. And when it comes to audio, this camera is practically a full mobile studio with four built-in mics and plenty of additional inputs for external mics via 3.5mm and mini-XLR connectors. Optimized for demanding professionals, both aspiring and established, this is a truly expansive high-end camera that delivers high-quality footage anytime, anywhere.
Blackmagic Design Pocket Cinema Camera 6K Pro Features:
- Premium Super 35 sensor (23.10mm x 12.99m) with stunning 6144 x 3456 native resolution
- Wide selection of frame rate and definition options, including 6K 60 fps and 2.8K 120 fps
- Dual native ISO with 13 stops and massive 25,600 ISO ceiling — incredible range with excellent low-light performance!
- Multifunction grip with quick access to recording, still photos, ISO, shutter, aperture, white balance, power, and more
- Enhanced 5-inch touchscreen with tilt, touch focus, and premium 1500-nit brightness for outdoor shoots
- 4 infrared ND filter options for navigating difficult lighting (clear, 2-,4,-, and 6-stop)
- Compatible with active Canon EF lenses (sold separately) with additional grip controls and automatic metadata population on supported lenses
- 21.2MP still image shooting, saved as fully uncompressed DNG frames — perfect for making professional prints!
- Built-in SD UHS-II and CFast card slots
- USB-C Expansion Port — record straight to an external disk like a hard drive or flash drive
- Full-size HDMI output for monitoring
- Built-in speaker for field playback
- 4 built-in microphones, 3.5mm stereo jack, 3.5mm headphone jack, and 2 mini XLR audio inputs with phantom power and line level +14dBu options
- Built-in timecode generator for streamlined multi-cam shoots
- Full Bluetooth camera control with 30-foot wireless range
- Accessory kit includes camera strap, 30W power supply with international adapters, lens turret dust cap, battery, charger, and DaVinci Resolve Studio activation key
- 12-month limited manufacturer warranty from Blackmagic Design
Kondor Blue Blackmagic Pocket 6K Pro Base Rig - Black
Maximize the potential of your Blackmagic Pocket Cinema Camera 6K with the Pocket 6K Pro Base Rig from Kondor Blue. Complete with a BMPCC 6K Pro Cage with a top handle, an ARRI bridge plate, included PPSH rods, and an EF Cine CAP, you'll have more than enough possibilities to build the perfect rig for your camera. The top plate and side plates both feature NATO railing for exclusive accessory options. Likewise, built-in HDMI and USB-C cable clamps facilitate a tangle-free setup when dealing with external gear. Sweetwater cinematographers specifically appreciate the rig's built-in grip design, which keeps long-term filming sessions comfortable and steady in any environment. Whether you're looking to build up an entirely new rig or integrate your device into a pre-existing setup, the Pocket 6K Pro Base Rig from Kondor Blue is an opportunity that can't be passed up.
SanDisk Professional Pro-Blade 2TB SSD MAG
Kondor Blue Pro-Blade SSD Handle
The entrusted Pro-Blade SSD system meets versatile videography with this top mount from Kondor Blue. Compatible with several modern camera models, the Pro-Blade SSD handle provides a simple solution to mobile storage space. Sweetwater videographers have found that the handle’s versatile mounting system allows it to be used as either a top or side handle, depending on your filming situation. Additionally, an onboard cold shoe, safety stop, 1/4-inch-20 ARRI-style mount, and NATO rails ensure solid integration into your rig of choice. Complete with a protected USB-C connection cable, there’s no better way to haul video storage when you’re on the go.
With Pro-Blade SSD mags, storage has never been simpler. When used with compatible Pro-Blade Transport and Station units, you’ll be able to pop in 1TB to 4TB of storage into any connected device. At only 0.10 pounds, you’ll be able to carry a bundle of mags with you when you’re on the go, providing endless storage opportunities at any time. Sweetwater photographers and videographers are always on the move, and the Pro-Blade storage system has proven to be quite the lifesaver.
Shure ADX5D Axient Digital Dual-channel Portable Wireless Receiver
When you need maximum wireless performance and reliability — we're talking televised live performances, secure government installations, and similar mission-critical applications — you need Shure's Axient wireless technology. The Shure ADX5D Axient Digital Dual-channel portable wireless receiver delivers the top-tier reliability and spectral efficiency that have made Axient wireless a leading solution around the world. Thanks to its slot-in receiver form factor, the ADX5D can be configured for direct connection to professional video cameras, or equipped with a battery sled for truly portable operation. And with Frequency Diversity mode enabled, your Shure ADX5D Axient Digital wireless receiver shrugs off RF interference that can cause audio interruptions in less sophisticated systems.
• Next-gen digital radio for maximum stability
• 184MHz tuning range across all receivers and transmitters
• Up to 47 active transmitters per 6MHz TV channel
• Frequency Diversity plus advanced interference detection and avoidance
Shure ADX1 Wireless Bodypack Transmitter with TA4 Connector
Shure WL185m Cardioid Lavalier Microphone with TA4F Connector - Black
As part of Shure's Axient Digital wireless series, the ADX1 wireless bodypack transmitter packs industry-leading digital wireless technology into a compact bodypack solution. All ADX transmitters push the limits of wireless to offer up to 184MHz tuning range, interference protection, advanced recharging options, and wireless control via ShowLink. And the ADX1's advanced control menu offers comprehensive access to all transmitter parameters. To get the most out of your Axient wireless system, Sweetwater recommends the Shure ADX1 wireless bodypack transmitter.
- Wireless bodypack transmitter for Axient digital wireless systems
- TA4 connector
- Advanced control menu for access to all parameters
- Compatible with ShowLink for remote control capabilities
- Durable, moisture-resistant construction
- Up to 10 hours of operation with SB910 rechargeable batteries
- Includes detachable belt clip, threaded TA4F adapter, zipper bag, and detachable antenna
With the WL185m, you’re setting yourself up for sonic success. This lavalier microphone delivers professional sound in a more compact chassis than ever. Compared to the standard WL185, this microphone’s body measures 8mm shorter in length, which helps it blend in and disappear onstage and on camera. Shure tells Sweetwater that the new WL185m includes other improvements, such as greater SPL handling, lower self-noise, and upgraded sound quality. Meanwhile, the cardioid polar pattern helps focus on the wearer’s voice and prevents off-axis noise from entering the signal. Finally, your new WL185m lavalier microphone includes a redesigned tie clip, which offers a rotatable design for improved positioning. Tailor-made for presenters, the Shure WL185m lavalier microphone captures natural, lifelike tones every time.
Shure ADX5-Mount Mounting Plate with Cold Shoe for ADX5D
Attach the Shure ADX5-Mount mounting plate to your ADX5 wireless receiver, and you're ready to mount it directly to the cold shoe on your camera (or tripod, light stand, or other cold shoe). Mounting directly to your camera is the most convenient and efficient way to manage your wireless receiver, and for that, Sweetwater recommends the Shure ADX5-Mount mounting plate.
Shure ADX5BP-TA3 Dual TA3 Back Plate for ADX5D
Shure ADX5BS-L L-Type Battery Sled for ADX5D
The Shure ADX5BP-TA3 Back Plate attaches easily to your ADX5D Axient Digital wireless receiver, adding big functionality. It simultaneously accommodates power input from an external source, audio output from the ADX5D receiver, and optional interfacing for battery sleds. Sweetwater is pleased to report that this back plate features captive screws so you can mount/unmount the plate without worrying about losing screws.
Attach the Shure ADX5BS-L Battery Sled to your Shure ADX5D Axient Digital wireless receiver for truly portable operation. The ADX5BS-L Battery Sled allows two L-type batteries to be installed — and because the ADX5D is powered by a single battery, this enables you to replace batteries as they run down without interrupting operation. Sweetwater is pleased to report that the ADX5BS-L screws in securely to your receiver, eliminating the possibility of the sled falling off or being erroneously removed.
Shure SBC240 2-Bay Networked Docking Charger with Power Supply
Shure SB910 Rechargeable Lithium-Ion Battery
The Shure SBC240 is a dual docking charger for the Shure SB910 and SB920 lithium-ion rechargeable batteries, as well as the Shure ADX1, ADX2, and ADX2FD digital wireless transmitters. And because the SBC240 is network enabled, you’ll be able to monitor battery status remotely via Shure Wireless Workbench software. You can even connect up to four SBC240 chargers together, sharing power and network connectivity. If you’ve got a Shure digital wireless system, Sweetwater highly recommends the Shure SBC240 Ethernet charger.
If you use your Shure wireless system on a regular basis, then you can enhance its performance and save yourself money at the same time with the Shure SB910 rechargeable battery. Made for the Shure ADX1 bodypack transmitter, the SB910 rechargeable lithium-ion battery gives you up to 10 hours of continuous use. Don’t waste money on disposable batteries — get Shure’s SB910 rechargeable battery from Sweetwater today!
Johnny Marr reveals that he turned down an “eye-watering amount of money” for a Smiths reunion – despite Morrissey agreeing to it
Johnny Marr has always made his stance on a Smiths reunion crystal clear. In his own words, there’s “zero chance” of one ever happening – and no amount of money could change his mind.
In a recent appearance on Stick To Football, Marr admits that the group were promised an “eye-watering amount of money” for a reunion, but it didn’t tempt him. “We got made an offer recently, but I said no,” he reveals. “It was a little bit about principles, but I’m not an idiot. I just think the vibe’s not right.”
Frontman Morrissey alluded to the “eye-watering” deal last summer on his official website. “In June 2024 AEG Entertainment Group made a lucrative offer to both Morrissey and Marr to tour worldwide as The Smiths throughout 2025,” an update explained. “Morrissey said yes to the offer; Marr ignored the offer.”
The update goes on to take a dig at Marr; “Morrissey undertakes a largely sold out tour of the USA in November. Marr continues to tour as a special guest to New Order.”
To add insult to injury, Morrissey later posted another update on his website titled ‘The Plot Thickens’, claiming Marr had acquired “100%” of the The Smiths trademark rights without informing him.
However, Marr responded on Twitter/X in September, clarifying that he “didn’t ignore the offer – [he] said no,” and that he had only acquired the rights to The Smiths’ name to “prevent third parties from profiting from the band’s name”.
Marr’s statement also claimed that Morrissey “failed to respond” when Marr attempted to contact him in regards to registering The Smiths’ trademark.
“In 2018, following an attempt by a third party to use The Smiths’ name – and upon discovery that the trademark was not owned by the band – Marr reached out to Morrissey, via his representatives, to work together in protecting The Smiths’ name,” the statement said.
Marr allegedly attempted to assign joint ownership to Morrissey in January 2025 as a “gesture of goodwill”. However, “execution of this document still requires Morrissey to sign,” and no update has come to light just yet.
— Johnny Marr (@Johnny_Marr) September 17, 2024
Right now, Marr’s priority is his own music. While The Smiths played a huge role in his life, he’s happy to keep focusing on improving as a solo artist. “I really like what I’m doing now, which makes it a lot easier,” he explains on the Stick To Football podcast. “I like where I’m at. I still want to write the best song I’ve ever written. I want to be a better performer.”
Regardless of the circumstances, Marr doesn’t regret his time with The Smiths. “We were all dead young,” he reminisces. “We weren’t a bunch of mates from school… I wanted to put a band together, so I went and found the members… Five years later, when we’re playing to 10,000 people […] I was 23.”
“I was having a great time until I wasn’t,” he says. “I got miserable. I thought The Smiths were the best band in the world at the time. I was so proud of us and I loved the music we were making. I love the guys, but relationships break down and that’s life.”
In December, Morrissey told Medium he would have gladly embarked on a reunion tour. “I agreed because it felt like the last time such a thing would be possible,” he said. “We’ve all begun to grow old. I thought the tour that was offered would be a good way of saying thank you for those who have listened for what suddenly feels like a lifetime. It wasn’t because I had any emotional attachment to Marr. I have absolutely none.”
The post Johnny Marr reveals that he turned down an “eye-watering amount of money” for a Smiths reunion – despite Morrissey agreeing to it appeared first on Guitar.com | All Things Guitar.
“He played upright but wanted to play the P-Bass. Motown said, ‘Nah, you ain't making no money playing that.’ But he said, ‘If you want me, I'm playing the P-Bass’”: Bootsy Collins on the musician that totally “changed his mind” about bass playing
Godin Connaisseur MJ Review
A Canada-built, tastefully styled mini jumbo serves up comfort, a unique and expansive tone profile, and addictive playability.
Godin may be a Canadian company that skews modern in its design approach. But staring across the room at the new Godin Connaisseur MJ, glowing in soft spring sunlight, I kept thinking about two very classic American guitar companies. Martin and Rickenbacker are famous for very different things, and one of them rarely made acoustic instruments. But check out the Godin’s sunburst finish—it sure reminds me of Rickenbacker fireglo. The herringbone-patterned purling evokes that found on a D-28 as well as Rickenbacker’s checkerboard binding. The split-hexagon fretboard inlay? It conjures thoughts of a D-45, and Rickenbacker’s shark-fins. There are practical reasons that this Godin feels like an alternate-universe offspring from the two American companies—most notably the super-satisfying playability. Hermann Rorschach might have told me I’m more inclined to see and feel these likenesses in the Connaisseur MJ (I’m genuinely captivated by the beauty of Rickenbackers and Martins). But style is a big part of what sets the Connaisseur MJ apart, and you don’t need an inkblot test to know that the Godin Connaisseur MJ is a handsome, well-built, and fine-playing flattop. It’s a guitar that reveals its virtues quickly and easily.
Maple Leaf Rag
Consider another unorthodox melding of concepts: “mini” and “jumbo.” Obviously, they are a contradiction in terms. But as an acoustic guitar design guideline, the combination can yield pure gold. The jumbo in mini jumbo (MJ in Godin nomenclature) alludes to the body’s basic shape which, in its fluid curvaceousness, echoes Gibson’s SJ-200. But while the Connaisseur MJ isn’t a behemoth like the SJ-200, it’s not exactly mini either, and feels much more like a shapelier Martin OM. It’s a very comfortable profile that does much to alleviate the arm fatigue that can come from wrestling a dreadnought or genuinely jumbo jumbo.
At $2,499 the Canada-built Connaisseur MJ is Godin’s most expensive flattop by several hundred dollars. And at that price it has to tussle with giants like Martin, Gibson, and Taylor—all of whom sell very established and well-known models in a crowded market segment that most of us could call “getting expensive enough to hurt.” So, what distinguishes the Godin in a densely populated field? Well, it’s certainly pretty, and the melding of classic flattop design touchstones and contemporary styling moves achieves a unique, attractive result rather than an uncomfortable, incohesive mash up of influences.
Golden Glow
In the sonic sphere, the Connaisseur MJ exhibits many classic spruce-and-mahogany characteristics. The warm, concise fundamentals, sunset-hued, softly decaying overtones, and lack of brashness are all hallmarks of this tonewood combination. But the Godin definitely doesn’t live on the dusty, dry, and antique end of the mahogany-and-spruce spectrum. It’s alive and dynamic and responsive in ways you might even categorize as “modern,” and has ample headroom that leaves space for shifts in mood and intensity without shedding its essential voice. It’s easy to be struck by the Connaisseur MJ’s sparkle, especially when you use a light fingerstyle touch. But as I got to know the guitar, I grew to love the balance and resonance in the low end. I suspect that the mini jumbo body, and perhaps the 25.5" scale, have a lot to do with the Godin’s even, inviting voice and range. There is a beautiful combination of energy and air, even in the most softly plucked notes, and it’s easy to see how the extra expanse of spruce aft of the bridge might have a lot to do with how lively and rich the Godin sounds.
“The Godin definitely doesn’t live on the dusty, dry, antique end of the mahogany-and-spruce spectrum. It’s alive and dynamic and responsive in ways you might even categorize as ‘modern.’”
All the tone in the world doesn’t mean much if a guitar plays like a log. But the Connaisseur MJ shines in the playability realm. A few less-than-perfectly-dressed fret ends aside, the neck is addictively comfortable. If there’s a lot of Richard Thompson hammer-ons and pull-offs in your own playing vernacular, you’ll love the snappy touch responsiveness.
The Verdict
The biggest compliment I can offer the Connaisseur MJ is the considerable time I spent with it in a meditative musical state—thinking not about a review, just basking in its warm, sprightly resonance and inviting touch response. At $2,499, the Godin arguably offers more personality than a satin-finished instrument at the same price with a more famous name. It’s well built and feels like a guitar that’s in it for the long haul. And when it comes to tone and a pure playing experience, the Connaisseur MJ shines.
“My one regret is I can’t say goodbye and thank you for the life I’ve been given”: What Ozzy Osbourne told Sharon which led to Black Sabbath’s final show becoming a reality
The hype surrounding Black Sabbath’s final show – Back to the Beginning – is unprecedented – but wholly justified.
The event, which takes place 5 July at Birmingham’s Villa Park, will see the final-ever performance from Sabbath’s original lineup (Ozzy Obsourne, Tony Iommi, Geezer Butler and Bill Ward), as well as support slots from heavyweights from the heavy metal pantheon, including Metallica, Slayer, Pantera, Gojira, Mastodon, Lamb of God and many more.
- READ MORE: “Clone me, you bastards!”: Iced tea with Ozzy Osbourne’s actual DNA now for sale at $450 a pop
Naturally, a show of this magnitude must have been in the works for some time: “nearly two years,” according to Ozzy’s wife and manager, Sharon Osbourne.
Besides the logistics of putting together a lineup filled to the brim with metal A-listers, Sharon says much of the preparation has come in the form of physical training by Ozzy.
“He’s working with his team of people that are getting him up and moving around, working on his breathing, doing weights to build muscle,” she tells MOJO in its new print issue.
“Ozzy’s had five back surgeries in six years, it’s hugely debilitating. So this is not something he undertook lightly. But he kept saying, ‘My one regret is I can’t say goodbye and thank you for the life I’ve been given.’ And I thought, well why don’t we just do one big show and you can thank everybody?
“So we’ve been working on it for nearly two years. You know, Birmingham has given Ozzy so much, he’s so proud of where he was born. He’s working his little old arse off to get there.”
Sharon’s comments echo those made by Andrew Watt – producer of Ozzy’s albums Ordinary Man (2020) and Patient Number 9 (2022) in February – when he revealed the Prince of Darkness has been hitting the gym in preparation for the final show dubbing him the “real-life Iron Man”
Due to Ozzy Obsourne’s series of health problems – which include Parkinson’s disease and spinal issues – it’s been revealed that he’s “not planning on doing a set” at the Back to the Beginning show, but will rather do “little bits and pieces”.
As you might expect, tickets for the show sold out very quickly – some reports claim in as little as 16 minutes – but the Sabbath camp recently announced the event will be livestreamed via pay-per-view, priced at £24.99. Fans who purchase will be able to rewatch the entire event for 48 hours after it finishes.
Learn more at backtothebeginning.com.
The post “My one regret is I can’t say goodbye and thank you for the life I’ve been given”: What Ozzy Osbourne told Sharon which led to Black Sabbath’s final show becoming a reality appeared first on Guitar.com | All Things Guitar.
“Ensures your tuning stays locked no matter how hard you go”: Charvel adds an Evertune to its shred-friendly hardtail Superstrat
Korn think Sleep Token “shut everybody up” at Download with a set that “went bigger than a Slipknot stage”
2025’s Download Festival lineup boasted a trio of new headliners: iconic punk rockers Green Day, legendary nu-metallers Korn and alt-metal’s latest buzz band, Sleep Token. With their divisive pop-heavy sound and relative newcomer status, Sleep Token’s inclusion was met with criticism – but Korn’s Brian “Head” Welch and James “Munky” Shaffer are firmly in Sleep Token’s corner.
Speaking on BBC Radio 1’s Rock Show With Daniel P Carter, Welch and Shaffer reflect on the mysterious band’s Download set. “I love it because all these people – I don’t know how many – [were like] ‘Sleep Token… headlining?’ Some people were saying they’re to young to be able to headline so quick,” Welch says. “And they came with that stage? Shut everybody up. They went bigger than a Slipknot stage, man.”
Host Carter is also in agreement with the sentiment, recalling a time he watched Sleep Token back in 2023 at Aftershock festival alongside Shaffer. During the set, Carter recalls Shaffer even commenting: “These guys are gonna be headlining this thing in two years time.”
“I did say that,” Shaffer boasts. “I called it!”
Korn have grinded their way up Download line-ups for 30 years to earn their headline spot, while Sleep Token only formed in 2016. The comparison has been a major point of critique, so Welch and Shaffer’s eager support of Sleep Token is sure to shut down that argument.
Sleep Token’s set has also been praised by the likes of Metal Hammer and Kerrang!, with the masked unit transforming the stage into an intricate cliff face set. Some attendees have commented on them having the smallest crowd of the three headliners, but take that with a pinch of salt – Korn and Green Day have been around for decades, after all.
During the interview, Shaffer even voices his love of Sleep Token’s music. He notes the gang’s 2025 release, Even In Arcadia. “The new record is incredible,” he insists. “So it’s not only the stage – you can do that all day long – but they got the songs to back it up.”
Last month, Even In Arcadia was released to a full spectrum of reviews. While NME awarded it a dazzling five stars, Pitchfork gave it a cold 2.3, coining the term ‘djentrification’ due to the record’s watered down and marketable use of djent textures.
Andy Copping, the founder of Download Festival and Director of Sleep Token’s management company, Future History Management, defended the decision to have Sleep Token headline earlier this year. “When Wembley went on sale and sold out in 10 minutes I was like, ‘This is beyond anything that anyone could have thought in terms of their popularity explosion,’” he told Kerrang!
“This is their moment, this is their time,” he continued. “We, as a festival, have to be bringing bands through and believe in what we’re doing, but we don’t do it in a haphazard way… I think that any detractors, when they see it, will get it. They’ll understand what it’s all about. It’s a lightning-in-a-bottle moment for our scene where a band has come in and done that.”
“I think they’ll win over non-fans at Download with how dynamic the show is. Out of curiosity people will watch, and mark my words, they’ll say after they play, ‘I was not familiar, but they’re now my new favourite band.’ They have something about them that’s going to win people over. People will become part of the gathering, part of the Worship.”
He goes on to note that, despite it being early on in Sleep Token’s career, lots of bands gained traction after one or two records. He points to Guns N’ Roses “exploding on album number one” and Nirvana “exploding on album number two”.
The post Korn think Sleep Token “shut everybody up” at Download with a set that “went bigger than a Slipknot stage” appeared first on Guitar.com | All Things Guitar.
“I wanted to say, ‘There’s nobody out there. We gotta walk away from this.’ But I couldn’t. He was a great player”: The guitarist who saved Thin Lizzy – and made their last album hit like a “sledgehammer”
“If you stick a modern production tube in an old vintage amp, you may be a little disappointed with the tone”: Do vintage NOS tubes really sound better? Here’s what you need to know
Electric Legoland: Jimi Hendrix is now available in Lego form – but it’s missing the Strat
The inventor of the Klon Centaur is suing Behringer over its $69 clone – now owners are listing them for up to $2,000
In the wake of a lawsuit filed earlier this month – which saw Klon Centaur creator Bill Finnegan accusing Behringer of “blatant counterfeiting” over its $69 Centaur Overdrive – owners of the Behringer clone are listing it for as high as $2,000, as it faces risk of discontinuation.
Original Klon Centaur units regularly command four-figure prices online, so now Behringer’s clone may soon be off the market, those who have bought are attempting to capitalise.
So far, we’ve seen some eBay listings going for as high as £1,500 (approx. $2,014). On another listing – priced lower at $500, but still nearly 10 times the price of a new Centaur Overdrive – the seller notes: “Listings are getting taken down everywhere, so grab it before it disappears.”
The wave of Centaur Drive listings has no doubt been triggered by Finnegan sharing news of the lawsuit on his Instagram. “I have filed a federal lawsuit against a well-known pedal manufacturer that is currently marketing and mass-producing a pedal that we believe blatantly infringes upon specific intellectual property owned by my company Klon LLC,” he wrote.
“For the record, I have never been consulted in any way about this pedal, it has never been authorized by me, and I have never had any involvement whatsoever in its design, production, or marketing. You may have questions about this pedal, so I encourage you to read the filed Complaint, which you can access via the hyperlink that has now been added to the bio of this Klon LLC Instagram.”
In the lawsuit court documents, it reads: “consumers expressed extensive actual confusion (that went deliberately unabated by Defendants), with many rushing to purchase Defendants’ counterfeit pedal believing Defendants are delivering on a mass scale a discounted product licensed or endorsed by Plaintiffs”.
In the comments, one user points out one reason why people might have flocked to the Behringer clone; the original Klon Centaur was discontinued, with only a limited run available. “Why don’t you produce enough pedals so that the average consumer can afford it?” the commenter suggested.
The post The inventor of the Klon Centaur is suing Behringer over its $69 clone – now owners are listing them for up to $2,000 appeared first on Guitar.com | All Things Guitar.
“I’ve seen it with my own eyes and heard it with my own ears, some people sound better than all of us playing a cheap Squier Stratocaster”: Charlie Starr on guitar collecting, his vintage Juniors theory – and the time he was gifted a ’58 Les Paul
“Tubes are overrated. And you never know what you’re going to get overseas. I can’t play through a Marshall JCM – they sound like crap”: Sludge titans Thou have never been afraid to tear up the rulebook – but they do need a spreadsheet for their tunings
“People tell me that I invented that rhythmic gallop – but I just brought it to the fore”: Iron Maiden remain one of most domineering forces in heavy metal – and bassist Steve Harris has led the charge
“You were part of a team. There were always 350-400 studio musicians working in the busy 1960s”: Carol Kaye has declined her Rock and Roll Hall of Fame induction invitation
Pages
