Premier Guitar

Are you looking for a flexible amp modeler for the stage, studio, or home? In this in-depth demo, PG contributor Tom Butwin takes you through gigging, practicing, and recording with two compelling options: the touchscreen-powered Hotone Ampero II and the tactile, amp-style Blackstar AMPED 3.

Hotone Ampero II Amp Modeler and Effects Processor Pedal

Amp Modeler & Effects Processor

Blackstar Dept. 10 AMPED 3 100-watt Guitar Amplifier Pedal

AMPED3 Amp Pedal

Following his historic three-night stand at New York City’s Bowery Ballroom earlier this year — hailed by BILLBOARD as “a religious experience” and moving NPR to rave “Paul McCartney has so much swag it’s ridiculous” — Paul McCartney and his acclaimed Got Back Tour will make their wildly anticipated return to North America this fall.

Got Back’s 2025 run of 19 newly announced dates marks Paul’s first extensive series of shows across the US and Canada since 2022. The tour kicks off September 29th with Paul’s Greater Palm Springs area live debut at Acrisure Arena and runs through to a November 24-25th finale at the United Center in Chicago. Got Back 2025 will feature Paul’s long-awaited return to Las Vegas, Denver, Des Moines, Minneapolis, Tulsa, New Orleans, Atlanta, Nashville, Columbus, Pittsburgh, Buffalo, Montreal, and Hamilton – plus a few cities that will be hosting their first-ever Paul McCartney concerts, Albuquerque and the aforementioned Greater Palm Springs area.

General on sale for these Got Back tour dates will begin July 18th at 10am local time. For further information, pre-sales etc., check paulmccartneygotback.com.

Irrefutably one of the most successful and influential singer-songwriters and performers of all time, McCartney’s concerts bring to life the most beloved catalogue in music. With songs like “Hey Jude,” “Live and Let Die,” “Band on the Run,” “Let It Be” and so many more, the Paul McCartney live experience is everything any music lover could ever want from a rock show and more: hours of the greatest moments from the last 60 years of music – dozens of songs from Paul’s solo, Wings and of course Beatles songbooks that have formed the soundtracks of our lives.

Paul McCartney launched his Got Back tour in 2022 with16 sold out shows across the US that led up to his history-making set at Glastonbury in June 2022. In 2023 Paul performed 18 shows as Got Back rocked through Australia, Mexico and Brazil. In 2024, Paul amazed capacity crowds at more than 20 dates spanning from South America and Mexico to the UK and Europe.

Paul and his band have performed in an unparalleled range of venues and locations worldwide: From outside the Colosseum in Rome, Moscow’s Red Square, Buckingham Palace, The White House and a free show in Mexico for over 400,000 people to the last ever show at San Francisco’s Candlestick Park where The Beatles played their final concert in 1966, a 2016 week in the California desert that included two headline sets at the historic Desert Trip festival and a jam-packed club gig for a few hundred lucky fans at Pappy & Harriet’s Pioneertown Palace, two Glastonbury Festival headline slots, rocking the Bowery in New York City for a week of spontaneous club shows, and even one performance broadcast live into Space!

Featuring Paul’s longtime band – Paul “Wix” Wickens (keyboards), Brian Ray (bass/guitar), Rusty Anderson (guitar) and Abe Laboriel Jr (drums) – and constantly upgraded state of the art audio and video technology that ensures an unforgettable experience from every seat in the house, a Paul McCartney concert is never anything short of life-changing. The Got Back Tour also features the Hot City Horns — Mike Davis (trumpet), Kenji Fenton (saxes) and Paul Burton (trombone) — who first joined Paul in 2018 to perform at Grand Central Station ahead of embarking on the Freshen Up World Tour in the same year.

PAUL McCARTNEY – GOT BACK 2025

September 29 — Palm Desert, CA — Acrisure Arena
October 4 – Las Vegas, NV — Allegiant Stadium
October 7 – Albuquerque, NM — Isleta Amphitheater
October 11 – Denver, CO — Coors Field
October 14 – Des Moines, IA — Casey’s Center
October 17 – Minneapolis, MN — U.S. Bank Stadium
October 22 – Tulsa, OK – BOK Center
October 29 – New Orleans, LA — Smoothie King Center
November 2 – Atlanta, GA — State Farm Arena
November 3 – Atlanta, GA — State Farm Arena
November 6 – Nashville, TN – The Pinnacle
November 8 – Columbus, OH — Nationwide Arena
November 11 – Pittsburgh, PA — PPG Paints Arena
November 14 – Buffalo, NY — KeyBank Center
November 17 – Montreal, QC — Bell Centre
November 18 – Montreal, QC — Bell Centre
November 21 – Hamilton, ON – TD Coliseum
November 24 – Chicago, IL — United Center
November 25 – Chicago, IL — United Center

Following his historic three-night stand at New York City’s Bowery Ballroom earlier this year — hailed by BILLBOARD as “a religious experience” and moving NPR to rave “Paul McCartney has so much swag it’s ridiculous” — Paul McCartney and his acclaimed Got Back Tour will make their wildly anticipated return to North America this fall.

Got Back’s 2025 run of 19 newly announced dates marks Paul’s first extensive series of shows across the US and Canada since 2022. The tour kicks off September 29th with Paul’s Greater Palm Springs area live debut at Acrisure Arena and runs through to a November 24-25th finale at the United Center in Chicago. Got Back 2025 will feature Paul’s long-awaited return to Las Vegas, Denver, Des Moines, Minneapolis, Tulsa, New Orleans, Atlanta, Nashville, Columbus, Pittsburgh, Buffalo, Montreal, and Hamilton – plus a few cities that will be hosting their first-ever Paul McCartney concerts, Albuquerque and the aforementioned Greater Palm Springs area.

General on sale for these Got Back tour dates will begin July 18th at 10am local time. For further information, pre-sales etc., check paulmccartneygotback.com.

Irrefutably one of the most successful and influential singer-songwriters and performers of all time, McCartney’s concerts bring to life the most beloved catalogue in music. With songs like “Hey Jude,” “Live and Let Die,” “Band on the Run,” “Let It Be” and so many more, the Paul McCartney live experience is everything any music lover could ever want from a rock show and more: hours of the greatest moments from the last 60 years of music – dozens of songs from Paul’s solo, Wings and of course Beatles songbooks that have formed the soundtracks of our lives.

Paul McCartney launched his Got Back tour in 2022 with16 sold out shows across the US that led up to his history-making set at Glastonbury in June 2022. In 2023 Paul performed 18 shows as Got Back rocked through Australia, Mexico and Brazil. In 2024, Paul amazed capacity crowds at more than 20 dates spanning from South America and Mexico to the UK and Europe.

Paul and his band have performed in an unparalleled range of venues and locations worldwide: From outside the Colosseum in Rome, Moscow’s Red Square, Buckingham Palace, The White House and a free show in Mexico for over 400,000 people to the last ever show at San Francisco’s Candlestick Park where The Beatles played their final concert in 1966, a 2016 week in the California desert that included two headline sets at the historic Desert Trip festival and a jam-packed club gig for a few hundred lucky fans at Pappy & Harriet’s Pioneertown Palace, two Glastonbury Festival headline slots, rocking the Bowery in New York City for a week of spontaneous club shows, and even one performance broadcast live into Space!

Featuring Paul’s longtime band – Paul “Wix” Wickens (keyboards), Brian Ray (bass/guitar), Rusty Anderson (guitar) and Abe Laboriel Jr (drums) – and constantly upgraded state of the art audio and video technology that ensures an unforgettable experience from every seat in the house, a Paul McCartney concert is never anything short of life-changing. The Got Back Tour also features the Hot City Horns — Mike Davis (trumpet), Kenji Fenton (saxes) and Paul Burton (trombone) — who first joined Paul in 2018 to perform at Grand Central Station ahead of embarking on the Freshen Up World Tour in the same year.

PAUL McCARTNEY – GOT BACK 2025

September 29 — Palm Desert, CA — Acrisure Arena
October 4 – Las Vegas, NV — Allegiant Stadium
October 7 – Albuquerque, NM — Isleta Amphitheater
October 11 – Denver, CO — Coors Field
October 14 – Des Moines, IA — Casey’s Center
October 17 – Minneapolis, MN — U.S. Bank Stadium
October 22 – Tulsa, OK – BOK Center
October 29 – New Orleans, LA — Smoothie King Center
November 2 – Atlanta, GA — State Farm Arena
November 3 – Atlanta, GA — State Farm Arena
November 6 – Nashville, TN – The Pinnacle
November 8 – Columbus, OH — Nationwide Arena
November 11 – Pittsburgh, PA — PPG Paints Arena
November 14 – Buffalo, NY — KeyBank Center
November 17 – Montreal, QC — Bell Centre
November 18 – Montreal, QC — Bell Centre
November 21 – Hamilton, ON – TD Coliseum
November 24 – Chicago, IL — United Center
November 25 – Chicago, IL — United Center

This Fujigen-built import required emergency surgery after an unfortunate break.

Have you ever broken a bone? Strange question, I know, but my son, on the second day of football practice, broke his big toe. They were doing “bear crawls” on all fours when his left sneaker flew off and his big toe drove into the gym floor. It’s such a bummer since he loves sports, and he’s going to be recovering for most of the summer. But as we were sitting in the ER, it occurred to me that I’ve never broken a bone. I’ve had torn ACLs and other knee issues from playing sports, but never busted a bone. My mom used to say that if you could separate me in half, I would be two normal-sized people! Maybe my bones were built to hold two people or maybe I’ve been lucky, especially given how many contact sports I played into my 20s.

It all made me think of vintage-style guitar-neck profiles. If you’ve ever held or played a guitar from the ’40s, ’50s, or early ’60s, you know that there was great variation in neck depth and shape in those days. Back then you’d find wide fretboards and deep-V shapes—all sorts of interesting feels, in comparison to the standard-sized necks we experience today. Even if you want a guitar with a so-called ’50s profile, it’s still not often a true representation. When you examine the early import guitars, especially from Japan, you’ll see a wide variation that can give rise to nice little surprises if you’re looking for something different.

Quite often, the wood factories that were churning out guitars back in the day were simply converted furniture plants. They knew how to build stuff right. I know, because my literal superpower is breaking stuff, and I’ve never broken a single Japanese import neck on any guitar I serviced, except for the guitar presented here.

“The VN-4 hails from around 1964 and was among the first electric guitars made by the two Japanese factories.”

Many of these early imports had weak and ineffective truss rods, or even no truss rods at all. Rather, the neck thickness and wood quality provided sufficient strength. Adjustability? Well, once you understand neck angle, a few shims in the neck pocket can get you rockin’. All this stuff I learned from my favorite guitar tech, Dave D’Amelio. He showed me most of what I know about neck issues, but I always lacked his finesse. And while trying to adjust the neck on this Lindell VN-4, the headstock just snapped off, a truly awful feeling. (Imagine that happening to a vintage Les Paul!) Maybe it was because these old Fujigen-made guitars employed a 27" scale on any model that used four pickups. Why? Because the designers thought that a longer neck with four pickups simply looked more pleasing. (That’s information told to me from the actual designers.)

This Lindell-badged guitar had its wood made at the Matsumoku factory in Matsumoto City. Then the guitar was finished at the Fujigen factory, which was also in Matsumoto. Switches galore and pickups that carry a punch, the VN-4 hails from around 1964 and was among the first electric guitars made by the two Japanese factories. These “clam-shell” tremolo units are kinda awful, but I really like the raised metal pickguards, which help cut down on noise. The plates that house the electronics (complete with on/off for each pickup and two roller volumes) act as a great ground for everything and I sometimes wonder why the idea fell out of favor. I mean, raised pickguards like these minimize wood removal. You can use a standard guitar body and simply attach any pickup and electronics configurations. Then again, I have weird tastes, so…

Right now I have a few of these sitting around in my basement studio. I would always save parts and guitar bits and simply reuse everything to create something new, which I believe every player should try. I think of Eddie Van Halen and Brian May and their handiwork. My son has a six-week recovery ahead, and I was thinking about projects for us. Maybe I’ll enlist him as an apprentice in my guitar laboratory. At least it’s safer than football!

Proper bus routing and submixing techniques will increase your efficiency in the studio and raise your DAW’s tracking power.

Nothing can make you sweat quicker than having computer-related issues when tracking an artist or a band: millisecond delays in headphone mixes, plugins lagging, glitchy performance from your DAW. Even if you’re tracking only yourself, it is frustrating and breaks your creative flow. For this Dojo, I want to give you some tips for staying in the flow and keeping your cool.

Harnessing the Power of Buses and Submixes.

For the modern guitarist venturing into home recording, your computer’s power and your DAW can be both a blessing or a bottleneck. As creative possibilities expand, so does the strain on your computer’s CPU. Fortunately, one of the most powerful tools for optimizing your recording workflow and CPU usage comes from the tried-and-true, old-school, analog domain: proper bus routing and submixing techniques.

Efficient Signal Flow
In the world of digital recording, a bus is essentially a virtual pathway that allows multiple audio tracks to be routed to a single auxiliary (aux) track. This aux track can then be processed with effects like reverb, delay, EQ, or compression, applying the same settings to all routed tracks simultaneously. For guitarists, this is particularly useful when layering rhythm tracks, harmonies, or ambient textures that all benefit from similar effects.

Why Use Buses?

1. CPU Efficiency: Instead of inserting the same reverb plugin on five different guitar tracks, route all of them to a bus with a single reverb instance.
2. Consistent Sound: Buses help glue multiple guitar tracks together, ensuring a cohesive tone.
3. Simplified Mixing: Adjusting levels or automation on a single bus affects all associated tracks, saving time and effort.

Submixes: Organizing Your Sonic Palette
Submixes are essentially buses with a specific organizational role. In larger sessions, creating submixes for instrument families (e.g., drums, guitars, vocals) helps maintain clarity and control. For home-recording guitarists, a common approach is to create submixes for:

• Clean guitars
• Overdriven/distorted guitars
• Ambient or effects-heavy guitars

Each submix can have tailored processing chains appropriate to the tone and role of those particular guitar parts. For instance, you might apply light compression and stereo widening on clean guitars, while distorted parts could benefit from dynamic EQ and multiband compression.

“Another great trick if you’re running low on CPU power with a large track count is to bounce or ‘render in place’ any finalized parts.”

Practical Setup Example

Let’s say you’ve recorded:

• three rhythm guitar tracks (L, R, center)
• two lead parts with delay
• one ambient swell track

Then set up three stereo buses and route rhythm guitars (three tracks) into stereo bus one, leads (two tracks) into stereo bus two, and finally the ambient guitar to a more generic stereo bus that will be used by other tracks in your mix and to bring some cohesion.

Lightening the CPU Load
Modern plugins can be CPU-intensive, especially convolution reverbs, amp simulators, or complex modulation effects. Routing similar instruments through buses allows you to:

• Use one amp sim plugin on a bus during the writing/mixing phase
• Print or freeze tracks with final effects before the mastering stage
• Automate bus bypassing when a group isn’t active in a section to reduce processing

Another great trick if you’re running low on CPU power with a large track count is to bounce or “render in place” any finalized parts. Once you’re happy with a guitar tone, turn it into a static audio file, removing the need for real-time plugin processing.

Classic Techniques
Finally, in classic pop production—think the Beatles, Fleetwood Mac, or Michael Jackson—engineers relied on submixes even in the analog domain. Drums, guitars, vocals, and backing vocals were often premixed to stereo stems to facilitate real-time mixing without modern automation.

Phil Spector’s Wall of Sound famously involved routing dozens of instrumental layers into a single bus and feeding that into a reverb chamber. The result was a lush, unified soundscape. This same idea applies today: Guitar tracks layered for harmonic richness can be routed into a reverb bus to achieve that enveloping texture.

Smart Routing, Better Results
Creating buses and submixes may seem like advanced engineering, but it’s simply smart organization. For the home-recording guitarist, this practice not only streamlines workflow but also ensures a more professional-sounding mix. By mimicking tried-and-true studio practices as well as optimizing for CPU load, you can focus less on troubleshooting and more on making music.

So, whether you're recording your next EP or collaborating online, harness the power of bus routing to bring clarity, control, and character to your guitar tracks. Until next month, namaste.

Be one of 50 winners!

Perks: Snark ST-8 High Precision Tuner Giveaway

Snark ST-8 HPT High-precision Guitar and Bass Clip-on Tuner

Guitar & Bass High Precision Tuner

With upgraded processing power, anechoic shielding, and a vibration sensor, the ST-8 HPT high-precision clip-on tuner takes Snark’s trusted form factor to the next level. These upgrades bring a new standard of accuracy, driven by refined software that creates an ultra-tight, in-tune window for precise tuning every time. The patented anechoic shield blocks ambient noise, isolating your instrument from room interference for cleaner readings. Meanwhile, pitch calibration — defaulted to A440Hz — allows you to toggle between multiple tuning references. Fully wireless and rechargeable, HPT tuners are a go-to accessory among Sweetwater performing musicians, especially considering their bright, high-visibility LCD. With the ST-8 HPT, keeping your instrument perfectly tuned has never been easier or more reliable.

Eli Lester couldn’t bear to see Two-Rock disappear, so he bought the company. He tells us how he resuscitated the brand and turned it into one of the hottest names in boutique amplification.

Two-Rock Amplification emerged into tube-amp consciousness like very few brands in past decades. Not only are their amps regularly tagged “best” by countless players and influencers, but even those decrying the lofty price tags admit their impossibly clear tones and soulful dynamics. That’s how Two-Rock co-owner and CEO Eli Lester wants it. Preferring to let others do the talking, he stays focused on the brand’s mission with an intense tonal obsession, resilience, and refusal to compromise.

Two-Rock’s journey hasn’t been without turbulence, however. Founder, Bill Krinard had sold the brand to Premier Builders Guild in 2010, and by 2016 it was teetering on collapse. That’s when Lester, already a long-time Two-Rock devotee, alongside his partner Mac Skinner, took a leap of faith to rebuild it from the ground up.

“I was probably the biggest Two-Rock fan in the world,” he explains. “I was doing some R&D stuff with them back in the day, and it was my favorite amp company. I don’t have an answer for why I wanted to buy it. I just couldn't let it die.”

Two-Rock in hand, Lester’s vision was clear: Build the best tube amps possible and let the cards fall where they may. However, it wasn’t a total shot in the dark, as Lester had spent his life surrounded by amplifiers and playing with some of guitar’s genuine icons. The man knows guitar tone.

“It's all I’ve ever done,” he says, matter of factly. “I did guitar repair in the back of shops since about 18. And I was buying old Bassmans when they were 300 bucks and modifying them. I was also a full-time player, blessed to tour with Robben Ford, play with B.B. King, a bunch of players.”

“We’re definitely inspired by his amps, and I’m honored that people put us in that same camp, but we don’t make Dumble clones.”

Nearly a decade after purchasing the company, Lester’s commitment is as potent as ever. From his California workshop, surrounded by a literal wall of vintage amps (including Danny Gatton’s personal 1963 Vibroverb), he balances the roles of CEO, designer, and player. Alongside Skinner and Two-Rock original founder Bill Krinard, he's steering the brand into the future with the same vision that he started with.

Now at the helm of one of the most in-demand amp companies, Lester’s reluctance to chase the spotlight is still obvious. But, generous with his time, he shared the story of Two-Rock’s rebirth, its place in the tube-amp world, and where he hopes to take it next.

What was it like buying a struggling amp brand? Were you confident you could turn Two-Rock around?

Well, Mac knew how to run the company because he’d been running operations since 2004, and I knew how to build amps and was the player. But it was kind of, “I hope we don't lose too much money here.” [Laughs]

We literally started all over. We threw away chassis, transformers, and all the old inventory. We said, “We don’t even want to make any of these models,” and started from ground zero.

Why buy a company when you want to throw most of it away?

It was my favorite amp company. I was so emotional about it, so connected to it, and still believed they were the best amps I’d ever played. And Mac and I were both really aligned and wanted to see if we could revive it. It was just something I was really passionate about keeping alive.

You’ve found a lot of success since then. Are you still able to stay hands-on with everything?

It’s still a pretty small company. We have about 30 employees between the amp factory and the cabinet shop. I’m the CEO/owner, so I do all the amp design, voice every amp, and do artist amps. I also do the sales and marketing and pretty much run the place. Mac runs operations, part procurement, what’s being used, what models we’re making, how they’re being built, and deals with my OCD.

We also brought back Bill Krinard, the original designer and founder, to help with some design work. It’s a collaborative group between Bill and me, going back and forth, bouncing ideas off each other.

Two-Rock is often compared to Dumble. Do you think that’s an accurate comparison?

We’re definitely inspired by his amps, and I’m honored that people put us in that same camp, but we don’t make Dumble clones. I get asked to do it quite often, and I don’t, out of respect. Drew [Berlin] and Mark [Swanson] [co-owners of Dumble] are good friends of mine. I got to know Alexander before he passed away and was invited to the funeral. He’s one of my biggest inspirations in the world, one of my heroes.

Sonically and circuit-wise, we have models that are obviously inspired by them, especially aesthetically. But we’ve been able to carve our own voice. I’m equally inspired by Leo Fender and kind of morph the two things together to make our amps.

Leo Fender’s influence is apparent, especially with the Vintage Deluxe. What is it about vintage American amplifiers that attracts you?

Besides the fact that all my favorite players have played most of those amps, if I have a black-panel Fender and I take it to a gig, plug it in, put everything on noon, I’m good to go. Plus, those amps have a bit of artifacts and schmutz in the sound. They’re not too sterile, clean, or hi-fi sounding. They have some character to them.

That’s what I was trying to capture with the Vintage Deluxe. You take an amp, plug it in, turn everything to noon, and it sounds and feels great.

In my opinion, a lot of the Dumble clones or Dumble-inspired amps are sometimes too sterile. They don’t have enough character. So, I pull some of that from the Fender side.

A lot of your amps follow a lineage. The Bloomfield Drive is an evolution of the Classic Reverb Signature, and the Joey Landreth Signature is an evolution of the Bloomfield. Would you ever branch into something like a plexi-style or high-gain design?

I love playing, and I have a JTM45 and a ’63 Bluesbreaker behind me. I still love playing those amps, but trying to have a cohesive product line where everything fits together is definitely a main goal of ours.

That’s a good transition with our Divided by 13 acquisition. A lot of the reason for buying it was, every time I’ve tried to do an EL84, EL34, or Marshall-inspired amp, people go, “That’s not what Two-Rock does. They're trying to be something they're not.” That was always a problem.

Fred [Taccone, founder of Divided by 13] is a friend of mine. When he mentioned he wanted to get out of the business, I thought, “This gives me the outlet to do those kinds of amps without cannibalizing and diluting the Two-Rock thing.” It’s its own thing, and Two-Rock is its own thing, too. They don’t compete with each other at all.

You brought Divided by 13 in-house with Two-Rock, and the same team builds both amps. Why not use the opportunity to grow and gain market share?

Mac and I are both very aligned that we want to keep Two-Rock a small company. Like, Sweetwater has wanted to carry Two-Rock for so many years, but I just don’t think it fits with what we do. It’s a great financial move, and they’re great, but I still want to be able to touch every amp and make sure it’s built exactly the way it should be. I don’t ever want to lose that quality. With Premier Builders Guild and other amp companies, we’ve seen what happens when people try to blow it up too big.

Two-Rock Amps definitely do things your own way. They’re all-tube, many of them are 100 watts, and they use a cascading gain-stage design that can take a while to get used to. But it all works somehow.

I’m a clean-headroom guy. My goal is to make the biggest, most three-dimensional, clean amplifier you can. Back in 2016, the small amp thing was really popular, but we started building 100-watt amps because that’s what I love to play. Everyone thought Mac and I were absolutely crazy.

But we use that wattage for bandwidth, not sheer volume. You can use [our amps] at bedroom volumes. I put a lot of work, as well as my team, into it. We have a very usable master volume and a proprietary transformer. That’s why you see people playing our 100-watt Classic Reverb and Bloomfield in small venues.

And our amps do have a lot of tone options, but the controls are laid out the way you use them. We’re not doing a bunch of crazy switching. It makes sense, at least in my brain.

Two-Rock players like John Mayer, Joey Landreth, and Ariel Posen are all known for their soulful playing and beautiful tones. Eric Johnson is even playing your amps. Why do you think they all gravitate toward Two-Rock?

You get out of an amp what you put into it, that extra little five percent to 10 percent. Eric, Joey, Ariel, Josh [Smith], Doyle Bramhall [II], and Ben Harper are all looking for that extra five percent to 10 percent. We can tweak the amp and get it to where they want it, but they pull that stuff out of them.

I don't know anyone that has the artist roster we have, and it’s 100 percent organic. We don’t do artist endorsements. All our artists pay for the amps. It’s just because they love them. I’m so blessed to have that; I can’t even tell you.

YouTube

Watch Rhett Schull’s now-infamous video on why his Classic Reverb Signature changed his mind on Two-Rock amps.

You don’t have a paid artist roster, and you don’t put out a ton of video content. On top of that, a lot of people claim tube amps are dead. Still, you’re one of the most talked about brands in the industry. How did you make that happen?

It was extremely organic. There was no marketing plan. I was flying all over the country with the Classic Reverb Signature, going to dealers and artists, saying, “This is what the new amps are going to sound like.” It’s a horrible business model that I wouldn’t recommend to anyone, but it forced us to build the best amp we could.

And I think the fact that I’m a player first helped. I’m still obsessed. As the market has gone away from vacuum tubes, I’ve gone backward. My rebuttal is, “We’re just going to make them even more badass! We’re going to make them more high-end and tweak the components even more!” I think a lot of the players we have gravitate towards that.

Guitarist/YouTube influencer Rhett Schull recently released a video on the Classic Reverb titled, “The Best Guitar Amp I’ve Ever Owned.” That’s a bold statement, especially from someone who makes a living in the industry. What’s it like when players drop words like “best” to describe your work?

It’s funny, but Rhett was a Two-Rock critic for a long time because he never played them. He was saying, “These are overpriced. I played these other ones, and they’re just as good.” Then he got a chance, tried one, and said, “Okay, I get it. This isn’t like anything else. This is a different thing.” We’re so blessed to have guys like that who are brand ambassadors that carry the torch for us.

But I don’t ever sit here and say my stuff is the best. Actually, guys go, “I have a black-panel Deluxe Reverb and a plexi. What [Two-Rock] should I get?” I’m always saying, “Dude, you’re good. What else do you need?!” I’m the worst self-promoter in the world. [laughs]

You guys have defied the odds so far, but where do you see the tube-amp market going in the future? Will people still be playing Two-Rocks?

I wake up in cold sweats about it every single night. Just getting tubes is hard, and for a long time, people wanted quantity over quality. Now, at least for my generation, it’s like, “No, I just want one or two really nice amps that sound good, play good, and feel good.” So there's a nostalgia and a vibe with it that I don’t see going anywhere. There’s too much love for it.

With that in mind, where do you want to take Two-Rock in the next 10 years?

Sustainability is a big thing. This is a very cyclical business. I’ve been in it my whole life. I’ve seen things go up, seen things go down. People, amps, and guitars are trendy and cool, but then they fall off. You try to reach too far, and then it doesn’t work anymore. So I think it’s just staying steady, keeping course, and sustaining what we have. We just want to build really good guitar amplifiers, work with cool artists, and keep going.

It seems to be working. Everybody is talking about Two-Rock right now.

Thank you. That’s where Josh [Scott, JHS Pedals] is on my ass so much. He’s like, “The successful companies have a face behind them. We need to put you out there and start letting people know you’re the guy doing this.” I’m very uncomfortable with that. That’s not my thing. I just like to build amps.

New Zealand’s number one country guitar export—and November 2024 Premier Guitar cover model—Keith Urban rolled into Cincinnati’s Riverbend Music Center last month, so John Bohlinger and the Rig Rundown team drove up to meet him. Urban travels with a friendly crew of vintage guitars, so there was much to see and play. In fact, so much that they ran out of time after getting through the axes! Later, Bohli and Co. met up with Urban tech Chris Miller to wrap their heads around the rest of the straightforward pedal-free rig he’s rockin’ this summer.

Last year, Urban released High, his 12th studio record, so you’ll be sure to catch those tunes and more in his extensive jam-friendly sets. Here’s a look at what Keith is bringing with him to stages across the U.S., including a prototype signature PRS to vintage Gibsons and a pair of heavy-lifting Marshalls.

Brought to you by D’Addario

Something to Lean On

Keith shows off his latest go-to, which is the prototype for his PRS signature axe. “It started from me wanting to see if I could get a guitar that I could lean on most of the night,” Urban says of the ongoing design project. He tells Bohlinger he was looking for a better tonal response than his preferred Tele, “Clarence”—a 1989 Fender Custom 40th Anniversary model—and blended in some measurements from some of his Gibsons.

The humbucker-loaded PRS has a sunburst finish and a unique f-hole inspired by Urban’s left-forearm tattoo. This one has a Fender scale, but they’re still refining the neck details for the signature model.

Here’s Clarence

And lest we forget. Here’s a look at Clarence, Urban’s workhorse guitar until this tour.

Spirit of ’52

Here‘s what an original-year-of-issue Gibson Les Paul that’s still running the miles looks like, complete with trapeze tailpiece. This ’52 goldtop and its kin established the template.

Single-coil Joy

Apparently there was some magic in 1964, and it made its way into that year’s Stratocasters. Strats like Urban’s ’64 are considered among the best in the breed, known for their balanced tone, comfy neck profile, original black-bottom pickups, transitional logos, and the dot fretboards on models made early that year.

Bass Break

There’s one song in the set where Urban tackles bass duties, and he turns to this 1972 Fender Mustang bass, which he loves for its punchy tone. The electrical tape on the lower bout is there to ensure that the pickguard stays put!

An SG You Just Have to Play

This 1964 Gibson SG Junior is one Urban insists Bohlinger plays to understand. “I love the simplicity of it,” Urban says. The cherry red axe was a gift from session legend Dann Huff. He also rocks a ’52 Les Paul during the course of the set.

Urban turns to D’Addario NYXL strings—.010s in most cases—and he goes back and forth between his D’Addario signature Ultem pick with raised edges and D’Addario Casein picks.

All Amp

This pair of 100-watt Marshall Super Lead JMPs does most of the heavy lifting to bring Urban’s tone to life—he’s rolling sans pedalboard for this tour! The bottom head is the main one and the top one is there just in case. Since these monsters have to deliver overdriven tones, they stay cranked—the gain sits around 7—and they push a vintage checkerboard Marshall 4x12 loaded with Celestion G12H-150 Redbacks.

Post Amp Effects

Delays and modulation are all added to Urban’s tones after three mics capture the sound of the Marshall cab. That signal hits this Fractal Axe-Fx II XL+, which Chris Miller controls offstage. A Mission Engineering expression is the only pedal Urban utilizes, which controls a model of a Cry Baby in the Fractal.

D’Addario Keith Urban Signature Pick

D’Addario Casein Pick

D’Addario NYXL

GRAMMY® Award-nominated songwriter, vocalist, multi-instrumentalist, and producer Wolfgang Van Halen has unveiled all the information for his upcoming third album, The End. The album – released by BMG – is slated for release on October 24. The 10-track album clocks in at 39-minuttes and showcases the evolution of Wolf and his songwriting since he launched his solo career in 2020. Recorded at the legendary 5150 studio, the album was produced by friend and collaborator Michael “Elvis” Baskette.

The End is available for pre-order in multiple configurations including limited edition vinyl colors, signed insert version and retailer exclusives here: https://Mammoth.lnk.to/TheEndAlbum.

Continuing the tradition of writing all the songs and performing all the instrumentation and vocals himself, Wolfgang Van Halen set out to challenge himself beyond what he did on his debut and sophomore release, Mammoth II. From the hypnotic opening of “One Of A Kind” to infectious closer “All In Good Time,” Wolfgang demonstrates his proficiency as a musician and songwriter. Songs like “Same Old Song,” “Happy,” and “Selfish” will fit perfectly alongside older songs that fans have already come to love from Mammoth. Mammoth released their first single in May, and it has shot up the charts currently in the Top 5 at Active Rock radio. The success of the single was propelled by the landmark music video – a remake of the classic film From Dusk ‘Til Dawn – directed by Robert Rodriguez and Greg Nicotero. The video is approaching 4-million views and contains cameos from Danny Trejo, Slash, Myles Kennedy, and of course his mother Valerie Bertinelli. To coincide with the album announcement, Mammoth is releasing the track “The Spell” for fans to check out.

The tracklisting for The End is:

1. One Of A Kind
2. The End
3. Same Old Song
4. The Spell
5. I Really Wanna
6. Happy
7. Better Off
8. Something New
9. Selfish
10. All In Good Time

Mammoth has become known for being road warriors, constantly taking to the road to play their music for the masses whenever they can. 2025 will continues that trend as the band will be heading out with longtime friends in CREED on the Return of the Summer of ’99 Tour this summer. Backed by his live band featuring Jon Jourdan, Frank Sidoris, Ronnie Ficarro, and Garrett Whitlock, Wolfgang and Mammoth hit the road July 9 in Lexington, KY through August 30 where the tour wraps in Halifax, NS. To celebrate the album being in stores this October, Mammoth will be heading out on a Fall headline run. The End Tour kicks off on October 31 and runs for 5 weeks before it wraps up on December 7. The tour will make stops in Las Vegas, NV (November 1), Atlanta, GA (November 8), Montclair, NJ (November 14), Chicago, IL (November 26) and Tempe, AZ (December 6) to name a few. Longtime friend Myles Kennedy will be the special guest on the run. More information on all tickets and VIP passes can be found at www.mammoth.band.

Today, Ernie Ball Music Man is proud to announce the release of the Pino Palladino StingRay Bass Collection, a tribute to the unmistakable tone and legacy of one of the most revered bassists in modern music. The collection includes two Pino Palladino Artist Series StingRay Basses—available in fretted and fretless models—as well as the highly exclusive Pino Palladino Icon Series StingRay Bass, a meticulous recreation of his original 1979 fretless StingRay. Only 15 Icon Series instruments will be made available worldwide.

The Artist Series: Signature Feel, Legendary Tone 

Inspired by Pino’s original fretless StingRay, the Artist Series models deliver the essence of his tone, feel, and style in both fretted and fretless options. Featuring a poplar body finished in ’79

Burst, a dark-tinted hard rock maple neck with rosewood fingerboard, and a custom asymmetrical neck carve, these basses offer a player-focused blend of comfort and authenticity.

A vintage-style Alnico pickup and hand-wired 2-band preamp (voiced with a 500k treble pot like Pino’s original) capture the warmth and detail that defined Pino’s sound on countless records. Additional features include:

• Brass saddles with a string-through-body bridge and adjustable mute pads
• Bullet truss rod and 3-bolt neck plate with micro-tilt adjustment
• GraphTech NuBone hand-shaped nut
• Fretted model strung with Pino Signature Flatwound Strings
• Fretless model strung with custom Slinky Nickel Wound Strings .036, .055, .065, .090
• Each bass ships in a MONO case with an Artist Series neck plate

The Icon Series: A Museum-Grade Replica of Pino’s Original 

Limited to just 15 pieces worldwide, the Pino Palladino Icon Series StingRay Bass is an exacting recreation of Pino’s beloved 1979 fretless model. Every detail has been scrutinized and faithfully reproduced—from the nitrocellulose lacquer finish and genuine late-‘70s bridge plates (with era-correct serial numbers) to the placement of the headstock decal and string tree.

Highlights include:

• Hand-selected poplar bodies and slab rosewood fretless fingerboards
• NOS bridge plates with brass saddles and spring mutes
• Custom-wound pickup with 5/8” Alnico V magnets and 42 gauge wire
• Period-correct active preamp with CTS pots and aged voicing
• Vintage waterslide decal, Wales Rugby sticker replica, and headstock hand-signed by Pino
• Ships in a G&G black/gold-lined case with a certificate of authenticity and vintage-inspired case candy

This is more than a signature instrument—it’s a faithful time capsule of an artist-defining tool that helped shape the course of modern bass playing.

Behind the Build: The Music Man Legacy 

From wood selection and relic distressing to preamp circuitry and final assembly, every step of the Icon Series build process reflects the same craftsmanship and attention to detail that defines Music Man’s legacy. Original tooling, hand-applied nitro lacquer, media tumbling, oxidation, and extensive handwork bring each bass to life—down to the last paint chip and softened edge.

Availability

The Pino Palladino Artist Series StingRay Basses are available now through authorized Ernie Ball Music Man dealers. The Icon Series is strictly limited to 15 pieces worldwide and will be available through select dealers as well as the Ernie Ball Music Man Vault.

To learn more, visit www.music-man.com.

Khruangbin’s low-end chill merchant gets a signature instrument that plays like a Jazz Bass best-of.

Laura Lee Ochoa (you may know her by her alter ego, Leezy) is a founding member of the Grammy-nominated band Khruangbin, which is Thai for “airplane.” Khruangbin’s music is fresh and inspired, blurring genres including American soul, Iranian pop, surf, psychedelic, and dub, and creating infectious tunes within that stylistic range. The bass is a prominent part of the trio’s sound and groove. Laura Lee’s go-to 4-string for a number of years was an inexpensive SX-branded Jazz Bass copy. She admitted to playing the bass out of financial necessity. But like their namesake, Khruangbin and Laura Lee have been soaring in recent years. The same could be said of her new Fender signature Jazz Bass.

Prepare for Takeoff

When I laid eyes on the Laura Lee Jazz Bass, I was a bit wonderstruck. What’s special about it? At first glance, oh, just … everything. There is vintage drip, it feels comfortably familiar, and the instrument ticks a lot of boxes that many players would put on a perfect-Jazz Bass wish list. There’s a few surprises, too. If the bass had a “like” button, I would still be pressing it repeatedly.

Much like Laura Lee’s band, exploration within a framework sums up the Limited Edition Laura Lee Jazz bass beautifully. The recipe is so simple, really: start with a legendary, proven design and sweeten with a few unique-yet-familiar components. There is nothing on this bass you would label as new or revolutionary. Instead, it works like a time portal to different, probably more chill, and definitely hipper eras with modern refinements to smooth the ride—a little like a vintage sports car with a newer engine.

Vintage Vibes If You P(Leezy)

The Laura Lee Jazz Bass’ offset body is alder and finished in gloss polyester vintage white that looks like olympic white yellowed to a buttery aged hue. The neck is maple (skunk striped, for those scoring at home) with a rosewood fretboard and a synthetic bone nut. The neck’s gloss urethane finish is smooth and silky, and the custom “U” shape feels super comfortable, giving the sense that the bass is holding your hand and guiding you along rather than the other way around. The instrument is well built, and the Ensenada factory did a fantastic job on the rock-solid neck joint. There really isn’t a single flaw.

“The Jazz Bass/flatwound playing experience is like finding an available downtown parking spot for free—leaving me asking, “Why can’t every day be like this?”

Let’s talk about ashtrays for a moment. The chrome pickup covers got their nickname for their resemblance to cigarette-butt snuffers. Some players absolutely hate them, citing limitations to playing style and hand position. Aesthetically, I love them. Few features bring the vintage vibe like ashtrays. Laura Lee, however, enjoys a symbiotic relationship with the ashtrays, which shapes her tone significantly. Instead of looking at ashtrays as restricting, Leezy says the limited hand positions are inspiring, forcing her to think less about her picking hand and more on the melodic potential of her fretting hand. Playing between the covers delivers many cool tone variations, from pointed and percussive aft of the middle cover to Leezy’s signature “peanut butter” tone when you pick on the neck side of the cover.

The Laura Lee Jazz Bass comes with flatwound strings, and all I can say about that is “damn right.” Why should the Precision Basses and hollowbodies have all the fun? Flats on a Jazz bass are nothing new. But for me, the Jazz Bass/flatwound playing experience is like finding an available downtown parking spot for free—leaving me asking, “Why can’t every day be like this?” Flats bring a warm and welcome twist to the Jazz Bass formula.

 Amped and Airborne

When I plugged the Laura Lee into an Ampeg Micro stack. The first thing I noticed and appreciated was what I didn’t hear: hum. The quiet performance is thanks to the DiMarzio Ultra Jazz noiseless pickups (and, by the way, if you really want to take off those ashtrays, the pickups feature cool aged-white covers to match the finish). The concentric stacked volume/tone knobs are an added bonus.

It takes minimal effort to get great sounds from the Laura Lee Jazz Bass. With both pickups on full volume and the tone set to 50 percent on the neck and 100 percent on the bridge, I found my sweet spot. This sound was thick-yet-defined and pulsing with vibe. With the ashtrays dictating my hand position, that tone setup could be smooth and subtle on the neck side and more direct on the bridge side. If you don’t like the constraints of the ashtrays, though, you simply remove two screws to take them off, and playing right over the neck pickup yields lots of rich sounds.

Many of the Laura Lee’s other tone varieties are equally compelling. I really liked the murkiness of the neck pickup solo’d with tone at zero. Bump the tone up to 25 percent and the neck pickup output becomes studio-worthy. Adding the bridge pickup beautifully brightens the picture. I may not be a big fan of the bridge-pickup-only approach on this instrument, but plenty of players will find a place for its punch in their universe.

 The Verdict

If you asked me to build a vintage Jazz Bass from scratch before I played the Laura Lee, I might have gone a different route, then played this bass and been mad at my choices. From the oversized ’70s logo to the jumbo frets to the oh-so-comfortable neck, I think this bass is amazing. Yes, it’s a collection of parts from across decades, but they work in harmony. This bass took me to a place I didn’t know I needed. It’s an instrument that instantly inspires, and that is the mark of something special.

PRS Guitars today announced the release of the much-requested SE version of its NF 53 guitar. The SE NF 53 is a powerful, modern guitar modeled on classic tones and design, inspired by one of Paul Reed Smith’s vintage guitars from 1953. Released in the summer of 2023, the Maryland version of the NF 53 rapidly became a hit with players across genres.

- YouTube

“We have worked for two years to get the guitar just where we want it … especially the neck and the pickups. The SE NF 53 offers a modern take on vintage tones like the Maryland version, but offers a bit more bite, giving it its own unique voice. Whether you are playing for your own enjoyment in your home or gigging professionally, we think you will find this instrument to be inspirational and take you to new places inside your music.”

Built on the foundation of a swamp ash body and 22-fret, 25.5” scale length, bolt-on maple neck and fretboard, volume and tone controls along with a three-way blade pickup switch, the SE NF 53 allows players to dial in their own unique sound. The addition of PRS Narrowfield DD “S” pickups brings power and musicality without the hum, making it extremely receptive to gain. PRS Narrowfield DD (Deep Dish) pickups are made with taller bobbins to fit more winds and extra metal pieces in between the magnets for a focused, powerful tone. The “S” variation of these pickups brings articulate low-end tones and the snarl and twang players expect from this instrument.

PRS SE NF 53 — Insane T-Style Value! Demo by John Bohlinger

PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.

Despite only recently releasing the critically acclaimed SD10i guitar amp, MOOER has officially announced that its brand new F15i Li Intelligent Amp is now available. Boasting several exclusive features that MOOER’s past amps were missing, the F15i is a dedicated desktop amp that is ideal for portable practicing, both for electric and bass guitars, released as part of the company’s new “Future Series”.

As with past amplifier releases, the F15i Li Intelligent Amp is powered by MOOER’s iAMP system, allowing guitarists to access simulations of amplifiers and effects, all within a simple digital interface. With 15W of power and two high-quality 2-inch speakers, the device is designed for guitarists who need an all-in-one amp for practicing at home, in the studio, or on the go.

Pre-installed on the device are an impressive 55 amplifier models, each of which is made possible by MOOER's cutting-edge MNRS nonlinear modeling technology. Complementing these are 69 effect types, including delay, modulation, reverb, and dynamic processing modules. Impressively, the amplifier’s processing system is enhanced by support from DPE (Dynamic Spatial Enhancement) technology. Essentially, this dynamically optimizes the guitar’s audio signals in real time to augment spatial layering. Thanks to this cutting-edge feature, users will find that the F15i delivers a far more expansive listening experience with more depth than past MOOER amplifiers.

The user can browse through preset combinations through the intuitive 1.28-inch touchscreen, or alternatively, they can access a greater level of customization by designing their own amp, tone, and effect chains through the MOOER iAMP mobile app. Users can even upload and download presets through the app, greatly expanding the device’s sonic capabilities. For anyone who prefers tactile control systems over touchscreens, the F15i Li is also compatible with MOOER’s F4 wireless footswitch, facilitating uninterrupted preset changes.

In addition to amplification and effects, the F15i Li also contains various other practice features, such as a drum machine with 60 different grooves and 10 variations of metronome. Combining this with the synchronizable 60-second looper, users will have everything they need to rehearse performances, learn new songs, and compose intricate loop-based musical pieces. A high-precision tuner is even built into the amp’s software, helping guitarists to keep their guitars perfectly in tune, without having to depend on external hardware or software.

Just like with other recent MOOER amps, the F15i Li sports a versatile array of audio routing options. As would be expected, it features a ¼” mono input, but impressively, it also has 2 line-out jacks for external amplification, a 3.5mm headphone line-out for silent practice, and even Bluetooth 5.0 input support. Essentially, this enables users to stream their favorite songs and backing tracks to the amp to practice with. If the guitarist wishes to record their new creations, they can even leverage the amp’s USB-C port for high-quality OTG audio recording on a mobile device.

Arguably the most exciting feature of the F15i Li is the fact that it is powered by an integrated lithium battery. This empowers guitarists to continue shredding with high-quality amp simulations and effects, even when they are traveling or when there is no power source available. Combined with how compact and lightweight the amp is, along with its convenient carrying strap, the F15i Li is set to be MOOER’s flagship option for guitarists who want all-in-one practice solutions, wherever they may be in the world.

Features:

• 15W of stereo amplification (dual 2-inch speakers)
• Integrated MOOER iAMP effect system
• Compatible with both electric guitar and electric bass
• 1.28-inch circular touchscreen
• 55 amp models, each based on MOOER's MNRS nonlinear modeling technology
• 69 effect types
• Supports DPE (Dynamic Spatial Enhancement) for spatial layering and depth enhancement
• Built-in drum machine with 60 drum grooves and 10 types of metronome
• 60-second looper, synchronizable with the drum machine
• Integrated high-precision tuner
• Built-in battery
• 3.5mm headphone output port for silent practice
• Dedicated iAMP mobile app for advanced effect chain editing, preset/tone sharing, and firmware updates
• Compatible with MOOER's F4 wireless footswitch for augmented control
• Bluetooth 5.0 input compatibility, ideal for practicing with backing tracks
• USB-C port for high-quality OTG audio recording
• Convenient carrying strap

The F15i Intelligent Amp will be available from the official distributors and retailers worldwide on 8th July at an expected retail price of USD209/Euro199/GBP169.

A sub-$1K SE version of PRS’ imaginative T-style evolution delivers insane value via deep-dish Narrowfield pickups, an ash body, and comfort few T-Styles can match.

Blackstar Amplification is proud to announce the release of ID:X, a new generation of advanced DSP modellingamplifiers created for guitarists who demand intuitive control, powerful tone, and flexible connectivity. Available inboth 50 Watt and 100 Watt models, ID:X goes head-to-head with the current market leader delivering a streamlineduser experience with unmatched sound quality and versatility.

Built on the foundation of Blackstar’s acclaimed and award-winning ID:Series, Silverline and AMPED, ID:X introduces a discreet user-friendly OLED display, providing instant visual feedback and deep access for editing settings and effects without the need for menu-diving or external devices. The amps feature six carefully designed voices that cover everything from pristine cleans to our signature Blackstar high-gain tones, all shaped by a powerful four-band EQ section including our patented ISF, allowing players to craft their sound with precision.

Over 35 effects are included, spanning overdrives, distortions, modulation, delays and reverbs. Each effect is fully editable directly from the amp using simple, real-time encoders, making it effortless to dial in tones and jump between different effect types and parameters on the fly.

ID:X also includes Blackstar’s latest IR-based CabRig™ technology, offering powerful speaker and mic simulation and featuring new In The Room™ technology which creates the experience of standing next to an amp while you play, rather than the more studio focussed tones of traditionally captured IRs – all with a choice of EL84, EL34 and 6L6 valve responses to shape the amp’s dynamic feel. Players can create and store up to 99 patches, with easy recall via the front panel or using the compatible FS-12 or FS-18 footswitches. The amps are fully integrated with Blackstar’s Architect software, providing deep editing, patch management and access to a growing online community where you can create, share and download patches with other users and artists.

With a full suite of modern connections, including balanced XLR out*, USB-C for recording, a ¼-inch line out, headphone output, MIDI in and thru* and an aux input, ID:X is ready for everything from silent practice and studio sessions to full live performance. Selectable power modes (including 1W for quiet playing) make it just as suitable for late-night inspiration as it is for the stage.

Designed for players who want the sound and response of a pro rig without the weight or complexity, ID:X represents a bold step forward in modern amp design. Combining hands-on control with studio-quality tone and next-level flexibility, it’s the all-in-one solution today’s guitarists have been waiting for.

The Blackstar ID:X Series is available now at authorised dealers worldwide.

For more information, visit www.blackstaramps.com/idx

*XLR & MIDI on ID:X 100 only.

Limited-edition Martin guitars, the 000-18 1955 CFM IV 70th and D-18 1955 CFM IV 70th, pay tribute to Chris Martin IV's 70th birthday and the folk boom of 1955. Featuring reclaimed spruce tops from Alaska, vintage appointments, and a limited run of 70 instruments each, these guitars blend history with modern craftsmanship.

To celebrate Chris Martin IV’s 70th birthday, C. F. Martin & Co. is proud to introduce two limited-edition guitars that honor a pivotal year in both Martin’s history and American music: the 000-18 1955 CFM IV 70th and the D-18 1955 CFM IV 70th.

1955 wasn’t just the year Chris was born—it marked the dawn of the folk boom, a cultural movement that would forever shape the sound of American music. As acoustic guitars took center stage, Martin Dreadnoughts and 000s became essential tools for a new wave of artists. These new limited-edition models pay tribute to that defining moment, blending vintage inspiration with modern craftsmanship.

Each guitar is based on an original 1955 Martin recently acquired at auction. The 000-18, serial number 145102, came from the Heritage Auctions Guitar Shop Collection and was prized for its honest wear and soulful tone. The D-18, serial number 144636, was part of the renowned Skip Maggiora Collection—150 vintage instruments auctioned to benefit music education and youth charities. Both original guitars showed decades of play and served as direct inspiration for these commemorative instruments.

One of the most striking features of both models is their reclaimed spruce tops—a first for Martin. The wood comes from old-growth trees salvaged around Prince of Wales Island in Alaska, including wind-felled trees, dismantled log bridges, and massive logs once used in historic barge ramps and floating logging platforms. Sustainably sourced and steeped in history, the spruce tops are printed to replicate the look of the original 1955 instruments, adding visual character to their tonal warmth and balance.

The 000-18 1955 CFM IV 70th features a gloss 000 body with mahogany back and sides, non-scalloped Sitka spruce X-bracing, and a focused, articulate sound ideal for fingerstyle players and singer-songwriters. ($4,699)

The D-18 1955 CFM IV 70th offers the bold voice of a gloss Dreadnought, with rear-shifted non-scalloped X-bracing for enhanced projection and tonal clarity. ($4,699)

Both models include vintage-style appointments: faux tortoise binding, an Old Style 18 rosette, FSC®-certified rosewood fingerboards with 1955-style mother-of-pearl inlays, satin select hardwood necks with Golden Era Modified Low Oval profiles, and Kluson® Waffleback® nickel tuners.

Each guitar is limited to just 70 instruments and includes a hardshell case and an embossed paper label hand-signed by Chris. Released together, they celebrate Chris’ legacy and the timeless Martin tradition of quality, innovation, and respect for the past.

The 000-18 1955 CFM IV 70th and D-18 1955 CFM IV 70th are available now online and through select Martin dealers.

For more information, please visit martinguitar.com.

Dave Matthews’ guitar playing left its mark on the hosts of 100 Guitarists. In this episode, we’re talking about his unique style and sound and the players who influenced it. From his work leading DMB to his duo performances with guitarist Tim Reynolds, there’s a lot to cover.

Speaking of Reynolds, Jason calls on Dave and Tim to return to Luther College for the 30th anniversary of their first live record. And Jason learns about Michael McDonald’s guest spots with DMB.

Sponsored by Fishman: fishman.com

What does your favorite player’s back catalog reveal about their artistry?

I recently reconnected with one of my earliest teachers and mentors in London, Geoff Gascoyne. Google him—he’s had an incredible career, and he set me up with some invaluable information at the beginning of mine. I was a guest on his podcast, The Quartet, and so many amazing memories about my very first days of becoming a bass player came flooding back.

One of the most important lessons I learned, just weeks after picking up my first bass, was also something that wouldn’t come into focus for some years—and it’s something I think we all deal with as fans of music.

We all have our favorite artists and favorite albums or periods of output from our heroes. It’s one of the major considerations that factors into whether we’ll go that extra step and buy a new recording or a concert ticket. Geoff knew I wanted to be a jazz musician and recommended some incredible albums like Art Pepper Meets the Rhythm Section, Speak No Evil by Wayne Shorter, and Soul Station by Hank Mobley. But in that very same lesson, he threw another name into the mix: Meshell Ndegeocello.

I fell in love with her albums Peace Beyond Passion and Plantation Lullabies, and her playing on those records has shaped my foundation as a bass player more than any other artist I’ve ever listened to. Both came out in the early and mid ’90s, when I was doing nothing but listening to and playing bass every day. They were the soundtrack of a very formative time in my life, and as such, my attachment to the music was intense.

Fast forward a decade to the mid 2000s: I’m living in New York, even playing on the same bill as her. Through my initial disappointment that she didn’t play any of those songs I loved so much as a kid, I started to understand something incredibly important about what it is to be an artist.

She was playing for herself in the studio. She was making music that mattered to her and not following a tried-and-tested formula of copying the albums that made her successful early on. It would have been so easy to make variations of Plantation Lullabies and be known for a specific thing for the rest of her career. But despite the massive success of Peace Beyond Passion, which was her second album, she followed it up with Bitter: acoustic guitars, strings, and big, open-sounding drums. A complete—and very brave—left turn.

“Curiosity is always going to win out in the artist’s mindset, and those who are truly curious tend to write and play for themselves.”

This is not the norm today. People find something that works, and then they do it over and over again. They maybe change the lighting in their TikTok video once in a while or go do “their thing” in front of a famous landmark in the hopes of more followers. But they rarely seem to play for themselves. They do it specifically because they deal in the metric of attention, and are beholden to their audience.

My big takeaway is that I think it’s important to realize this both as a fan and as a player. It’s easy to expect something from your heroes because you have such a connection to a small part of their catalog—and that’s what you want to hear when you go to see them live. But history tells us that a large percentage of serious artists have moved on, sometimes even before an album is released.

Curiosity is always going to win out in the artist’s mindset, and those who are truly curious tend to write and play for themselves. Whoever comes along for the ride is a bonus.

We’re all basically along for the ride, and I think we can lose sight of that when we get too attached. Don’t get me wrong—I’m always going to love Peace Beyond Passion—but I’m also going to remember that it’s the artist beneath the performance that I’m actually most attached to. I now try to have as open a mind as possible when I go see my heroes live or listen to their new music, and that has a massive impact on how I go about my own career as an artist.

With my current goal of releasing three new albums every year until my time here ends, I have to let go of the last thing and move to the next more efficiently than ever.

I think you’d be surprised by some artists you think you really know—then you go digging in their back catalog and discover there are things they put out that never reached your ears.

Now, more than ever in history, it’s our job as fans and players to stay engaged in the fundamentals—and ignore the noise.

PG contributor Tom Butwin tries the Lutefish Stream, a desktop device that lets musicians rehearse, record, and collaborate online with ultra-low latency. Tom tours the hardware, explores the browser-based mixer, and enlists a musical collaborator to test a real-time rehearsal for an upcoming performance.

Lutefish Stream

Play online, in real-time, with your band. Jam with up to 5 musicians up to 500 miles away!

Get Your Lutefish:
https://lutefish.com

Benson Amps is proud to present their new flagship tube effect unit, the Tall Bird Plus Reverb and Tremolo. This marks a leap forward in spring reverb and optical tremolo design, solving many of the noise and technical issues of classic units, while also pushing the boundaries of what these circuits are capable of. The Tall Bird Plus is musical, quiet and extremely flexible.

According to company founder/ designer Christopher Benson, ”In a tale as old as time, in 2023 we were approached by The Beach Boys to create a limited edition reverb-tremolo unit called the Surf’s Up, based on the classic Fender circuits with some upgrades, which was exciting because it allowed us to slay some dragons in the form of abiding tech problems with that type of circuit.

After the dust settled, we realized the dragons could be deader, threw out the Fender schematics and performed a ground up redesign of how WE would achieve the classic sounds with even more versatility and lower noise…and also have regular AND harmonic tremolo in one unit. After “some” experimentation (like a LOT) we settled on a design called the Tall Bird Plus that checks all the boxes."

Key features:

• Separate Wet and Dry controls
• EL84 driven transformer coupled reverb.
• “Size” control – Shapes reverb character from splashy and shimmery to boomy and cavernous. - “Dwell” controls how much signal is sent to the reverb tank, ranging from short, spanky sounds through longer decay all the way up to saturation of the tank circuit.
• “Classic” and “Harmonic” tremolo modes, possibly the only tube-driven optical harmonic tremolo on the market.
• Reverb and Tremolo are can be independently bypassed with the included 2 button foot switch.

MSRP: $1899