Premier Guitar

MGK—formerly known as Machine Gun Kelly—released his seventh studio record, Lost Americana, last August. When he took it out on tour, he hired two firebreathing fretboard masters, Justin Lyons and Sophie Lloyd, to knock his audiences dead. Ahead of their gig at Nashville’s Bridgestone Arena, PG’s Chris Kies met up with Lyons and Lloyd to get the lowdown on how they bring MGK’s music to life. Scope some of the highlights below.

Brought to you by D’Addario.

Make Your Mark

This PRS Mark Tremonti is one of Lyons’ current favorites, despite the black finish—typically, he’d never take a black guitar, but this one’s so good that it gets a pass.

Bow Down

Just before Christmas, Reverend sent over this Sensei model, along with a Roundhouse. Lyons, who’s in talks with the company to build a signature model, can’t put the Sensei down.

Justin Lyons’ Tone Master Rig

For their amp-free, in-ear monitor stage setup, Lyons loves the Fender Tone Master Pro unit, which lets him emulate his treasured Mesa/Boogie amps. Tack a TS-style boost in front and he’s in tone heaven. He also digs Mark Lettieri’s patch pack.

Kiesel Engine

Lloyd was Kiesel’s first female signature artist, and she brought a stable of them out with MGK. Lloyd’s models feature black limba bodies and walnut necks, with Kiesel Lithium pickups in the bridge position. Her signatures are unique because they include a Sustaniac in the neck position, which makes the guitar “ring out forever” and offers different octave options. Lloyd uses the kill switch on her guitars during the show for “big ending” moments. She runs her Kiesels with Ernie Ball Paradigm strings (.010–.046).

Sophie Lloyd’s Kemper Rig

Back home, Lloyd likes playing through a Neural Quad Cortex, but on this tour, she’s running a Kemper Profiler like the rest of the band. She was skeptical at first that it could replicate that magic of her favorite Diezel amp, but it does the job—and then some.

The rack backstage carries the Profiler brains, plus the Radial JX42 and Shure AD4Q units that handle Lloyd’s and Lyon’s signals.

Seymour Duncan, a leading manufacturer of guitar and bass pickups, effects pedals, and pedal amps, is proud to announce The 50th Anniversary Limited Edition JB / Jazz Humbucker Set is now available to order from seymourduncan.com and from authorized Seymour Duncan dealers.

Experience the true origin of the hot-rodded humbucker with the 50th Anniversary Limited Edition JB / Jazz Set. Built with historically accurate parts including butyrate bobbins and rough-cast magnets, this set faithfully replicates the earliest production models. Presented in retro silver packaging and limited to 2026 production only, this is a collectible piece of tone history.

• Authentic recreation of the original JB / Jazz humbuckers
• Limited-edition packaging inspired by early Seymour Duncan designs
• Features a commemorative 50th Anniversary logo on the bottom plate
• Includes butyrate bobbins crafted using our original 1970's mold and true to vintage design specifications
• Proven JB / Jazz versatility from articulate cleans to expressive rock gain
• Available for a limited time in 2026 only, making it a true collector’s item
• DC Resistance: Jazz 7.5k - JB 16.6k - Magnet: Rough Cast Alnico V
• Cable: 1c Braided - Long Leg Bottom Plate
• Available in traditional Black and Zebra

MAP pricing: $258.00

Half a century of legendary tone starts here. In 1976, Seymour Duncan officially launched the company that would revolutionize electric guitar sound, but the story began years earlier in a London workshop where Seymour crafted pickups for rock's most influential players. Among his greatest achievements was a revolutionary humbucker set that would become the foundation of countless iconic recordings. Now, as we celebrate 50 years of innovation and craftsmanship, we're honoring that legacy with something truly special: the 50th Anniversary Limited Edition JB / Jazz Humbucker Set.

These aren't just commemorative pickups. They're the benchmark combination that has defined versatile guitar tone for generations, now crafted with the exact vintage-correct specifications of our earliest production models. When the JB officially went into production, the basic recipe was already set, but those earliest models used butyrate bobbins, long-legged baseplates, single-conductor cable, maple spacers, and rough-cast Alnico V magnets. Over time, practical updates were added for consistency and flexibility, such as modern bobbin materials that better handle vacuum wax potting, precision-ground Alnico V magnets, and short legs. Today's standard production JB / Jazz delivers that same legendary tone with these modern refinements. This special 50th Anniversary set faithfully recreates the original vintage-correct component blueprint while preserving the familiar JB and Jazz voice players already trust, with the legendary clarity and dynamics that earned the combo its status as the industry standard. Whether you're tracking sessions at home or covering everything from blues to hard rock at the club, this is the proven tone that does it all without compromise.

For serious players ready to finish their number one guitar, this is your moment. The JB / Jazz combination remains one of our best-selling humbucker sets because it simply works: rich harmonics, singing sustain, articulate clarity, and everything from warm neck cleans to aggressive bridge drive in one definitive package. Now you can own this iconic pairing in its most collectible form, built exactly as Seymour crafted them in our earliest years. The set arrives in limited edition silver packaging that echoes our original artwork from the company's founding era, while the bottom plate bears our commemorative 50th Anniversary logo. Available exclusively during 2026, this limited production run ensures you're not just upgrading your guitar; you're acquiring a rare celebration of 50 years of uncompromising excellence. Secure this definitive heritage piece for your instrument and connect to 50 years of Seymour Duncan legacy.

Kiesel Guitars has introduced the newest model in the company’s iconic line of custom-built instruments: the Mark 66 now joins the lineup of Kiesel’s premium US-made instruments.

Designed to excel in a variety of musical styles, the versatile Mark 66 is available in a 6-string configuration. Key features include:

• BODY WOOD OPTIONS: Alder, Black Limba, Mahogany, Swamp Ash, 1-Piece Swamp Ash, Walnut, or 1-Piece Roasted Swamp Ash
• NECK SCALE LENGTH: 25.5” or 30”
• FRETBOARD MATERIAL: Over 15 different options
• NUMBER OF FRETS: 22 frets
• NOTABLE PICKUP/ELECTRONICS OPTIONS: Kiesel’s new AP90s or two humbuckers

Like other Kiesel models, the new Mark 66 is available in a wide range of options for unique customization. Players can select their favorite finish, tonewoods, electronics and hardware to create the guitar of their dreams…expertly crafted in Kiesel’s Southern California custom shop.

Kiesel’s new Mark 66 is available for street pricing starting at $1,649. For more information, visit kieselguitars.com.

Ultimate Support Systems has introduced three new gig bags: available for acoustic guitar, electric guitar and electric bass, these new gig bags offer an updated balance of protection, comfort and practicality.

Built from water resistant materials that stand up to the rigors of travel and unexpected weather, each bag is made of 1680D luggage-grade ballistic nylon and features a 15mm padded interior as well as a dedicated neck support. The snug, structured fit prevents unwanted shifting during transport, protecting the guitar’s most vulnerable points from impact or pressure. The ergonomic design also helps distribute weight evenly for maximum comfort and portability.

Additionally, the backpack-style straps make it easy to carry the instrument while juggling other gear like pedals and cables. With two exterior storage pockets, musicians can also stash other accessories, like tuners, strings and sheet music — or any other last-minute stage essentials. There’s enough space to stay organized without adding bulk, striking the perfect balance between sleek and functional.

With streamlined dimensions to best accommodate each model, the new Gig Bags ensure a glove-like fit no matter what. Designed to fit most standard acoustics, the Acoustic Guitar Gig Bag has an interior length of 40.5 inches, a depth of five inches, upper bout of six inches and a lower bout of 15.5 inches. The Electric Guitar Gig Bag has a 38.75-inch interior length, 14.5-inch lower bout, six-inch upper bout and a sleek, two-inch deep profile, tailored to most standard electrics. Finally, the Electric Bass Gig Bag is built for larger-scale instruments, measuring 46.5 inches internally, 14.75 inches across the lower bout and six inches at the upper, while maintaining a slim, two-inch depth for a clean, secure fit.

“For many players, the road to the next gig can be filled with unpredictable conditions, such as sudden downpours, crowded subways and tight load-in spaces,” says Shawn Wells, Market Manager — Sound, ACT Entertainment. “We understand that a great performance starts long before the first note, which is why we are introducing these three new gig bags, designed for musicians living life on the go. From rehearsals and home studios to stages and sessions, Ultimate Support Systems’ new gig bags embody the brand’s long-standing commitment to helping artists perform with durability and comfort that is crafted for real-world use.”

All three versions of Ultimate Support Systems’ new gig bags carry a street price of $99.99. For more information visit: actentertainment.com/ultimate-support-detail/.

Gibson today announces the release of the Mark Morton Les Paul™ Modern Quilt, a bold new signature model designed in collaboration with Mark Morton, the acclaimed guitarist and co-founder of Lamb of God. Known for his ferocious riffs, intricate solos, and genre-defining blend of metal, thrash, and blues influences, Morton has long been celebrated as one of the driving forces behind the new wave of American heavy metal. His new signature Les Paul captures that same fearless musical spirit—delivering precision, power, and uncompromising performance for players who demand the very best. The Mark Morton Les Paul Modern Quilt is available worldwide at Gibson Garage locations, via authorized Gibson Custom dealers, and on Gibson.com.

“I wanted something that stayed classic to the heritage and the history of the Les Paul, and something that looked heavy metal,” says Mark Morton. “The quilt top and the trans black satin finish felt dark and metal to me, but not over the top, it still feels like and looks like a Les Paul. Once we decided on the finish of the top, and the guitar, there’s are all of these different design elements to play with re picking out the hardware and plastics. We tried a bunch of different options, and we paid a lot of attention to how we were going to finalize those little details, and for me it’s a bullseye.

The 60s style knobs are a cool throwback to the John Sykes model that was done a long time ago. The way it is contoured at the heel allows me to reach the upper registers comfortably, and the ebony fretboard is really fast. This model has a slim taper neck which was very important for me, as it’s the most comfortable neck profile.”

Morton continues, “The pickups are unique to this guitar, it’s a brand new Gibson pickup and I worked closely with Jim DeCola (Master luthier at Gibson), and the Gibson Pickup Shop in designing them. They’re both ceramic-based pickups the neck pickup wise more conservative and terms of its output which allows me to flip to the neck position and play clean and roll back the volume and not hit the amp as hard and clean things up quite a bit. Switching to the bridge pick up it’s just a flame thrower, its super high output, and when you’re really swinging at these bridge pickups they give you all the gain you want they really hit hard and you can pull back to get more of a crunch sound.

We went back and forth on these pickups for quite a while trying different prototypes and models. It was a lot of fun developing them and hearing the subtle nuances and different changes. The great thing about it was I was touring a lot, so I’d take prototypes and put them in a guitar and try them onstage. I got to put them through the paces, in an actual work environment.

It’s an iconic guitar and an important piece of music history, and for me to be associated with the legacy of the Les Paul, is one of the greatest honors of my career. I am thrilled with the process of developing this guitar, and I am immensely thrilled with the outcome. These are great guitars, I am so proud to play them, and people are really going to like them.”

Crafted for comfort and expression, the Mark Morton Les Paul Modern Quilt features a AAA quilted maple top paired with a mahogany body utilizing Gibson’s Ultra Modern Weight Relief, offering exceptional resonance with reduced weight for long sets on stage or in the studio. Its mahogany neck with a SlimTaper™ profile and Modern Contoured Heel provides effortless upper-fret access, while the ebony fingerboard boasts a compound radius, 22 medium jumbo frets, and mother-of-pearl trapezoid inlays for a fast, elegant playing experience. Finished in Translucent Ebony Burst Satin, the guitar’s striking aesthetic is complemented by chrome hardware, Grover® Rotomatic® locking tuners, black rings with chrome trim, and a truss rod cover bearing Morton’s signature.

At the heart of the instrument are two exclusive Mark Morton signature humbucker™ pickups, handcrafted by the Gibson Pickup Shop to deliver the guitarist’s unmistakable tone. The rhythm pickup features moderate, Patent Applied For-style windings with a ceramic magnet for clarity and punch, while the lead pickup offers higher-output windings and a ceramic magnet for added presence and power. Both pickups are wired to individual volume and tone controls with Orange Drop® capacitors and a three-way selector switch, giving players a wide dynamic range and exceptional tonal precision.

Each guitar ships in a Modern hardshell case and includes a premium accessory kit, along with a set of Stringjoy® Mark Morton Artist Series Signature Electric Guitar Strings. The result is a signature model built for the intensity of the world’s biggest stages yet refined enough for the most demanding studio sessions.

The Mark Morton Les Paul Modern Quilt stands as a testament to Morton’s artistry and Gibson’s commitment to crafting instruments that inspire. Designed for players who push boundaries, it delivers the power, finesse, and unmistakable character worthy of one of metal’s most influential guitarists.

Lamb of God have announced Into Oblivion, their first full‑length album in four years, arriving March 13 via Epic Records alongside a new music video for the title track. The 10‑song record finds the band fully embracing their status as modern metal veterans—leaning into their roots, sharpening their signature groove, and expanding their sonic reach with a sense of creative freedom. The title track’s video, directed by Tom Flynn and Mike Watts, channels the band’s trademark aggression through psychologically charged lyrics and unrelenting intensity. Guitarist Mark Morton describes the album as a return to unpressured creativity, while vocalist Randy Blythe frames its themes around the accelerating breakdown of the social contract.

Watch the new video for the single “Into Oblivion” HERE.

Ahead of the announcement, Lamb of God previewed the album’s range with two blistering singles: “Sepsis,” a nod to the early 90s Richmond underground that shaped their beginnings, and “Parasocial Christ,” a three‑minute blast of classic Lamb of God energy. Produced and mixed by longtime collaborator Josh Wilbur, Into Oblivion was recorded across locations central to the band’s identity—drums in Richmond, guitars and bass at Morton’s home studio, and Blythe’s vocals at the storied Total Access Recording in Redondo Beach. The result is a record that feels both deliberate and untethered, reaffirming Lamb of God’s place at the forefront of heavy music.

The Lamb of God lead flamethrower has played Gibsons since the '90s and now has a signature model that brings the modern chug and crunch with some contemporary changes to the iconic recipe.

GRAMMY® Award-nominated genre-defying songwriter, producer, podcast host, and guitarist extraordinaire Cory Wong released his new album, Lost In The Wonder, today.

Lost In The Wonder spotlights Wong’s remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. The album further affirms Wong’s enduring love of musical collaboration, boasting a truly eclectic range of guest artists, including Taylor Hanson, Devon Gilfillian, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Theo Katzman, and Magic City Hippies.“There are lots of sides to me as an artist,” says Wong.

“A lot of people know me as a guitar guy, or even more specifically, ‘rhythm guitar guy’. That’s an accurate description, but it doesn’t tell the whole story. I see the guitar as just one of the avenues for my music and creativity. It’s been an absolute joy to develop and form a signature sound as a guitarist, but a huge part of my artistry is in my production/writing/arranging/band-leading. I’ve worked on and honed those skills just as much as my guitar playing, so I wanted to make an album that really showcased that side of my creative expression. Does that mean there’s less guitar on this album than on others? No! It’s actually quite the opposite. I feel like some of my best guitar work is done on this album. There’s everything from my classic rhythm guitar sound to multiple layers of orchestrally arranged guitar to blistering solos when the music calls for it.

“I think anyone who’s a great producer/writer/arranger also really likes to collaborate with other people because it gives you different colors and textures to ‘paint’ with. My aim is to showcase different sides of my artistry by putting several collaborators in front of the music and having me build the world that it lives in.”

Lost In The Wonder was heralded with the release of a series of memorable singles, including the hook-heavy and irresistibly catchy “Tongue Tied (Feat. Stephen Day).” This was followed by the crisp yet dreamy mid-tempo title track, the jazzy disco of "Blame It On The Moon," the 80s-esque anthem "One Way Road (Feat. Yam Haus)," the retro banger "Better Than This (Feat. Cody Fry)," and finally last week's masterful soul ballad collaboration with Theo Katzman, "Lisa Never Wanted To Be Famous (Feat. Theo Katzman)." An official music video for "Lisa Never Wanted To Be Famous (Feat. Theo Katzman) is streaming now on YouTube.

LISTEN TO “TONGUE TIED (FEAT. STEPHEN DAY)”

LISTEN TO “LOST IN THE WONDER (FEAT. BENNY SINGS)”

LISTEN TO “BLAME IT ON THE MOON (FEAT. MAGIC CITY HIPPIES)”

LISTEN TO “ONE WAY ROAD (FEAT. YAM HAUS)”

LISTEN TO "BETTER THAN THIS (FEAT. CODY FRY)"

LISTEN TO "LISA NEVER WANTED TO BE FAMOUS (FEAT. THEO KATZMAN)"

WATCH "LISA NEVER WANTED TO BE FAMOUS (FEAT. THEO KATZMAN)" OFFICIAL MUSIC VIDEO

CORY WONG ON TOUR 2026

MARCH

21 – São Paulo, Brazil – Casa Natura

22-30 – São Paulo, Brazil – Dave Koz and Friends at Sea 2026 †

29 – Buenos Aires, Argentina – C Art Media

APRIL

11 – Charlotte, NC – The Spring Mix at The Amp Ballantyne †

15 - Kansas City, MO - The Truman (Devon Gilfillian, Marc Scibilia)

17 - Denver, CO - The Mission Ballroom (Devon Gilfillian, Marc Scibilia)

18 - Salt Lake City, UT - The Depot (Devon Gilfillian, Marc Scibilia)

20 - Portland, OR - Crystal Ballroom (Devon Gilfillian, Marc Scibilia)

21 - Seattle, WA - The Paramount (Devon Gilfillian, Marc Scibilia)

23 - Sacramento, CA - Channel 24 (Devon Gilfillian, Stephen Day)

24 - San Francisco, CA - The Warfield (Devon Gilfillian, Stephen Day)

25 - Los Angeles, CA - The Wiltern (Devon Gilfillian, Stephen Day)

26 - Del Mar, CA - The Sound (Devon Gilfillian, Stephen Day)

27 - Las Vegas, NV - Brooklyn Bowl (Devon Gilfillian, Stephen Day)

30 - Houston, TX - White Oak Downstairs (Devon Gilfillian, Stephen Day)

MAY

1 - Dallas, TX - House of Blues (Devon Gilfillian, Stephen Day)

2 - Austin, TX - Stubb’s Waller Creek Amphitheater (Devon Gilfillian, Stephen Day)

7-9 – San José del Cabo, México – Viva El Gonzo †

† Festival Appearance

^ w/ the Royal Conservatory Orchestra

Julia Steiner describes the song “Just Want You to Know the Truth” as the emotional centerpiece of Ratboys’ new record, Singin’ to an Empty Chair; it’s the “earth’s core of this little planet of songs,” she explains. The Chicago band’s upcoming sixth full-length, releasing on New West Records, took its name from a line in that song. Steiner, the band’s principal vocalist and one half of their twin-guitar configuration, wrote the phrase after literally doing what it suggests during a therapy session.

“It’s exactly what you would think,” Steiner explains. “It’s basically this exercise where you sit in a room with an empty chair and, a person who isn’t physically there, you imagine they’re sitting in the chair, and you speak aloud all of the thoughts and feelings that you might otherwise not feel empowered or ready to share. It can be a really radical thing to do in any context of loss.”

“Looking something in the face can actually be so rewarding and musically satisfying.”—Julia Steiner

When Steiner first tried it, it helped unlock something—a new perspective that revealed the mental and emotional keys of her band’s next work. “Maybe it sounds hippie,” she says with a shrug, “but it worked for me, and I have to imagine that it could be cool for other people to try, too.” Steiner always loved the gut-wrenching vulnerability of Sufjan Stevens; Singin’ to an Empty Chair became her chance to follow in his footsteps. Producer Chris Walla, who spent 17 years playing guitar in Death Cab for Cutie, encouraged “unflinching eye contact” with the things Steiner wanted to write about. “Looking something in the face can actually be so rewarding and musically satisfying,” she says. “Just full steam ahead, leaning into a feeling.”

The songs on Singin’ to an Empty Chair were written across a years-long period; some had been around in demo form since before Ratboys’ previous record, The Window, was released. “We’ve all been keeping up with the story of these songs,” says guitarist Dave Sagan. “It’s kind of like an old group getting back together and picking up where it left off. I feel like that brought us a lot of comfort and joy.”

The music on Singin’ often radiates with those two qualities. Save for a few moments of pandemonium, Ratboys’ distinctly midwestern indie rock feels friendly and cozy, like a mug of tea in a snowstorm. There’s a kind of patience in the slow-building, cinematic opener “Open Up,” which does eventually bloom into fully saturated rock ’n’ roll, in the alt-country sway of “Penny in the Lake,” and especially on the eight-and-a-half-minute “Just Want You to Know the Truth.” But that calmness is upended by the headbanging slacker-rock chorus of “Know You Then,” and the crackling, hyper thrill of “Anywhere,” an ode to an anxious dog. One of the greatest gifts Ratboys have given us is a place where fans of Weezer, Pavement, the Replacements, and Lucinda Williams can hear all of those favorites in one place.

To prepare the record’s 11 songs, Sagan, Steiner, bassist Sean Neumann, and drummer Marcus Nuccio rented a cabin on 20 acres of land in Wisconsin. Perhaps inspired by Steiner’s journey toward honesty, the band embraced directness: If a section sounded like an epic rock part, they called it “the epic rock part.” Walla joined them at the Wisconsin hideaway for some tracking, with the rest mostly completed at the late Steve Albini’s Electrical Audio in Chicago.

“We’ve all been keeping up with the story of these songs. It’s kind of like an old group getting back together and picking up where it left off.”—Dave Sagan

Sagan recorded primarily through his Music Man 212-HD One Thirty, and Steiner used her beloved Fender Hot Rod DeVille. It was broken when she purchased it, and in the course of having it repaired, a friend made a mystery mod that lends extra dirt and attitude. But working at Electrical Audio gave them access to plenty of special gear, like a 1959 Fender Vibrolux (heard on “Burn It Down”), Bob Weston’s Traynor TS-50B, and a Samamp VAC 40 (which Steiner and Sagan call an “MVP guitar amp”). On the percussion side, Nuccio crafted a tambourine staff so he could shake five of them at the same time, and they sometimes tracked on crumpled-up tape for a warped feel.

Julia Steiner’s Gear

Guitars

Nepco V-style custom-built by Ian Williams

Lindert Locomotive T

Steve Albini’s EGC 500 (studio)

’60s Framus Texan

Eastman and Larrivée parlor guitars

Amps

Fender Blues Deville 410

Effects

Paul Cochrane Timmy overdrive

EarthQuaker Devices Tone Job EQ

Boss TU-2 chromatic tuner

Earthquaker Acapulco Gold (studio)

Interfax Harmonic Percolator (studio)

Strings & Picks

Ernie Ball Rock and Roll Classic .010s

No picks “except for super thin 50 mm picks on acoustic overdubs in studio”

Sean Neumann’s Gear

Basse

Fender American Standard Jazz Bass

Amps

Fender Super Bassman head

Fender Studio Bass head

Fender 1x15 cabinets

Effects

Mask Audio Electronics Civil Math

Darkglass Alpha Omega

MXR Carbon Copy

Boss TU-2 chromatic tuner

Picks

Dunlop Tortex 1.0 mm

Dave Sagan’s Gear

Guitars and Basses

Fernandes MIJ Strat copy

1976 Ibanez PF200

Amp

Music Man 212-HD One Thirty

Effects

Foxx Tone Machine fuzz clone

Badcat Siamese Drive overdrive

Electro-Harmonix Freeze

MAE Neck Brace phaser

Earthquaker Space Spiral delay

Earthquaker Ledges reverb

Boss TU-2 chromatic tuner

Benson Storkn Boks (studio)

Electronic Audio Experiments Dude Incredible (studio)

Boss DD-7 (studio)

Strings & Picks

Ernie Ball Rock and Roll Classic .011s

Dunlop Tortex .88 mm picks

Steiner’s main guitar is her Nepco V-style, a Danelectro-inspired 6-string electric built by Ian Williams in Des Moines, Iowa. Williams sourced the necks from a Danelectro factory in Korea, used masonite for the body material, and handwound the lipstick-style pickups himself. Steiner and Sagan also used Albini’s Electric Guitar Company aluminum-neck guitar (“The tuning pegs were so smooth, I felt like I was at a spa,” Steiner recalls with a grin. “It was such a privilege to play that instrument”), and Sagan even played Albini’s 16-string “guitar from hell,” on which each string is tuned to the same note. It makes an appearance on the mid-album meltdown “Light Night Mountains All That.” “The guitar does one thing, but it’s really satisfying, and you can make some very, very scary noises,” Sagan says. Benson’s Storkn Boks pedal, paired with an analog and then a digital delay, also came in handy for the cacophony conjured in “Light Night.” Albini’s iconic Interfax Harmonic Percolator was in the mix, too.

Steiner and Sagan are fans of gear that’s both vintage and “player-grade.” Sagan’s primary instrument is a Japan-made Fernandes Strat copy—he was trying guitars at a store one day, and the Fernandes was the best one he picked up. Another highlight is his Lindert Locomotive T, purchased from Atomic Music in Baltimore. The T-style has tweed finishing on the body that looks like a speaker grille, and a distinct thumbs-up headstock. One gets the sense that Sagan and Steiner could grab any plank of wood off a wall and coax something out of it that would expand Ratboys’ vocabulary.

That ethic of openness to the off-kilter and potentially weird seems, at this point, to be foundational for Ratboys. Steiner captures it perfectly on “Just Want You to Know the Truth,” a song addressed to an unnamed, estranged relation: “It’s not that I don’t miss you or the way it used to be / It’s that I can’t live my life without sayin’ anything.”

One of the many things that Willie Nelson and his trusty Martin nylon-string, Trigger, have in common is their truly unmistakable voices. And Willie’s laid back, behind-the-beat phrasing applies to both. To break it all down, we called on Ray Benson of Asleep at the Wheel. The two have been friends for a long time, and in 2009 they released the swinging Willie and the Wheel together. Benson tells us about what it’s like to work with Willie, what it’s like to play Trigger, and when he finally got to put his signature on the latter.

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Revoicing flat-top steel-string guitars is something I’ve practiced for decades. In the early days, once I discovered what scalloping was and how it affected tone, I began reaching inside instruments and carving braces in hopes of improving their sound. The problem was that I had no real idea what I was doing, no sense of targets, and certainly no clear understanding of purpose. Fortunately, I didn’t attempt this on many guitars, and never on anything of real value.

As time went on and I began building my own instruments, I developed the ability to tune tops through scalloping or tapering braces. This gave me valuable insight into what to look for when approaching revoicing later in my career. The process became more disciplined; it included setting air resonance, balancing top and back frequencies, and measuring deflections.

But the question remains: Should we even be revoicing guitars at all?

In the violin world, revoicing is standard practice. Instruments are designed to be disassembled and worked on, and re-graduating tops is one of the most common procedures performed on vintage violins, violas, and cellos. These repairs are done routinely, even on valuable vintage instruments, and often multiple times across their lifespans. This tradition also extends to historical pitch change, such as the move from A=340 Hz to A=440 Hz, where instruments had to be physically altered to remain functional. Violin makers are trained from the very beginning to understand instrument revoicing and the practice is widely accepted.

Flat-top steel-strings are different. We now have guitars, pre-war Martins in particular, that are considered the Stradivari of the flat-top world. These instruments already sound extraordinary, and carving on their braces would not only be unnecessary, but destructive. Still, not all guitars share this level of excellence even within vintage Martin examples. Over the years I’ve encountered many instruments that simply missed the mark, where the relationships between air, top, and back resonances were poorly balanced.

Take, for example, a Guild D-40 from the 1980s that recently came into my shop. Guilds of that era were well-built, sometimes even overbuilt. This particular guitar measured an air resonance of 101 Hz, a top resonance of 200 Hz, and a back resonance of 207 Hz. The problem was obvious: The top was so tight at 200 Hz it had restricted musicality, and its frequency nearly sat on top of the back, only separated by 7 Hz. Worse, the air resonance, at 101 Hz, was far too high for a large-body guitar, which typically falls around 95 Hz or lower.

This guitar was crying out for a revoice. My plan was simple: reshape and scallop the accessible braces on the top, drop the top resonance into the 170 Hz range, and allow the air resonance to settle near 95 Hz. Step by step, I carved, restrung, measured, and repeated until the targets were met. The top gradually dropped: first to 190 Hz, then 180 Hz, and finally 173 Hz. The air resonance followed, landing at 95 Hz. The results were dramatic. The instrument opened up, resonances began to couple, and its musicality increased significantly.

Of course, there are caveats. Any revoicing work voids a warranty, and on a new instrument that can be a serious consideration. In this case, the Guild was decades old, had changed hands multiple times, and carried no warranty concerns. More importantly, the guitar was so overbuilt that there was little danger in loosening the top.

So, what are the ethics of revoicing? Should you attempt it? The answer is clear: Unless you thoroughly understand resonance, frequency targets, deflection values, and how they interact, you should not. For those with the training and experience, however, revoicing can transform a lifeless guitar into something inspiring and enjoyable to play.

In restoration, the golden rule is to enter and exit an instrument without leaving a trace. But sometimes, as with this Guild, the only way forward is to make meaningful change. Done carefully, with respect for the instrument and for the physics of sound, revoicing is not only ethical; it can be a gift to both the guitar and its player.

Fralin Pickups has introduced a line of prewired control harnesses for upgrading your Gibson® Les Paul®, Les Paul Special, or Les Paul Studio.

Each premium prewired harness is built with Emerson® Premier Pro pots, plus USA-made foil-and-oil capacitors, for a smoother taper, consistent control response, and rock-solid reliability. Dial in your setup exactly how you want it—choose your wiring style, capacitor value, and optional push-pull mods—then drop it into your guitar with minimal soldering and maximum confidence.

Key features include:

• Build it your way: Customize your harness to your exact specs—wiring type, cap value, and more.
• Emerson® Premier Pro Pots: Chosen for an exceptionally smooth taper and dependable performance.
• Optional CTS® Push-Pull Pots: Add coil splits, phase options, series/parallel, or other wiring mods (depending on your pickup setup).
• Quick, clean install: Designed for a drop-in fit with minimal soldering required.
• Optional prewired toggle switch: Add a prewired switch to complete the harness and simplify installation even further.

Each Fralin prewired Les Paul harness carries a street price is $150.00. For more information visit fralinpickups.com.

I’ve always been drawn to the aesthetics of vintage guitar amplifiers. From the control panel details to the Tolex and grill cloth, the visual beauty of old electronics never fails to captivate. British amps in particular catch my eye. Historically, they have played an important role in the evolution of rock ’n’ roll music. Visually, they stand out with bold color schemes and funky textures. I’m thinking of amps from manufacturers like Vox, Selmer, and Orange.

There are a few key factors that sonically differentiate British vs. American guitar amplifiers. British amps often use EL34 or EL84 tubes in the output sections, whereas American amps typically use 6L6 or 6V6. In addition to the tube configuration, the supporting circuit design colors the guitar signal. British amps sound warm with emphasis on the mids, while American amps are clean and sparkly. Think of the Beatles’ saturated guitar tones vs. the twangy, sparkly surf guitar we hear on Dick Dale records.

One British amp that stands out comes from a company named Watkins. Charlie Watkins entered the audio manufacturing world in 1954, when he began producing guitar amplifiers, and later went on to design some iconic PA systems under the name WEM (Watkins Electric Music). One of the most fabulous amplifiers I’ve had on my bench for repair lately has been a Watkins Dominator.

The Watkins Dominator is notorious for its shape and color. The amp is V-shaped in the front, with a pair of 10" speakers angled outward. I believe the intention there was to have a broader spread of sound, and it certainly sets the amp apart. It sports bright turquoise Tolex with cream and gold accents. Many customers of mine have locked eyes on the Dominator as they scan the shop for goodies.

This amp is an early version of the Dominator, which was manufactured into the early 1960s. The best way to tell is the control panel design—earlier Dominators have a black panel with gold stripes. Using a pair of EL84 output tubes, the amp pumps out roughly 17 watts. It has 2 channels, with each channel featuring dedicated volume and tone controls. The second channel has depth and speed controls for the tremolo as well.

This particular amp had been refurbished with new electrolytic capacitors. The original Elac speakers had also been swapped out for Celestion G10s, which is considered an upgrade. Celestion speakers boast dynamic richness and enhance the nuances of the amp’s circuitry. The original Elac speakers are known for their clean headroom and hi-fi accuracy.

The amp needed a new power transformer, which I sourced from Mercury Magnetics. It is a universal power transformer, which means it can be wired up to be used for different input voltages in different countries. The original power transformer for this amp was set up for European 220–240V AC wall voltage. The replacement transformer can accommodate either the 100–120V AC for U.S. voltage or the original U.K. voltage.

The mounting of the power transformer in earlier Dominators is unusual. It’s installed upside-down on the underside of the angled chassis, with a wooden beam attached to the cabinet providing additional support.

Once the new power transformer was installed, I fired up the amp to give it a sound test. Immediately, I noticed how creamy and warm it sounds. The tremolo is surprisingly deep. I heard some intermittent crackling in the tremolo circuit and traced it to a faulty connection on one of the oscillator capacitors. Finally, there were some noticeable microphonics coming from the EL84 output tubes. I have a stockpile of matched NOS tubes, so I picked a lovely pair of Baldwin EL84s to use as a replacement.

The amp’s owner also wanted me to tweak the tone circuit to brighten things up. I don’t always take on modification requests, but in this case adjusting the tone circuit was minimally invasive. This change comes early on in the circuit, after the signal has gone through the first stage of amplification. I installed a 500 pF capacitor between the input and wiper of the volume control to enhance the top end of the guitar signal. This adds some sparkle to the top end and allows the guitar to cut through the mix a bit more.

The Watkins Dominator is not only a visual delight, but also offers some nice versatility for the guitar player. With luscious cleans at moderate volumes and growling distortion at high volumes, it does just about everything that folks look for in British amplifiers. It’s a great example of a well-made amp that can stand the test of time.