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The high-powered Southern rockers return for a full-on Rig Rundown.

From couchsurfing to playing the Ryman, rockers Whiskey Myers of Palestine, Texas, have had one hell of a Cinderella story. We caught up with guitarist John Jeffers back in 2021 for a virtual Rig Rundown, but this time around, ahead of the September release of their seventh LP, Whomp Whack Thunder, PG’s Chris Kies met up with Jeffers and rhythm guitarist Cody Tate before their July 19 gig at Nashville’s Ascend Amphitheater to get a tour of their latest and loudest noisemakers.

Brought to you by D’Addario.

Parting Gift

This ’90s Gibson Les Paul is Jeffers’ most treasured guitar, gifted to him by Tate’s uncle—an avid collector—before he passed away. It’s loaded with a DiMarzio Super Distortion and a “Jeff Beck” pickup, which is how it came to Jeffers. He strings it with .0105s.

Murphy Magic

This 1960 Les Paul reissue was hand-painted by Gibson’s custom-shop whiz, Tom Murphy.

Flavor of the Night

Jeffers has long been a Vox AC30 Hand-Wired player, but recently he’s been throwing Oranges into the mix, including a Custom Shop 50. He’ll decide night-to-night which amp he wants to go with. The Voxes have Weber Silver Bell and Blue Dog speakers, and the Orange has Celestion Vintage 30s.

John Jeffers’ Pedalboard

After a Lehle volume pedal, Jeffers stomp station has a Boss TU-3w, a Dunlop wah, PCE-FX Aluminum Falcon, Union Tube and Transistor More, Empress Compress Mk II, Interstellar Octonaut Hyperdrive, Boss BF-2, EarthQuaker Devices The Depths, two Skreddy Echos, and a Hermida Audio reverb. Jeffers jumps around them all with a Voodoo Lab PX-8 PLUS True Bypass Programmable Pedal Switcher.

Guitar Center Special

Tate calls this Fender Stratocaster a “Guitar Center special,” which he’s had for 15 years now. It’s mostly stock, save for some custom wiring. He plays it with Ernie Ball Slinkies, mostly in the middle position for rhythm playing.

Brown Beauty

Tate fell in love with this heavily modded Strat when he saw it on Reverb, and he had to pull the trigger. He’s not sure what the pickups are—especially the Gretsch Filter’Tron-style bridge unit—but it’s got the signature Strat bounce with a bit of extra grease.

Marshall Law

Tate runs two Marshall JCM800s, one 50-watt and one 100-watt, through four custom cabs loaded with Weber 12" speakers.

Cody Tate’s Pedalboard

Cody’s board is slightly more restrained than Jeffers’. It includes some of the same units, including a Boss TU-3w, Dunlop wah, and Empress Compressor Mk II, plus a JHS Unicorn, Prestige, and Morning Glory. A Boss ES-5 handles the switching.

Boss TU-3w

Empress Compressor Mk II

EarthQuaker Devices The Depths

Orange Custom Shop 50

AmpRx Backline 1200

Voodoo Labs Switcher

Boss ES-5

JHS Morning Glory

JHS Unicorn

JHS Prestige

Dunlop Wah

Boss TU-3w

Marshall JCM 800

Fender Stratocaster

Gibson Les Paul

Gibson SG

Gibson Firebird

"The Best Telecaster I've Ever Played" —John Bohlinger

Pablo Picasso had his famous Blue Guitar. Now, so does Brad Paisley, courtesy of the Fender Custom Shop. Last Wednesday, Paisley unveiled his latest signature model, the “Lost Paisley” Telecaster, at a Q&A session and mini concert at Fender’s East Nashville headquarters. The instrument is an exacting reproduction of Paisley’s own, rare 1967 Tele in a stunning, practically glowing, blue-flower paisley finish, with custom-wound Seymour Duncan pickups and a bender that can be set to the B string or, as Paisley prefers, the G string. Spoiler: It looks and sounds badass, even with Paisley playing through a Fender Champ, which you’ll experience when you watch our video. The street price for this limited edition instrument is $7,000.

A Soulful Sound for More Players: Taylor’s Gold Label Collection Grows

For years, Taylor Guitars design guru Andy Powers was ruminating on a sound. It was something deep and warm, with the soul of a bygone era—but unrealized in Taylor’s lineup.

The BIGGEST Metal Pedalboards We've Covered | Rig Rundown BEST-OF

Step into the world of colossal, meticulously crafted pedalboards that power some of the heaviest, most creative guitar tones in modern music.

A Mysteriously Excellent Kay Effector

Guitar players today don’t know how good they have it. Inexpensive guitars imported from outside the U.S. are widely available, dependable, and high quality for the price. Folks in the ’60s and ’70s weren’t so lucky. Most instruments made at beginner-friendly price points by brands like Harmony and Kay were inferior to the Martins and Gibsons they copied, but a top-of-the-line Harmony had high-end features. Once you started looking at models with fancy inlays and multiple pickups, some cost even more than low-end and mid-priced Gibsons.

Where to Start with Funk Guitar

The 1960s saw the rise of many legendary guitarists bringing us revolutionary new styles and techniques that we still use and build upon to this day. Arguably, one of the less heralded is Jimmy Nolen whose recordings with James Brown gave birth to the funky 16th-note, scratchy staccato-style playing that has become such an iconic building block of popular music to this day. To cover all the great players who have added their own unique flavor, from Freddie Stone to Nile Rodgers up to Cory Wong, would fill a whole book. But to think of funk guitar playing as purely a gimmick would be a huge mistake as these techniques can be seen across so many styles of music. Ultimately, if you want to be hired as a guitar player, chances are you will need to funk it up at some point. Here are the building blocks to start grooving with the best of them.

Latest News

D’Addario Jack Plugs: Protect Your Gear

Spurr Audio Announces the PMF-8824: A Personal Multi-FX Modulator

Sheptone Pickups Revives Coveted AB Custom Humbuckers

Pablo Picasso had his famous Blue Guitar. Now, so does Brad Paisley, courtesy of the Fender Custom Shop. Last Wednesday, Paisley unveiled his latest signature model, the “Lost Paisley” Telecaster, at a Q&A session and mini concert at Fender’s East Nashville headquarters. The instrument is an exacting reproduction of Paisley’s own, rare 1967 Tele in a stunning, practically glowing, blue-flower paisley finish, with custom-wound Seymour Duncan pickups and a bender that can be set to the B string or, as Paisley prefers, the G string. Spoiler: It looks and sounds badass, even with Paisley playing through a Fender Champ, which you’ll experience when you watch our video. The street price for this limited edition instrument is $7,000.

In 1968, Fender introduced the short-lived Paisley Red and Blue Flower finish options on the Telecaster and Telecaster Bass—drawing influences from the “Summer of Love.” These instruments were adorned with decorative Cling-Foil and finished with a matching metallic burst, highlighting the vibrant colors in the intricately patterned paper. Many of these guitars fell victim to the unstable mix of thick paper, weak adhesives, polyester clear coats and time, eventually showing major chipping and flaking, driving players to refinish their guitars. Others we simply repainted to cover up the polarizing original finish. Once discontinued in late 1969, these guitars and basses seemed to vanish into the ether.

Over the following six decades, these unsung heroes of free spirit movement would pop up in vintage guitar shops and for sale online, eventually beginning to accrue a cult-like following. Call it nominative determinism or sheer luck, country music singer-songwriter and Telecaster evangelist Brad Paisley became enamored by these misfit late-‘60s guitars, ultimately becoming the modern-day face of any and all paisley-themed finishes.

Flash forward to present day, and through a fortuitus twist of fate, while Brad was studying guitar building, he was gifted what looked to be lightly used sheets of Blue Paisley patterned Cling-Foil – straight from the ‘60s. Driven by his newfound obsession over this Blue Paisley Cling-Foil, Brad teamed up with close friends Zac Childs and Joe Glaser to not only refinish one of his road-tested 1967 Telecasters, but to meticulously recreate vintage-accurate Paisley Cling-Foil paper.
In partnership with Brad Paisley, the Fender Custom Shop is proud to introduce the Limited Edition 1967 “Lost Paisley” Telecaster. The swirling, pulsing and blinding carousel of blues, greens and silvers of the Blue Paisley Relic finish brings a perfect balance of vintage charm to the unique alder, paulownia and spruce Telecaster body. Featuring a custom ‘60s Oval “C” shaped maple neck and round-laminated maple fingerboard, Seymour Duncan "Lost Paisley" Telecaster Pickups and a Glaser “G” Bender System, this guitar looks, sounds and feels like Brad’s #1 Tele.

Other premium features include 7.25" (184.1 mm) radius, 21 narrow tall (6105) frets, Modern Tele wiring, 3-way switch, ’67 Telecaster bridge with Glaser Bender System, vintage-style tuners, bone nut, wing string tree, period-correct Fender strap and certificate of authenticity.

Attention, tone chasers! Ever dreamed of harnessing that legendary Klon-like overdrive with modern versatility? Now’s your chance.

Keeley Electronics Manis Overdrive Giveaway

Keeley Electronics Manis Overdrive

The Keeley Manis Overdrive uniquely combines both germanium NOS transistors and diodes for more compression and saturation plus a 3db bass-boost makes it unlike any other mythical Klone!

Keeley pens the next chapter in the legend of the mythical Klone with several storied upgrades and features. First up is the germanium diode switch. The “essential” germanium diodes are at the heart of the myth. By substituting essential germanium diodes with germanium transistors (circa Cold War era) we increase the compression and saturation of the tone. The Manis can give you a softer attack that sounds more like a tube amp. Less ice-pick, more tube amp. This feels incredible under your fingertips too. Wouldn’t you like to hear a little more of the natural low end from your guitar? The bass boost switch lowers the cutoff by exactly one octave and increases the output by +3dB. It’s the perfect low end recovery and push for single coil guitars. True Bypass or Buffered Silent Switching on the fly. The Manis is built like a tank and is the first klone you can power with 18 volts. The Manis is a Hard Clipping ‘clean boost’ that has been updated and modernized with our power supply improvements as well as other mind bending fixes to the inherent tonal problems of the original circuit.

• The Manis is Hard Clipping “clean boost” using Russian transistors as germanium diodes
• Ge-Trans Switch – Diodes or Transistors – Huge difference in feel with increased saturation and tube like compression
• The Bass+ Switch – Lowers the frequency response by one octave and then pushes 3dB harder
• True-Bypass or Buffered Bypass/silent Switching – Whichever works and sounds best in your rig.

For years, Taylor Guitars design guru Andy Powers was ruminating on a sound. It was something deep and warm, with the soul of a bygone era—but unrealized in Taylor’s lineup.

Like any relentless innovator and natural luthier, Powers set out to develop an instrument that could channel this “new-old” sound while preserving the essential feel and musicality of a Taylor guitar. That effort came to life with the unveiling of the Gold Label Collection, launched at the 2025 NAMM Show. This new family of guitars introduced a warmer, fuller, more robust acoustic voice to the Taylor landscape—one that lives comfortably alongside the high-fidelity sound Taylor players have long embraced.

The new heritage-style sound has been made possible by a three-part sonic recipe, including one of two new non-cutaway body shapes (the Super Auditorium and deeper-bodied Grand Pacific, a round-shoulder dreadnought), a new internal bracing pattern and an innovative long-tenon neck joint design.

The Super Auditorium was designed with a slightly longer body and wider lower bout than Taylor’s flagship Grand Auditorium, serving up an open, muscular sound with warm, heavy-bodied trebles. “There’s a kind of honesty in this voice,” Powers says. “It’s not about hi-fi precision or isolated detail—it’s about a more natural kind of musicality. There’s warmth and fullness, but it still responds easily to your touch.” With its comfortable proportions and balanced tone from the lower to upper register, the Super Auditorium retains the versatility of Taylor’s original Grand Auditorium while delivering a fuller, more traditional tone.

But the Super Auditorium wasn’t the only body style envisioned for the collection. Equally central to the lineup is a reimagined version of Powers’ original slope-shoulder dreadnought Grand Pacific, an acoustic shape that doubles down on the sonic warmth and depth that inspired the entire project. For the Gold Label Collection, he’s added an extra 3/8-inch of depth at the soundhole. The extra lung capacity creates a deeper resonant frequency and contributes to a sound that has been compared to “sonic comfort food.” Compared to the Super Auditorium, the Grand Pacific’s broader curves and deeper body yield enhanced low-end power and projection, with a more seasoned, blended sonic character that invites players to really dig in.

The aforementioned long-tenon neck joint is just one design element of Powers’ patented Action Control Neck™—currently featured exclusively on Gold Label models. The glueless, long-tenon design enhances the wood coupling between neck and body, further boosting low-end resonance. Perhaps the most ingenious part of the Action Control Neck’s design is its namesake string height adjustability. Players and technicians can adjust the action in seconds by using a quarter-inch nut driver (or standard truss rod wrench) on a bolt in the neck block, accessible through the soundhole. For guitarists jumping between different climate conditions, playing styles and musical applications, or just looking to dial in their ultimate playing setup, the Action Control Neck is a game changer. And the neck’s slim profile ensures players have the familiar hand-friendly playing experience expected from a Taylor guitar.

The first guitars to showcase the old-school sonic personality of the Gold Label Collection were a group of Super Auditorium models introduced at Taylor’s traditional 800 Series level, including the torrefied spruce/Honduran rosewood Gold Label 814e. After playing a Gold Label Super Auditorium for the first time, singer, songwriter and Asking Alexandria frontman Danny Worsnop says he was “blown away” by the warmth and fullness of the sound, and that he loved the easy neck adjustability. “It is a massive deal,” he says. “When it comes to traveling musicians, it’s absolutely game changing.”

Since the collection’s initial launch, Taylor has introduced a family of powerhouse Gold Label Grand Pacific models—three at Taylor’s 500 Series level, built with solid mahogany and torrefied spruce, and three at the 700 Series level, with Indian rosewood and torrefied spruce. Each model comes with one of three top finish options. The Gold Label 517e and 717e feature a natural top for a classic acoustic look. A black top finish and cream colored pickguard give the Gold Label 517e Blacktop and 717e Blacktop a bold, stage-ready visual presence. Players can choose either a cream or firestripe pickguard for the sunburst-top Gold Label 517e SB and 717e SB. The mahogany models offer a woody, dry attack and seasoned warmth, while the rosewood versions add extra depth and harmonic complexity.

Artists across genres have rallied around the Gold Label Grand Pacific models, praising their warmth, resonance and stage-ready presence. “There’s not a more popular instrument to play in Nashville than an acoustic guitar,” says solo artist Gina Venier, “and I feel like I’ve got the top dog in the game right now.” Others echo that sense of discovery and connection. Chris Conley of Saves the Day calls the Gold Label 717e “the world’s most perfect acoustic guitar,” citing its “neck so buttery and beautiful” and “resonance so rich and warm.” Tiger’s Jaw’s Ben Walsh describes his Gold Label 717e as “the acoustic guitar I will grow old with,” while Jon Simmons of Balance and Composure praises his Gold Label 517e for feeling “so natural to play” and sounding “perfect” both unplugged and onstage. Longtime producer and engineer Ben Moore (Blink 182, Switchfoot) put it succinctly: “At this point, I thought I knew what a Taylor guitar sounds like. I couldn't have been more wrong.”

Each guitar in the Gold Label lineup sports Andy Powers’ modified headstock shape, with an angled back cut and a script-style Taylor logo inlay. His newly stylized pickguard shape is another visual hallmark of the collection and gets a dual-layer treatment with an engraved “Continental” design on 800 Series models.

The Gold Label Collection introduces a new sonic dimension to what’s thought of as the “traditional Taylor sound”—one rooted in tradition and elevated by innovation. Whether you’re drawn to the versatility of the Super Auditorium or the power of the Grand Pacific, these guitars invite players into this new breed of Taylor tone, where old-heritage inspiration meets modern musical expression. Gold Label guitars are available at authorized Taylor dealers.

Latest models combine modern playability with authentic vintage vibes, thanks to elements like Pure Vintage pickups, aged Heirloom™ lacquer finishes, and stainless-steel frets.

Fender Musical Instruments Corporation (FMIC) today announces the launch ofAmerican Ultra Luxe Vintage. Built upon the original American Ultra II models, this new collection represents the pinnacle of Fender innovation and craftsmanship, setting the benchmark for premium electric instruments whilst showcasing the finest of the brand's heritage – where timeless classics meet uncompromisingly modern technological refinement.

At the heart of this collection are the '50s and '60s custom editions of the legendary Stratocaster® and Telecaster® models. Paying homage to the golden era of Fender's innovation, these instruments all feature Pure Vintage Pickups with advanced electronics and S-1 Switching, to capture the distinctive sound and feel that has propelled the brand to pioneer status in its field. Every curve, contour, and detail has been carefully reproduced and finished in Meticulously Aged Heirloom™ Nitrocellulose Lacquer, with each guitar model boasting a quartersawn maple neck with upgraded stainless steel frets.

Complementing these classics is the HSS '60s Stratocaster® model, an instrument designed to offer expanded tonal versatility without sacrificing its vintage soul. With its powerful Pure Vintage ‘61 Single-Coil Strat® pickups at the neck and a Haymaker™ Humbucker sitting by the bridge, this model provides an extensive sonic palette; from warm, nuanced cleans to searing, high-gain leads, all while maintaining the iconic Stratocaster® voice, also finished in Fender’s trademark Meticulously Aged Heirloom™ Nitrocellulose Lacquer.

Key Features Include:

• Heirloom™ lacquer finish: A meticulously aged Heirloom lacquer finish lets the tone wood breathe as it wears naturally and uniquely.
• Iconic pickups: Get genuine classic Fender tone from the Pure Vintage pickups and powerful,

articulate crunch from the Haymaker™ Humbucker.

• Stainless steel frets: Fast playing and nearly indestructible, stainless steel frets are preferred for their consistency and durability

“With the American Ultra Luxe Vintage series, we’ve redefined the balance between heritage and innovation,” said Max Gutnik, Chief Product Officer, FMIC. “This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship. Every detail is built for exceptional tone, feel, and timeless style. We’re proud to offer players an elevated experience that respects tradition and sets a new standard for performance.”

The American Ultra Luxe Vintage series offers musicians the best of both worlds: classic Fender design, timeless elegance, and historical significance, combined with modern sonic engineering's unparalleled performance and versatility. These instruments are an evolution that honours the legacy that continues to define the Fender brand while being cherished by a new generation of players.

American Ultra Luxe ‘50s Stratocaster®

($2,849.99-$2,999.99 USD, £2,899.00-£2,949.00 GBP, €3,449.00-€3,499.00 EUR, $5,199-$5,399 AUD, ¥489,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 50s Stratocaster® features premium ash or alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless-steel frets, Luminlay® side dots and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’57 Strat® pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability. The American Ultra Lux Vintage 50s Stratocaster® delivers flawless modern performance with distinctive classic design. Available in3-Color Sunburst and White Blonde.

Fender American Ultra Luxe Vintage '50s Stratocaster Maple Fingerboard Electric Guitar

American Ultra Luxe ‘60s Stratocaster®

($2,849.99 USD, £2,899 GBP, €3,449, $5,199 AUD, ¥489,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 60s Stratocaster features premium alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless- steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’61 Strat® delivers classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability. The American Ultra Lux Vintage 60s Stratocaster® delivers flawless modern performance with distinctive classic design. Available in Ice Blue Metallic and Surf Green

Fender American Ultra Luxe Vintage '60s Stratocaster Rosewood Fingerboard Electric Guitar

American Ultra Luxe ‘60s Stratocaster®

($2,899.99 USD, £2,749 GBP, €3,249 EUR, $5,299 AUD, ¥500,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement.The American Ultra Luxe Vintage 60s Stratocaster® HSS features premium alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless-steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register.Under the hood, Pure Vintage ’61 Strat® single-coils deliver classic Fender tones, from sparkling cleans to rich, expressive leads while the Haymaker™ humbucker brings powerful, articulate crunch. Performance hardware includes a precision-engineered 2-Point American Ultra synchronized tremolo with polished stainless steel block saddles, cold rolled steel block, and deluxe locking tuners for quick string changes and superior tuning stability.The American Ultra Luxe Vintage 60s Stratocaster® HSS delivers flawless modern performance with distinctive classic design. Available in Fiesta Red and Sea Foam Green.

Fender American Ultra Luxe Vintage '60s Stratocaster HSS Rosewood Fingerboard Electric Guitar

American Ultra Luxe ‘50s Telecaster®

($2,999.99 USD, £2,949 GBP, €3,499 EUR, $5,399 AUD, ¥511,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 50s Telecaster® features premium ash with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless- steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’51 Tele® pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 6-saddle string-though-body bridge with brass block saddles and deluxe locking short post tuners for quick string changes and superior tuning stability. The American Ultra Luxe Vintage 50s Telecaster® delivers flawless modern performance with distinctive classic design. Available in Butterscotch Blonde and White Blonde.

Fender American Ultra Luxe Vintage '50s Telecaster Maple Fingerboard Electric Guitar

American Ultra Luxe ‘60s Custom Telecaster®

($2,999.99 USD, £2,949 GBP, €3,499 EUR, $5,399 AUD, ¥511,500 JPY) Representing the pinnacle of innovation and craftsmanship, Fender American Ultra Luxe sets the benchmark for premium electric instruments. The new American Ultra Luxe Vintage series takes it a step further, showcasing the finest of Fender heritage – where timeless classics meet uncompromising modern refinement. The American Ultra Luxe Vintage 60s Custom Telecaster® features premium alder with carved contours that complement the aged Heirloom™ lacquer finish. Built for precision performance, the quartersawn maple neck with a Modern ‘D’ shape and Ultra rolled edges features medium jumbo stainless-steel frets, Luminlay® side dots, and a Graph Tech TUSQ® nut. Each instrument features a tapered neck heel to ensure unparalleled access to the higher register. Under the hood, Pure Vintage ’63 Tele® pickups deliver classic Fender tones, from sparkling cleans to rich, expressive leads. Performance hardware includes a precision-engineered 6-saddle string-through-body bridge with chromed brass block saddles, and deluxe locking short post tuners for quick string changes and superior tuning stability. The American Ultra Luxe Vintage 60s Custom Telecaster® delivers flawless modern performance with distinctive classic design. Available in 3-Color Sunburst and Lake Placid Blue.

Fender American Ultra Luxe Vintage '60s Custom Telecaster Rosewood Fingerboard Electric Guitar

D’Addario is proud to introduce Jack Plugs: a fast, effective way to block unused ¼" jacks on pedals, amps, and audio gear. Touring guitarists, studio engineers, and live sound techs alike can prevent accidental connections, speed up the rig set up process, and protect their gear from dust, debris, and interference. Even better, installing these small, easy-to-use accessories is simple and requires no tools, minimum hassle, and no cleanup.

Small Solution, Big Impact

“We created the Jack Plugs to solve a problem we kept seeing on stage and experienced ourselves — accidental connections that kill your signal or worse, damage your gear.” As Product Development Manager Robert Cunningham put it, “these plugs are a simple fix that prevent mispatching, especially with speaker outputs where the wrong ohm load can be a real issue. They're small and inexpensive but they’ll save countless gigs.”

Features:

• Blocks unused jacks to avoid unwanted signal paths or disruptions
• Shields open ports from dust, debris, and potential damage.
• Simple plug-and-play design for fast setup and removal.
• Ideal for musicians, studio engineers, and live sound techs.
• Maintains a clean, organized rig for optimal audio performance.

Product Info:

• Street Price: $4.99
• Available now at daddario.com and through participating retailers and distributors
• More Info: https://ddar.io/jackplugs-pr

• Product Images: Available via Dropbox

Step into the world of colossal, meticulously crafted pedalboards that power some of the heaviest, most creative guitar tones in modern music.

In this Best Of compilation, we revisit our biggest, wildest, and most intricate metal rig rundowns to date, featuring Matt Pike (Sleep), John Baizley & Gina Gleason (Baroness), Page Hamilton (Helmet), Erik Bickerstaffe (Loathe), Will Swan (Dance Gavin Dance), Sunn O))), Reba Meyers (Code Orange), and Will Putney (END).

From boutique one-offs to vintage rarities, from precision routing to total chaos, these pedalboards redefine what’s possible in heavy guitar tone.

Thanks to our sponsor, D'Addario!

Exclusive: Full details of the black Gibson Les Paul Standard seen and heard at Oasis reunion shows

What’s the story behind Noel Gallagher’s Live ’25 Les Paul?

It was the moment every Oasis fan had been waiting for since the biggest reunion tour in British music history was announced last summer. July 4th saw Oasis take to the stage at the Principality Stadium in Cardiff for their first appearance on stage together since 2009, blowing away the cobwebs in emphatic fashion with a hit-packed set.

The Live ’25 tour continued in Manchester and now London, generating rave reviews from music fans and media alike. Thanks in no small part to the three-guitar wall of sound architected by Noel Gallagher, Gem Archer, and Paul “Bonehead” Arthurs, Oasis are on fire and sounding bigger than ever. But eagle-eyed guitarists in the audience have been quick to notice that one of Noel Gallagher’s main instruments for the reunion shows is a mysterious black Gibson Les Paul™ with P-90 pickups, which appears to be new to his collection.

Online speculation has been rife, so we spoke to Lee Bartram, the Head of Commercial, Marketing & Cultural Influence at Gibson EMEA, to bust a few myths and get the inside scoop on the design process behind Noel Gallagher’s new Les Paul.

Gibson and Epiphone have worked with Noel on several instruments over the years. What’s the story behind the black Les Paul, and did Noel always have it in mind for the reunion shows?

“We have been working on this guitar for at least 18 months. It really came from a conversation around creating a Les Paul that would accommodate P-90s (which Noel was playing a lot with NGHFB at the time, favoring Epiphone USA Casinos) at high volumes, without compromising on the sound and tone of the pickup.

“Aesthetically, Noel had an idea of what he wanted it to look like, and we tried out a few hardware, finish, and color options before landing where we did. Obviously, at the time of initial designs, I had no idea what the guitar was intended to be used for. But, as development continued, it was important to create a guitar that would give different sonic layers to a lineup of three guitarists playing to stadium-level attendances. The guitar needed to be loud and capture the vibe of those earlier shows, without compromising the output and tone of the pickups.”

What are the main specifications?

“The guitar is based on a 1960 Les Paul Standard, but with the humbuckers swapped out for P-90s, so it’s a great hybrid model. The SlimTaper™ neck profile is as per the artist’s preference, as are the Grover® tuners, which are present on all the Gibson models Noel plays. It’s got a maple top on a mahogany body, with the Ebony finish being Light Aged through the Murphy Lab in Nashville. Everything we build for Noel starts out as Light Aging, and he will then decide after playing it if he wants to add more aging or keep it as it is, knowing it’s more straightforward to increase the aging levels than decrease them. In this case, he wanted more on the body, neck, and back, which looks great on stage.”

Are the pickups and wiring stock? Or is there anything extra going on under the hood?

“The pickups are Gibson Custom P-90s as stock. Noel wanted to capture a very traditional P-90 sound with these, so there is no additional wiring. Noel has a great understanding of what he wants from a pickup and gives relevant feedback—excuse the pun! He knows that Gibson invented the P-90, and we didn’t want to mess with a winning formula. Having aged nickel covers on the pickups is relatively unique, however, and something the Gibson Custom Shop spent a lot of time getting right. The results look great and the pickups sound amazing at volume… mission accomplished!”

Presumably, it’s been a buzz to be involved in this project?

“Not knowing originally where that guitar was going to end up, it’s been quite emotional to see it being used during the biggest reunion tour ever. We’ve received amazing feedback on the guitar, and I think it’s safe to say it has become the talk of the town every time it is used—I’ve had so many people reach out wanting to know what it is and if we can build one for them.

“It’s great to see that people are just as passionate about guitar as ever before. For this guitar to be part of such a monumental musical event is a thrill, and knowing it was designed specifically for it makes it even better. The first time people saw the band together in 16 years was with a guitar that Gibson designed and built directly with the artist. That’s pretty cool.”

Visit the official Oasis website for Live ’25 ticket updates, shop the Epiphone Noel Gallagher Riviera, and watch the Noel Gallagher “Icons” episode on Gibson TV.

Stemming from the deepest roots of the brand's rich history, D'Angelico is proud to introduce the Excel 16—an all-new 16-inch-wide archtop offering undeniably punchy, woody and sweet tone that immediately recalls classic New York City jazz.

A happy medium for traditional jazz players looking for an instrument that is easier to wield than its larger counterparts, the Excel 16 has a slightly shallower body depth at 2.75" but still yields all the full-bodied warmth one desires from an archtop. A 12-inch fingerboard radius and slightly thicker C-shape neck create remarkable comfort—equal parts hefty and fast-playing. The Excel 16's acoustic resonance is complemented by either a Seymour Duncan Johnny Smith Floating Mini Humbucker that maximizes top sustain or a Seymour Duncan '59 Humbucker, for those in pursuit of bold and balanced tones that can more easily cut through in a larger band setting. Available in Amber and Amaretto Burst.

D'Angelico Excel 16 Hollowbody Electric Guitar - Amber

Excel 16 HB, Amber

Spurr Audio has introduced the PMF-8824, a compact multi-modulation pedal that fuses vintage digital aesthetics with modern DSP-based creativity. Inspired by the design philosophy of early 1980s personal computers, the PMF-8824 is equal parts nostalgic and futuristic, offering players a unique toolset for creating modulated textures and unconventional tones.

The PMF-8824 features eight custom-designed effects, ranging from classic time-based modulation to more experimental sound-shaping tools. Each program has its own dedicated screen layout, complete with visual feedback and real-time control over three contextual parameters (Ctrl 1–3). Two additional knobs control Mix and Volume, while a Program selector knob cycles through effects. All visuals are displayed on a retro-inspired pixel screen that responds to user interaction.

Though the unit is mono, each effect is crafted to feel immersive, using stereo-style modulation, spatial tricks, and reverb-like environments to expand the perceived soundstage.

Included Effects:

• Phaser – Smooth 4-stage phasing with musical feedback
• Tremolo – Rich amplitude modulation with waveform selection
• Flanger – Dense and metallic swirl with resonant feedback
• Vibrato – Tape-style pitch wobble with internal ambiance
• Chorus – Wide 4-voice chorus with built-in reverb option
• Rotary Simulator – Spinning speaker with mic and cabinet control
• VCR (VHS Lo-Fi) – Warped, nostalgic tape textures with saturation
• Microchoir – Digital choir inspired by classic organ voicing

The PMF-8824 stands out not only for its sounds, but also its interface and visual identity. The pedal’s housing and GUI are modeled after personal computer aesthetics—pixel fonts, windowed layouts, and real-time visual meters give each effect its own interactive “page.” The display changes dynamically depending on the selected effect, ensuring clarity and a user-friendly experience.

The PMF-8824 is now available for pre-order for a street price of $219. For more information visit spurraudio.mitiendanube.com.

Sheptone announces the reissue of its coveted AB Custom humbuckers. Revered by tone chasers, professional touring musicians, and collectors alike, the AB Custom humbuckers return with all the hallmarks that made it a modern classic—and more.

Built entirely by hand, one at a time, by long-time industry figure and proprietor Josh Vittek, each Sheptone pickup reflects a relentless commitment to tone, authenticity, and craftsmanship. The AB Custom humbuckers are no exception, offering unmatched responsiveness, musical articulation, and the nuanced dynamic range players have come to expect from Sheptone. As the first variation on the original Sheptone Tribute set that launched the business back in 2007, these are considered a medium output PAF-style humbucker providing that little extra push that guitar players just love.

Featuring proprietary butyrate bobbins, 42 AWG plain enamel wire, rough cast Alnico 5 magnets, a maple wood spacer, and nickel silver baseplates, the AB Custom humbuckers are built with period-correct components and the highest-quality materials available. Measuring an average of 8.5k in the bridge and 8.0k in the neck, each set delivers vintage-inspired clarity, warmth, and punch making them a top choice for players seeking the elusive "magic" found in the most iconic recordings.

Customers can choose from double black, zebra, reverse zebra, or covered configurations with nickel or gold-plated period correct nickel steel covers, offering aesthetic versatility without compromising tone. The AB Custom humbuckers are a premium choice for discerning players who demand the best—whether in the studio, on stage, or in their personal woodshed.

Sheptone pickups have long been the secret weapon behind some of todays most beloved tones. With the return of the AB Custom, that legacy continues—one note at a time.

To learn more or to order, visit www.sheptone.com

Prices start at $818.00 USD per set.

Epiphone's collaboration with the artisans at Gibson Custom just got a major acoustic upgrade! We’re excited to share new acoustic additions to the core lineup, updated with features that make these guitars better than ever.

With new Vintage Gloss and Full Gloss finishes, rosewood or ebony fretboards, thermally aged tops, loads of vintage-correct details, historically accurate Gibson “open book” headstocks, and historic-inspired cases, these guitars bring Custom Shop quality to players everywhere at accessible prices.

1942 Banner J-45 Reissue

This exceptional acoustic guitar has a thermally aged, solid Sitka spruce top that is reinforced with scalloped X-bracing and paired with a solid mahogany back and sides for the rich, balanced tone that has made the J-45 a longtime player favorite.

1957 SJ-200 Reissue

Meet the Epiphone 1957 SJ-200 Reissue, an Inspired by Gibson Custom recreation of a rare vintage icon. It features a solid figured maple back and sides, a thermally aged solid Sitka spruce top with traditional scalloped X-bracing, and a two-piece flame maple neck.

Hummingbird Deluxe EC

The Hummingbird Deluxe EC has been upgraded and modernized with beautiful, solid rosewood used for the back and sides, giving this guitar the full and rich sound of the traditional Hummingbird, along with the added tonal nuances of rosewood, resulting in a deeper bass and even more sparkling overtones in the highs.

Pre-War SJ-200 Rosewood Reissue

The Epiphone Pre-War SJ-200 Rosewood Reissue is replete with vintage-inspired details, including a solid rosewood back and sides, a thermally aged solid Sitka spruce top with traditional scalloped X-bracing made from quarter-sawn solid spruce, and more.

1963 Dove Reissue

The back and sides of the 1963 Dove Reissue are made from solid, figured maple. It delivers a bright, clear tone from the maple body, as you might expect, but it also has a bit more bass than a Hummingbird and a very balanced tone overall that works exceptionally well in a wide range of musical genres.

Shop Epiphone Inspired by Gibson Custom guitars now.

Hello, and welcome back to Mod Garage. After we had a general look at electric guitar “tonewood” last month, we will pick up where we left off to see how important wood is for the sound of an electric guitar, and if everything you can hear when playing it unplugged is present in its amplified tone.

I already spoiled the answer in the last part by saying that it’s not the most important factor, and that the correct question to ask is, “How much of what is audible in the unplugged, or primary, sound will be present in the amplified tone?” To be clear, I didn’t say that the wood has no influence on the electrified tone, and that all electric guitars sound the same. To cut to the chase, here is my formula on this, based on proven physics as well as several decades of expertise: The more solidly an electric guitar is built, the less influence its structure has on the amplified tone. We can invert this thinking, too: The more an electric guitar has the qualities of an acoustic guitar, the greater the influence its primary structure will have through an amp.

This is not my original wisdom, but is based on decades of intensive scientific research by Professor Manfred Zollner from the German Regensburg University, which mostly matches my experiences from many years in the business. Professor Zollner developed this headnote approximately 15 years ago, and in my opinion, it’s the closest thing to the truth. His actual theory is that the wooden structure of an electric guitar has close to zero influence on the electrified tone.

Let’s form a few groups according to different construction methods, which can give us some basic guidelines.

Group No. 1: Electric guitars with a set neck and no tremolo

This is the most solidly built family, with guitars like the Gibson Les Paul, SG, LP Junior, etc. and their offshoots from other companies, but also guitars like the PRS McCarty family. Brace yourself: On these guitars, the primary structure has almost no influence on the amplified tone. Yes, mahogany is lightweight, and a flamed maple top looks stunning, but these qualities don’t impact how they sound through a Marshall stack.

Group No. 2: Electric guitars with a set neck and tremolo

The next most densely constructed guitars include the Gibson Les Paul Axcess and Firebird, the Gretsch Jet, the PRS Custom and Standard family, a lot of Ibanez guitars, etc. Here, the body mass does a bit more to the tone; later, we will discover why this is.

Group No. 3: Electric guitars with a bolt-on neck and no tremolo

Here, we have the grandfathers of all electric guitars: the Fender Telecaster and Esquire, but also hardtail Stratocaster models along with the Mustang and Duo Sonic, PRS’ NF53, and many more.

Group No. 4: Electric guitars with a bolt-on neck and tremolo

The classic Fender Stratocaster comes to mind, along with the Jaguar and Jazzmaster, the PRS CE family, and a lot of Gretsch guitars.

Group No. 5: Semi-hollowbody and chambered electric guitars

This collection includes instruments from the first group that lean more towards the construction of an acoustic guitar, with guitars like the Gibson ES-335, Gretsch and PRS semi-hollowbody models, the Fender Thinline Telecaster, Coronado, and Starcaster, and countless other models. Applying the guidelines from above, we also have to differentiate based on set versus bolt-on neck, as well as inclusion of tremolo.

Group No. 6: Hollowbody electric guitars

In this last section, we have the “big boys” that are usually referred to as jazz guitars or archtops, like the Gibson Byrdland, Super 400, L5, the Epiphone Broadway, Ibanez George Benson, etc. These are more or less acoustic guitars with pickups, and compared to all the other categories, their primary construction has the most significant effect on the amplified tone.

So far, I bet a lot of you will be cursing my name. I know that playing and expressing oneself with the guitar are highly emotional things, and I’m not taking exception with this. But you can’t bargain with the hard facts of physics—if you drop a glass of wine, it will hit the floor, not the ceiling, at least on Earth.

Let me explain. First and foremost, woods are for stability, surface feel, and optical appearance on electric guitars. They create a certain feeling, but don’t really change the instrument’s electrified tone. This is the point where we are all humans with emotions, prone to psychoacoustics, conclusions by analogy, and of course, confirmation bias. We see a guitar with a bright maple neck, so we expect a bright tone. We have a dark rosewood or ebony fretboard, so we expect a dark tone. You get the idea.

You all know the saying that the tone is in the fingers, and this hits the nail on the head for electric guitars. The tonal influence of the individual playing style of each guitarist is much more powerful than the subtle differences of wood selection. Playing style is also never perfectly consistent, no matter if you are a beginner or pro player. It’s close to impossible to exactly reproduce picking strength, location, and velocity, and these things alone create much more tonal difference than the wood with which a guitar is built.

Here’s a story to illustrate the point; you may have heard it before. German guitarist Paul Vincent, who passed in 2016, was one of the best guitar players worldwide, and the studio guitarist for Freddie Mercury during his solo phase without Queen. You can hear his playing on Mercury’s Mr. Bad Guy on hits like “Living On My Own” and “I Was Born to Love You.” These hits were recorded in the Musicland Studios in Munich, Vincent’s hometown. In his Rock Guitar Book from 1993, he describes meeting Brian May at Musicland in 1985 during the recording of the Queen single “One Vision.” After Brian finished his overdub, he walked out of the studio to greet Paul, handed his Red Special guitar over to him, and said, “Go ahead, play a little for me, I want to see your left hand vibrato.” Paul was speechless and totally blindsided, but also full of curiosity and respect. He was holding the original Red Special in his hands, plugged into the famous Deacy Amp and everything else May was using in the studio. But when he started playing, he simply sounded like Paul Vincent, and not even close to Brian May, even when hitting some famous Queen licks and riffs.

I think that says it all. Vincent was looking for an escape hatch from this situation, so he handed Red Special back to May, telling him that studio time is expensive and he didn’t want to take up his afternoon. May smiled at him and said, “You are an outstanding player, Paul.”

With that settled, next month, we will start to work on our cheap budget guitar, parsing out what really influences the amplified tone of an electric guitar, step-by-step, so stay tuned!

Until then ... keep on modding!

Long before boutique pedals took over the world, Robert Keeley was there. Growing up in a musical family with a long line of electrical engineers sparked a circuit-bending obsession with tone. It wasn’t long before young Keeley was modding existing pedals, adding switching options inspired by high-end car audio equipment. This unique approach laid the groundwork for what would become one of the most respected brands in guitar effects: Keeley Electronics.

Starting with celebrated platforms like the Boss Blues Driver and Ross Compressor, Keeley’s early mods—namely, the Super Phat Mod overdrive and his flagship Keeley Compressor—became icons. Nearly 25 years ago, his overdrive and compressor were seemingly everywhere, overnight. Even guitar royalty got in on the action.

“It didn’t take very long,” Keeley admits, explaining the ignition of his initial overdrive box. “One time, Dave Weiner [former Steve Vai rhythm guitarist] said, ‘Steve has some DS-1s he wants you to mod.’ I said, ‘Send them my way!’ I called it the Ultra Mod after his album, Alive in an Ultra World."

Unfortunately, success also brought challenges. For Keeley, the early years of the boutique boom were clouded by addiction, loss, and hard lessons that would sink most small builders. While competition was springing up everywhere, he was losing his marriage, his health, and his company’s momentum.

Yet if there’s one thing this story makes clear, it’s that Keeley refuses to go quietly. What emerged from the darkness wasn’t just a revitalized company; it was a new era. Today, Keeley Electronics, which employs 35 people, is an industry leader. And through it all, Robert Keeley’s joyful and passionate outlook still permeates everything he says and does.

In this conversation, Keeley opens up about surviving life’s boom and bust cycles, the freedom of keeping everything in-house, and how Phish’s Trey Anastasio inspired both his first compressor and most recent Manis overdrive.

Your compressor seemed like an overnight success. What was it like rocketing from “I want to try modding pedals” to suddenly being the Compressor Guy?

It was a whirlwind. I was working at a stereo store repairing high-end audio gear when I found out Trey Anastasio used a thing called a Ross Compressor. I looked on eBay, and they were $400 each. There was no way I could afford that, so I bought the parts and made it myself.

“I think pedals will be around for a very long time. They’re the quickest, cheapest way to get inspiration between your guitar and amp.”

I was following [guitar electronics guru] R.G. Keen’s articles about the Ross Compressor. He’d explain circuits and offer little tips, like when Ross improved the power supply with an extra capacitor and resistor. I’d think, “What if I make it even better? If I use stronger transistors and tweak the circuit, I’d get a better compression sound.” Once I heard it, I thought, “This is amazing.” I put one up on eBay to sell and used that sale to buy more parts.

Your pedal mods, like those on the Blues Driver, were also massive hits. What got you into working with pre-existing pedals?
Well, I also wanted to capture the sounds of the Tube Screamer Trey was using. And for me, it’s always been, “What if I [swap components], combine them, and solve some tone problems at the same time?” So I looked at all the complaints on Harmony Central—“not enough bass, tone control doesn’t work, needs more gain, needs less gain”—and made mods that solved most of those complaints.

I was also like, “Man, I could do some mods like I see on car stereos, where they have a little switch for a bass boost.” And that’s how I did it in the beginning.

Those Blues Driver and Tube Screamer mods eventually became the Keeley Super Phat Mod and Red Dirt, but why did it take so long to release them as your own pedals?

I didn’t want to just copy something to make my own drives. I still had an ego. I didn’t want to just say, “Here’s my modded Tube Screamer.” But when you get in trouble with the IRS and have to pay $13,000 a month in alimony, you’ll do a lot for money, including putting out a pedal called the Red Dirt. [laughs]

I had to punch like a businessman. Besides, I couldn’t start a business with just one pedal, and people got tired of “the Compressor Guy.”

“Everyone told me, ‘Just declare bankruptcy.’ That was the last thing I was going to do.”

You’ve been very open about a lot of your early struggles. But while that can derail a lot of small businesses, you’ve always found a way to overcome. Why do you think that is?
I developed that during my divorce. I was so high on pills that I wasn’t paying taxes. My wife was embezzling $170,000 a year and not reporting it. Then she hired attorneys for an alimony case, so I had to pay back a quarter million to the IRS, and owed a million in alimony and child support.

Everyone told me, “Just declare bankruptcy.” That was the last thing I was going to do. When you’re dealt that kind of news—and won’t give up—you think, “I need to sell pedals by Friday to make payroll!” It was survival.

You definitely survived—and thrived. The 2000s through 2020 were huge years for pedal companies, and it seemed like every release you put out was a hit. What was that period like for you?

It was really fascinating because in those early years my sales doubled. It seemed like anything I made would sell itself. I was also bringing all the processes back in-house. My shop had burned in 2009, so all my cases were being drilled and powder-coated elsewhere, and then printed by another firm. I was bringing things back in-house and having to learn how to do everything again. But I get endless lucky breaks. [Keeley signature artist] Andy Timmons came on at the right time; that guy can move gear like nobody’s business. And we just got to the next level in our DSP.

“Trey Anastasio’s tech texted me and said, ‘It’s the perfect time to send Trey a bunch of your Klon ideas.’”

Speaking of DSP [digital signal processing], you’ve grown far beyond compressors. What led you down the digital path?
It’s the people around me. My wife’s son, Craighton [Hale, Keeley Electronics engineer], was going to school for electrical engineering, so we had an electronics-minded person working with me. And our longest-running employee, Aaron Tackett, got tired of CNC work. I said, “How would you like to learn programming and help me with DSP?” He said, “Yeah, okay, I’ll do that.” And my god, did he take after it!

I love setting people up for things. I’ve been fortunate to have enough business coming in to pay these people well while they learn. Then they become superstars.

You share the spotlight with your team, have someone cooking for them, and give them a four-day workweek while still paying for 40 hours. That’s not something many employers offer.

I just like being nice. They thought free lunch was fine, so I went, “What if we make Thursdays the greatest day ever?” Also, I can't stand seeing my son-in-law paying over a grand monthly for health care, or employees being afraid of creating families because they can’t afford insurance. So I’m paying 60 percent of their health insurance. And I know how important it is to have three days off to feel human, get business done, and relax. I try to kill them with kindness. One day out of the year I might be demanding and yell, “Get that shit done!” Then I go back to being Santa Claus.

You’ve been through a lot over the years. How do you continue to take such pride in your team and the work you do together?
It seems like the only right way to do it. I’m always trying to say, “Why are you worrying? Let’s solve the problem so we don’t have to think about bad possibilities.” Besides, no one buys a downer story. But if you say, “I’m so proud of this pedal I designed,” people get interested.

Keeley Electronics seems to be entering a new era—your pedals have a fresh, more modern look, and you’re combining digital and analog in innovative ways. What’s inspiring this approach?

What started this wave was the freedom to expand our ideas and get out of the silly Chinese, prefab enclosures. Around 2020, I thought, “What machine can I buy to make them here?”

Now, having our own cases lets us design how we want. We developed this thing where I can put two circuit boards in there. The Noble Screamer was our first pedal like that. We could never have fit that in a standard box. Now I’ve got a prototype for next year—the Stereo Caverns—with delay, reverb, MIDI, expression pedal, stereo in and out, and presets. It’s all in there. That freedom started this wave.

“If I hadn’t had the success of the Octa Psi, I would be darn-near crying in my beer. But that’s the story of my life! I’m very fortunate.”

You do much more than just build enclosures. How did you evolve into a vertically integrated operation, managing so many parts of the production process in-house?
Every time the court system or the IRS would say I had to pay something else, I couldn’t get any credit with my suppliers. So, I would bring the whole procedure back in. I’d get a loan-shark-type loan for a powder coating thing or a CNC machine, and just sit down with my guys and ask them to figure it out.

It’d take, sometimes, a couple of years to figure out how to do a process, but eventually I built everything. Now we have four UV LED printers. We have four CNCs. I have a 3-kilowatt fiber laser. I have a CNC press brake. I have two powder coating booths, ovens, and spray booths. You just take it one piece at a time. You buy this equipment, and you know, “In about two years, I’ll pay it off, and I won’t be dependent on anyone anymore.”

Doing so much in-house probably insulates you to some extent, but how are tariffs and the changing market affecting the company?

I have to admit that last year things really slowed down for me during the summer. And if I hadn’t had the success of the Rotary pedal and our Zoma reverb, it would have been very, very scary. And then, as we rolled into this new year, the tariffs have been very expensive. If I hadn’t had the success of the Octa Psi, I would be darn near crying in my beer. But that’s the story of my life! I’m very fortunate.

Also, I put all my eggs into the DSP basket. It really paid off, because it’s very hard to do that stuff. I’ve got my spectrum analyzer looking at the smallest minutia of noise and frequency response details. By the time you get back to analog drive pedals, you’re dialed in.

Is that what happened with the new Manis overdrive?
I can actually tell you how the Manis happened. Justin Stabler, Trey Anastasio’s tech, texted me and said, “It’s the perfect time to send Trey a bunch of your Klon ideas. He wants to audition them.” I said, “I’ll have something in a couple days.”

I walked out of my office, went to Craighton, and said, “I want to try Russian germanium transistors and see if they have a different forward voltage than [Klon creator] Bill Finnegan’s germanium diodes.” Craighton had also been working on a bass boost that lets more bass into the clipping section. I said, “Great! Design it up.”

We sent two to Trey, and he messaged me saying, “Dang, I tried to go back to a Tube Screamer and I kept wanting the Manis.” Now he's saying, “I want my first custom signature pedal. I want Keeley to make me a new Boomerang [a popular looper pedal]. I don’t like the new Boomerangs, and the old ones are always breaking on me.” So I’ll spend the next couple years working on that. It’s fun.

A couple years means you’re pretty confident in the pedal market, even with everything going on currently. Where do you think things are headed?

It’s still the golden age of pedals, but you’ll only have true success if you bring something new to the market. If you're just saying, “I’m doing the best Tube Screamer,” that ship has sailed.

I think pedals will be around for a very long time. They’re the quickest, cheapest way to get inspiration between your guitar and amp. And they’re malleable. You can put this one here, that one there, give it to your friend, get it back, find a video, and try something new.

What’s a pedal you've always wanted to make, but haven’t yet?
Number one is a MIDI “Klon” with digi-pots. It’d be an analog drive pedal with presets and MIDI control. Nobody’s doing that. I’d get to create a new category.

I also want to work on Trey’s projects. The Boomerang is nearly 30 years old, and they had to work a metric ton harder than I have to in 2025 to design it, so it’s a complete honor to even be considered for a task like that. Still, someone needs to push Boomerang aside. [laughs] That’s me.

Somewhere around 3 am, a young guitarist awoke wide-eyed and elated from a cannabis-fueled dream. It was the summer of love—a time when anything seemed possible—and his dream-state adventure had led to a powerful revelation he was sure would shake belief systems into dust. Instinctively, he grabbed a pencil and paper from the nightstand, jotted down his epiphany, then rolled over and fell into the most satisfying and peaceful sleep of his life. The next morning he awoke with excitement, certain that his world was about to change forever. He reached for the note he’d left for himself, unfolded it, and read the words: “I feel funny.”

I think of this story when I see guitar designs that attempt to push the envelope of what is considered mainstream. Sometimes they work, other times not so much. Was the builder high? No doubt there have been groundbreaking changes in the electric guitar world. The humbucking pickup, the Flying V, the Stratocaster, wireless, the Floyd Rose tremolo, and DSP come easily to mind. For the most part the guitar marketplace was pretty staid up until those times, but Fender had fired the first shot in a space-race to capture a brave new guitar market that didn’t yet exist.

That isn’t to say that there hadn’t been advances in construction or presentation—there obviously had. Although the Telecaster presaged what was soon to come and had the attention of guitar manufacturers, it really wasn’t taken all too seriously. It’s arguable that the P-bass in 1951 may have been a wakeup call. Gibson and the old guard responded with 6-string solidbody variants of their own, but they were mostly scaled-down versions of their previous products in the classic “violin” mold. With the arrival of the Strat, things got real. And so, the first electric guitars of the modern era were born and fledged out into the world. It was a lukewarm reception at first.

“Valeno, Kramer, and Travis Bean married wood and aluminum, while Bunker and Steinberger broke the mold completely.”

This is a tale that has been told almost as many times as builders have cloned the Stratocaster. Yet as more and more people became interested in electric guitar, boosted no doubt by the arrival of the Beach Boys and the Beatles, the more experimental the design world became. It was clear that fashion was the ticket as much as mechanical or electrical innovation. The emphasis on the shape of a headstock and body as well as color became the new design canvas. Who could be the far-out grooviest? It hasn’t slowed down since.

As always, things settled into routine again. Paul Reed Smith wanted to morph two or more of the most popular shapes in electric guitar history. To his credit, he split the difference almost perfectly. Others, like John Suhr and Tom Anderson, sought to refine the Fullerton blueprint with admirable success, while Bernie Rico created a fever dream of wild shapes, string arrangement, and electronics. Many others gave it their best shot: Valeno, Kramer, and Travis Bean married wood and aluminum, while Bunker and Steinberger broke the mold completely. At Hamer, we looked to the vintage past for our future. Then things got stale again and everything seemed to be a rehash. It seems like we’ve been in a holding pattern of mix and match for a while now. Sure, playability has never been better, and choices are abundant beyond anything I’d ever imagined. Things are good.

As the guitar world becomes all the more deep and wide, with almost every neighborhood hosting a custom guitar maker, it becomes harder and harder to come up with something new. So, like every fashion house on earth, the name of the game is to dig into the past and blend parts and materials in the hope of catching a little lightning in a bottle. Once you realize that as long as the nut, fretboard, and bridge stay in the correct and same relationship, anything else can be changed. Like Legos, you can build your dream guitar by swapping influences—mixing and matching until you have that earth-shaking, world-beating gumbo that puts you on the map. Or not.

I’m not complaining, and neither should you. I constantly see new takes on old ideas and think, “Why didn’t I think of that?” You can now buy a $300 guitar that can make it through a stadium gig—at least once or twice. The old guitars have the romance and the new guitars have the muscle. I still look at Reverb and wish I had more money and space. Occasionally, I build out of my comfort zone but don’t worry about finding that life-changing thunderbolt. I also suggest avoiding ideas that are funny in the moment. And that brings us right back to that piece of paper on the nightstand.

Josh Smith opens up about finding his voice in the blues (and beyond), crafting his signature tone, and why authenticity—not imitation—is the heart of his playing. The engaging exchange is a prime example in developing musical identity through introspective intention and detailed execution.

Being a contemporary bluesman has its pitfalls, dead ends, and challenges. Josh Smith reflects deeply on his relationship with the blues, acknowledging the cultural origins of the music and his position as modern ambassador (and interpreter) for the artform. He then discusses how switching from Strats to Teles shaped his own sound and playing style more than any other gear choice.

As the interview continues, Smith delves into the art of live performance and improvisation, valuing intent, rhythm, and connection with both the audience and bandmates. Smith talks honestly about the current challenges younger musicians face—namely the lack of live-gig opportunities—and contrasts that with his own development through hundreds of early gigs (even before the age of 18). The conversation ends with Smith detailing his ongoing experience as a producer, what he enjoys about helping artists realize their vision through his own expertise & instincts. Whether working with artists like Andy Timmons or playing in Joe Bonamassa's live band, Smith prioritizes rhythmic precision with present spontaneity and trying to be musical in every moment.

Frontwoman Jessica Dobson plunges into the depths of her Benson-powered road rig.

Seattle indie rockers Deep Sea Diver released their fourth full-length record, Billboard Heart, earlier this year via Sub Pop, and their supporting cross-country tour took them to downtown Nashville’s Blue Room at Jack White’s Third Man Records.

PG’s Chris Kies connected with singer and guitarist Jessica Dobson in 2020 for a virtual Rig Rundown, but this time we get a close-up, in-person look at Dobson’s tour kit, including her signature Benson stomp box and a custom guitar.

Brought to you by D’Addario.

Lighten the Load

Dobson picked up this slick Bilt S.S. Zaftig to replace her beloved but terribly heavy Fender Starcaster. This one has Lollar Regal Wide-Range humbuckers in it.

Regrets, I’ve Had a Few

Dobson purchased this used Fender Elvis Costello Jazzmaster in 2010, and has since met the person who sold it—and totally regrets it. It’s strung with D’Addario .011–.052s, and tuned to E standard.

Blue Benz

U.K.-based builder Elliott Trent modeled this custom Trent guitar for Dobson on her mother’s old blue Mercedes, and loaded it with P-90s.

Benson Boom Box

Dobson’s amp of choice, taped to perfection, is this 30-watt Benson Chimera 2x12 combo.

Jessica Dobson’s Pedalboard

Dobson runs a busy board powered by a Voodoo Labs Pedal Power 2 Plus and operated via a Boss ES-8. There’s also her signature Benson Deep Sea Diver, plus a Benson Germanium Preamp, JHS Pulp N Peel, Sarno Music Solutions Earth Drive, Benson Germanium Boost, EHX Deluxe Memory Man, Strymon blueSky, EHX POG2, Chase Bliss Brothers Analog Gainstage, and Menatone Pleasure Trem 5000, plus a TC Electronic PolyTune 2 Noir.

Benson Deep Sea Diver
Benson Chimera
Benson Germanium Preamp
JHS Pulp 'N' Peel Compressor Pedal
Benson Germanium Boost
Electro-Harmonix Deluxe Memory Man Analog Delay / Chorus / Vibrato Pedal
TC Electronic PolyTune3 Noir
Strymon blueSky
Electro-Harmonix POG2
Voodoo Labs Pedal Power 2 Plus
Boss ES-8

Kiesel Guitars has rereleased one of the most iconic models in the company’s line of custom-built instruments: the DC127 now rejoins the lineup of Kiesel’s premium US-made instruments for a limited time.

Designed to excel in a variety of musical styles, the versatile DC127 is available in a 6-string configuration. Key features include:

• Body tonewood options include Alder, Swamp Ash, Roasted Swamp Ash, Mahogany, Walnut, Black Limba
• 25” scale length, 24 stainless steel frets
• Fretboard material options include Ziricote, Ebony, Royal Ebony, Richlite Black Diamond, Richlite Maple Valley, Zebrawood, Rosewood, Birdseye Maple, Flamed Maple, Maple, Roasted Birdseye Maple, Roasted Flamed Maple, Roasted Maple, and Palemoon Ebony
• Electronics: Comes standard with either one or two Kiesel M22 pickups; various control layouts available, including a special option featuring 2 volume and 2 tone knobs with coil split and phase switches
• Bridge options include Hipshot fixed bridge, Hipshot tremolo, Floyd Rose tremolo with locking tuners

Like other Kiesel models, the reissued DC127 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 DC127 is available for street pricing starting at $1,799. For more information visit kieselguitars.com.

NUX’s Queen of Tone dual overdrive pedal is, at least in name, a clear nod to Analogman’s iconic King of Tone—which is, in a very general sense, a highly modified mash up of two Marshall Bluesbreaker circuits. However the Queen of Tone deviates from Analogman’s approach to the dual-overdrive concept in a significant way: The pedal retains some Bluesbreaker lineage in the form of NUX’s own Morning Star overdrive, a Bluesbreaker-style pedal that makes up one half of the QOT. But the other half of the two-overdrive set up is the Horseman, NUX’s version of the Klon Centaur.

The Morning Star side boasts controls for drive, tone, and level, while the Horseman’s control set consists of gain, treble, and output knobs. A routing switch enables you to switch the order of effects, and a toggle on the crown of the pedal selects true or buffered bypass. A second adjacent mini-toggle engages an input FET Stage that adds even more gain. There are also two hidden features of sorts: Holding down the Morning Star footswitch engages Shine mode, which adds treble boost and clarity. Pressing and holding the Horseman side, meanwhile, activates Silver mode, which extends the gain range of the Horseman circuit. (“Silver” refers to the silver Klon Centaur, which is typically considered treblier and sometimes raspier than the gold iteration).

The two circuits complement each other well and stack seamlessly.

One peculiar aspect of the Queen of Tone switching that’s worth noting: The pedal activates with the release of the footswitch, which enables the press-and-hold function for the Silver and Shine modes. Some players will perceive this as a lag, but if you can adjust your timing without upsetting your rhythm and flow, it’s merely a minor annoyance.

Gain On the Range

I tested the Queen of Tone with a Fender Telecaster and Gibson ES-355, alongside a tweed Deluxe-style 1x12" combo, and the pedal proved easy to use, extremely versatile, and adaptable to either guitar/amp combination. From the Morning Star’s juicy, dynamic, tube-like clipping to the Horseman’s clear, transparent, and slightly mid-forward response, there are a ton of tones to tap into, and the vast majority of the sounds are not only useful, but loveable. What’s more, the two circuits complement each other well and stack seamlessly, offering a unique gain structure depending on the signal order.

NUX addressed a common issue with Bluesbreaker-style circuits, which often require maxing the level control for adequate output. Here, there's more headroom to work with, which, along with the extra high-end shimmer from the Shine mode, contributes to a very present tone. There’s plenty of cut and brightness available from the Horseman side, too. For my taste, the Silver mode pushed things a little too bright, but it’s useful when you need leads to soar. Engaging the FET switch also produces a notable increase in gain to either side. But as you might guess, with all the extra brightness and gain already built into the extra circuits, it can be overkill unless you really want to hammer your amp’s front end.

It could be argued that neither of these circuits is quite as lush or transparent as some boutique counterparts. But even discounting the cost savings, which are considerable, both the Horseman and Morning Star hold up very well on the tone front. Brought together in the Queen of Tone, they open up a huge expanse of gain-shaping possibilities.