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Johnny Marr versus Morrissey is one thing, but Johnny Marr versus UPS? That’s a whole different headache.

Days before kicking off a short run of East Coast shows, the Smiths guitarist claims that UPS has misplaced several of his touring guitars – including at least one Fender and one Gibson.

• READ MORE: Johnny Marr reveals that he turned down an “eye-watering amount of money” for a Smiths reunion – despite Morrissey agreeing to it

Marr aired his frustrations on X, saying his gear vanished more than a week ago. “Dear UPS where are my guitars? They disappeared a week ago. I’m hearing from you now that they’ve been lost. Explain,” he writes.

Though what really set him off was the courier’s request for a description of the instruments.

“Asking me to describe what my guitars look like is not filling me with confidence,” Marr quips. “They look exactly like the ones you put in one of your delivery vans days ago. Remember?”

And just in case anyone at UPS needed more detail, Marr helpfully adds: “Look for one that says ‘80’s Icon’ on the case and another one that says ‘Woke As Fuck’”

The guitarist – whose devotion to six-strings even earned its own photo book, Marr’s Guitars (2023) – didn’t hold back on hashtags either, tagging Fender and Gibson along with a blunt #fuckUPSinc and #freemyguitars.

UPS is reportedly investigating the case, though as of writing there’s no sign of Marr’s missing gear. With his tour dates looming, here’s hoping those cases turn up sooner rather than later.

Check out his tweets below.

Dear @UPS where are my guitars ? They disappeared a week ago. I’m hearing from you now that they’ve been lost. Explain @fender @gibson #fuckUPSinc #freemyguitars

— Johnny Marr (@Johnny_Marr) September 17, 2025

Ring Ring @UPS #freemyguitars #fuckUPSinc

— Johnny Marr (@Johnny_Marr) September 17, 2025

Knock Knock @UPS #freemyguitars #fuckUPSinc

— Johnny Marr (@Johnny_Marr) September 17, 2025

Bang Bang Bang @UPS. Asking me to describe what my guitars look like is not filling me with confidence. They look exactly like the ones you put in one of your a delivery vans days ago. Remember ? #fuckUPSinc #freemyguitars

— Johnny Marr (@Johnny_Marr) September 17, 2025

Look for one that says ‘80’s Icon’ on the case and another one that says ‘Woke As Fuck’ @UPS

— Johnny Marr (@Johnny_Marr) September 17, 2025

The post “Dear UPS, where are my guitars?”: Johnny Marr slams UPS over “lost” guitars ahead of tour appeared first on Guitar.com | All Things Guitar.

San Francisco phenom Wisp (Natalie Lu) has mastered an unexpected musical hybrid: shoegaze meets nu-metal. Think rage, fury and catharsis meeting dreamy, luscious layers of fuzz, echo and woozy synths. If that tagline doesn’t land her on your must-listen, then perhaps Deftones’ advocacy will. The band chose Wisp to open their tour, and they’re not the only ones. Korn, System of a Down, and Avenged Sevenfold have all booked her for support. Lu will hit the touring route with all new material.

• READ MORE: Billianne on viral success, battling imposter syndrome and her years-in-the-making debut album

Back in August, Lu released her debut album If Not Winter. Only two years’ earlier, the viral popularity of her single Your Face attracted Interscope Records (the Universal-owned label has an eclectic mix of artists, also boasting BLACKPINK, 2hollis, Jennie Kim, Rema and Kendrick Lamar). Your Face was a hypnotic beast, showcasing Wisp’s breathy, ethereal vocals with the expertise of post-punk producer grayskies (aka Vinicius Masashi Honda Takada). Far from a love song, Your Face is the ultimate “it’s not you, it’s me” track, as Lu laments that she just can’t reciprocate the sort of desire and commitment promised by a lover. But, it’s more than that. The song, in its immense torrent of sound and emotion, captures that sense of emptiness and impotence that is almost universal in our geopolitical fuckstorm of disaster. As much as we want to feel compelled, vulnerable, in love with this world, there’s a void between what we want to feel and what we actually do.

Lu has built her own world, perhaps as a safer space to live out her feelings. Perhaps, as might befit a former computer science student, it’s a fantasy of swords, serpents, swans and mythical objects. It’s evidently chiming with a ready intergenerational audience too, with Coachella and Bonnaroo adding her to their lineups.

Moving Out And Moving On

When Lu appears on video call from her home in Los Angeles, she’s in the midst of packing, which she assures Guitar.com is fun. She’s lived in the City of Angels since January 2024, the first time she’s lived alone.

Now that If Not Winter is out in the world, Lu says, “It’s a really surreal feeling, and I think that it’s definitely difficult to grasp all of the emotions that come with releasing a project that means so much to me. The night it came out, I was just very overwhelmed, but so filled with gratitude and love. And, I felt very accomplished because I’ve been working on this album for almost two years now, and I put so much of myself into it. So finally having it out, and for it to be not just my album, but everyone else’s, it just feels amazing.”

For an album so lush and layered, it might surprise listeners to learn that most of the sound is live instrumentation. Lu played guitar alongside her studio and live guitarist Max Epstein.

“I would say 85 percent of the album is live instruments, and the rest, 15 percent, are just synths that we put in MIDI and digitally. But all of the guitars, the drums, bass, all of that is live, real instruments,” says Lu.

Learning to shred was a natural progression from violin, she explains.

“I grew up playing violin, and I think that a lot of the music theory from violin helped transition me into playing guitar. So, I started playing guitar when I was around 15 years old. I kind of played piano too, but I’m not the best at it, so I don’t really like to say that I actually played piano. I picked up bass when I was around 16 or 17 years old. I guess bass and guitar kind of go hand-in-hand in some aspects. But on the album, I mainly just played guitar.”

A Rotating Cast

As befits an artist who is so comfortable criss-crossing the genre lines, her gear was equally diverse.

“On the album, there was a mix of different guitars just because I was at different studios all of the time, but I used a Strat on some of the songs,” she reveals. “I used a Les Paul Goldtop on some songs, and during my live sets, I love using Jags and my Harmony guitar. So those will make it onto the album, sometimes as well.”

Lu can’t recall which year the Goldtop was, but it was definitely vintage and definitely, she states, worth over $10,000. Owning one is a future dream for now, but Lu can trace her passion back to being a teenager with no such lofty ambitions.

“When I first started getting into guitar, I was really into bedroom pop at the time, and I was also into old rock music a lot too. So just watching YouTube videos of people in bands playing guitar. I was just so astonished and inspired, and also playing guitar is, at least to me, inherently a very cool thing to do. So obviously, growing up, I wanted to be a rock star, but I looked up to people like Elliot Smith, and I was also very into Oasis, Black Sabbath and Jimi Hendrix. Seeing these people shred and just be so good at their craft, it really inspired me to get into playing guitar.”

Lu played a Fender Vintera II 70s Jaguar on her first headline tour, but she’s moved on to what is her new favourite.

“I recently bought a new Jag” she enthuses. “The Johnny Marr Jag is the best guitar that I own, I love it so much. It feels amazing. I love that it’s short-scale. I was looking for an all-white guitar too, so it’s perfect. It has an interesting layout because the different pickup settings are so vastly different from each other. So, when I play it, I’m able to get a brighter tone. I’m able to get a more smooth, warm tone. And I like that the kill switches aren’t a traditional kill switch, and it doesn’t actually act as a kill switch, but it enhances the brightness on some of the pickups. The knobs are really sick too. I love the color of the neck, and it looks so nice along with the fact it plays so well and just feels great. It’s a very well-made guitar.”

Words And Picture

Lu’s taste in oddball guitars stretches to a non-standard attitude to lyrics too. Her songwriting process is all about an organic, unforced approach.

“I usually start with guitar, and [writing the] lyrics depends. I might think of them on the way to the studio and write them into my phone, but at other times I’ll write them after the guitar and bass are tracked and I’m feeling out the landscape of a song. As long as lyrics come to me naturally and I’m not taking more than 30 minutes to write them. The less time I have with them, the more raw and honest they sound.”

Lu points to Guide light as one of those raw moments. It’s a plea for a friend, or a lover, to reassure that they’ll still be there, even when we’re burnt out and the worst in us is on show.

“Who will guide me
when I can’t do this anymore?
(When I can’t do this, will you?)
Tell me something
is your love enough to live for?”

Lu says, “Guide light was the only song on the album that was recorded as a live band all playing together. and there are so many little fun elements added post-recording. You can really see my taste, and [producer] grayskies’. I was playing theremin, which is that really haunting sound you hear, and we also overlaid more guitar. That’s when I fell in love with the Les Paul Goldtop vintage, in that session.”

Just when Lu had locked in on her tracklist and was ready to hand in the final album, her team convinced her that one more song could round it out. Black Swan resulted.

“I thought the album was done,” Lu confesses. “My team and the people around me encouraged ‘one more song’. I said ‘absolutely not, I’m burnt out, I’m done’. Then I went into studio with [producer] Kraus, and we wrote this song I was unsure of in the beginning but after a couple of days, it was turning out really well. I sent it to Max, my guitarist, and he was like, ‘This is so good! This is the best Wisp song ever.’

The last minute addition, she says, “was exactly what the album needed. And I love working with Kraus. I think he’s one of the most talented people and producers that I know, so getting to have him on this project is very special. He produced Pandora, as well.”

Tone Deaf

Wisp is a magnet for the big names in talent – both in production and on tour. The upcoming tour with Deftones is looming.

Lu says, “Deftones have been a really big inspiration in my music. The little breath sound I do in Your Face is inspired by Be Quiet and Drive (Far Away) because Chino [Moreno] does that in a couple of his songs. So, this is such an amazing opportunity, a full circle moment, to tour with people I look up to. Obviously, it’s such a big deal to me.”

It’s also an opportunity to get past her shyness and speak to the Deftones frontman.

“I saw Chino at a festival we played a few weeks ago, but the band and I were too quiet to say hi to him even sitting at the same table.”

Lu recognises that as amazing as this opportunity is, it doesn’t come without some haters. Her role representing women singer-songwriters in shoegaze, and alt-rock in general, is one she really cares about.

“Going into music and making shoegaze, which is dominated by predominantly white men since the 90s, I’m putting myself out there and understanding that I will get some hate and backlash,” she says.

“Being a woman in this field in general is a daunting thing, but it’s necessary. When people like me, and other shoegaze and alt-rock bands, that’s important representation. Other girls have reached out to me and said it’s inspired them to get out there and make music on their own too, and I really attach myself to that. Growing up, I would have wanted to see more female-fronted rock and alt-rock bands. Sometimes people feel threatened and attribute success to how a woman looks. It’s a lot easier to be acknowledged for hard work and efforts when you’re a man in this industry.”

But Lu doesn’t back down. She’s developing a thick skin, an industry must-have.

“I’ve been getting a lot better at just blocking out all of the hate and reminding myself that people see me as out of the norm, and while some see that in a negative light, other people see it in a positive light, and are able to become inspired because there are so many other girls similar to me that that want to make music. It’s just a very special thing to be able to put myself out there and see how that affects other people.”

If Not Winter is out now on Interscope.

The post “Playing guitar is inherently a very cool thing to do” Wisp on leading the shoegaze revival with a sprinkling of nu metal thrown in appeared first on Guitar.com | All Things Guitar.

Every band wants their music to be heard – but what if the attention gets a bit too intense? When Humble Pie’s 1969 single, Natural Born Bugie, peaked at number 4 in the UK charts, the rockers quickly grew tired of the screaming fans that began to attend their gigs.

In a new interview with Uncut, vocalist and lead guitarist Peter Frampton admits that he particularly hated the fangirls that Natural Born Bugie lured in. “It was a hit, so of course we had to play it on Top Of The Pops,” he recalls. “Steve Marriott [vocalist] really didn’t want to do it. He wasn’t thrilled. Of course, the first time we did it, as soon as we did our next gig we got screamed at.”

• READ MORE: “They were doing some fixing on their live record”: Peter Frampton claims Kiss borrowed his guitars to do overdubs on KISS Alive!

Prior to being in Humble Pie, Frampton and the late Marriott were keen to shake off a “popstar” image. Record labels weren’t treating them seriously, and Humble Pie was there way of gaining a bit of respect – however, when exposed to a mass of female fans on Top Of The Pops, the pair of singers were yet again treated like “pin-up” boys next door.

“I looked at Steve, Steve looked at me and we said, ‘They’re screaming?’” Frampton says. “That’s why we had formed Humble Pie, to get away from that! So that’s when we said, ‘Fuck England, let’s move to America.’”

But it wasn’t just the singers who noticed the screaming. Drummer and keyboardist Jerry Shirley chips in, adding: “We wanted to get away from the screamers. We even started our set with an acoustic section, so Peter was sat there with an acoustic guitar and all these girls were screaming at him. It was not normal.”

Frampton goes on to admit that Marriott hated the response so much that he wanted to cut Natural Born Bugie from the set entirely. “Steve didn’t want to play the single at concerts,” he explains. And, for a short while, the band would indeed leave the track out of their set.

However, Humble Pie have since learned to love the single once again. The track has even been remastered for a shiny re-release of the band’s 1969 debut, As Safe As Yesterday Is.

The remastering of As Safe As Yesterday is out now.

The post “We said, ‘F**k England, let’s move to America’”: Peter Frampton reveals that he left the UK because Humble Pie hated having screaming girls at their gigs appeared first on Guitar.com | All Things Guitar.

Jackson’s iconic Rhoads blueprint – first conceived by both Ozzy Osbourne guitarist and legend Randy Rhoads and Jackson founder Grover Jackson – is “returning home to California”, as it makes its entry into the brand’s American Series lineup.

Two new models – the American Series Rhoads RR24 and RR24 HT – are built in Jackson’s Corona, California factory, which also produces Jackson’s most high-end instruments.

• READ MORE: Fender is making Road Worn guitars again – this time with the Vintera II line

Delivering “uncompromising quality and performance”, the American Series Rhoads features USA-made Seymour Duncan JB and ‘59 humbuckers for a “tight yet expressive” tone, a reverse six-in-line headstock, resonant alder body with “weapon-like” contours, and a 12”-16” compound radius ebony fingerboard with 24 jumbo stainless steel frets.

Specs are, for the most part, identical on each model, except – for the keen-eyed amongst you paying attention to naming conventions, the RR24 HT sports a Hipshot hardtail bridge “for rock-solid tuning stability”, while the RR24 is equipped with a recessed 1500 Series Floyd Rose double-locking tremolo system – perfect for those huge divebombs.

The addition of the RR24 and RR24 HT expands Jackson’s American Series beyond its existing Soloist and Virtuoso models.

“The American Series Rhoads was created to bring the legendary shape that metal guitarists have coveted for decades to a new generation,” says Jon Romanowski, VP of Product, Jackson. 

“Built in the US, this premium guitar is engineered for players who demand uncompromising metal tone and performance.”

The brand adds: “Rhoads’ pursuit of precise, architectural solos helped define the template for metal guitar playing that continues to influence generations of players. Embodying the authentic Rhoads DNA, this American-made guitar is engineered for shredding perfection.”

Granted the honour of being the first guitarists to take the new American Series Rhoads for a spin are metal virtuosos and Jackson artists Brandon Ellis and Jeff Loomis, formerly of the Black Dahlia Murder and Arch Enemy, respectively. Watch them tear it up in the video below:

“This axe embodies everything the Jackson name has always stood for to me,” says Brandon Ellis. “It’s built for metal and speed, and comes 100% tour-worthy right off of the shelf, with bulletproof American construction, high quality specs and hardware and contemporary upgrades. 

“The easily accessible spokewheel adjusted truss rod, push-in style tremolo bar, stainless steel Floyd Rose upgrades, glow in the dark side dots and locking tuners are all huge quality of life improvements for performing musicians like myself.”

“The American Series Rhoads is an amazing metal masterpiece!” adds Jeff Loomis. “Aggressive looks with killer playability all over the neck, this guitar really stands out. Partnering with Jackson again to showcase this guitar with Brandon Ellis was a total blast and unforgettable experience.”

The RR24 is available in Satin Black, Matte Army Drab and Snow White, while the RR24 HT comes in Satin Black and Snow White.

The RR24 and RR24 HT are priced at £2,249 and £2,199, respectively.

For more info, head to Jackson.

The post The iconic Rhoads is “returning home to California” as Jackson announces its addition to its American Series appeared first on Guitar.com | All Things Guitar.

Living Colour’s Vernon Reid has revealed his ultimate guitar hero – and, unsurprisingly, it’s Jimi Hendrix.

In a new interview with Classic Rock, Reid asserts that nobody can surpass the genius of Hendrix. “There are many other heroic guitarists before him, but he went against all the odds and expectations,” he explains. “He took the living influence of Bob Dylan, and he turned that into a dragon in his hands.”

• READ MORE: “Did you guys make a mistake?”: MGK admits he’s baffled as to why Bob Dylan is a fan of his

Reid picks out Hendrix’s red-hot performance in 1967 at Monterey Festival as his case in point. The show saw him dousing a 1965 Fender Stratocaster in lighter fuel, with the blaze leading to Hendrix burning both his hands and being sent to hospital following the performance.

“When he burnt his guitar at Monterey, it was a crypto critique of capitalism,” Reid reflects. “What a guitar meant for everyone, he changed it. And he did it with incredible songs.”

It’s not the first time Reid has voiced his respect for Hendrix. Last November, Reid picked out Manic Depression from Hendrix and The Experience’s 1967 debut, Are You Experienced, as one example of Hendrix’s “incredible” catalogue.

“Manic Depression doesn’t get nearly enough respect for what a groundbreaking song it STILL is,” he wrote on X. “It describes struggles with mental illness directly, not via metaphor. It was unprecedented in rock history. It laid a roadmap for Pink Floyd’s Dark Side Of The Moon to expand upon.”

He followed the post up with another shout out to another Are You Experienced cut, The Wind Cries Mary. “[It is one of] the greatest meditations on the nature of grief and loss ever written,” he reflected.

Reid’s upcoming record, Hoodoo Telemetry, is set to drop next month. The record promises to be an “eclectic” journey through his palette, with funk-infused The Haunting and the floating, gentle soulful touch of Beautiful Bastard serving as our first taste of what is yet to come.

Hoodoo Telemetry is due to drop on 3 October.

The post “He took the living influence of Bob Dylan, and he turned that into a dragon in his hands”: Vernon Reid on why Jimi Hendrix is unsurpassed as a guitar hero appeared first on Guitar.com | All Things Guitar.

Last May, Greta Van Fleet’s Jake Kiszka announced his new side-project, Mirador. While the project allows Jake to expand upon his bluesy folk rock palette, it’s also his first opportunity to write with people that aren’t his brothers – and it’s been a breath of fresh air.

Despite cherishing the musical bond he shares with his Greta Van Fleet bandmates, brothers Josh and Sam Kiszka, Jake admits it’s an “exhilarating change” to collaborate with different people – particularly Ida Mae’s Chris Turpin. “I’d always written music with my brothers so there are all sorts of particular complexities in that, but I’ve never worked like this before,” he explains to Kerrang!. “And you know what? Chris can really write.”

• READ MORE: Five times the Hives were the best band in the world (according to the Hives)

“He’s the full package; he sings great, is a brilliant lyricist and a genius guitar player,” he continues. “Locking in, one-to-one, to write and record with an individual – I’d never done that before. There are many different parameters with Greta, so to do this with Chris was an exhilarating change.”

Alongside Turpin, the line-up is rounded off by drummer Mikey Sorbello and Nick Pini on bass and keys. Together, the foursome are churning out blues rock and infusing folk with an edge of rock ‘n’ roll. “It’s something we can come back to outside of our other bands, not just because we love it but because we genuinely want to grow,” Jake explains.

“It’s quite a nice change to occasionally not be in a band with my brothers – it’s different to be in a band of people that are just friends. Some people you choose to be with; others you are just stuck with… No, I’m kidding!”

That being said, Mirador have already been given a huge platform supporting Greta Van Fleet on a recent tour. So, in a way, Jake’s brothers have still been a massive help by believing in his new project. “We’d be on as the first band of three in an arena that might be 12,000-capacity,” Jake says. “The response was so overwhelming that by set two they seemed to be singing back 75 per cent of the songs. By our third show it was like they knew all the songs. It was unbelievable.”

This Friday, Mirador’s debut is set to drop. Fortune’s Fate and Feels Like Gold serve as the first taste of what the project has to offer – and it’s certainly got plenty of intricate licks to dig your teeth into. “It’s a positive time to be doing this,” Jake says. “Hundreds of thousands of young fans are pouring into rock’n’roll shows now. It’s a wonderful thing for us to be a part of this great time in history!”

Mirador’s self-titled debut is out 19 September.

The post “It’s quite a nice change to occasionally not be in a band with my brothers”: Greta Van Fleet’s Jake Kiszka on why he’s embarking on side project band Mirador appeared first on Guitar.com | All Things Guitar.

It wasn’t that long ago that home recording meant floors covered in effects pedals with a patchwork of cables leading from the bedroom into bathrooms and other nooks and crannies; turning our homes into impromptu recording studios and agonising over our cabinet mic placement.

That approach to home recording is by no means dead, but with the continued development of digital amp modellers and amp sim pedals, we no longer have to turn our homes upside down when we want to noodle and record with high-quality sounds.

While the digital package is more compact, it still comes with a learning curve. In this guide, I’m going to (hopefully) demystify the process of building a digital signal chain, highlighting the tools that are essential for playing and recording guitar at home.

What is a digital signal chain?

When we talk about ‘analogue’ guitar playing, the signal chain refers to the path your audio signal takes from guitar to amplifier and the effects it passes through along the way. There is no ‘right’ way to create a signal chain. My early ignorance on the subject created a Sigur Rós-esque distortion-soaked reverb effect that I adored, so it’s always worth experimenting.

When we talk about a digital signal chain, the principle is fundamentally the same, but rather than it being guitar > effects > amplifier it has multiple permutations such as:

• Guitar > floorboard/rack amp modeller / amp sim pedal > mixer/interface > DAW
• Guitar > floorboard/rack amp modeller > DAW
• Guitar > mixer / interface > audio plugins > DAW
• Guitar > amp sim / rehearsal pedal > FRFR cabinet/headphones

There are pros and cons to each of these permutations, not to mention varying cost implications and requirements for your home setup. In some cases, there’s no need for an audio interface/mixer but we’ll go into that later. Before we dive in, it’s important to establish the following:

What do you want to get out of your home setup?

Depending on where you’re at in your guitar journey and what drew you to the instrument will dictate what you need from a home setup. With that in mind, ask yourself these questions:

• Is the purpose of your home setup to play/practise, record or both?
• How much equipment do you have space for?
• What is your budget?

Now that you’ve asked yourself those questions, let’s look at the individual elements that make up a digital signal chain for playing and recording guitar at home, starting with amp modellers.

Amp modellers and multi-effects units

Here at Guitar.com, we’ve reviewed just about every major amp modeller out there. Back in 2021, the amp modeller that really changed the game, Neural DSP’s Quad Cortex, scored a 10/10 from us – and this was before Neural bolstered it with a series of QoL updates, new features and compact sequel. We’ve awarded similar glowing reviews to Kemper’s Profiler Stage, and in more recent years Fender’s Tone Master Pro and Boss’ GX-10.

Amp modellers are your one-stop shop and come equipped with countless digital amp sounds and effects, providing you with hundreds if not thousands of hours experimenting and refining your favourite tone combinations.

Thanks to USB connectivity, they can also function as your audio interface. This makes them an incredibly versatile addition to your home setup; providing you with everything you need to tinker, play, practise, rehearse, perform and record.

However, due to the serious punch these amp modellers pack, you could be looking at prices anywhere between £1,000 – £1,700 if buying brand new. In isolation it’s an eye-watering sum, but when you consider how far that budget would get you when buying amps, effects pedals and an interface; not to mention the amount of flexibility you’d have in tailoring your sound, the space required and the varying reliability of all those bits of equipment, it doesn’t take long before the value of the amp modellers starts to sink in.

It’s worth noting that a lot of these high-end amp modellers have released smaller and more budget-friendly iterations. Neural DSP’s Nano Cortex and Line6’s HX One are great examples of how to distill their predecessor’s DNA into a smaller and cheaper package. Speaking of smaller, cost-effective options, let’s turn our attention to amp sim pedals.

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Amp and cab sim pedals

I don’t know about you, but when I look at something like Kemper’s Profiler Head, I can imagine the sheer quantity of sounds it can produce in that moment. The idea that even a fraction of that power could fit into a stompbox blows my mind, but it’s very much a reality.

In our review of the Walrus Audio Mako Series MKII ACS1, our reviewer said “this is as good as digital amp and cab simulators get”. While Walrus Audio has definitely carved out a niche for itself in terms of quality, they occupy the space with a suite of top-performing competitors. Whether its Universal Audio’s UAFX extensive series of amp and cab simulator pedals, the much-loved Strymon Iridium or the phenomenally good value Boss’ IR-2, there’s oodles of quality to suit a range of budgets.

With a severely reduced footprint and price tag, it should be no surprise that you won’t have quite the same level of tools at your fingertips, though the ACS1 is no slouch on amps to choose from!

That’s not to say you’ll be feeling short-changed as the amount of options under the hood is nothing short of amazing, but do your due diligence in researching what’s out there so you get the perfect fit for your needs.

Amp and cab sim pedals sit at the end of your signal chain, meaning your existing collection of effects pedals will work in perfect harmony and allow you to further tinker in search of that desired sound. The presence of a headphone out is ideal for anyone that can’t practise at full volume and/or isn’t hooking this up to their computer.

While we’re on the topic of hooking this up to computers, it’s worth mentioning that unlike the aforementioned digital amp modellers, these pedals require an audio interface if you’re looking to record while using them. If you’re thinking about relative budgets, unless you’re choosing the premium pedal(s) and audio interface, you’re unlikely to be spending more than the cheapest amp modeller.

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Rehearsal pedals and FRFR amps

This is just a bonus point, but you may have reached this point in the article hoping for something simpler and begun asking:

• What do I do if I don’t want to run an amp sim pedal into my computer, but I also don’t want to practice over headphones?
• Is there a way I can practice with my current pedalboard through headphones without needing an amp sim pedal or amplifier?

If space and portability are important to you, then Headrush’s FRFR Go is hard to beat when it comes to practising without headphones. There are some great alternatives out there like the Fender FR-12, but the FRFR Go leads the pack on price and portability by a mile.

If headphones are the goal, Walrus Audio’s Canvas Rehearsal eliminates the need for an amplifier or amp sim pedal and slots neatly into the end of your pedalboard. You can play your guitar with all your effects in headphones, practise your rhythm with the in-built metronome and time signature functions, and play along to your favourite songs over Bluetooth.

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Audio interfaces and mixers

If you’re just looking to play and practise, or even if you’re planning on getting an amp modeller that can double as an audio interface, it may not be necessary to add another item to the shopping list.

If however, you’re after more control on your audio, hoping to record using an amp sim pedal, or you want to record other instruments such as drums, that’s where an audio interface or mixer becomes an integral component of your digital signal chain.

On the simpler, more budget-friendly end of the scale you’ll find the Audient iD4 and Focusrite Scarlett 2i2 4th Gen interfaces; the latter now featuring stereo direct monitoring which is a big deal for those of you wanting to get the most from your stereo amp sims. What you lack in inputs, you gain in ease-of-use and price.

Universal Audio’s Apollo Twin X costs almost £800, but it boasts incredibly low latency for recording – which is invaluable when using amp sims – and comes bundled with some of UA’s stellar hardware plugin emulations, allowing for yet more sonic profiling.

There’s also the PreSonus Quantum HD 2, which can achieve around 3ms latency, comes kitted out with guitar-centric features developed with Fender amongst other pro features and costs 50% less than the Apollo Twin X.

Mixers start at a higher price point due to their increased number of inputs and greater functionality. That being said, Allen & Heath’s ZEDi 10FX, which comes in under £350 and sports some great sounding boutique preamps and the slightly more pricey but fully-featured Tascam Model 12 are well worth investigating if your home recording setup is likely to move beyond guitar alone.

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The post Multi-effects signal chains explained – everything you need to play and record direct appeared first on Guitar.com | All Things Guitar.

Gibson’s been in the guitar making business for well over 100 years, but according to Luis Munoz, guitar tech to pop superstar Olivia Rodrigo, as well as The Smashing Pumpkins and Simple Plan, there’s one thing the brand keeps getting wrong with its guitar design.

In a new video posted on social media, Munoz showcases his process fixing a headstock which had become detached from the neck on a Gibson acoustic guitar, saying the angle of Gibson headstocks in relation to their necks renders them susceptible to breakage.

• READ MORE: Gibson collaborates with Loog for child-friendly range of Les Paul and SG guitars

“Unfortunately, Gibson will never change this,” he writes. “Gibson breaks headstocks so often because of their steep headstock angle, soft mahogany wood, and the thin, weakened area behind the nut (thanks to the truss rod cavity). When they fall, all the force hits that weak spot – so they snap.”

Luis Munoz isn’t the first industry voice to comment on Gibson’s angled headstocks having high potential to snap.

You don’t have to go far to find online forums with guitar players speaking of their experiences with snapped Gibson guitars. So what makes Gibson necks less structurally sound?

As Munoz notes, they feature a steep backward angle compared to the neck, and as Ultimate Guitar notes in this piece from 2023, are carved from a single piece of wood for improved resonance. 

This means when space is carved out behind the neck in the space between the headstock and neck, the integrity of the wood grain is compromised. Obviously, a guitar won’t snap on its own, but if a Gibson were to be dropped, for example, on this joint, the force could lead to a break.

But not everyone agrees with Luis Munoz’s assessment of Gibson’s headstock design. Responding in the comment section of his post, Mat Koehler – Gibson’s VP of product – says “there is enough disinformation in this post to fill a magazine…”

Meanwhile, another user notes that while the structure of Gibson headstock joints may be weaker compared to other designs, it’s ultimately careless owners who are the culprits for any breakages.

“So Gibson has been ‘wrong’ for 130 plus years? The key words you use are ‘when they fall’. I’ve owned dozens of Gibsons through the years and had exactly one headstock break, caused by a careless friend not putting my SG back on the guitar stand properly. Accidents happen, but blame careless owners, NOT the guitar.”

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A post shared by Luis Munoz (@modernguitartech)

While some Reddit users say broken Gibson headstocks are “common”, they also agree that it’s probably the carelessness of owners that ultimately causes such incidents.

“I have 3 Gibsons for 20 years-ish. Never broke any of them,” one user writes. “I believe the key is to not drop them. Hope this helps.”

The post Olivia Rodrigo guitar tech on the one thing Gibson keeps getting wrong with its guitar design – as Gibson’s Mat Koehler calls it “disinformation” appeared first on Guitar.com | All Things Guitar.

$319/£429, fishman.com

For decades now, guitar players have chased the dream of truly wireless guitar playing. Especially in a live setting, the ability to be untethered from your amp and pedalboard and roam around the stage (and elsewhere) at your leisure. But there have often been compromises along the way – whether that’s impacting your sound quality, annoying latency issues, bulky and ungainly hardware or simply chewing through 9-volt batteries like an eight-year-old with a pack of gummy bears.

• READ MORE: Boss PX-1 Plugout FX review – “This is a pedal that could find a home in a lot of rigs”

I’ve owned my fair share of wireless systems over the years from a variety of different brands, and I’ve been plagued by all of these problems at one point or another – sometimes all at once! But unquestionably, things have become a lot more compelling in recent years, as advances in wireless audio technology have made the cable-free dream more affordable and, in theory, more consistent and reliable with it.

Into this world comes the AirLock Wireless GT – a brand new compact and pro-focused wireless unit from the kings of acoustic pickup making. Can it be the ultimate stage unit?

Fishman AirLock Wireless GT – what is it?

There was a time a wireless system involved a transmitter and a fairly bulky receiver that you’d have to find space for on your pedalboard or atop your guitar amp. The AirLock is part of a new generation that slims things down impressively – you have a transmitter that plugs into your guitar (or any instrument with a standard ¼-inch jack input) with a rotating angled jack to suit any socket, and a similarly sized transmitter that you plug in at the other end.

Both units are powered by a rechargeable battery via USB-C, and promise over nine hours of playing time. These batteries are fully replaceable should the capacity degrade over time as all lithium-ion batteries inevitably do, and Fishman sells a replacement pair to ensure you keep using the AirLock Wireless GT for years to come. The batteries are quick-charging too – they can offer up to two hours use after just a quick five-minute charge, which could prove extremely handy for any shows where you’ve forgotten to charge up the night before. You can also hook the receiver up to a standard 9V DC power supply if you’re putting it on your board, meaning that’s one less thing you’ll have to charge.

The key metrics for any wireless unit are range, latency and sound quality, and Fishman promises to have dealt with all three of these. On the range front, it offers an impressive 120 feet of ‘spin range’ – the range it’ll still work even without a line of sight between the transmitter and receiver. This means you won’t have to worry about getting an amp, a person or a drum riser between you and your guitar for it to still work consistently at long distances.

The 2.4gHz wireless band is one that is infamous for being a little temperamental in terms of interference and latency. But Fishman claims to have removed this having the AirLock constantly transmit over two channels at once to avoid dropouts, and will jump to any one of 40 channels in the 2.4gHz band if it detects any interference on the line.

It does this while still offering impressively low 3.3ms latency, and if you’re especially worried about being in a room with a LOT of wireless interference (perhaps you’re the house band at a wireless router conference?) there are three ‘interference’ settings that prioritise signal strength and consistency with the trade off of a little lost latency – even at the highest though it’s still a respectable 4.9ms, and chances are you won’t have to use it.

Tone-sucking (high-end frequency loss from your guitar signal) is another frequent accusation against wireless systems (though some guitarists, like Angus Young, actually like that!). But you probably know that your guitar cable, and especially the length of your cable, is also having an impact on your tone – the cable adds capacitance to your tone depending on how long it is, taking off a bit of the high-end while it does. It’s here that the AirLock does something really clever – the unit has three built-in analog capacitors, replicating the capacitance added by 5, 10 and 15-metre cables. Thus, if you happen to like the way that your favourite long cable colours your tone a bit, you can simply hit the switch on the unit and replicate organically within the unit itself.

The AirLock is portable and rugged, and even comes in its own EVA carrying case, which also stores all the important charging cables. While wireless units are usually preferred for live use, you can even use the AirLock as a direct recording interface – the USB-C port on the receiver does double-duty to enable you to plug straight into your laptop.

Fishman AirLock Wireless GT – in use

It’s never the easiest job to effectively review a wireless unit – generally the best sign that it’s doing its job properly is that you don’t actively notice it’s there. Even saying that, I was hugely impressed with how easy and seamless the AirLock Wireless GT is to set up, the brightness of the LEDs on board to reassure you that its connection is strong and stable, and how dependable it was even in a busy live environment.

With the appropriate cable length selected on the unit, I’m hugely impressed with how there was little to no real difference between my sound with a cable, and the 118dB of onboard dynamic range mean it handles electric and acoustic guitar just as well as bass tones – compared with other units I’ve tried, the fullness and depth of the tone (especially in the bass) is really impressive.

I didn’t suffer any drop-outs or latency issues while I tested it, and I never had to turn the interference switch above the ‘low’ setting that offered maximum latency. The battery life was around advertised, and keeping it charged up between gigs was a minimal hassle.

Fishman AirLock Wireless GT – should I buy one?

Fishman has had its proprietary wireless tech for a while – it’s been used in the TriplePlay MIDI controller – so it’s surprising that it’s taken so long for the brand to enter the wireless arena. But boy, am I glad they did.

Some people will always be wary and suspicious of wireless units – I understand where you’re coming from, but since I started using the AirLock I’ve not once had to pull my fall-back cables out of the gig bag.

From the simplicity of setup to the pro-focused cable-length and interference selectors, the AirLock actually makes going wireless fun, not frightening. I certainly didn’t have any of the standard issues that often plague these systems, and it’s comfortably the best wireless unit I’ve ever used. If you’ve ever wanted a reason to break free from the prison of an old-fashioned cable, this is it.

Fishman AirLock Wireless GT – should I buy one?

If your wireless needs are more focused on playing at home, the Positive Grid Spark LINK ($149/£129) is a very affordable and impressively simple bit of kit. Shure’s GLXD16+ ($599/£489) system is a lot more expensive and less user-friendly than the Fishman, but its dual-band system is trusted by some of the biggest pros around. Another home-focused affordable wireless is the Fender Telepath ($209/£155), which utilises the 5.8GHz band to avoid the crowded 2.5gHz band entirely.

The post Fishman AirLock Wireless GT review – “If you’ve ever wanted a reason to break free from the prison of an old-fashioned cable, this is it” appeared first on Guitar.com | All Things Guitar.

If your kid daydreams of becoming a rockstar, Gibson’s latest collaboration with Loog might be the perfect addition to playtime. Loog’s funsized three string electric guitars have been given the Les Paul and SG treatment, allowing your child to rock out in style.

Rather than a shoddy shoe-box guitar, Loog’s mini electric models are the real deal. Loog’s take on Gibson’s iconic Les Paul and SG are fitted with real guitar strings and standard tuning, just in a half-scale, three string package.

• READ MORE: Between the Buried and Me rank their own albums from worst to best

Loog’s decision to limit the guitars to three strings serves as a way of making real guitar playing less intimidating for younger players. With chords limited to triads, it makes picking up the basics a lot easier – and it renders the transition to a full-scale six string much easier.

The mini Gibson x Loog Les Paul and SG models are also fitted with one pickup, a volume knob, and made of real wood. The Les Paul also comes in a trio of colours, with TV Yellow, Frost Blue and Shell Pink all available. The SG, on the other hand, comes in a single shade of bold Cardinal Red.

Each guitar comes with an array of learning tools to make the process fun and easy. There’s flashcards, a colourful activity book and even an app where you can learn alongside a little Loog monster. The app has video lessons to help fine-tune your guitar skills, as well as guides on how to play 200 songs, from The Beatles to Taylor Swift. There’s also interactive TV show, arcade and bedtime stories to send your kid off to guitar dreamland.

“Getting to collaborate with Gibson has been such an incredible experience and honour for us,” Rafael Atijas, Founder and CEO of Loog Guitars, reflects. “These are the guitars we all drool over – the Les Paul, the SG – and now we’ve had the chance to work with the Gibson team to bring them to life in a way that’s approachable and inspiring for kids. It’s been a pleasure, a joy, and honestly, a real privilege.”

“One of the things I’m most excited about is the Gibson x Loog Activity Book that comes with every guitar,” Atijas continues. “Thanks to it, a 6-year-old will be able to differentiate between Gibson models, learn the story behind the Les Paul, know what a ‘TV Yellow’ finish is, and even recognise a Gibson headstock from a mile away… how cool is that!?”

“We are very proud and excited about our collaboration with Loog, which lets us introduce the next generation to the world of Gibson in a fun, accessible way,” Mat Koehler, Vice President of Product at Gibson, adds. “The Gibson x Loog guitars utilise our iconic colours and shapes with Loog’s intuitive 3-string format to inspire young players to begin their musical journeys.”

All Gibson x Loog models are available now for $229 each.

The post Gibson collaborates with Loog for child-friendly range of Les Paul and SG guitars appeared first on Guitar.com | All Things Guitar.

Fender has expanded its Vintera II range – which pairs vintage ‘50s, ‘60s and ‘70s specs with forward-thinking appointments for the modern player – with a limited-edition line of Road Worn models.

Fender’s Road Worn guitars, of course, come pre-aged – or “relic’d” – to give brand-new guitars the look of an instrument with years of use.

• READ MORE: Gibson partners with Marc Jacobs on super-limited Les Pauls

They have however, become rarer in the Fender catalogue in recent years, but the introduction of these new Road Worn Vintera II models signals that the Big F might have further plans to dive back into artificial aging.

Your mind when you think Road Worn might go to noticeably battered instruments which signal years of heavy ‘road’ use. But the new Vintera II Road Worn range introduces a new – and far more subtle – aging process which aims for a less in-your-face ‘closet classic’ vibe.

It’s a similar aesthetic to the Heirloom finish introduced on Bruno Mars’ 2023 signature Stratocaster, and on the American Ultra Luxe Vintage collection – which landed just last month – with minimal obvious dings and scratches and an emphasis on soft patterns of wear and semi-gloss finishes.

Naturally, the Vintera II Road Worn range is headed up by its artificial aging process, but it also features a series of specs designed for vintage guitar lovers, including ‘50s and ‘60s era-correct pickups for “vintage-accurate tone”, and authentic neck shapes for a period-correct feel.

The range comprises four models – a Stratocaster, Telecaster, Jazzmaster and Precision Bass – with colours including Sonic Blue, Black, 3-Color Sunburst, Fiesta Red, Blonde, Charcoal Frost Metallic and Burgundy Mist Metallic.

“Featuring a variety of vintage colours finished in Road Worn aged nitrocellulose lacquer, the Vintera II Road Worn ‘60s Stratocaster recreates the look and feel of a well-played classic,” says Fender.

“The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders.”

Price-wise, the Limited-Edition Vintera II Road Worn Stratocaster and Telecaster are priced at £1,349, the Jazzmaster and Precision Bass at £1,399. 

For more info, head to Fender.

The post Fender is making Road Worn guitars again – this time with the Vintera II line appeared first on Guitar.com | All Things Guitar.

Collaborations between fashion brands and guitar makers aren’t a totally novel concept – Fender has partnered with such brands as streetwear label Supreme and high-end fashion house Yves Saint Laurent, for example.

But it’s slightly rarer for Gibson to partake in similar left-field collabs. That said, the guitar maker has just partnered with Marc Jacobs to create a series of Les Pauls complete with custom artwork, straps and even pick tins.

• READ MORE: Nigel Tufnel uses BIG EAR Pedals’ Slice Of Pie fuzz in Spinal Tap II – can you work out the other pedals across his three ‘boards?
  

Unveiled at Marc Jacobs’ popup store at New York Fashion Week – during which Gibson Spotlight artist Devon Thompson performed a solo set with one of the guitars – the collection comprises four new Gibson Les Pauls, three with artwork by renowned artist Hattie Stewart, and a Standard model with Marc Jacobs’ Daisy Joy design.

“Music and fashion have long been inseparable as forms of self-expression, so this collaboration in the name of joy felt incredibly fitting and necessary,” says Gibson’s Katie Knipper.

“Our Gibson team worked tirelessly with the Marc Jacobs and Nordstrom teams to make ‘Joy’ happen, and having Devon bring things to life in real time was a cherry on top.”

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A post shared by Marc Jacobs (@marcjacobs)

Gibson hasn’t been quite as prolific as Fender in collaborating with fashion brands, but after Fender’s collabs with the likes of Supreme, Yves Saint Laurent and even Bvlgari, which resulted in an ultra-limited run of Stratocasters in 2024, perhaps Gibson has been inspired.

The four super-limited Les Paul guitars are available to buy at Nordstrom NYC and select Marc Jacobs stores.

Learn more at Gibson.

The post Gibson partners with Marc Jacobs on super-limited Les Pauls appeared first on Guitar.com | All Things Guitar.

“Everything started with singing,” begins Canadian musician Billianne. From the age of four, she would go around her family home singing random songs that she had heard on TV shows or when listening to the car radio with her mum. “Everything was my stage,” she says. Her parents even turned their front porch into one. “I was always pretending,” she recalls, having joined school funk bands, played trombone and regularly performed recitals during her childhood. “I can’t remember not singing.”

• READ MORE: Between the Buried and Me rank their own albums from worst to best

A family trip to Nova Scotia during which her brother put on Mumford & Sons’ first album is another fond music memory. “I liked the way that it brought us all together, memorising the words on a 19-hour drive and head-banging in the van,” she recalls of listening to 2009’s Sigh No More in full. Beyond the family bonding, a young Billianne was enamoured by Marcus and co’s lyrics: “I love their storytelling, they are such great songwriters and it’s really great folk music”.

While the foundations were set, it wasn’t until her late teens that she first picked up a guitar. “My dad always had a Norman in the house,” she reflects of the “Canadian staple”. He also had a Simon and Patrick, which Billianne used for most of her learning. Around the age of 17, she started trying to learn the instrument properly by covering songs. “I was always on Guitar Tabs and trying to figure out the songs,” she remembers, specifically citing doing a lot of two chord movements.

Best Is Yet To Come

Taking guitar as a subject during her last year of high school enabled her to “learn a little bit more”. She found it easy to pick up – at least at first. “With a lot of instruments, I always find it really exciting and fun at the beginning,” she says, having learned the G chord, D chord, A minor and F. “But getting past that point… I still feel that every time I try to learn something new on the guitar, it does feel hard to me.”

She persevered and, in 2021, began uploading cover videos to social media. “A lot of times I was singing to karaoke tracks from YouTube,” she recalls. But it was her rendition of Noah Reid’s 2018 song Simply the Best that proved the turning point. “That video was my first time finger picking,” Billianne recalls. “Half of the things with the guitar and me, I’m just like ‘well, I’ll give it a shot’.”

It worked: the cover caught the attention of Taylor Swift, Joe Jonas, P!nk, Oprah and Michael Bublé. “It’s wild,” she recalls. “I can’t believe those people may have found my name and looked me up and listened to my music.” The most surreal moment was the Joe co-sign: “he posted an Instagram story at a campfire with the track paired, which must mean he was listening to it, so that feels intimate to me”. Equally thrilling was the comment from Taylor – especially as she and her brother were Swifties and bonded over her albums Fearless and Red.

Aside from impressing big names, TikTok proved educational for Billianne. “I always look out for what guitars people are playing,” she says. Watching friends online also helped her discover alternate tunings. “I didn’t realise it was a thing. Obviously, there’s these three pegs that do something, but I didn’t realise people lowered the tune of their guitar and had these open tunings that create such inspiration. I felt like ‘wait, your guitar sounds so different from mine, what is going on?’”

As Billianne’s popularity on social media grew, she began playing shows. “There’s nothing like it, but when I first started performing with guitar, I was very nervous on stage,” she says. “It’s not my main thing, but I love how it pairs with my voice,” she adds. “And, once I do get it, it feels really special to be able to accompany myself in that way.”

While her nerves have decreased, she thinks those initial feelings came from still being in the process of learning the instrument. “I think it was a bit of imposter syndrome,” she considers. “I was thinking ‘I’m not a guitar player and there are probably guitar players in the crowd’.” Another worry was whether or not she was “playing the part well – the guitar part and the guitar player part”.

Remembering what she had learned in high school – about the importance of practicing – helped to gradually minimise these concerns. “That is what will make you feel more comfortable on stage,” she says. “I had to tell myself that, and I still believe that about guitar, especially with how much I know about it now. I think so many of my mistakes come from a lack of confidence rather than knowledge about what I’m doing. I need to be confident about where my fingers are going and what’s happening, but that comes with practice.”

Show And Tell

Billianne’s biggest test came with her TV debut – on NBC’s Today, in April 2024. “That was really fun, and I was playing guitar live, which I was so nervous about.” With her band’s encouragement, her performance of folk-pop song Daydream went off without a hitch. “It was really cool to be live on TV while my parents are back in Canada; I think they must have thought ‘she’s the same little girl but she’s on TV’.”

In February this year, she made her second screen appearance, this time singing her song Enough on the TV show of a music “idol” she once messaged: Kelly Clarkson. “I don’t DM celebrities a lot, but I DM’d her way back in the day,” Billianne laughs, adding that she was a big fan of American Idol when she was a mentor on the talent show. “I said ‘I want to sing with you one day’, so hopefully that comes true,” she says. “It was great to have her hold the cover art of my song and introduce me.”

As well as building a name for herself across the US, Billianne scored a hometown hit with her song Crush, which made the Top 10 at Canadian Top 40 Radio. “These things are crazy to think about, like that was a real thing that happened,” she laughs of the success last summer. “It was being played everywhere. We would be in the car and hear it. My friends would send videos while they were in the dollar store.”

Billianne has since toured with Julia Jacklin, KT Tunstall and “Canadian legend” Serena Ryder – during a double-bill, the latter two met her on the night. “It’s so kind when big names care like that.” Serena has been keeping tabs on her growth since: “she DM’d me and said ‘you’re doing amazing, I’m just checking up on your page and everything looks so great’.”

Transportation Station

Now, Billianne is gearing up to release her debut album, Modes of Transportation, which has been in the works for three years.

“To have this big project that had so much thought and care and people working on it, that makes me feel more like an artist,” she says. As she rode her bike, took the train and learned to drive on the highway during that time, its layered title has multiple meanings. “It’s a metaphor of being in your twenties and figuring out how you get from who you are to who you want to be in the next 10 years.”

This journeying sense of discovery is channeled through the tracklist and pacing of the record, which was recorded across Ontario – from a downtown Toronto house to a quiet cabin in Huntsville and a family basement studio in Etobicoke. “We wanted to try out different sounds,” she says, adding that there are “there are so many guitars on this record”.

Having used them throughout the writing process and to channel different emotions, she doesn’t remember exactly how many, but says her collaborators Duncan [Hood] and Nick [Ferraro] are “a little bit geeky with this stuff”. They would choose a Nylon instead of a steel string “to suit the vibe of the song,” she says, adding that the lyrics usually come first. “I tend to have song starts and ideas. Sometimes it’s a full verse, or the chorus melody, or a line and then I take it to Nick and Duncan and we work it out.”

For the song Future Emma, she remembers them discussing the tone of the electric guitar because it starts the track and “needed to be exactly what I wanted”. Meanwhile, the track ‘Let Me Run’ sees the three of them each play a different guitar: “I start that track and then they come in on guitar, so that was special”. It’s also the only one where she plays guitar on track, which is something Billianne is keen to do more of. “Recording a guitar is a totally different thing,” she says; “it’s so humbling”.

As an artist who is always working on the next thing – “there’s lots more to come,” she teases – her message to aspiring guitar players is simple. “You’ve just got to pick it up and try something,” she encourages. “Sometimes it looks so scary sitting in your room. It’s like ‘Oh my God, there’s this thing with six strings and you can do so many things on it… but the options are endless’.”

Modes of Transportation out August 15. Billianne tours the UK in November.

The post Billianne on viral success, battling imposter syndrome and her years-in-the-making debut album appeared first on Guitar.com | All Things Guitar.

Of course Spinal Tap’s Nigel Tufnel has a massive pedal set up – what else would you expect from a rockstar whose amp can be cranked all the way to infinity?

Nestled in one of his three pedalboards spotted in the sequel to the legendary mockumentary, Spinal Tap II: The End Continues, Tufnel is found to be using the Slice Of Pie pedal from boutique brand BIG EAR – one of just two pedals that were specifically written into the script, according to BIG EAR itself.

• READ MORE: The Tone Mob Podcast’s Blake Wyland on the Slice Of Pie pedal and the guitar he’d save in a fire

Shaped like a slice of pizza and made in collaboration with The Tone Mob Podcast, this fuzz pedal’s quirky design is very apt for the over-the-top – and sadly fictional – band. It’s a good job it’s not shaped like tiny bread, however, or there would be a problem.

Writing on Instagram, BIG EAR shares its joy at having its pedal featured within the film, and also handily identifies a vast number of other pedals across the boards. Some do remain a mystery though, with film only just having landed in cinemas and imagery of still scarce.

“Got the first visuals from the new Spinal Tap movie.. They’re not the best quality, but that’s a Slice Of Pie right up front! I haven’t seen the film yet myself, but apparently our pedal was one of two pedals that were specifically written into the script!” says BIG EAR.

“The second slide here shows Nigel’s full rig, which is MASSIVE and has many unidentified pedals! Can you help me identify any of these?! The third slide has a list of the pedals we’ve been able to identify so far.. but there are still 13 pedals to figure out! Heelllpppp!!”

With a little help from Eric Merrow and 1981inventions, BIG EAR has spotted the following on Tufnel’s main board, working from left to right:

Bottom row

• RJM – Mastermind PBC/10
• Danelectro – Back Talk (Reissue)
• BIG EAR pedals x The Tone Mob – Slice Of Pie (Cheese version)
• Littletone – CLYDE Wah

Middle row

• Strymon – Cloudburst
• TC Electronic – CHOKA
• Strymon – Timeline
• T-Rex – Replica

Top row

• Strymon – Zuma (Power Supply)
• Strymon – Ojai (Power Supply, on top of Zuma)
• TC Electronic – Polytune Mini
• Vahlbruch Effects – Kaluna II HV Tube Drive
• BOSS – BD2 Blues Driver
• BOSS – CS-3
• KORG – Miku Stomp (On what appears to be a Junction Box)

And there are many more, especially across his other two boards… Check out the full list in the Instagram post below, and see if you can fill in the blanks:

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A post shared by BIG EAR pedals (@bigearpedals)

Spinal Tap II is in cinemas now. You can also check out more from BIG EAR Pedals. 

The post Nigel Tufnel uses BIG EAR Pedals’ Slice Of Pie fuzz in Spinal Tap II – can you work out the other pedals across his three ‘boards? appeared first on Guitar.com | All Things Guitar.

David Gilmour is hoping to watch a Pink Floyd avatar show at the Las Vegas Sphere one day, and apparently, it’s something he’s always wanted to do.

With the Sphere already having hosted acts such as Dead & Company, the Eagles, and U2, Floyd could make for a great band to take to the stage next, allowing for its core lineup to reunite for the first time since 2005 in digital form.

• READ MORE: “My father always thought you were a c**t”: Jack Osbourne slams Roger Waters for saying he “couldn’t give a f**k” about Ozzy Osbourne’s music

During a Q&A at the UK premiere of his Live At The Circus Maximus concert film at London’s BFI IMAX, Gilmour was asked about the Sphere: “I’m hoping one of these days to go there and sit and watch myself doing it, which is something I’ve always wanted to do. My avatar, you know? So I don’t actually have to get up and do it,” he replies (via MusicRadar).

Gilmour also shared interest in the Sphere in an interview with Rolling Stone earlier this September, in which he said, “In the future, who knows. I haven’t got that far. It will be in there amongst the plans that we are to think about.”

The Las Vegas sphere cost over $2 billion to construct, and hosts the world’s largest LED screen. Take a look at one of U2’s performances from inside the venue below:

If Pink Floyd were to be immortalised as avatars, they’d be joining the likes of Kiss – who announced a virtual, eternal era for the band following their final ever show at Madison Square Garden – and ABBA, whose Voyage concerts popularised the format.

Earlier this year, Paul Stanley spoke of the band’s retirement and their next, virtual steps: “Do I miss being on stage in front of 50,000 people, 100,000 people? Hell, yeah… Everybody who’s attained that kind of success, sure, you miss it, but there’s a difference between missing and yearning,” he told S.E Cupp on her podcast.

“We sold Kiss, which is something that’s unheard of, that doesn’t even exist in the lexicon of music. We sold Kiss [several] months ago – I mean, everything: the logo, the makeup, the music. And there’ll be an incredible, immersive musical experience that’ll debut in ‘27 that George Lucas [filmmaker] is involved in… That lives forever, but I can’t.”

Find out more about the Las Vegas Sphere, or view the full list of cinema screenings for the Live At The Circus Maximus concert film via David Gilmour’s official website. 

The post David Gilmour is open to a Pink Floyd avatar show at the Las Vegas Sphere: “I’m hoping to go there and watch myself… So I don’t actually have to get up and do it” appeared first on Guitar.com | All Things Guitar.

Carrying Eddie Van Halen’s last name comes with a weight few could imagine. For Wolfgang Van Halen, that pressure is magnified every time he’s asked to perform one of his father’s songs – a request he almost always declines.

Since Eddie’s death in 2020, Wolfgang has only broken that rule twice. The first was in 2022 at the Taylor Hawkins tribute concert, where he ripped through On Fire and Hot For Teacher alongside Dave Grohl, Justin Hawkins and Josh Freese. The second one came at the 2024 Welcome to Rockville festival, where he stunned the crowd with a searing rendition of Eruption.

• READ MORE: “I know we’d be screaming together in the stands watching him on stage”: Eddie Van Halen’s ex-wife says he’d be “so proud” of his son Wolfgang in touching tribute

But behind the bravado was a very real fear. Speaking to Metal Hammer, Wolfgang recalls how he wrestled with Grohl’s invitation to perform at the Hawkins tribute: “I was like, ‘This is either going to be a nice coda to Van Halen or it’s going to ruin my life.’”

He explains, “I don’t think I would have ever been able to live it down – with how many people who hate me and say, ‘You’ll never be good enough and you have to play Van Halen to be relevant’ – if the one time I played Van Halen on my own, I ruined it and messed up. In my mind, it would have ruined my life had I messed up. I took it very seriously.”

That anxiety helps explain why Wolfgang now keeps his distance from his father’s legacy. In a June interview with Drumeo, the Mammoth frontman revealed that he and his uncle, drummer Alex Van Halen, have a similarly cautious relationship with the band’s catalogue.

“I’m really just not interested in playing it anymore without dad,” he said. “And I know [Alex] feels the exact same way.”

“I’ll play it for fun every now and then. If Dave Grohl comes to me and goes like, ‘Hey, you wanna do this?’ Like, ‘Yes, Dave Grohl, I would like to do that with you.’ But, overall, it’s really a tough thing for me.”

The post “I don’t think I would have ever been able to live it down”: Wolfgang Van Halen on why he was worried playing his father’s songs could have “ruined my life” appeared first on Guitar.com | All Things Guitar.

Creedence Clearwater Revival’s John Fogerty is no stranger to legal battles.

From fighting record label boss Saul Zaentz to courtroom clashes with his own bandmates, Fogerty’s career has been as defined by legal strife as it has by the songs that made CCR legendary. In 2023, after more than half a century of wrangling, he finally secured the US and worldwide rights to the band’s catalogue.

Now, at 80, Fogerty says he’s grown more at ease with his past. Asked what he sees when he looks at photos of his younger self, the guitarist tells CBS Sunday Morning: “Well, I’ve gotten more comfortable with that person in those pictures from long ago, and so I think that allows me to feel better about it, I suppose.”

• READ MORE: John Fogerty says this thing is more important to musical success than being a good guitar player: “Even if your playing is kind of average, you can go far”

“How can I say it? I was confused about the tension and the grumbling that was going on within the band, and certainly, we ended up having a really troubled relationship with Saul, who was the owner of the label. And because it was not a big label, it became personal, because we knew that individual person and he was screwing us.”

Fogerty adds that his later victories in the music business have allowed him to look back with some relief: “The reason I’m more comfortable is because it has turned out okay now, right? But for many years, I would look at those pictures and be sad, because it was sort of a tragic thing. I think the kid doing it at the time just thought, ‘Oh, whoa. I tried really hard, and I was hoping to grow up and be [American sports icon] Babe Ruth.’”

“I mean, who knew that it would actually come true, in a sense,” he says. “But man, it was working. I thought everybody around me could see that and understood that it was working and that this was great. And I have a feeling that they didn’t see it that way.”

Asked if he’s now “at peace with Creedence”, Fogerty admits: “Yeah, I think so. It depends on what you may mean by that. The way I accept it as inevitable – I’m laughing at myself now – I have been sued innumerable times by my former bandmates, let me put it that way. Sometimes it was actually my brother Tom, but after he passed, even his widow joined with Doug [Clifford] and Stu [Cook] and sued me.”

“It’s ironic that 80-year-old people are still suing each other,” Fogerty continues. “So if you mean at peace that way, I just accept all those things as kind of inevitable. That’s all. It’s not surprising anymore.”

On a more positive note, Fogerty recently released a new album featuring re-recorded versions of Creedence classics titled Legacy: The Creedence Clearwater Revival Years.

The post “It’s ironic that 80-year-old people are still suing each other”: John Fogerty reflects on decades of lawsuits with Creedence Clearwater Revival appeared first on Guitar.com | All Things Guitar.

Nikki Sixx has once again hit back at former Mötley Crüe guitarist Mick Mars’ claim that the band doesn’t actually play live.

Mars, who retired from touring in 2022 due to his battle with Ankylosing Spondylitis (AS), sued the band the following year, accusing them of cutting him off from profits and kicking him out against his will. In his lawsuit, he went so far as to allege that he was the only member performing 100 percent live during the band’s Stadium Tour and that Sixx “did not play a single note on bass”.

• READ MORE: “We had to make a choice. And we made the right choice”: Nikki Sixx defends Mötley Crüe replacing Mick Mars with John 5

Speaking to the Los Angeles Times, Sixx dismisses the claims and explains that Mars’s departure was simply down to health issues.

“[Mick] came to us and said, health-wise, he couldn’t fulfill his contract, and we let him out of the deal,” the bassist recalls. “Then he sued us because he just said that he can’t tour. We were like, ‘Well, if you can’t tour, you can’t tour.’ I will probably come to that too someday.”

On the subject of backing tracks, Sixx insists the band has never faked a performance: “Anything we enhance the shows with, we actually played,” he says. “If there are background vocals with my background vocals, and we have background singers to make it sound more like the record. That does not mean we’re not singing.”

Mötley Crüe’s attorney, Sasha Frid, also writes in a statement to the LA Times: “The fact of the matter is that Mötley always plays live. Even Mars’ expert witness in the litigation, who Mars hired and who reviewed hours of footage, agreed and said that the band played live while performing. He disputed Mars’ own claims.”

Meanwhile, Sixx didn’t hide his frustration at Mars’s accusations, calling them a “crazy betrayal”.

“Saying he played in a band that didn’t play, it’s a betrayal to the band who saved his life,” he says. “People say things like, ‘Well, if you guys are really playing, then I need isolated tracks from band rehearsal.’ … It’s ludicrous.”

For now, the Crüe continue with guitarist John 5, who has handled live duties since late 2022. Their Las Vegas residency runs through October, and their latest release – a reimagined version of Home Sweet Home with Dolly Parton – recently topped the charts.

The post “It’s a betrayal to the band who saved his life”: Nikki Sixx responds to Mick Mars’ claim that Mötley Crüe doesn’t play live appeared first on Guitar.com | All Things Guitar.

$899/£899, martinguitar.com

Billy Strings is one of the most electrifying guitar talents on the scene right now, and so it should come as no surprise that Martin has honoured the 32-year-old bluegrass phenomenon with not one but two new signature models based on the dreadnought guitars that he loves so much.

• READ MORE: Martin D-X2E review – is this the new must-have budget dreadnought acoustic?

Now the first of these guitars, launched back at NAMM in January 2025, is a near as dammit $4,000 D-28 Billy Strings is a love letter to Billy’s beloved 1940 D-28, and features such interesting appointments as a unique 25-inch scale length to give a little less tension and make bends easier, while a unique 1 23/32-inch nut width allows him to blaze up and down the fretboard – it’s a little narrower than standard.

Most of us don’t have $4,000 burning a hole in our pockets to spend on a new guitar however, and so it was a relief to see that revealed alongside the D-28 at the NAMM Show back in January was a much more affordable guitar from Martin’s Mexico-made X series.

Martin D-X2E Billy Strings – what is it?

The X series version of Strings’ signature model is based on the D-X2E from Martin’s recently overhauled Remastered X-series. As I discovered in my review last year, that was a pretty impressive guitar in its own right, and the Strings version carries over much of the fundamentals from that.

That means you get a spruce top with Martin’s laminate HPL material on the back and sides – including the same Brazilian rosewood pattern printed on it in handsome fashion. You also don’t get any binding on this one, with a bevelled edge adding a smoother transition between the two.

It’s not just a name on the label that differentiates this from a standard D-X2E however – as some of the most important bits of the US-made version are carried over in the shape of that unique 25-inch scale length and custom nut width.

You also get a custom hemp (very apt for the ‘California sober’ Strings) embroidered gigbag with the artist’s name on it as opposed to the regular X series gigbag, and the usual Martin E1 electronics with a built-in tuner and volume, tone, and phase controls.

Martin D-X2E Billy Strings – playability and sound

Having played the vanilla D-X2E a fair bit, the change in scale length and string spacing is instantly apparent – and it’s a very good change in my opinion. Strings is well known for his ability to blaze up and down the fretboard with otherworldly grace, and while I’m nowhere near that sort of level, I instantly find that I’m more easily able to solo and chord up and down the neck with that slightly more compact string spacing and looser string tension.

Sonically, the scale length hasn’t had too much of an impact on the overall tonality of the guitar, and it’s pretty similar to the vanilla X-series guitar in that regard. That’s no bad thing of course, as the original sounded very good, with a clear and ringing tonality. The HPL back and sides deliver more mid to high end frequencies than traditional Martin guitars, but the Spruce top helped level it out.

Compared with the Nazareth-made Strings model, you can definitely notice the bass frequencies aren’t as forward, but that’s probably to be expected when we’re comparing two guitars of such wildly different price tags.

Plugging in, and the E1 electronics are easy to use and sound good – they’re unlikely to change anyone’s life in terms of the way they reproduce your acoustic tone, but for a sub-$1,000 guitar, it’s certainly nothing worth complaining about.

Martin D-X2E Billy Strings – should I buy one?

Sticking an artist’s name on a signature model is always going to correlate with an upcharge on the ticket, and the $200 increase on this guitar over the base model shouldn’t be discounted.

But there’s an argument that what you’re getting here is a different enough ride from the vanilla D-X2E that it more than justifies that pricetag and its status as an instrument in its own right. The neck, with its unique scale length, string spacing and slimmer profile, make this feel like such a distinct instrument from any other Martin in the X series. It feels like someone has done the work and broken this thing in for you, with an easy and addictive playability that keeps you coming back for more – you certainly don’t need to be a bluegrass phenom to appreciate its charms.

Martin D-X2E Billy Strings – alternatives

I’d play them both before you pull the trigger, but if you’re not bothered by the scale length and string spacing differences on the Strings model, the vanilla D-X2E ($699) is a fine guitar for a considerable wedge less. Another fine mid-priced dreadnought made in Mexico is Taylor’s 110ce ($799) and offers the benefits of the brand’s electric-like playability and a cutaway. If you want an alternative big-bodied acoustic with more old-school charm then Epiphone’s J-45 ($799) is a very fine instrument.

The post Martin D-X2E Billy Strings review – “you certainly don’t need to be a bluegrass phenom to appreciate its charms” appeared first on Guitar.com | All Things Guitar.

Nuno Bettencourt may have been the only guitarist to turn down an offer of playing for Ozzy Osbourne, but the Extreme guitar icon remembers their final conversation together fondly.

Bettencourt was offered a job with the Prince Of Darkness in the 1990s, but turned it down as he was busy with his own band. He’d also previously auditioned to play for Osbourne as a teenager, but didn’t get selected.

• READ MORE: “I was very bummed”: Wolfgang Van Halen explains the real reason he had to drop out of Ozzy and Black Sabbath’s farewell concert

In an interview with Page Six on the red carpet at the VMAs, Bettencourt says (via Guitarist), “When I was 15 and his guitar player [Randy Rhoads] passed in a bad plane accident, I believed that I was gonna replace him, and there was an ad to send a cassette in.

“So I did. I put a cassette together at 15, sent it in, [I thought], ‘This is my gig. I’m going to get it.’ Of course, I didn’t,” he continues. “Nobody ever called. Cut to 12 years later, I’m opening for Aerosmith with Extreme in London and my booker comes in and says, ‘Sharon [Osbourne] just called. Ozzy wants you and wants you to be in the band.’ This is like 1995, ’96. I said no.”

Though he admits it’s a regret, Bettencourt caught up with Osbourne at the Back To The Beginning final Black Sabbath gig: “The last words we said to each other when we took the big group photo, I grabbed his hand, saying, ‘Thank you for everything, and thank you, Ozzy, for what you mean to me.’

He goes on to add, “He pulls me in by the hand. He goes, ‘You were the only guitar player who said no to me.’ But he laughed! He goes, ‘I love you and thank you for being here.’”

Bettencourt also joined a supergroup consisting of Yungblud and Aerosmith’s Steven Tyler and Joe Perry at the VMAs to perform a tribute medley in honour of Osbourne. You can watch the performance below:

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