Music is the universal language
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Learn a Contemporary Fingerstyle Arrangement of “Cielito Lindo,” a Mexican Cultural Treasure
Give your pedalboard the glow up it deserves with over $100 off this Fender patch cable kit – pay just $3 per cable and save 65%
“Michael was very normal. I was expecting weirdness, but it wasn’t that way at all. He was very interested in my pedalboard”: Session legend Tim Pierce on working with Michael Jackson – and how the King of Pop turned out to be an unexpected gear nerd
“Draws on everything we’ve learned”: Gibson (sort of) revives the cult Marauder model beloved by Adam Jones and Paul Stanley – by combining it with an even more obscure build
Seriously? $109.99 for a genuine Telecaster?! Fender’s Squier Debut models are the ultimate beginner guitars, and with this wallet-friendly Prime Day discount, you'll have enough left over to buy a tuner
The power of change: why Taylor’s Gold Label guitars are getting bigger, and why you should be excited
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Andy Powers wants to make Taylor fans a little uncomfortable, sort of. “Well not uncomfortable,” the ever-affable Taylor CEO quickly corrects himself. “But I think it does feel like a bit of a surprise. Like, ‘Where are we going with this? I did not expect that sort of change from you’.”
Powers is talking to us about the Gold Label series of instruments – a totally new line for Taylor that debuted back at the NAMM Show in January 2025… and quickly became some of the most talked about guitars to come out of El Cajon in a very long time.
Because anyone who knows and loves Taylor Guitars knows that there’s a pretty successful formula – the look tends to be clean, sleek and modern, the bodies tend to prioritise player comfort with cutaways and contours, the sound tends to be pristine and hi-fi, and the playability is slinky and inviting. But the first Gold Label instruments broke with at least a couple of those conventions – with radically different looks and a wealth of under the hood innovations that made them, in some ways, the most un-Taylor guitars the company has ever made.
Or to quote our review of the Gold Label 814e, “A guitar that melds vintage warmth with the precision and clarity we’ve come to expect from a V-Class guitar – if you’ve been left cold by Taylor guitars in the past, this might make you take another look.”
And to hear Powers himself talk about it, that was very much the point: “This is a different flavor altogether,” he explained to us ahead of launch. “Equally good, equally interesting, but probably speaks to a different musician – or different use case at least. And so this will be interesting to watch expand. There’s a lot that we can do with this coming in the future.”
Plenty of players have clearly already got the message when it comes to the Gold Label Collection, because that future is already here. Barely six months after the initial launch, part two of the Gold Label Collection might be its most exciting development yet.
Image: Taylor
Pushing Power
The original Gold Label 814e guitar also debuted a brand new Super Auditorium body shape that was designed to take advantage of two revolutionary Andy Powers creations – a Fanned interpretation of V-Class bracing, and the brand new long-tenon Action Control Neck
. The result was a warmer, rounder and more robust tone that felt dramatically different from any other Taylor guitar that had come before it, and also more traditional and vintage at the same time.
The Super Auditorium felt like a more classic take on the traditional Taylor formula, but anyone who played a Gold Label guitar knew instantly that this could be used in a variety of different ways. But the non-cutaway 814e was already a pretty big guitar – few would have expected the next evolution of the Collection would be to go even bigger. Enter the Gold Label Grand Pacific.
The Grand Pacific body shape was already the big brother of the modern Taylor line – a slope-shouldered design that’s pretty much the exact same width, length and depth as a classic Dreadnought guitar. But for the Gold Label, Powers decided that the sonic qualities of the design meant he could go even bigger than a dread.
The Gold Label GP retains the beautiful dimensions of the original, but this thing is an extra 3/8-inch deeper – making it a whopping five inches deep at the soundhole. That’s deeper than a dread, that’s deeper than a Super Jumbo… but Taylor is known for making smaller and more compact bodied acoustics still sound fantastic… why would the good folks in El Cajon suddenly want to go in the other direction?
The answer is “lung capacity” – the extra body depth in the Gold Label Grand Pacific gives the guitar more low-end expressiveness, a deeper resonant frequency, and of course, a little more ‘sonic push’ when it comes to volume. In practice this translates to a guitar that combines the wonderfully in-tune and clear high-end characteristics of a V-Class guitar with an expanded low-end expressiveness – giving your notes and chords articulation and clarity wherever you play them.
It can also shout with the best of them. While the onboard LR Baggs Element VTC means you’ll sound great when plugging in, the sheer power and volume available with the Gold Label GP will mean you’ll have no problem being heard should you choose not to.
Image: Taylor
Colour & The Shape
The look of the original Gold Label 814e was head-turning, and that was entirely intentional, “With that sound in hand, I needed to appoint the guitar appropriately.” Powers explained. “And this does feel like such a radical change for us.”
Powers drew on his love of vintage banjo and archtops of the pre-war period, plus the acoustic guitar-making language of the 1930s, to inform the radically classic look of the Gold Label guitars.
But the new spruce/rosewood 717e and spruce/mahogany 517e also add another striking look to the palette to go with the eye-catching sunburst options of the 814e. The 717e and 517e Blacktops do exactly what it says on the tin – painting the spruce top black for a strikingly vintage and old school appearance. If Taylor had been making guitars during the Great Depression, they might very well have looked like this, and it’s a stunning prospect.
It all adds up to demonstrate why the Gold Label concept is such an exciting one for Taylor – whether you’re a devotee of their guitars or not. This is a company boldly stepping out of their comfort zone and trying different things, but alloyed to the precision and innovation the brand is synonymous with.
The obvious and safe thing to do would have been to follow up the Gold Label’s initial success with something safe and more traditionally Taylor – a cutaway guitar or one with a Grand Auditorium body shape, for instance. Neither of those options would have been wrong of course, but it shows the commitment of Powers and his team to use Gold Label to broaden the brand’s horizons. They’re pushing into the unknown here, and that’s by design.
“I don’t have it entirely mapped out,” Powers explained of the grand plan for the Gold Label Collection. “That would be tremendously boring, because then it might as well be done! I like there to be a little bit of adventure in life. It’s the kinds of things that I remember made me excited with guitars, and still make me excited with guitars. Let’s do something that when we pick the instrument up and play the same open-position chords, we go, ‘Wow, I hear this in a new way’. That feels inspiring. That’s worthy of living.”
Find out more about the Gold Label 717e and 517e at Taylor Guitars.
Image: Taylor
The post The power of change: why Taylor’s Gold Label guitars are getting bigger, and why you should be excited appeared first on Guitar.com | All Things Guitar.
“We were doing War Pigs… Ozzy looks at me and mouths, ‘What are the words?’ I said, ‘Idon’t know.’ So he started singing Old MacDonald Had a Farm”: Jake E. Lee on his wild Ozzy Osbourne days and why Tony Iommi is harder to emulate than Randy Rhoads
“I gave up trying to be a great guitar player. I have enough to get by in the studio – I got away with murder”: Mark Knopfler on why he doesn’t consider himself a “guitar god” – and the ones in the industry who deserve that title
“You gotta quit at the right moment, and Gary did the worst thing any band member can do. I was angry, man”: Scott Gorham on how his guitar partnership with Gary Moore came to a dramatic end – and building bridges with the late guitar hero decades later
Jack White is looking for the Gibson guitar he sold as a teenager – can you help?
Jack White has launched an online plea for fans to help find the Gibson ES-120T he sold as a teenager.
In a new post on Instagram, the White Stripes man showcases a similar ES-120T, before announcing he’s looking for the model he originally sold.
“I sold this model guitar as a teenager and have regretted it for many years now,” White writes in the post’s caption.
“It was given to me by my cousin Paul Ossy who is a multi-instrumentalist (who also played electric violin on the Stripes album De Stijl). I sold it at Gordy’s guitar show in Detroit in the early ‘90s so I could buy a two-pickup Silvertone amp in-case model.
“I etched something under the truss rod cover that only I know, if anyone out there finds it, let me know. And it’s not a red burst version, it’s the black burst version like this one I’m holding over at Carter Vintage, Nashville. Please excuse my filthy hands and arms as I was in the shop painting boxes all day.”
The comments on the post offer some promising leads, including from one person who claims to have a guitar “just like it”.
“The truss rod cover has something etched,” they write. “Tried to send you a picture but can’t before you accept the message. Send me a PM and you’ll get a picture of the guitar and truss rod.”
While the whereabouts of White’s original guitar are currently unknown, the White Stripes guitarist is hoping someone out there will be able to help. Might it be you?
In other news, Jack White recently joined a hotly debated topic over whether guitarists should know every note on the fretboard.
The conversation was sparked by jazz-funk maestro Cory Wong, who insisted every guitarist should seek to become fluent with every note on their guitar’s ‘board. His comments provoked some to push back, but he embraced the controversy. “Didn’t know this would trigger so many folks – I’m here for it,” he said.
In a hilarious response, Jack White responded: “Ok it’s a deal; I’ll find the C, but I’m not learning all those other notes!”
The post Jack White is looking for the Gibson guitar he sold as a teenager – can you help? appeared first on Guitar.com | All Things Guitar.
“The audience got on my side when I came out with this broken guitar… it started life as a Baby Taylor but got stepped on and snapped”: He's been called the UK's “best, most humane songwriter” but a broken acoustic is the secret to Richard Dawson's sound
“He really is the daddy of shredding”: Sophie Lloyd picks her five favourite guitar solos of all time
Guitarist Sophie Lloyd has tackled plenty of solos in her time, boasting a whole YouTube channel of shred covers. Now, she’s revealed her five favourite guitar solos.
In interview with Metal Hammer, Lloyd kicks her list off with an “obvious choice”, albeit a total classic – Eruption by Van Halen, specifically the Live in New Haven version. “Eddie Van Halen is just the biggest inspiration for me,” she explains. “That tapping lick is something I think pretty much all guitarists learnt when they were growing up… I actually used it in my solo I played today!”
While Lloyd praises Eddie’s technique, she does admit she has a “love-hate relationship” with the song sometimes. “It was my alarm while I was at university,” she says. “It was kind of traumatic for me when I had to wake up early for lectures. But it’s still one of my favourite solos to this day – and he looks so cool when he takes his cigarette and puts it in his guitar. I aim for the day I can be that cool.”
Comfortably Numb by Pink Floyd is another pick. “This one has a special place in my heart,” Lloyd begins. “Because I did a shred version of this one on my YouTube channel and I did the original solo. Before this I was very much, you know… let’s shred like crazy! [When] I had to learn this, I really had to adjust my playing style.”
“I think studying the way David Gilmour bends, the way he puts licks together and stuff, just really kind of opened my eyes to playing with feeling and telling a story through your solos,” she continues. “I really credit that as a turning point in my kind of soloing journey.”
Another challenging solo that would help define Lloyd’s style was that of Beast and the Harlot by Avenged Sevenfold. “When I was growing up, I remember thinking and listening to that solo in the car thinking ‘When I can play that, that’s when I’ll finally admit I’m a good guitarist,’” she recalls. “I still won’t admit it, but I can play it!”
“The techniques that Synyster Gates uses are just fucking incredible,” she adds. “His little chromatic runs at the end… he really is the daddy of shredding to a lot of people! And I think he just comes up with such cool, creative ideas. The harmonies with Zacky Vengeance [are also] really cool and really inspiring to me. [Gates is] definitely a guitarist that I look up to. And I think you can see that in my playing.”
Lloyd also gives a nod to Ozzy Osbourne with Crazy Train – quite fitting, considering this weekend saw the Prince of Darkness’ final ever performance with Black Sabbath. “Randy Rhoads, of course, recorded this solo,” she explains. “[It’s just a] masterclass in good rock metal soloing. It’s got so much feeling in it… you feel like you’re on the crazy train with the way he uses his techniques, uses the whammy bar in the solo and does his tapping down. It really kind of portrays that craziness.”
“Again, that was another one [where] I was like, ‘when I can play that, I’ll admit I’m a good guitarist,’” she notes. “And I still won’t admit it! Randy Rhoads is such a big inspiration for me. Like his little techniques and tricks he does, like his finger slides on the fretboard.”
The final pick is November Rain by Guns N’ Roses, a track Lloyd notes as an “all-round beautiful” song. “It’s amazing,” she praises. “They kind of switch up from the slow song to suddenly having this build into this epic solo at the end with the epic bends! And everyone knows that scene with Slash in the wind, everyone wants to recreate that. And I think it’s just something that really stands out in people’s minds as a solo.”
Like most guitarists, Lloyd notes Slash as a standout inspiration. “He’s one of my biggest inspirations of all time,” she says. “I couldn’t not put a Slash solo in there! Again, I did a shred version of that [track], and learning that solo really taught me so much about emotion and putting different notes into different scales to make it sound good according to the backing track and everything.”
Check out the full clip below:
The post “He really is the daddy of shredding”: Sophie Lloyd picks her five favourite guitar solos of all time appeared first on Guitar.com | All Things Guitar.
“A bold step forward in modern amp design”: Blackstar goes up against Boss and Positive Grid with the ID:X – a next-gen modeling amp with newly developed tech that isn’t afraid of the competition
The cheapest Fender guitar on the market is even cheaper this Prime Day
Fancy a brand-new electric guitar for 100 quid? This is easily one of the best Prime Day guitar deals we’ve seen yet.
For a limited time only – Prime Day lasts until 11 July – you can grab this Fender Squier Debut Collection Telecaster in either Seafoam Green or Dakota Red for just £109.99. As an entry-level model in the Fender lineup, the guitar normally boasts an affordable price tag, but right now you can get it even cheaper.
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An ideal beginner guitar – or indeed a vibrant addition to any existing guitar collection – the Squier Debut Collection Telecaster features a lightweight poplar body, comfortable slim “C”-shaped neck profile, 21-fret laurel fingerboard and two single-coil pickups for that timeless Tele sound in a package that’s wallet-friendly, to say the least.
Elsewhere, the guitar offers three-way switching for a healthy palette of tones to explore, as well as a hardtail bridge for reliable tuning stability, and sealed-gear tuning machines for smooth, accurate tuning adjustments. It also sports chrome hardware for a premium look which far belies its price point.
Credit: Amazon
When in the market for your first guitar, it’s hard to know where to start. There are a plethora of affordable options available on the market, so choosing the right one can be a little daunting.
But with Squier – a budget brand owned by Fender, one of the world’s best and most reputable guitar companies – you know quality is assured. And for a little extra piece of mind, this guitar comes with a two-year warranty, too.
Does the deal still need sweetening? Okay, fine. If you grab this guitar for just £109.99 this Prime Day, you’ll also get a free subscription to Fender Play, Fender’s own learning platform which includes thousands of instructional videos to build your skills.
In terms of value for money, Prime Day guitar deals don’t come much better than this. Grab the Squier Debut Collection Telecaster for just over £100 right now.
Learn more at Amazon.
The post The cheapest Fender guitar on the market is even cheaper this Prime Day appeared first on Guitar.com | All Things Guitar.
Blackstar’s new ID:X advanced DSP modelling amplifiers go “head-to-head with the current market leader”
Blackstar Amplification has announced the launch of ID:X, a new line of advanced DSP modelling amplifiers.
Available in both 50 Watt and 100 Watt models, the ID:X is built on the foundation of Blackstar’s ID:Series, Silverline, and AMPED models. It “goes head-to-head with the current market leader” of the modelling world, according to the amplification brand, and is built to offer a streamlined user experience.
The ID:X introduces a discreet, user-friendly OLED display that provides instant visual feedback and deep access for editing settings and effects. It also features six voices, including both cleans and signature Blackstar high-gain, all of which are shaped by a four-band EQ section.
Of course, ID:X also includes Blackstar’s latest IR-based CabRig speaker and mic simulation technology, and additionally features new In The Room tech – able to create the experience of standing next to an amp while you play, rather than the “studio focussed tones” of traditionally captured IRs.
Players can create and store up to 99 patches, with easy recall via the front panel or using a compatible FS-12 or FS-18 footswitch, and the amp is fully integrated with Blackstar’s Architect software for further editing, patch management, and more. You’ll also find over 35 effects directly on board (overdrive, delay, reverb, etc.), and each can be edited straight from the amp for convenience.
Image: Blackstar
This new amp is suitable for both stage and studio, and has selectable power modes including a 1W setting for quiet playing. The 100 Watt model includes a balanced XLR out plus MIDI in and thru, while both models host USB-C for recording, a 1⁄4-inch line out, headphone output, and an aux input.
The 50 Watt ID:X is available for £292.99, while the ID:X 100 is priced at £379.99. You can find out more via Blackstar.
The post Blackstar’s new ID:X advanced DSP modelling amplifiers go “head-to-head with the current market leader” appeared first on Guitar.com | All Things Guitar.
“The electric guitar is an American cultural export” NAMM CEO John Mlynczak on why Fender, Gibson, PRS and others joined forces to lobby congress over wood tariffs
Since President Donald Trump took office for the second time in January, his administration has used executive orders to enact sweeping changes to the way the USA trades with the rest of the world – most notably by using hefty tariffs on the import of goods into the United States from countries around the world.
While the impact of these tariffs has been felt across the American economy, the guitar industry seems to be especially keenly impacted.
Over the last few weeks on Guitar.com we’ve been covering the devastating impact these new tariffs have had on America’s thriving boutique effects industry. Dozens of makers told us how their businesses were teetering on the brink of collapse as a result, and explained why the long-term goals of bringing certain industries to America from China and elsewhere would come too late to save them.
But what about the guitars themselves? On the surface US-made guitars are less keenly impacted by the tariffs on electronic components from places like China, but what about wood? The awkward reality is that a huge amount of the tonewoods that are used in the construction of US-made guitars come from outside of the US.
That’s a significant problem for the American guitar industry as a whole, and it’s led NAMM CEO John Mlynczak to spur his organisation into action. Mlynczak has spoken out several times about the threat these tariffs pose to the industry and called for musical instruments to be exempted from tariffs, but he’s also been working behind the scenes.
Back in May, Mlynczak and NAMM went with a delegation of key figures from the US guitar industry – representatives from Fender, Gibson, PRS, Martin and Taylor – to Washington DC. The aim was meet with congressional representatives and try to help them understand the situation.
John Mlynczak. Image: Press
It was an unusual and striking move to see the biggest players in the American guitar industry move as one, so now that the dust has settled, we caught up with Mlynczak to find out why he felt the mission was an important one.
“We talk so much about the NAMM show, but we are first and foremost, an association [NAMM is an abbreviation of National Association of Music Merchants – Ed],” Mlynczak explains. “And so that was a big thing we got from talking to members – what can we do for you year round?
“We have amazing companies, we have innovators, we have incredibly resilient people in our industry that are out there fighting the good fight every day. But what is it that only the Association can do? Particularly in DC, only the Association, in partnership with members, can go lobby.”
Mlynczak describes the tariff situation as “scary and unfortunate” for the guitar industry, but it was also a chance for NAMM to provide leadership, organisation and direction – and to show its members that it is going to bat for the US music industry at the highest level.
“We can now show our industry that we’re not just the big trade show of the past,” he explains, animatedly. “We’re out there.”
John Mlynczak and Jon Batiste at The 2025 NAMM Show at Anaheim Convention Center on January 24, 2025 in Anaheim, California. Image: Daniel Knighton/Getty Images
Story Tellers
You might well ask what an organisation like NAMM, or indeed the brands associated with the delegation can really do to impact US government policy given the comparatively small size of the guitar industry in relation to something like consumer electronics or the garment industry.
But Mlynczak believes that there’s power in putting human faces and real-world testimonials into the hands of lawmakers.
“Members of Congress, we hear it time and time again – they desperately need stories when they go debate in committees and they go debate on the floor,” he affirms. “If you ever watch C-Span – and I was a C-Span junkie for a while – they’re focusing on stories from their district.
“That’s what they’ve told us, ‘We need stories from our district. How do I make the case to the other side or to my committee?’ So when we bring members and we’re arming them with data. It’s super necessary work.”
Regarding the specific issue of tariffs on tonewoods, Mlynczak clearly believes that the proactive stance that NAMM and its members took in DC was the best route.
“The tariffs are incredibly nuanced and complicated,” he admits. “But there are various Section 232 investigations [an investigation by the Department of Commerce on the impact of certain imports on national security – Ed] on various industries happening right now.
“One of them is on imports of timber. And so the high level ask that we wanted to work on, was making sure that we submitted letters to congress, and we submitted investigation letters through the process.
“But we also met with high-level members of Congress just to follow up and say, ‘Hey, we’ve done this… and by the way, American made brands can’t make these products unless they get wood from overseas. We don’t grow these species of wood in the United States!’”
Time will tell how effective this lobbying effort was on US government policy, but Mlynczak feels like there’s a clear and obvious case for the exemptions he’s previously called for.
“Our industry does have American manufacturing,” he insists. “I mean, you think about it, what’s more iconically American, what’s more apple pie… than the electric guitar? Man, come on, there’s nothing more American than that!
“The electric guitar – that is an American cultural export. And so if we were going to fight for anything in this climate of prioritising American manufacturing, that was the one.”
The post “The electric guitar is an American cultural export” NAMM CEO John Mlynczak on why Fender, Gibson, PRS and others joined forces to lobby congress over wood tariffs appeared first on Guitar.com | All Things Guitar.
We Have So Much to Say About Dave Matthews | 100 Guitarists Podcast
Dave Matthews’ guitar playing left its mark on the hosts of 100 Guitarists. In this episode, we’re talking about his unique style and sound and the players who influenced it. From his work leading DMB to his duo performances with guitarist Tim Reynolds, there’s a lot to cover.
Speaking of Reynolds, Jason calls on Dave and Tim to return to Luther College for the 30th anniversary of their first live record. And Jason learns about Michael McDonald’s guest spots with DMB.
Sponsored by Fishman: fishman.com
On Meshell Ndegeocello and Artistic Curiosity
What does your favorite player’s back catalog reveal about their artistry?
I recently reconnected with one of my earliest teachers and mentors in London, Geoff Gascoyne. Google him—he’s had an incredible career, and he set me up with some invaluable information at the beginning of mine. I was a guest on his podcast, The Quartet, and so many amazing memories about my very first days of becoming a bass player came flooding back.
One of the most important lessons I learned, just weeks after picking up my first bass, was also something that wouldn’t come into focus for some years—and it’s something I think we all deal with as fans of music.
We all have our favorite artists and favorite albums or periods of output from our heroes. It’s one of the major considerations that factors into whether we’ll go that extra step and buy a new recording or a concert ticket. Geoff knew I wanted to be a jazz musician and recommended some incredible albums like Art Pepper Meets the Rhythm Section, Speak No Evil by Wayne Shorter, and Soul Station by Hank Mobley. But in that very same lesson, he threw another name into the mix: Meshell Ndegeocello.
I fell in love with her albums Peace Beyond Passion and Plantation Lullabies, and her playing on those records has shaped my foundation as a bass player more than any other artist I’ve ever listened to. Both came out in the early and mid ’90s, when I was doing nothing but listening to and playing bass every day. They were the soundtrack of a very formative time in my life, and as such, my attachment to the music was intense.
Fast forward a decade to the mid 2000s: I’m living in New York, even playing on the same bill as her. Through my initial disappointment that she didn’t play any of those songs I loved so much as a kid, I started to understand something incredibly important about what it is to be an artist.
She was playing for herself in the studio. She was making music that mattered to her and not following a tried-and-tested formula of copying the albums that made her successful early on. It would have been so easy to make variations of Plantation Lullabies and be known for a specific thing for the rest of her career. But despite the massive success of Peace Beyond Passion, which was her second album, she followed it up with Bitter: acoustic guitars, strings, and big, open-sounding drums. A complete—and very brave—left turn.“Curiosity is always going to win out in the artist’s mindset, and those who are truly curious tend to write and play for themselves.”
This is not the norm today. People find something that works, and then they do it over and over again. They maybe change the lighting in their TikTok video once in a while or go do “their thing” in front of a famous landmark in the hopes of more followers. But they rarely seem to play for themselves. They do it specifically because they deal in the metric of attention, and are beholden to their audience.
My big takeaway is that I think it’s important to realize this both as a fan and as a player. It’s easy to expect something from your heroes because you have such a connection to a small part of their catalog—and that’s what you want to hear when you go to see them live. But history tells us that a large percentage of serious artists have moved on, sometimes even before an album is released.
Curiosity is always going to win out in the artist’s mindset, and those who are truly curious tend to write and play for themselves. Whoever comes along for the ride is a bonus.
We’re all basically along for the ride, and I think we can lose sight of that when we get too attached. Don’t get me wrong—I’m always going to love Peace Beyond Passion—but I’m also going to remember that it’s the artist beneath the performance that I’m actually most attached to. I now try to have as open a mind as possible when I go see my heroes live or listen to their new music, and that has a massive impact on how I go about my own career as an artist.
With my current goal of releasing three new albums every year until my time here ends, I have to let go of the last thing and move to the next more efficiently than ever.
I think you’d be surprised by some artists you think you really know—then you go digging in their back catalog and discover there are things they put out that never reached your ears.
Now, more than ever in history, it’s our job as fans and players to stay engaged in the fundamentals—and ignore the noise.
Lutefish Stream: Rehearse Online In Real-Time
PG contributor Tom Butwin tries the Lutefish Stream, a desktop device that lets musicians rehearse, record, and collaborate online with ultra-low latency. Tom tours the hardware, explores the browser-based mixer, and enlists a musical collaborator to test a real-time rehearsal for an upcoming performance.
Lutefish Stream
Play online, in real-time, with your band. Jam with up to 5 musicians up to 500 miles away!
Get Your Lutefish:
https://lutefish.com
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