Norse Guitar Feeds

The estate of Dimebag Darrell has launched Dime GuitarZ, a new guitar brand developed in partnership with Dean Zelinsky – the luthier behind many of the late Pantera guitarist’s most recognisable instruments.

The move arrives as long-running legal disputes over Dimebag’s legacy continue to unfold, centred around the ownership and use of his iconic guitar designs.

A 2021 lawsuit filed by In Dime We Trust – the organisation led by Dimebag’s longtime partner and estate trustee Rita Haney – accused Dean Guitars of unlawful use of the guitarist’s Stealth and Razorback body shapes, as well as “unauthorised fraudulent trademark registrations”. A recent court ruling has swung in favour of Dean, though Haney has stated her intention to appeal the decision.

The launch of Dime GuitarZ also comes just days after Dean Guitars’ parent company, Armadillo Enterprises, filed for bankruptcy, making the timing of the new venture particularly notable.

• READ MORE: “If they were Dime’s original riffs and ideas, of course”: Zakk Wylde says he’s open to recording new Pantera music – but only based on Dimebag Darrell’s existing ideas

Positioning itself as the “exclusive home of Official Dimebag Darrell guitars”, the company says its mission is simple: “To build the guitars Dimebag Darrell would be playing today.”

“There seems to be a misconception that Dime had a relationship with the Dean Guitars of today,” the estate said in a statement announcing the launch. “It simply isn’t true. He was killed three weeks after signing the deal.”

Instead, they point to Zelinsky as the key creative partner behind many of Dimebag’s early guitars, including original versions of the ML design and the famously modified ‘Dean From Hell’.

“He had a relationship with Dean Zelinsky,” the statement says. “He went there because DZ brought him there. That was Dime’s only relationship.”

The estate also argues that Zelinsky’s designs were central to Dimebag’s identity as a player.

“Dean Zelinsky built the beloved guitars he played including the Dean From Hell. That is who he wanted building his guitars and he stated that many times throughout his notes. In this case, imitation isn’t flattery, it’s a crime!”

“Dime played Dean Zelinsky’s MLs when he had braces on his teeth and he died with one in his arms,” Haney adds. “Dime’s innovation for tech, his love and trust of DZ’s brilliance, this is what the direction of this company is, to fulfill those wishes.”

Credit: Dime GuitarZ

Alongside the launch, Dime Guitarz has unveiled its flagship model, the Culprit – a design originally conceived by Dimebag before his death and first teased back in March 2025.
The model will be offered in both USA and Standard Series variants, priced between $1,999 to $5,999. Core specs include mahogany bodies with flame maple tops, three-piece maple set necks, ebony fingerboards with a 12-16” compound radius, and Floyd Rose 1000 tremolos.

Other features include Seymour Duncan Dimebucker and ’59 pickups, Grover-style tuners, and a push/push “DimeBooster” circuit delivering a 15dB gain boost. USA models also feature Zelinsky’s patented Z-Glide neck, designed to reduce friction for faster playing.

Visually, the guitars lean heavily into Dimebag’s aesthetic language, with finishes such as Dime Slime and Dimebolt, plus a razor blade inlay at the 12th fret and the signature winged headstock shape.

Zelinsky, who sold Dean Guitars in 1991 and later stepped away from the company entirely in 2008, says the project carries personal significance: “I’ve been fortunate to have a long and incredible career in the guitar business… After everything I’ve accomplished in this industry, helping carry Darrell’s legacy forward may be the most meaningful work I’ve ever done.”

View this post on Instagram

Learn more at Dimeguitarz.

The post Dimebag Darrell estate launches Dime GuitarZ with luthier Dean Zelinsky as legal battle over guitar designs continues appeared first on Guitar.com | All Things Guitar.

Between click tracks, pre-recorded parts, and tightly programmed setlists, the modern rock show can be a remarkably polished affair. Halestorm guitarist Joe Hottinger, however, believes that mistakes are part of what makes rock concerts exciting.

Speaking to Andy Guitar at last weekend’s Download festival, Hottinger weighs in on the use of backing tracks in live music, arguing that concerts should feel like living, breathing performances rather than note-for-note recreations of studio recordings.

• READ MORE: Richie Kotzen says guitarists are playing “more complex” nowadays, but at the expense of “artistic creative value”

“To me, a live show is an interpretation of your record. And it doesn’t need to sound [exactly like the album],” says Hottinger [via Blabbermouth]. “If you wanna listen to the studio recording, listen to the studio recording. To me, rock and roll is supposed to be a little dangerous. Like, are we gonna fuck up tonight? Who knows what the song’s gonna be like? What does it sound like when the four of us are making as much noise as we can?”

While he has no problem with other artists choosing to use backing tracks, the guitarist explains that the approach simply doesn’t suit Halestorm’s way of performing.

“Whatever – if people do their tracks and stuff, I don’t give a fuck,” says Hottinger. “That’s how they choose to run their business, and we just like to have fun. I don’t think it would be fun to have like a ‘clink, clink, clink, clink’ [in my in-ear monitors on stage].”

“How do you tap into the flow when there’s a cowbell banging inside of your head? Things should go wrong. It’s a rock show. There should be fuck-ups every [show]… We fuck up every show. It’s awesome.”

The debate around backing tracks, however, is still a live one in rock. While some artists have embraced them as a practical way to recreate a fuller and more layered sound on stage, others have taken a far harder line.

Bruce Dickinson, for one, has previously made his position on the issue unmistakably clear, saying he would rather “quit” than start using backing tracks live.

“If it’s not real, it’s not Maiden!” Dickinson told Classic Rock. The singer also warned against turning live shows into what he called “Disneyland Maiden” through the use of backing tracks and other live enhancements.

The post “If you wanna listen to the studio recording, listen to the studio recording”: Why Halestorm refuse to use backing tracks during live shows appeared first on Guitar.com | All Things Guitar.

Limp Bizkit guitarist Wes Borland has opened up about the death of bassist Sam Rivers, saying the band are still deeply affected eight months after his passing.

Rivers, who died last October at the age of 48, was one of the founding members of Limp Bizkit, forming the band in 1994 alongside frontman Fred Durst and drummer John Otto. Borland and DJ Lethal joined shortly after in 1996, completing the lineup behind some of nu-metal’s most recognisable hits.

• READ MORE: Jackson’s first ever Wes Borland signature model is here: Behold, the Pro Series Wes Borland King V KV
  

Speaking to Consequence in a recent interview, Borland admits the loss of his bandmate is still difficult to articulate: “[Sam] was like family. I’m gonna try not to cry. It’s just like we lost a piece of our DNA,” he says. “It’s too hard to talk about right now in depth.”

The guitarist adds that Rivers played a critical role in the band’s identity – both musically and personally.

“He can’t ever be replaced. We’re so lucky for Richie [Buxton], who’s playing with us right now. He’s such a great player, and he’s just a wonderful guy, and we’re gonna hold onto him for as long as we can,” says Borland.

“[But] Sam is not a replaceable person. He was the heartbeat. It’s very emotional talking about it. I think that last year when it happened, we were all kind of in shock, and now we’re all grieving.”
Rivers had previously stepped away from Limp Bizkit in 2015 due to health issues later revealed to be liver disease caused by alcohol abuse. He then underwent treatment and received a liver transplant after leaving the band.

“I got liver disease from excessive drinking… I had to leave Limp Bizkit in 2015 because I felt so horrible, and a few months after that I realised I had to change everything because I had really bad liver disease,” Rivers revealed in Jon Wiederhorn’s book Raising Hell (Backstage Tales From The Lives Of Metal Legends). “I quit drinking and did everything the doctors told me. I got treatment for the alcohol and got a liver transplant, which was a perfect match.”

Meanwhile, Limp Bizkit recently made their long-awaited Download Festival headline debut – 23 years after they were first scheduled to play the event. The band are also set to return to the festival circuit with appearances at Louder Than Life and Aftershock, with tickets now on sale for upcoming dates.

The post Wes Borland says Limp Bizkit “lost a piece of our DNA” with Sam Rivers’ death: “He can’t ever be replaced” appeared first on Guitar.com | All Things Guitar.

Math-rock wizard Yvette Young has teamed up with MixWave on her first signature plugin.

Faithfully modelled on the amps, pedals, and effects behind her signature sound, the MixWave: Yvette Young bundle repackages the Covet guitarist’s entire rig into a single virtual setup.

• READ MORE: Yvette Young’s next signature model will showcase a major change – and she’s “kicking” herself for not getting into it sooner

At its heart of the plugin is a hand-wired British-style combo amp that serves as the foundation of Young’s signature tone. The amp is paired with a matching cabinet section featuring Alnico Blue and Greenback speaker options, alongside an extensive impulse response library captured at MixWave Studios.

Users can further fine-tune their sound with a choice of 15 virtual microphones and adjustable placement options, offering everything from quick preset-based workflows to detailed studio-style tweaking.

The suite also includes nine of Young’s favourite effects, effectively bringing much of her pedalboard into the digital realm. Among them are reverb, analogue-style delay, harmonic tremolo, chorus, overdrive, fuzz, compression and octave effects, alongside a lo-fi modulator designed to capture some of her most dreamy and experimental textures.

Players are free to rearrange the signal chain to suit their workflow, while additional tools include built-in EQ and compression, a transpose feature, a tuner and tone-shaping controls labelled Focus, Contour, and Vibe.

According to Young, the plugin is designed to cater to both newcomers and obsessive tone chasers alike.

“What I love about this plugin is… if you just want to use a basic preset and tweak it a bit and not think about stuff like mic placement or whatever, it’s really great for people just wanting to enter the plug-in world and enter recording and get a great sound immediately,” says Young. “But what also is wonderful is for people who really care about being able to get granular things and tweak mic placement and tweak like EQ and just be really specific about your signal chain.”

“You can customize like crazy,” she adds. “There’s a whole lot to explore, and I’m just at the tip of the iceberg!”

The MixWave: Yvette Young is available now at an introductory price of $99 (U.P. $139). A 14-day free trial is also available.

Learn more at Mixwave.

The post Yvette Young’s first signature plugin with Mixwave puts her dreamy math-rock tones right in your DAW appeared first on Guitar.com | All Things Guitar.

When you first learn to play guitar, you learn that you can bend fretted notes using your fingers to create a vibrato effect. At some point, the guitar industry introduced mechanical vibrato systems to aid in creating this effect. So, what’s the point of creating vibrato through mechanical means rather than using the most precious tool at a guitarist’s disposal – the fingers?

• READ MORE: How strings, tension, tuning and intonation really effect your guitar’s tone

Players did not start wanting vibrato systems because their hands were incapable of adding expression. Finger vibrato, string bends, and blues inflection all existed long before anyone bolted a moving tailpiece or bridge onto a guitar. But, as anyone will tell you, a vibrato unit lets you move all the strings at once. That means chords, open strings, drones, and sustained intervals can all shift together in a way your fretting hand cannot really duplicate. But, bridge vibrato was never just a substitute for good fretting-hand technique. It was a different effect.

The basic idea showed up early. Clayton “Doc” Kauffman filed a patent application in 1929 for a device that would produce what the patent called “tremolo effects” (*wrong!) by mechanically changing string tension. What most players call a “tremolo arm” is really a vibrato system. Tremolo is fluctuation in volume. Vibrato is fluctuation in pitch.

Leo Fender helped cement the confusion by calling the Stratocaster’s bridge a “synchronized tremolo” in the 1950s, even though the mechanism changes string tension and therefore pitch. Fender itself now acknowledges the mix-up. The terminology was off, but the purpose was clear: create pitch movement by moving the string anchor point instead of manipulating the strings directly with the fretting hand.

Image: Adam Gasson

It’s About Doing Something More

That is the real beginning of the whole thing. Not “how do we replace finger vibrato?” but “how do we make the guitar do something a hand alone cannot do?” A fretting hand can make one note wobble. It can bend a string upward, maybe grab a double-stop if the setup and your fingers cooperate, and it can fake a little movement inside a chord if you are careful. What it generally cannot do is take a fully voiced chord and move the whole structure sharp and flat in one smooth gesture while keeping the intervals intact. It cannot easily do that while letting open strings ring either. In theory a vibrato system can. Now, there are some issues with a lot of vibrato systems in how they do that but for now, lets just say, that’s the goal.

It gave players a way to treat pitch as a property of the whole instrument, not just one note at a time.

Big Thinking

Bigsby is a good place to stop for a second, because it shows what players were after before the whammy bar became associated with dive-bombs and acrobatics. Paul Bigsby’s design, developed in the late 1940s and early 1950s, is generally treated as the first commercially successful vibrato system.

It did not give players some huge pitch range. That was not the point. It was smooth, musical, and particularly good for adding motion to held chords on hollow and semi-hollow instruments. Bigsby’s own history emphasizes that role, and players strongly associated with the unit have tended to use it the same way.

Then came Fender’s approach, which changed the feel of the instrument more dramatically. Leo Fender’s Stratocaster unit, patented in the 1950s, integrated the bridge and vibrato mechanism into one spring-balanced system. That design made the bridge itself part of the performance.

A vibrato system works by balancing string tension against spring tension. When the player moves the arm, that balance is disturbed, and when the arm is released the system is supposed to return to its neutral resting point. In practice, that depends on the strings moving freely across the nut, saddles, and other contact points. Guitar techs work very hard to make sure that vibrato systems are properly lubricated and balanced because if they’re not, it’s going to create issues.

Different systems make different compromises. A Bigsby usually gives you limited range but a particular feel and look that players still love. A vintage Strat-style unit can be expressive and touch-sensitive, but it lives and dies on setup. Fender’s offset vibrato system, used on models like the Jazzmaster, approached the same problem from another angle and developed its own following because the feel is softer and less abrupt than a Strat unit. Then later locking systems, most famously Floyd Rose, attacked the stability problem more aggressively by locking the strings at the nut and bridge so more extreme pitch movement could happen without the guitar going out of tune.

Image: Adam Gasson

Benefits and Compromises

Each vibrato system has its pros and cons. For example, often times with systems like the Floyd Rose, Fender Floating Bridge, and Bigsby, is that all the strings get stretched at different rates because they are all being bent the same amount but each string is under different tension and stretched differently. So using the bridge vibrato, the chord wont be perfectly in tune as you bend.

Ned Steinberger is one of the most brilliant minds in instrument design, and he’s still challenging things we thought we knew about the mechanics of an instrument. He came up with the TransTrem, which later inspired the Washburn Wonderbar and the EverTune Bridge.

But for each system’s pros and cons, people still opt to use them because they are expressive and frankly, a lot of fun to play with. Divebombing a Floyd Rose creates a trainwreck of imperfect sounds, but it’s fun to do, and sometimes it’s the effect that fits best in the music you’re making.

So when you buy a guitar with a vibrato system, what are you really buying? Not convenience. Certainly not simplicity. If simplicity were the goal, fixed bridges would have won the whole argument and ended it decades ago. So, no matter what vibrato system you choose to buy, you’re buying a feature that isn’t perfect, but it is fun to use, and isn’t that the whole point of playing guitar anyway?

The post What’s the point of your guitar’s vibrato system anyway? appeared first on Guitar.com | All Things Guitar.

While there’s certainly innovation in guitar building, time-honoured designs like the Stratocaster and Les Paul still rule the roost. So much so that Fender and Gibson – the two largest guitar companies in the world – have gone to great – often legal – lengths to ensure they hold onto their market share.

Launched in 1954 and 1952, respectively, the Stratocaster and Les Paul are the two most iconic guitars in history, picked time and time again by many of the world’s top guitar players. And as most of us get into guitar after being inspired by our heroes, is it any wonder that we often start by reaching for a Strat or an LP – or a guitar which closely resembles these designs?

• READ MORE: Fender CEO responds to cease-and-desist backlash, says company is “not suing anybody”

So while it could be argued that the guitar world is just crying out for some real innovation, is the fact we keep going back to Strat- and Les Paul-style guitars a symptom of market demand, as opposed to a lack of innovation on the part of guitar builders?

In a new conversation on Guitar Center’s Inside the Noise podcast, YouTuber, gear demoer and guitar repair expert Phillip McKnight shares his opinion as to why guitar designs that push the boundaries too far often fail to catch steam.

“I have a collection of innovative guitars that died,” he explains. “I have Parker Flys, I have an Ibanez Maxxas – the first guitar Ibanez ever designed as a true guitar, not a copy. Which was a colossal failure for Ibanez. It’s a hollowbody, it’s amazing. It has a great neck. It did everything great, but unfortunately, when they released it, everybody just wanted RGs.”

He goes on: “I like these guitars, because you get to see where somebody’s said, ‘I’m gonna fix this.’ It’s never the guitar’s fault [that they become commercial failures]. It’s just the market going, ‘Oh, but I just want a Strat [or] a Les Paul.”

McKnight is chatting with Guitar Center CEO Gabe Dalporto, who is currently spearheading the company’s initiative to design its own guitar brand from the ground up.

Guitar Center landed itself in hot water when it announced the project, after it called upon its customer base to submit ideas, and some objected to how this would involve sacrificing their rights for limited compensation.

Dalporto later explained why Guitar Center was determined to make a guitar that was “meaningfully better and differentiated”, saying: “The world doesn’t need another Tele or Strat clone – it just doesn’t”.

Now, in the latest Inside the Noise episode, the CEO calls the market “super traditionalist”, and elaborates: “The question remains, ‘How far can you push innovation and still resonate?’ And I think that’s what we’re trying to push ourselves.”

Catch all the latest Inside the Noise podcast episodes at Guitar Center’s YouTube channel. Stay up to date with Phillip McKnight via his .

The post “It’s just the market going, ‘Oh, but I want a Strat or a Les Paul’”: Phillip McKnight explains why innovative guitar designs often fail appeared first on Guitar.com | All Things Guitar.

The idea of making your own effects pedals is as enticing as it is intimidating. The world of DIY pedals is in a fantastic place right now – there’s not really been a better time to start making your own effects, with a huge selection of kits out there to try your hand at, and plenty of resources for designing your own circuit. But before you hastily reach for a soldering iron and doom your first attempt to the “to-fix” pile, I’d like to share some tips for making DIY pedals both work and look great, on the first try.

First things first – the kit itself. Today I’m assembling a StewMac Sun Face kit – a Fuzz Face-derived circuit with an added tone control. Pedals based around the Fuzz Face circuit are fantastic for a beginner, as they have a pretty low parts count – but the reward is oodles of fuzzy fun.

I’d also recommend using a kit with a PCB for your first pedal. I started out on stripboard, also known as veroboard. And while buying a bunch of stripboard can afford you some flexibility down the line, it’s also very fiddly to work with and pretty unforgiving if your soldering isn’t pin-neat to start with. How do I know this? Well, the less said about the total car-crash that was my first attempt at a veroboard Meathead fuzz, the better…

What you’ll need

Alongside the kit itself, you’ll need a few other things. First and foremost – a soldering iron (ideally one with a relatively small tip and temperature control), and some solder. You’ll also need some needle-nose pliers (seriously – don’t try and do this with the big chunky kind), a screwdriver with both a philips head for the enclosure screws and a small flathead for the knobs, some flush cutters for component legs, and some wire cutters/strippers. And finally – a multimeter. This is more essential than you’d think – it will save you a lot of time when troubleshooting, and in component identification.

And, while it’s not totally essential, some way of holding the board off your work surface is a game-changer. I like a set of helping hands (just insulated crocodile clips) on a stand, as these can also be good for wire tinning and splicing, and a few other things. You can get something like StewMac’s PCB holder, too, which lets you spin the board around when you’re ready to solder the other side. Whee!

What’s included

Being a kit rather than just a PCB, the StewMac Sun Fuzz comes with a pre-drilled and pre-painted enclosure (doing this yourself is a guide for another day), as well as some wire and the needed off-board components (a power jack, two audio jacks, and a footswitch), potentiometers for the pedal’s controls, and, of course, the board itself – plus all needed resistors, capacitors, transistors and diodes.

Get on board

The Sun Fuzz comes with a handy set of instructions which will tell you where things go – the PCB also has the required component values printed straight on it. First off – resistors. These are components that restrict current flow, and their resistance is measured in ohms, or Ω. You’ll also see KΩ and MΩ, or just K and M, standing for kiloohms (thousands) and megaohms (millions). So, for example, the spot for a resistor on the Sun Fuzz PCB labeled “100k” wants a 100 kiloohm, or 100,000 ohm, resistor. For values below 1,000 ohms you might occasionally see “R” used to make it clear that there’s no missing modifier – if a kit or a schematic indicates a “100R” resistor, it just means 100 ohms.

Resistors show their values via a system of coloured stripes, and the Sun Fuzz instructions include a lookup table to read this value. But this is my guide, and I’m colourblind as hell – and even if you do have full colour vision, it’s easy to be sure by reading the resistors’ value with a multimeter. I do this by holding the component with my thumb so that each leg touches one lead of the meter, and then cycle through the meter’s setting until I get a consistent reading. Multimeters need to be set to an order of magnitude (this lets them read a wide range of values accurately), and so if you try and read a 1M resistor on the 20k setting, you’ll get an error. If the meter reads as very close to zero, try bumping the setting down to a smaller order of magnitude.

Once I’ve figured out the resistor’s value, I bend the component legs to a sharp 90 degrees (as close to the body of the resistor as possible) and pop it in its respective slot, using my helping hands to elevate the PCB so I can get each one nice and flush to the board.

If you’ve looked at the Sun Fuzz’s manual, you might have noticed it doesn’t start with the resistors. So why am I doing so? Well, they’re the smallest components on this board, which brings us to my first trick for a neater look. Once you’ve got all of your resistors in place, find something flat (the back panel of the enclosure is handy for this), and hold it against the board so that it’s keeping the resistors in place. Then, release it from the helping hands or PCB holder and turn the whole thing over. You should now be looking at a forest of unsoldered and untrimmed component legs.

Resistors that are yet to be soldered. Please ignore how messed up the insulation is on that helping hand – it’s been through a lot…

On to soldering. I’m using the Pinecil, an affordable little iron that’s great for jobs like this. Once it’s good and hot (I set it at around 375 degrees C, which I’ve found works great with the particular solder I use), I hold it against the component leg and the PCB pad for a moment, and then go in with my solder – not too much, just enough that it floods into the pad and wicks up the component leg to make something roughly the shape of a Hershey’s Kiss. Then after a second or so I remove the iron and let it cool. You may be tempted to blow on it – do not do this. The ambient air temperature will cool it down fast enough, and, yes, there is the risk of blowing molten metal off the board and onto your laptop/notebook/cat. Ideally we avoid this situation.

Good soldering skills come with practice – this is one of the reasons a low-stakes kit is good – and if you’ve never done it before, you will doubtless mess up a few times. And sometimes, bad solder joints are hard to spot – just look out for cold joints, where the solder is in a little ball that’s lifted from the pad, and try to avoid making too big a ball. Where PCB pads are close, check you haven’t bridged any gaps with solder. The main tip here – ha – is patience.

I go in from the legs that are near the sides (allowing the most clearance for the iron), and once I need a little more room, I trim the soldered component legs with my flush-cutters. Keep an eye on the component legs – wear eye protection if you’re worried about them flying into you, and/or hold onto the legs themselves as you trim to keep them in check. They’re technically waste, but keep a hold of two of them – we’ll need them for later.

As we’ve started with just the resistors, which are all the same size, they’ll all be held against the board, and so once they’re soldered and trimmed, and we flip back over, it’ll look nice and neat. For more complex builds with more components, you can then work up the sizes – do diodes next, then box capacitors and so on. For larger components there’s another trick that we’ll get to in a second.

So, onto capacitors, the components that store charge. In guitar pedals they are most often used for filtering certain frequencies and blocking direct current. The non-polarised variety don’t care which way they go into the PCB, and will often be little droplet-shaped things or boxes – here we’ve got a single box capacitor, so we don’t need to distinguish its value. If you do, capacitors often just have their values written on them (or a value written in a simple numerical code).

Their value is technically measured in farads, but unless you’re plotting a very elaborate murder, you won’t see anything close to a 1 farad capacitor in a guitar pedal. Pedals instead stick to picofarads (pF or p, e.g. 100pF or 100p), nanofarads (nF or n) and microfarads (μF, or μ, occasionally written as uF or u).

So, having identified the box capacitor, I whack it into its slot – but how to keep it neat? Well, here’s where our good friend masking tape comes into play. Grab a small strip and tape the capacitor down. The tape will keep it nice and flush to the board as you follow the same procedure as you did with the resistors – flip, solder, trim.

Our old friend masking tape is being used here to keep some trimpots flush to the board, before I flip and solder.

The rest of the board population goes much the same way. The electrolytic capacitors are the cylindrical ones – they’re polarized, and therefore do care about which direction they go in. They’re luckily pretty foolproof in a lot of ways, as they have their values written right on them, and a set of minus symbols indicating their negative side. The negative lead – the shorter one – goes in the round hole – their positive side goes in the square hole.

The transistors are those little three-legged things that look they came from Mars equipped with heat-rays (they didn’t, though – the chances of anything coming from Mars are a million to one). They have a collector, base and emitter. The BC108s in the Sun Fuzz have a little tab on the case indicating the emitter, and so it’s easy to match that to the diagram on the PCB.

There’s also a diode for reverse-polarity protection. It has a stripe to match the negative side, which can also be matched against a diagram on the PCB. For the diodes and the transistors, heat can damage them a little easier, so be sure not to hold your iron to their legs for too long. To be extra safe, you can clip a crocodile clip onto the legs as you solder them – this acts as a heatsink, so you don’t dump all of the heat of your soldering iron into the sensitive parts of the actual component.

Finally for the on-board stuff, there are some trim-pots. These are smaller versions of potentiometers, the same components that make up the pedal’s actual knobs. There are two here, of different values – 50k and 5k. But, you’ll notice on the trimpots themselves, the values are 503 and 502. What’s going on here? Well. for codes like these, that last number can be substituted with that many zeroes to find the value in ohms. So for 503, that’s a 50 with three more zeroes – 50,000, or 50k. For 502 it’s 50 with two more zeroes – 5,000, or 5k. Easy!

For these and the other larger components I do the same masking-tape trick to keep things neat – again, you can bend out component legs to keep things in the board, but I like to avoid doing that, as when you flip over, this can lead to things moving about a little bit, giving more of a chaotic and cluttered look to the pedal you’ve spent so much time on. Obviously, a messy circuit that works still works, but it’s nice to be proud of what you’ve made.

Gaining control

For the potentiometers, I defer to the technique described in StewMac’s manual. Sometimes when building a pedal you’ll need to run three wires off to the pot – here, the pots are just right-angle PCB mount ones. If your pedal is symmetrical like this one is, you can put the pots in the top of the enclosure (facing upwards), and then pop the PCB on top, with some insulating tape on the back of any pots that might hit the back of the board. This means that when we solder the pots in place, they’re guaranteed to fit the enclosure we’re using. If the enclosure is asymmetrical, you can do the same thing, just with a few extra steps – you’ll just have to actually screw the pots into their final places, and solder the board inside the enclosure (taking care not to melt any components!) – then, unscrew the pots to continue to work on the board.

Placing the PCB like this can make soldering the pots a lot easier.

Off the board

The next step is to prep your populated board for its new home. The Sun Fuzz has, handily, multiple attachment points for ground, and a power input that’s right where the socket will be – we want to solder some shortish (7cm or so) lengths of wire into these. Right now I’m just focusing on the wires at the top of the PCB – here’s another point where I diverge from the instructions. We’ll come back to the wires for the footswitch.

For each hole, cut the wire to length, and strip a small (1-2mm) length of insulation off both ends. Then – importantly – tin the loose ends of wire. My personal technique is this: first, I give the ends a little twizzle with my thumb and forefinger to consolidate the loose strands. I then place the length of wire in a helping hand, or, if I’m feeling lazy, the upturned empty screw hole of a pedal enclosure. After this I heat the exposed part of wire with my soldering iron (taking care not to melt the insulation), and touch some solder to it – if the wire is hot enough, the solder will wick into the strands.

This may seem excessive when you’re starting out, and yes, it’s a pain, but it’s worth doing – when you thread the wires through PCB pads or the power/audio jacks, it keeps the strands from fraying outwards. This fraying not only looks a bit rough, it can (more crucially) lead the wire to break, or short out against something it shouldn’t.

Once tinned, you can pop the wires into their respective holes (ignoring the LED for now) and solder. What side you solder doesn’t really matter, in my opinion, as long as you have enough length to reach what you need to reach.

How to wire a true-bypass footswitch

Onto the footswich wiring. Now – here I’m going to go rogue again, and ignore the little daughterboard. If you are using it, it’s pretty self-explanatory (wire each thing on the daughterboard to the thing on the PCB) but I want to demonstrate how to wire a footswitch without one. It’s a handy skill to have, especially if you end up repairing any hand-wired pedals that need a new footswitch. Looking down at the footswitch, with the lugs oriented sideways, here’s what’s going on:

A standard footswitch we use for true bypass is a latching 3PDT, or triple-pole double-throw, footswich. What do all of those words mean? Well, latching means what you hopefully think it does – press it once, the switch goes one way. Press it again, it goes the other way. The other mode of operation would be momentary – IE, only switching when your foot is actually on it. Triple-pole means that there are three columns of connectors, and double throw means that each column of connectors has three connectors in it – one central row, and then two rows that are ‘thrown’ to, as you can see above.

There are a few ways to wire a footswitch, but below is my preferred method. Let’s go through how it works, starting with your plain old input signal, which we connect to the central lug on the leftmost column. The input jack is on the right of the pedal, but we’re looking down on an upside down pedal as we wire it, so we’re working left-to-right for now. When the pedal is in bypass, the central row is connected to the bottom row – so, this connects the input signal straight to that little jumper wire that goes past the middle column, and to the lug on the bottom-right of the switch. As the bottom row lugs are connected to their respective middle-row lugs, this will be sending our input signal straight to the rightmost middle lug. Connect this lug straight to the output jack, and hey presto, we have true bypass! We’ve effectively wired the input and the output of the pedal straight to each other using the switch.

When the footswitch is pressed, the middle row is connected in the other direction – to the top row. So, let’s follow the input again. It comes into the middle row and the switch sends it upwards, so we can feed that to the input of the pedal’s actual circuitry. The output of the circuit can then be connected to the top lug on the rightmost side of the switch, which will send the output of the pedal straight to the output jack. Which is, presumably, what you want when you press the footswitch.

So, let’s look at that middle column – and that jumper from pin 1 to pin 6. The central lug is connected to ground, the zero-point for voltage and return point for current in the circuit. The top lug of the middle column is connected to the negative side of the indicator LED. We then connect the positive side of the LED to the 9 volt power supply – with a 2.2k resistor somewhere along the way to limit the current and keep our LED from immediately burning out. This means that when the pedal is on, current has a path to ground through the LED, and hence – light. When the pedal is bypassed, the ground lug is connected in the other direction – current can’t flow through the LED, as the lug it’s connected to is no longer connected to anything.

This is where that jumper comes in. All it does is connect the input of the pedal to ground when it’s bypassed, using the same ground connection as the LED. This isn’t needed for every pedal, but for higher-gain circuits, this just makes sure the input of the pedal isn’t going to oscillate or pick up noise, as this can make its way into the output of the signal, even in bypass. This is due to a fun quirk of physics that means electrical signals are only kinda contained by wires.

Having a good understanding of the signal flow of your switch is very handy – particularly if anything goes wrong with it. Being able to look at a footswitch at a glance and go, “oh, I’ve wired this wrong” could save you hours of troubleshooting the board itself.

Putting the footswitch theory to the test

We can solder the footswitch a little like how we soldered the pots – place the pots through the top of the enclosure again, and then put the switch in its hole upside down. If you’re not using a daughterboard, use your pliers to bend a component leg into the required shape for the bypass jumper, and also feed another leg through pin 1 to pin 6. To get the bypass jumper to stay put, you can feed it through the middle row as well to hold it in place, solder the bottom row, and trim the excess. Once the jumper from pin 1 to 6 is fed through, you can solder its pin 6 connection, but leave the pin 1 connection to be soldered at the same time as the circuit input wire.

It won’t win any awards for looking overly snazzy, but it’s no rat’s nest either.

Speaking of wire – you can then measure out enough wire for each connection (note – some kits label the negative side of the LED simply as “Sw” or “Switch”, so that’s what needs to be wired to pin 4), cut, strip, tin and solder. You can use your needle-nose pliers to make sure you thread wires neatly into their respective footswitch holes. Here you can also solder in wires for the input and output – they’ll need to reach the top of the pedal’s enclosure, plus have a little bit of slack. Thinking about how long each wire needs to be, and then giving it just a little bit more so it’s not taking any strain, is how you avoid the insides of your pedals looking like the bit at the end of Tetsuo: The Iron Man.

Approaching the end

So, we’re nearly there – we’ve got a populated pcb and a hopefully working footswitch. Into its new home it goes – for the LED, there are different approaches that kits take, but here, the best thing to do is attach the bezel to the case, and then insert the LED (in its little jacket) so that it’s oriented correctly – long leg towards the round pad. Then, drop the PCB into its new home and finger-tighten the nuts and washers for the footswitch and the potentiometers. As it goes in, you can tilt it to “catch” the LED leads so they go up through their pads, or you can then use needle-nose pliers to fold them over and then solder them in place.

We also don’t need to add a current-limiting resistor (sometimes abbreviated to CLR) here, as we already have – it’s part of the actual circuit design. Keep in mind, though, if you are wiring your own LED up off-board, you’ll need to put one somewhere in between the switch, LED and power.

So, time for the power and audio jacks. The power jack here is unswitched, and so simply takes the nine-volt power straight from the supply and passes it to two lugs – the short lug for the centre of the barrel jack – used for ground/negative, in the case of 99.99% of pedal power supplies – and the long lug for the positive. Two of the wires from the top of the PCB are labelled + and -, so these need to go to the long and short legs of this power jack. Take care when soldering these to the lugs – it’s easy to accidentally push the iron into the plastic body of the power jack and melt it.

Each audio jack has two connections – sleeve and tip. The tip is for signal, and the sleeve for ground. Here, we’ve got mono open-style jacks, which are nice and simple – a connector each for tip and sleeve. Which one’s which can be seen visually, but if you’re unsure and/or you’ve got a different style of jack, you can check with the continuity mode on your multimeter.

The sleeve of each jack can be wired to the ground connections on the PCB we soldered earlier. Soldering the wires through the tabs here can be a little tricky – take it slow, and remember you can always loosen the jack to get it to a more convenient orientation for soldering. The tip connectors can then be soldered to the respective input/output wires we soldered to the footswitch earlier.

It’s good practice to run the input and output wires close to the walls of the enclosure, along opposite sides – this is another thing that helps reduce noise and oscillations. We’ve soldered the circuit’s ground connections to the sleeve of the audio jacks – and as they’re metal jacks, these are in contact with the enclosure, connecting it to ground as well. Like the shielding in your guitar, this helps reject any electromagnetic interference (EMI) that might come in from the outside. Keeping the inputs and outputs close to the enclosure also helps stop them acting as antennae, and running them on opposite sides helps prevent feedback – don’t be tempted to twist the in and out wires together and run them as a single unit from the jacks to the footswitch. This will just mean you’ll get a load of squealing oscillation, particularly with a high-gain circuit like a fuzz.

So, that should be everything wired up – take some time to do a visual inspection before you tighten all of the jacks. Are any exposed wires touching? Are there any spots on the PCB missing any components? Do the audio jacks let you plug patch cables in without the plugs hitting any wires? Is the power definitely wired the right way around?

Once everything’s tightened up, you might want to do a quick test before you close the enclosure. Just remember two things – firstly, if the pedal is still open and upside down, the input is on the other side than it normally is. I cannot tell you how many times I thought a pedal was dead after I finished building it, only because I tested it with the cables plugged in the wrong way. Also remember – you’ve soldered in a volume control, and it may be set to zero. Check it’s turned up before panicking!

The stickers go on! The disparate ways of applying artwork to pedal enclosures could fill a book – but stickers are nice and simple.

So, hopefully you get a nice fuzzy sound when you press the footswitch, and the LED lights up, and the controls all do what you want. Brilliant! One last thing for the Sun Fuzz – setting the trimpots, which I do a quickly by ear and then close everything up. Screw on the knobs with a small flathead screwdriver, apply the stickers, and, well, you’re finished. You have a fuzz pedal – one you made yourself, that, if you take the right care during assembly, should last a lifetime.

The post Building a DIY pedal kit? Here are some tips for neatness and reliability appeared first on Guitar.com | All Things Guitar.

Add flavor to this beloved traditional melody with strums, arpeggios, and cross picking.

As Metallica’s lead guitarist for decades, Kirk Hammett has been behind some of the genre’s greatest riffs and hits. But that doesn’t mean there aren’t classic metal tracks he also wishes he wrote.

Most of today’s metal guitarists can trace one of the tendrils of their inspiration tree back to Randy Rhoads, and Hammett is no different. In fact, he looks up to Ozzy Osbourne’s former sideman so much that he wishes he wrote one Ozzy classic, in particular.

In a VH1 interview recently resurfaced by Far Out Magazine, the Metallica guitarist said: “I know this might sound weird, but you know, I’m really into jazz.

• READ MORE: Sunn O))) and EarthQuaker Devices launch compact version of the acclaimed Life Pedal: “Half the size, just as heavy”

“I learnt Diary of a Madman sometime last year and was just amazed at all the great jazz voicings that that song has.

“And as I was scratching my head, I thought, ‘This is a brilliant piece of work.’ Randy Rhoads really, really showed a lot more depth, other than, you know, just rock licks and power chords.”

Despite its arguably inaccessible and pop-unfriendly jazz voicings and off-piste chord progressions, Diary of a Madman remains one of the quintessential tracks in Ozzy Osbourne’s catalogue. The title track from the singer’s 1981 effort, it continues to rack up millions of plays across streaming services.

Randy Rhoads remains one of the foremost inspirations for today’s metal players. Despite only playing with Ozzy Osbourne for just shy of three years – ending with his tragic death in a plane crash in 1982 – Rhoads’ impact on metal music was immeasurable, performing on Blizzard of Ozz (1980) and Diary of a Madman (1981). Rhoads was part of the songwriting team behind the riff of Crazy Train, Ozzy’s most iconic song.

Randy Rhoads was so influential that many suggested there was a rivalry between him and his contemporary at the time, Eddie Van Halen. But W.A.S.P. guitarist Chris Holmes recently went on record to dispel that there was ever any animosity.

“The rivalry was between the fans, more,” he said. “The fans of Quiet Riot versus Van Halen fans. That was where the rivalry really was. But between the bands…it wasn’t between Ed and Randy. Ed would never say he hated the guy or disliked him.”

The post “I was just amazed at all the great jazz voicings that song has”: The Ozzy Osbourne classic Kirk Hammett wishes he wrote appeared first on Guitar.com | All Things Guitar.

Drone metal band Sunn O))) and EarthQuaker Devices have launched a compact version of their collaborative Life Pedal, an octave distortion and booster, aptly named HalfLife.

Like the Life Pedal, HalfLife is designed to represent the core front end chain used in the writing sessions for the band’s 2019 album, Life Metal, to drive the tubes of the Greg Anderson and Stephen O’Malley’s multiple vintage Sunn O))) Model T amplifiers “into overload ecstasy”. It will remain part of the EQD lineup for good, as opposed to the original three versions.

• READ MORE: “I’m driving home right now and it’s in the back seat!”: Inside John 5’s relationship with his number 1 guitar, Ghost

Offered as a pedalboard-friendly alternative to the Life Pedal, HalfLife again features a fuzz/distortion circuit with an analogue octave-up effect, as well as a MOSFET-driven clean boost in the “Magnitude” section. In addition, HalfLife features reworked circuitry, with switchable op-amp, asymmetric and symmetric clipping modes.

The first position uses no diodes for a “full, grinding Op Amp assault at maximum volume”. The second utilises two silicon diodes and one LED in an asymmetrical clipping configuration, while the latter is the standard double silicon diode configuration for a more classic tone.

“An octave fuzz inspired by the Shin-Ei FY2 & FY6 units leads the circuit into a brutal big-box rodent-inspired distortion recreated with the best components and including a three-way clipping switch,” says EarthQuaker. “The second stage is a purely clean boost to further overdrive the preamp tubes of your vintage system into scaped harmonics and feedback overtone bliss.”

And thanks to the fact the HalfLife is made using modern components – as opposed to the NOS (New Old Stock) components used in the original Life pedals – it’s now a permanent staple of the EQD lineup.

“I’m ecstatic for the continuation of this LIFE-affirming collaboration with EarthQuaker Devices,” says Sunn O)))’s Greg Anderson. “May the sounds you create from the HalfLife be as deep as the forests and massive as the mountains.”

Back in 2022, we tried out the Life Pedal V3, and gave it a stellar 9/10 in our review. And you best believe us when we say we’re excited to get our hands on the new HalfLife pedal…

The HalfLife is available now for £265/$259.

Learn more and hear audio samples at EarthQuaker Devices.

The post Sunn O))) and EarthQuaker Devices launch compact version of the acclaimed Life Pedal: “Half the size, just as heavy” appeared first on Guitar.com | All Things Guitar.

Press Release

Source: J. Tempchin

“Hi Folks, 

I’m putting together a short film and album called, On The Spot May 2026. No release date has been set yet for the album, so stay tuned! 

I went to the beach that day and with a few folks that dropped by I made up songs on the spot. It’s filmed in fantastic iPhone color and called, This Guitar Is My Best Friend.

Lead guitar by Jesse London and acoustic bass by a a guy named Mateo. He was walking by and went to his car and go his bass. I never saw him before, or since. Mixed by the great Craig Parker Adams.

Thanks! Jack”

Click here to view the embedded video.

******

About Jack Tempchin: Signed to Arista Records by Clive Davis, the now legendary songwriter, Jack Tempchin, composed the song, “Slow Dancing (Swayin’ To The Music) that was recorded by Johnny Rivers in 1977. The song. reached the No. 10 spot of the Hot 100 and No. 8 on the Adult Contemporary chart. Tempchin’s songwriting attracted the attention of such major artists as: Buck Owens, George Jones and others who recorded his compositions. Jack would form a collaborative relationship with the Eagles that boosted his songwriting reputation by his songs such as, “Peaceful Easy Feeling,” and “Already Gone,” both featured on The Eagles 1917-1975 greatest hits album that was highlighted by RIAA

as the Best-Selling Album of the 20th Century. He’d partner with the Eagles’ Glenn Frey co-writing major hits, including, “The One You Love,” and “Smuggler’s Blues”. The songwriter’s songs would find themselves in film and television to be featured I such iconic films as “The Big Lebowski,” and “Thelma & Louise”. Jack would also co-write the theme song for the tv series, “7th Heaven”. 

Inducted into the Songwriters Hall of Fame in 2019, Tempchin’s songwriting lyrics have been displayed at both The Grammy Museum and the Rock and Roll Hall of Fame. And in 2024 his full-length film, Midnight: Jack The Movie, attracted critical acclaim, with Jason Mraz noting it as “an amazing movie, a master class in songwriting and in life”. 

FOLLOW JACK ON FACEBOOK!

YOUTUBE

Electro-Harmonix releases the EHX Percolator

Black Sabbath’s Tony Iommi has been made an MBE (Member of the Order of the British Empire) in the King’s Birthday Honours for his services to music and charity.

An MBE is awarded for an achievement or service within and for a community that is outstanding and has delivered sustained and real impact. They are awarded each year as part of the monarch’s birthday celebrations.

• READ MORE: Kirk Hammett says Tony Iommi uses “smart chords” – this is what he means

Not only is Iommi known for co-founding Sabbath, which paved the way for the heavy metal genre to expand and grow, he has also worked on humanitarian projects such as international disaster relief and cancer patient advocacy, after being diagnosed with lymphoma in 2012.

Speaking to the BBC, Iommi says it is an “unbelievable honour to receive an MBE”, adding: “Music has been my life and I’ve been very lucky to share this journey with many amazing people and fans. I’m very grateful for all the support along the way.

“It’s been a privilege doing something I love and then to see that music connect with so many over the years. And, to be able to help raise money for charities close to my heart has meant the world to me.”

Iommi learned of the news when he collected his mail upon returning from a holiday, and at first assumed the letter to be a speeding fine. You can watch his interview with the BBC below:

View this post on Instagram

In other Iommi-associated news, Ozzy Osbourne’s son Jack has shared a fresh update on the long-awaited biopic about his father.  Speaking during a livestream on his YouTube channel, Jack confirmed that the script is complete and the project is now actively moving forward.

“I can tell you this: we are moving ahead,” he said. “I was on calls today about it. The script is right there. We are good. This movie will absolutely happen.”

The post Tony Iommi awarded an MBE for services to music and charity appeared first on Guitar.com | All Things Guitar.

In the age of social media, it seems there are more guitarists than ever with ungodly playing chops. Algorithms are designed to surface and show you the best of the best, so it can often seem like there are insanely good guitarists everywhere you turn.

But has social media encouraged the pursuit of speed and technicality at the expense of what actually makes music enjoyable? In a new interview with the Mighty VH Podcast discussing the history of Van Halen, guitarist Richie Kotzen explains how he believes this may be the case.

• READ MORE: “He didn’t want the association with hair metal”: Richie Kotzen explains why Trent Reznor backed out of hiring him as Nine Inch Nails’ guitarist

Describing the current landscape of guitar as a “very bizarre situation”, he explains [via Blabbermouth]: “I don’t wanna say anything that’s discrediting or it sounds like, ‘Oh, Richie, you’re just too old.’ But back in the day when I was coming up, with Van Halen, you had [Eddie] being him and innovative and all that, in the context of great songwriting, which he was giving and doing…”

Kotzen cites the likes of Eddie Van Halen – and others including former Ozzy Osbourne sideman Zakk Wylde and Extreme’s Nuno Bettencourt – as guitarists who are the “complete musician”: “There’s artistic value there in the creativity.”

But he says we’re now in a “strange land” where guitarists are playing more technically than ever, but at the expense of creative value.

“You have gifted musicians that are actually executing at a level that’s much more complex than the stuff that was happening when I was young growing up but it’s completely stripped of the artistic creative value, as we would have defined it, which would be song, the craft of creating song…” he says.

“‘Cause you can listen to someone improvise over changes or giant steps or whatever it is, and your mind can be blown with how quickly and efficiently and expressively one can weave through these changes. But what’s missing to me with many of the folks is the stuff that was there with the names that I mentioned — Eddie and Zakk and Nuno and others.”

Kotzen describes the shift as “very strange and unfortunate”: “I find that very disheartening. I don’t know the exact word, but I don’t like it.”

The post Richie Kotzen says guitarists are playing “more complex” nowadays, but at the expense of “artistic creative value” appeared first on Guitar.com | All Things Guitar.

The Rolling Stones have got another new album on the way, and these days they work in a much more timely manner to how things used to be. As guitarist Keith Richards says, working under the influence was a significant part of their story.

The band’s forthcoming album, Foreign Tongues, was announced in May. It marks their first release since 2023’s Hackney Diamonds and their 25th studio album overall. Just like their previous record, it has also been produced by Andrew Watt, and features appearances from Paul McCartney, Robert Smith, Steve Winwood and the Red Hot Chili Peppers’ Chad Smith.

• READ MORE: “Call my guitar man if you want the exact number”: Keith Richards reveals the astonishing number of guitars in his collection

In an interview with MOJO, Watt confirms that for the making of Foreign Tongues, Richards (now living a clean lifestyle) would arrive at Metropolis Studios each day at the allotted hour – a far cry from the years of what became known as “Keith Time”, when sessions could be held up for hours or even days.

Richards now says, “Working under the influence is a part of the story because it’s the one job where you can get away with it. I’m not driving, you know. But this idea of everyone being befogged by drugs… it wasn’t like that.”

He adds, “We worked very meticulously, with a little hit here and there, and drugs were used either so we could stay awake to finish a song, or to go: ‘Gimme a break.’ And it was the era. The ’60s and ’70s were wide open for it.”

The team who were around the band during this “wide open” era remember often have much more chaotic memories of working with The Stones. Celebrity publicist Alan Edwards once recalled how a very drunk Richards couldn’t be woken, and was loaded right onto a plane to fly to the next country while the band were out on tour.

In Edwards’ memoir, I Was There, he shares: “The tour manager couldn’t wake Keith up in a hotel room to fly to the next country. So roadies carried the bed, with Keith sleeping in it, out of the hotel, loaded it onto the plane then hauled it off when the plane touched down again.”

The new Rolling Stones album will be released on 10 July, and is available to pre-order now.

The post “We worked very meticulously, with a little hit here and there”: How “working under the influence” was part of life for the Rolling Stones appeared first on Guitar.com | All Things Guitar.

John 5 has a very close relationship with his Ghost Telecaster. The guitar inspired the name of his most recent album, and he travels absolutely everywhere with it.

The guitar was launched as a signature model by Fender in 2023, featuring a top-bound alder body and one-piece maple neck finished entirely in an Arctic White gloss, coupled with red appointments and a mirrored pickguard/control plate. The unique model is also equipped with a pair of DiMarzio D Activator humbuckers that are designed to “replicate the sound of active pickups in a passive format”.

• READ MORE: “It’s your phone – I don’t mind”: Why John 5 is against phone bans at live shows

Speaking to Guitar World, he says of his beloved axe, “My Ghost is Number 1. It was put together when Fender did a collaboration with [NYC skateboarding and streetwear brand] Supreme. I thought, ‘This guitar is strikingly beautiful. I want to do a guitar like this.’ That’s where we came up with it, and it’s by far my favourite. I even named a record after it! [2025’s Ghost]

“I feel safe with the Ghost. I know I’m not gonna have problems live or in a studio. It’ll stay in tune and sound and feel great. It’s like when you’re getting on an airplane, and you’re like, ‘I don’t know about this,’ but then you get on a really nice one, a beautiful double-decker, and you think, ‘This is gonna be amazing.’”

He adds, “That’s how it is with the Ghost! I travel with it everywhere. In fact, I’m driving home right now from Joshua Tree, and I have my Ghost in the back seat. So yeah, it’s important.”

John 5 is one of very few rock artists to play a Tele, and he previously likened it to “wearing a cowboy hat to a Slayer concert”. On an episode of The Kenny Aronoff Sessions, he said, “I loved music just like any kid, and I loved TV. I would see clips of bands playing on TV, and I was really drawn to it, for some reason. You know, it kind of picks you.” He later added: “It’s just weird, and I wasn’t trying to be weird. It’s just what I’ve always played.”

You can catch John 5 on the road this summer with Mötley Crüe for their Return Of The Carnival Of Sins tour. Find out more via the Mötley Crüe website.

The post “I’m driving home right now and it’s in the back seat!”: Inside John 5’s relationship with his number 1 guitar, Ghost appeared first on Guitar.com | All Things Guitar.

Johnny Marr will release a brand-new album, The Age of Everything, later this year.

Arriving 2 October via BMG, the album comprises 10 new tracks, each written in London, developed while on the road during live shows on the east coast of North America, and recorded in Marr’s hometown of Manchester.

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

The former Smiths guitarist has kicked things off with the album’s lead single and “urgent opening statement”, Spin, which tackles the theme of overwhelm in our collective consciousness in 2026. Check out the official music video below:

“This is the record that’s been the most cathartic,” says the 62-year-old guitarist. “The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it’s not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.”

In addition to the album’s launch, Johnny Marr has announced some of his biggest live concerts of his solo career to date, with two massive shows planned at Manchester’s Castlefield Bowl on 9 July, and London’s Wembley Arena on 24 October. The Smiths guitarist will also play a number of festivals in Europe this summer, with more dates to be announced.

The two headline shows in Manchester and London will be preceded by two intimate warm-up shows in early July, at Leeds’ Stylus on 6 July and the O2 Academy Liverpool on 7 July.

Fans who preorder The Age of Everything will receive access to an exclusive fan presale for these dates, which will run from 10AM 17 June to the start of general sale, at 10AM 19 June.

Check out the full tracklist for The Age of Everything below:

1. Spin
2. Beyond the Rain
3. It’s Time
4. How Come
5. Ophelia
6. That Feeling
7. In and Out of Love
8. Just Once More
9. Fire With Fire
10. All in a Life

A full list of Johnny Marr’s upcoming live dates – excluding those that are yet to be announced – is available below:

• June 28th – Live is Live, Antwerp, BE
• July 4th – Down The Rabbit Hole, Ewijk, NE
• July 6th – Stylus, Leeds, UK
• July 7th – O2 Academy, Liverpool, UK
• July 9th – Castlefield Bowl, Manchester, UK – SOLD OUT
• July 10th – Iveagh Gardens, Dublin, IE
• July 16th – Verona, IT
• July 17th – Rome, IT
• July 18th – Pugila, IT
• July 20th – Udine, IT
• July 21st – Sardinia, IT
• July 23rd – 1001 Musicas, Granada, ES
• August 9th – OFF Festival, Mysłowice, PL
• August 21st – Parken Festivalen, Bodø, NO
• October 24th – Wembley Arena, London, UK

Head to johnnymarr.com for more info.

The post Johnny Marr announces new album, The Age of Everything – along with his two biggest solo shows to date appeared first on Guitar.com | All Things Guitar.

Amid the squalling notes, Zoh Amba was trying to get somewhere else. Their tenor saxophone, buffeted by clashing free jazz percussion and popping bass, was a hand reaching out. “It was like this deep plunging together to really get close to God,” they say, reflecting on records that made them a key figure in New York’s avant garde scene; both a critical darling and a collaborator capable of pushing more seasoned players to the edges of their capabilities.

• READ MORE: “We don’t write things that would be boring live” Guilt Trip on why they’re committed to keeping hardcore as intense as possible

Their new record Eyes Full is, at first, a more terrestrial proposition, its guitar-and-vocal heart beating through a series of character studies drawn from the margins of an imperfect America. But, Amba insists, there’s more in common between her two creative identities than there initially appears.

“With the songs it was more of a long process of thinking about that same thing,” they say. “It’s just a different type of journey to it. I don’t think we succeeded in reaching those places yet, but I think we tried.”

Amba grew up in Kingsport, Tennessee, and played guitar before they ever picked up a sax. Even as a teenager, wandering the woods around the home they shared with their family, their first instinct was to explore. They have discussed at length the influence of experimental jazz great Albert Ayler on their music, but the guitarists who informed their early approach, from Michael Chapman and Bert Jansch to John Martyn, were cut from a similarly unconventional cloth.

“I could play in standard but it didn’t really feel like me,” they say. “I found these other tunings and I really started finding my way in it, with different finger-picking. They fingerpicked so clean, but being from the Blue Ridge Mountains I felt like a dirty-ass right hand was my only goal.”

Image: Angela Betancourt

Full Hearts

The songs on Eyes Full, which will be released by the indie-rock institution Matador, are lit up by the antic energy of Amba’s playing, given a sense of restlessness that seems to capture the nomadic nature of their author’s recent past. After leaving Kingsport in their late teens, Amba played and studied music in San Francisco and New York before eventually winding their way back home. “I could see how it looks like that on paper,” they say when this observation is put to them.

In reality, the record was written on the floor of their apartment in the undertow of a difficult year, a sense of isolation offset by the places that Amba was able to travel to by picking up their guitar. “Sometimes I’d start with a tuning, find a little thing and keep at it,” they recall. “Other times I’d have the words come with it or I’d run in the park, because I was really disciplined at the time. For a reward, I’m gonna get a big beer at my favourite bar. I’d go in there and sit, and I would be thinking for a while by myself, staring at the wall, writing down stuff that I’d put back on these guitar parts.”

On the streets outside the bar were people just like the ones who’d eventually populate the songs – medicated children, dreamers, and broad-spectrum fuck ups who don’t deserve that being the only thing written on their gravestone. There is enormous compassion here, with the feeling that Amba is reaching out to past versions of themselves as much as they’re extending a greeting to others. “You only can really understand what you know,” they say.

“I’m just gonna have a nasty right hand, and be a great guitar player, and write words that are really sincere,” they continue. “[Words] that feel like things other people are chasing in their lives, or trying to chase words to figure out how they feel. I think, especially being a kid, you are looking for something to connect with. I know I found certain things that really kept me looking forward to being alive, and looking forward to keeping going. I’m hoping that this music reaches these kids who need to hear a little something.”

Image: Eleanore Hendricks

Friends Indeed

After a couple of attempts in Brooklyn that didn’t work out for one reason or another, bringing Eyes Full to life required Amba to call upon the services of two old friends: guitarist Kevin Hyland and drummer Jim White, whose loose-limbed style with the Dirty Three and as a member of Bill Callahan’s band seems to perfectly mirror Amba’s approach.

Recording at Drop of Sun studios in Asheville, North Carolina, around 90 minutes’ drive from Kingsport, they liked things lean, largely eschewing overdubs and keeping takes to a minimum. “We made it in two days or something like that,” Amba says. “It was a pretty quick turnaround. I wish we had a little more time but time is money for people. It was beautiful — we stayed upstairs, we ate meals together, and it just felt like we were in this bubble together, which was really sweet.”

“I’ve never recorded a record before, so I didn’t really know you could do it any other way,” they add. “Honestly, just get in there and do it. I think I’m interested in other forms now, but at the time I didn’t know anything. I overdubbed some stuff on Child You’ll See, I went in there with this Gibson guitar and I was bowing this SG through all this shit. I put an old saxophone recording that I played solo years ago on top of that. We overdubbed in a creative way, not in other ways. But people should do whatever they need to do. That’s just how it fell for us, I guess.”

There is real chemistry between the trio, with Hyland’s electric deployed in washes and waves against the woodiness of Amba’s acoustic. White lopes beside them like a labrador in a rumpled suit, always on the balls of his feet in case something fun comes his way. It’s naturally less improvisational than Amba’s jazz work, with plenty of time spent woodshedding ideas with Hyland, but when White’s snare tumbles into the room on Dead End Street, suddenly there as the guitars egg each other on, it retains the sense of art coming to life in real time.

“With the jazz stuff, when you’ve been doing it for so long, you learn [people’s] not cheat codes, but different ways to get into certain things,” Amba says. “I feel like Jim and I are so similar — my right hand is really like the way he thinks on the drums. Kevin is a really great guitar player in a different way, so it all worked. Me and Kevin spent a lot of time together. Me and Jim didn’t, but we’ve known each other and have played together through the years. Baby tours a lot so we didn’t rehearse too much, but me and Kevin just, like, wiped it out, you know?”

Image: Eleonore Hendricks

Tattoo You

Aside from borrowing a Dillion DTT-72 from Wednesday’s Karly Hartzman, Asheville royalty and no stranger to Drop of Sun, to deliver the squalling, Wednesday-esque freakout on Dead End Street, Amba leaned heavily on a characterful Martin D-18, which they picked up while on the road shortly after inking their Matador deal. “When I signed I got a Telecaster and a tattoo,” they say. “Honestly, people love Telecasters, and I was like, ‘That’s what I’m gonna do.’ It was so sick but, you know what? I actually don’t think I’m a Telecaster person.”

“I had a cheap Guild — it wasn’t cheap for me, by the way — and I wrote most of the record and demos on that,” they continue. “I love that fucking Guild, but I wanted something that’s going to hold up. I asked a buddy what guitar I should use for what I’m trying to do, and they said a D-18. I went in there, and I tried the old ones, I tried the new ones, and it was so fucking expensive.

I was trying to trade everything in the car at the Chicago Music Exchange to get the money down. I was going to trade my Guild too, with the Telecaster, and they’re like, ‘That guitar is $200.’ I was like, ‘That can’t be real, you’re lying to me!’ I ended up putting the rest on my credit card that I’m paying off for the rest of my life. But I have this D-18, and I love it.”

Rick Rolling

Of late, Amba’s credit card has added a Rickenbacker 330 to their live rotation, helping them move between acoustic and electric renderings of songs from Eyes Full while keeping one eye on what comes next. “People been like, ‘Don’t beat the fuck out of that guitar!’ But I’m gonna do whatever I want with that guitar, it’s my guitar,” they say.

“We went all over the place looking for Ricks in New York, and they’re too expensive. We ended up going to Guitar Center in Brooklyn, and we found this one — it was a very affordable guitar for what it is. I’ve been playing the Rick with a Big Muff. I was like, ‘I’m never gonna be a pedal motherfucker, I like being an acoustic motherfucker.’ But here I am fucking with pedals, you know?”

Out among the trees, Amba found their place through alternate tunings. Out in the world, rekindling that feeling requires time and patience. We all have to go on the ride with them if we want to get to where they’re going, which feels fitting.

“I play some new songs with the Rick because it’s in standard,” they say. “So it’s easy to turn back. I do Smile With Your Eyes, which is DGDGBD, and I have to tune the guitar. Then there’s this other one with everything down a half step, then there’s C#F#C#EBC, then C#G#C#F#BC#…I’m getting really good at stage banter. I’m like, ‘Hang on, everyone, we’re gonna get there together.”

Zoh Amba’s Eyes Full is out now through Matador.

The post “I’m just gonna have a nasty right hand, and write words that are really sincere” Zoh Amba on their journey from avant garde sax to an indie-rock guitar phenom appeared first on Guitar.com | All Things Guitar.

EarthQuaker Devices Sunn O))) HalfLife is half the size but just as heavy

Otherworldly reverbs in a pocket-sized pedal