General Interest

Bassist Bob Daisley has spoken about his contributions to Ozzy Osbourne’s 1981 album, Diary Of A Madman, and has again insisted that he should be credited for his work on the record.

Daisley worked on Osbourne’s first two solo records, 1980’s The Blizzard of Ozz as well as Diary…, And still feels cheated out of proper accreditation for his playing. Daisley says that “seeing those erroneous credits for the first time” was like a “punch in the solar plexus”, and that seeing bassist Rudy Sarzo credited rather than him was hurtful.

• READ MORE: Zakk Wylde says the riff for Miracle Man was inspired by this classic Jimi Hendrix song

In an interview with Bass Player [via Guitar World], he says, “Just ask me what I thought of Rudy Sarzo being credited on Diary of a Madman! That was a travesty, a true crime against [drummer] Lee Kerslake and me.

“I’d worked hard on that album – as I do with every album that I’ve been involved with – both with the playing/writing aspects and the production. And then, to see all my hard work get credited to someone who’d had nothing to do with any of it was heartbreaking, and the same goes for Lee.”

He adds, “I would love to see proper accreditation on that album before I take the long dirt nap.”

There is a history of legal battles between Daisley and Osbourne. He sued Osbourne in 2016 and his company Blizzard Music Limited, accusing him of withholding over $2m in unpaid royalties from the song Crazy Train.

At the time, Osbourne refuted the claims and a representative said that Daisley had been receiving biannual royalty statements and checks from Blizzard Music, “totalling in millions of dollars, which have been routinely cashed.” The case was eventually dismissed.

Back in 2023 during an episode of The Osbournes Podcast, Osbourne discussed Daisley’s ‘Holy Grail’ demos, which are rumoured to contain around seven hours of recording sessions with late heavy metal icon Randy Rhoads.

In the episode, Osbourne said, “The quality [of the recording] sucks… [He’d record] everything we ever did. He would record the fucking milkman… The quality was fucking dreadful.”

“[He recorded] on a cassette machine,” Sharon added. “A tiny little cassette machine. And it’s not for us to do anything with.”

The post “It was heartbreaking”: Bob Daisley insists that he deserved credits for his work on Ozzy Osbourne’s Diary Of A Madman appeared first on Guitar.com | All Things Guitar.

Following months of speculation at where Mateus Asato might go next after ending his decade-long partnership with Suhr, the Brazilian guitarist has officially confirmed he’s joining Fender.

Asato became somewhat synonymous with Suhr Guitars during his stratospheric rise as the quintessential Instagram guitarist, but as he enters his next phase as a fully-fledged solo artist – with his debut album landing in February – Fender’s where he’s landed.

Following the news that Asato was leaving Suhr, fans quickly began to speculate that a Fender partnership might be on the horizon after he posted a video playing Jimi Hendrix’s Little Wing on a Fender Stratocaster.

Asato attempted to dispel rumours of a Fender partnership, writing: “You guys are funny. Imagine playing Little Wing on a guitar that isn’t a Strat…

“In my case, I just picked this strat because it fits the storytelling the most. Regarding this topic, I’m really chill. ‘Single’ & happy where I am at this point.”

But fans still had their suspicions – especially after Asato attended an in-person clinic with Fender Japan, and may or may not have been spotted by the Guitar.com team at a Fender Custom Shop event at this year’s NAMM Show…

These suspicions have now been confirmed in a new post on Asato’s Instagram page.

“I am officially part of Fender’s team now,” he says. “In these past few months, I’ve been spending [a] great amount of hours with their guitar in my hands, trying to capture the best ways to make the best out of this new chapter.

“It’s an honour to enter this journey alongside so many incredible names in [the] history of music.

“Thank you, Fender. And a very warm thanks to all the incredible ones who are involved in this special project. I deeply appreciate your effort and time. I’m ready.”

View this post on Instagram

As for the fruits of what a Fender x Asato partnership might look like, the guitarist has been seen playing a green Stratocaster in numerous videos as of late, which can also be seen in his announcement post above. We’d wager a signature model is right over the horizon…

The post “I’m ready”: Mateus Asato confirms he’s now a Fender artist appeared first on Guitar.com | All Things Guitar.

The Pro Co RAT has quite the cult following. Designed way back in the 1970s, it’s still treasured and used widely today. If you’ve been thinking of adding one to your pedalboard, you can get one now for a discounted price of $88 at Sweetwater.

The Pro Co RAT 2 is the most modern version of the RAT, which we rate a perfect 10/10. In our 2024 review and deep dive into this hard-clipping distortion legend, we noted that “for something that’s been essentially unchanged since 1978, it’s still a large part of the bedrock of the world of modern dirtboxes”, and also celebrated its reasonable pricing.

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The RAT 2 hosts the same three-knob layout (Distortion, Filter, and Volume) as its vintage counterparts, along with a rugged on/off footswitch, a status LED, and even glow-in-the-dark graphics. With controls this simple, you literally cannot go wrong.

• READ MORE: Milkman/Benson The Amp review: “a compelling solution for players looking to replace a traditional tube amp”

And yet despite its simple face, there are still plenty of ways you can experiment with its streamlined design. As Sweetwater explains, with the Distortion knob at its minimum setting it acts as a “dirty boost”, while at maximum it delivers fuzz tones.

The Filter knob is also a core player in this pedal’s flexibility, opening up a range of sonic textures, from clear tones with plenty of clarity to warm, cranked amp-like sounds. Check it out in action and learn more about its history below:

The Pro Co RAT has also made its way onto some legendary albums, including the Foo Fighters’ 1995 debut album. The only stompboxes used on the record were the RAT, an MXR Distortion+, and possibly a Boss DS-1 – a testament to its versatility among such a core set up.

The Pro Co RAT 2 is on sale now for $88 at Sweetwater.

The post The Pro Co RAT is a distortion legend – and you can get it now for less than $90 at Sweetwater appeared first on Guitar.com | All Things Guitar.

A woman has been charged over the alleged stalking, threat and assault of former Fleetwood Mac guitarist, Lindsey Buckingham.

Buckingham was attacked with an unknown substance in Santa Monica, California on 25 March this year, and the suspect immediately fled. The alleged suspect, Michelle Dick, now faces seven charges. She also claims to be the biological daughter of Buckingham.

• READ MORE: “This is categorically false”: Fleetwood Mac respond to reunion rumours

Fox News Digital reports that court documents claim Michelle Dick, who was previously accused of stalking Buckingham and his family, has now been charged with two counts of stalking, two counts of threats to commit a crime with intent to terrorise, assault with a deadly weapon, vandalism, and battery.

Buckingham filed a request for a restraining order against Dick in December 2024. Buckingham raised concerns about the safety of himself and his family at the time, and said: “I do not know Ms. Dick and I am not her father.”

It is alleged that she began harassing his family in 2021, when Dick allegedly “got ahold” of the business phone number for Buckingham’s wife, Kristen Messner, and “called the number dozens of times a day sometimes, leaving long drawn-out messages”, including claims that she is his child and “threats to kill me and my family,” as Buckingham said in the petition.

A Los Angeles County Superior Court judge granted the restraining order, which stated that Dick must stay at least 100 yards away from Buckingham and his family. She was also ordered not to harass or attempt to make contact with him in any way.

A warrant has been issued for Dick’s arrest. She is yet to be detained, according to reports, and a judge has set bail at $300,000.

The post Lindsey Buckingham’s alleged attacker faces charges for stalking, threats and assault appeared first on Guitar.com | All Things Guitar.

We’ve now looked at how to tab a basic riff as well as composing a full song in Guitar Pro, so hopefully you’re feeling confident in using the software. While it’s an excellent tool for developing ideas into fully-fledged compositions, Guitar Pro has a number of benefits to all aspects of your guitar work.

In this guide, we’re going to look at some of the ways in which Guitar Pro can streamline the recording process; exploring its impact on the way you write, practice, collaborate and collate your ideas and how all of those aspects feed into recording. What we’ll be exploring applies to both solo artists and guitarists in a band that intend to either record and produce themselves or work with an engineer/producer.

Practise at your own pace

The world of guitar tablature is daunting for a beginner – and even sometimes for a veteran. Thankfully, Guitar Pro has long been the default choice of fans and artists when it comes to accurately tabbing out songs.  Tab books will often come with Guitar Pro files as standard.

Being able to hear and see the notes and chords being played makes a world of difference when learning a song. When you combine that with Guitar Pro’s playback speed, metronome and loop functionality, practising guitar becomes infinitely better as you can set a comfortable pace, learn parts efficiently and refine your timing.

The more songs you learn in this way, the more you’ll learn about different articulations and the theory behind your favourite pieces, which will build your knowledge and inform the way you write and perform.

In addition to this, if your favourite artist and/or song hasn’t been tabbed and you want to try your hand at learning it by ear, Guitar Pro can be incredibly helpful. Whether you’re working it out the full piece or using a stem separator to pick out the part(s) you want to learn, tabbing the part out in Guitar Pro helps in multiple ways.

• You have both a visual and aural guide to refer to as you’re learning
• You can use the playback speed and metronome to practise at a comfortable pace before getting to 100% speed
• The more you tab out parts in Guitar Pro, the more efficient at it you’ll become
• You’ll develop your musical ear and each subsequent piece should, in theory, take less and less time

Write parts you can’t play

The beauty of Guitar Pro is you tab something out and it plays it, so what’s to stop you just trying something nuts to see how it sounds? It may turn into a practice routine for you that both elevates your playing and becomes a key component to your song. It may be something you transpose to another instrument such as synth and turn into a lead line. Give it a try and I guarantee it will help unlock some creative ideas.

Create an organised archive of ideas

You might be sitting on an ever-growing folder of voice memos or videos of different riff ideas and chord progressions. I know I am! But a habit that I’ve been trying to form is transferring those ideas into Guitar Pro – and here’s why.

Too many times I’ve looked back at an idea and realised I’ve filmed it at a terrible angle and can’t actually make out what I’m playing and spend the limited time I have on trying to relearn the part by ear. That issue grows exponentially with voice memos! Tabbing out the idea in Guitar Pro removes these issues, while also developing your proficiency with the software.

Even if you’ve documented an idea clearly, there’s very little you can do with it as a recording on your phone. And unless you’re hot on naming and categorising your recordings, it’s easy for those ideas to become disorganised and great riffs and progressions being forgotten for extended periods of time.

By staying on top of your latest bursts of inspiration, you can quickly build an organised archive of ideas that are in the best place to be developed over time and turned into fully-formed ideas or finished tracks.

This isn’t a Guitar Pro tip, but one that I feel is still beneficial to share. I periodically upload any video recordings of ideas to a drive as both a backup and for better organisation. When naming these recordings, I include the key and/or tuning of the idea and some descriptive element. This could be ‘new intro idea for X track’ or describing the vibe of the idea, e.g. heavy, dreamy, energetic, etc. These naming conventions make it much easier to categorise ideas and easily scan through them to find what you’re looking for.

Easily collaborate with other artists

You might be great at following my previous point, but if you’re consistently running into creative blocks and unable to progress an idea, why not enlist the help of another artist? This can be scaled in the smallest or largest ways, whichever suits your creativity best.

We don’t always have the luxury of regularly jamming and writing with our bandmates – your band may even live across countries or continents. Guitar Pro makes sharing ideas incredibly easy, whether that’s exporting an idea as an .mp3, sharing a MIDI file of the project, which a bandmate can drop into their Digital Audio Workstation (DAW), or if they are a Guitar Pro user, simply sharing the project file.

It can also be a great way for you and your band to write parts outside of your home instrument(s). For example, you might have an idea for a drum part that you want to share with your drummer. Equally, your drummer might have a melody in mind for guitar. You can go super ambitious and channel my second point on writing parts you can’t play to challenge one another and potentially create something you’d never have attempted by yourself.

If you’re a solo artist or simply looking for some new creative perspectives, the same approach can be applied to artists across the world. With a multitude of Discord servers, subreddits and forums dedicated to sharing music, you can put ideas out into the ether and see how others interpret and develop them.

As you may remember from part one of this guide, when you create any project in Guitar Pro, you can choose to have the music written out as a score. While there are many guitarists that read and write sheet music, it’s most commonly found in jazz and classically trained musicians. When you have a suite of orchestral instruments in-software, what’s to stop you taking a stab at scoring some string parts for your track and reaching out to players to help develop and potentially record these parts?

Your score won’t come out as a perfect piece of sheet music, but it will be a much more effective way of communicating your ideas with instrumentalists, especially when paired with the project. When you find a player that’s keen to collaborate, they can take that score, clean it up and then record the parts as you envisioned them.

Streamline the recording process

Each point preceding this feeds into streamlining the recording process, but this is the most direct way that Guitar Pro can speed things up.

We’ve already touched upon exporting MIDI data to import into a DAW when collaborating, but how does this aid the recording process? Let’s say you’ve composed a complete song in Guitar Pro, with multitrack parts, accompanying instrumentation and even automation, panning, etc. The final step is to record it.

Ordinarily, this would involve building a recording template in your DAW with section markers, tempo information, audio and MIDI channels, etc. When you export a Guitar Pro project as a MIDI file and then drag-and-drop that into your DAW (I am using Logic Pro for this example), it automatically creates separate channels for each part, using the DAWs in-built instrument library to give each part a distinct sound, as well as any automation data as well as the song’s tempo. Unfortunately, should your song have any time signature changes, your DAW will not create markers for these changes, and this has to be done manually.

You now have an accurate template (time signatures notwithstanding) of your song(s), which massively reduces how much pre-production time is needed before beginning your recording. This is doubly useful for recording engineers who are not familiar with your music and can be a good way for them to know what you’re trying to create with the recording.

Additionally, if you intend to use any instrument libraries, you will already have the MIDI data in place from the import. This can not only save time, but make a huge difference in setting the ‘vibe’ early on, allowing you to ease more naturally into recording your parts.

There you have it! Our essential guide to Guitar Pro is complete – I hope you’ve found it useful. Don’t forget, you can download the demo project file we referred to in part two to get you started in the software.

The post How Guitar Pro can streamline your recording process appeared first on Guitar.com | All Things Guitar.

The power of the guitar as a vehicle of musical expression is an almost universal concept. No matter where you go in the world, you’ll find unique, interesting artists and bands building scenes that speak authentically to their cultures, backgrounds and passions.

• READ MORE: The Real Riot Women: the Gen Xers discovering punk and embracing guitar

There’s also no doubt that the age of music streaming has made music a truly global experience. Whether it’s BTS, Bad Bunny or Rosalía, the place of Western, English-language music as the dominant power in pop is slowly shifting – the music tastes of Gen Z and Gen Alpha are global in ways we’ve never seen before.

Today, we’re seeing Spanish songs with billions of streams, performed by a Puerto Rican megastar, played out at the Super Bowl, while K-pop musical numbers snag Golden Globe Awards.

In this climate, it’s no surprise that guitar-centric artists from all across the globe are starting to win new fanbases across the globe. This is increasingly true across the Asia-Pacific region – where bands that have been part of thriving local and regional scenes rub shoulders with bands who stand out from the crowd in their homelands, finding common new audiences.

Now, when flipping through music libraries, you’ll find J-rock acts sitting next to Pakistani metal tracks, as well as K-rock bands. Guitar music – especially rock, metal and punk – has found a growing audience across a new generation, creating an eclectic new fusion phase of guitar music across countries like Singapore, Japan, Thailand, Malaysia and Korea.

Let’s meet some of the most exciting and interesting bands that are poised for a breakthrough in 2026.

RIIZE

Formed in 2023, K-pop newcomers RIIZE have over 4.8 million followers on Instagram and 2.6 million monthly listeners on Spotify alone. Achieving accolades across the Asia Artist Awards and nominations at the iHeartRadio Music Awards, the Korean boy band is one of the fastest emerging boy bands in K-pop. While often affiliated with genres of pop, R&B and dance, RIIZE’s first debut song (and single) was titled Get A Guitar.

RIIZE singers Wonbin and Anton are incorporating their love for guitar music into the band’s work. Wonbin first picked up the guitar after following his dad and, later, learned electric guitar in middle school. Meanwhile, Anton learned how to play bass and then moved onto playing the guitar. “John Mayer was what first drew me to the guitar. His music and lyricism spoke to me and hearing his playing made me want to try and learn a couple of his songs,” Anton tells Guitar. “Radiohead and Jeff Buckley, too. Another modern-day guitar icon I admire would be Mk.gee.”

In bringing guitar music to a globally successful K-pop group, Wonbin highlights how the instrument can translate across languages and genres, adding that there’s a reason why South Korea’s alternative scene has rapidly grown in the last few years. “I think the unique character of each artist adds that special charm that draws people in beyond just the good music itself,” he says, name-dropping DAY6, JANNABI, Silica Gel, and HYUKOH as Korean artists that can bring guitar music into a mainstream space.

“Playing guitar has helped broaden my perspective on music, which has been a really positive influence on me as an artist and with RIIZE’s debut song being Get A Guitar, it makes my relationship with the guitar even more meaningful,” he adds. “The thrill of playing guitar on stage left such a strong impression on me that I can’t forget it. It’s something I want to keep showcasing going forward.”

After Mdnight

Hailing from Malaysia, After Mdnight are the internet’s latest pop-punk breakthrough band. Forming in 2022, members Riff (bassist), Mamu (drummer), Arfa and Hafiz (guitarists), and Iza (lead singer) have connected with fans online through viral videos by tapping into alternative music algorithms and comparing their songs to artists like Paramore and Neck Deep. “We’re a Malaysian band that’s attracting interest from all over the world right now – we have that sense of pride to represent the nation, especially being recognised internationally,” Riff says.

Taking stock of some of Malaysia’s previous rock bands – Lefthanded, Butterfingers, Wings, and Black Rose – and one of Malaysia’s most renowned singers, Siti Nurhaliza, After Mdnight is redefining what pop-punk looks like, as well as who gets to be a part of the scene. While contemporary 2000s Malaysian rock bands, like Hujan, have shown the collective that there’s still a scene to enrich.

“As a band, we’re all Muslims. We want to put out an image where being a Muslim and playing music is not inherently bad,” he explains. “We’re just playing what we are passionate about and not necessarily following a certain stereotype. Nurturing music publicly and widely in Malaysia is very difficult.” Yet, by bringing together influences from Malaysia’s industry names to the band’s own favourite artists – Paramore, Avril Lavigne, Neck Deep, Blink-182, Green Day – After Mdnight have a message to prove: “If music is something that’s within you, you just have to go for it.”

HANABIE

Artists nowadays can feel more reachable than ever. You can hop online and see Towa Bird charmingly ripping through some guitar chords on a custom Gibson Firebird or endless guitar renditions and remixes of K-pop songs across TikTok. The outcome, unsurprisingly, is a music world interconnected to a new height. Alexander Milas, journalist and former editor of Metal Hammer, considers this shift in industry and culture a milestone-making cultural exchange.

“Clearly, the internet has had a tremendous role to play as well as massive shifts in the way that music is discovered and promoted, thanks to social media and streaming,” Milas says. “The term global village comes to mind, but I don’t think this has happened overnight and so whatever’s happening now is a culmination of years and decades of groundwork and a lot of really brilliant music.”

Japanese metalcore HANABIE formed in 2015, when vocalist Yukina, guitarist and vocalist Matsuri, and bassist Hettsu came together. In 2023, drummer Chika joined, completing the current lineup. The band, who have toured across Hong Kong, Taipei, and Bangkok as support for While She Sleeps and, more recently, performed in Taiwan in 2024, recall a positive response from Asian Pacific fans.

“[We] remember the energy of the crowds being incredible, and we had such a fun time performing,” they tell Guitar. As HANABIE continue to evolve as a band, they credit their style and on-stage presence as a way they’ve been able to “shine” and “carve out our place in the [guitar] scene”.

On their recent EP, HOT TOPIC, HANABIE showcase their neo-Japanese genreless flair – a leading reason why the band have almost 400K listeners on Spotify, with hubs of fans across Mexico, Brazil and Germany. “We’re still in the process of growing, so it’s hard to say for sure, but I think we’ve always tried to pursue things that other artists haven’t done before,” HANABIE share. “That applies to many aspects—our music, band name, video production—because at the core, we never wanted to blend in or look the same as others. Maybe that’s what worked in our favour.”

As bands like HANABIE continue to push the frontier of fusion rock, innovative guitar music continues to deepen its roots with younger generations. Milas, founder of the World Metal Congress, says the development of global guitar scenes, particularly those spotlighting minority voices, has been on the cusp for several years.

“I think it’s been there for some time; only what’s happened is that we in the West have no choice but to sit up and pay attention, at last,” he explains. “It wasn’t always like that, and you have examples of artists with astonishing creative output who’ve had difficulty being recognised outside of their initial sphere of influence. HANABIE are a tremendous band: would they be there without the road that was paved by say, X Japan who were creating a whole world around themselves back in the 80s? And you can spend a lot of time theorising, but the bottom line is, no matter where you’re from, you’ve got to have songs, which HANABIE absolutely do.”

Death Of Heather

While the region is seeing a wave of new bands come through, underground alternative shoegaze acts like Thailand’s Death Of Heather have built a dedicated pool of fans, with a cult flock of listeners across Thailand and Singapore. Tay, the lead singer of the four-piece, is reflective on the new phase of momentum hitting the guitar scene across Pacific Asia.

For a band that began in 2017, Tay and his fellow bandmates (Non on drums, Thong on bass, and Nine on guitar) became a gang of like-minded university friends who all lit up at the idea of being in a band. After Tay shared some bedroom demos with the group, DoH was formed. Nowadays, Tay and co play monthly shows and have just wrapped up recording their new album. No longer teens, but in their 30s, Tay (and fellow band members), are no strangers to how the guitar music and local scenes are steadily evolving.

“Honestly, the reason guitar bands from different regions are growing is because of the internet,” he tells Guitar. “Music scenes are connected everywhere now. People are more open, and bands from Asia can reach listeners way easier than before. It feels like guitar music from all over the world finally has a space.”

Whether streaming on SoundCloud or racking up views on YouTube, Tay is appreciative of how globalised online music has become, with it supporting new and established acts. “The rock and alternative scene in Bangkok is pretty active. It’s not as big as mainstream pop or hip-hop right now, but there’s a solid group of listeners, and new bands keep popping up,” he explains.

While there’s no single-purpose method of putting more Pacific Asian bands in the spotlight, Tay advocates for intercommunity platforming: “I think guitar and alternative bands in Asia can grow faster if we all support each other more—sharing show opportunities, touring together, promoting each other across countries. The Asian scene feels stronger every year, and it’s nice seeing bands push one another forward.”

Last Minute

As Gen Z steps up to the music industry, bands like Last Minute are looking to create a stir in the guitar scene. Forming in 2024, Last Minute are creating music that feels like “a blend of 5 different minds” all under the “interpretation” of rock music that will resonate with younger audiences. Like most new bands, Last Minute have faced their challenges with funding, balancing jobs and locking down time to invest in the band. Yet, the quartet remain optimistic about where Singapore’s music scene is going. Affordability and accessibility within guitar music has helped Last Minute’s guitarist, Meryl, play around with new tech, including plugins and pedals.

“I learned guitar during this era of convenient and accessible guitar technology, with plugins emulating the real-time sounds of professional setups that are customisable to your own preferences, with tiny digital multi fx pedals that would blow the minds of older guitarists,” he says. “Its definitely cheaper and easier to achieve the sounds you want nowadays.”

As for the future of guitar-leaning music in Singapore, Last Minute’s vocalist, Renjin, has a few suggestions on how to nurture and support new alternative acts. “I think [we need] more third spaces and venues. But still, it’s a business venture and a business at the end of the day needs its supporters. If you’re an avid enjoyer of rock music and haven’t supported local shows yet, please do, there are many amazing bands in Singapore, especially metalcore ones,” he says.

“If you’re an event organiser, you need to start targeting the general audience. New concepts with creative designs. Make it fun! Make it so that someone who doesn’t need to understand music will enjoy it. It’s going to be tough, but we can do it. I think we as artists have this responsibility of using ideas to keep the community fresh and alive. We can do it, one show at a time.”

The post “We as have this responsibility of using ideas to keep the community fresh and alive” Meet the rising Asian guitar artists you should get excited about in 2026 appeared first on Guitar.com | All Things Guitar.

Ian Horne, a former sound engineer for Wings, has recalled how remarkably relaxed Paul McCartney was when he broke the news to him that his 1961 Höfner 500/1 Violin Bass had been stolen.

The incident occurred in October 1972, when McCartney’s post-Beatles band Wings were in the recording studio. Horne had parked a truck full of their gear on a West London street, which was broken into. The stolen bass has become the focus of a BBC Two documentary film, McCartney: The Hunt For The Lost Bass, which airs on Saturday 11 April.

• READ MORE: Paul McCartney found a guitar chord he didn’t recognise while having tea with Andrew Watt – and was so inspired he recorded a new album

The documentary film ends with the rediscovery of the bass, which was found in an attic, following several investigations and an online campaign. McCartney shared his gratitude and confirmed on his website in 2024 that it had been returned and authenticated by Höfner.

Speaking to the Radio Times, Horne recalls, “I walked up to the truck, saw the padlock on the ground, and my heart sank. It was a three-ton truck with a roller shutter at the back. When I pushed the shutter up, I saw straight away that it was gone. The bass wasn’t there.”

Horne remembers that while there were “lots of nice people in the hippy culture” at the time, “there were some dodgy people about as well”. He adds, “We visited two or three houses in a sort of threatening manner – you know, not very polite. But we didn’t find it. I rang the police and went to the station to make a statement, but they were no help. There was nothing more to be done. I realised I had to go and tell Paul in person.”

As you can imagine, Horne was filled with dread when he approached McCartney’s house near Abbey Road to break the news. But Macca was rather chilled about the ordeal…

“All these things go through your head. I must have looked like a beaten man when I knocked on the door. I just came out with it: ‘I’ve got some bad news, Paul. Our truck was broken into and the bass was stolen.’ I expected him to go ballistic, but Paul was lovely about it. He said, ‘It’s all right, I’ve got another one,’” shares Horne.

McCartney: The Hunt For The Lost Bass airs on BBC Two this Saturday at 8:45pm (BST).

The post “It’s alright, I’ve got another one”: Wings engineer remembers Paul McCartney’s relaxed reaction when he told him his Höfner Violin Bass had been stolen appeared first on Guitar.com | All Things Guitar.

Geddy Lee and Alex Lifeson have announced plans to honour their late Rush bandmate Neil Peart every night on their upcoming Fifty Something world tour.

Celebrating 50-something years of Rush music, the upcoming reunion tour will see Lee and Lifeson joined by drummer Anika Nilles, who will play in place of Neil Peart, who was the band’s drummer from 1974 until their hiatus in 2015. He sadly passed away in 2020 from glioblastoma, a form of brain cancer.

In a new interview with National Today, bassist Geddy Lee and guitarist Alex Lifeson say the nightly tribute to Peart will consist of “certain songs” performed alongside a visual accompaniment.

• READ MORE: “Some people are seeing this as a final album”: Details of the Rolling Stones’ top secret new album revealed

“We’ve been talking about certain songs that we feel really, really give us the vision of Neil,” Lee says. “Twice a night we will pick a song to play sort of for him and we’ll present a visual tribute behind us, to Neil, whether it be to his lyrics or just to his playing or whatever.”

“It’s a celebration of who he was as a person and a drummer, not so sad anymore,” Lifeson adds.

Elsewhere in the interview, the pair reflect on the decision to perform as Rush or to call the tour something else entirely. “[At] one point we were coming up with all these ways of not calling it Rush,” says Lee. “And then it seemed ridiculous because when you’re learning 40 Rush songs, what the hell are you supposed to call this thing you’re doing? Yeah, let’s say we’ll go out, we’ll play 40 Rush songs, we’ll call it Iron Butterfly.”

Indeed, Lee made a similar comment in a recent interview, saying: “What the fuck should we call it, Iron Maiden?” adding that the pair “twisted themselves into a pretzel” trying to land on a name that wasn’t Rush.

Lee and Lifeson will perform alongside drummer Anika Nilles on the upcoming tour. Nilles performed with them at this year’s Juno Awards ceremony. On filling Peart’s shoes in a longer-term setting, Nilles recently told Classic Rock:

“His playing was very energetic, and I really like that. That’s something I feel very comfortable with. I also love playing in a very energetic way. That’s the first thing that comes to mind, and something I really appreciate about his playing.”

Rush’s Fifty Something Tour will begin in Los Angeles on June 7. The group will perform in North America, South America, the UK, and Europe, finishing the tour on April 10, 2027, in Helsinki.

Head to Rush.com for full dates and ticket information.

The post “Twice a night we’ll pick a song to play for him”: Geddy Lee reveals how Rush will pay tribute to Neil Peart on reunion tour appeared first on Guitar.com | All Things Guitar.

The Rolling Stones have seemingly started teasing the title of their next album, which could also be their last.

According to a recent report, the album’s title may hark back to an alias they have used in the past to announce secret shows, The Cockroaches. Posters have also been spotted featuring this moniker, and the first single, titled Mr Charm, is supposedly landing this Saturday (11 April).

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

According to an exclusive from The Sun, a “music insider” says, “The Rolling Stones album has been in the can for some time now. A lot of it was written and recorded a while back but there has been a lot of fine-tuning to make it perfect. They were back in Metropolis Studios in West London last year and now it’s ready to go.

“The guys are aware they aren’t getting any younger so some people are seeing this as a final album – but who knows with the Stones? They will be making some appearances together to promote it but there’s not going to be a tour yet.”

If the rumours are to be true, this new record will mark their 25th studio album and their first since 2023’s Hackney Diamonds. The Grammy-winning album was produced by Andrew Watt, and marked their first record since the death of drummer Charlie Watts in 2021, though he does appear on two of its songs. The Sun also suggests that this new album could include more recordings from Watts.

Both members of The Rolling Stones and those associated with them have been teasing that their work is not quite done ever since Hackney Diamonds landed. Keith Richards told Guitar Player in 2023, “I’ve never even come close to thinking of wrapping up the Rolling Stones’ story… We plan to keep on working. I know we’re going to work next year.”

Last year, Andrew Watt also hinted about working with the group again. He told Rolling Stone, “I’ve said it before, but it’s like working for Batman. When the tongue [logo] is up in the air, you just go… I can say we did some recording together, but that’s all I can say.”

Prior to this, Keith Richards’ son also gave an interview to Record Collector, in which he said that the band were “nearly done” recording and that they had enough material left over from Hackney Diamonds to work with on a new project: “They have enough left over from the last one. [It] gave them a Grammy so now they’re all hyped up on that: ‘Oh, yeah – we can do another one like that! We’ve got more like that if you want…’. I think they’re doing the follow-up.”

The post “Some people are seeing this as a final album”: Details of the Rolling Stones’ top secret new album revealed appeared first on Guitar.com | All Things Guitar.



Thomm Jutz’s story is unlike any other we’ve ever shared.

Born in the Black Forest of Germany, Jutz became obsessed with American music when, at the age of 11, he saw Bobby Bare on TV. He eventually moved to Nashville, where he has worked with Nanci Griffith, Mary Gauthier, Billy Strings, and others. These days, he also teaches songwriting at Belmont University.

On this week’s podcast, we talk to the Grammy-nominated singer-songwriter, guitarist and producer about his new solo album, Ring-A-Bellin’, its companion book, his secrets for success in Nashville, and so much more. It’s a great chat.

https://thommjutz.com

Order the Ring-A-Bellin’ book: https://thommjutz.com/store

Subscribe to the Fretboard Journal print magazine here.

Our next Fretboard Summit takes place August 20-22, 2026, at the Old Town School of Folk Music in Chicago. Register today: https://fretboardsummit.org

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Above photo: Otis

The post Podcast 544: Thomm Jutz first appeared on Fretboard Journal.

Ernie Ball Music Man is celebrating 30 years of its Axis electric guitar model with a limited-edition collection honouring its legacy.

First launched in 1996, the Axis has become a staple of the EBMM lineup, and guitars in the new collection stay true to the original design with a classic asymmetrical neck carve for “comfort and playability”, 22 stainless steel frets and a figured maple neck with glow-in-the-dark side dots.

• READ MORE: Guitar Center is launching its own guitar brand and asking guitarists for help with design – but the response hasn’t been all positive

The 30th Anniversary Axis features a hand-stained quilt maple top, and comes in six different finish options: Gold, Black, Pink, Red, Blue and Purple, each with a colour-matched headstock. Each option comes with a sparkled black back for a “refined and cohesive look”.

Elsewhere, the guitar features a pair of custom-wound DiMarzio pickups, plus an Ernie Ball Music Man double locking tremolo system, and fine tuners for “exceptional tuning stability”.

A final visual touch comes by way of a commemorative 30th Anniversary logo on the back.

Additionally, each 30th Anniversary Axis guitar comes with a certificate of authenticity, and ships in a deluxe hardshell case.

Price-wise, the 30th Anniversary Axis clocks in at $3,799. It’s also limited worldwide, with 120 Gold guitars available, and 100 each of the other five colours.

Learn more at Ernie Ball Music Man.

The post “A true collector’s piece”: Ernie Ball Music Man unveils 30th Anniversary Axis appeared first on Guitar.com | All Things Guitar.

Guitar Center has announced it is setting up its own in-house guitar brand, and is outsourcing a portion of research and development to its community of customers and players.

In a TikTok video posted on 26 March, CEO Gabe Dalporto shared the company’s plans to develop its own guitar brand, explaining his reasoning behind the move.

“We are about to do something insane,” he said. “We are going to build a revolutionary guitar and guitar brand from the ground up. Guitars haven’t changed that much in the last 50 years, and we’re about to change that.

“We have something that nobody else has: a relationship with you,” he continues. “Our customers are incredible musicians. And we’re going to work with you in public, out loud, and share our designs, take your feedback, iterate, and make the best guitar that has ever been made.”

@guitarcenter

It’s time to throw out the rule book and build a new guitar with no constraints, and you’re the designer! Follow @ gdalporto on Instagram to stay tuned in the guitar building journey, and join the subthread, r/GuitarLab, on Reddit to see the whole conversation unfold—link in bio. ——— By submitting your idea, design, suggestion or feedback (collectively, “Idea”), you affirm that your Idea is your original creation, and that any Idea submitted by you is wholly original and owned by you, and cleared for use by Guitar Center, Inc. (“Guitar Center”) without the need for additional licensing. By submitting your Idea, you assign, transfer, give and relinquish to Guitar Center all right, title and interest in and to the Idea or any material based upon or derived therefrom for no consideration. Guitar Center may use and exploit, without any payment or attribution obligation of any kind, any Idea you provide to Guitar Center. You waive any moral and similar rights you may have in such Idea. If requested by Guitar Center, you agree to execute and deliver all documents needed to confirm the assignment and transfer of your Idea to Guitar Center.

♬ original sound – Guitar Center – Guitar Center

A subreddit – r/guitarlab – has also been set up by Guitar Center to encourage its community to submit ideas for their ideal guitar, but a number of disclaimers have some guitarists sceptical about the whole idea, mostly around the concept of giving away ideas for free which will later be used for profit.

“Come build a guitar with us from the ground up,” Dalporto writes. “Your input will go directly to our builders as we iteratively create the world’s most revolutionary guitar from first principles (and your frustrations and desires). Be part of the biggest guitar innovation since Les Paul nailed a neck and pickups to a railroad tie.”

Under the r/guitarlab rules section, Guitar Center sets out three important disclaimers those submitting ideas for guitar design need to know:

“By submitting your idea, design, suggestion or feedback (collectively, “Idea”), you affirm that your Idea is your original creation, and that any Idea submitted by you is wholly original and owned by you, and cleared for use by Guitar Center, Inc. (“Guitar Center”) without the need for additional licensing,” reads the first.

But the second two stipulations are what have guitarists scratching their heads.

“By submitting your Idea, you assign, transfer, give and relinquish to Guitar Center all right, title and interest in and to the Idea or any material based upon or derived therefrom for no consideration,” reads the second rule. “Guitar Center may use and exploit, without any payment or attribution obligation of any kind, any Idea you provide to Guitar Center.”

And finally, the third rule: “You waive any moral and similar rights you may have in such Idea. If requested by Guitar Center, you agree to execute and deliver all documents needed to confirm the assignment and transfer of your Idea to Guitar Center.”

While some have enthusiastically taken to the cause, others have expressed their concern at the limited perks or remuneration community members will receive for their contributions.

In a post labelling the move “peak corporate cringe”, one user writes: “Am I the only one who finds it incredibly unnerved that a multi-billion dollar corporation, which has been struggling with its own identity and finances for years, is now asking us to do their R&D for free?”

Meanwhile, another user writes: “Seriously? you’re just going to rip ideas off your community and give them nothing but crappy trade in values?”

As it stands, Guitar Center hasn’t publicly responded to these concerns.

Keep up to date with the design via the official r/guitarlab subreddit.

The post Guitar Center is launching its own guitar brand and asking guitarists for help with design – but the response hasn’t been all positive appeared first on Guitar.com | All Things Guitar.

You can now get a PRS SE Silver Sky for $599 thanks to this huge deal at Sweetwater, saving you $250.

The Overland Gray version of the SE Silver Sky with a maple fretboard is available at this reduced price on the Sweetwater website only while supplies last. This model was part of the original launch of the SE Silver Sky Maple, which landed in 2023.

[deals ids=”7r6pTBFdbaWVeErzHCJAKs”]

Apart from the fretboard wood, the PRS SE Silver Sky Maple has all the same specifications as its rosewood-appointed sister. The SE version does differ from the standard Silver Sky, however, and was designed to be a more affordable alternative.

• READ MORE: PRS releases full-length documentary celebrating the life of guitar industry legend Theodore “Ted” McCarty

The SE Silver Sky’s biggest deviation from the standard model is a slightly modified 8.5-inch radius, as opposed to the original’s 7.25-inch radius. Its other key features include a poplar body, 22 frets and a 25.5” scale length, 635 JM “S” pickups, plus one volume and two tone controls, accompanied by a five-way blade pickup switch.

We rated the SE Silver Sky Maple a 9/10 in our 2023 review. We noted that while the sonic differences between the rosewood and maple fretboard might be minor, the Maple version “further pulls the S-type format into step with modern design languages”.

Last year, PRS refreshed its rosewood SE Silver Sky by introducing four new colours, created in collaboration with John Mayer. The finishes were all-new for PRS and almost crayon-like, they were: Derby Red, Trad Blue, Laurel Green, and Dandy Lion (yellow).

PRS also teamed up with Ed Sheeran on a new “Cosmic Splash” Limited Edition signature model, launched at NAMM earlier this year. The guitar features artwork made by the singer-songwriter himself, and is a limited SE Hollowbody I Piezo Baritone model. Only 1,000 of them were made available worldwide.

To shop this huge deal on the SE Silver Sky Maple, head to Sweetwater.

The post We rated the PRS SE Silver Sky Maple a near-flawless 9/10 – save $250 on it right now at Sweetwater appeared first on Guitar.com | All Things Guitar.

An Epiphone EJ-200 acoustic guitar owned by Noel Gallagher – and used by the Oasis legend on the band’s landmark 1995 sophomore album (What’s the Story) Morning Glory? – is headed to the auction block.

The auction will take place as part of Sotheby’s April rock and pop sale, and will also feature a handwritten lyric sheet for the Oasis megahit Don’t Look Back in Anger, plus a Noel Gallagher-owned Rickenbacker 12-string.

• READ MORE: Charvel recreates Jake E. Lee’s Bark at the Moon/Ultimate Sin-era Blue Burst guitar

The Epiphone EJ-200 was used by Gallagher during the 15 days Oasis spent recording (What’s the Story) Morning Glory? – the best-selling British album of the ‘90s which featured tracks like Don’t Look Back in Anger, Champagne Supernova and Wonderwall.

“It was quite extraordinary how they managed to record it in such a fast period of time,” says Sotheby’s New York-based pop culture specialist Craig Inciardi [via The Guardian]. 

“He was just so prolific at the time … with the amount of songs that were coming out of him, it’s almost unprecedented. And if you look at that album and you look at the track listing, it looks like a greatest hits album.”

In terms of its provenance, the EJ-200 was given by Gallagher to a roadie, who later sold it to the person selling it now. Sotheby’s estimates the guitar will sell for between $60,000 and $80,000, though given the results of recent high-profile guitar auctions – like David Gilmour’s Black Strat and Jerry Garcia’s Tiger guitar, which sold for $14.5m and $11.5m at the recent Jim Irsay Collection auction, respectively – it could well exceed that estimate.

“These are functional objects that have become so sought after and the value of musical instruments that have this sort of historic provenance has significantly increased over time,” adds Inciardi.

Online bidding for the auction begins on 9 April. Learn more at Sotheby’s.

The post Noel Gallagher’s What’s The Story Epiphone acoustic headed to the auction block – could it become the latest high-profile guitar to smash its estimate?  appeared first on Guitar.com | All Things Guitar.

Charvel has teamed up with legendary Ozzy Osbourne guitarist Jake E. Lee to recreate the guitar he used throughout Ozzy’s Bark at the Moon and Ultimate Sin album cycles.

Delivering “the same explosive tonal versatility at an accessible price point”, the Jake E Lee Signature Pro-Mod San Dimas Style 1 HSS HT RW is built to pay tribute to Lee’s enduring influence on the landscape of 1980s hard rock.

• READ MORE: What’s the point of a guitar’s pickguard anyway? This is what it’s actually there for…

Specs-wise, the guitar sports the same Blue Burst finish the made the original such an iconic piece of six-string eye candy, along with an alder San Dimas body, a Charvel hardtail bridge for maximised sustain, resonance and tuning stability, and an HSS pickup configuration, with a Seymour Duncan JB humbucker in the bridge position, and DiMarzio SDS-1 single coils in the middle and neck positions.

There’s also a bolt-on maple neck with a 12”-16” compound radius fingerboard with 22 medium jumbo frets and white dot inlays, as well as a five-way blade switch and single volume knob, and locking Charvel tuning machines.

“For the signature Charvel, we wanted a more accessible version,” Lee says. “We want to put it in more hands for aspiring guitar players.”

“The Custom Shop has always set the standard for what’s possible, and now we’re bringing that same level of craft to players everywhere,” adds Peter Wichers, Product Manager at Charvel.

“The Pro-Mod Blue Burst captures the exact visual intensity that made Jake’s guitar iconic under the lights, that deep, electric blue finish, that unmistakable presence, but this is Charvel’s moment to put it in the hands of every player who’s been chasing that sound and look.”

The Jake E Lee Signature Pro-Mod San Dimas Style 1 HSS HT RW is available now for $1,399/£1,399.

Learn more at Charvel.

The post Charvel recreates Jake E. Lee’s Bark at the Moon/Ultimate Sin-era Blue Burst guitar appeared first on Guitar.com | All Things Guitar.

Ad feature with Sweetwater

Chances are you remember the first time you bought a guitar. Depending on your age and where you lived, that first guitar buying experience was probably done in a brick and mortar store, where you wandered the racks and stands searching for that one guitar that spoke to you, the one that would set you off on your journey as a musician.

For most of us, the huge benefits of price, convenience and choice that online musical instrument retail offers us is worth losing some of the more romantic aspects of guitar buying. But that being said, wouldn’t it be great to inject some of that back into it somehow?

Because a guitar isn’t a TV, a refrigerator, or a games console. While the consistency and quality of guitar making has remarkably improved across the board in recent years, these are still works of art made primarily out of wood by human hands. This adds a certain amount of variance that, frankly, is part of why we love these instruments.

The issue is that when you’re buying online, most of the time you don’t have anything more to go on than a picture that might well be a manufacturer’s product shot, and some basic spec. How can you make a fully informed decision about your dream instrument with such limited information? Don’t worry, Sweetwater has you covered.

Get Close Up

If you’ve browsed Sweetwater recently – and let’s face it, if you’re reading this, you definitely have – you will probably have encountered the Sweetwater Guitar Gallery. If you haven’t, this innovative and hugely useful tool helps bring a bit of the old magic of wandering a guitar store, turbocharged by the power of America’s favourite online guitar retailer.

The Guitar Gallery is a dedicated space at Sweetwater’s Indiana HQ where guitars are inspected, photographed, weighed and fettled into perfect playing condition by a skilled and dedicated team.

For one, this means that you can see pictures of the exact guitar you’re going to buy. When you visit a guitar’s Sweetwater product page, you’ll be presented with a list of guitars matched to their respective serial number. Each of these guitars has their individual weight listed, and also photos of that exact guitar taken so you can get up close and personal, and make sure that this is the perfect guitar for you.

That means from a weight perspective, if you’re like Adam Jones from Tool and you think that the heavier a Les Paul is, the better it sounds, you can pick the chunkiest, meatiest slab of mahogany you can find. Or if you’re of the school that thinks that any Strat over 8lbs is making you work too hard? Well the Guitar Gallery can let you find the ideal candidate to get close with.

It’s not just about weight however, the fact that each guitar is individually photographed also lets you really dial in on what your dream guitar is going to be – especially when you’re talking about guitars with visible wood grain.

We all know that no piece of wood is identical, and the Guitar Gallery celebrates this – while giving you a hitherto unseen level of choice. It’s quite the thing to be scrolling through every individual guitar of a certain model and finish until you find the burst pattern that is just perfect, or the top figure that speaks to you. They certainly never offered this breadth of choice in even the biggest brick and mortar guitar store.

And that, ultimately is the magic of the Guitar Gallery – it doesn’t just let you see the guitar you’re actually buying, it lets you find your guitar soulmate in a way that you never would have been able to before.

Handled With Care

But the Guitar Gallery is about more than just pictures and weights – it also gives you the piece of mind that an instrument has been inspected and checked by a real human being, who has treated the guitar like it’s their very own.

As part of the Guitar Gallery service, every guitar featured also receives Sweetwater’s rigorous 55-point inspection checklist to ensure that your guitar arrives with you in perfect condition.

The details of the inspection process is far too detailed to go into here (though you can read about all 55 here!) but rest assured that Sweetwater’s Guitar Gallery team will go over every inch of your instrument. They’ll polish it, clean it, ensure that the frets and setup are tip top, and of course make sure that it plays, sounds and feels just like it should.

The Guitar Gallery team is made up of professional technicians, inspectors, and luthiers, who have been trained by the big brands themselves about exactly what your guitar should feel, play and sound like. They also have years of customer feedback to draw on to ensure that they know exactly what you expect.

Furthermore, you don’t have to worry about your precious new guitar having a rough time before it gets to you, as every guitar is stored in Sweetwater’s temperature and humidity-regulated facility 24/7. So you’ll know it’s going to be in tip-top shape when it heads out to you.

Buying With Confidence

The Sweetwater Guitar Gallery is a truly game-changing innovation for guitar players: offering a level of choice and personalisation that you’ve never been able to experience at even the biggest and most well-stocked brick and mortar store, all without having to leave the house.

It takes away so much of the guesswork and potential for disappointment that often plagues online shopping. And knowing that a team of dedicated professionals has got the instrument in perfect condition before it leaves the store, you’ll just need to sit back and wait for the sweet moment you can crack open the box, and strum that first chord on your new favourite guitar.

Find out more at Sweetwater.com.

The post Why Sweetwater’s Guitar Gallery gives you the reassurance of a brick and mortar guitar store with the convenience and value of shopping online appeared first on Guitar.com | All Things Guitar.

Former Megadeth guitarist Kiko Loureiro has traded blows with Arch Enemy, accusing the Swedish death metal outfit of plagiarising his 2024 track Talking Dreams with their new song, To The Last Breath.

In a post on Instagram on 26 March, the Brazilian guitarist shared a clip of his song side by side with Arch Enemy’s new single, pointing out a similar chord progression alongside the caption: “Just helping promote Arch Enemy’s new song… you’re welcome.”

But Arch Enemy have fired back, dismissing Loureiro’s insinuation of copyright infringement. In a video of their own posted to Instagram last week, the band shared an in-the-studio snippet of a demo version of To The Last Breath from 2022, two years before Loureiro released Talking Dreams.

• READ MORE: “It doesn’t matter how fast you can speak – it matters what you’re actually saying”: Uli Jon Roth explains the problem with the pursuit of technical perfection in guitar playing

“In light of a recent copyright infringement accusation against Arch Enemy made by Brazilian YouTuber/guitarist Kiko Loureiro and his lawyer, we feel it best to present clear evidence proving this to be a false claim,” the band write in the post’s accompanying caption.

“In this video you can see and hear the early demos in 2022 which led to becoming To The Last Breath.”

“Anyone familiar with our creative process knows that we document extensively,” the statement continues. “Demos, drafts, and iterations are part of how we build our sound, and in this case, that documentation unquestionably establishes the timeline.

A statement directly from Arch Enemy guitarist Michael Amott adds: “Hey Kiko, sorry to disappoint you and your lawyer, but as you can see and hear, I had the melody back in 2022 already, two years before you released your song. Any similarities are purely coincidental.

“Enjoy the video and good luck with your music, I will continue to not listen to it!”

View this post on Instagram

At the time of writing, Kiko has not responded to Arch Enemy or Michael Amott, though former Arch Enemy vocalist Angela Gossow – and the band’s current manager has chimed in on Kiko’s post, defending her former bandmates.

“Never heard Kiko’s song before tbh,” she says. “So 3 notes are the same? Well, I guess that happens quite often in music. I have heard a lot of Arch Enemy notes in other songs but would never accuse the other band of plagiarism… More the contrary, I would probably feel honoured to inspire others.

“So sad to read a post like this from a guitar player we all respected. What is this good for? If you really feel you’ve got a case, get in touch and discuss professionally, not make such a post.”

View this post on Instagram

With millions of songs in existence and only a limited number of chord progressions and notes to choose from, it’s natural that songs often share similarities with one another. However, as is the case between Arch Enemy and Kiko Loureiro, this can lead to disputes which often wade into legal territory.

One of the most publicised such cases in recent memory concerned Ed Sheeran, who was accused of plagiarising Marvin Gaye’s Let’s Get It On with his 2014 megahit, Thinking Out Loud.

The case was ultimately dismissed, after Sheeran used a guitar in court to prove how common the chord progression of Thinking Out Loud is across music. However before the ruling, he had threatened to quit music if found to have plagiarised Marvin Gaye’s classic.

“If that happens, I’m done, I’m stopping. I find it really insulting to devote my whole life to being a performer and a songwriter and have someone diminish it,” he said.

The post Kiko Loureiro accuses Arch Enemy of copyright infringement  – Arch Enemy fire back: “So 3 notes are the same?” appeared first on Guitar.com | All Things Guitar.