General Interest

VegaTrem has unveiled the VT1 Special, a new take on the company’s iconic VT1 UltraTrem blueprint.

The VT1 Special utilizes a new brass block at its core, offering a friendlier price point while retaining all the key attributes that have made VegaTrem an essential choice for so many guitarists: it can be installed while keeping your guitar completely intact, and offers wide tonal range, simplicity and rock-solid tuning.

The VT1 Special is available in standard (6-screw) and 2-point versions in four different premium finishes (Glossy, Gold, Black, Satin) with left-handed options.

‘We at VegaTrem have reverential respect for all those guitarists that have given us so many great moments,” says Isaac Vega, guitarist and VegaTrem founder. “VT1 Special is our way of opening the door of the VegaTrem tremolo spirit to even more players—no drilling, no sanding, no surgery.”

By adopting a premium brass block, the new VT1 Special delivers a distinctive timbral palette that broadens the musical possibilities of the VegaTrem tremolo family—while preserving the hallmark feel and stability players expect from VT1.

The VegaTrem VT1 Special is available starting at $199 USD / €170 and can be purchased from dealers worldwide and at vegatrem.com.

Kirk Hammett co-founded pedal brand KHDK Electronics has branched out into guitar building, with a range of new models debuted at the recent Guitar Summit 2025 in Mannheim, Germany.

While info is relatively sparse at this time, we do know that the guitars unveiled sport some unconventional shapes, which some commenters have picked up on…

• READ MORE: “They were expecting him to say, ‘Can you turn the bass up?’ And he probably never did”: …And Justice For All producer says James Hetfield and Lars Ulrich “hated” that Jason Newsted was a Metallica fan

That said, it looks like some of the shapes are inspired by classic designs, including a model reminiscent of a Les Paul with P-90 pickups and Bigsby vibrato, an Explorer-style model, and what looks to be an SG-inspired double cut.

In response to one user on its Instagram post unveiling the guitars, who wrote, “I’m so sick of copyrights, all it does is make companies release ugly guitar shapes,” KHDK simply replied: “We love ugly guitars.”

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As we say, information surrounding spec sheets for these guitars or pricing is few and far between at this stage, but we’ll endeavour to keep you in the loop as we know more…

Founded in 2012 by Kirk Hammett and collaborator David Karon, KHDK has, until now, been a pedal brand, with signature stompboxes designed for the likes of Deftones’ Chino Moreno, Anthrax’s Scott Ian and Avenged Sevenfold’s Zacky Vengeance.

The brand’s foray into electric guitars is a bold one, and a move not often undertaken by pedal brands.

Visit KHDK Electronics for more information as it comes out.

The post Kirk Hammett co-founded pedal brand KHDK Electronics is now making guitars appeared first on Guitar.com | All Things Guitar.

Last weekend, Sophie Lloyd opened the Women’s Rugby World Cup Final with a stunning five-minute shred medley, before the game that would ultimately see England triumph over Canada.

In an Instagram post uploaded shortly following the event, the guitarist calls the occasion “one of the proudest moments of my life”, adding: “It felt like such an empowering day for women everywhere and I’m so honoured to have played a part in it.”

• READ MORE: “They were expecting him to say, ‘Can you turn the bass up?’ And he probably never did”: …And Justice For All producer says James Hetfield and Lars Ulrich “hated” that Jason Newsted was a Metallica fan
  

Now, speaking to Metal Hammer, Lloyd reveals that she was entrusted by organisers to “take their vision into my hands and create something new”. “I loved the song choices and had the best time composing the arrangement,” she says.

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A post shared by Sophie Lloyd (@sophieguitar_)

“Walking onto that pitch, I could really feel the support of everyone there, it was such a powerful moment of unity. Rock and roll has a way of bringing people together, and I’ll never forget the sound of 82,000 people singing Livin’ on a Prayer back at me.

“The whole day felt bigger than music or sport; it was about women showing strength, power and unity on a global stage. It was incredibly empowering, and I’m beyond honoured to have been part of it. Massive respect to every player who left it all out on the pitch, and huge congratulations to the Red Roses for making history and bringing the cup home.”

Sophie Lloyd rose to fame posting shred videos of classic songs to her YouTube channel. Her considerable following – 1.25 million on YouTube and 1.3 million on Instagram at the time of writing – even caught the attention of superstar Machine Gun Kelly, who drafted her into his backing band in 2022.

For her World Cup final performance, Lloyd wove together a medley of several tracks, combining her own track Battleground with Bon Jovi’s hit Livin’ On a Prayer and Black Eyed Peas Pump It

This performance was a pit stop before Lloyd hits the road this month with Deep Purple’s Glenn Hughes, whom she’ll be playing with as a special guest on his Chosen Years tour, with dates across the UK starting in October.

The post “I’ll never forget the sound of 82,000 people singing back at me”: Watch Sophie Lloyd open the Women’s Rugby World Cup Final with a 5-minute shred medley appeared first on Guitar.com | All Things Guitar.

The Certified Guitar Player chats (and jams) with John Bohlinger about recording his new album Living in the Light, detailing his philosophy on tone and live sound, his focus on song arrangements and melody, hitting the onstage curveballs, and why he’ll never retire from being happy (performing).

Visit StewMac: https://stewmac.sjv.io/APO2ED

Though one of the iconic records in the history of thrash and prog metal, Metallica’s landmark 1988 album …And Justice For All has not been without its critics, mostly pointing to the lack of volume on Jason Newsted’s bass lines.

The album’s producer Flemming Rasmussen has put forth several theories as to why the band opted for a reduction in bass volume, including last year when he suggested they did so to “get a reaction out of” Newsted, as he had joined the band as a fan.

• READ MORE: “After that came Black Sabbath, and after that came Deep Purple”: Donovan believes his track Hurdy Gurdy Man was the original inspiration for both metal and the formation of Led Zeppelin

Now, in a new interview with Chile’s Futuro [via Blabbermouth], Rasmussen explains that the lack of bass on the album may have been due to James Hetfield and Lars Ulrich wanting to better hear their guitar and drum parts, respectively.

As the story goes, Rasmussen “had to say no to doing that album [at first]” because he was fully booked, and so the band worked with a series of “hotshot Los Angeles mixers”.

“They started it out with Mike Clink,” he says. “And then three weeks into January, after they’d been in the studio for three weeks, Lars called me up and said, ‘Oh, Flemming, when can you come?’ And I put all my sessions together and postponed some of them. And I went over there [on] 14 February and recorded for five months.

“And by the time I got there, they already got some hotshot Los Angeles mixers, Steve Thompson and Michael Barbiero, to mix it.”

Rasmussen explains how the band listened to what those producers had done, and said: “no, no, no. Where’s my drum sound? Where’s my guitar sound?”

“And actually Lars said, ‘Now take the bass down so you can just hear it,’” he continues. “They did that… And then once [they’d] done that, he said, ‘Take it three dB more down.’ So, it’s Lars and James that decided, and why they did that, I’ve asked them a thousand times. I do not know.”

Flemming Rasmussen also doubles down on his assertion that the band didn’t like that Jason Newsted joined Metallica as a fan.

“I think the reason why they turned the bass down is, like 50 percent of it is because they were on tour with Van Halen, and they flew in and heard the mix,” he goes on. “And I think that’s the point where Lars and James realised that, ‘We don’t have Cliff anymore. It’s not his bass. It’s a totally different sound.’ And I just think they couldn’t relate to that at that point…

The other half is what they hated most about Jason was that he was such a Metallica fan, so every time they asked him anything, he just did it. So I think they took it down just to piss him off, ‘cause they were expecting him to say, ‘Can you turn the bass [up]?’ And he probably never did. That’s why the bass is so low. But I don’t know.”

Despite its lack of bass volume, …And Justice For All has cemented itself as one of the most classic metal albums of all time, hosting tracks like One, Harvester of Sorrow, Blackened and Dyers Eve.

The album’s mix has even prompted some savvy fans, though, to ‘fix’ the audio by ramping up Jason Newsted’s bass parts. Check out this fan-remastered version of Blackened below, and compare it to the original:

 

The post “They were expecting him to say, ‘Can you turn the bass up?’ And he probably never did”: …And Justice For All producer says James Hetfield and Lars Ulrich “hated” that Jason Newsted was a Metallica fan appeared first on Guitar.com | All Things Guitar.

For a while there, it seemed like solo stars were keeping the music industry afloat. Think Taylor Swift’s Eras tour or Beyoncé’s Renaissance. But if this summer’s festivals are anything to go by, then guitar bands are back — in a big way. Take the post-pandemic pop of Isle of Wight wonders Wet Leg, who amped up their two-piece into a full-blown fivesome. Or Fat Dog, dubbed “the wildest band in Britain,” pushing punk with skronking sax and onstage hi-jinks.

• READ MORE: “I think it’s important that I don’t restrict myself”: Flawed Mangoes is defying genre expectations and moving beyond ‘hopecore’

Now from the same South London scene comes Man/Woman/Chainsaw, a six-person art ensemble fusing virtuoso violin lines with the furious tempo of a Black Midi backline. For guitarist Billy Doyle, the shift towards these sizable setups was inevitable. “It’s turning away from that 2000s-2010s indie sound of four-piece, all-male bands. Like, how fucking wacky can we get? In five years, people will say, ‘What the fuck was going on in the 2020s with all the six-piece bands?’” “With saxophone and timpani,” quips frontman/guitarist Billy Ward.

Despite the band’s eclectic output, bandleaders Ward and bassist Vera Leppänen bonded at school over the classic riff catalogue. “My first riff was Smoke on the Water,” laughs Leppänen. “My dad made me learn a lot of KISS songs. We jam a lot together, and still do that whenever I see him.” Meanwhile, Ward was picking up Nirvana before stumbling upon their more angular counterparts. “When we started the band, it was a lot more chaotic. Sonic Youth was a big touch point for tunings,” he recalls. You can hear those nods in last year’s Ode To Clio single, which alternates four and five-bar phrasing as the track builds to a frenzied crescendo. But it’s how these cleverly mastered moments land with the crowd that spurs the sextet on.

“There are moments when we’re writing things,” explains Ward, “and we think, ‘Okay, that’s where the drama is, and then we do it live, and the audience responds to a totally different bit!” Doyle noticed the impact on stage, too. “When you see people responding to a song, it’s a big adrenaline kick. Trying to remain composed with your playing is tricky when you’re excited by watching people move around.” Leppänen insists there could be more of that, though. “At Boomtown, I tried to figure out the BPM that made people move — around 120. But people don’t wiggle enough at our shows.”

Stacked Up

Last year’s Eazy Peazy possesses a few possible crowd-swellers. Recorded in Eastbourne’s Echo Zoo Studio with Gilla Band’s Dan Fox, the five-track EP found the group digging into the playbox, feeding violinist Clio Harwood’s strings straight through full guitar stacks and a sub bass and cranking up the vintage Selmer amplifiers, despite the lack of master volume. “If you turn them up, they sound better!” admits Ward. “But the most fun thing was the Watkins Copicat tape echo. There’s a lot of that to drive the guitar and the violin by cranking the preamp.”

Ward’s obsession with bending sound extends to his instruments too. “My first proper guitar was a Fender Player Jaguar. I still think a Jaguar is the coolest-looking guitar, especially with the plates.” Not content with the off-the-rack model, though, Ward began experimenting. “I’m such a perfectionist that I very quickly started to mod that guitar. I stripped the finish off it, painted it white, changed all the pickups, and the trem.”

The Frankenstein fettling didn’t go unnoticed in their South London setting, however. “Some asshole stole it from The Windmill about a year and a half into us doing shows!” he exclaims. “They just grabbed the case! But that’s fine. I hope they can never get the action right. I hope they’re making shit music with it, and may your riffs always suck.”

For all the sonic explorations, it’s easy to forget that Man/Woman/Chainsaw are still just a bunch of pals having a good time. Too much in some cases when I quiz Leppänen about her memories of the studio. “I had to leave for talking when we were doing overdubs,” she admits bashfully. “Because there are six people, right? Six teenagers, and then one person in there doing takes, and five people on the outside, talking shit, backseat producing, having a little wine. Then Dan’s like, ‘Guys, I actually can’t work. You need to leave!’”

Image: Sophie Barloc

Shifting Perceptions

If Eazy Peazy saw the group capturing their lairy live energy, then this year’s double A-side ManDog/Adam&Steve sees the collective sharpening those chaotic compositions and leaning on a more traditional rock and roll bedrock. A notable shift from his early Thurston Moore-inspired soundscapes, as Ward explains. “I quickly realised that alternate tunings come with a big bag of problems, and you could just get a big swamp of notes. Now I always stay in standard, and it’s more classic guitar stuff like The Rolling Stones.”

That’s true of the players’ latest instrument choices, too. Ward’s handling a fresh-looking tomato red Stratocaster on our call while Doyle remains loyal to his Telecaster, inspired by players like King Krule and Radiohead’s Jonny Greenwood. Leppänen began on a Wunjo Bass-bought Tanglewood, but after a few early Chainsaw shows, the then-sixteen-year-old musician needed an upgrade. “I said to my dad, ‘Look, I’m in this band. We should probably get me an instrument!’ We got the ESP LTD Surveyor in pearly white.”

Since then, and thanks to the band’s inclusion in this year’s Fender Next Class of 2025 series, she’s added a new number to her live set-up. No awkward pitching necessary. “I’ve always wanted a P-bass,” she beams. So, as studious members of the latest class, what would the Chainsaw string section say is their greatest learning from life on the road so far? Ward’s learnings come straight from the heart. “Don’t overcomplicate shit. You don’t need 10 million things to make your guitar sound clean or dirty. Your performance will be better if you simplify”.

While Doyle, the quieter of the trio, is more reflective. “Treat performances with a bad vibe like an actor would. Leave a shit day behind while you’re on stage.” And proving that Gen Z continues to transform the very premise of self-care, Leppänen adds deadpan. “It’s just self-care shit, and I don’t mean doing a face mask!”

The post Meet Man/Woman/Chainsaw, the London art-punks who love jamming with their dads and chasing the perfect BPM appeared first on Guitar.com | All Things Guitar.

Synergy Amps today announced the release of the Marshall JMP Preamp Module, developed in partnership with Marshall Amplification. This all-tube, two channel module delivers the unmistakable growl, touch sensitivity, and dynamic response of the legendary JMP - now in a compact, modular format designed for today’s players.

From Eric Clapton and Jimi Hendrix to Jimmy Page, Eddie Van Halen, and Angus Young, the Marshall JMP amps have shaped the sound of rock for generations. With the new Synergy JMP module, guitarists can now harness that iconic Plexi tone at any volume, with the flexibility of Synergy’s modular system.

The JMP has always been about raw energy and expressive touch, and now players can access that authentic tone through the Synergy platform - without compromise.

The JMP module captures every nuance of the classic circuit with the following features:

• Dual 12AX7 preamp tubes for real-tube harmonics.
• Two independent channels with Volume 1, Volume 2, Bass, Middle, Treble, and Master controls.
• 1960s and 1970s voicing switches to replicate era-specific JMP tones.
• Four Bright switches to fine-tune treble response.
• Cathode Select switch for classic input tube configurations.
• An innovative “0-watt power amp” phase inverter design that replicates the feel and dynamics of a cranked Marshall head.

With the Synergy system, players can build their ultimate all-tube rig without sacrificing authenticity with modules from the world’s most coveted amp designers - Friedman, Soldano, Bogner, Fryette Engl, Diezel, Pavey, Dr. Z and now the most famous of them all – Marshall.

Pricing & Availability

The Synergy Marshall JMP Preamp Module is available beginning September 26, 2025, at an MSRP of $399.99.

For more information, visit www.synergyamps.com

The Rocker 15 & 32, Orange Amplifiers’ amps for all occasions, are now available as a special Limited Edition in eye-catching British Racing Green featuring CELESTION G10N-40 speakers. Each combo comes with a Certificate of Authenticity, signed by Cliff Cooper, CEO and Founder of Orange Amps.

Both the Rocker 15 & 32 are deceptively versatile combos, suitable for many different venues and countless music genres. They are small, portable, two channel bedroom-friendly, all-valve amps you can legitimately gig with.

The small, two channel, all-valve Rocker 15 features a CELESTION G10N-40 speaker and beefy transformers for a potent delivery, which takes full advantage of its EL84 output section. Capable of 0.5,1,7,or 15 Watts of output, the portable combo, with a miniature footprint, oozes warm compression and fat, full tone. The twin channel output features a twist; the Natural channel is a purist’s dream voiced to bring out the ‘natural’ sound of the instrument being played, while the more familiar Dirty Channel offers plenty of British crunch. Its full and half-power switch, combined with the bedroom and headroom switch, means it is a home friendly amp that can be legitimately gigged with. It is available in a strictly limited quantity of three hundred units, worldwide.

Full of classic Orange mojo, the true stereo Rocker 32 has been fitted with two CELESTION G10N-40 speakers for a well-balanced tone with satisfying, deep lows right through to a well-defined top end. Its clever circuitry gives the amp a wide sound spread, while the stereo effect loop opens up limitless possibilities and makes it the perfect pedalboard partner. In particular, the ‘wet/dry’ option allows guitarists to play their effects through one speaker and the clean guitar tone through the other. The Natural channel clearly articulates every nuance of all guitar, pickup and pedal combinations. It has plenty of clean headroom and loves to be hit with overdrive and distortion stomps. The Dirty Channel with its balanced three band EQ, gain and master volume controls, offers a multitude of different British crunch flavours. Plus, it can be set to clean too! The handy half power mode can switch the Rocker 32 from the full 30 Watts down to a home friendly 15 Watts. Only eighty units will be available worldwide.

To find out more about the special Limited Edition Rocker 15 & 32 in British Racing Green, please go to www.orangeamps.com.

ENGL Amplifiers proudly introduces the RAVAGER IR, a 20-watt, 2-channel tube amp that blends vintage tone with modern technology. Designed for musicians seeking a versatile, portable solution, the RAVAGER delivers exceptional sound quality in a compact lunchbox-style chassis.

The E725 RAVAGER use 12AX7/ECC83 in the preamp and EL84 in the poweramp section, producing dynamic, harmonically rich tones. Its dual-channel design provides pristine cleans and aggressive overdrive, making it ideal for stage, studio, or home use.

A key feature is its built-in IR Loader, enabling users to use four impulse responses (IRs), three of them can be loaded via USB for unparalleled cab simulation. This makes recording and silent practice effortless while delivering a professional sound. The amp is also equipped with an XLR output for live and studio applications, along with a headphone out for private practice. Additionally, the integrated Power Soak feature allows users to reduce output power for cranked tube tones at lower volumes, perfect for home or studio environments.

Key Features:

• 20W, 2-channel tube amp
• ECC83 preamp & EL84 power amp section for authentic tone
• Built-in IR Loader with four Irs (three customizable slots)
• USB connectivity for easy IR management
• Headphone output for silent practice
• XLR direct output for live and recording setups
• Integrated Power Soak for adjustable power (20 Watts, 5 Watts, 1 Watts, Speaker off) ∙ Compact, portable lunchbox design

The ENGL E725 RAVAGER is a powerhouse for modern guitarists who need a flexible, compact amp without compromising on tone. Whether performing live, tracking in the studio, or practicing at home, this amp offers professional-grade sound and features.

E412XXLK Eminence Karnivore

Engl unveils the new E412XXL with Eminence Karnivore speakers — a powerhouse 4x12"cabinet built to meet the demands of modern high-gain players. This updated version of the legendary E412XXL combines Engl’s precision-engineered oversized enclosure with the aggressive tonal character of the Eminence Karnivore speakers, delivering bone-crushing low end,razor-sharp attack, and exceptional clarity at high volumes.

Features

• Four Eminence Karnivore 12" Speakers
• Designed for modern metal and hard rock, offering tight bass, cutting mids, and controlled top end for maximum definition under high gain.
• Oversized Straight Cabinet Design
• Deep enclosure for massive low-frequency response and room-filling projection.
• High Power Handling
• 240-watt total power at 8 ohms, ready to handle the most powerful tube heads without breaking a sweat.
• Tour-Grade Construction
• Robust birch plywood build, reinforced corners, metal grille, and heavy-duty casters for reliable road use.
• Huge, crushing sound ideal for drop tunings and extended-range guitars ∙ Precise articulation at high volumes for tight rhythm work
• Designed from the ground up by Kristian Kohle and the Eminence engineering team, the Karnivore delivers all the bite and all the meat

Availability

The new E412XXL with Eminence Karnivore is available hrough authorized Engl dealers and distributors worldwide.

After their Covid-delayed, smash-success reunion tour a few years back, My Chemical Romance plotted the Long Live the Black Parade North American stadium tour this past summer.

PG’s Chris Kies joined the run at Soldier Field in Chicago, and before the show, he rendezvoused with techs James Bowman, Josh Schreibeis, and Joe Saucedo—who handle Frank Iero, Ray Toro and Mikey Way’s rigs, respectively—for a look at the axes, amps, and effects the heavy-hitting emo titans are using these days.

Brought to you by D’Addario.

Dose of Castedosa

After Iero got this Castedosa Marianna Semi Hollow, it became the show starter for this summer’s tour. This, and all other guitars, are tuned down a half step with Ernie Ball Paradigm strings (.011–.052).

Bury Me in White

Iero favors Ernie Ball StingRays like this one, in matte “Stormtrooper” white. The only mod on this guitar is the addition of Luminlay dots on the side of the neck.

One and Done

This 1992 Gibson Les Paul gets played only for the title track off the band’s 2006 record, The Black Parade.

Under Pressure

This tiny, light Abernethy Guitars electric takes Bowman forever to string. If anyone has tips, send them his way.

Purple Reign

After using Marshall Super Lead heads with the Dookie mod on the previous tour, Iero found these slick purple heads and brought them to Dave Friedman to match the Dookie specs and add some EQ tweaks. These two, a main and backup, are responsible for the bulk of Iero’s sounds.

A Fender Twin Reverb onstage is responsible for “small-amp sounds,” while a Twin Reverb Tone Master underneath it sends a clean DI signal for the mix in Iero’s in-ear monitors.

Welcome to the Rack Parade

Iero’s backstage rack includes three main racks of effects, all powered by Strymon Zumas.

The first carries a Mesa Boogie 5-Band Graphic EQ, Amaze by Analogman Prince of Tone, Bowman Audio Endeavors Bowman Overdrive, JHS Hard Drive, and Hayashi Craft Trick Gain.

Drawer two is about modulation, and includes a Boss TR-2, MXR Phase 100, Boss DM-2W, EarthQuaker Devices Ghost Echo, EHX Micro POG, and EHX Holy Grail.

The last drawer bears a Jackson Audio Twin Twelve, EHX Deluxe Memory Man, Ibanez Tube Screamer Overdrive Pro, and Bowman Audio Bellyacher.

Toro’s Top

Toro plays this 1978 Les Paul to start the show, including tracks “The End.,” “Dead!,” and “House of Wolves.” He runs .011–.052-gauge strings on all his guitars.

Second Fiddle

This sunburst Les Paul has been outpaced by the black ’78, but it still comes out for “Welcome to the Black Parade” and “Famous Last Words.”

Super 6

This 2005 Fender Custom Shop Telecaster sees action on six tunes in the band’s set.

Ray Toro’s Amps

A head combo of a Marshall JMP and Metropoulos Amplification Metro (both running into Fryette PS-100s) comprise Toro’s main tones, while an Amplified Nation Wonderland Overdrive 1x12 combo is used for solo sounds, and a Fender Deluxe Reverb handles cleans. Toro’s signal is pumped through two 4x12 cabs—one Marshall, one Bad Cat.

Ray’s Really Rockin’ Rack Rig

A Shure Axient wireless system sends his guitar’s signal to this system backstage, where it hits a Radial JX44 and a pair of RJM Effect Gizmos.

One drawer holds an MXR Duke of Tone, MXR Custom Badass ’78 Distortion, Boss GE-7, Boss CH-1, Kernom Moho, Kernom Ridge, and Wampler Gearbox.

In the next are two Boss GE-7s, two Bowman Overdrives, a Death by Audio Fuzz War, a Source Audio EQ2, a Bowman Bellyacher, and a Keeley Compressor Mini.

The third shelf is home to an EHX POG2, 1981 Inventions DRV, Chase Bliss Preamp MK II, Boss TR-2, MXR Carbon Copy, Keeley Loomer, and MXR EVH Phase 90.

A fourth level hosts a Strymon TimeLine, Strymon BigSky, and Source Audio EQ2.

Out onstage at his feet, Toro keeps a pedalboard with a TC Electronic PolyTune, a custom RJM Mastermind PBC/6X, Ibanez TS808, Bowman Audio Bowman Overdrive, EHX Micro POG, Boss TR-2, MXR Carbon Copy, and Strymon BigSky.

Strymon Zumas keep everything chugging along.

Comeback Kid

This silver-sparkle Fender Jazz bass was built for the band’s reunion tour, intended to mimic Way’s earlier signature model. It’s since been treated to more affordable Mexico-made production runs. Way runs Ernie Ball Hybrid Slinky strings (.045–.105) and plays with Clayton triangle picks.

Red!

This eye-catcher was made by Fender’s Brian Thrasher, and is equipped with pickups from the Adam Clayton signature bass. Way relies heavily on this one, then switches to an identical one for down tunings.

Dodger That

Way secured permission from Major League Baseball and the Los Angeles Dodgers to use the team’s exact hue of blue on this custom instrument.

Mikey Way’s Amp

Way runs through a Fender Super Bassman head into matching 8x10 cabs, with a DI signal also running to front of house.

Mikey Way’s Effects

Way keeps things simple. Along with an Origin Effects DCX Bass and Cali76 set to push his Super Bassman, his setup includes a pair of Aguilar Agros, an MXR Sub Octave Bass Fuzz, and a Malekko B:assmaster.

Rattlesnake® Cable Company, renowned for its high-quality, handcrafted instrument cables and audio gear, proudly announces the official launch ofits Custom Cable Looms. Designed for musicians, studios, and audio professionals, theselooms deliver an organized, reliable, and performance-ready solution that transforms theway rigs are set up and used.

What Is a Custom Cable Loom?

Rattlesnake’s Custom Cable Looms are handcrafted bundles that combine multiple cables intoa single, consolidated harness - tailored to the customer’s exact setup. Each loom is carefullymeasured, built, and wrapped in our signature rugged weave, ensuring clarity in the studio,confidence on stage, and unmatched durability.“Custom cable looms are about more than organization - they’re about elevating theprofessional experience for musicians and engineers,” said Hank Donovan, founder ofRattlesnake® Cable Company. “By streamlining setup, reducing clutter, and guaranteeingreliable connections, our looms give artists peace of mind so they can focus fully on their craft.”

Benefits of Rattlesnake® Custom Cable Looms:

• Efficiency & Speed – Faster setup and teardown with perfectly measured, consolidatedcables.
• Professional Presentation – Clean, organized rigs that look as good as they sound.
• Durability & Reliability – Premium U.S.-milled cables, hand-assembled in Missoula,Montana.
• Tailored Design – Each loom is built one at a time to match the customer’s exact rigneeds.
• Reduced Cable Clutter – Simplifies routing and reduces wear on gear.

Each loom is a collaboration between Rattlesnake and the customer, ensuring measurements and connections are designed specifically for their unique configuration. This personalized build process reinforces the company’s mission: craftsmanship at the core, confidence in every connection.

Availability

Rattlesnake® Custom Cable Looms are available now and can be ordered directly through the company’s website. Pricing is based on customer specifications, with consultations available for musicians and studios seeking the perfect solution.

View more and request your custom loom here: https://www.rattlesnakecables.com/custom-looms/

Stompboxtober is back for 2025! Come back all month long for your chance to WIN daily pedal giveaways. Today's giveaway is the Keeley MANIS Overdrive!

Stompboxtober 2025 - Win Pedals All Month Long!

Keeley Electronics MANIS Overdrive

The Keeley MANIS Overdrive is a bold evolution of the mythical transparent drive, blending NOS germanium transistors and diodes for unmatched warmth, compression, and grit. With switchable voicings and dynamic touch response, it’s a tone-sculpting weapon built for players who demand both clarity and rich harmonic character in one pedal.
Price : $199.00

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Through the “similarities” between Glasgow and Liverpool – as well as his perceived connection to the divine, Scottish singer-songwriter Donovan developed a fraternity with The Beatles in the 1960s.

Donovan – full name Donovan Phillips Leitch – would later join the Fab Four on their visit to India in 1968 to practice transcendental meditation; both Donovan and George Harrison shared a fascination with Eastern spirituality, as the story goes.

• READ MORE: Judas Priest’s Richie Faulkner works “three times a day” with a physio on the road to manage the damage caused by an aortic aneurysm and stroke in 2021

Their respective experiences on the trip led to the Beatles landmark White Album, and Donovan’s The Hurdy Gurdy Man, which were released in November and October that year.

His album’s title track is a brooding yet groovy mid-tempo song, with counterplay between electric guitar and sitar. And in a new interview with The Telegraph, Donovan details how the track may have paved the way for heavy metal, and even inspired Led Zeppelin.

“Is it possible that this anticipated heavy metal? After that came Black Sabbath, and after that came Deep Purple,” he says.

As he explains, the track featured a performance by John Paul Jones, who would later go on to form Led Zeppelin with Jimmy Page. 

“John Paul Jones and Jimmy Page were very strong session guys for me,” says 79-year-old Donovan. “At that period when Hurdy Gurdy Man was released, that’s when those two guys put the band together. 

Donovan explains how he doesn’t “want to say I created Led Zeppelin,” but “Let’s say John Paul Jones saw the possibilities.

Whether Hurdy Gurdy Man was a precursor to heavy metal is debatable; its distorted guitar lines certainly suggest it may have had some influence, and it’s worth noting that it predates The Beatles’ Helter Skelter, often regarded as the track which paved the way for the metal genre.

The post “After that came Black Sabbath, and after that came Deep Purple”: Donovan believes his track Hurdy Gurdy Man was the original inspiration for both metal and the formation of Led Zeppelin appeared first on Guitar.com | All Things Guitar.

Welcome back for a special episode of Wong Notes! If you couldn’t make it to Cory’s Syncopated Summer Camp, this one’s for you: It features Wong and his Flyers bandmates—Nate Smith on drums, Joe Dart on bass, and Mark Lettieri on guitar—in a live masterclass recording from this summer, as they jam and break down an original composition.

The group starts off with a rowdy rip through the tune (which, apparently, didn’t go so well when they played it in Italy) before slowing down its constituent parts and highlighting Lettieri’s thoughtful arrangements. Each member of the band takes a turn explaining their approach to jamming and improvising—and how to know when trouble is coming. (For Smith, it’s when one player tries to “force an agenda.”)

The most important instrument for a successful jam and songwriting session? Your ears: It all comes back to listening. So listen in and learn with the best on this exclusive instalment.

Prog-Rock supergroup DarWin today release their anticipated new studio album, Distorted Mirror, via OoS/Phantom Recordings.

Distorted Mirror, which is co-produced by Simon Phillips and DarWin, is the follow up to last year’s hit release, Five Steps on the Sun, and picks up exactly where the last album left off. Offering original and creative rock songs that continue to break new ground, Distorted Mirror is a true journey, packed with intricate melodies, sledgehammer grooves and wall-to-wall virtuoso playing.

DarWin is an ongoing musical exploration led by songwriter/guitarist DarWin and drumming legend Simon Phillips (Toto, Jeff Beck, The Who, Judas Priest, Tears for Fears). Since forming in 2015, the duo has collaborated with lead vocalist Matt Bissonette (Joe Satriani, Ringo Starr, Elton John), bass sensation Mohini Dey (Steve Vai, Willow Smith, Guthrie Govan), guitarist Greg Howe (Michael Jackson, Protocol, Justin Timberlake) as well as a hall of fame roster of musicians over the years, including Derek Sherinian, Julian Pollack (J3PO), Jesse Siebenberg, Andy Timmons, Billy Sheehan, Guthrie Govan, and many more.

Over the span of the last several months the group have released a vast palette of captivating videos offering both conceptual and live performance as well as a series of guitar and drum playthrough clips that can be viewed HERE.

Watch the official music performance video for “Man vs. Machine” HERE.

An alternative conceptual cut of the “Man vs. Machine” video titled “Dawn of the Robots Version” is also available HERE.

Fans can also watch the official music video for the song “Rising Distortion” HERE.

The Distorted Mirror album tracklisting is as follows:

1. Rising Distortion
2. Distorted Mirror
3. Man vs. Machine
4. 33rd Century Man
5. Cry a River
6. Glow
7. Loophole
8. Winter Fare

Stream / Share / Purchase the album HERE

Judas Priest guitarist Richie Faulkner has issued an update regarding his health and how he deals with it on the road, after suffering both an aortic aneurysm and a stroke in recent years.

In an interview with Albany, New York radio station Q105.7, Faulkner is asked about his routine to prepare for Priest shows these days, in the wake of his recent serious health issues.

• READ MORE: “I’ll have Frankenstein and my wife, and we’re good”: Wolfgang Van Halen admits he kept his father’s most iconic guitar in the back of his car for three weeks in case they had to evacuate during the LA wildfires

“Fortunately, I don’t have to do anything too heavy,” he says [via Blabbermouth]. Luckily, I just have to remember to take my meds, which I’ve forgotten this morning. Thanks for reminding me! That’s sometimes the hardest thing.”

He goes on: “I’ve had a bit of collateral damage on my right side with stuff connected to what happened. So I have to work at that. 

“We have a physio on the road, and I work with him three times a day: once in the morning – after these interviews, I’m gonna work with him on coordination – before the show and then after the show as well. We do that three times a day. So that sort of stuff I have to work on. 

“But as far as the heart and everything’s concerned, it’s meds. I can’t eat too many leafy greens, which I’m not too bothered about. I got lucky, really. There’s a lot of people around the world with a lot more serious conditions than I have. So I consider myself lucky to be here talking to you.”

Richie Faulkner suffered an aortic aneurysm while performing onstage with Judas Priest at Louder Than Life festival in 2021. He was subsequently rushed to hospital and underwent a 10-hour heart surgery.

“My aorta ruptured and started to spill blood into my chest cavity,” he said at the time. “From what I’ve been told by my surgeon, people with this don’t usually make it to the hospital alive.”

Earlier this year, he revealed how he had also suffered a stroke shortly after the incident. “They found some damage on the left side of the brain, which affects the right side,” he explained. “Now, fortunately I don’t play guitar with my foot, so that’s fine, I can get away with that. But my hand, obviously, that’s our engine room. Everything started clicking into place in regards to what I was feeling on stage. There was something that was wrong.”

For the time being, though, Faulkner is determined not to step back from his duties in Judas Priest.

“I still play, we’re still writing records, we’re still playing as hard as we can – it doesn’t affect that – but there’s just little things I have to do,” he said. “But I go out every night thinking… Sometimes I come off stage and I call home and I say, ‘I can’t fucking do it. I can’t do it. I can’t do it.’”

View a list of Judas Priest’s upcoming tour dates via their official website.

The post Judas Priest’s Richie Faulkner works “three times a day” with a physio on the road to manage the damage caused by an aortic aneurysm and stroke in 2021 appeared first on Guitar.com | All Things Guitar.

After partnering with Fender and Gibson – the two biggest guitar makers in the world – on two lines of kid-friendly three-string guitars, Loog is branching out to fuller-sized instruments for both adults and teens.

The Pro 6 arrives after parents expressed a longing for such kid-friendly guitars when they were younger, according to Loog CEO Rafael Atijas.

• READ MORE: Fender expands its Hammertone pedal line with two new offerings: the Breakup Drive and Boost

Available as a six-string in both acoustic and electric configurations, the Loog Pro 6 sports an ergonomic body with a super-light build, and contours designed for “effortless handling”. There’s also an all-wood construction with a smooth maple neck for an authentic feel and resonant tone.

Credit: Loog

In terms of pricing and availability, the Loog Pro 6 nylon acoustic is priced at $169, and comes in black, natural, white, pink and green, while the electric version costs $249 and comes in red, black and green.

“As parents discovered Loog over the years, we often heard them say, ‘I wish this existed when I was a kid!’” says Rafael Atijas, CEO of Loog.

Credit: Loog

“With the new Pro 6 guitars, we did something about it. They keep the same beginner-friendly spirit Loog is known for, while also feeling perfectly at home in the hands of an adult picking up the instrument for the first time.”

The Loog Pro 6 is available now via Amazon and direct from the Loog website.

The post Loog is branching out to larger-sized instruments for adults and teens appeared first on Guitar.com | All Things Guitar.

Even if you usually stick to rhythm playing, all you need to craft cool, musical solos are some straightforward ingredients that are right at your fingertips.

Earlier this year, Los Angeles experienced one of the most destructive wildfire seasons in recent memory. Entire neighborhoods were threatened, parts of Sunset Boulevard were left in ruins, and musicians like Joe Bonamassa scrambled to protect prized collections of rare instruments.

For Wolfgang Van Halen, the danger hit just as close to home – so much so that he spent three weeks with his late father’s iconic Frankenstein guitar in the backseat, ready to grab at a moment’s notice if evacuation orders came down.

• READ MORE: “You have to love creating music to do this – everything else is the bad part”: Wolfgang Van Halen on being a musician in 2025

Speaking with Premier Guitar, Wolfgang shares how the natural disaster coincided with the making of The End, Mammoth’s third album set for release later this month. The looming threat of fire wasn’t just a source of anxiety, but a daily reminder of what could be lost – the irreplaceable gear housed at Eddie Van Halen’s famed 5150 studio.

To make sure nothing was left to chance, Wolfgang says Frankenstein never left his side, stashed safely in his car during the height of the fires.

“I thought, I’ll have Frankenstein and my wife, and we’re good,” he recalls. “And then we had a U-Haul filled with whatever else we felt was worth saving, which was very tough. Luckily, it didn’t come to that, but it was a traumatising time we’re still working through.”

That tension, understandably, seeped into The End.

“That’s where most of the anxious, doomsday energy in the lyrics comes from,” says Wolfgang. “I couldn’t focus on my things.”

Even so, the album marks a step forward for Wolfgang as a guitarist stepping further into his own identity.: “In comparison to how I was on the first album, which was very reserved, guitar-wise, I’m starting to worry less about what people think and what people say,” he explains. “[The End] has a rawer vibe, and I was happy to keep the rough edges for people to feel like they’re in the studio with me.”

“There are a lot of expectations around me — so many preconceived ideas that it feels impossible for anyone to have a neutral opinion,” Wolfang continues. “From the beginning, I’ve tried to stand out as my own person, without all of the bullshit that comes with the name and the controversies and everything that’s come before me. It’s just nice to be able to be judged for the music itself, rather than what people think or say about me.”

Arriving on 24 October, The End is now available for pre-order. Check out the latest single below.

The post “I’ll have Frankenstein and my wife, and we’re good”: Wolfgang Van Halen admits he kept his father’s most iconic guitar in the back of his car for three weeks in case they had to evacuate during the LA wildfires appeared first on Guitar.com | All Things Guitar.

Personal upheaval may have been painful for Steve Harris, but it also gave rise to what he believes are Iron Maiden’s most “powerful” unsung albums.

Looking back on the band’ discography, the Maiden leader highlights 1995’s The X Factor and 1998’s Virtual XI – both made during the hiatus of their lead singer, Bruce Dickinson – as two records that fans are only now beginning to ‘realise they’re good’.

• READ MORE: “It’s like some terrible disease”: Bruce Dickinson blasts the use of mobile phone cameras at Iron Maiden shows

“I said it at the time and I still believe it – those two are really strong, powerful albums and people will appreciate them later,” he tells Metal Hammer. “And people are going back and discovering them and realising they’re good.”

“The X Factor in particular is really good,” says Harris, “but it’s a dark album.”

“Probably ‘cos I was in a bit of a dark place with Bruce leaving and me going through a divorce at the time, all this stuff going on. But what came out of that was a powerful album. You take negative stuff and you turn it into a positive and those emotions come out, and that’s what you can do with music. Music’s such a powerful thing.”

Even with multiple multimillion-selling records, Harris admits the band has never produced a “perfect album.”

“I don’t think we’ve ever made the perfect album. Number Of The Beast, people think that’s the perfect album, but there are two songs on there that are not as good as the others,” he says, referring to Invaders and Gangland. “Not everything’s going to be good, is it?”

Asked if he’d ever considered calling it quits, Harris laughs, “Only for a couple of hours. It’s like when West Ham lose – I sulk for two hours, but you have to pick yourself up, brush yourself down and get on with it. It’s the only way it’s going to work.”

The post “I was in a dark place with Bruce leaving and me going through a divorce”: Steve Harris on why this underrated Iron Maiden album was so “powerful” appeared first on Guitar.com | All Things Guitar.