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“He went on first, and he kicked our ass”: Aerosmith reveal the “stunning” guitarist who opened for them, and had the audience walking out before they even came on stage
![[L-R] Brad Whitford and Joe Perry, with Rory Gallagher inset](https://guitar.com/wp-content/uploads/2025/08/Joe-Perry-Brad-Whitford-Rory-Gallagher@2000x1500.jpg)
It takes a lot to upstage Aerosmith, but the rock legends have admitted that Irish guitarist Rory Gallagher thoroughly humbled them back in 1974.
At the time, Aerosmith were yet to cement themselves as a household name. They hoped that a string of summer gigs would help prove their worth – unfortunately, their opening act, Gallagher, constantly showed them up. “He kicked our ass,” Joe Perry admits in a new episode of Rick Beato’s In The Room.
Bandmate Brad Whitford reflects on one particularly brutal gig from Aerosmith’s 1974 tour with Gallagher – and, as soon as Whitford mentions Central Park, Perry groans: “I don’t wanna hear about that…”
Despite Perry’s playful reluctance, Whitford continues. The performance had taken place at Schaefer Music Festival in New York – a part of the US that Whitford admits it took “maybe over a decade [for Aerosmith] to get accepted”.
The show would only pro-long Aerosmith’s journey to being accepted by New York, as their support unleashed chops they couldn’t compete with. “It was before we were accepted in New York at all,” Whitford explains. “And Rory Gallagher probably had one of the most stunning shows of his entire career.”
Perry honestly adds: “We headlined, but he went on first and he fucking kicked our ass.”
Not only did Gallagher put on one of the best sets of his career, but he rubbed salt into Aerosmith’s wounds by knocking out not one, but THREE encores. “He went off stage, and [the crowd] made him come out for an encore,” Whitford says. “He did the encore, went off. They made him come out – again! Another encore! And they wouldn’t stop. He came out for three encores!”
“And then… we got on the stage,” he laughs. “I just remember watching people walk away before we even started playing! It was like ‘the show’s over,’ ‘who are these guys?’ They didn’t care.”
Regardless, the pair of rock legends don’t seem to be too bitter about the ordeal. “I swear, it had to be one of his best concerts,” Whitford insists once more, before Perry adds: “If you listen to his records now, which I do, you can see why he was a ‘live guy’.”
At the start of this year, Gallagher was honoured with a statue in his hometown of Belfast. While the statue is a nod to his sheer talent, it also commemorates how his performances “transcended borders” in Ireland, according to the BBC.
"A statue of Irish rock and blues legend Rory Gallagher has been unveiled at Belfast's Ulster Hall.
It is located outside the venue on Bedford Street where Gallagher played regularly throughout the Troubles in Northern Ireland."https://t.co/rm2NWTBYCf pic.twitter.com/XBk9xjRJFw— Rory Gallagher (@rorygallagher) January 4, 2025
As for Aerosmith, last August saw the band announcing they would be retiring from touring. However, Perry has recently hinted that a final show is potentially still on the table.
“Well, yeah, I’m always hoping, but going on the road, it’s a big deal pulling that together,” he said on SiriusXM’s Trunk Nation With Eddie Trunk. “It’s one thing to sit there and look online and see who’s touring and stuff, and there’s dates that show up, but there’s so much planning, and what it takes out of you physically, it’s a lot more than people realise.”
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Gretsch brings back the Corvette after overwhelming response to Jack Antonoff signature
When Jack Antonoff released his Gretsch signature Princess CVT last year, one thought was on everyone’s minds – will Gretsch ever reboot the Princess’ original inspiration, the 1961 Corvette? Well, Gretsch has listened, reviving the Corvette for its brand new CVT Double-Cut range.
Originally designed to compete with the Gibson Les Paul Jr and Special, the Corvette has since become one of Gretsch’s most beloved vintage models. And it was loved by rockers at the time too – from Jimi Hendrix to Rory Gallagher, who relished in using his faithful Corvette for slide. Now you can get your own, for just under $500.
Available in both electric and bass guitar models, the Electromatic CVT range adopts the sleek, double-cut solidbody design of the Corvette. Gretsch are describing it as a “retro-refined” rebirth, capturing the classic guitar with an extra kick of model power.
Credit: Gretsch
The electric model comes with a wraparound tailpiece, and is 24.6” scale length. The bolt-on mahogany neck is also a comfortable C profile, with a fretboard radius of 12”, bound laurel fingerboard, and medium jumbo frets. The guitar is also equipped with Twin Six humbuckers, which should help you capture crisp highs and full-bodied lows. It’s a set up that Gretsch promises will “deliver gut-punching power with remarkable balance and articulation”.
In terms of the Electromatic CVT Bass, the aesthetic is nearly identical. The alternative model comes in at a larger 32”, with its own matching bolt-on mahogany neck and fretboard. However, the bass instead opts for more bass-appropriate humbuckers, with a Low Down Alnico pickup in the neck position and a Low Down Alnico Single-Coil pickup in the bridge position.
Credit: Gretsch
The Electromatic CVT Double-Cut with Wraparound Tailpiece electric guitar is avaialble in Havana Burst, Vintage White, and Wychwood, while the Electromatic CVT Bass Double-Cut comes in Bristol Fog and Vintage White.
Both CVT Double-Cut models are available now for $419.99. For more information, head to Gretsch.
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“The most talked-about guitar of the summer”: Noel Gallagher’s Oasis reunion Gibson Les Paul is getting a limited-run release – here’s how you can get one
Since Oasis kicked off what was probably the most highly anticipated reunion tour of all time, guitarists have been going wild for the P-90-loaded Gibson Les Paul debuted by Noel Gallagher at the first show in Cardiff on 4 July.
So it should come as no surprise that that guitar is now getting a limited-run release. And when we say limited, we mean ultra-limited: only 25 units will be available via the Gibson Garage London.
Curated by both Gibson and Noel Gallagher, the Gibson Custom Noel Gallagher Les Paul Standard is described as a “truly unique, never-before-seen guitar release”.
Since the guitar made its debut in July, fans have been speculating over its spec sheet. So the arrival of the Custom Noel Gallagher Les Paul Standard confirms that it features an Ebony finish – Light Aged by the Murphy Lab at the Gibson Custom Shop – aged nickel Gibson Custom P-90 pickups, Grover tuners, and a SlimTaper neck profile – Noel’s profile of choice.
Additionally, each guitar is hand-signed by Noel Gallagher, and comes with a Gibson Custom hardshell case with bespoke interior and a handmade leather strap by Bear Straps.
Each guitar also comes with a hand-written lyric sheet by Noel Gallagher, which sits in the guitar’s exclusive Certificate of Authenticity booklet. Each sheet – written specially for this project – features a set of lyrics from a different Oasis song. Each guitar and lyric sheet have been paired at random, so while 25 guitars are available, no two packages are the same.
We have no word on pricing, and the Custom Noel Gallagher Les Paul Standard will be available exclusively from the Gibson Garage London – at 61-62 Eastcastle Street, W1W 8NQ – from Thursday, 21 August.
Fans can attend the Gibson Garage for an early opening from 9AM on 21 August, and phone lines open at 11AM. The Gibson Garage is contactable on 0800 058 4720, or if you’re located outside the UK, +44 20 4570 5400.
“I think it’s safe to say it has become the talk of the town every time it is used,” said Lee Bartram, Head of Commercial, Marketing and Cultural Influence at Gibson. “I’ve had so many people reach out wanting to know what it is and if we can build one for them.”
Learn more about the Gibson Garage London.
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Furch Pioneer MM Review: “the biggest compliment that you can give to a travel guitar is that it doesn’t feel like one”
$1,092/£849, furchguitars.com
The thought of heading off on vacation or a work trip without being able to lay your hands on a guitar is a wrench for many players, and that’s why in the last few decades, the concept of the travel guitar has become increasingly popular.
Having owned and played many travel instruments in the past, the challenge is to create a portable guitar that is just as playable as your full-sized instrument, sounds close to as big and doesn’t look or feel like a toy. It also needs to stay in tune and it must make you want to play it – otherwise what’s the point of taking it with you?
That’s quite a challenge for something that also has to be able to be stowed in an overhead locker or in the back of the car. To get around this, sometimes these guitars include elaborate and often slightly terrifying means of collapsing or folding them up to make them compact for travel.
Others, Martin’s Backpacker perhaps being the most extreme example, simply try to scale down a standard guitar as much as possible without having to make you lean heavily on the skills you learned as a kid playing with Transformers.
This latest example from Czech guitar maker Furch is more towards the latter end of that duality, but with some lessons learned from the former – let’s take a closer look at the Pioneer MM.
Image: Press
Furch Pioneer MM – what is it?
Furch makes a bunch of different travel guitars, and the brand’s Little Jane models are of the type that break down the neck in such a way that you can fit the whole thing into a backpack.
The Pioneer however, is designed to stay all in one piece – making it a little less easily stowable but more reassuring if the thought of reassembling your guitar at the other end of a flight gives you the willies.
The Pioneer is ever so slightly larger than the Little Jane – though still very compact – with a body width of 322mm, a body length of 432mm and an overall strap button to peghead length of 932mm. The depth of the body is the same 102mm as the LJ.
The Pioneer is an all-solid wood affair – in this case the MM designates that it’s all African mahogany, though cedar and spruce tops are also available, as is a classic spruce/rosewood configuration.
Like most travel guitars, the Pioneer has a slightly shortened 615mm scale length, and a 14-fret body join – but elsewhere the guitar is stacked with features designed to ensure that this doesn’t feel quite so much like a compromise in terms of tone and playability.
Most notable is the presence of Furch’s CNR System Active neck joint. This involved piece of engineering features a wooden ‘expansive element’ in the neck block that, so Furch says, means that the guitar can adapt to rapid changes in temperature and humidity without impacting the playability and intonation of the instrument.
Given its purpose as a guitar that will be rapidly moving from one climate to another, often via the none-more-dry environment of an airplane cabin, you can see why this will be a valuable addition.
In order to make things sound a little bigger than its compact dimensions might attest, there’s also an innovative ‘Booster Soundport’ – effectively five 1.5-inch lines cut out of the upper shoulder. The BS – their abbreviation not mine! – is that this delivers more of the sound of the guitar directly to the player’s ears and makes it feel bigger than it might otherwise.
There’s also an optional suite of LR Baggs electronics on board should you wish to plug into an amp or PA while on your travels.
Image: Press
Furch Pioneer MM – feel and sounds
You never really know how a travel guitar is going to feel and sound until you get into it – it’s rare that there aren’t some compromises along the way, but the impressive thing here is how well Furch has managed to minimise those.
The scale length is shorter than a full-sized acoustic of course, but it’s not so short that you feel like you’re playing a toy. It certainly helps that the neck is a lovely V-shape with beautifully rounded frets and no sharp edges. The open-pore finish also helps this guitar feel more comfortable and connected when you play it.
Sonically, it definitely sounds bigger than it has any right to when played seated – probably in part down to the Booster Soundport, but also the thin finish allowing the guitar to vibrate more fully. It’s these little details that set the guitar apart from other travel guitars I’ve tried.
There’s no doubt that it doesn’t have the bass response that you’d expect from a full-size – no doubt in part because of that cutaway – but what you lose there you gain in upper fret access. And such is the playability and ease of access with the Pioneer, it does inspire you to venture north more readily than you would normally.
The all-mahogany construction provides that warmth and even notation from the first strum, though some players will want more midrange frequencies – if that’s you, then the spruce or cedar-topped models are probably for you.
The tradeoff is that those guitars will probably take a while to really open up, as is the case with most solid wood acoustics, but I prefer the warmth and even notation out of the box that this all-mahogany guitar offers.
I can’t imagine the majority of players will need or want to plug this into an amp or PA – the whole purpose of a travel guitar is to strip things down to the basics, surely? That being said, the LR Baggs onboard electronics do a perfectly fine job of adding depth and warmth to the sound when hooked up to an amp.
Image: Press
Furch Pioneer MM – should I buy one?
The biggest compliment that you can give to a travel guitar is that it doesn’t feel like one when you’re sitting there and strumming. In fact, forget about travelling, I’d have no issues taking this guitar to a songwriter round or a jam session, plugging in and playing all night – this is not just a great travel guitar, it’s a great acoustic guitar full stop.
Okay it’s not as compact as some travel guitars, but it offers a full compact experience without any of the compromises that those ultra-compact guitars often require. It’s quite expensive for a travel guitar, but it’s worth remembering that this is an all-solid, hand-crafted instrument that’s made to very high standards – and it comes with a nicely padded gigbag with a wealth of functional pockets to store your picks, tuners and the like in. It’s not the cheapest, but it’s one of the very best.
Furch Pioneer MM – alternatives
The undisputed king of the small-bodied travel acoustics is the Taylor GS Mini, and you can get an all-mahogany version for just $599. It’s not all-solid like the Furch however, but the sound, playability and rugged reliability are the benchmark. Another big contender in this category is Martin’s all-new Junior series, and the all-solid sapele 000 Jr E is a fine guitar with a ‘proper’ 24.9” scale length – it’s another small-bodied acoustic that doesn’t feel small. Ed Sheeran showed the world that travel guitars are just as usable playing coffee shops as they are stadiums, and his Sheeran By Lowden W04 ($897) is a solid spruce/walnut instrument with LR Baggs VTC pickup, designed by modern acoustic genius George Lowden and built in Ireland.
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Meet Essence Martins – the YouTube-taught guitarist who’s choosing to master the instrument on her own terms
A few years ago Essence Martins was performing alongside award-winning artist and Skinny Love singer Birdy as a touring guitarist, now she’s collecting admirers for her own work, with the likes of Little Simz, Rachel Chinouriri and Mika all vying for a piece of the action.
She may have only picked up the instrument six years ago, but Martins has become synonymous with a humble but reliable sticker-covered Vintage acoustic (though she’s also starting to turn to a Fender Acoustasonic Stratocaster live). The Vintage is affectionately called Woody, and is the vehicle for a light fingerpicking style that accompanies her tales of complicated relationships, figuring out early adulthood and finding self-acceptance.
The 24-year-old singer-songwriter from North-West London sits down with Guitar.com to discuss her development as a guitarist, the guitarists that keep her inspired and the motivations behind her latest EP Sleeping On It.
Image: Press
The power of the internet
“I didn’t know what I was doing at first”, the young guitarist admits. “I was in a dark place when I was 18, so I found playing music as a bit of escapism… it became such a comfort.”
YouTube has become an incredibly powerful tool for guitar tuition over the past decade or so, but rather than spending her time plugging away on theory and technique, she was learning songs and piecing together chord theory as a result. It was a rite of passage, it seems.
“It allowed me to really understand those basic pop chord shapes that you hear in most of the top 40 tracks,” she says, “you can play so much with just the four chords, but I quickly got bored of that. It wasn’t helping my songwriting, so I started messing around with tunings and that’s what started opening doors for me.”
She explains that many of the songwriters that she was looking to at the time, such as Lizzy McAlpine and Madison Cunningham, were leaning into more complex open tunings, offering plenty of inspiration and guidance while she was figuring out how she wanted to make the guitar her own.
“The most basic chord shapes can produce the most beautiful and interesting sounds using open tunings,” she explains, “and now, the more I play, the more ways I find of expanding my understanding of the fretboard. Whether that’s using more major and minor 7th chords or diminished chords and just using the people around me and YouTube too to enhance my skills.”
“I do find it weird to call myself a guitarist because I can’t do all of these crazy solos,” she adds. “But at the end of the day, I am, because it’s such an integral part of me as a writer and a performer – and I’m learning to master the instrument in a way that’s natural for me.”
Image: Press
Acoustic vs Electric
Her latest EP Sleeping On It, showcases Martins’ most authentic playing style to date, she explains. She demonstrates intricate picked melodies, the decision to not be so “perfect” with every single take, allowing the imperfections to be, and experimentations with the electric guitar, an instrument she feels is still rather unexplored for her.
“The acoustic guitar feels like home, it feels like me,” Martins admits. “The sonic world of my songs really suits acoustic, but I want to branch out and be able to play both acoustic and electric. Even in Quiet and Perfect, I used a Donner semi-hollowed body, so it is electric but has more of that rich sound. I wanted to try something different and it really works.”
Whether she feels comfortable being on stage without a guitar at all is a different question.
“When I’m performing by myself there is more pressure, so I do feel a lot of comfort when I’m playing with my guitar,” she explains. “There was one performance where I didn’t have an instrument for a song, and I just felt so naked! I didn’t know how to stand or what to do with my hands.”
“My acoustic is my little comfort zone, so I feel less alone playing with an instrument.”
Imposter syndrome
Despite sharing the stage with household names like Ellie Goulding and receiving nods from the likes of Jack Saunders at BBC Radio 1, Martins admits that she still deals with a fair amount of imposter syndrome, especially when it comes to being a guitarist.
“I never felt comfortable describing myself as one, which is so stupid because that’s literally what I do and what I am,” she exclaims. “I feel like a lot of women in music have this fear that they can’t label themselves as that just because they play the guitar, but if you can play the guitar, you are a guitarist!”
When asked what would have to change for that switch to flip in her mind, she says it comes down to being more confident in the craft.
“I just want to develop my skills and improve my understanding of theory more,” she explains. “It’s something I love, and being able to emulate notes more and being more experimental with sounds is what will empower me in my own abilities.”
“I’m always trying to find myself and be the most authentic version of myself, and when I’m not I do feel like letting others and myself down. As long as you’re being true to yourself and feeling confident in your abilities, that’s all you can do.”
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Lowden Guitars facing potential job losses amid “downturn in the global guitar market”
Staff at Lowden – the world-renowned Irish guitar company which partnered with Ed Sheeran in 2019 on offshoot brand Sheeran By Lowden – are facing potential job losses amid a decline in demand, according to a report by The Belfast Telegraph.
The paper states that sources close to staff say they have been warned of potential job losses, though the company said in a statement that no decisions have been made, and alternatives to redundancy were being explored.
Employees were also told in the statement that Lowden is welcoming “any suggestions, comments or proposals… with regard to improving the efficiency of the business or ways of avoiding redundancy”.
Per the Belfast Telegraph, managing director Aaron Lowden, son of founder George Lowden, has expressed his willingness to continue communication with staff, with those affected by job loss risk invited to individual meetings later this month.
“A downturn in the global guitar market and the end of the acoustic guitar boom that emerged during the time of Covid-19 have triggered Lowden to explore how to best navigate this challenging climate for the industry,” Aaron Lowden says.
“No decisions have been made and we are working closely in consultation with our full team to explore all feasible cost-cutting routes forward including alternatives to redundancies.
“For over 50 years Lowden Guitars have held a globally-renowned reputation for quality craftsmanship, uncompromising attention to detail and sound, and a commitment to retaining our operations here in Northern Ireland.
“Our reputation has been built in partnership with our tight-knit team of craftspeople and staff who bring their very best to our workshops each and every day, and we continue to navigate this process with them at the centre of our focus.”
According to The Telegraph, the company’s latest accounts – filed for the year ending 31 March, 2024 – do not detail profits and losses, but show that the company held £3.1 million worth of assets at the time – £2.3 million of which were stocks, £586,000 owed by debtors and £262,000 cash at bank and in hand.
The company also owed £3.8 million to creditors due within one year, with £137,000 due to creditors following that time.
It’s unclear yet which section of the business these potential job losses may impact, and whether Sheeran By Lowden is facing the same challenges.
Guitar.com has reached out to Lowden Guitars for comment.
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Scorpions legend Uli Jon Roth claims metal is “not my cup of tea” because it’s “two-dimensional” and “lacks dynamics”
It’s undeniable that Uli Jon Roth’s influence on metal music is substantial, with genre legends like Kirk Hammett, Marty Friedman and others calling him an inspiration.
But despite also once playing guitar in German hard rock outfit Scorpions, Roth actually isn’t the biggest fan of metal music.
In a new conversation on the Scars and Guitars podcast, Roth explains that during his tenure in the band between 1973 and 1978, “the name heavy metal barely existed”.
“I’m not a metal guy,” he explains [via Blabbermouth]. “When I was in the Scorpions and the name heavy metal barely existed, we were considered, if you want to classify it, as a melodic hard rock band.
“So, metal, the name, came afterwards, and then it became something which is actually not my cup of tea. Most metal, for me, is just a little bit too hardcore, a little bit too distorted, and, for me, maybe a bit two-dimensional. And what I mean by that is the lack of dynamics.”
He continues: “I come from a time, like in the ‘60s when I first started, in the ‘70s, where even loud bands played with a lot of dynamics. People like Led Zeppelin, [Jimi] Hendrix, Cream, they were loud on stage with the amplifiers, but they were actually very dynamical in it. The guitars, the drums, everything with dynamical.
Roth opines that due to the inherent distortion associated with heavy metal music, a lot of these dynamics he’s a fan of were lost.
“That gradually went away and everything went to 11 all the time – the guitar constantly hyper distorted, every drum beat fortissimo – and for me, it’s very often more like a cacophony. So I’m not a fan. There are some metal things that are excellent and great – absolutely – but on the whole, it’s not something I like to listen to. It’s not my world.”
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“#1 Edward Van Halen Model”: Eddie Van Halen’s modded 1982 Kramer guitar – also used by Mick Mars to record Dr Feelgood – is headed to auction
It’s the kind of guitar that belongs in a museum – but this October, it’ll be on the auction block instead.
Eddie Van Halen’s custom-built 1982 Kramer electric, one of the most recognisable instruments in rock history, will go under the hammer for the very first time at Sotheby’s this fall.
The sale is part of the auction house’s inaugural Grails Week in New York (21-28 October), where it’s expected to fetch between $2 million and $3 million.
Based on Eddie’s original “Frankenstein” from 1975, the Kramer was personally modified by Van Halen himself during a visit to the Kramer factory in Neptune, New Jersey. Photos from the time show him working on the guitar with an electric drill before it was finished in his trademark black, white, and red striped design. The back of the headstock is marked “#1 Edward Van Halen Model.”
The guitar made its live debut on Van Halen’s Hide Your Sheep Tour in 1982 and was played throughout 1982 and 1983 on US and South American dates, including shows in Philadelphia, Caracas, São Paulo, and Buenos Aires.
Eddie later gifted the instrument to his longtime guitar tech and friend Rudy Leiren, inscribing it: “It’s Been a Great Ten Years – Let’s Do Another Ten. Eddie Van Halen.” Leiren eventually sold it to Mötley Crüe’s Mick Mars, who used it extensively during the recording of Dr. Feelgood.
“Van Halen was endlessly striving to create the ultimate guitar for tone, playability and dependability,” the listing notes. “This Kramer guitar personifies not only EVH’s innovative playing style but also his passion for design and engineering.”
As Sotheby’s notes, the original 1975 Frankenstein guitar – which this Kramer was based on – was the manifestation of Eddie Van Halen’s goal to combine elements of Fender and Gibson electric guitars into a new instrument not commercially available at the time.
The auction lot also includes the original Kramer hard case and a letter of authenticity from Mars, who wrote: “Hope you enjoy it as much as I did. Also it’s a great piece of history.”
Learn more at Sotheby’s.
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Got $300k to spare? Dave Grohl’s Gibson DG-335 prototype – complete with its “disgusting dried sweat soaked strap” – is now up for grabs on Reverb
What can $300,000 get you? Dozens of Gene Simmons’ “roadie for the day” experiences, an actual private island in the UK – or, if you’re a Foo Fighters fan, the very first Gibson DG-335 signature prototype ever made for Dave Grohl, complete with a “disgusting dried sweat soaked strap” for that extra slice of rock ’n’ roll DNA.
Currently listed on Reverb by Skylight Guitars in Bakersfield, California, the instrument is being sold on behalf of its current owner – one of Grohl’s former guitar techs. According to the listing, this Pelham Blue-finished prototype was played on Echoes, Silence, Patience & Grace and toured extensively from 2005 until the first production models arrived in 2007, after which it was retired.
Built at the Gibson Custom Shop in Nashville, the DG-335 was inspired by Grohl’s favourite guitar, the Trini Lopez ‘67 signature model. The seller says they had a hand in the axe’s “design, neck shape, pickups, and choosing a more road-worthy tailpiece than the original Trini’s trapeze – even at Dave’s protestations”.
[deals ids=”3p5TzRume2VEXQxYc39q94″]
The project reportedly began in 2001 “after Dave expressed an interest in his own signature guitar” but it took until 2005 for the prototype to reach his hands – “a very slow process that nearly dissolved several times,” the seller recalls.
Which is why parting with the guitar, they admit, isn’t easy.
“The selling of this guitar is an emotional endeavour,” they write. “It was given to me by the best boss and one of the most wonderful human beings I have ever known. This is the most valuable thing I own in terms of emotional attachment.”
The guitar is said to be “in near perfect shape,” thanks to years of care from the very tech now selling it. It’s housed in a “custom fitted anvil style case that’s pretty much bulletproof” and, for the full Grohl experience, comes shipped with a guitar strap that’s racked up some serious Foo Fighter mileage.
“We will also include the disgusting dried sweat soaked strap that was used from 2005 to 2007,” the listing states.
Learn more at Reverb.
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The Gear Used by Jimmy Page on Led Zeppelin’s Physical Graffiti
Physical Graffiti was Led Zeppelin’s sixth album and probably still stands as the most diverse and experimental LP. The 1975 double-album stylistically it blended middle eastern music, folk, hard rock, blues, funk, and orchestral music into something that was still cohesive and sounded like Led Zeppelin.
This experimental nature may have owed itself partially to the fact that the band now had its own label, Swan Song Records, which gave them much more creative control over their music than ever before. In this article, we’ll discuss the gear that Jimmy Page used to create the diverse tones we hear on the record.
Physical Graffiti was recorded over the span of just a few months, but some of the songs had been bouncing around the Led Zeppelin camp since 1970, consisting of outtakes from previous records. Others were written and recorded at Headley Grange, the same place where the band recorded their iconic fourth album.
Electric Guitars
By the time of Physical Graffiti, Jimmy Page reports that he was very much partial to his Gibson Les Paul Standards (“Number One” and “Number Two”) as the main electric guitar for most tracks. The two 1959 Les Paul Bursts were very similar and often confused, but Number Two served as more of an experimental platform for Page. Both guitars had necks that had been shaved down to a thinner profile. Page told Guitar World in 1998, “By the time of Physical Graffiti, the Les Paul was my main guitar for almost everything.”
Page received his Gibson EDS-1275 Double-Neck guitar in 1971 and found it useful in the studio for songs where a 6 and 12 string were both needed at different points in the song. This was the case on Ten Years Gone especially. There is also some speculation that a Stratocaster or Telecaster was used on Ten Years Gone, but as far as we can tell, Page’s blue Stratocaster and his Brown 1953 Telecaster with the B-Bender were purchased after the recording of that song which took place in early 1974. It doesn’t mean that a Strat or Tele were not used on the album, but at least it was not one of those two, as some online sources claim.
Page also had a 1961 Danelectro 3021 model that he used for alternative tunings and slide work such as on the cover of the classic blues song In My Time of Dying. It is also widely believed that Page used this guitar on the iconic track, Kashmir, as Page told Guitar World in the aforementioned 1998 interview, “The Danelectro was essential for open tunings.” In the live setting, Page generally relied on his “Number Two” Les Paul to perform Kashmir.
Acoustic Guitars
The album does have some acoustic tracks, which were the product of a Martin D-28 and a Harmony Sovereign H-1260. Page told Acoustic Guitar in 2010, “The Martin and Harmony were my go-to acoustics for that era.” The Martin was purchased in 1970 and outfitted with a Barcus-Berry Model 1355 Transducer pickup, paired with a Barcus-Berry Model 1330S Preamp sometime around the time of the recording of Physical Graffiti. The Harmony had also been in Page’s collection for several years prior to the recording of Physical Graffiti. We know he owned it and it was believed to be at Headley Grange during the time the album was recorded but there is no confirmation which acoustic was used on which songs.
Amplifiers
According to Page, Physical Graffiti’s sound was the result of three different amplifiers. The primary amp for electric guitar and “heavy” tones was a collection of Marshall Heads, which, as far as we know, consisted of two 1959 Super Leads and one modded Super Bass, with the Super Bass being Page’s main amp at the time and it is presumed that this was the main amp used on the album.
As for the mods on the Super Bass, that is a bit of a mystery (not an uncommon finding in the world of Jimmy Page). In a Guitar Player interview in 1977, Page claimed that Tony Franks made them “200 watts” and put “KL88” tubes in them. So, there is still some confusion on the exact nature of the mods done to his amps that we may never know. The folks at Page’s amp brand, Sundragon, made a recreation of the modified Marshalls, but when we reached out to them, they were, predictably, unwilling to share what the mods in the original were.
The clean tones and overdriven tones were often the result of a Fender Super Reverb (a 1968 model). While it’s not confirmed that the Supro Coronado 1690T that he used for all of Led Zeppelin’s first album was used on Physical Graffiti specifically, we know he still had it and would occasionally use it for “different colors” in the studio. This sort of experimentation and using different amps for different tones was almost essential given the wide range of sonic textures found on Physical Graffiti.
Effects
While Page was not a man known for outlandish use of effects, relying instead of his guitar, amp and fingers to build his tone, he did use some effects on Physical Graffiti that are worth examining. He used a Maestro Echoplex EP-3 for tape echo, and more subtly as a preamp boost. The EP-3 was the first solid state version of the Echoplex which came out in 1970. Page used a Vox V846 Wah as well. He used a Sola Sound Tone Bender Mk II for fuzz and some of the more saturated lead tones. He used an MXR Phase 90. Lastly, a violin bow, most notably on the song, In the Light.
Physical Graffiti still stands as one of Led Zeppelin’s most diverse-sounding records, and, not unlike a lot of Led Zeppelin lore, it still has some mystery regarding the gear that is used on it. As much as it pains me, as someone who tries to track down this sort of information, perhaps that’s how it should be – after all, the mystique of Led Zeppelin is as much a part of their legacy as their sound was.
The post The Gear Used by Jimmy Page on Led Zeppelin’s Physical Graffiti appeared first on Guitar.com | All Things Guitar.
The best electric guitars for metal – our top-rated Jacksons, Gibsons, Strandbergs & more
Metal is a musical multiverse, made up of wildly diverse sounds and sub-genres. Any two metal guitarists might want very different sounds out of their guitars – from doom-laden chugging and speedy sweep-picking to atmospheric arpeggios and emotive lead playing.
When choosing a metal guitar, think about your playing style first. Do you need the lower lows of an extended range guitar with seven or eight strings, or a baritone model? Is a six-stringer with excellent all-round capabilities better suited to your genre-blurring stylings? Are you partial to a spot of shredding?
To help find the best metal guitar for you, we’ve unleashed our resident metalheads on some of the best-loved instruments in the genre. You can read short summaries of their reviews below, or click the links for more detail on each guitar.
At a glance:
- Our Pick: Jackson Lee Malia LM-87
- For modern metal: Jackson Diamond Rowe Monarkh
- Best headless guitar: Strandberg Boden Essential 6
- Best seven-string guitar: Jackson Pro Series Signature Jeff Loomis Soloist SL7
- Best eight string guitar: Cort KX508MS
- Best thrash guitar: Gibson Dave Mustaine Flying V EX
- Best guitar for doom and stoner metal: Yamaha Revstar RSS02T
- Best shred guitar: Jackson Pro Plus Series Dinky DKA
- Best guitar for downtuning: Rivolta Mondata Baritone VII
- Best hardtail S-type for metal: Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras
- Best affordable guitar for metal: Guild Polara
- Why you can trust Guitar.com
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Our Pick: Jackson Lee Malia LM-87
Jackson Lee Malia LM-87 guitar. Image: Press
This sleek-looking Jackson may be a signature for Bring Me The Horizon’s Lee Malia, but it’s far from a one-trick pony. Thanks to Lee’s healthy appreciation for the vintage and the strange, his new Jackson signature covers a lot of sonic ground – there’s a slim neck and awesome weight and balance to the thing, perfect for long sets of extremely speedy riffs. The bridge humbucker is also voiced from grunt, and will provide all the beef you could ask for when smashing out down-tuned aggression.
But it also has a restrained P90-style single coil in the neck position, meaning you can get some much more restrained sounds out of it, and you can split the bridge to turn the whole guitar into something a lot more bright and articulate. Plus, its vibey offset shape and cool, thin finish helps it blend in no matter what style of metal you’re playing. At $899, too, it’s a pretty affordable guitar given the specs. A set neck, great frets and an open-pore finish for this kind of money shouldn’t be sniffed at!
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Need more? Read our review of the Jackson Lee Malia LM-87.
The best guitar for modern metal: Jackson Diamond Rowe Monarkh
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Tetrach guitarist Diamond Rowe’s signature Monarkh is an extremely cool metal-focused single-cut. With a shred-friendly cutaway and a tried-and-tested set of EMG humbuckers, it sticks to the things that work – while still having tons of its own personality. The finish is an awesome fiery burl, and the new headstock design is a little more “classic” while still being sharp and aggressive.
Being one of two Jackson signature metal guitars we reviewed relatively close together, there’s a temptation here to compare it to the Lee Malia signature – and in that respect, it takes quite a different tack. While Lee Malia’s guitar harkens back to the vintage and strange, Diamond Rowe’s offers a tighter focus on thrashy, heavy sounds.
Lee also spec’d his guitar to be light for extended stadium sets, whereas Diamond has opted for a more Les Paul-like experience – meaning this guitar is a good deal heavier, with a bit of a thicker neck.
Need more? Read our review of the Jackson Diamond Rowe Signature Monarkh.
Best headless to buy for metal: Strandberg Boden Essential 6
The Strandberg Boden Essential 6 in Elemental Blue
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Heads, you lose. Prog and tech metal stalwart Strandberg has been making high-spec headless guitars since the mid-noughties – and with the advent of the Boden Essential 6, you can now grab one of the brand’s convention-defying instruments for well under a grand.
Not only is this guitar a relative bargain; it’s a superb entry point into the uncanny world of headless guitars. Our reviewer rated the Essential Boden 6 highly for its lightweight, ergonomically contoured body, shred-friendly triangular neck profile and resonant tone. With a metal nut in place of conventional headstock hardware, open string notes meld imperceptibly with fretted playing.
Need more? Read our Strandberg Boden Essential 6 review.
Best seven-string guitar: Jackson Pro Series Signature Jeff Loomis Soloist SL7
We’re not usually the sorts to call a guitar an ‘axe’ – but in this case, the term seems apt. The SL7 is a masterfully realised metal archetype, geared for fast playing and all-round aggression – a la Nevermore’s Jeff Loomis.
As you’d expect, our reviewers get to grips with a lot of guitars. Even so, the SL7 has one of the skinniest necks and one of the lowest actions we’ve flung our fingers around in years – not to mention one of the gloomiest aesthetics, thanks to that satin-black basswood body. This guitar is no-frills, low-friction and metal to the bone.
Need more? Read our Jackson Pro Series Signature Jeff Loomis Soloist SL7 review.
Best eight string guitar: Cort KX508MS
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Making a great extended range guitar is pretty much rocket science – minus the E.T.. Cort has nailed the mission with its KX508MS eight-stringer, which combines an alien-looking sassafras body with down-to-earth playability.
The fanned fret layout is surprisingly intuitive, with excellent intonation across the ’board. Meanwhile, the KX508MS’s Fishman Fluence Modern pickups deliver a sculpted low-end that won’t compete for sonic space with your bassist.
As extended range guitars go, the KX508MS is affordably priced – although you’ll pay a little extra each time you need a fresh set of strings. Our reviewer reckoned this ‘entry level’ guitar could go toe-to-toe with pro models costing three times the price.
Need more? Read our Cort KX508MS review.
Best thrash guitar: Gibson Dave Mustaine Flying V EX
Thrash metal legend Dave Mustaine and Gibson sounds like a match made in Heaven (or should that be Hell?) The signature-edition Flying V EX proves it.
We loved the detailing on this toughened-up classic – especially the ebony fretboard and fang-shaped mother-of-pearl inlays. These innovations complement a classic V build, with the rounded wings, mahogany body and glued-in neck Gibson fanatics have come to expect. Tonally, we’re talking focused low end, moderate mids, and ultimately, a thrash-first sonic fingerprint.
Above all, the V EX looks like an authentic Flying V, and sounds like a legit Dave Mustaine signature guitar. Mid-century style meets hard metal substance in a symphony of destruction.
Need more? Read our Gibson Dave Mustaine Flying V EX review.
Best guitar for doom and stoner metal: Yamaha Revstar RSS02T
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This guitar oozes Matt Pike-style cool, and features two P90s that deliver some bona fide early Sabbath vibes.
Talk to any guitarist who was lucky enough to start out with a Pacifica, and they’ll tell you Yamaha guitars have a knack for outperforming their price point. The Revstar RSS02T is a higher-spec example, but the same rule applies.
When you’re done gawking at the RSS02T’s gorgeous sunburst finish and nostalgia-inflected silhouette, you’ll find it’s equally easy on the ear, with superb note articulation, rich cleans and some headily out-of-phase tones at positions two and four on the pickup selector.
Need more? Read our Yamaha Revstar RSS02T review.
Best shred guitar: Jackson Pro Plus Series Dinky DKA
Jackson Pro Plus Series Dinky DKA. Image: Adam Gasson
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If super-fast shredding is your obsession, look no further than the Pro Plus Series Dinky DKA. From the elegantly recessed control knobs to the super-slim neck, this guitar’s every detail seems honed for speed.
The Dinky DKA will get you where you’re going, fast, but it provides plenty of proverbial flowers to smell along the way. Our reviewer admired the arched top to the body, which acts as a comfortable armrest while your wrist runs riot, and the superlative Floyd Rose 1000 Series tremolo fitted as standard with this high-spec shredding machine. Meanwhile, the direct-mounted Seymour Duncan JB and ’59 humbuckers provide resonance, sustain and space for expression.
Need more? Read our Jackson Pro Plus Series Dinky DKA review.
Best guitar for downtuning: Rivolta Mondata Baritone VII
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We’ll come out and say it: more guitarists should play a baritone guitar, with heavier strings tuned to a range somewhere between a regular guitar and a bass. The Rivolta Mondata Baritone VII is a shining, brooding example of the often-overlooked species, offering up super-hefty sounds via its bridge pickup.
Chords, riffs and lead lines sound thrillingly thick and meaty with this guitar, especially when you run it through your best overdrive pedal. You can reassure the bassist or fellow guitarist in your band that you won’t be crowding them out of the mix, as the Mondata Baritone VII gives plenty of options to tweak your tone via the pickup selector and phase switch.
Need more? Read our Rivolta Mondata Baritone VII review.
Best hardtail S-type for metal: Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras
Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras
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Some metal musicians shy away from S-style guitars due to their sometimes-iffy bridge stability (or maybe because they’re more John Frusciante than John Matos).
If you do want the iconic shape and fluid playability of a Strat, but without those infamous tuning issues, check out the San Dimas Style 1 HSS HT E Sassafras from Charvel’s Pro-Mod series. This Stratalike incorporates a rock-solid, recessed Floyd Rose 1000 Series double-locking vibrato bridge that keeps your strings in-tune, even during virtuoso playing.
We should probably point out that this guitar sounds great, too. Its sassafras body adds depth beyond what you’d typically hear from alder or swamp ash, and that translates into some really meaty rock tone at the bridge pickup.
Need more? Read our Charvel Pro-Mod San Dimas Style 1 HSS HT E Sassafras review.
Best affordable guitar for metal: Guild Polara
Image: Adam Gasson for Guitar.com
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Hovering bumblebee-like around the £500 mark, the Guild Polara is an accessibly priced model that doesn’t skimp on tone and playability.
This might look a world away from your average Jackson or Strandberg, but the SG-inspired Polaris is primed for hard rock and classic metal. Its tone is absolutely monstrous (a good thing!), and the machine heads do a great job of holding tune during high-octane playing.
You’ll get on with the Guild Polara if you’re all about thrills, and not so bothered about frills. Its design cuts right to the chase, with a simplified control layout consisting of master volume and a tone knob to wrangle its twin-set of HB-2+ humbuckers.
Need more? Read our Guild Polara review.
Why You Can Trust Us
Every year, Guitar.com reviews a huge variety of new products – from the biggest launches to cool boutique effects – and our expert guitar reviewers have decades of collective experience, having played everything from Gibson ’59 Les Pauls to the cheapest Squiers.
That means that when you click on a Guitar.com buyer’s guide you’re getting the benefit of all that experience to help you make the best buying decision for you.What’s more, every guide written on Guitar.com was put together by a guitar obsessive just like you. You can trust that every product recommended to you in those guides is something that we’d be happy to have in our own rigs.
The post The best electric guitars for metal – our top-rated Jacksons, Gibsons, Strandbergs & more appeared first on Guitar.com | All Things Guitar.
Meet the new Fender American Ultra Luxe Vintage collection: Aged lacquer finishes meet stainless steel frets, locking tuners and shred-ready necks
Fender has debuted the American Ultra Luxe Vintage series, a line of Strats and Teles which sit at the highest end of the brand’s current electric guitar lineup.
Offering vintage finishes with modern player-friendly features, the American Ultra Luxe Vintage range “redefines the balance between heritage and innovation”.
The new series comprises five models in total: the American Ultra Luxe Vintage ‘50s Stratocaster, ‘60s Stratocaster, ‘60s Stratocaster HSS, ‘50s Telecaster and ‘60s Custom Telecaster.
According to the Big F, this collection represents the “pinnacle of Fender innovation and craftsmanship, setting the benchmark for premium electric instruments whilst showcasing the finest of the brand’s heritage”.
Key features on all models include Heirloom lacquer finishes, Pure Vintage pickups and stainless steel frets. But naturally, we’ve got to first talk about those Heirloom finishes…
In fact, the American Ultra Luxe Vintage range is the first time Fender’s proprietary Heirloom finishes have featured on production line guitars, after first being introduced on Bruno Mars’ signature Strat in 2023.
Speculated to be an answer to Gibson’s Murphy Lab aging process, Fender’s Heirloom finishes aim to create a vintage worn look by letting the tonewood “breathe as it wears naturally and uniquely”.
Features present on each of the five guitars also include stainless steel frets with rolled edges – for “fast playing”, as well as “consistency and durability” – Modern D shape neck profiles and sculpted neck joints for uninhibited upper-fret access, deluxe locking tuners for quick string changes and superior tuning stability, Luminlay side dots and Graph Tech TUSQ nuts.
In terms of pickups, the new American Ultra Luxe Vintage models feature Pure Vintage single coils, while the ‘60s Stratocaster HSS is also loaded with a Haymaker humbucker. S-1 switches are present on each of the guitars’ volume pots, which allow guitarists to tap into a wider selection of pickup wiring options.
Colour options for each of the five models are as follows:
- ‘50s Stratocaster: 3-Color Sunburst, White Blonde
- ‘60s Stratocaster: Ice Blue Metallic, Surf Green
- ‘60s Stratocaster HSS: Fiesta Red, Seafoam Green
- ‘50s Telecaster: Butterscotch Blonde, White Blonde
- ‘60s Custom Telecaster: 3-Color Sunburst, Lake Placid Blue
“With the American Ultra Luxe Vintage series, we’ve redefined the balance between heritage and innovation,” says Fender’s Chief Product Officer Max Gutnik. “This collection honors our iconic legacy while pushing the boundaries of modern craftsmanship.
“Every detail is built for exceptional tone, feel, and timeless style. We’re proud to offer players an elevated experience that respects tradition and sets a new standard for performance.”
“The American Ultra Luxe Vintage series offers musicians the best of both worlds: classic Fender design, timeless elegance, and historical significance, combined with modern sonic engineering’s unparalleled performance and versatility,” the brand adds.
“These instruments are an evolution that honours the legacy that continues to define the Fender brand while being cherished by a new generation of players.”
Pricing for each American Ultra Luxe Vintage model varies depending on specs chosen, but range from $2,849 to $2,999.
For more information, head to Fender.
The post Meet the new Fender American Ultra Luxe Vintage collection: Aged lacquer finishes meet stainless steel frets, locking tuners and shred-ready necks appeared first on Guitar.com | All Things Guitar.
“Yes, it does the Mk.Gee thing!”: Lo-fi lovers rejoice as JHS launches new pedal inspired by the classic Tascam Portastudio 424
After a recent teaser campaign set off a spiral of speculation in the guitar gear community, JHS has finally revealed its anticipated new pedal, the 424 Gain Stage.
A series of riddles posted to the brand’s Instagram account got people guessing. It wasn’t long before keen-eyed gearheads landed on the assumption that the upcoming pedal would be based on the vintage Tascam Portastudio 424, a portable multitrack recorder known for its lo-fi flavour.
And as it turns out, they were right. The new 424 Gain Stage is heavily inspired by the Portastudio 424, so much so that JHS says it’s a “historically accurate recreation”.
Why now to release a pedal inspired by the Tascam Portastudio 424, you might ask. Well, it couldn’t be anything to do with the rise of Mk.Gee, the Eric Clapton-touted lo-fi guitar maestro – who has a Portastudio 424 in his guitar rig – could it?
With the 424 Gain Stage, JHS hopes to offer guitarists that lo-fi sound without having to cram a Portastudio 424 into their backpack every time.
In terms of its controls, the $249 pedal has a relatively simplistic layout, with a single footswitch and controls for Volume, Bass, Treble, Gain 1 and Gain 2, harking back to the workflow of the original Portastudio 424.
In terms of I/O, the 424 Gain Stage sports regular jack input and outputs, as well as a balanced XLR output.
“In 2024, an artist named Mk.gee released an awesome record, and the guitar world exploded,” JHS founder Josh Scott says, introducing the new pedal and, of course, talking about Mk.gee’s Two Star & The Dream Police. “Tone chasers everywhere had to know how he was getting this really incredible and unique sound.
“We all realised he’s not using a guitar amp. He’s using a Tascam 424. I also realised, ‘Hey, wasn’t I going to make a pedal version of this at one point?’
“It’s an authentic and perfectly replicated single channel strip on the Tascam 424,” he continues. “Over the years, I’ve learned that so many albums and guitar parts that I love use this device or devices like it.
“Then this Mk.gee thing comes along. It’s really new and fresh and different. That really pushed me over the edge of wanting those sounds that are classic, and those newer sounds.”
In addition to doing the “Mk.gee thing”, JHS says the 424 Gain Stage does the job when harnessing the sounds of other artists including D4VD, Steve Lacey, Mac DeMarco and Radiohead.
The 424 Gain Stage is available now, priced at $249. For more information, and to get yours, head to JHS.
The post “Yes, it does the Mk.Gee thing!”: Lo-fi lovers rejoice as JHS launches new pedal inspired by the classic Tascam Portastudio 424 appeared first on Guitar.com | All Things Guitar.
This quirky acoustic guitar features a big painting of David Crosby telling you to vote – get it now at a HUGE $350 discount
Sweetwater is offering a generous discount on a rather unique guitar – this Martin D-11E acoustic with a large picture of David Crosby on it, encouraging you to “rock the vote and the stage all at once”.
This guitar certainly has character, and was once priced over $1,600 but is now down to $1,299. It follows on from a former run of David Crosby Rock the Vote instruments, with a patriotic spruce top featuring artwork by Robert Goetzl.
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The guitar landed in August 2024 and is limited-edition, with only 47 made. The artwork is certainly realistic, and while it may not be to the taste of some players, for a Crosby fan it makes for one hell of a unique collectible. Alongside the pictures of him, it also features a quote from the late musician: “democracy works, if you work it!”
According to Martin, this D-11E was “crafted to inspire young people to engage in our democracy, honouring the legacy of David Crosby and his passion for voting”. At the launch of the collaboration, Martin said it was proud to support Rock the Vote, reinforcing the importance of civic engagement.
The guitar itself has a classic Martin dreadnought shape, though its depth is slimmed down. Its back and sides are made of American sycamore and it has a comfortable Performing Artist neck profile and a glassy ebony fingerboard.
Furthermore, it also comes equipped with an LR Baggs M-80 pickup that utilises a free-floating humbucking coil as a 3D body sensor and offers “authentic-sounding” tone. You can take a closer look at the guitar below, and hear from the artist behind its looks:
To purchase one of these unique Martin D-11E guitars, head over to Sweetwater to find out more.
The post This quirky acoustic guitar features a big painting of David Crosby telling you to vote – get it now at a HUGE $350 discount appeared first on Guitar.com | All Things Guitar.
The inside story of Noel Gallagher’s Oasis reunion Hiwatt amps: “We unapologetically make colossal sounding, big and heavy amps”
“Should anybody be remotely interested…” posted Noel Gallagher recently alongside the photos that he knew perfectly well that a huge swathe of the guitar nerd community had been extremely interested in.
Ever since Oasis triumphantly returned to the stage in Cardiff last month, Adidas-clad guitar obsessives have been poring over any hint of the gear Noel Gallagher was using to recreate the magic to such fantastic effect. If you’re reading this, you’ve probably already read articles about Noel’s new P-90-loaded Les Paul, or watched videos about it, but these photos were the motherlode – an in-depth look at the pedalboard and amps that Gallagher was using to power this monster guitar sound.
We’ve checked out the pedalboard in detail elsewhere, but the amps were perhaps even more interesting. In defiantly modern style, instead of a huge wall of stacks, instead we had a pair of isolated small combos providing that gigantic sound – a Marshall SV20C and a Hiwatt Custom 50 along with a pair of backups.
As with so much of the gear Noel’s using on tour, they seemed like remarkably down to earth and off-the-shelf choices, but the truth is actually a little more involved. It turns out the Hiwatts were actually created specifically for the tour by the brand’s UK Custom Shop, and we’ve got the inside story on how these amps were made – and how they’re not quite as stock as they seem.
Tom Hannon with Noel Gallagher’s Hiwatt vertical combos. Image: Press
Vertical Flight
“I’m not sure how Noel became a fan of Hiwatt,” says Hiwatt Custom Shop engineer Tom Hannon. “But I’d like to think that it was the same as most of us who when growing up, saw bands like The Who, Pink Floyd, Kinks and Slade on TV and in magazines, blasting those huge Hiwatt stacks.…but more likely it was because after the success of the first few records he had a bit more money to spend on a better amp!”
Oasis fans will know that Noel used Hiwatt amps in the last decade or so of Oasis – specifically distinctive Custom vertical DR103 combos that would regularly be seen behind him on stage.
“I bumped into Noel’s old roadie at NAMM recently who mentioned that his back was still bad from lifting them on and off the stage every night,” Hannon jokes. “We unapologetically make big and heavy amps!”
When the announcement of the reunion tour was made, Hiwatt understandably reached out to Noel’s guitar tech to make themselves available.
“We simply expressed that should they need anything for the tour, we’re ready to build!” Hanon explains. “Noel was open to using the vertical combos again, so we made a couple and sent them over. He also requested the horizontal Custom 50s to try both amps with the current ‘triple-guitar attack’ setup.”
Noel had previously used 100-watt Hiwatts live, but the 50s offered a more controllable option in a modern precision live sound environment.
“As Hiwatt is a clean pedal platform amplifier with an extreme amount of headroom, you really have to crank a 100 watt to get the slightest bit of grit,” Hannon observes. “Whereas the Custom 50 breaks up a bit more at lower volumes, I think it made more sense for Noel to downsize his other amps used for the extra drive and just go with the Hiwatts.”
Gut shot of Noel Gallagher’s Hiwatt Custom 50. Image: Press
Secret Ingredients
The Custom 50s sent for Noel and fellow guitarist Gem Archer, Hannon added some hidden tonal extras – though he’s not sure whether or not the guitarists are using them live.
“When working on Noel’s Oasis amps I added a couple of extra tonal options, should they be required,” he explains. “For some of the amps I added low-pass filters which are switchable via a push/pull CTS pot on both the normal and bright channels.”
Noel and Gem eventually plumped for the horizontal Custom 50s, with Custom Fane Purpleback speakers in them – with neither guitarist providing any request for tweaks or changes when they arrived. Getting them ready in time for the tour however, was a different kind of challenge – these amps were going to power the most hyped rock ‘n’ roll reunion in history, after all. “As all of our Custom shop range is meticulously hand-wired along with our rigorous testing procedures, they do take a little while to build,” Hannon notes. “We definitely had a busy couple of months getting them together!”
For builders like Hannon however, the labour was one of love – he’s one of a generation of guitarists for whom Oasis is a vital part of their musical journey.
“This really meant a lot to me,” he confirms. “I must have only been 8 years old when I first saw them live at Glastonbury Festival back in ‘95. A few years later I learnt to play guitar whilst noodling along to Definitely Maybe, practising the solos to Bring It On Down and Supersonic.
“When we got the go-ahead to start working on the amps at the beginning of the year, it was a really exciting time. I’m extremely lucky to work with a lot of great artists at Hiwatt but this one definitely hits differently. I was down the front for the first Heaton Park show, it was just an absolutely electric atmosphere! One of the best, if not THE best gig I’ve ever been to. Arms in the air, bucket hat on, singing every word. Long live Oasis… and Hiwatt!”
The post The inside story of Noel Gallagher’s Oasis reunion Hiwatt amps: “We unapologetically make colossal sounding, big and heavy amps” appeared first on Guitar.com | All Things Guitar.
“I will never call this a job. A job is fixing an engine, mowing a lawn”: Why Mac DeMarco has no time for artists complaining about how hard being a musician is
Mac DeMarco might be a rather unconventional artist, but one thing he will never do is complain about making music for a living.
On 22 August, DeMarco will release his 10th album, Guitar. It marks his first record since 2023’s One Wayne G, which was a compilation mostly made up of instrumentals and unusual demos that had a run time of over eight hours.
The album was viewed by many as a sort of rebellion against traditional album formats and streaming – DeMarco didn’t see it that way, but rather as a bit of fun. The indie artist now says he has an unusual relationship with the music industry, and doesn’t view his artistry as a job.
In a new interview with The New Yorker, he says, “If I’m idle, I feel like I should be working on music. But I have a complicated relationship with music, too, because I just want to have this pure experience with it, as opposed to thinking, Well, maybe I should put the b.p.m. up on this one, because they’ll want us to play it on Jimmy Fallon’s show.”
Though some may say that’s part of the business side of being in the music business, he goes on to add: “I will never call this a job. I get paid. But a job is fixing an engine, mowing a lawn. Writing songs? Going on vacation for free? Sometimes younger bands are, like, ‘Touring is so hard.’ Maybe these people have been going on vacation their whole life? For me, I’m kinda, like, ‘I’m in Chinaaaaa!’ It’s a paid rock-and-roll adventure! What is wrong with you?” he quizzes.
“I get it. Not for everybody. But I love it. I didn’t get to go to these places, and now I’ve been to fuckin’ China!… That is amazing! Because I wrote some little songs? What a gift!”
Mac DeMarco’s new album, Guitar, will land on 22 August. He also heads out on tour at the end of this month – you can view the full list of scheduled shows via his official website.
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The Line 6 Helix Stadium is nearly here – and if you preorder now at Sweetwater you get a free IR sample pack
Sweetwater is including a free IR sample pack with pre-orders of the highly-anticipated Line 6 Helix Stadium amp modeller.
The Helix Stadium and its deluxe XL sibling, which were announced back in June, are officially launching this autumn and winter. Those who purchase the modellers through Sweetwater from now until the end of December will also get five free impulse responses from speaker and IR company, Eminence.
Eminence was originally a garage-based manufacturer that started up in 1966 in Kentucky. Building on its vast history and global reach, today the company offers a range of different impulse responses so that players can deploy its products in digital form with their rigs of choice.
The five IRS included in this free collection have all been captured by the famed Shure SM57 mic. Within it, you’ll get:
- Cannabis Rex 12: Captures a fresh take on American clean tone. “The hemp cone of Cannabis Rex 12 delivers invigorating clarity and brightness without compromising body or substance,” says Eminence.
- Swamp Thang: Delivers dark, aggressive mids and a rounded bass response. This one is ideal for down-tuned or extended-range guitars, including 7- or 8-string guitars and baritones.
- Governor: A British-voiced speaker with close links to the American-voiced Red White and Blues speaker, capturing “the transatlantic trade of blues tone”.
- Legend GB-128: For hard-hitting volume and low- to medium-gain tones, this IR captures a “cleaner brand of British power”.
- Legend EM-12: Has a neutral voice that helps emphasise your guitar and amp.
The Helix Stadium and the XL version offer a competitive rival to the beloved Neural DSP Quad Cortex. They bring a range of highly-anticipated upgrades with them including entirely new modelling tech, cloning capabilities, and high-resolution touch screens.
This new modelling tech is called Agoura, and it replaces Helix’s HX modelling for improved authenticity when modelling physical amps, as well as offering increased accuracy when it comes to how amps respond to the way you play.
Since the announcement, Line 6 has been drip feeding us plenty of teasers and videos on what we can expect from the Stadium duo. Just recently, it released a video in which you can hear its Marshall-inspired ‘Brit Plexi’ amp, and another of its US Double Black. Check them out below:
To pre-order the Line 6 Helix Stadium and get a free Eminence sample pack, head over to Sweetwater.
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“I’m like, ‘Where does this stuff come from?’”: Sharon Osbourne says claims that Black Sabbath’s final show raised £140 million for charity are “just ridiculous”
Sharon Osbourne says reports that Black Sabbath generated £140 million for charity through their Back to the Beginning farewell show are “just ridiculous”.
The sold-out show was also livestreamed on pay-per-view, with 100% of the proceeds going to Acorns Children’s Hospice, Birmingham Children’s Hospital and Cure Parkinson’s. The pay-per-view was priced at £24.99, and The Guardian reported last month that more than five million people tuned in.
5 million multiplied by £24.99 is a little under £125 million, so in the ball park of the figure quoted, before accounting for physical ticket sales, merch sales and so on.
Following the event, Billboard magazine also reported that the event had raised over $190 million, while Tom Morello – who served as the event’s musical director – posted a selection of photos on Instagram, one of which read: “More than 190 million will be donated to houses and hospitals for children.”
Now, in a new interview with Pollstar, Sharon Osbourne – Ozzy Osbourne’s wife and long-time manager – says the figures quoted aren’t exactly accurate.
“One of the things that’s frightening me is all this false press about [how] we’ve made £140 million and all of this, and I’m like, ‘God, I wish we could have, for one gig.’
“It’s just ridiculous, the different stories. I went on the internet the next morning and it was like, $140 million, $160 million. And I’m like, ‘Where does this stuff come from?’
“It takes a really long time [to work out how much was made], because we’ve had all of the bands that we had come in and their expenses, and it’ll take a good six weeks to get the final number.”
Though she’s hesitant to comment on how much the event made before the official figures are available, Sharon says the event was a “huge success”.
“It was a phenomenal event,” she says. “It was the first time, I think, that anybody’s gone into retirement and done it, where the show is streamed and it goes to charity. So it’s the first time anybody has said goodnight like that. It’s the perfect way, when you’ve had such a long career, to end it.
“I never wanted Ozzy to just disappear without some big event.”
Aside from hosting Black Sabbath’s swansong performance, Back to the Beginning saw performances from a plethora of heavy metal’s elite, including Metallica, Slayer, Pantera, Mastodon, Yungblud, Lamb of God and so many more.
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Beetronics Larva review – a speed-ramping phaser with a couple of twists
£239/$249, beetronicsfx.com
What do you see when you look at the Beetronics Larva? A large pedal with a daunting number of knobs and switches? Extravagantly ornate styling that calls to mind the LA company’s two zaniest and most complicated creations, the Zzombee and Seabee? Relax – it’s all an optical illusion.
What is the Beetronics Larva?
First things first, what is morphing? Basically it’s Leslie-style ramping from one sound to another. Switch the Larva on and you’re dealing with a simple phaser, controlled by the rate and depth knobs at top-left; now hold down the left footswitch for a moment and it will start morphing into a second setting, controlled by a matching pair of knobs on the right. Congratulations, you are now a fully qualified morpher.
Image: Adam Gasson for Guitar.com
The two slightly smaller dials are for adjusting that transition time and the intensity of the phaser’s resonance, while two mini-knobs in the centre look after the input gain – the Moogerfooger-inspired preamp has some proper overdrive on tap – and output level.
That just leaves two toggle switches – one for selecting how the morphing feature moves back and forth, and one for the operating mode: standard phaser, extra-wobbly vibe or, strangely, just the preamp without any modulation. In case anyone’s in the market for a non-phasing phaser…
Image: Adam Gasson for Guitar.com
And the LEDs? They just move across from left to right, and turn from blue to pink, to indicate morphing status. They are cute.
What does the Beetronics Larva sound like?
Sorry, bit of a spoiler earlier on – but ‘just really nice’ is the best way to describe virtually everything this phaser does. The obvious way to set it up is with a slow, shallow sweep on one side and a rapid wibble on the other; in both cases the core tone will be sweet and musical, with resonance dialled in to taste. Extra-slow morphing is the most fun, but you can actually double-tap on the bypass footswitch for instant hopping between your two settings.
Part of the reason for that innate sweetness is the preamp – it’s warm and fluffy, keeping everything smooth and preventing any harshness at the top of the phaser’s arc. It ranges from clean-ish to quite heavily overdriven; the only snag, arguably quite a big one, is that you can’t switch it off or dial it out completely to hear the phasing effect pure and uncoloured.
And here’s another snag, necessitated by that double-tap feature on the bypass switch: hit it once to turn the Larva off, and it’ll take a moment to respond because it has to wait to see if a second tap is coming. This probably isn’t going to ruin anyone’s night, but it’s frickin’ annoying and should surely have been avoided somehow.
Should I buy the Beetronics Larva?
Yes, you should buy the Larva because it’s absolutely gorgeous. But then again, no, you shouldn’t buy the Larva because it’s absolutely infuriating. Can you tell I’m a little bit torn here? But that’s what it boils down to: if you only care about the tones, you’ll struggle to find a nicer phaser than this; but if you demand technical perfection in all areas of stompbox functionality, it might just drive you mad.
Beetronics Larva alternatives
It’s a very different beast to the Larva, but the Heptode Virtuoso (€192) is a beautiful-sounding phaser that offers ramping between slow, medium and fast speeds. You might also look at the Caroline Arigato ($219/£229) and SolidGoldFX Aurras ($209/£189.99).
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“Paul Reed Smith has mastered creating an instrument that behaves”: Carlos Santana on his love of PRS guitars
“Guitars are like crayons to me,” says Carlos Santana. “Life is the canvas.” Such is how the legendary guitarist views his tools: not as mere instruments, but as portals to creativity and self-expression.
Over the decades, Santana has played them all – Gibsons, Fenders, Gretsches, and even a signature Yamaha in the 1980s – but the one brand he keeps returning to is PRS.
“Paul Reed Smith has mastered creating an instrument that behaves,” says the Mexican-American guitarist in the new issue of Guitar World. “No matter what the weather is like, it will stay in tune and always give you that great tone.”
- READ MORE: Carlos Santana: “I like being squirted in the face by music because it makes me feel alive”
Despite having played just about everything under the sun – “They all have their own sound, texture and feel,” Santana explains – PRS guitars are the only ones that feel like home.
“I always go back to my PRS models,” he says. “I’m very grateful to Paul. He came up with his own vision to create a different tone and feel. I’m grateful he did that because his designs suited my personality when it came to self-expression.”
This is especially true of his PRS signature model ‘Salmon’, which he describes as the “easiest instrument for me to materialize my inner-vision, thoughts and emotions. There’s not much struggle translating myself onto that guitar.”
Santana’s friendship with the PRS founder also goes back a long way: “We’ve had a relationship since the late Seventies. He convinced me to come on board. Back then, there were only three companies I knew of – Gibson, Fender and Gretsch. There were others, but those three were the main ones.”
According to Santana, PRS’s attention to detail is what keeps him loyal, even decades later.
“From guitars to food or whatever, there are two words that are important for any business – impeccable integrity,” says the guitarist. “When people put love and attention into what they make, it stands out. When my guitars arrive from Paul Reed Smith, they are always perfectly in tune. I’m not making it up! They come to me set up perfectly because somebody at the factory is doing that final check. A lot of companies don’t do that.”
As for how many guitars he owns these days? “Probably not more than 100 and not fewer than 75,” Santana reckons. “I guess the Fender Strats and Gibson Les Pauls would be the oldest models in my collection. I’ve got Strats from 1954; some of my Les Pauls go all the way back to 1959.”
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