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“Kind of a one-trick pony”: Why Daron Malakian swears by his Friedman-modded Marshall but not the stock ones
Let it be known that Daron Malakian isn’t the biggest fan of Marshall amps, at least, not until they’ve been through the hands of amp guru Dave Friedman.
Known for crafting some of the most unmistakable tones in modern metal – from the jagged riffs of System of a Down to the layered grittiness of Scars on Broadway – the guitarist has never been content to stick with stock.
His go-to amp? A trusted Marshall, yes, but one with the custom touch of Friedman’s mods.
As Malakian’s reveals in the latest episode of Ultimate Guitar’s On the Record podcast, his tone on Scar’s new album Addicted to the Violence continues that tradition: vintage guitars, carefully sculpted layers, and amps tailored to go well beyond their original designs.
“Since the Mesmerize and Hypnotize albums, and on every Scars record, I’ve used a 1962 SG Standard that I have, and I think it’s a 1968 Gibson ES-335 that I have, and I layer those to make my heavy tone,” he says. “So I’ve stuck with that.”
“I used the same Marshall that I had on the Mesmerized and Hypnotized records and all the Scars records, but I also used Friedman’s on this, and I layered the Marshall and Friedman together.”
“Friedman actually modded that Marshall, too, so in a way, you can say they’re all Friedmans,” the guitarist adds.
Asked about the mod itself, Malakian explains: “Yeah, it’s a gain mod just to make it more chuggy and heavy. But his amps kind of have that already. I’m trying to remember the model I have, I think it’s a B.E. It’s the black one with the brown lights. So his kind of has that Marshall tone that I like out of the modded Marshall.”
What makes the Friedman amps stand out, according to Malakian, is their versatility compared to the Marshalls.
“There are just a few more options on his amps than there are on the Marshalls. The Marshall is kind of a one-trick pony,” he says.
Watch the full interview below.
Elsewhere, Daron Malakian recently reflected on System Of A Down’s 2006 hiatus, revealing he wasn’t exactly behind the idea.
“When System took the hiatus, it was difficult for me at first because that’s not really what I wanted,” he said.
The post “Kind of a one-trick pony”: Why Daron Malakian swears by his Friedman-modded Marshall but not the stock ones appeared first on Guitar.com | All Things Guitar.
“Don’t buy it for any other reason”: The only thing to consider when buying a guitar, according to session legend Jeff “Skunk” Baxter
Jeff “Skunk” Baxter, the session ace known for his work with Steely Dan and the Doobie Brothers, thinks players are looking at the wrong things when it comes to buying a guitar.
His advice? Forget the name on the headstock, forget the price tag, and just play the damn thing until you find one that “feels good to you”.
While recently poking around a Guitar Center store, Baxter came across a $140 Squier Telecaster fitted with a Jazzmaster pickup and instantly loved how it felt. Curious, he asked to compare it to a genuine 1958 Tele hanging on the wall – a guitar priced “about a bazillion dollars” more.
“I spent about an hour setting up the Squier,” he says in the new issue of Guitarist.
“They had a guitar repair guy there and I asked if I could use his tools and set up the guitar myself. Very quickly, I compared the two, and the $140 Squier Telecaster, to me, sounded better, so I bought it.”
“It’s a great guitar,” he says.
For Baxter, the logic is simple: a guitar is only worth buying if it speaks to you. Everything else, like what it says on the headstock, is secondary.
“The first thing I would say for sure is that, if you can, ignore everything and just play it. And if it plays great, then it is great,” he explains. “Whether it’s a Squier as opposed to, like, an expensive Fender special, custom – whatever.”
“This is not to say that you shouldn’t buy quality instruments, that’s not the point. The point is that whatever guitar feels good to you is the right guitar. Don’t buy it for any other reason.”
Baxter is not alone in this. Virtuoso Joe Satriani, too, believes that players should “connect with the guitar” rather than chase after vintage instruments for the sake of it. Speaking to D’Addario, Satch admitted to being “disillusioned” with the “most valuable, rare guitars” after his youth working in a guitar shop.
“There’s nothing special about it,” he said. “The musician has to connect with the guitar for it to become special.”
The post “Don’t buy it for any other reason”: The only thing to consider when buying a guitar, according to session legend Jeff “Skunk” Baxter appeared first on Guitar.com | All Things Guitar.
“They’re like, ‘I’m in the ballpark’”: Dweezil Zappa on the “laziness” of guitar players when covering songs like Eruption
Think you can play Eruption just because you hit a few tapped notes and land in the right key? Well, Dweezil Zappa’s not buying it.
The guitarist and son of late legend Frank Zappa speaks in a new interview with Marshall, where he calls out the “laziness” of those players who, in his view, cut corners when covering songs, especially the kind that shaped generations, like Eruption.
Reflecting on his own early guitar days, Dweezil recalls how Eddie Van Halen’s visit to his home “opened up the whole world of guitar playing” for him “just by being able to see it up close”.
This was “way before YouTube”, he says, when you couldn’t just Google a tutorial or slow something down in 4K. “You had to just imagine what this stuff was, you know. Or you had to have binoculars when you go to a concert and see it up close.”
Asked if this was the reason many guitar players from that era often “came up with their own versions of things”, Dweezil doesn’t exactly agree.
“There’s a lot of people that – and sometimes it just comes down to laziness – they’re like, ‘Well, I’ll just do my own thing.’ Because they hear enough of it, and they’re like, ‘I’m in the ballpark. I’ll just make my [own thing],’” he says.
“But to me, when I was learning songs, if it was Van Halen or if it was something that Randy Rhoads was playing, I didn’t feel like I was playing the song at all unless I played exactly what I heard them doing. And I wanted to learn the nuances. I wanted to try to get the sound. I wanted to do that. Because to me, that was the whole package of playing the song.”
“So when somebody says, ‘Hey, I can play Eruption, I’m like, ‘Great! Let me see it.’ And if it’s not what I heard on the record, then to me it’s not it,” Dweezil continues. “As a kid, that was the goal: to try and get as close as I could on any of that stuff, which is not easy. It’s been a lifelong obsession to learn how to play a lot of this kind of stuff.”
Elsewhere, Dweezil also opens up about his dad’s peculiar guitar playing style, calling it “the battle between the chicken and the spider”.
“It’s not a comfortable way to play,” he says.
The post “They’re like, ‘I’m in the ballpark’”: Dweezil Zappa on the “laziness” of guitar players when covering songs like Eruption appeared first on Guitar.com | All Things Guitar.
“Guitars are like human beings – if you don’t play them, they get sick”: Why John McLaughlin doesn’t believe in collecting guitars
Jazz fusion virtuoso John McLaughlin has opened up some of the prized guitars he’s parted ways with over the years and the reason he prefers giving away guitars to collecting them.
“I think back on how many guitars I’ve given away. And I do have some regret,” the guitarist admits in a recent chat with MusicRadar.
One of those guitars was a 1963 Gibson L4-C with a Charlie Christian [Lollar] pickup, which he was forced to sell during a difficult time in his life: “It was a beautiful guitar,” says McLaughlin. “It had a great jazz tone, but I ran out of money and had to sell it to eat!”
McLaughlin ended up selling the guitar to an “angling friend”. He then tried to buy it back several months later when his finances improved, but unfortunately by then, his friend had grown too attached.
“I asked him, ‘Will you sell me the guitar back?’ He said, ‘No way, man. No way.’ So that was gone forever!”
There’s also the white 1967 Fender Stratocaster he gifted to Jeff Beck after a tour they shared in the 70s.
“I gave a 1967 white Strat to Jeff Beck after a tour we did together in 1974, or ’75,” says the musician. “And when we lost Jeff, his wife wrote to me and said, ‘I’m going to sell the guitars. They’re all around me, and they keep reminding me of him.’”
While McLaughlin attended the London auction that followed, even he couldn’t tell which white Strat had once been his.
“They had all these instruments, along with amps, pre-amps, and pedalboards. But there were two white Strats! I don’t know which of them I gave him, but anyway, I saw it there!”
Still, McLaughlin isn’t one to dwell long on what’s been lost. For him, guitars are meant to be played – and passed on when they’re no longer in use.
“I’m not a collector,” he says. “I get guitars, but I give them away.”
To McLaughlin, guitars are living, breathing companions and they’re not meant to sit on a shelf. “Guitars are like human beings – if you don’t play them, they get sick. They really need to be played.”
“Instruments are like a marriage between heaven and hell,” he continues, “They’re made on Earth, but the stuff that comes out of them is made in heaven. They’re wonderful in that way.”
The post “Guitars are like human beings – if you don’t play them, they get sick”: Why John McLaughlin doesn’t believe in collecting guitars appeared first on Guitar.com | All Things Guitar.
Halestorm pick their five most underrated rock and metal bands
If 2024 had ‘Brat summer’, then 2025 may well be on the cusp of ‘Halestorm summer’. When I interview frontwoman Lzzy Hale and lead guitarist Joe Hottinger at the Gibson Garage in London, the Pennsylvania hard rockers are about to enjoy several career milestones. The day after we talk, they’ll support Iron Maiden at the 75,000-capacity London Stadium, and the weekend after that they’ll perform at Ozzy Osbourne and Black Sabbath’s blockbuster farewell show. Oh, and on 8 August, they’ll release Everest: comfortably the best album of their 15-year recording career so far.
“We’re peaking right now,” Hottinger laughs when I mention the stacked schedule his band have for the coming weeks. “It’s all downhill from here.”
If Everest receives the goodwill that it deserves, then hopefully not. On their sixth full-length, Halestorm eschew the trappings of US radio rock without sacrificing their melodic punch. The songs are heavy, passionate jams with an improvisational spirit, achieved by the fact they went into the studio with producer Dave Cobb with nothing written down.
“There is a looseness to it,” Hale says. “I think – given the circumstances and the fact that we were forced to live in the moment, trust ourselves, trust our guts and make decisions – we stopped ourselves before we were getting bored with something or something was getting too comfortable. In essence, that’s what live music is all about for us anyway.”
That verve quickly appears on opener Fallen Star, when Lzzy cackles and screams “Kick it!” before she and her bandmates launch into one of the nastiest riffs of their lives. Combine that with the searing lead lines of I Gave You Everything and the lung-popping shouts during Watch Out!, and you get an album that finally captures how raucous this foursome are in the live arena.
Lzzy Hale and Joe Hottinger performing at Black Sabbath’s final concert in 2025. Image: Alison Northway
On paper, Cobb seems like a wildcard pick for the producer of such an unapologetically rock’n’roll project. Though he’s produced Rival Sons and Greta Van Fleet in the past, he’s mainly known for working with such country-pop superstars as Chris Stapleton and Brandi Carlile. I ask what made him the man for the job of overseeing Everest.
“I love the Chris Stapleton record,” says Hottinger, “and Brandi Carlile is just a monster. Every time I fall in love with a record, I see his name and I’m like, ‘That fucking guy again!’”
“We’d have conversations with Dave and ask, ‘How did you make this or that work?’,” Hale adds. “He’d be like, ‘That was just the vibe on that day. We were literally living in the moment.’ For us, no matter what genre, I think that that’s just a good divining rod to be guided by.”
For all the rambunctiousness that Everest smacks the listener with, the album lyrically alternates between rock star pageantry and affecting levels of introspection. On lead single Darkness Always Wins, Hale cries, “We are fighters, holding up our lighters!”: a line almost definitely written with the intention of getting phone torches during their arena shows. Similarly, K-I-L-L-I-N-G is a barnstormer with a spell-along hook that anyone can quickly get caught up in.
On the other end of the spectrum, though, are lyrics as personal as those on Broken Doll, where Hale laments previous, toxic relationships. “I still believed the lies we shared, shattered dreams beyond repair,” she sings. Like a Woman Can is a defiant declaration of the singer/guitarist’s bisexuality, while How Will You Remember Me? finds her asking the lofty question of what her legacy will be after she dies.
“I was tired of what I had created in the past – this pedestal, the idea of me – and ready to say things that way that I actually feel them,” Hale explains. “I don’t have to have all the answers and everything doesn’t always have to be okay. I feel like, in past years, especially after fame happened and all of a sudden you’re a role model, I needed to be a beacon of hope for everybody. I wrote all these songs that said, ‘It’s gonna be okay,’ but that’s not reality. We don’t know whether everything is going to be okay.”
As Halestorm prepare to put out their best music yet and get ready for a summer that will surely only make their star burn brighter, I turn the conversations to bands who haven’t had that level of fortune and attention. Below, you’ll find Halestorm’s picks for great rock and metal bands that should have become household names but, for whatever reason, unjustly fell short of megastardom.
Halestorm. Image: Press
Sevendust
Lzzy: “They’re an incredible band, but they’ve always been notorious for, like, everybody that’s ever opened for Sevendust has gone on to do great things. They’re kind of the springboard for that. [1999 album] Home was the thing that knocked me out of my parent’s generation of music. I was listening to Judas Priest and Alice Cooper and Dio and all of that, and then Home came out, and there’s a song called Licking Cream with Skin from Skunk Anansie on it. I remember thinking, ‘Oh, girls can sing this type of music! There’s hope for me!’
“I remember meeting them: I had been a fan for a little while and then we went to the NAMM convention in the States. They had a small gig there and somebody got me in. They were the sweetest men in the world! A couple months later, they had a show in Lancaster, Pennsylvania at the Chameleon Club. They remembered us, invited us onto their bus and took our demo CD. They played one of our songs through the PA right before they went on! I remember turning to my little bro, just like, ‘Well, if Sevendust think we’re cool enough to have our song played in front of their audience, maybe we got something here.’”
Priestess
Joe: “They’re a band from the very early 2000s that never got too huge. They did some touring and I think they made two records. I still love that band. They have a record called Hello Master and I found a vinyl of it, an original pressing, at a shop in Nashville for like 20 bucks. It melted my brain! How they started that record is some of the inspiration for how we started this new record, because it’s just a killer riff that goes on for too long. Haha! It’s in a different time signature and I was like, ‘That’s brilliant!’ It was one of my favourite records coming up.”
The Divinyls
Lzzy: “They’re an overlooked punk band that were only ever known for [1990 single] I Touch Myself, and the rest of their albums sound nothing like that. They’re this crazy, high-energy Police-meets-old-school-punk kind of band. Nobody ever really digs deeper than that one hit they ever had.
“I got into them kind of by accident. I realised later, ‘Oh, they’re the I Touch Myself band.’ The lead singer [Chrissy Amphlett] ended up dying many years ago, but they were one of those bands that opened up for everybody and then never really got their due, except for that one song. It was completely unhinged, amazing vocal prowess. The guitars were really interesting. You could tell that they were very jazz-influenced, but then they all got into punk bands when they were teenagers.”
Killing Joke
Joe: “The record that got me into them was the one Dave Grohl was on [2003’s Killing Joke]. That got me into Killing Joke, that was my introduction. Don’t they have a songwriting credit on Come as You Are or something? [Nirvana’s riff was strikingly similar to the one in 1984 single Eighties. Killing Joke were reportedly annoyed about it, but didn’t take legal action – Legal Clarification Ed]
“I discovered them through that record because it was on a random playlist or something, and I heard it and I was thinking, ‘That sounds like fucking Dave Grohl – what are we listening to?!’ Then I went deeper and deeper and I bought the record. It was just on for, like, a year and a half straight.”
Lzzy: “I’m definitely a fan. It’s just the energy of a song like Asteroid and the personality. There are certain people who are able to exude that kind of energy vocally where you get to know who they are. You’re just like, ‘Man, I know everything about you just from that run!’”
Mrnorth
Joe: “They were Irish boys and they made a record on a big label [2004 debut album Lifesize was released by RCA]. I think they did some pretty good touring. The vocals were soaring, like Jeff Buckley, but they were a rock band. Lifesize is a beautiful record. They had a shot, I guess, but it didn’t quite go their way. We’d see them play all the time at Grape Street pub in Philadelphia. They were so good live!”
Lzzy: “Their lyrics were pure poetry. They took you to a different place. The words were like visuals. He [singer/guitarist Colin Smith] had a way of taking his surroundings – there was a lot of talk about trees and nature – but then relating them to one’s inner self. I remember thinking, ‘How do people think that way?!’”
The post Halestorm pick their five most underrated rock and metal bands appeared first on Guitar.com | All Things Guitar.
Jason Richardson leaves All That Remains to focus on “new opportunities”
Jason Richardson has left All That Remains to focus on “new opportunities”.
It’s a departure that Richardson explains is fully civil and supported by the band. “All That Remains and I have decided to amicably part ways,” he writes in an Instagram post. “I’m incredibly proud of the record we made together and grateful for the relationships I’ve built during my time with the band.”
He goes on to allude to the next chapter of his career: “With everything happening in my own career and new opportunities that I have ahead, I need to prioritise what makes the most sense for my long-term future. There will be updates soon that I’m really excited to share with you all!”
The guitarist even teases that he’s been “grinding on a lot of different things behind the scenes”, noting that he’s “feeling very optimistic” about these mysterious upcoming projects.
To further show the lack of bad blood, he closes off with well-wishes for his former All That Remains bandmates. “I genuinely wish the rest of the band the absolute best in everything they choose to pursue,” he writes.
Richardson originally joined the All That Remains ranks back in 2018, following the passing of the late Oli Herbert. The original lead guitarist and founding member had tragically drowned in a lake behind his Connecticut home earlier in the year.
Prior to joining All That Remains, Richardson was also a member of prog metalcore unit Born of Osiris and deathcore gang Chelsea Grin. He’s also pursued his own solo projects throughout the years, releasing 2016’s I and 2022’s II records.
While details of the guitarist’s upcoming plans remain a secret, fans are already making some jokes about his pattern of hopping between bands. Over on Richardson’s Facebook post sharing the same news, one fan even humorously notes that, yet again, “Born of Osiris need a new guitarist”.
Another has also joked about Richardson’s departure of All That Remains will leave the band unable to perform the tracks he helped write on 2025’s Antifragile record. “My man left them with an album no guitarist is gonna be able to play,” one commenter jokes.
The post Jason Richardson leaves All That Remains to focus on “new opportunities” appeared first on Guitar.com | All Things Guitar.
A guide to the best Big Muff-style pedals, from classic reissues to boutique oddities
The Electro-Harmonix Big Muff is one of those rare pedals that’s kept the collective imagination of guitarists engaged ever since its debut in 1969. Thanks to its frankly absurd sound (and, lest we forget – name) it remains one of the most recognisable and infamous distortion devices out there. Versions of it exist today as both official reissues, boutique recreations and greatly modified takes on the circuit from builders big and small. But which is right for you? Should you swing for a fancy boutique recreation or will one of the regular ol’ reissues have you covered? Let’s explore all things Big Muff.
Already au fait with the circuit, or just want to dive straight into some pedals? Click here to go straight to the best Big Muff-style pedals you can buy right now.
What makes a Big Muff circuit a Big Muff?
First things first – we’re going to be talking about a lot of the different parts of the base Big Muff’s actual circuit, so before we get completely lost in a haze of solder – let’s do a quick refresh as to how the Big Muff actually works.
While there are many different versions, most of the differences boil down to having different values into a consistent circuit. This is basically just effectively four gain stages stacked one after another, with a tone stack before the output. One gain stage sets the level of distortion. The second two boost and distort, and the final sets the output volume.
Most Big Muff-style pedals are based on a schematic of this general structure, with some additions and modifications to component values.
Input gain stage
This is a basic transistor-based amplifier that boosts and buffers the input signal, and removes some extraneous frequencies. It’s also where you’ll find the gain control, which works by controlling the level of signal going into the next part of the circuit.
Clipping stages
The next two transistors are used in (normally) identical configurations to distort the signal twice in a row. Two diodes are placed back-to-back in the feedback loop of each stage, creating soft clipping. But because of the extremity of the gain and the fact that it’s happening twice, the result is a hell of a lot of distortion, to the point where it’s as harsh and sharp-edged as any hard-clipping circuit.
The clipping diodes that are used here are a common modification for both DIY’ers and boutique variants. If you have a standard, large-box through-hole Big Muff, swapping the diodes out is a great way to experiment with modding! Try red LEDs for an open, less compressed sound – or Germanium diodes for a squishier, more compressed sound. Due to how the circuit works, though, it’s really only the second diode clipping stage that’s worth modifying – adjusting the first one won’t have much impact.
Some pedals also offer the option of removing one or both of the clipping stages entirely. This doesn’t remove all of the distortion, as there’s still some coming from overloading the transistors, but it does make for a much more boost-like sound and a big jump in output volume.
Tone stack
The classic Big Muff tone stack uses a potentiometer to create two different filters (one high-pass and one low-pass) and blend the result. Turning the tone control down mixes in more of the low-pass filter. Turn it up, the high-pass filter. In the middle, the two filters are combined – however on a stock Big Muff, both the high- and low-pass filters still affect the midrange when the knob is at 12, leading to that signature “scoop”.
The tone control’s use of a dual-filter design is also what allows it to be much more impactful than other passive tone stack designs – maybe too powerful, depending on the rest of your rig. A Big Muff on full treble can be a bit like having a jar of wasps chucked at your head, and on full-bass settings, it can easily overwhelm smaller amps. And while an overwhelmingly bassy distortion sound can be huge and awesome by itself, it can mean that you’re competing for sonic real estate with your bassist. Because of this, and the midrange scoop, the tone control is where you’ll see a lot of the ‘boutique’ Big Muffs make modifications.
Output stage
The Big Muff’s output stage is effectively an LPB-1 – this simply boosts the signal level back up after it gets cut down by the tone control’s filters. How much of a boost Big Muffs provide really varies – Muffs have used plenty of different transistors and component values across the years, meaning that some will give you a really hefty boost, while others will remain pretty close to unity gain. This is also something that ‘boutique’ big muffs can offer a little more control over.
The best Big Muffs you can buy right now
There are plenty of awesome options for fans of this venerable circuit still on the market. We’ve rounded up everything from the reliable classics to our favourite boutique oddities – so let’s jump in!
Electro-Harmonix Big Muff Pi
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Electro-Harmonix still makes the standard, big-box Big Muff Pi. While it’s affordable and reliable, it’s also a rather inconvenient size – this thing really earns the Big part of its name. It has a certain cool factor, for sure, but if you want it in a more sensibly-sized box, you can check out the standard Nano Big Muff Pi. Keep in mind, though, that this modern variant of the circuit is famously a little more bright and scooped in the midrange than the more vintage-voiced circuits. This style of Muff was used to great effect by Jack White in the White Stripes with a scything, sharp sound.
Triangle Big Muff Reissue
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This pedal is a recreation of the earliest version of the Big Muff. Compared to the more modern circuits, it has a smoother, slightly less saturated sound at max settings, but it can absolutely still provide that huge violin-like sustain the pedal is known for as a whole. Given the age of the circuit it’s recreating and how pedals were made at the time, there’s not really one single Triangle circuit this pedal is based on, however it’s a faithful amalgam of various vintage units.
Ram’s Head Big Muff Reissue
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The Rams head recreates the 1970s v2 version of the circuit. It’s relatively similar, sonically, to the Triangle Muff, if a little louder in its output. If you’re gunning for a Gilmouresque lead sound, you can’t go wrong with either this or the Triangle. There’s also the J Mascis version of the pedal, a nod to the Dinosaur Jr. frontman’s affinity for the circuit, however keep in mind that this is only a cosmetic change over the regular reissue.
Green Russian Big Muff Reissue
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The Green Russian Big Muff recreates the version of the circuit made in EHX’s Russian Sovtek factory across the 1990s. It has a reputation as a bassy, more doom-appropriate version of the circuit with a bit more of a mid-push – and the reissue totally nails that sound. It’s a great pairing with an Orange amp, C-standard tuning and half a crate of beer.
Op Amp Big Muff Reissue
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The Op-Amp version of the circuit replaces the four transistors with two op-amps. The result is quite a different sound, one that you’ll immediately recognise if you’re a Smashing Pumpkins fan. This is also notably one of the Big Muff reissues with a tone bypass switch – this makes the circuit skip the dual-filter tone control, resulting in a more full-frequency, less scooped sound.
Evil Eye FX Warg
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Onto some non-EHX options! The Evil Eye FX Warg is one of the coolest new boutique Big Muff-inspired pedals I’ve checked out recently. Inspired by the Ace Tone FM-3, this pedal also offers a switch to go between the stock tone control values and a flatter midrange – perfect for getting your full-bore fuzz sound to fit better in a mix.
Check out my review of the Warg for more.
EarthQuaker Chelsea
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The first of three high-quality options from EarthQuaker Devices, the Chelsea is a cool variant of the Big Muff based on a unit owned and used by LCD Soundsystem’s James Murphy. It’s voiced really well for both bass and low-tuned guitars, and includes a tone bypass switch for some extra versatility.
Check out my review of the Chelsea for more.
EarthQuaker Hizumitas
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Where the Chelsea is relatively restrained, the Hizumitas is less so. It’s one of the loudest Big Muff variants out there, which is unsurprising if you’ve ever heard Boris’ music. Wata’s Elk Sustainar unit – a rare Japanese clone of the Big Muff – was meticulously recreated here, and its enormous output and unique tone sweep allow you to tune down and drop out with the best of them.
EarthQuaker Hoof
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Rather than any one musician’s pedal, the third EQD option here is a very modified version of the EHX Green Russian. It uses a mix of germanium and silicon transistors for a more ragged, unpredictable sound, as well as some LED clipping diodes rather than the standard 1N4148s you’ll see more commonly used. If you’re looking for something totally original, rather than just a vintage recreation, this is a great option.
Black Arts Toneworks Pharaoh
One of the oldest doomed-up takes on the circuit, first launched back in 2011. The Pharaoh adds a separate highs control for more detailed EQ, as well as a three-position switch to choose between germanium, silicon or no diode clipping. That last option helps it sit well in a full rig based around pushing the front end of a tube amp for a thick, full-bore sound.
Keeley Electronics Moon
The Keeley Electronics Moon is an expanded version of the Op Amp Big Muff, featuring a three-position EQ switch for either scooped, flat or boosted midrange. It’s a pretty bassy version of the circuit overall, despite this added versatility – so make sure your rig is ready to handle the extra low-end! If it can, though, this is an awesome way to get that full-frequency Smashing Pumpkins-esque sound, or create a huge base-layer for shoegazey reverb. It’s also a killer option for bass guitarists.
KMA Machines Chief Disruptor
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Now we’re into the real weeds of totally weirding the standard Muff circuit. The KMA Machines Chief Disruptor features a bunch of added features, including three different gain modes, a pre- or post-EQ clean blend, an active two-band EQ, a foot-switchable, expression-controllable parametric midrange and a switchable top-boost. If the Chief Disruptor can’t find a place in your rig, perhaps nothing can.
Death By Audio Fuzz War
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The Death by Audio Fuzz War is an example of just how far you can take the circuit, but not necessarily by adding extra features. Version two of the Fuzz War shares some similarities with the Big Muff in the rough circuit topology, but the resulting sonics are totally out there – it’s extremely loud and very dynamic thanks to a single clipping stage. The Fuzz War is great for those looking to go all psychedelic freak-out mode as much as it is for those looking to summon monoliths of doom and destruction.
Other options
There’s no way we could ever cover all of the Big Muff-inspired pedals out there – it is, after all, one of the most revered, cloned and modified circuits within the world of pedals. There are countless small builders doing everything from heavily-adjusted versions to faithful vintage recreations!
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“Maybe some young kids will be like, ‘Wow, I saw that movie. I like what he played. I wanna try that’”: Buddy Guy’s cameo in Sinners was to “help the blues”
Genres are often revived and reshaped in the image of new generations, often in unexpected ways. Just look at country music’s popularity right now, as the likes of Beyoncé, Post Malone and Lana Del Rey have tried their hand at the genre, rather successfully in all cases, we might add.
Another genre that’s hinting at a revival is the blues, thanks to it being a central feature of Ryan Coogler’s horror film Sinners. Playing a cameo role of Sammie in his later life, blues veteran and multiple Grammy winner Buddy Guy used the film as a platform to “help the blues”.
During a recent phone interview with Press Democrat, Buddy Guy reveals how he struck an agreement with B.B. King and Muddy Waters, that whoever lived the longest had to keep flying the blues flag. Now at 89 – today (30 July) is his birthday, in fact – and 70 years into his journey as a musician, Guy is one of the last original Chicago blues men to keep playing.
Driven by this life mission, Guy hopes that Sinners’ celebration of the genre could help it to became more popular with younger people: “Maybe some young kids will be like, ‘Wow, I saw that movie. I like what he played. I wanna try that.”
Guy is confident that the blues still resonates plenty of people, even younger children, who often come up to him after his performances. Modestly, he puts this down to the power of the genre rather than his own skill: “[It’s] not me – the blues,” and goes on to say that “When they hear it, they love it.”
So what’s stopping the blues from having that level of hype country music has? Guy thinks FM radio stations are to blame for it flying under the radar: “The blues has been treated like a stepchild,” Guy tells Guitar Player. “Your big FM station don’t play our music anymore…” While he celebrates the fact that satellite radio plays the blues more often, they “don’t play the deep stuff”.
This means that Guy is not thinking of retiring as a blues player quite yet, even though he told Guitar Player that he has “thought about retiring twice.” The guitarist is in good spirits about it though, in his own words: “My health ain’t doing too bad, so… I just try to play the best I can”.
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“The bond we shared with him ran far deeper than music”: Pantera cancel tour dates as Zakk Wylde says they need “time to grieve” Ozzy Osbourne’s death
![[L-R] Ozzy Osbourne and Zakk Wylde](https://guitar.com/wp-content/uploads/2025/07/Ozzy-and-Zakk-Wylde@2000x1500.jpg)
In light of Ozzy Osbourne sadly passing away on 22 July, Pantera have announced that they will be postponing and cancelling a slew of upcoming tour dates to mourn the Black Sabbath icon’s death.
The heavy metal unit – comprising Phil Anselmo, Zakk Wylde, Rex Brown and Charlie Benante – share the news on Instagram.
“Ozzy wasn’t just a legend who shaped the very foundation of heavy metal and inspired Pantera from the beginning – he was family,” the band write. “A mentor, a brother, and a constant presence in our lives both on and off the stage. The bond we shared with him ran far deeper than music.”
“In light of this profound loss, we need time and space to grieve – to be with our families, our crew, and each other as we process and honour the life of someone who meant so much to us,” the post continues. “Out of respect, and to allow members of our team the time to mourn, we will be rescheduling the following shows.”
In order to allow themselves this “time and space to grieve” Pantera will be cancelling three of their upcoming tour dates. Their 19 July show in Gilford, NH will no longer be happening, as well as their 8 September and 10 September shows in Birmingham, AL and Virginia Beach, VA.
Not every change is a cancellation, however; two shows will be pushed forward to September. The band’s 28 July Saratoga Springs show will now be taking place on 9 September, while their Holmdel show on 31 July has been rescheduled for 8 September.
Pantera held a deep respect for Ozzy’s work, even performing Sabbath cut Electric Funeral in New York on 26 July in his honour. However, touring guitarist Zakk Wylde held an incredibly personal connection with the late star. Not only was he the lead guitarist of Ozzy’s solo band, but Wylde has spoken about their close relationship on multiple occasions.
Wylde even shared a heartfelt tribute to the late Prince of Darkness. “Oz was just the best,” he tells Guitar World. “I have my father, who was a World War II veteran; and then Ozzy, who was almost like an older brother. There was almost a 20-year age gap between us. With our relationship, there was the fun drinking – but if I ever needed advice, I could talk to him.”
“Ozzy is the godfather of our oldest son,” he writes. “Whether I was playing with him or not, if Sharon [Osbourne] called me and my wife up and said, ‘Guys, can you watch the house while we’re away on a business trip?’ I’d do it. It’s like, ‘If you need me to bring milk and eggs over, I’ll do it.’”
“Yeah, that’s how I’ve always looked at it. Ozzy is the godfather of our oldest son. Whether I was playing with him or not, if Sharon called me and my wife up and said, ‘Guys, can you watch the house while we’re away on a business trip?’ I’d do it. It’s like, ‘If you need me to bring milk and eggs over, I’ll do it.’”
Wylde even opens up about the last exchange he had with Ozzy – which, unfortunately, was just a text message. “Everybody and their mother were in the backstage dressing room [at the Back To The Beginning show] and I just wanted to give him a break,” Wylde reveals. “I figured we’d see him later on – the next day or whatever. But no.”
“The last text I got from Oz was saying, ‘Zakky, sorry, it was like a madhouse back there. I didn’t see you.’ He goes, ‘Thanks for everything.’ It was just us talking, saying, ‘I love you, buddy.’ That was it.”
Wylde closes off his tribute on a note of utmost respect: “If I didn’t have Oz, without a doubt, I’d continue playing… but it’s how Ozzy would say what The Beatles did for him, you know? What he gave me with Sabbath, and then with Randy and Jake, it’s a beacon of light. It gives you purpose. So even if I hadn’t played with him, he gave me purpose to be a musician. And without a doubt, that’ll always be with me.”
Today, Ozzy’s funeral procession is set to run through Birmingham’s Broad Street at 1pm ahead of a private funeral.
The post “The bond we shared with him ran far deeper than music”: Pantera cancel tour dates as Zakk Wylde says they need “time to grieve” Ozzy Osbourne’s death appeared first on Guitar.com | All Things Guitar.
Neural DSP’s new Nano Cortex update introduces a Tap Tempo mode and other “highly requested” enhancements
Neural DSP has launched a brand-new update, NanOS 2.1.0, for its Nano Cortex mini amp modeller.
The game-changing brand has introduced this new update rather swiftly after the last upgrade, which arrived back in April this year and introduced a customisable signal chain, 47 new effects and utilities, plus new workflow tools. Stepping things up once again, this update ticks off a list of more highly-requested features.
NanOS 2.1.0 brings a plethora of new enhancements, including Incoming MIDI CC, Tap Tempo, IR Loader Bypass for a specific output, MIDI Thru, and other improvements for better usability and performance.
Tap Tempo is a welcomed feature, and can now be accessed by holding Footswitch I to enter the Tap Tempo mode. The LED will blink at the current tempo, and you can set the tempo you want by simply pressing the footswitch. You can exit the mode by pressing Footswitch II, and you can even operate it through the Cortex Cloud app too.
Also, Nano Cortex can now receive MIDI CC messages for bypassing individual device slots, controlling the expression pedal position, Tap Tempo, and Tuner On/Off. Users can also mute the direct monitoring path of an analogue input, “essential for re-amping workflows to hear only the processed signal from your DAW”, and mute analogue outputs to prevent signal doubling when monitoring within the DAW.
As well as all these newbies, the update brings some bug fixes too. Critical issues that could cause Nano Cortex to crash or freeze, particularly when downloading a Neural Capture or when left idle for an extended period, have been resolved. A bug that would result in no audio passing through the Nano Cortex if a preset was loaded that used a deleted Neural Capture is also fixed.
To view the full list of new features and fixes, head over to Neural DSP.
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If you’re as excited about the Line 6 Helix Stadium as we are, you’ll be pleased to know you can now hear it in action
As we continue to edge closer to the release of Line 6’s incredibly hyped-up Helix Stadium amp modellers, the brand has released some more content revealing what they sound like, and what they’re capable of.
The new Stadium line was announced in early June, promising the “most powerful and most flexible” Helix yet. The range includes the flagship Helix Stadium XL Floor and a streamlined version, both of which will be arriving this year in autumn/winter.
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Not only will these new additions bring highly-anticipated upgrades, including new cloning capabilities and high-resolution touch screens, but they also introduce an entirely new modelling methodology called Agoura.
Agoura replaces Helix’s former HX modelling tech for improved authenticity when modelling physical amps, as well as offering increased accuracy when it comes to how amps respond to you. And, until now, we’ve not really heard how these new floorboard modellers actually sound.
As we grow closer to the drop, Line 6 has been releasing a number of tour videos on its Youtube channel. In a new sound sample video, you can hear its Marshall-inspired ‘Brit Plexi’ amp, which is played through a ‘jumped’ channel and hooked up to two virtual 4×12 Greenback30 cabs and runs through an LA2A Studio Comp, a delay pedal, and a Dynamic Plate reverb – all of which are displayed on its new, snazzy screen.
Hear it below:
Other recent demos include a tour of its search field to show you how to locate models, presets, and more, plus two wider tours on both the touch screen – in this one, you can hear a little bit more of the Brit Plexi in play via the background music – and the range of Agoura models available at launch.
To view more details about the Helix Stadium amp modellers, head over to Line 6.
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He brought the house down at Black Sabbath’s farewell gig, and once hilariously defied a no-moshing order at a Japan show. Like it or not, Yungblud is the star rock music needs
It’s easy to get stuck in our own way. We’re all guilty of it in varying degrees: we find the artists we like, put a metaphorical wall up around our tastes and treat those new to our radars with scepticism.
This is exacerbated generationally. You don’t need to go far to hear the ‘back in my day’ platitudes uttered by those who grew up in what they’d call rock’s ‘golden generation’.
They might be talking about glam metal’s heyday in the ‘80s, the emergence of grunge in the ‘90s, or even the new wave of American heavy metal (NWOAHM) in the late ‘90s and early 2000s.
But nostalgia is a hell of a drug.
When Black Sabbath announced the lineup of their monumental farewell 5 July show at Villa Park, metal fans rejoiced at the inclusion of a pantheon of metal’s elite (Metallica, Slayer, Anthrax and Pantera, to name but a few).
However, some were a little more hesitant at the mention of Yungblud, the Doncaster native whose music already spans so many genres it’s hard to keep up.
In the lead up to the show, I spotted a number of comments on social media and online forums poking fun at the 27-year-old, real name Dominic Richard Harrison.
“I’d hope he’s just going as a guest of the Osbournes as a spectator,” one Reddit comment read. “Surely they’ve got enough awareness to know Yungblud’s not going to go down well with a die-hard metal crowd! If he does come on stage I hope the bars are well staffed!”
Of course, Yungblud did not simply attend the event as a “spectator”; he performed a breathtaking cover of Sabbath’s Changes – from 1972’s Vol. 4 – channeling Ozzy Osbourne and, it must be said, Freddie Mercury at Live Aid, in quite frankly one of the day’s most rousing performances.
In the video above, it’s clear to see that the sold-out Villa Park crowd was enraptured by his performance, and, indeed, anyone who did visit the bar during missed out big time.
I’d say it’s satisfying to see haters silenced, but I don’t think that’s the source of the gratification here. I think it’s more to do with previously closed off people opening their minds and discovering new things that they genuinely love.
“I’m here from Back to the Beginning,” one metal fan wrote following the show. “Never heard of this dude before. I’m an old punk metalhead that doesn’t really seek out new music, ‘cause it’s mostly trash. This dude, though. This dude is fucking good. I started watching his music videos. Brilliant.”
“He got us all in a chokehold after that Ozzy performance,” replied another. “I have been listening all day. This isn’t even my usual kind of music/aesthetic at all. But I don’t know why I’m captivated by him. His voice is amazing.”
Another put simply: “I have not been this juiced for any new music or new artist for, literally, DECADES. Dude is something special.”
It can’t be ignored that in our attention economy where people make their minds up about things in seconds, a name like Yungblud might make someone think, ‘Okay, SoundCloud rapper. Next.’
But in reality, Yungblud represents the young blood – sorry, that was awful, but it’s true – that rock music so desperately needs. He’s a formidable songwriter – take parents, Zombie and acting like that (with mgk) as evidence of that – and an even better performer.
And the best part? The guitar is so often front and centre in his music. For those new to his catalogue, check out his 2021 single fleabag, which features a killer tapping-laden guitar solo at the 2:05 mark.
So as people continue to debate the future of guitar music, will Yungblud save it? The jury’s out on that one, but he’ll definitely help.
Yungblud’s also got that from-the-heart rebellious nature that made us all fall in love with our now-aging rockstar heroes in the first place.
In a newly resurfaced clip that’s been doing the rounds on social media as the world continues to discover him following Back to the Beginning, Yungblud hilariously recounts defying a no-moshing order at his 2022 Summer Sonic performance in Tokyo.
“After his show in Osaka yesterday, I am very worried about this next performer,” the announcer says. “Whatever he says, you must not mosh or shout.” Of course, what follows is a clip of the crowd in the palm of his hands going absolutely mental – and, yes, moshing.
Now, we’re not encouraging the defiance of venue rules and safety measures by any stretch. But rebellion has always been synonymous with rock ‘n’ roll, and Yungblud possesses it in abundance. And with his out-of-this-world voice, stellar songwriting skills and unrivalled stage presence, what more do you want?
Contrary to what you might think if you’re just discovering him, Yungblud is not an outsider to this world of rock and metal we all love. He’s very much in it, and even formed a close personal relationship with Ozzy Osbourne prior to his death on 22 July.
In an emotional post on social media following the news, Yungblud proclaimed Ozzy as the “greatest of all time”.
“You will be in every single note I sing and with me every single time I walk on stage,” he wrote. “Your cross around my neck is the most precious thing I own. You asked me once if there was anything you could do for me and as I said then and as I will say now for all of us the music was enough. You took us on your adventure – an adventure that started it all. I am truly heartbroken.”
In an earlier clip of the pair talking backstage at Back to the Beginning, it’s hard not to well up as Yungblud and Ozzy embrace. “I love you,” Ozzy tells the young musician. “I fucking love you, man,” Yungblud replies.
Reflecting in another post in the days following Ozzy’s passing, Yungblud wrote: “I’m trying to compute the last couple of days and honestly I’m absolutely fucking shattered.
“I owe so much to you, your wife and your family – you all gave me a road to run down and supported me when people would turn their nose up…
“To sing this song for you at an event surrounded by legends inspired by you to a crowd that loved you was truly my life’s greatest honour and I vow to play this song every night for the rest of my life.
“You’re my hero in every regard. I hope you’re up there ‘avin a drink with Randy [Rhoads].”
It’s a cliché that rings true in rock and guitar music as it does everywhere in the world: the only constant in life is change. Rock music will never be what it was in the ‘70s, ‘80s and ‘90s. But is that necessarily a bad thing?
Why can’t we crystallise those memories and continue to enjoy them while making room for newer artists whose music is actually pretty exciting.
And if Ozzy Osbourne, the guy who – with his Black Sabbath bandmates – invented an entire genre, took him under his wing, maybe it’s time you started paying Yungblud some attention…
You can see a full list of Yungblud’s upcoming live dates at his official website, and given his comments, you’ll probably hear Changes if you go…
The post He brought the house down at Black Sabbath’s farewell gig, and once hilariously defied a no-moshing order at a Japan show. Like it or not, Yungblud is the star rock music needs appeared first on Guitar.com | All Things Guitar.
“It doesn’t matter to me”: Bryan Adams says guitar music “isn’t particularly popular at the moment”, but he’s not concerned – here’s why
Some may beg to differ, but Bryan Adams feels guitar-driven music isn’t all that popular right now.
Despite this, it seems the legendary rock artist isn’t too concerned about it, and feels that no matter what, guitar will always stick around regardless of its presence in popular music. Adams is gearing up to release his 17th studio album this August, Roll With The Punches, which is described as “packed full of powerful rock anthems” no less.
Though steeped in classic guitar music territory, the new record also shows Adams moving with the times, as it marks his first full length record of new material to be released via his own independent label, Bad Records – a move a lot of artists both big and small are now pursuing.
Speaking to Classic Pop magazine, Adams explains why he feels no fear over the changing landscape of music: “I know that guitar music isn’t particularly popular at the moment, but it doesn’t matter to me ‘cause I know there are people out there that really like it, if they get a chance to hear it. So, I play to the converted.”
Elsewhere in the interview, Adams discusses the making of the album, and how he prefers to keep recording simple and avoids over-producing for a natural ‘band in the room’ feel.
“That’s the key,” he says. “That is how I make all my records. I don’t really know how else to do it. I don’t have enough keyboard savvy to be sitting there behind a bunch of synths. I just put everybody in the room, it’s easier!”
Roll With The Punches will be released on 29 August. You can also catch Bryan Adams on tour now.
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Never been to the Sphere in Vegas? If you’re a Metallica fan, you soon might
Rumours suggest that Metallica might be the next big band to launch a residency at the Las Vegas Sphere venue.
The sphere, which opened in 2023 and cost over two billion to build, has a capacity of 20,000 people and is home to the world’s largest LED screen. Its exterior hosts 580,000 sq feet of LEDs and is bright enough to be seen from space.
Since opening, it has hosted residencies from artists like U2, Dead & Company, and The Eagles. Now, according to Vital Vegas, sources say that Metallica are ready to “ink a deal” with the Sphere for their turn.
The outlet says it is “hearing Metallica could play [the] Sphere in the fall of 2026, but specifics haven’t been confirmed or announced yet”. However, the band does have some M72 world tour dates scheduled for the end of the year, which kick off in Australia on 1 November.
Interestingly, Metallica’s Kirk Hammett has previously shown interest in performing at the sphere, and it certainly would be a great fit for the band, offering the ability to pull off a show like never before thanks to the venue’s all-encompassing screen. Just take a look at the visuals U2’s former stint below:
Last year, John Mayer spoke of Dead & Company’s residency there, and said the venue has “established overnight a new big league” of bands who have the vision and budget to take advantage of its unique, immersive space.
He told the LA Times, “I think what we all love is that there’s finally once again a live-music space race. There’s the social-media space race, the podcast space race, the AI [artificial intelligence] space race. But live music pretty much stayed the same for such a long time.”
We will provide any further information on these rumours as we get it. In the meantime, you can view the official scheduled dates for the rest of Metallica’s M72 world tour via their website.
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Why have we forgotten the greatest female guitar heroes? The pioneering women who shaped guitar history
In the early 1920s, amongst the gospel community in Cotton Plant, Arkansas, a six-year-old girl was busy mastering a strange yet intriguing musical instrument. There were strings on it which, when plucked, each sounded higher than the last, and she found that picking and strumming them beneath the swing of the gospel choir added a new dimension to the music that she couldn’t yet grasp.
As the years rolled on and the girl started touring church conventions with her mother, she learned more about this enthralling thing called the guitar. Practice taught her that combining certain elements from gospel music like call and response patterns and complex rhythms with the guitar’s charismatic twang created a new kind of music that was unfamiliar.
It had the usual energy and chord progressions that gospel music was known for, but this time there was an infectious back-and-forth groove driven chiefly by the guitar. By the time the late 1930s came around, people were enchanted by her music. She’d secured a spot at a rising nightclub in New York City, The Cotton Plant, and was soon enough signed with Decca Records.
The girl’s name was Sister Rosetta Tharpe. Her astounding ability to popularise the guitar and stitch it together with scraps of gospel music and blues had never been seen before, and it’s widely credited for birthing what’s now known as rock ‘n’ roll.
But if she’s at least partially responsible for inventing one of the most popular musical genres to ever exist (and aptly nicknamed the “Godmother of Rock and Roll”) why don’t more people know and recognise her and the influence she’s had on the entire industry?
Moving The Needle
While there’s undoubtedly been a greater appreciation of Tharpe in guitar circles in recent years, she and those like her rarely get the same level of plaudits as their male contemporaries.
Even when they do get some credit in popular culture, it’s often as part of a wider male-centric storyline. For example, it was great to see Yola powerfully embody Sister Rosetta Tharpe in Baz Luhrmann’s Elvis movie, but she was still part of someone else’s story, not her own.
“The biggest underlying issue is that women guitarists are facing intersectionality,” says Dr Freya Jarman, a researcher in the Department of Music at the University of Liverpool. “Their femaleness gets superseded by maleness. It’s absolutely perfect for somebody like Elvis to come along and blast Rosetta Tharpe’s story out of the water. As women, they get sidelined by people like him, or Muddy Waters, or Chuck Berry.”
Intersectionality is the framework put in place to describe discrimination experienced by someone because of their race, gender, sex, class, sexuality or ability. Because of misogyny, and in some cases racism charged by the Jim Crow laws, women like Tharpe, Memphis Minnie, Elizabeth Cotten and even Mary Ford – a wonderful and influential guitar player in her own right who regularly gets pigeonholed as ‘Les Paul’s wife’ – don’t get the recognition they deserve today.
“There’s a massive scale power dynamic in which whiteness and maleness trumps lots of other things,” continues Jarman. “You do find lots of black men on those lists [of famous rock and blues guitarists] as well, like Prince or Jimi Hendrix. But there’s perhaps a kind of fetishization of blackness, especially when it comes to the blues, because there’s a sort of authenticity about it. But there’s never been a long and strong tradition of women electric guitarists in particular.”
Breaking Stereotypes
There’s an argument against intersectionality that bases itself around the famous female singers of the 20th century who receive much admiration and recognition today. The likes of these women include Aretha Franklin, Nina Simone, Ella Fitzgerald, Billie Holiday, Bessie Smith, Peggy Lee and so on.
But they’re all largely famous for their voices (long-considered an emotional instrument or window to the soul, therefore coded as appropriate for women) if not for their piano playing or songwriting, so was there something fundamentally incompatible about women and the guitar during the last century?
“There’s a lot of policing of women’s bodies around certain instruments,” says Jarman. “There’s all kinds of questions around class and race and appropriate femininity, and it puts huge pressure on women.
“The physicality of the guitar is an interesting thing for a number of reasons,” they continue. “One is the sheer practicality of playing a guitar when you’ve got boobs – there are even guitar companies that specialize in making guitars for the female frame. But there’s a lot to say about how we stereotype some instruments as appropriate for one gender over another. Many of the things that people have said about the electric guitar and women are the same things that people used to say in the early 19th century about the violin and women.
“Today, we consider the violin to be a really feminine instrument – if you look at the string sections of major orchestras, they’re full of women. But people used to say it’s physically inappropriate, or it makes women look awkward when they play the violin. Things started shifting one day for a lot of social reasons and, 150 years later, we’ve forgotten that it was ever like that. So, I do wonder whether there’s hope for the guitar and for women in the future.”
Kerri Layton, guitarist and Memphis Minnie superfan, feels frustrated at the lack of recognition for female guitarists, especially after some like Memphis Minnie publicised the Delta blues by demonstrating enviable fingerpicking techniques.
“It feels like she’s in danger of being forgotten by music culture,” says Layton, who’s also a singer-songwriter and founder of coaching business, Dixiebird Music. Active from the 1920s to the 1950s, Memphis Minnie was revered for being a passionate storyteller, coupling the electric guitar with her original songs that turned heads for showcasing her stentorian voice and masterful fingerpicking licks. She had such skill that people claimed she performed “like a man”.
“To be honest, I don’t understand where the competition comes from,” continues Layton. “Even though it’s a competitive industry, musicians are inherently extremely supportive of each other, and I feel like it’s an industry-created problem. Female musicians have their own challenges which are different to men’s, but I’m over the separation of it all.”
The Pioneers
One of the countless challenges women have faced throughout history is the ideology that invention and pioneering belongs to men. For centuries, what makes someone masculine is their ability to hunt and gather and find new ways to make a living for themselves and for their family. Women have typically been expected to look after and preserve what men have given them – a house, a living and even their children.
So, when you expand that theory, having a woman create something new like a whole musical genre or another way of playing an instrument doesn’t fit the frame. Even in today’s age, this ideology is buried too deep into society, so we reject and ignore anything that goes against it without sometimes realising.
What’s abundantly clear, though, is that every female guitarist to make their mark on the music industry has touched listeners in a uniquely profound way, much like Elvis Presley, B.B. King, Eric Clapton, Chuck Berry, Jimi Hendrix, Albert King and the rest of the rock and blues gods have done themselves.
“I feel like I’ve met [Memphis Minnie] in song,” says Layton. “I felt like her lyrics spoke to me because her songs were really for independent women. Her songs had such strong lyrics. But maybe the narrative has been diluted over time. That sense of authenticity – that she really lived in her music – has been lost today.”
However, perhaps there’s hope yet. Beneath the pomp and explosive adoration smothering Elvis is a little boy who grew up in his own gospel community. Back in 1953, at 18 years old, he walked through the doors of Sun Studios with just the guitar he got for his 11th birthday. He was inexperienced and shy, but he’d heard the strange, exhilarating music Sister Rosetta Tharpe had been making.
“Elvis loved Sister Rosetta,” Gordon Stoker, who worked as a vocalist with both Tharpe and Presley admitted in a 2017 interview with Rolling Stone. “That’s what really attracted Elvis: her pickin’. He liked her singing, but he liked that pickin’ first – because it was so different.”
If you know where to look for it, you’ll find these women and their impact everywhere. Elvis made his own sound that day and shot to fame, never coming down again, but those who inspired him, although ignored for some time, will always be the same.
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Manson’s new Mikey Demus signature model is designed for drop tunings and heavy riffing
[Editor’s note: Manson Guitar Works is part of Vista Musical Instruments which, like Guitar.com, is part of the Caldecott Music Group.]
Manson Guitar Works has teamed up with Skindred’s Mikey Demus for the release of a new signature model, the MD-3.
The reggae metal guitarist’s new axe is based on Manson’s classic MA profile guitar and has been “extensively updated” for this third iteration. It takes into account Demus’ playing style, providing a neck carve that allows for “effortless chordal work”, and a revised profile shape designed for heavy riffing in drop tunings.
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The MD-3 has a lightweight obeche body, roasted maple neck and rosewood fingerboard, a dual-action stainless-steel truss-rod that allows the guitar to be set precisely for whatever style the player chooses, and a custom dual humbucker pickup set selected with Demus’ tonal range in mind.
The Benchmark humbucker in the neck is described as providing “warm, full-bodied tone” thanks to classic Alnico II magnets with 7.5k output, while the Manson MD Custom bridge pickup, exclusive to the new MD-3, has been given a “full-throated” boost to nearly 14k of output due to additional winds and ceramic magnets.
Image: Manson Guitar Works
The guitar comes in either Dry Satin Black or Atomic Tangerine. The Black version sports a Wildcat Orange scratchplate, with the Tangerine providing a contrasting black plate. Both versions feature Demus’ signature on the rear of the headstock.
Each also hosts a Gotoh bridge, tailpiece and machine heads, but the Black features has a blend of hardware finishes: its machine heads are black, while its bridge and tailpiece come in nickel.
Both guitars also have two volume controls, two tone controls, and push/pull switching for series or parallel tone operation, plus a three-way toggle switch. And, lefties rejoice: there’s no upcharge on the left-handed version of the MD-3.
Check out the guitar in action with Demus below:
The Dry Satin Black MD-3 is priced at £1999, while the Atomic Tangerine version is £2099. Find out more via Manson Guitar Works.
The post Manson’s new Mikey Demus signature model is designed for drop tunings and heavy riffing appeared first on Guitar.com | All Things Guitar.
“A bittersweet moment”: case maker Hiscox marks closure of UK factory after 40 years – but the brand will live on
2025 has been a bittersweet year for Hiscox Cases. After celebrating 40 years of craftsmanship, the company’s UK factory has been forced to close its doors.
While the news was shared in a statement back in May, yesterday marked the official end of Hiscox Cases’ UK production. “After 40 years of craftsmanship, care, and commitment, we want to thank every single member of our team – past and present – for helping build a brand trusted by musicians around the world,” the team shares in a Facebook post.
The farewell was complete with a photo of the team posing outside of the company’s Cannock factory. “While this chapter comes to a close, a new one begins,” the post notes.
Despite the unfortunate closure of its Staffordshire home, this wont be the end of Hiscox Cases. In fact, the post goes on to discuss RUF Technologies, a Polish brand that has acquired the company. “We’re working closely with RUF Technologies to ensure a smooth transition, and Hiscox Cases will soon be available once again — with the same dedication to quality that’s defined us for decades. Thank you for being part of our story. Here’s to what comes next.”
A bittersweet moment outside the Hiscox Cases factory on our final day of production in the UK.After 40 years of…
Posted by Hiscox Cases on Sunday, July 27, 2025
The acquisition has also been confirmed on the Hiscox Cases website. An announcement promises that production transfer will “guarantee the same brand, designs, quality and ongoing supply”, and Hiscox Cases Poland will resume shipping “popular models” throughout September, while “less-requested models will be produced to order” and will come in early 2026.
Hiscox Cases first announced that it would be shutting up shop back in May, before news of any acquisition was on the horizon. The news was shared in a statement on their website, noting that the “landscape for manufacturing here in the UK has become ever increasingly problematic since the COVID pandemic”.
“We have faced severe challenging issues with every aspect of the process from raw materials to shop floor staff availability to massively rising costs of production,” founder Brynn Hiscox said. “The compound issues are now so great we have regrettably reached the conclusion that it is no longer possible for us to remain a viable manufacturing business here in the UK.”
“As a luthier, all those years ago, I made my first guitar case specifically for my own use for my own guitars,” he reflected. “I never planned or even imagined that demand for my design would be so great that we have made more than 700,000 cases in the last 40 years. I suppose all good things eventually come to an end.”
“There is nothing more that I can say other than thank you all from the bottom of my heart for your business over the last 40 years.”
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“Now there’s a ‘female’ category because it makes it easier for the world to accept”: Lita Ford on the labels put on women who play guitar
Lita Ford has looked back on the “battle” to be able to play guitar as a young girl, sharing how people would say it was something girls just didn’t do.
Not letting the ignorance dim her spark, she used such comments to spur her determination, and it certainly paid off – her time in The Runaways is an important part of music history, which inspired other women to start up bands too.
Despite all the time that has passed since The Runaways formed, Ford feels the ‘female guitar’ label has only come about in modern times, showing how sexism continues to rear its ugly head within our community.
Speaking to WKBN 21, she reflects [via Ultimate Guitar], “Growing up in The Runaways, I just wanted to play guitar. It’s really all I was focusing on. And people would always say to me, ‘No, girls don’t play guitar.’ And I would think, ‘Oh, they don’t? Okay. Well, I do…’ People say that to you, and it just makes you want to do it more.”
She adds, “It was a fight, it was a battle. Growing up in The Runaways’ days, 16-17-year-old girls, nobody knew what to make of us. But the truth is, we were a bit before our time, but we were badass, and we were a team.
“We were a great band, and we left our mark in rock ‘n’ roll history. So maybe they were wrong, and you just gotta do what you got to do sometimes. So I’m happy to have come full circle now, and to still be playing rock ‘n’ roll and still be doing what I’m doing. I love it.”
Of the ‘female guitarist’ label, Ford continues, “People had to start putting you in the female category. ‘Oh, she’s a female guitar player,’ and ‘she’s good for a female.’ When did that category start? I don’t know that it really ever existed back in The Runaways’ days.
“We were punk rock and that was it, but now there’s a female category because it makes it easier, I think, for the world to accept the fact that you are liking a girl or a female guitar player. We had to go through all that, play their games, and I was just happy to be in a category.”
She concludes, “I don’t really care. Whatever category you want to put me in, just put me in a category, because at least I’m in there somewhere, somehow. So you know, what are you going to do?”
Lita Ford is currently on the road – she plays at Wacken Open Air festival on 30 July. You can get tickets to see her via her official website.
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“Should anybody be remotely interested”: Noel Gallagher reveals his Oasis reunion tour pedalboard in classic nonchalant fashion – and yes, Noel, we are interested
Noel Gallagher has gifted Oasis fans and gear-heads alike with a fabulous reunion gift: a full look at his touring rig.
In a post shared to his social media pages nonchalantly captioned, “Should anybody be interested…”, Gallagher has provided photos of his complete pedalboard and amp set up for the band’s ongoing gigs. The Britpop legends are currently still playing shows throughout the UK after kicking off the trek in Cardiff on 4 July.
Pedal-wise, Gallagher’s set up features some everyday staples that many of us have come across or have within our arsenal, including the humble TC Electronic Polytune, the well-loved Dunlop Cry Baby, and even a couple of Boss classics too.
We’ll dive into the details a little further on, but we’ve listed each pedal here below. Though the image isn’t the best quality when zooming in for the finer details, and some pedals are slightly covered with tape, this is what we can see The Chief has on his board (from left-to-right):
- ZVEX Lo-Fi Loop Junky (x3)
- Boss RV-3 Digital Reverb / Delay
- Empress Effects Echosystem
- SIB! Echodrive
- Strymon El Capistan
- TC Electronic Polytune 3
- Boss Digital Delay (number is not clear, potentially his beloved DD-3)
- Pete Cornish SS2
- Strymon Timeline
- BSM Finest Treble Booster Model OR
- Keeley Compressor Plus
- Kingsley Page Tube Boost
- Dunlop Cry Baby Mini
Aside from the ol’ reliables of the board, Gallagher does have some pretty cool boutique and rare units too. The BSM Treble Booster catches our eye, as this one is no longer being produced. It’s based on a Colorsound Power Boost used by David Gilmour in Pink Floyd, but Bernd C. Meiser of BSM sadly passed away in 2024, and the company has closed down since his death.
Elsewhere on the board is the SIB! Echodrive – this blue machine is very hard to come by, and Gallagher particularly appreciates this unit for its 12AX7 vacuum tube.
There’s also the Pete Cornish Soft Sustain 2 which he uses for solos, and this one actually belonged to Paul Stacey, as Gallagher documented in an episode of That Pedal Show back in 2023.
The three ZVEX loopers are assigned to tracks D’You Know What I Mean?, Champagne Supernova, and Rock ‘n’ Roll Star / Bring It On Down. As for his amp photo, this features what looks like two Marshall Studio Vintage combos, and a pair of Hiwatt Custom 50s, which we know were custom-made for Noel and Gem Archer by the Hiwatt Custom Shop.
To find out more about the Live ‘25 reunion shows, head over to the official Oasis website.
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“Not everybody gets invited to every party”: Megadeth bassist explains why they were the only Big Four thrash band not to play Ozzy Osbourne and Black Sabbath’s final concert
While Black Sabbath’s mighty farewell gig saw countless iconic acts taking to the stage, Back To The Beginning didn’t quite manage to secure the Big Four. Metallica, Slayer, and Anthrax all made it down to Birmingham on 5 July, but Megadeth were nowhere to be seen.
While fans probably assumed Megadeth’s absence was down to a scheduling conflict – much like Wolfgang Van Halen, who was unfortunately unable to attend – bassist James LoMenzo has revealed the real reason the Big Four remained incomplete. “I’m going to let the cat out of the bag,” he tells Burrn! Magazine. “The truth of the matter is, I don’t believe that anybody asked us, which was fine.”
While LoMenzo extends a rather gracious “not everybody gets invited to every party”, he also admits that Megadeth made every effort to get involved. “When we were in Europe last week, David [Mustaine] said that he was reaching out to everybody and telling them that we were in the neighbourhood,” he says. “We were close enough to come.”
“If they wanted us to, we could stay over for a few days and work it out,” he continues. “I don’t know what our manager had accomplished with that, but it didn’t get accomplished, so we just came home.”
Despite the thrash metal legends failing to attend Back To The Beginning, the show will undeniably go down in metal history. Not only did it see Ozzy Osbourne reuniting with Tony Iommi, Geezer Butler and Bill Ward, it also saw the likes of Gojira, Alice in Chains, Lamb of God, Mastodon, Tool and so many other iconic acts. There were even a few curveballs – hell, even Yungblud showed up!
The show made nearly $200 million for charity, and will be immortalised in an upcoming documentary. Currently in production by Mercury Studios, the film will commemorate Back To The Beginning and is described as “a love letter to Ozzy and the pioneering sound of Black Sabbath”.
“The theatrical release will be a distilled version of the epic all-day event held at Villa Park,” it added [via Variety]. “Featuring thunderous performances of War Pigs, Iron Man, Children of the Grave and a show-stopping Paranoid, the film promises a deeply personal and electrifying farewell from the godfather of heavy metal with exclusive behind-the-scenes access and interviews from this iconic live performance.”
The film will also help immortalise Ozzy Osbourne, who sadly passed away on 22 July. News of Ozzy’s passing was shared by his family. “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning,” an Instagram post said. “He was with his family and surrounded by love.”
There is currently a petition doing the rounds to rename Birmingham International Airport to Ozzy Osbourne International in the Prince of Darkness’s memory.
The post “Not everybody gets invited to every party”: Megadeth bassist explains why they were the only Big Four thrash band not to play Ozzy Osbourne and Black Sabbath’s final concert appeared first on Guitar.com | All Things Guitar.