Norse Guitar Feeds

We live on the frontier of a sci-fi future, so I assume you’ve all heard of the Turing Test, which evaluates a machine's ability to exhibit behavior indistinguishable from that of a human. If the AI can consistently fool humans into believing it’s human, it passes the test. The T Test has worked its way into hundreds of books and movies over the past 30 years, but did any of us imagine that we would be conducting our own private Turing Test every time we called customer service? A lot of personal research has shown that AI can be just as ineffective as any human when it comes to customer services, so I guess it’s passing the test.

Now, I’m sure you’re wondering at this point: What does all this have to do with guitars and music? I’ve played three sessions of late where the “songwriter” brought in AI demos they wanted to record with a full band and human vocals. All of these songs did pass the T Test in that they were just as cliché and empty as any not-particularly-imaginative amateur songwriter. Don’t get me wrong—for songs that were cobbled together in seconds, borrowing parts of melodies, rhymes, rhythms, and themes from every song ever recorded, they were perfectly mediocre. But why would anybody want to record another D-level song devoid of a single original thought? I guess because they think it might advance their career. But one more lackluster drop in an ocean 95-percent full of mediocrity is not helping anyone.

That said, this process is going to improve. You know how you can have a secret desire for something, like a new pair of shoes or an Epiphone Sheraton, and keep this secret desire in the depths of your heart, telling no one—and yet, those shoes and/or Epiphone Sheraton somehow become ubiquitous in pop-up ads when you open your computer? There are times AI really does seem to be reading my mind—or at least my email, texts, and searches—and then feeds this into the algorithm to give me its version of what I think I want. It also can do that in songwriting. AI can gather data from all of the artists out there pouring their thoughts into songs, poems, books, and movies, and then rearrange them into songs that attempt to express the depths of human emotion. And in fact, I have heard AI create songs that are profoundly poignant.

I’d bet most successful or aspiring songwriters under the age of 60 have tried feeding a few commands into Suno, Udio, or Soundraw, and found a chord change, a line, or part of a melody that could be worked into a composition. Or maybe the AI version just needs a few tweaks. This is applying the “work smarter, not harder” creed, which used to be good advice, but I’m not sure it is anymore, now that working hard is so easy to avoid. For instance, I was a dyslexic kid (I suppose I still am), and had a very difficult time learning to read, but as there was no other option, I had to slog through it and put in the extra work to get up to speed. My 8-year-old daughter faces the same challenge, so we read together slowly most nights, making a little bit of progress each time that will hopefully grow like compound interest.

Of course, she hates it just like I did—but we power through. The challenge for her generation, though, is that anyone can now push a mic button on a phone, speak their thoughts, and have the phone instantly read them back. It’s an easy hack to avoid the hard work of reading and writing, and that’s why I think illiteracy will rise in developed nations.

“Wrestling with your deepest heartache or happiness and writing songs about it is good for the soul.”

So what does this have to do with guitars? Simple: you get out of life what you put into it. Doing something hard is good for you. Wrestling with your deepest heartache or happiness and writing songs about it is good for the soul. Explore what’s torturing you. As Pete Townsend wrote in his song “A Guitar and a Pen”:

“When you take up a pencil and sharpen it up / When you’re kicking the fence and still nothing will budge / When the words are immobile until you sit down / Never feel they’re worth keeping, they’re not easily found / Then you know in some strange, unexplainable way / You must really have something / Jumping, thumping, fighting, hiding away / Important to say.”

“When you sing through the verse and you end in a scream / And you swear and you curse cause the rhyming ain’t clean / But it suddenly comes after years of delay / You pick up your guitar, you can suddenly play.”

P.S. When I was writing the column What Will the Gibson Les Paul Standard 100th Anniversary Model Look Like?, I asked Grok/X what the LP will look like in 100 years. The answer? That most musicians will work in the digital realm, simply telling AI something like, “Give me a solo that sounds like Van Halen in 1978.” Honestly, we’re basically already there. But who cares—I’m taking the Nero approach, gleefully playing my guit-fiddle while Rome burns.

P.P.S. For this column’s art, I asked Perplexity.ai to make a cartoon of a guy happily playing guitar during the apocalypse. The first attempt wasn’t great, so I fed it an R. Crumb sample and said, “Do it like this.” AI nailed it.



It’s the 155th episode of the Truth About Vintage Amps, the call-in show where amp tech Skip Simmons fields your questions on all things tube amps. This week: Barn finds, lost dogs, an extra-grounded Jason (amp pun intended), and more!

Some of the topics discussed this week: 

1:05 Skip gets the new Fretboard Journal (link); do banjos belong in the Fretboard Journal?

5:16 Recommended music: Ned Boynton’s ‘The North Beach Sound;’ The No-Mads (nomadsband.com)

7:54 Our sponsors: Grez Guitars; Emerald City Guitars and Amplified Parts (and Mr. Microphone)

18:12 What’s on Skip’s bench: A Bogen GA-5; a Realistic Carnival; Masco C-6; 6AQ5 tubes

22:53 A listener baffler, answered (speaker re-coning); Vintage 47 amps (link)

26:18 Skip’s ep. 154 baffler, answered: What does Skip do when he’s modding the second input of a Fender Champ? Supro Spectators

32:51 New Accutronics reverb tanks by Revisit (link)

34:52 What’s the low input doing in a Marshall JCM800; green chile on everything

39:20 Lowering the B+ on a 1971 Fender Bassman 10 project; ultralinear transformers; cactus salad

48:43 The long-awaited dog story

51:35 Colin Hay’s “Overkill” with Choir! Choir! Choir! (YouTube link); Traynor amps

54:52 Should I treat the pitting on a Soundmaster 600 PA?

1:00:17 Lab Series amps

1:03:39 Smoke-damaged MusicMan HD-130

1:09:20 The dangers of old tractors (and drawbridges)

1:15:34 Modifying the power section of a Twin Reverb for lower volume playing; fixing a Filmosound 385 with hum; guitarist Evan Crafts (Instagram)

1:21:26 TAVA listener spotlight: Children’s book author Matt James! (Order his new book, The One About the Blackbird (Amazon link)

1:23:56 How to raise kids and run a small business; Mae Ploy curry paste 

1:31:16 Barn finds: Spring-loaded input jacks; a 1947 Fender Princeton amp and matching lap steel

Want amp tech Skip Simmons’ advice on your DIY guitar amp projects? Want to share your top secret family recipe? Need relationship advice? Join us by sending your voice memo or written questions to podcast@fretboardjournal.com! Include a photo, too.

Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal.

Don’t forget, we have a Patreon page. Support the show, get behind-the-scenes updates and get to the front of the line with your questions.

Above: Listener Dayn’s Soundmaster PA amp, which he may or may not clean up. Below: The dangers of old tractors, courtesy of Wick Street Guitars.

The post The Truth About Vintage Amps, Ep. 155 first appeared on Fretboard Journal.

October 31, 2025 This week I got sidetracked into catching up with lessons on some Tom Petty songs that I had been meaning to get to for years. Just a couple loose ends and now Wildflowers and Mary Jane’s Last Dance are in the TG Library. Most of his songs are relatively easy to play […]

The post Totally Guitars Weekly Update October 31, 2025 appeared first on On The Beat with Totally Guitars.

Question: What was the most exciting change in your guitar playing this year?

Guest Picker - Brian Dunne

A: My guitar playing is pretty constantly shifting, but in the last few years, I feel like I’ve really “found it.” And I’d attribute that to a personal change, honestly. I’m no longer afraid to show what I’ve got. I grew up playing, but I was a slightly “embarrassed” guitar player, if that makes sense? I loved indie rock and I loved singer-songwriters, and at that point in my life, I felt like the guitar solo was maybe a gratuitous move, and so for years, I hid my playing abilities. Not only that, but because I was so self-conscious, every time I stepped up for a rare solo, I had so much going on in my head that I never felt free.

I’m in my thirties now, and I would never say I don’t care anymore—I’ll always care about what music means, who it’s for, what it says, what each note indicates to the listener. But I am who I am, and I think that people are their best musical selves when they’re singing and playing at the top of their ability. And that’s what I’m gonna do. You’ll be hearing a lot more guitar on my records from here on out. I’m a proud guitar player, no way around it.

Obsession: Current obsession is a 1973 Tele Deluxe that I just bought!

Reader of the Month - Dave Jackson

A: This last year I’ve noticed that I’m not using a pick very often, and I’m really enjoying the direct contact of fingers and fingernails on strings. Also, I’m using very few effects with no reverb or delay, and that feels like I’m closer to the instrument's vibrations. So I’m just down to a Rothwell Switchblade distortion into my ZT Lunchbox and an Emma TransMORGrifier compressor for clean stuff—and both together for neighbor-friendly feedback.

Also, after 45 years I’ve grown dissatisfied with humbuckers and want single-coil clarity and hi-fi detail but without the hum and buzz. So I’ve been researching noiseless Strat pickups until my eyes got bleary. There’s some Bill Lawrence Wilde pickups on their way to go in my ’80s Squier Strat.

Obsession: Current musical obsessions include Black Sabbath’s Master of Reality. I’m left-handed, so Tony Iommi will always be a hero for me. I’ve also been revisiting Derek Bailey’s solo recordings like Lot ’74. He completely changed the way I think about music when I saw him play in 1986. Free improvisation is the most rewarding kind of music making I know. Ornette Coleman’s Love Call has also been heating up my speakers this week.

Editorial Director - Richard Bienstock

A: Sweep picking. Not a new concept for someone who grew up listening to metal in the ’80s and ’90s, but as much as I was into fast, technical playing, something about sweeping always left me cold. Too video-game sounding, before that was actually a thing guitarists were trying to sound like! But now my son plays, and one of the solos he tackled this year was Marty Friedman's daunting leads in Megadeth’s “Tornado of Souls.” Like everything else, we played it together. So, more than 30 years after I was hunkering down in my bedroom with the Hal Leonard official Rust in Peace tab book, I was finally sweeping up and down the frets.

Obsession: Cobra Kai, for maybe a third (fourth? fifth?) go-round. It just hits the perfect note of self-aware nostalgia, and the guys behind the score—Zach Robinson and Leo Birenberg—are two of the most imaginative guitar-based composers around. What’s more, they tapped ace ringers like Tim Henson, Andrew Synowiec, Myrone, and even Tosin Abasi to lend a hand, making it essential viewing—and listening—for guitar nerds.

Contributing Editor - Ted Drozdowski

A: Freedom. After recently retiring as editorial director of PG, it seems I’ve been pushing the envelope more—in the disparate directions of tradition and outrage, and feeling more comfortable and relaxed with a guitar in my paws. I think the title made me self-conscious about my playing, which is never a good thing. I’m excited about what happens next!

Obsession: The thrilling, evolutionary period of jazz from the mid 1940s to 1975, thanks to James Kaplan’s extraordinary book 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans, and the Lost Empire of Cool. It’s reconnected me to this wonderful, diverse, and sometimes extreme, often beautiful music I’ve loved so long, but had lost contact with.

Honing in your warmup routine is an important part of your daily guitar ritual. In this guided practice routine, Tom Butwin takes you through his warmup and will keep you company as you work your way through.



For Episode 107 of the Luthier on Luthier podcast, I’m joined by Rory Dowling, the owner and builder behind the beautifully crafted Taran Guitars.

https://www.taranguitars.co.uk

Rory talks about his team-based approach to building and his journey from furniture design to guitar making. We also take a deep dive into his unique methods for back bracing and voicing…and much more.

Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by Dream Guitars and StewMac.

Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.

Taran Guitars: Zachie Morris, Caelin Harrington, Rory Dowling, and Gemma Dowling

The post Luthier on Luthier: Rory Dowling (Taran Guitars) first appeared on Fretboard Journal.

For more than 150 years, Epiphone has crafted the instruments behind music’s most iconic moments. From legendary riffs to unforgettable performances, its legacy continues to shape the sound of generations. Now, in celebration of the monumental Live ’25 Tour and the long-awaited return of Oasis, Epiphone unveils two extraordinary tributes to rock history: the Masterbilt Gem Archer Sheraton™ and the Bonehead Riviera. Inspired by the original guitars still wielded by Gem Archer and Paul “Bonehead” Arthurs on stage today, these models capture the spirit, tone, and swagger of a band that defined an era. Whether you’re chasing the classic Oasis sound or carving your own path, these guitars deliver the authenticity and craftsmanship that Epiphone is known for. The Masterbilt Gem Archer Sheraton and Bonehead Riviera are now available worldwide at authorized Epiphone dealers, at the Gibson Garage locations in London and Nashville, and online at www.Epiphone.com.

“The Epiphone Sheraton first came into my world when I borrowed Noel’s for Oasis tours and recording,” says Gem Archer. “When I started playing with him again in the High Flying Birds in 2017, this was the guitar I asked if he still had. I’m playing it again together with my signature model based on his ’66 original, on the Oasis Live ’25 tour. It’s got a ring and a clang to it, with loads of definition and clarity that I haven’t found in any other model.”

“Epiphone Rivieras have been with me from the early rehearsals at the Boardwalk in Manchester all the way up to those historic shows at Knebworth and on into Liam’s solo career,” says Paul “Bonehead” Arthurs. “I’m still playing my original 1984 guitar on the Oasis 2025 tour, and I wouldn’t have it any other way. I’m excited to bring this new guitar to audiences who experienced it back in the day, as well as those coming out to see us on this tour. It plays great and sounds massive; you’re gonna love it.”

“2025 is turning out to be quite the year for live music, and we’re thrilled to play a small part in paying tribute to one of the greatest reunions of the 21st century!” adds Lee Bartram, Head of Commercial and Marketing EMEA at Gibson. “The first time I remember seeing Gem playing that Cherry Red Epiphone Sheraton was on July 2, 2005, in Manchester—what a show! Gem was such an important part of the Oasis sound in the 2000s, and to see him carry that on with Noel Gallagher’s High Flying Birds makes it a privilege to be part of this project. Spotting that Epiphone Riviera on stage during the Be Here Now tour in 1996 is something that stuck with me and inspired me to get my first Epiphone guitar. Nearly 30 years later, I’m honored to have played a tiny part in bringing the Epiphone Paul ‘Bonehead’ Arthurs Riviera to life.”

Gem Archer, the versatile guitarist from Oasis, Beady Eye, and Noel Gallagher’s High Flying Birds, is known in part for playing an Epiphone Sheraton, a guitar on long-term loan from Noel. Now, Epiphone proudly introduces the Masterbilt Gem Archer Sheraton, a new artist model based on that original Sheraton, which Gem still regularly uses. The Sheraton is an original Epiphone design first introduced in 1958.

This Masterbilt semi-hollowbody guitar, with its distinctive and elegant styling, represents the highest standards of craftsmanship and componentry from Epiphone. Built to the same specifications as the Inspired by Gibson Custom models, it features the signature etched Double Diamond on the rear of the headstock, a hallmark of those premium instruments.

The Masterbilt Gem Archer Sheraton boasts a semi-hollowbody, five-ply layered maple/poplar construction with a maple centerblock for enhanced sustain and improved feedback resistance. The top and back of the body are multi-ply bound, as are the headstock and fretboard. Its one-piece mahogany neck has a comfortable 60s C profile and is topped with a rosewood fretboard featuring 22 medium jumbo frets, adorned with elegant mother-of-pearl block and abalone triangle inlays.

The large 60s-style Sloped Dovewing headstock showcases the historic Epiphone logo and Tree of Life inlaid in mother-of-pearl. All hardware is gold, complementing the beautiful Vintage Gloss finish. The headstock is fitted with smooth-turning Grover® Rotomatic® tuning machines with Milk Bottle buttons, and the low-friction Graph Tech® nut helps keep the guitar solidly in tune. At the other end, an ABR-1 bridge and Casino™-style raised diamond trapeze tailpiece secure the strings.

Electronics are top-tier, featuring a pair of USA-made Gibson Mini Humbucker™ pickups, each with individual volume and tone controls using high-quality CTS® potentiometers and Mallory™ capacitors. These are routed through a Switchcraft® three-way pickup selector toggle switch and a 1/4” output jack.

Available in both right-and left-handed versions, the Masterbilt Gem Archer Sheraton comes with an Epiphone hardshell guitar case to keep this stunning instrument protected wherever your music takes you.

For over 130 years, groundbreaking Gibson instruments have shaped some of the most powerful moments in music history. Now, in celebration of the Live ’25 Tour and the long-awaited return of Oasis, Gibson proudly introduces the Noel Gallagher Les Paul™ Standard—a model designed by world-renowned singer, songwriter, and guitarist Noel Gallagher himself to capture the sound, vibe, and aesthetics of the 90s while bringing everything full circle for today’s audiences. Available for a limited time at authorized dealers, Gibson Garage locations in London and Nashville, and Gibson.com, this release marks a new chapter in the iconic partnership between Gibson and one of rock’s most influential artists.

“This guitar is simply too iconic and cool not to be released more widely and made available for more fans to get their hands on,” says Lee Bartram, Head of Commercial and Marketing EMEA at Gibson. “Noel’s original Gibson Custom version of this Les Paul was the first guitar he played during the biggest rock ’n’ roll reunion of the 21st century. This Gibson USA version embraces that legacy, capturing a historic moment in British and global live music.”

The Gibson Noel Gallagher Les Paul Standard features a non-weight-relieved mahogany body with a bound maple cap and a mahogany neck with Gallagher’s preferred SlimTaper™ profile. A bound rosewood fretboard with 22 medium jumbo frets and acrylic trapezoid inlays completes the classic look. Hardware includes an ABR-1 Tune-O-Matic™ bridge and aluminum Stop Bar tailpiece for precise intonation and sustain, along with smooth-turning Grover® Rotomatic® tuners with kidney buttons, plus a chrome switch washer and output jack plate.

The pickguard is a black five-ply unit similar to those typically found on Les Paul Custom models. The electronics are equally distinctive, featuring unique chrome-covered Gibson P-90 Soapbar pickups hand-wired to individual volume and tone controls, along with a three-way pickup selector. The control knobs are black Top Hats with silver reflectors and dial pointers. The Noel Gallagher Les Paul Standard also includes an artist signature reproduction decal on the back of the headstock and comes in a hardshell guitar case to keep it safe—whether you’re taking it to a local gig or on your next world tour. Perfectly encapsulating the historic Live ’25 Tour, the Gibson Noel Gallagher Les Paul Standard is sure to be a fan favorite—so get yours today while they’re still available.

If you’ve kept up with the rocky relationship between Metallica and Megadeth’s Dave Mustaine over the years, what you’re about to read may have your jaw on the floor: Megadeth have re-recorded Ride The Lightning out of “respect” for their thrash metal contemporaries, and namely James Hetfield’s guitar prowess.

After his sour exit from the band, it seems Mustaine wants to make it clear that he actually respects Metallica, and patch up any old wounds. Though he was fired before their 1983 debut Kill ‘Em All was released he still received a writing credit on a number of Metallica tracks, including Ride The Lightning from their second record of the same name.

• READ MORE: David Ellefson says Megadeth’s music is the “most timeless” of all the big thrash bands

The track is due to feature on Megadeth’s final album before they retire, which lands in January 2026, and was originally teased by the band online through an intentionally illegible graphic. Some believed the cover was a final ‘up yours’ to the band, but it truly is the opposite.

Speaking to Rolling Stone in a new interview, Mustaine explains, “It wasn’t really that I wanted to do my version, I think that we all wanted it to turn out a certain way, and for me, this was about something so much more than how a song turns out. It was about respect.”

Mustaine goes on to refer to Hetfield as a “fucking powerhouse” when it comes to guitar, and says he’s “always respected him” as a player. He further adds, “I wanted to do something to close the circle on my career right now, since it started off with [Mustaine’s band before Metallica] Panic and several of the songs that ended up in the Metallica repertoire, I wanted to do something that I felt would be a good song.

“Our intentions were pure,” he states. “I didn’t have any reason I was going to say, ‘Oh, hey man, this thing that we’ve had for 40 years where you guys will never tour with me, me doing the song is going to change things.’ That wasn’t it at all. It was more about: This is my life going forward. I want to do things that are respectable… I mean, I hate to say this, because it’s just so fucking arrogant, but the guitar playing in Metallica changed the world.”

Mustaine also says Megadeth didn’t reach out to Metallica about the re-recording’s existence ahead of time, but “it was not for lack of having the thought”. He shares, “I know the last time James and I talked, we were talking about some business stuff and I haven’t spoken to him since. I’ll be more than happy to talk to him when I get the opportunity, but I don’t have his number anymore.

“I think the whole purpose of this was not to try and rekindle relationships or anything. It was about showing respect to a man that… I don’t believe he thinks I respect him and I wanted to make that clear,” he states.

Megadeth’s self-titled final album will be released on 23 January. You can find out more or pre-order the record via their official website.

The post “This was about showing respect to a man that I don’t believe thinks I respect him”: Dave Mustaine on James Hetfield and why he’s re-recorded Ride The Lightning appeared first on Guitar.com | All Things Guitar.

London-based singer-songwriter and guitarist Maya Delilah has announced a deluxe edition of her debut album The Long Way Round, which will arrive 9 January bringing four new songs.

And if you just can’t wait until January, one of the four fresh cuts, the dreamy folk-pop number California out now. You can check out the official visualiser below, and also watch Delilah perform the track live in London.

It’s hard to pin The Long Way Round down to one genre only, but that’s the point, explains Delilah. An alternative/indie record with strong streaks of soul-pop, injections of country and blues and even touches of choral and gospel music, it was from this vast array of influences that the album’s title was born.

“This album is a combination of so many parts of me,” says Maya. “I get so influenced by different genres, people, places, and experiences that it’s always felt hard for me to fit my music into a consistent sound or mood. It took me a long time (hence The Long Way Round) to realise that it’s a beautiful thing to have a body of work that explores so many different influences.”

Personnel on the album includes producers Peter Miles, Josh Grant, Doug Schadt, Seth Tackaberry, and Aquilo’s Ben Fletcher and Tom Higham, alongside collaborators Samm Henshaw, Grace Lightman, members of FIZZ, organist Cory Henry, and drummer Aaron Sterling (John Mayer, Taylor Swift).

Since The Long Way Round landed in March this year, Maya Delilah has earned well-deserved praise from many corners of the music industry, with mentions from CLASH, The Sun, Daily Mirror, Guitar World, The Evening Standard and others. 

A graduate of the BRIT School, she was also part of the Fender Next Class of 2024, and has even caught the eye of guitar superstar John Mayer, who also happens to be one of her biggest inspirations. She’s also been tipped by Spotify as an ‘Artist to Watch’ for 2025.

The Long Way Round is garnering Maya Delilah some very well-deserved recognition, and so she’s continuing to promote it with an ongoing European tour, with upcoming dates in Switzerland, Iceland, the Netherlands, France and the UK.

You can view a full list of Maya Delilah’s upcoming tour dates below:

• Oct 29 – Villanos Del Jazz – Madrid, Spain
• Oct 30 – La Piñata Festival – Barcelona, Spain
• Oct 31 – JAZZNOJAZZ Festival – Zurich, Switzerland
• Nov 6 – Iceland Airwaves Festival – Reykjavik, Iceland
• Nov 8 – Rockit Festival – Groningen, Netherlands
• Nov 9 – Bitterzoet – Amsterdam, Netherlands
• Nov 16 – Bataclan – Paris, France **with Lawrence**
• Nov 19 – Bristol Beacon – Bristol, UK **with Lawrence**
• Nov 20 – Academy 1 – Manchester, UK **with Lawrence**
• Nov 21 – Beckett Students’ Union – Leeds, UK **with Lawrence**
• Nov 22 – NX Newcastle – Newcastle, UK **with Lawrence**
• Nov 24 – O2 Academy Brixton – London, UK **with Lawrence**

And you’ll probably want to pre-save the album, too. To do that, head to Maya Delilah’s website.

The post Singer-songwriter Maya Delilah announces deluxe edition of her breakout debut album, The Long Way Round appeared first on Guitar.com | All Things Guitar.

At long last, EarthQuaker Devices enters the amp simulator market with Easy Listening, a $99 mini pedal that is designed for use with headphones but can also work in between your pedalboard and your DAW. The Akron, OH, builders designed Easy Listening around an all-analog circuit meant to mimic the sound of a black-panel Fender Deluxe Reverb, the amplifier through which EQD boss Jamie Stillman tests all his circuits. In an era where many of us have grown accustomed to digital amp simulators with menu-diving and multi-platform connectivity, you’re either going to love or hate the straight-ahead simplicity of Easy Listening. But there’s no denying the possibilities it offers.

Easy Peasy

Easy Listening is one of EarthQuaker’s first mini pedals, and the downsized housing is charming and practical. It fits anywhere you need it to, an inconspicuous but slick-looking addition to the end of any signal chain, or simply a space-saving desktop unit while demoing.

The power jack sits on the crown of the pedal, with an input on the right and output on the left. On the upper-middle of the pedal’s face is the lone control: a simple volume knob. With headphones on, I found 9 o’clock on the dial more than loud enough, but when running Easy Listening into an interface, I found it often needed more juice. Either way, the pedal’s name is not a coincidence. Its one-size-fits-all design encourages you to get down to business.

Lush Listening

Run your guitar chain into Easy Listening, plug in some decent over-ear headphones, and you’ll hear more than a little 1965 black-panel Fender Deluxe Reverb right in your ears. The sound is punchy, clear, and whole, with definite vintage-Fender mojo. And the clean base tone has just the right amount of sparkle and presence to make playing through headphones actually enjoyable.

Easy Listening really comes to life (and displays its powers) when you slam it with dirt pedals. The breakup is deliciously balanced, with neither the burnt high-end of many digital amp solutions nor the unpredictable frequency spikes you might encounter when running your pedals through a tube amp and whatever speaker it’s loaded with. It handles everything from boost to dirt to mountain-rending fuzz with ease and dynamic depth.

I had to do some overdubs for a project while reviewing Easy Listening, so I plugged it into my interface and gave it a shot. The rhythm tones I pulled out of it were so harmonically pleasing that it almost made me want to redo the ones I’d recorded on my Dr. Z. At any rate, it made me feel confident that I could tackle a number of home-recording scenarios with Easy Listening. Usually, jamming with headphones is a grudging obligation, but with Easy Listening, it became my first choice for home play. It just sounds so good.

The Verdict

EarthQuaker smashed a homerun with Easy Listening. Its ease of use is thrilling compared to most amp pedals’ demanding interfaces, and the tones it produces are impressively full and 3-dimensional. At $99, you can’t ask for a better (or better-sounding) home practice and recording tool.

BODY COPY:
Reader: Steve Agosto

Hometown: Jennings, Louisiana
Guitar: #1

I started my journey into guitar back in the 1980s. Lindsey Buckingham of Fleetwood Mac was my biggest influence because I was mesmerized by his ability and presence. I wanted to play like him, and though I could never really master his licks, I did teach myself to play guitar. It just took 30 years.

I never had the time to play much because I was in the service and worked on the road for so many years. But when I finally settled down, I was almost 50, so I got serious. I played every day, soaking up information—and, yeah, Premier Guitar was there with me every month since 2008. Over the course of my search for that mojo, I’ve had Stratocasters, Telecasters, an Epiphone Casino, a Takamine, a Firebird, SGs, and Les Pauls (a lot of ’em). I’ve lost count of all the mods I’ve done. But through those experiences, I learned that no guitar would have everything I need unless I had it custom built. So, getting near retirement (and now pretty good at playing, too), I decided I would build my own in my garage. I’m one of those guys that loves his garage.

About a year before retiring, I started educating myself by watching videos and speaking with other builders in my area. Then I started to put it all together. My father-in-law knew about my interest, and while I was visiting his farm in southwest Louisiana, he showed me something he’d kept for years, thinking I might appreciate it. Long ago, he had been to another family’s farm and discovered old-growth bald cypress hidden in the rafters of a barn. According to him, the wood had likely been there for at least a century. This wood, like some other boards that were found, was likely from a tree felled during a hurricane. Bald cypress is slow growing, and these particular pieces were probably 200-300 years old. I kept two and gave one to a coworker who had guided me through the building process.

Having owned and played so many different guitars, I learned that P-90s are my favorite pickups. I like a short scale because it keeps my elbows tucked in, which is good for my old shoulders. I also fell in love with a 7.25" radius thanks to an old Telecaster, because it was easy on the hands. Because of this, I decided to use a Fender-licensed Jaguar neck by Allparts with a bone nut. The 6-saddle bridge is a Fender-licensed component, too. The pickup is a Korea-made staple P-90, which the seller said came from a Peerless-series Epiphone. Electronics include 250k CTS pots and .047uF Orange Drop capacitors.

It’s very comfortable to play—like a parlor size guitar that’s 1 3/8" thick.

Then, of course, there’s the bald cypress body. I settled on the shape because one of my favorite acoustics is a parlor-sized guitar, but it’s also inspired by the Model 1 that Rick Turner built for Lindsey Buckingham. I literally traced my parlor and then placed the pickup where Buckingham had his. (I was always amazed at the tone he got from playing with just that one pickup, not realizing it was actually more Lindsey than the hardware). The entire body is shaped by hand, which isn’t saying much, because I love a flat top guitar like an SGs or Firebird. That made things easy. After I cut the neck pocket and cavity with a Dremel router attachment, I put it together. I darkened the body with 15 to 20 coats of Tru-Oil (I actually lost count), and it was done.

This guitar is my #1. Like my wife, there can be no other. It’s light (not even 6 pounds), and very comfortable to play—like a parlor size guitar that’s 1 3/8" thick. It’s also resonant. The P-90 is amazing—I wish I could find another just like it. It’s smooth and clean, but can get nasty when you open the volume knob. I play through a 1965 Fender Showman and a Friedman Runt 50, and they love this guitar as much as I do. When I play another guitar, I’m usually looking over my shoulder, telling myself, “This would sound a lot better on my #1.” And it always does!

I recently spoke at a webinar with pedal rental service Buy or Borrow. The topic I submitted was, “Can the dirt pedal market ever be oversaturated?” I thought it would be fun to approach the subject like a debate, take the dissenting position, and present my argument. I’d like to explore this same question here. Now, since this column isn’t an in-person debate against an opponent, there won’t be a back-and-forth dialogue and I won’t be constructing and presenting a syllogism. I’ll be keeping it more casual and outlining talking points with supporting information and examples.

Here are some reasons I believe the dirt pedal market will not become oversaturated.

Classics that transcend generations

These are the industry staples—pedals that transcend trends and feel almost like part of the public domain. They originate from large manufacturers whose advanced production capabilities and buying power enable them to scale efficiently and keep costs low, resulting in affordable, player-friendly options ideal for those just starting their pedal journey. Classic examples include the Fuzz Face, Electro-Harmonix Big Muff Pi, Ibanez Tube Screamer, Pro Co RAT, and Boss DS-1.

New versions

Brands that become well known for one or several dirt pedals will inevitably and subsequently release new versions with updated and/or added features. These releases help carry the lineage forward and keep it in the public eye. A classic example is the Big Muff Pi, with more contemporary counterparts like the JHS Morning Glory, Fulltone OCD, and Way Huge Green Rhino.

Brand loyalty

Customers looking for a specific dirt circuit or tonal style tend to seek out their preferred brand’s take on it. For instance, if you’re after a Tube Screamer and happen to be an EarthQuaker Devices fan, you might reach for a Plumes.

Tweaks that appeal

This category centers on the appeal of both subtle and significant tweaks to well-known circuits. Take the Tube Screamer, for example: Voodoo Lab’s Sparkle Drive adds a simple but beloved clean blend, while EarthQuaker’s Palisades takes the classic three-knob overdrive to extremes with seven knobs, two toggles, and three footswitches.

The newest thing/hype

The gear market is perpetually chasing the next new thing. Online buzz can fuel hype around both familiar formats and groundbreaking designs alike. On the classic side, there’s the 1981 DRV; on the innovative end, the Chase Bliss Automatone Preamp MKII.

“The gear market is perpetually chasing the next new thing. Online buzz can fuel hype around both familiar formats and groundbreaking designs alike.”

Artist versions

Musical artists could be categorized as the original “influencers.” For decades, they’ve partnered with guitar and amp makers, and in recent years, those collaborations have expanded into the pedal world. Fans of these artists often gravitate toward the gear that bears their name. Notable examples include the Wampler Paisley Drive with Brad Paisley, the EarthQuaker Gary with Lee Kiernan of IDLES, the Union Tube & Transistor Bumblebuzz with Jack White, and Horizon Devices, founded by Misha Mansoor of Periphery.

Collaborations

Just as artists collaborate with brands, we’ve also seen pedal companies team up with one another. These partnerships create double the exposure and broaden awareness for both brands. Notable examples include the JHS/Boss Angry Driver, Chase Bliss/Analog Man Brothers AM, Spruce Effects/Pelican Noiseworks Pelitaur GE, and MXR/Fuzzrocious Bass Distortion.

2-in-1 combos

Most brands offer multiple dirt pedals in their lineup, and many include 2-in-1 or dual-drive options. These are a great way to save space, power, and money—all while expanding tonal flexibility.

Limited editions (or colors)

Limited-edition models—and even limited finishes of standard models—have become commonplace in today’s gear world. Larger manufacturers have taken note of this boutique trend and joined in. Examples include Ibanez’s hand-wired 808 with its metal enclosure, MXR’s gold-finished Phase 90, and even JHS’s Germanium Boost.

Legacy reissues

When a brand has been around for a decade or more, it often builds a loyal fanbase that knows its entire catalog, past and present. To honor that history, some manufacturers release small-batch reissues of legacy models. Recent examples include EarthQuaker’s Dirt Transmitter and White Light, the original-format JHS Morning Glory, and the iconic EHX Ram’s Head.

Same model, different size

Whether driven by manufacturer design or consumer demand, some brands offer a “family” of a particular model. This approach provides options to suit a wide range of needs. Two companies that do this especially well are Analog Man, with the Duke, Prince, and King of Tone, and Wampler, with the Mini, Standard, and Deluxe Plexi Drive.

Multiple on boards

Simply put, dirt is an effect category that often appears multiple times on a single pedalboard. It’s not uncommon to see a setup featuring a boost, an overdrive, a distortion, and a fuzz all together.

Cost friendly and artisan

From a purely financial standpoint, boost and fuzz pedals typically have fewer components, allowing them to be sold at very appealing prices. An $80 boost that does its one job effectively solves a problem while remaining low-risk for the buyer.

At the other end of the spectrum are companies operating on a “beyond artisan” model. These makers produce small batches using rare, vintage, or unique components, often built on stripboard, tagboard, or even point-to-point wiring—a meticulous and impressive approach that draws enthusiasts. Notable examples include Reeves Electro, Elephant Pedals, and R2R Electric.

This is the condensed version of the argument, but I still find it compelling in supporting the idea that the dirt pedal market is unlikely to become oversaturated. Do you find it convincing?

The offset twins get a makeover that lends stability and a streamlined sensibility while enhancing the guitars’ classic ,’60s, surfy essence.

The American Professional Classic Jazzmaster: Under the hood, vintage-inspired Coastline ’65 Jazzmaster pickups deliver depth, punch and sparkle while the sleek Modern “C” neck provides exceptional comfort and playability. Fender Staggered ClassicGear™ tuners deliver classic looks and precise tuning stability. Boasting custom-faded vintage and signature Fender finishes, this professional-grade instrument looks as good as it sounds. From studio to stage, The American Professional Classic Jazzmaster All the soul of a golden-era Fender, evolved for today’s player. Options include Rosewood Fingerboard in 3-Color Sunburst, Faded Firemist Gold, Faded Sherwood Green Metallic and Faded Dakota Red.

The American Professional Classic Jaguar: Under the hood, vintage-inspired Coastline ’65 Jaguar pickups deliver depth, punch and sparkle while the sleek Modern “C” neck provides exceptional comfort and playability. Fender Staggered ClassicGear tuners deliver classic looks and precise tuning stability. Boasting custom-faded vintage and signature Fender finishes, this professional-grade instrument looks as good as it sounds. From studio to stage, The American Professional Classic Jaguar All the soul of a golden-era Fender, evolved for today’s player. Options include Rosewood Fingerboard 3-Color Sunburst, Faded Sherwood Green Metallic and Faded Firemist Gold as well as Maple Fingerboard in Faded Lake Placid Blue.

Martin Guitar has launched two Jason Isbell signature models, both of which take after his beloved pre-war 0-17 guitar heard across the entirety of his latest record, Foxes In The Snow.

The launch includes a super-limited model, with just 50 guitars available, and a slightly more accessible option that still offers plenty of vintage character. The new signature acoustics are accompanied by the release of Isbell’s first-ever signature set of strings, part of an all-new line known as Martin Era.

• READ MORE: Martin Road Series SC-10E review: “I’ve played every iteration of the SC platform that Martin has produced and this one is my favourite”

The limited-edition model, the Martin 0-17 Jason Isbell, is built entirely from solid sinker mahogany, and is paired with Adirondack spruce Golden Era scalloped X-bracing for a warm, expressive voice.

A sinker mahogany neck is accompanied by a Brazilian rosewood fingerboard and bridge, which taps into that classic feel and playability. It also features 17-style inlays, Waverly nickel open-gear tuners, and has a vintage gloss finish. This model includes a signed label and a hardshell case.

“This one replicates the 1940 0-17 that I used on Foxes In The Snow,” says Isbell. “The Brazilian [rosewood] for the bridge and the fingerboard is a really special thing. The fact that Martin was able and willing to do that for these guitars makes me really, really happy… and the neck on this one is pretty identical in shape to the original guitar. It’s a very simple guitar to look at and to play, but certainly not simple to put together.”

The Martin 0-10E Retro Jason Isbell shares a handful of similar features with its limited sibling. Joining Martin’s Road Series, this guitar features a satin-finished all-mahogany 0 14-fret body, scalloped spruce X-bracing, and Martin E1 electronics with a built-in tuner for plug-and-play performance.

With East Indian rosewood accents, 17-style inlays, and nickel open-gear tuners, it “balances vintage-inspired looks with modern versatility”. This one comes with a soft case.

“This guitar meets the artist’s criteria that the instrument can’t be the challenge,” adds Isbell. “They’re well made, they’re easy to play, they sound good, and they don’t scream, ‘Look at me.’

“At this price point, a whole lot of people are gonna have access to it – and that’s great because it encourages beginner guitar players and singer-songwriters to have something that is quality. I could take this guitar and just make a living with it.”

The limited Martin 0-17 Jason Isbell is priced at $4,999.00, while the 0-10E Retro version comes in at $1,049.00. Both are available from Martin Guitar in a left or right handed format.

The post Jason Isbell’s new signature Martins are modelled after his treasured pre-war 0-17: “They’re well made, they’re easy to play, and they don’t scream, ‘Look at me.’” appeared first on Guitar.com | All Things Guitar.

Moth Electric has introduced their first modulation pedal, the M. stellatarum Tremolo, adding to their existing lineup of four dirt pedals.

The M. stellatarum is a multi-mode optical tremolo featuring an all-analog signal path, tap tempo with four subdivisions, an on board boost and a total of 32 sonic combinations between its four modes of operation and eight waveforms.

Features:

• Four distinct modes of operation. Classic amplitude tremolo, harmonic tremolo, bass only modulation and treble only modulation.
• Eight waveform selections provide a wide variety of textures, from classic to experimental. Sawtooth, Reverse Sawtooth, Square, Triangle, Sine, Hypertriangle, Reverse Hypertriangle, Random level generation.
• Tap tempo with four subdivisions allows for hands free rate manipulation while playing live. Subdivisions include ½ notes, ¼ notes, ⅛ notes and 1/16 notes.
• Dedicated tone knob to dial in your preferred sweet spot in each mode or to tame overly harsh or boomy amps.
• Onboard pre-amp boost adds warmth without overly coloring your sound. Enough gain on tap to push your amp if desired.

M. stellatarum Basics:

• Controls: Volume, Tone, Rate, Depth, Sub, Wave, Mode
• Bypass and Tap Tempo footswitches
• True-bypass switching, top-mounted jacks for easy placement on crowded pedalboards
• 9-volt DC operation with external power supply – no battery compartment
• Designed and hand-built in the USA using through hole components

The M. stellatarum carries a $219.99 price and is available for purchase at mothelectric.com.

Yep, Oasis-mania is still very much alive. Still in the thick of their world tour – one of the most widely anticipated in history – and currently Down Under for a series of dates in Melbourne and Sydney, Liam and Noel Gallagher’s reunion has dominated the mainstream entertainment world for months. But us guitar nerds have been going crazy, too…

When Noel Gallagher debuted his new P-90-equipped Gibson Les Paul at their first comeback show, we knew it was only a matter of time before there’d be an official Gibson production run, and that came with a limited-run Custom Shop release in August.

While we’re all acutely aware of the concept of supply and demand – brands will want to keep the level of supply under demand to foster the feel of exclusivity around a guitar launch – it would have been frankly cruel not to let the wider cross-section of the Oasis x guitar lover Venn diagram get in on the action. So Gibson has come through with a wider, less limited – and more affordable – release of the Noel Gallagher Les Paul Standard.

“This guitar is simply too iconic and cool not to be released more widely and made available for more fans to get their hands on,” says Lee Bartram, Head of Commercial and Marketing EMEA at Gibson. Amen, we say.

“Noel’s original Gibson Custom version of this Les Paul was the first guitar he played during the biggest rock ’n’ roll reunion of the 21st century. This Gibson USA version embraces that legacy, capturing a historic moment in British and global live music.”

And not only that, but Epiphone – also owned by Gibson – has also launched new signature models for guitarists Bonehead and Gem Archer, a Riviera and Sheraton, respectively. Yes, what a day to be an Oasis fan and guitar lover.

Let’s take a quick look at specs for each of the new Oasis guitars, and we’ll include links throughout this page, should you wish to dive deeper.

Gibson Noel Gallagher Les Paul Standard

Credit: Gibson

Featuring a non-weight-relieved mahogany body – for that authentic heavy Les Paul feel – with a bound maple cap, the Noel Gallagher Les Paul Standard also sports a mahogany neck with Gallagher’s preferred SlimTaper profile, with a bound 22-fret rosewood fingerboard with acrylic trapezoid inlays.

Hardware includes an ABR-1 Tune-O-Matic bridge and aluminium Stop Bar tailpiece for precise intonation and sustain, as well as Grover Rotomatic tuners with kidney buttons, as well as a chrome switch washer and output jack plate. There’s also a five-ply black pickguard, similar to those typically found on Les Paul Customs.

Credit: Gibson

Electronics come by way of chrome-covered Gibson P-90 Soapbar pickups, handwired to individual volume and tone pots – black Top hats with silver reflectors and dial pointers – and a three-way pickup selector switch. Visual touches include an artist signature reproduction decal on the back of the headstock, while the guitar also comes with a hardshell case.

The Noel Gallagher Les Paul Standard is priced at £2,699, and even comes with five free Maestro pedals.

Learn more at Gibson.

Epiphone Bonehead Riviera

Credit: Jill Furmanovsky

Inspired by the Epiphone Riviera Bonehead used throughout the 1990s – including on sessions for Definitely Maybe and (What’s the Story) Morning Glory?, and at Oasis’s legendary Knebworth shows in 1996 – the new Epiphone Bonehead Riviera features a five-ply maple body with a solid maple centreblock for “improved sustain and feedback resistance”. This is accented by a single-ply cream-binding on the top and back, while it also features a three-piece maple neck with a SlimTaper C profile, and a 22-fret bound rosewood fretboard with pearloid parallelogram inlays.

The guitar’s Epiphone Sloped Dovewing headstock is fitted with premium die-cast tuners with the Epiphone “E” logo and oval metal buttons, while the guitar also features a two-ply crescent bullet truss rod cover with the “E” logo, and an Epiphone logo alongside the Gibson Crown inlaid in mother-of-pearl. There’s also a recreation of Bonehead’s signature in gold on the rear of the headstock.

In terms of electronics, there’s a pair of Epiphone Alnico Classic PRO pickups – wired to individual volume and tone pots with black with-hat knobs, silver inserts and dial pointers. The guitar also comes with a hardshell case.

“Epiphone Rivieras have been with me from the early rehearsals at the Boardwalk in Manchester all the way up to those historic shows at Knebworth and on into Liam’s solo career,” says Paul “Bonehead” Arthurs.

“I’m still playing my original 1984 guitar on the Oasis 2025 tour, and I wouldn’t have it any other way. I’m excited to bring this new guitar to audiences who experienced it back in the day, as well as those coming out to see us on this tour. It plays great and sounds massive; you’re gonna love it.”

The Epiphone Bonehead Riviera is priced at $899.

Learn more at Gibson.

Epiphone Gem Archer Sheraton

Credit: Epiphone

Based on the Sheraton originally lent by Noel Gallagher on a long-term loan, the semi-hollow Masterbilt Gem Archer Sheraton features a five-ply layered maple/poplar construction with a maple centreblock for “enhanced sustain and improved feedback resistance”, as well as a one-piece mahogany neck with a ’60s C profile, topped with a rosewood fingerboard with 22 medium jumbo frets and mother-of-pearl block and abalone triangle inlays.

The guitar also features a large 60s-style Sloped Dovewing headstock, with the historic Epiphone logo and Tree of Life inlay in mother-of-pearl. It also has gold hardware, with Grover Rotomatic tuning machines with Milk Bottle buttons, and a low-friction Graph Tech nut. There’s also an ABR-1 bridge and Casino-style raised diamond trapeze tailpiece.

Electronics include a pair of USA-made Gibson Mini humbuckers, each with individual volume and tone controls with CTS potentiometers and Mallory capacitors. These are routed through a Switchcraft three-way toggle switch.

“The Epiphone Sheraton first came into my world when I borrowed Noel’s for Oasis tours and recording,” says Gem Archer.

“When I started playing with him again in the High Flying Birds in 2017, this was the guitar I asked if he still had. I’m playing it again together with my signature model based on his ’66 original, on the Oasis Live ’25 tour. It’s got a ring and a clang to it, with loads of definition and clarity that I haven’t found in any other model.”

Available in both right-and left-handed versions, the Masterbilt Gem Archer Sheraton comes with a hardshell case, and is priced at $1,299.

Learn more at Gibson.

What does Gibson say about the new slew of Oasis signature guitars?

“2025 is turning out to be quite the year for live music, and we’re thrilled to play a small part in paying tribute to one of the greatest reunions of the 21st century!” says Lee Bartram at Gibson.

“The first time I remember seeing Gem playing that Cherry Red Epiphone Sheraton was on July 2, 2005, in Manchester—what a show! Gem was such an important part of the Oasis sound in the 2000s, and to see him carry that on with Noel Gallagher’s High Flying Birds makes it a privilege to be part of this project.

“Spotting that Epiphone Riviera on stage during the Be Here Now tour in 1996 is something that stuck with me and inspired me to get my first Epiphone guitar. Nearly 30 years later, I’m honored to have played a tiny part in bringing the Epiphone Paul ‘Bonehead’ Arthurs Riviera to life.”

Check out a list of Oasis’s upcoming tour dates at the band’s official website.

The post What a day to be an Oasis fan, as Gibson launches wider-release Noel Gallagher Les Paul Standard – and Epiphone Bonehead and Gem Archer signature guitars appeared first on Guitar.com | All Things Guitar.

Very nearly four years ago, a feature appeared on the cover of Guitar Magazine heralding “The Greatest Guitar Collection On Earth”. Given that over the years we’ve brought you an up-close look at some of the most interesting and drool-worthy guitar collections on the planet, including the personal treasures of some of the biggest artists of all time, that was quite a claim.

But the collection of Indianapolis Colts owner Jim Irsay was different. This wasn’t just a bunch of Golden Era instruments with six-figure price tags – this was a remarkable archive of not just classic desirable musical instruments, but the very fabric of rock ‘n’ roll history.

Reeling off just a smattering of the artist instruments in the collection is enough to take your breath away. There’s John Lennon’s 1963 Gretsch 6120 Country Gent that he played on Paperback Writer, there’s George Harrison’s SG that he used on The White Album, Ringo’s Ed Sullivan Show drum kit, Bob Dylan’s Newport Folk Festival Strat, Jerry Garcia’s Tiger, Clapton’s ‘Fool’ SG, David Gilmour’s Black Strat, Kurt Cobain’s Teen Spirit Mustang…

On and on it goes, to the point where we didn’t even have space to include the guitars he owned that were played by Hendrix, Van Halen, The Edge, Cash and so many more in our feature. Imagine that? It is almost certainly the most comprehensive and historic private collection of genuine guitar history that exists in the world.

And now, following his death earlier this year at the age of just 65, every bit of this painstakingly assembled collection is going to go under the hammer – with Christie’s New York conducting a series of sales in March 2026.

David Gilmour’s iconic Black Strat, which was one of the crown jewels of the collection (Image: Eleanor Jane)

When I read that news yesterday, my first reaction was one of disappointment and no small amount of sadness. A weird thing to experience when talking about what was effectively a billionaire’s hobby, assembled at the sort of expense that can best be described as gauche given the wealth imbalance that exists in the world today.

But the thing is, on some level, Irsay understood this. He understood how privileged he was to be able to spend tens of millions of dollars buying the instruments that literally shaped the music that he loved, and he invested a significant amount of his own time and money into ensuring that these treasures did not spend their lives trapped behind glass and locked away from the general public.

Jim Irsay was an eccentric character with some well-publicised demons, but he was not shy about sharing his collection with the world.

Between 2021 and his death, highlights from the collection travelled across the country as a living museum. The Jim Irsay Collection would rock up in a city, and go on display to the general public so people could experience these iconic pieces of pop culture history up close.

What’s more, the city would also be treated to a performance from the Jim Irsay Band – a revolving cast of all-star musicians that included the likes of Kenny Wayne Shepherd, Tom Bucovac, Buddy Guy, Stephen Stills and Vince Gill – who would perform using the collection’s instruments so the audience could hear and feel them in the way they were meant to be experienced.

Irsay purchased Jerry Garcia’s Tiger for $957,500 in 2002. Built by luthier Doug Irwin, it was the Grateful Dead star’s main guitar from 1979 onwards and in 1995 was the last guitar he ever played in public (Image: Eleanor Jane)

“History is so important,” Irsay told Guitar.com in 2021. “So much of what we’re about as a world, as humanity, is tied to music. It’s been that way ever since the cavemen were around the fire… To me, it’s really important that the museum is alive. How you experience it when you walk in? I want it to be interactive.”

Irsay spoke to us in that interview about a plan to create a more permanent museum for his collection – something similar to Seattle’s MoPOP, which was created to display the similarly remarkable collection of late Microsoft founder Paul Allen.

That dream sadly seems to have died with Irsay, and the world’s most remarkable and important guitar collection is to be broken up and sold piecemeal to collectors who may be more inclined to keep the guitars safely hidden from the public than their previous steward.

I don’t begrudge Irsay’s family for not wanting to continue his passion project – it was his thing, after all. The sheer size, scope and value of the collection made it a mammoth logistical undertaking.

Jim was happy to pour his time and resources into, but you can’t blame his daughters – who also have the small matter of running an NFL team to worry about – for not sharing that same passion. Still, it was clear that he took his responsibility to his collection very seriously.

This 1977 Les Paul Deluxe was formerly owned by Neal Schon and featured on the band’s smash hit Don’t Stop Believin’ (Image: Eleanor Jane)

“Like any music lover or fan I want to try to have fun with it and share it,” he told us. “But I don’t possess it. I don’t have any ownership over it. I want to make that very fucking clear. With the museum it’s about, ‘How do you create the Willy Wonka factory? How do you sell the golden tickets?’ I can’t be Pete Townshend or Chrissie Hynde or Natalie Merchant or whoever, because that’s just not me. But I can be a steward and a curator.”

No doubt in part because he viewed himself as a custodian of these instruments, Irsay famously turned down an offer of over a billion dollars (yes, a billion) to sell the collection outright and move it to Dubai. In Irsay’s words the plan was “kind of like what’s been going on in golf”.

It showed the strength of Irsay’s conviction that these were not simply collector’s pieces to be traded as status symbols for the fantastically wealthy.

They are vitally important objects in the cultural and social history of America – and they should be preserved and accessible to its people. Not hidden away in private collections or whisked overseas to be used as tools of political soft power.

Whatever happens in next year’s sale, I have no doubt we’ll have to update our list of the most expensive guitars sold at auction. It would be nice if some of the guitars ended up taking a similar path that Rory Gallagher’s guitar did, and end up in museums and public spaces for all to appreciate – but even then they’ll surely be scattered across the world.

The Greatest Guitar Collection On Earth will be no more, and as guitarists and lovers of the history of guitar music, we’ll all be a little poorer for it.

Bob Dylan’s ‘Newport’ Strat. (Image: Eleanor Jane)

The post Why the sale of Jim Irsay’s Greatest Guitar Collection On Earth is a sad moment in guitar history appeared first on Guitar.com | All Things Guitar.

$499.99/£469.99, fender.com

I remember the first time I ever played a Squier guitar. I must have been 14 or 15 years old and the frontman of our band had just spent what at that time seemed an unbelievable amount of money on a classic butterscotch blackguard Squier Tele.

• READ MORE: Gretsch CVT review: a cult classic reborn as a stripped-down rock machine

Up until this point, I’d been the big-spender of the band – having splashed the cash on an £80 Hohner Strat copy and a £30 Carlsbro keyboard amp from the local pawn shop – but to say this first encounter with a Fender-adjacent instrument was formative would be an understatement.

Here was an electric guitar that didn’t weigh so much that my shoulder ached after a few minutes of playing, that played like it actually wanted you to keep making music on it. That sounded, even through that godawful Carlsboro, like a real fucking guitar. Within a month the Hohner was back in a Cash Converters’ window along with my PS2 and I was the owner of a shiny new Squier Stratocaster.

All of which is to not simply fill up my intro with middle-aged reverie, but to remind us of the importance of Squier guitars to all of us. More affordable than Epiphones, their purpose as the first rung on what can be a life-altering ladder of guitar obsession for pretty much every guitar player I’ve ever met means that it remains, arguably, the most important part of Fender’s many-headed hydra of sub-brands and price brackets.

But if you’ve been paying attention to Squier over the last few years, you’ll have noticed something slightly unsettling. Yes, Squier still makes some scandalously affordable guitars – you can buy a Debut Series Strat for barely more than I spent on my Squier in 2004, and the genuinely great Sonic Series still cost under 200 bucks.

But at the other end there’s something of a bloat occurring – Squier guitars like the one we have on test here that scrape so close to the bottom end of the ‘Real Fender’ range you could stop for some lunch on the way home from the guitar shop and end up spending more than you would on something that says Fender on the headstock. But does this matter? Well, let’s find out…

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – what is it?

There’s an argument to be made that they must be charging by the letter at the top end of the Squier range – the callous disregard the brand shows for brevity in full display with this ‘Classic Vibe Custom Telecaster SH w/ Bigsby’.

Breaking it down, however, and we can of course learn a lot from this. The Classic Vibe range is one of those things you’ll hear guitarists conspiratorially whisper to one another down the pub – “I’ll tell you what…” they’ll say. “Those Squier Classic Vibes are serious guitars for the money… you could even argue they’re better than the cheapest Fender stuff…”

And broadly speaking, they’re not wrong. With more vintage-inspired aesthetics, better quality hardware and proper alnico pickups (as opposed to the ceramic ones in the cheaper guitars) the Classic Vibe range has become a quiet phenomenon. So good are these guitars that you’ll occasionally even see proper bands with record deals playing their trusty Classic Vibe guitars on stage.

And this Custom Telecaster really does emphasise the appeal of the CV range. If you put a bit of tape over that script logo, you really would have to be a proper nause to guess that this wasn’t a lovely old Fender from a distance – with its artfully tinted gloss neck and double-bound Lake Placid Blue body, it certainly looks the part. Even the laurel fingerboard here is a deep, chocolatey brown that would make you wonder if someone hadn’t put rosewood on here by mistake.

It’s all further enhanced by the added extras that differentiate this from the standard CV Custom Tele in the shape of the addition of a humbucker in the neck (borrowed from the limited edition 60s Custom SH) and now a licensed Bigsby B50 vibrato. It’s all quite a departure from that Squier Tele I played 20-something years ago… but at very nearly $500, it ought to be…

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – build quality and playability

The general level of fit and finish on the Classic Vibe series is a reason why the range has proved so popular with modders and upgraders – as a rule they provide an impressively solid base from which to work with, and so it is with this Custom Telecaster.

The finish is immaculately applied all over, with no cracks or overspray anywhere to be seen and clean, precise binding around both the top and back edges. The worry with any gloss neck is that it’s going to be a bit sticky, but in addition to looking handsome, Squier’s craftspeople have done a nice job in keeping it on the right side of ‘smooth without being tacky’ here.

It’s a pleasure to play, frankly – even if the 21-fret C-shaped neck is inevitably a little generic compared to some of the necks being produced by Fender in Mexico, for example. Generic doesn’t mean bad, however – it gets out of the way and does its job with aplomb.

The Bigsby vibrato is a temperamental beast at the best of times. It’s wonderfully musical and expressive tool, but the various points of friction inherent in the design, combined with the unreliability of the spring in terms of returning you to pitch consistently can make even USA-made examples somewhat eccentric when used with the lighter gauge strings most modern players prefer (rather than the telegraph wires the Bigsby was designed to work with in the 1950s).

That all tends to get magnified in the cheaper licensed Bigsbys you see on affordable guitars such as this, so it’s with a certain degree of trepidation that I approach the wobbly stuff here. Mercifully at least, the B50’s string-through design makes restringing much more straightforward than the classic method. Given that it’s likely to be many players’ first encounter with a Bigsby, it’s a smart move on Squier’s part to make this part less painful – it’s the sort of thing that can cause people to swear off a vibrato for life.

The vintage-style sealed gear tuners are solid and smooth, and that’s good because you’re definitely going to need them. That said, this is by far not the worst performance I’ve ever experienced from a Bigsby on a more budget guitar. I don’t doubt that the presence of the floating Mustang-style bridge is helping here – you can see it moving in concert with the bar and that certainly helps keep things more stable than it might be otherwise.

That said, it’s still not great – I wonder if the nut slots need to be lubricated or widened a little as they certainly look a little snug in places on my example. Such concerns are par for the course when it comes to owning a guitar with a Bigsby – just don’t expect Floyd Rose-level returning to pitch here and you probably won’t be disappointed.

One other thing to note on the build and playability stakes is the weight – this guitar tips the scales at a not-unreasonable 8lbs and 1oz. Now, the Bigsby is a big ol’ chunk of metal and adds a fair amount of mass to the guitar, so the poplar body has been routed internally to remove some of that weight – how that works out in terms of sound we’ll find out in a minute…

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – sounds

The danger when you start hacking chunks out of a solidbody guitar to make it weigh less is, of course, that it starts to behave not at all like a solidbody guitar when it’s plugged in. While this Telecaster is nowhere near as feisty and temperamental as a proper semi-hollow, running it into a cranked Princeton with a Chase Bliss Brothers in front of it does showcase a bit of unruliness that you wouldn’t expect from a Telecaster. Every knock on the body or clunk of the selector switch is audible through the amp and not exactly pleasant if you’re trying to record the damn thing.

There’s definitely a bit of that liveliness on the bridge pickup with this configuration too. It’s brash, and a little on the cutting side – I was instantly reaching for the tone control to tame some of this bratty excess, but if you like your Tele bridge pickup to cut through, you’ll have no real complaints here.

Conversely, the neck pickup is a much darker and more woolly affair – if you want some classic sustain-heavy leads it’s great, but things get quite messy when you add chords to the mix.

The middle position is often the poor relation of many a guitar configuration, but here it actually splits the difference between the two – taking the depth and warmth of the neck and blending it with the clarity and punch of the bridge to create something that’s balanced and rather lovely.

Step off the gain, however and all three selections make a lot more sense – you can get fiery with the chicken picking with the bridge, while adding some delay and reverb to the neck pickup is a warm, comforting bath of a sound. It’s very nice indeed – especially when you introduce the hazy wobble of that Bigsby.

Image: Adam Gasson

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – should I buy one?

There’s no escaping that Fender is really pushing the boundaries of Squier’s credibility with the pricetag of these top-end Classic Vibe instruments. For another hundred bucks you can get yourself a Standard Series Telecaster with Fender on the headstock, after all.

But the thing is, this is a demonstrably superior guitar to the Standard series in every meaningful way, bar that headstock decal – it certainly looks better in every meaningful way, and I’d say the sounds are better too, thanks to the presence of proper alnico magnets in the pickups here.

However, $500 is still a lot of money for a Squier guitar, and it’s complicated by the fact that it’s not as well sorted as it perhaps could be – the Bigsby is still a temperamental beast and the pickups are definitely in the ‘good but not great’ category – something that’s probably been accentuated by the weight-relieving body routing making it feel a bit like a rollercoaster straining to keep on the rails at times.

But here in 2025, where $500 is roughly half the cost of a flagship mobile phone and a trip to the cinema will leave you needing to take out a personal loan, this is an awful lot of guitar for the money. It’s a guitar that could take you places, and it won’t let you down on the way.

Squier Classic Vibe Custom Telecaster SH w/ Bigsby – alternatives

Would you believe that there are no other Telecasters in Fender’s current line-up that offer both a Bigsby and a HS configuration? If you can live without the Bigsby, however, there are some interesting options – the regular Squier Classic Vibe Telecaster Custom 70s ($449.99/£385) takes things in a more 70s direction visually, while the Fender Player II Modified SH ($1,079.99/£999) offers an upgraded take on the format with Noiseless pickups and other player-friendly additions. If you want something outside of the Fender stable that keeps a lot of the vibe, the Schecter PT Fastback II B ($849) offers a pair of humbuckers to go with the Bigsby B50.

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