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.
Question:What was the most exciting change in your guitar playing this year?
Guest Picker - Brian Dunne
Photo by Marianka Campisi
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
Photo by Carla Fredericks
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 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.
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