"Tone King Galaxy 60-watt head w/ 6L6 tubes, two channels, 2-spring long reverb tank, and a bias-vary tremolo circuit. The 2x12 cab features custom Eminence speakers. $2595 (head), $995 (cab) premierbuildersguild.com"
Above: the Gibson Custom Murphy Lab Light Aged acoustic collection Pre-War SJ-200 Rosewood, 1963 Dove, 1955 J-45, 1957 SJ-200, and the 1929 Nick Lucas Special.
Gibson is proud to introduce five new acoustic reissues for the Gibson Custom Murphy Lab Light Aged acoustic collection, delivering well-worn favorites, built brand new, with the look, tone, and played-in feel of cherished vintage originals.
Each one of the five new additions to the Gibson Custom Murphy Lab Light Aged acoustic collection is a masterfully crafted reproduction of a cherished Gibson acoustic guitar model from Gibson’s first Golden Era. The Murphy Lab Light Aged acoustic lineup from Gibson Custom all feature either red spruce or Sitka spruce tops that have been thermally aged to give them the sound of a well-seasoned vintage guitar. The new additions to our Murphy Lab Light Aged lineup of vintage acoustic reissue models feature light lacquer checking, light dings, pick trails, and rounded fretboard edges, giving them the tone, look, and played-in feel of cherished vintage originals. Gibson Custom Murphy Lab Light Aged acoustic guitars are well-worn favorites, built brand new.
Explore the full Gibson Custom Murphy Lab Light Aged acoustic collection, now available worldwide on Gibson.comHERE.
Each acoustic guitar in the Murphy Lab Light Aged collection comes with an era-correct hardshell guitar case that corresponds with the style of case that was in use when that model was released, adding to the vintage ownership experience.
Nick Lucas, known as “The Crooning Troubadour,” was a pioneering entertainer of the 1920s—one of the first to record guitar solos and perform with a guitar on the radio. His influence helped elevate the guitar as both a solo and accompaniment instrument. In 1926, Gibson honored Lucas’s request for a custom design, resulting in the Nick Lucas Special—the company’s first artist signature model, featuring a deeper body for enhanced bass response and tonal richness.
Now, Gibson Custom proudly introduces the 1929 Nick Lucas Special Light Aged, a stunning recreation of this historic model. Built with a deeper mahogany body shaped like the L-00, it features a thermally aged red spruce top, gold sparkle multi-ply binding, and a matching L-2 style rosette. The mahogany neck joins the body at the 12th fret and has a C-shaped profile. The bound rosewood fretboard is equipped with 20 frets and is adorned with mother-of-pearl Nick Lucas inlays with engraved details. Gold Waverly tuners with ivoroid oval buttons are installed on the headstock, which also features a vintage-style “The Gibson” logo in mother-of-pearl. Finished in Argentine Grey with Murphy Lab Light Aging, it captures the look and feel of a well-loved original. Housed in a Red Line-style case, this model delivers timeless tone and unmatched character.
All the tone, charm, and character of a vintage Dove—reborn
First introduced in 1962, the Gibson Dove™ quickly became an icon of the square-shoulder acoustic family, following the Hummingbird™. With its bold voice and distinctive look, the Dove has been favored by legends like Elvis, Tom Petty, and Alex Lifeson. Now, Gibson Custom proudly presents the 1963 Dove Light Aged—a meticulous recreation of the early Dove models, crafted to deliver vintage tone and feel in a brand-new instrument.
Featuring a thermally aged Sitka spruce top with traditional scalloped X-bracing and beautifully flamed maple back and sides in a Cherry finish, this Dove sings with clarity and power. The mahogany neck has a comfortable Round profile, paired with an Indian rosewood fretboard adorned with mother-of-pearl parallelogram inlays. A longer 25.5” scale length and maple body give it a bright, full voice that stands apart from the Hummingbird.
Details like the rosewood Dove bridge with inlaid doves, engraved pickguard, and Kluson® Waffleback tuners complete the vintage aesthetic. Lightly aged by the Murphy Lab, it offers the look and feel of a well-loved original and comes housed in a vintage-style black hardshell case for the full Gibson Custom experience.
1955 J-45 Light Aged:
A faithful tribute to the mid-50s Workhorse
First introduced in 1942, the Gibson J-45™ quickly earned its nickname, “The Workhorse,” for its straightforward design, warm tone, and unmatched versatility. By 1955, key updates—like a longer fretboard with 20 frets and a larger pickguard—helped define the model’s enduring legacy. Today, it remains one of the most recorded and best-selling acoustic guitars of all time.
The 1955 J-45 Light Aged from Gibson Custom is a masterfully handcrafted recreation of this pivotal model, built in Bozeman, Montana. It features a round-shoulder mahogany body with a thermally aged Sitka spruce top and traditional X-bracing installed with hide glue for vintage tone and resonance. The mahogany neck has a comfortable Round profile and is joined with a compound dovetail neck joint. A rosewood fretboard with mother-of-pearl dot inlays, bone nut and saddle, and vintage-style Grover® strap tuners complete the classic look.
Finished with Murphy Lab’s Light Aging treatment and lightly aged hardware, it captures the feel of a well-played original. Packaged in a 1950s-style Lifton™ hardshell case, the 1955 J-45 Light Aged delivers the authentic tone, vibe, and craftsmanship of Gibson’s Golden Era.
All the vibe, feel, and vintage allure of the rare rosewood Pre-War Super Jumbo
Originally introduced in 1937, the Gibson SJ-200™ quickly earned its title as “the King of the Flat-Tops” thanks to its bold sound, impressive projection, and commanding presence. Early models featured rosewood back and sides, but due to limited demand during the post-Depression era, production numbers remained low—making these early rosewood-bodied SJ-200s highly sought-after by collectors today. Gibson Custom now proudly presents the Pre-War SJ-200 Rosewood Light Aged, a meticulous recreation of those rare originals. It features a thermally aged red spruce top with traditional scalloped X-bracing, rosewood back and sides with a three-rope marquetry strip, and ornate multi-ply binding throughout. The AAA maple neck includes a walnut stringer and stinger detail, while the ebony fretboard and bridge are adorned with mother-of-pearl inlays. Gold Grover® Imperial™ tuners and a tortoise pickguard with multi-colored dots complete the look.
Finished with Murphy Lab’s Light Aging treatment and housed in a period-correct Red Line case, this model captures the spirit and craftsmanship of Gibson’s Golden Era—delivering vintage tone, feel, and aesthetic in a stunning modern build.
All the vibe, feel, and vintage allure of the iconic 1950s Super Jumbo
Introduced in 1937, the Gibson SJ-200 earned its reputation as “the King of the Flat-Tops” for its bold tone, powerful projection, and striking presence. By 1947, maple replaced rosewood for the back and sides, and the SJ-200 became a favorite among legends across genres—from Hollywood cowboys to rock royalty. Today, vintage 1950s models are prized by collectors.
Gibson Custom now presents the 1957 SJ-200 Light Aged, a faithful recreation of this celebrated era. It features a thermally aged Sitka spruce top with scalloped X-bracing installed using hide glue, AAA flamed maple back and sides with a checkerboard marquetry strip, and ornate multi-ply binding. The AAA maple neck includes a walnut stringer and stinger detail, while the rosewood fretboard and Moustache™ bridge are adorned with mother-of-pearl inlays. Gold Gotoh® tuners and a classic tortoise pickguard complete the vintage aesthetic.
Finished with Murphy Lab’s Light Aging treatment and paired with lightly aged hardware, this model captures the look and feel of a well-played original. It comes housed in a period-correct 1950s-style Lifton™ case, delivering an authentic vintage experience only Gibson Custom can offer.
Brooklyn-based jazz-rock innovators Alex Skolnick Trio (AST) return this fall with PROVE YOU’RE NOT A ROBOT, the group’s sixth LP, arriving November 7, 2025. The album’s first single, a wildly inventive take on Tom Petty’s “Breakdown,” is available today. Listen here.
Blending fearless improvisation, genre-defying arrangements, and the virtuosity of its members, PROVE YOU’RE NOT A ROBOT captures AST at the height of their creative powers. The title reflects both a wry nod to our tech-saturated era and a deeper meditation on humanity, direct interaction, and the irreplaceable spark of live musicianship in an age of artificial intelligence.
Recorded with a range of vintage and custom instruments — from a Roger Sadowsky archtop to a 1935 Gibson L-00 acoustic — the album spans moods from the uplifting “Guiding Ethos” to the mind-bending Chick Corea/Steve Howe mashup “Armando’s Mood.” Alongside Skolnick’s inventive guitar work, bassist Nathan Peck and drummer Matt Zebroski bring rhythmic complexity and emotional depth, with odd-time signatures and genre twists that have become AST hallmarks.
“I feel this album represents my strongest work as a composer,” says Skolnick. “Nathan and Matt really brought their A-game throughout. I think it’s safe to say this is the record we’re all most proud of.” Since forming in the early 2000s, AST has reimagined the jazz guitar trio, melding influences as far-reaching as Wes Montgomery, Black Sabbath, Prince, tango, calypso, and Western swing. Known for their adventurous covers of rock and metal classics, they’ve earned praise from outlets like Billboard, Downbeat, Jazziz, The Village Voice, and NPR, and have toured internationally, captivating audiences from Norway’s Larvik Guitar Festival to Paris’s The Olympia and New York’s Radio City Music Hall.
PROVE YOU’RE NOT A ROBOT promises to be a bold addition to the AST legacy — as engaging for jazz aficionados as it is for rock fans curious about the inventive, genre-bending journey of Testament original guitarist Alex Skolnick.
Album Release Date: November 7, 2025 First Single “Breakdown” Release Date: September 12, 2025
PROVE YOU’RE NOT A ROBOT Tracklist
Parallel Universe
Armondo’s Mood
Infinite Hotel
Prove You’re Not A Robot
Guiding Ethos
Breakdown
The Polish Goodbye
Asking For A Friend
AST on Tour September 30 - New York, NY, The Cutting Room (Album launch party) November 15 - Montreal, QB, Piranha Bar November 16 – Ottawa, ON, Brass Monkey November 17 – Pittsburgh, PA. City Winery November 19 – Detroit, MI, Token Lounge November 20 – Chicago, IL. Reggie’s November 21 – Cleveland, OH, Irishtown Bend Tap Room November 22 – Buffalo, NY, Nietzsche’s November 23 – Anniville, PA, The Allen Theatre 2026 January 8 – The Woodlands, TX, Dosey Doe January 9 – McKinney, TX, Guitar Sanctuary January 11 – San Antonio, TX, Fitzgerald’s January 13 – Los Angeles, CA, Baked Potato January 14 – Sacramento, CA, Harlow’s January 15 – Seattle, WA, Funhouse January 16 – Portland, OR, Jack London Revue January 17 – Redding, CA, The Dip January 18 – Mill Valley, CA, Sweetwater Music Hall Alex Skolnick Trio is: Alex Skolnick – Guitar Matt Zebroski – DrumsNathan Peck - Bass
Hit-making guitarist Mike Scott—who’s worked with everyone from Justin Timberlake to Janet Jackson—showed up in Minneapolis from his hometown of D.C. and started snatching everyone’s gigs. Soon, he ended up at Paisley Park, jamming with the man himself and joining his band, New Power Generation.
This masterful storyteller joins 100 Guitarists to talk all things Prince, cracking us up along the way with firsthand recollections of playing onstage and in the studio, the only time he played the “Purple Rain” solo live, and some insight on Prince and his gear.
What was already a standout moment of this year's Wacken Open Air, the world's largest metal festival, turned into something even bigger when legendary guitarist Michael Schenker pulled a surprise no one saw coming. The architect of hard rock used the world's loudest stage to announce that a brand new Michael Schenker Group studio album, titled Don't Sell Your Soul, will be released on October 3 via earMUSIC.
To mark the occasion, Schenker and his band closed the show with a world-exclusive live premiere of the new album's title track — a powerful encore that took the Wacken crowd by surprise and was met with instant enthusiasm on the muddy festival fields. You can now listen to the new track HERE.
Don't Sell Your Soul is the second part of an album trilogy that began with 2024's My Years With UFO. This will be the first studio album for MSG since Universal in 2022.
The album was produced by Michael Schenker and Michael Voss, and recorded with Schenker's longtime allies: Bodo Schopf (drums), Barend Courbois (bass), and Steve Mann (guitar, keys). On vocals: the impeccable Erik Grönwall (Skid Row, H.E.A.T) – undoubtedly one of the finest rock voices of his generation. Guest appearances on vocals by Robin McAuley, Dimitri "Lia" Liapakis, and Michael Voss round out the cast.
The Michael Schenker Group was formed in 1979 and has released 12 studio albums with many different members over the years, with Schenker the only constant presence.
Michael Schenker played in the rock band UFO and leads the Michael Schenker Group (MSG). He was an early member of the hard rock band Scorpions, a band co-founded by his elder brother Rudolf Schenker.
Michael Schenker is regarded as one of the most influential guitarists of the 1970s, and is widely known as a legendary figure in the history of metal guitar.
Michael Schenker is an undisputed living legend and it is time to sell your soul with MSG. Let us know what you think! Michael IS doing a limited amount of interviews so let's talk and see what we can set up!
Our columnist’s favorite wah pedals—from left to right, an Ernie Ball, a Excetro Wau Wau Machine, an Ibanez Double Sound Fuzz Wah, and a Dunlop Cry Baby Mini—are a partial history of the device’s evolution.
If you ask me what my favorite pedal is after fuzz, the answer is definitely wah. Bands like Fu Manchu and Dinosaur Jr. are great examples of just how powerful wah, fuzz, and a wall of amps can sound together. Sorry, I’m not into SRV voodoo or those “whacka-whacka” kinds of wah sounds.
Let’s dig a little deeper. My very first wah pedal was actually a gift from my ex-girlfriend. She told me it sounded “sexy.” She knew absolutely nothing about guitars. Maybe the sound reminded her of some sleazy ’70s B-movie soundtrack. That pedal was a Dunlop GCB95 with a red Fasel inductor. I absolutely loved it … at first. I even took it out on tour. But I grew to hate it. It was heavy, hard to click on, had no on/off LED, and it sucked tone like crazy. But still, it was the pedal that made me fall in love with wah and start digging deep into its history.
Wah is one of the most iconic effects pedals—so iconic that even non-guitarists recognize it instantly by sound alone. Hence the name—wah. The effect was first developed around 1964 by the Thomas Organ Company, an American distributor of Vox products from the U.K. Their goal? Originally, it was intended for use with Vox organs, to mimic a trumpet-like tone. Bradley J. Plunkett, a junior engineer at Thomas, modified a midrange booster circuit and eventually decided to use a potentiometer as a frequency control. The result was essentially a variable band-pass filter, initially released as the Clyde McCoy Wah-Wah. McCoy was a trumpet player, and that product was intended to achieve a muted-trumpet effect with guitar. In 1967, to better appeal to guitarists, the name was changed to the Cry Baby, although in Italy Vox branded the device as the V846 Wah-Wah—and the rest is history.
As the music industry evolved, so did the wah pedal. Both the sound and the mechanism used to operate wah pedals went through significant changes. The original Vox V846 used a variable band-pass filter housed in an organ volume pedal enclosure, where the potentiometer was turned via a gear. This allowed players to control the frequency range with a rocking foot motion. This design is still used today by many manufacturers.
However, that system has its drawbacks. Over time, the gears wear out due to friction. Then, there’s the issue of limited sweep range: most rotary pots have about 270 degrees of rotation, but gear mechanisms often only utilize about a third of that, making them far from optimal. In 1977, Ernie Ball replaced the gear mechanism with a string-loop-and-spring design, allowing for a full and smooth sweep. Roland and Boss also introduced unique approaches, including automotive-like axle designs and pedal mechanisms inspired by bicycle cranks—equally effective and efficient. Morley, meanwhile, took a more futuristic approach by employing optical sensors to control the sweep, with no moving interior parts at all.
“Perhaps due to their legacy tones, many players enjoy the limitations of the original design.”
Despite these innovations, no single mechanism has rendered the others obsolete. In the end, it’s up to the musician—the user—to decide which design works best for their playing style and live performance needs. I find myself more comfortable with devices like the one from Ernie Ball, simply because they include an LED indicator. I also really love the Dunlop Bass Wah—essentially a manual envelope filter—which I think is genius.
That said, the classic gear-style wah pedals still have their loyal fans. Perhaps due to their legacy tones, many players enjoy the limitations of the original design. I still believe the lack of an on/off LED indicator is the biggest flaw in traditional wahs like the Cry Baby or Vox models.
Maybe I’m just one of those people with unorthodox tastes and needs. I don’t claim to be special or different, but wah pedals are tools for making music, and music-making is by nature a subjective process. And that’s totally okay, right?
In fact, I’m sure many of the innovations we’ve seen in wah pedal design come from the designers’ own subjectivity—trying to solve real problems they perceive in real contexts. As long as people are passionate about making music, new ideas will keep emerging. Weird, wonderful, and always evolving—that’s wah.
