"A 1988 acoustic guitar in blonde maple, with a tortoise pickguard and a mahogany neck. Serial number JF300710. Slash says he used this guitar for the recording of the song ""Patience"" on Guns N' Roses' second album ""G N' R Lies."""
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.
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.
In addition to the body shaped from barn-find bald cypress, #1 is built around a Fender-licensed Jaguar neck and Korea-made P-90, which is placed exactly where the pickup sits on Lindsey Buckingham’s Rick Turner Model 1.
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.
Steve and his wife
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.
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