On November 14, 2025, I’ll be giving a presentation at the Royal College of Music in London. It’s in conjunction with a unique guitar they have on display: Kurt Cobain’s 1959 Martin D-18E, the one he played on MTV Unplugged. To honor the occasion, we’ve built a modern reproduction of that particular guitar for my friend Craig Thatcher to play at the event—because I don’t think they’ll let him play the original. (Yes, that one … the guitar that sold for $6 million at auction in 2020.)
MTV Unplugged: What a good idea that was! And talk about good timing. The 1980s were not a good time to be in the acoustic guitar business. My dad joined the family business in 1955, the year I was born. The mid-’50s were the era of the folk revival. Acoustic music was taking hold in coffeehouses and on college campuses. Thanks to bands like the Kingston Trio, folk music was becoming pop music.
By the early ’60s, demand for Martin guitars outstripped the capacity of our old factory on 10 West North Street in Nazareth, Pennsylvania. My dad convinced my grandfather that we needed a new factory to keep up with the boom. So in 1964 we opened the new plant at 510 Sycamore Street. What else happened in 1964? The British Invasion.
Yes, Bob Dylan went electric, but the acoustic guitar remained a mainstay on many folk-rock songs. Crosby, Stills, Nash & Young and others drove demand skyward. We couldn’t keep up. These were good times. Politics, the Vietnam War, and the fight for civil rights … it all gave the younger generation reasons to speak out and speak up, and the acoustic guitar became an integral part of that messaging.
By the late 1970s, music was changing. Disco was taking over. The Eagles were the last significant folk-rock supergroup. By the 1980s, it was tough going for acoustic guitars. Several of our smaller competitors closed their shops. Pointy electric guitars were flying off the shelves, thanks to hair metal. The Yamaha DX7 and other digital keyboards were everywhere.
“By the end of the 1990s, our production had increased fivefold compared to the start of the decade.”
Our business struggled. My dad retired and moved to Florida. I had just graduated from college and joined the family business full-time, at a difficult moment. My grandfather passed away in 1986, and at 31, I became CEO. I was scared. My dad had encumbered the company with a crushing level of debt. We were on the verge of bankruptcy. I wasn’t sure exactly what to do, but I was determined to not allow my multi-generational family business to disappear. We cut back expenses and focused on what we did best: flat-top acoustic guitars. One of my dad’s better decisions was to acquire a string company. String sales helped us survive those lean years.
One day, my friend and colleague Dick Boak walked into my office. “I got a call from MTV,” he said. “MTV? The rock video station?” I inquired. “Yes,” he replied. “Why did they call us?” I asked. “They have this idea,” Dick said. “They want to get rockers into the studio and have them play their famous songs on acoustic guitars.” Hmmm. Not a bad idea.
“Why did they call us?” “They weren’t sure if the rockers they were going to ask even had acoustic guitars,” he said. “And they’re going to film some shows in New York. Could they borrow some guitars from us if needed?” I looked at Dick and smiled. He took that as a “yes.”
MTV Unplugged launched in 1989. It started slowly. Initially, few people noticed. But it built momentum. In 1992, Eric Clapton recorded his Unplugged segment at Bray Studios in London, playing his 000-42 Martin. The subsequent album became a phenomenon, garnering multiple Grammys, selling millions of copies, and becoming the best-selling live album of all time.
In 1993, Nirvana performed one of Kurt Cobain’s last televised sets. After his death, MTV Unplugged in New York was released. It sold over 5 million copies and won a Grammy for Best Alternative Music Performance. As the momentum grew, our phones started to ring. And ring. Players were rediscovering how cool it is to hold a wooden box against their body and feel it vibrate as they played their favorite songs. The acoustic guitar was back. Thank you, MTV Unplugged. (Fun fact: Many of the guitars played on MTV Unplugged were actually plugged in!)
What started as a simple TV concept helped usher in a full-fledged acoustic revival. For Martin, it arrived just when we needed it most. By the end of the 1990s, our production had increased fivefold compared to the start of the decade. Sometimes, all it takes is a well-timed idea and a few beautifully-built guitars.
At just 26, the guitar-playing phenom has already netted a Grammy, earned a signature Telecaster, started his own label, and we think this is just the beginning. John Bohlinger checks in with the lovable Mississippi kid who always has a guitar nearby and continues finding inspiration in his church roots and new gear.
PG contributor Tom Butwin explores the new BOSS XS‑100 Poly Shifter—an 8-octave powerhouse that lets guitarists and bassists go from subtle drop-tuning to full-on pitch chaos with expression pedal and MIDI control. From transforming a standard guitar into a baritone to turning a 4-string bass into a five-string monster, this pedal offers both inspiring sounds and real gig-day utility.
IK Multimedia is proud to announce TONEX Plug, the ultimate portable guitar and bass headphone amp, offering instant access to over 40,000 free amps and pedal rigs, plus Premium and Signature Collections. Powered by IK's award-winning AI Machine Modeling™, TONEX Plug delivers the same studio-quality tone as the TONEX Pedal and TONEX ONE in a sleek, pocket-sized design.
With built-in Bluetooth and the included TONEX Control app (iOS/Android), users can practice or play anywhere, stream audio, and browse and edit presets with the app, then load them wirelessly to TONEX Plug.TONEX Plug Overview
Personal headphone amp with AI Machine Modeling™ for guitar and bass
Over 40,000 FREE Tone Models on ToneNET, plus Premium and Signature Collections
Fully compatible with the growing TONEX Ecosystem
Stores 30 user presets across 10 color-coded banks
Find, load, and edit presets wirelessly via TONEX Control App (iOS/Android)
Stream stereo audio via Bluetooth from all popular apps
Also functions as a high-quality USB-C audio interface
Onboard EQ, gate, compressor, delay, modulation, and reverb
Built-in chromatic tuner with LED indicator
1/4" swivel jack and 1/8" stereo headphone output
Rechargeable battery with up to 6 hours of playtime
Includes TONEX SE and AmpliTube 5 SE software for capturing, recording, and playing
Great Tone on the Go From the first note, players will experience incredibly rich, dynamic, and touch-sensitive tones from an ultra-compact device. TONEX Plug, through its control app, also provides unlimited access to ToneNET, the world's most popular tone-sharing platform. Users can expand their personal library of sounds to suit any style or session at a moment's notice. Whether it's a beloved vintage amp or models of their own rig, users can load any Tone Model wirelessly and transport themselves to the front of the stage as every nuance of the original rig comes to life. The TONEX Plug is ideal for silent rehearsal and travel.
Practice, Play, and More With TONEX Plug, users can explore their tone library in complete silence using headphones, stream backing tracks via Bluetooth, jam with YouTube lessons or music-learning apps, all while playing their guitar or bass through high-quality amps and effects. Additionally, a built-in tuner and metronome eliminate the need for extra gear, allowing players to focus on improving their skills or warming up for gigs.
A Community of Great Tone The TONEX Plug isn't limited to just factory sounds. Through the app, users can instantly connect to ToneNET and explore over 40,000 free Tone Models, as well as Premium and Signature collections. The active ToneNET and Tone Partner community uploads and shares some of the most sought-after amps ever made, all of which are easily searchable by song and artist keywords or by using dedicated filters such as instrument, type, Most Liked, Top 10, and more.
Total Tonal Control The TONEX Control app for iOS and Android serves as the wireless command center for TONEX Plug, providing real-time control over all parameters. Easily browse and load Tone Models from ToneNET. Edit the amp, cab, EQ, IRs, and TONEX FX with precision, and save changes directly to the hardware.
With drag-and-drop editing and integration with Premium and Signature Collections, TONEX Control transforms the TONEX Plug from a headphone amp into a fully customizable tone workstation that adapts to any workflow.
For Learning, Recording, and More Whether it's learning new chords or recording professional-level tracks, TONEX Plug gives users more ways to connect. Stream audio wirelessly from devices via Bluetooth or connect directly to a computer to unlock even more possibilities.
With many guitar and bass learning apps offering real-time feedback, the connected TONEX Plug ensures precise note tracking, delivering a studio-quality tone. It's the perfect companion for practicing smarter and sounding better everywhere.
And when inspiration strikes, TONEX Plug also works as a high-quality audio interface. Easily record directly to a desktop setup via USB-C, without the need for extra equipment. The best tones are always just one connection away.
Signature Tone Anywhere TONEX Plug users can easily capture their own rig and take it anywhere with IK's powerful AI Machine Modeling. The included TONEX Modeler profiles a rig's tone in just minutes using real guitar signals - not just test tones - and delivers unprecedented authenticity. Players can take Tone Models of their own rigs on the road, backstage, or wherever they go.
Pricing and Availability TONEX Plug will ship in November and can be ordered now from the IK online store and from IK dealers worldwide at the following prices:
TONEX Plug - $/€149.99* - Includes TONEX Plug, USB-C cable, TONEX SE and AmpliTube 5 SE software.
TONEX Plug + Pouch - $/€159.99 - Includes TONEX Plug, custom carrying pouch, USB-C cable, TONEX SE and AmpliTube 5 SE software.
So-called "cowboy chords" have been fundamental to the guitar since its invention. In this lesson, we'll look at easy ways to spice up these everyday grips so they'll add interest to your playing, improve your rhythm, and liven up even the most predictable of progressions.
What is a Cowboy Chord?
Speculation abounds regarding the origin of the term "cowboy chord," but here's an explanation that makes sense to me: In many 1940s movies, such actor-musicians as Roy Rogers and Gene Autry portrayed cowboys who played guitar and sang. In these musical scenes, the actors strummed first-position, open-string chords and seldom strayed beyond the 3rd fret.
However they earned this nickname, cowboy chords remain essential to all guitarists—from beginners to pros. Unfortunately, many players rarely get past the most basic shapes shown in Ex. 1. That's a pity because by just moving a finger or two—or sometimes simply lifting a finger off the fretboard—you can add color, tension, movement, and zest to your playing. Let's make that happen now!
Cowboy Chords Ex. 1
Just Move a Finger
These days it seems like every other hit song features the prosaic I–VIm–IV–V progression. Now there's nothing wrong with the progression itself. In fact, the reason we hear it so frequently is because it sounds good, and it has been used masterfully by everyone from George Gershwin to the Rolling Stones and the Police. But the aforementioned songwriters knew that to make the everyday unique, you need to add some spice.
That's exactly what we've done in Ex. 2. This example demonstrates two basic concepts: The first is that you can add color to the most basic chords, in this case C–Am–F–G, by moving, removing, or adding a finger to each voicing. This second concept is particularly interesting because even though we keep moving the same notes on the 2nd string against the first three chords, the quality of these chords keeps changing. For example, when you let the 2nd string ring open on a C chord, it becomes a Cmaj7, but when you let the same string ring open on an Fmaj7 chord it becomes the much more sophisticated Fmaj7#4. Now that's spice.
Cowboy Chords Ex. 2
Ex. 3 uses the same progression (I–VIm–IV–V), this time in the key of G, but now all the movement happens on the 1st string. Once again, we find ourselves with some very elegant harmonies. The Gmaj7 in measure one is particularly noteworthy because it sounds quite mournful, as if longing for something. Lost love perhaps? Maybe that's why the Smiths, Jim Croce, and the Sundays have all used it to complement melancholy lyrics.
Cowboy Chords Ex. 3
Ex. 4 expands upon the "move a finger" idea by moving several fingers to create a melodic motif in the D and G chords. It also gives movement to the A7 chord by shifting shapes up and down the neck. We'll expand upon the latter idea in the next example.
Cowboy Chords Ex. 4
Spice Up Your Blues
Ex. 5 appears to be a common 12-bar blues, and form-wise this is true, but the uncommon movement we've applied to the E7 and A7 shapes adds considerable harmonic sophistication with very little effort.
Cowboy Chords Ex. 5
Going Outside the Key
Up to this point, all of the examples have been completely diatonic, meaning all the notes we've added to the basic triads have been in the same key as the chord progressions. But what happens if we add some notes that are not in the home key? Well, now things get really spicy, though no more difficult to perform. Ex. 6 is an ingenious example of how to add variation when you're stuck on one chord for more than a measure or two. Notice how tense the progression becomes when you play the Em#5 and yet completely relaxes when you conclude on the Em. This particular progression, both descending (as shown) and ascending (just play in reverse order) was used numerous times by the Beatles, most notably in "Eleanor Rigby," "Hey Bulldog," and "Savoy Truffle."
Cowboy Chords Ex. 6
Speaking of the Beatles, Ex. 7 is a progression they learned from "Don't Ever Change," written by Gerry Goffin and Carole King and recorded by the post-Buddy Holly Crickets. Once again, the tension created by the D augmented chord resolves very nicely into the D6 on the way up, and into the D triad on the way down. By the way, if you just play the D to Daug over and over again, you'll find yourself playing the verse to Eddie Money's "Baby Hold On."
Cowboy Chords Ex. 7
Add Some Bass
So far, all our examples have focused on movement and color in the higher registers, but you can also add spice to the bass notes. Ex. 8 is a folk and folk/rock staple, used by everyone from Simon and Garfunkel to Led Zeppelin and, despite the obvious chord names that are written here, it's relatively complex harmonically. You see, in this folk context, it is best to name the chords using the bass-note slash, i.e., Am/G–Am/F#–Am/F. But in different contexts, particularly in jazz, those last two chords could be named F#m7(b5) and Fmaj7, suggesting that adding a bass note can radically alter—and enhance—the harmonic quality of any given chord.
Cowboy Chords Ex. 8
Ex. 8 featured a descending bass line, but in Ex. 9 we'll turn that around and have the bass ascend while we're playing an Em chord. Notice how we've included a non-diatonic note, Bb, at the end of the progression. This adds tension that's released by the final Em.
Cowboy Chords Ex. 9
Be Judicious
These exercises have been specifically designed to get you into the habit of adding variation to your everyday cowboy chords. They're also, as good exercises should be, rather formulaic. While you play through them, remember that when making up your own progressions, you don't need to add movement to every chord. Maybe you insert movement in the verse but not in the chorus, or vice versa. There's no need to overdo it: A little spice can go a long way toward making your songs and arrangements a lot more inventive.
