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Accessories

ENKI announces the launch of its newest model, the ENKI X case.

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Steve Albini in the control room at his Electrical Audio studio in Chicago.

Photo by Kevin Tiongson

Words of wisdom from the legendary engineer, proprietor of Chicago’s Electrical Audio, World Series of Poker champion, and, in the band Shellac, the compass for brutal guitar aesthetics.

“All day every day, we’re grinding it out,” says engineer Steve Albini of his team at Electrical Audio, the Chicago studio he built and has run since 1997. “We’re constantly in session, constantly under fire.”

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Top 10 Rig Rundowns of 2023
Best Rig Rundowns of 2023

PG's video crew recounts their favorite moments from this year's interviews and counts down the most-popular episodes—featuring some obvious big-hitters like Kenny Wayne Shepherd, Billy Strings, Steve Vai, and Alter Bridge—that culminate with a few surprises that top out the list.

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Blue Öyster Cult’s 1972 debut album—home of the original version of “Cities on Flame with Rock and Roll.”

What does a banana with a humbucker wedged into it really prove about guitar sound?

I recently asked Alexa, the device I pay to spy on me in my home, to play “Cities on Flame with Rock and Roll,” by Blue Öyster Cult. I hadn’t heard the song in ages, but the opening riff sounded so damned rock that my immediate reaction was “That’s exactly how a Marshall should sound!” Then, the algorithm kicked out “Sweet Child o’ Mine,” by Guns N’ Roses, followed by AC/DC’s “Highway to Hell”—both also exactly how a Marshall should sound. Later that day, I pulled out the Blues Breakers with Eric Clapton album, and, indeed, E.C.’s combo sounds exactly how a Marshall should sound. So does Anthony Pirog’s amp on The Messthetics and Five Times Surprise. And since the latter is a Mahavishnu Orchestra tribute, I dropped the needle on Mahavishnu’s live Between Nothingness & Eternity and, well, you know, John McLaughlin’s amp sounds exactly like a Marshall should sound.

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Grover’s Sta-Tite tuning machine, with a retro butter-bean button and 18:1 gear ratio.

Curious about upgrading your tuners? It’s not as simple as you might think.

Throughout the years, tuning machines for guitars have seen various styles and iterations. From the original open-back tuners, to the introduction of stamped-metal covers, and eventually the transition to sealed, grease-filled tuners, the designs of these machines have continuously evolved. Over the course of decades of playing, three cherished guitars have been my faithful companions: a 1956 Stratocaster, a 1957 P bass, and a 1957 Martin D-18. These instruments still bear their original tuners, which have proven to be reliable and functional to this day. With proper maintenance, these vintage tuners continue to serve their purpose, and there is no reason to replace them with modern alternatives.

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