PG's John Bohlinger and Gruhn Guitars' Lloyd Nicely plug into not just one but three of Leo's most coveted vintage tweed amps.

When it comes to vintage guitars, few places on earth can even hope to compete with the expertise and inventory of George Gruhn’s mainstay shop in Nashville. Gruhn's Guide to Vintage Guitars is one of the most referenced books you can find on the subject, and the crew at Gruhn Guitars is second to none at the history, inspection, certification, repair, and upkeep of fine guitars. They’ve also got a pretty stellar collection of vintage amps. So stellar, in fact, that we’ve decided to partner with Gruhn Guitars to give you an opportunity to hear notable guitars and amps from their collection, as played by Premier Guitar’s own John Bohlinger, as well as to learn what makes the rare specimens special from repair shop manager Greg Voros.

A compact pedal format preamp designed to offer classic, natural bass tone with increased tonal control and extended headroom.

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In their corner, from left to right: Wilco’s Pat Sansone (guitars, keys, and more), drummer Glenn Kotche, Jeff Tweedy, bassist John Stirratt, guitarist Nels Cline, and keyboardist Mikael Jorgensen.

Photo by Annabel Merhen

How Jeff Tweedy, Nels Cline, and Pat Sansone parlayed a songwriting hot streak, collective arrangements, live ensemble recording, and twangy tradition into the band’s new “American music album about America.”

Every artist who’s enjoyed some level of fame has had to deal with the parasocial effect—where audiences feel an overly intimate connection to an artist just from listening to their music. It can lead some listeners to believe they even have a personal relationship with the artist. I asked Jeff Tweedy what it feels like to be on the receiving end of that.

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Luthier Maegen Wells recalls the moment she fell in love with the archtop and how it changed her world.

The archtop guitar is one of the greatest loves of my life, and over time it’s become clear that our tale is perhaps an unlikely one. I showed up late to the archtop party, and it took a while to realize our pairing was atypical. I had no idea that I had fallen head-over-heels in love with everything about what’s commonly perceived as a “jazz guitar.” No clue whatsoever. And, to be honest, I kind of miss those days. But one can only hear the question, “Why do you want to build jazz guitars if you don’t play jazz?” so many times before starting to wonder what the hell everyone’s talking about.

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