
From precious Pauls to ruby-red Jags and sparkling quirk machines, 30 PG fans flaunt their favorite guitars, amps, and pedals.
We asked and you delivered! PG tapped its diverse audience to see what prized possessions our readers keep in their personal gear collections. The submissions ran the gamut from a holy-grail guitar acquired via inheritance, a high-school graduation present, a post-coma-recovery treat, a rockin’ wedding gift, a self-build project, and many great tales of cherished tone tools.
Colin O'Hara
My mum passed away a few years ago and left me some inheritance. I used some of that money to get something I would’ve never afforded otherwise, and I knew it would never leave my side as long as I live—the above 1964 Fender Jaguar (from the pre-CBS era). It’s my most valuable (sentimental) possession and the most amazing guitar to play to boot!
Steve Tanner
If I had to pick just one it would be my 2016 Gibson Les Paul Traditional. We had lost both parents in rapid succession and after we settled everything, I had enough for a down payment on a condo and I set aside some money for a new guitar. It’s kind of the last thing they gave me.
Eric Tower
My 2011 Gibson Les Paul Studio Deluxe that I bought with my high-school graduation money. With its coil-tapping capability, I can achieve single-coil sounds along with the typical humbucker sounds of a Les Paul. And it has the most-comfortable neck I’ve ever played as well. It’s been my main guitar ever since I bought it!
Antoine Lespine
My Fender Super-Sonic. It’s not an expensive guitar but I wanted it for a long time. Finally, after recovering from a coma and long hospitalization, I decided to buy it just for the pleasure of enjoying life.
Dave Dardo
My 1983 Fender Strat Elite (hard tail) because it’s so versatile. It offers pleasing bright tones and with the turn of a few controls I can get some nice, thick mids. Pairing it with a Mesa/Boogie Single Rectifier 50-watt head into a Budda 2x12 and 2x10 open-and-closed back combination cabinet is magic.
Geo Jet
For many years, this was my go-to rig for larger venues. It’s so adaptable with the Seymour Duncan Antiquity II Mini Humbuckers in the Firebird going through the Marshall Vintage Modern half-stack. And for straight-out rock and blues, the smallbox 1987 Marshall Jubilee 2553 stack just can’t be beat.
Jeff Boule
To me, prized = integral. When you bill yourself as an electronic guitarist, you need a guitar to interface. My 1977 Fender Mustang that has a Roland GK-2 Guitar Synthesizer pickup paired with a set of Lace Red and Blue single-coils—plus a Kahler Trem and Sperzel Locking tuners—does just that. It’s my first guitar and still my main guitar.
Charles Gouger
This is my collection. The one I save if my house is on fire is my white Fender Mustang (on the couch). It’s the cheapest one in my collection, but the one I cherish the most.
Ray Vasquez
I seriously can’t pick! I waited all my life to have a setup like this: a 2005 Fender Stratocaster (MIM) that has a Seymour Duncan SJBJ-1b JB Jr Strat humbucker (bridge) matched with Seymour Duncan Antiquity single-coils (middle and neck). The VHT 12/20 is dimed for dirt, while the Vintage Sound Vintage 35 (Vibrolux-style 1x12 combo) is a loud 35 watts, so I only run it at 2.5 for cleans. This is the best tone I've ever had.
Justin Michael-Thermal Tran-Sheetz
My prized possession has to be the Tele I put together using a custom Warmoth body and neck. The body is mahogany with a cherry burst and the neck is roasted maple with a reverse headstock. I loaded this with some Seymour Duncan P-90s (the bridge has a humbucker-sized P-90) and wired a volume boost on my push-push tone knob. It plays like a dream and sounds amazing.
Bones BFMC
My first Gibson was a 1959 Melody Maker I got in 1973 from my aunt for $100 including a Gibson amp. Never looked back!
John Farmen
My 1959 ’burst clone. I never thought I’d like something that wasn’t a Tele so much.
Gregory DuPont
Easy! It’s my 2009 Ibanez Xiphos XPT700 that has a custom powder-coated trem, pickup rings, and tuning pegs.
Tracy Cooper
I have five Strats, two basses, a Tele, and three acoustics, but my go-to is the beautiful Beatrice. She’s a Jim Deacon Strat-style guitar that carries Ernie Ball Regular Slinkys (.010–.046). She’s heavy to hold, but she sounds amazing. I bought her as a run-down, non-working wreck, and I brought her back to life. She’s mama’s best girl!
Rob Peard
I gotta say it’s my Supro Limited Edition David Bowie Dual Tone with Bigsby (seen alongside the Milkman Sound The Amp). Some might say this is a shameless cash-in on Bowie’s legacy, but to be honest, I had always wanted this model because I’m a Link Wray fan foremost. Plus, I liked the idea of having a Bigsby without the compatibility issues of the original. It took over a year to receive my order, but it was perfectly constructed and set up. This is #115 of 432 made.
JB Gimena
My 2012 Fender American Vintage ’52 Telecaster is my number one guitar. It’s most precious to me because it was a gift from my wife for our wedding.
Ryan Coy
I’m a big David Gilmour fan, so it has to be my Black-Strat-esque Stratocaster that I pieced together. It features the same pickups as his signature Custom Shop model—Seymour Duncan SSL-5 Single-Coil Strat (bridge), Custom-wound Single-Coil Strat (middle), and Custom Shop Fat ’50s Single-Coil Strat (neck)—and an American Vintage synchronized tremolo with a shortened trem bar.
Phillip Eakens
Can’t make a decision so I’ll say my 2001 Gibson Les Paul Standard—arguably the world’s most perfect guitar—and my 1959 Harmony Stratotone. (It was the first guitar I ever played.) Can you hear that? The sustain … well you would if you were playing it!
Jesse Shafer
My prized possession is the guitar I built during the summer after I graduated high school. It has a mahogany neck and body, a maple top, and a rosewood fretboard. It has a Gibson scale length, and its neck is modeled after my other Les Paul, but it thins out towards the body and has a volute. Hardware includes Grover tuners and a Gotoh bridge. I disconnected the bridge pickup, and the neck pickup is a Seymour Duncan JB with 500k volume and tone pots. The side dots were made with red and blue crushed-up colored pencils. I spent about 10 hours making the truss rod cover by plying all kinds of wood-scraps together. I finished it with polyurethane. While I was buffing the body, I accidentally dropped the guitar and the body cracked in half. At one time, the entire back of it was covered in red paint. In a panic to get the paint off, I ended up touching the front of it and now there are red fingerprints on the front within the finish. The bolt-on neck joint is super crude. I made a little wooden badge inside the “f” hole.
It’s very rough around the edges—I was 18 and idiotic when I built it. That said, it plays and sounds like a dream. One of the most resonant guitars I’ve played and certainly the most resonant that I own. Intonation is astoundingly spot on. I have played many gigs with this guitar and have logged a couple thousand practice hours on it. I wouldn’t trade it or the stories I have with it for the world!
Ben Robertaccio
This 2000s Gibson Vegas Standard and my all-rosewood Tele work in almost every recording situation.
Rambo Brown
This EVH 5150III head has something special in it! I’ve tried to replace it with other EVH options (100W, EL34, 50W Stealth), but nothing ever works like it does. It pisses me off and haunts me in my sleep. I always come back to this MF-er!
Reza Moosavi
I’ve been lucky enough to acquire a few Kenneth Lawrence instruments. The first (and my favorite) is this Custom Explorer, aka “The White Walker.” This is ultimately the best guitar I’ve ever played for a multiplicity of reasons: Its level of clarity, punch, and sustain. The craftsmanship is breathtakingly exact, and it feels absolutely smooth due to the hand-rubbed oil finish.
Danny Medrano
I own my dream guitar! It’s a Gibson RD with Fishman Fluence Modern humbuckers. It’s so well balanced, the action is perfect, and its intonation is perfect. It handles every type of tone or style you can throw at it. Plus, it’s just a sexy hunk of mahogany. (These Dr. Z cabs are a close second.)
Reinaldo Andrade
My mid-’90s Yamaha Pacifica 912J. When I first saw the photo of Michael Lee Firkins with a Pacifica in Yamaha ads in guitar magazines, I knew that one day I would have my own. It was love at first sight.
Back to my 912J—it’s an incredible guitar. You can play all styles of music with ease, and it has beautiful tones. Inside detail: it came from the factory with DiMarzio pickups (a custom humbucker in the bridge and a pair of HS-2 single-coils in the middle and neck positions). If I had to stay with just one guitar, it would be this one.
Matt Deeley
This 2003 Gibson Les Paul Standard. And for me, the Les Paul’s from this era were superb. I’ve owned many guitars over the years, but this is the only one that’s stayed the course. It’s been played to death.
Joseph Torres
This is my PRS SE Mark Tremonti. (I believe it’s from 2012 judging by the serial number.) I’ve had this guitar for five years now and it’s become my ace. I love it because of its versatility and how comfortable it fits in my hands. Every time I pick it up, I remember why I wanted it in the first place. Oh yeah, I got tacky and put an Apple sticker on it. Anyway, it’s a great guitar and I can’t recommend PRS enough.
Richard Leo
I can’t afford a Gibson, but I didn’t need to with this one. The mid-’90s, Asian-made Vesta copy has the weight, tone, and feel of a Gibson 10 times its price. Plugged into my Laney VC30-212 and with clever manipulation of the tone and volume dials, I almost never need pedals. It was stolen a couple of years ago in a home robbery and still hasn’t resurfaced in the second-hand market. I haven’t found anything quite like it since.
Ryan Embree
My PRS Torero. I got it modded the way I want it with all kinds of FU-Tone goodies. This thing screams and is my main for a reason. I found it while used-guitar hunting and fought with the seller super hard to even get my hands on it.
Jeremy Santos
My 1980 Guild D-25 (made in Westerly, Rhode Island). I’m only the third owner of this absolute workhorse guitar. In fact, the guy I bought it from had a Fishman Matrix system put into it at a store in Westerly by a former Guild employee! As a founding member of a local Rhode Island acoustic duo, having a well-built, amazing-sounding acoustic is a top priority. I’ve used many different guitars over the years, but none compared to the sound and feel of this Guild! This will always be my number one. And being a Rhode Islander myself, having a guitar that was built here is pretty cool!
Rod Nesser
My 2012 Fender Cabronita FSR (MIM) that’s been retro-fitted with Fender locking tuners, a Rutters La Burrito bridge, a Les Paul-type, square-brass jack plate, and a Warmoth .09 black pickguard. I purchased this guitar in 2012 and it’s been my number one instrument since. In fact, I seldom play any of my other guitars. Together with my Vox AC30C2, Boss FRV-1 Reverb, and Selah Effects Feather Drive, this guitar has been my tone for the last eight years (and I don’t intend to change anything anytime soon). Initially, I did contemplate replacing the Fideli’Tron humbuckers for actual TV Jones Filter’Trons, but I actually like how the original Fideli’Trons sound through my amp against the bass player and loud drummer—they really cut through live! Needless to say, this axe is a keeper!
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Columnist Janek Gwizdala with heroes Dennis Chambers (left) and Mike Stern (right).
Keeping your gigging commitments can be tough, especially when faced with a call from a hero. But it’s always the right choice.
Saying “yes!” to everything early on has put me in a place now where I can say no to almost everything and still be okay. That wasn’t without its challenges. I’d like to share a story about a “yes” that would haunt me for years.
As bass players, we can, if we choose, quite easily find ourselves in a wide variety of situations without having to change much about our sound or our playing. If your time is good and you’re able to help those around you feel good and sound better, the telephone will pretty much always ring.
Playing jazz as an electric-bass player living in New York City from 2000 to 2010 was somewhat of a fool’s errand in terms of getting work. No one wanted electric bass, and bandleaders would go to the bottom of a list of 100 upright players before they would even think about calling you. Not only that, but I wasn’t even at the top of the electric list when I first moved there. Not even close. Anthony Jackson, Richard Bona, Will Lee, Tim Lefebvre, James Genus, Lincoln Goines, Mike Pope, John Benitez, Matthew Garrison—that’s a who’s who of the instrument when I first moved to town, and I was very much a freshman with almost no experience. Almost…
I’d been lucky enough to play extensively with Kenwood Dennard (Jaco’s drummer), and a little with Hiram Bullock (Jaco’s guitarist) before moving to NYC which helped create a little momentum, but only a VERY little.
This is where the story begins:
I’d sent Mike Stern a demo back in late ’97. He’d not only taken the time to listen to it but had called my parents’ house right after I moved to the U.S. to tell me he loved it and wanted to hang. I missed the call but eventually met him at a clinic he gave at Berklee.
Of course, I was buzzing about all of this. It helped me stay laser-focused on practice and on moving to NYC as soon as possible. I got the typical “look me up when you get to town” invitation from Stern and basically counted the seconds through the three semesters I stayed at Berklee until I could split town.
I arrived with a ton of confidence but zero gigs. And nothing happened overnight. It really took saying yes to literally everything I was offered just to keep a roof over my head. Through that process, I felt like I was getting further away from playing with my jazz heroes.
The early gigs were far from glamorous—long hours, terrible pay, and sometimes, after travel expenses, they cost me money to play.
“Whenever I have a single moment of doubt, I think about the time I had to say no to my heroes—the reasons I moved to America, the reason I do what I do.”
When Stern finally called, a few years into living in NYC, things started to move pretty quickly. I began playing a lot of gigs at the 55 Bar with him, and short road trips became a thing—a four-night stint at Arturo Sandoval’s new club in Miami, gigs in Chicago, Cleveland, and upstate New York, and then some international work, including a tour of Mexico and a trip to Brazil, if I remember right.
But the hardest phone call of my career came from Mike not long into my time touring with him. It went something like this:
“Hey man, what’s your scene in April? Lincoln can’t make a trip to the West Coast. It’s just one gig. Trio… with DENNIS CHAMBERS.”
Mike didn’t shout Dennis’ name, but that’s how I heard it. My all-time hero. Someone I’d been dreaming about playing with for over 15 years. And here’s the kicker: I had to say no.
I’d just committed to six weeks with Jojo Mayer’s band Nerve in Asia and Europe, and there was no way I could bail on him. And there was no way I could afford to ditch six weeks of work for a single gig with Mike. To say that haunted me for years is an understatement. I was destroyed that I had to turn it down.
The tour with Jojo was amazing—the posters hang in my studio as a reminder of those times to this day. And thankfully, I was able to go on some years later and play dozens of shows with Mike and Dennis all over the world—truly some of the highlights of my career.
I still think about that phone call, though. Whenever I have a single moment of doubt, I think about the time I had to say no to my heroes—the reasons I moved to America, the reason I do what I do. I get emotional writing and thinking about it even now. But I've learned to never have regrets and understand you just have to believe in the process and maintain the willpower to continue—no matter what.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.