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LA Amp Show '10 - LSL Instruments & Red Jones Amps

PG's Joe Coffey is On Location at the 2010 LA Amp Show where he visits the room shared by LSL Instruments and Red Jones Amplifiers. In this segment, we get to check out LSL Instruments' Paisley T-Bone Pine, T-Bone Aged SA, and a S-style model. In addition, we get to hear these LSL Instrument guitars through Red Jones Liverpool model influenced by the Trainwreck model.



PG's Joe Coffey is On Location at the 2010 LA Amp Show where he visits the room shared by LSL Instruments and Red Jones Amplifiers. In this segment, we get to check out LSL Instruments' Paisley T-Bone Pine, T-Bone Aged SA, and a S-style model. In addition, we get to hear these LSL Instrument guitars through Red Jones Liverpool model influenced by the Trainwreck model.

Hand-built in the USA, this pedal features original potentiometer values, True Bypass, and three unique modes for versatile distortion options. Commemorative extras included.

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Gator Cases offers custom cases for Flying V and Explorer style guitars in their Traditional Deluxe Series.

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The Smiths’ 1984 press shot. From left to right: Andy Rourke, Morrissey, Johnny Marr, and Mike Joyce.

Bassists from California’s finest Smiths tribute bands weigh-in on Andy Rourke’s most fun-to-play parts.

Listen to the Smiths, the iconic 1980s indie-rock band from Manchester, and you’ll hear Andy Rourke’s well-crafted bass lines snaking around Johnny Marr’s intricate guitar work, Mike Joyce’s energetic drumming, and singer Morrissey’s wry vocal delivery.

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Guitarist Brandon Seabrook, architect of fretboard chaos, and his trusty HMT Tele.

Photo by Reuben Radding

With a modified and well-worn heavy metal Tele, a Jerry Jones 12-string, a couple banjos, some tape sounds, and a mountain of fast-picking chops, New York’s master of guitar mayhem delivers Object of Unknown Function.

“It’s like time travel,” says Brandon Seabrook, reflecting on the sonic whiplash of “Object of Unknown Function.” The piece, which opens the composer’s solo album of the same name, journeys jarringly from aggressive “early banjo stuff” up through “more 21st-century classical music,” combined with electronic found sounds from a TASCAM 4-track cassette recorder. The end result approaches the disorientation of musique concréte.

“The structure is kind of like hopping centuries or epochs,” he adds. “I [wanted] all these different worlds to collide. It’s like a choose-your-own-adventure.”

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