A bona fide twang-guitar legend shares stories of his time with Clapton and gives an inside look at how he approaches his signature sound.

Albert Lee owns a lot of great guitars, including Don Everly’s 1958 Gibson J-200 in custom black and a 1958 Gibson Les Paul Custom (which was a gift from Eric Clapton), this EBMM signature model has been at his side for 25 years. It features a laminated maple top, Southern ash body, a Music Man vintage tremolo, maple neck with 25-1/2″ scale, and a 10" neck radius. It’s powered by a trio of custom Seymour Duncan pickups featuring the company’s Silent Circuit, which helps with hum. He strings them up with Ernie Ball Slinkys (.010–.013–.016–.026–.036–.046).


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D'Addario Auto Lock Strap: http://ddar.io/AutoLockStrap



A maze of modulation and reverberations leads down many colorful tone vortices.

Deep clanging reverb tones. Unexpected reverb/modulation combinations.

Steep learning curve for a superficially simple pedal.

$209

SolidGoldFX Ether
solidgoldfx.com

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A lot of cruel fates can befall a gig. But unless you’re a complete pedal addict or live in high-gain-only realms, doing a gig with just a reverb- and tremolo-equipped amp is not one of them. Usually a nice splash of reverb makes the lamest tone pretty okay. Add a little tremolo on top and you have to work to not be at least a little funky, surfy, or spacy. You see, reverb and modulation go together like beans and rice. That truth, it seems, extends even to maximalist expressions of that formula—like the SolidGold FX Ether.

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The Atlas Compressor offers up an extensive library of compression options and allows for transformation into a bass specific compression machine.


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