One of Nashville’s most prolific guitarists takes us to the legendary Blackbird Studio and shows us the rig he uses in sessions for the likes of Taylor Swift, Buddy Guy, Kenny Chesney, and more.

Greenberg’s board was built by XTS using a Pedaltrain board and Voodoo Lab power supplies. The signal starts with a Boss CS-2 Compressor Sustainer then hits an Xotic RC Booster, Basic Audio Scarab, Paul Cochrane Timmy Overdrive, Klon Centaur, Boss GE-7 Equalizer, and a Boss TR-2 Tremolo. After the signal goes through the drawer of pedals (next photo), the signal runs back to the main board where it hits a Dunlop volume pedal that always sends a tuner-out signal to a Boss tuner and a output signal to a Boss DD-500 Digital Delay, Strymon Mobius, Strymon TimeLine, and lastly a Line 6 M9 Stompbox Modeler.

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This rare English Tonemaster was made circa 1957.

The Valco-produced English Tonemaster is a rare, lap-steel-inspired gem from the 1950s—when genres and guitar design were fluid.

The 1950s were a peculiar time for the electric guitar. Innovators, designers, and tinkerers were pushing the boundaries of the instrument, while musicians were experimenting with various playing techniques and sounds. There was an evolution of sorts (or de-evolution, depending on your slant) from solidbody “sit-down” guitars, like pedal and lap steels, to “stand-up” or “upright” solidbody electrics. If you look at an early Fender catalog—let’s say from 1953—you’ll see the Telecaster (and Esquire), the Precision Bass, and then a whole bunch of steel guitars. There was a shift underway, and many manufacturers began to blur the lines of what a guitar should look, sound, and play like.

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PRS Guitars and John Mayer officially announce the PRS SE Silver Sky, an affordable version of the original with PRS trademark bird inlays and three single-coil pickups.

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