You’ve probably never run into Howard Johnson staying at one of his hotels, or talked stocks with Charles Schwab, but the beauty of the guitar industry is the visibility
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For our video interview, plus footage of rare historical pickups and inside the Seymour Duncan factory, click here. |
How did you get into the pickup business?
I was about 12 or 13 years old, and someone had borrowed one of my guitars – a ’56 Telecaster – and they got the high E string wedged under the lip [of the pickup]. It was gouged into the coil, so it didn’t work and I had to play all night with just the rhythm pickup.
So the next week, I went to school and took apart the pickup in Biology class because I had microscopes, tweezers and other stuff handy. I started pulling all these fine hairs and pieces of wax off the pickup in an attempt to figure out what the problem was. I’d take the turn off and it would break again.
At the same time, I was playing on a bill with a band at Tony Mart’s in Ocean City, New Jersey. The band eventually became known as the Hawks – and went on to become the Band and play with Bob Dylan. The guitarist, Robbie Robertson, and I were talking and he said, “Maybe my pickup sounds fatter because I have more turns on it than yours.” I had only a vague idea what he was talking about, because I knew little about pickups at the time.
Les Paul gave you some pointers along the way as well, right?
Yeah, my uncle knew Fred Waring and Paul Whiteman, who were band leaders in the 1930s and 40s, and he eventually took notice to me liking the guitar, so I took a trip with my uncle to Atlantic City to see Les Paul and Mary Ford. After the show, we went backstage and I saw Les’ pulverizer and everything he had on his guitar. I asked Les what the pickup was and how it worked, and he told me.
Later, he talked on a radio show about how he remembers me as a little kid, coming backstage to talk to him and how I now do guitar pickups. I played a tape of the radio show for my employees.
So you started out making pickups just for yourself?
Yes, they were just for my guitars. A few years later, when I was 16 or 17, I was winding pickups with my own machine and repairing old guitars and reselling them. I sold a ’57 Strat for $35! I never imagined that a guitar would be so valuable today – I had dozens of them that I fixed and resold.
Just by that experience, I started doing things. I went to eight grammar schools, four high schools, two sub-universities and photography schools, and it was hard being the new kid in town. But by the time I was 16 and 17, I was always the new guitar player in town, and that made it easier to socialize when moving around so much. Once you’re in a band it’s pretty easy to meet new people, and it was great. Some of my first customers were local bands from South Jersey.
Was it through these repairs that you gained an appreciation for vintage instruments?
Well, when I moved from New Jersey to Cincinnati, I did repair work for a place called Dodd Music center, but there was another store in Norwood, Ohio called Hughes Music. I’d see all these old guitar parts and once asked Mr. Hughes what he was going to do with so many maple Tele and P-bass necks. He grabbed one of the necks, turned on the bandsaw and cut the neck in three or four places. He used these pieces as starter firewood for his fireplace.
They were warranty necks because the finish was wearing off the fingerboards, and people were trading them in for new ones with rosewood fingerboards. Mr. Hughes had hundreds of necks, and walls and walls of parts. I had a newer Tele and he liked the new stuff, while I liked the older stuff, so I traded him.
The old Tele had all the old ’53 hardware and the serial number on the plate was 1835. At the age of 16, I was already very much interested in vintage. For one, you could find them at a decent price, but it wasn’t just that. Something about the older guitars just really appealed to me.
I watched Roy Buchanan play an old ’53 he called Nancy – I loved that sound. There was another band called the Fendermen who always played their blonde Teles, Strats and P-basses. These were the first bands I saw and they all played older guitars.
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My first pickup was basically a single-coil pickup. I would cut out each pickup and each piece of flatwork one at a time. I also made a router jig, and I would route out each blank part and then drill each hole out. After making some money doing that, I bought a Roper-Whitney punch and made a fixture where I could line up each pole piece and punch out each piece one at a time. I did thousands of hole-punches in bobbins.
What was the first official pickup from the Seymour Duncan company?
Well, my first products were actually Tele pickguards and brass Tele bridges, then knobs and everything else. The first pickup was the SSL-1. We had someone call us from Nashville looking for a vintagestyle pickup – which wasn’t really being made at that point. And I started doing the SSL-1 and STL-1, which was the first Tele pickup. Then, I was doing [pickups for] Duo-Sonics, Jazz Basses and P-basses at the end of 1976 and into 1977.
We got the humbucker mold from the original Gibson molder, so we went to them and were able to get our first humbucker mold made.
Speaking of things like the original Gibson molder, you have in your possession some pretty huge pieces of electric guitar history. Can you tell us about some of these?
I have a number of pickups I received from Seth Lover. There’s a very early prototype of the Staple pickup – he made these prototypes in ‘54-‘55 and used them as a neck pickup on all the custom Les Pauls. They called it the “black beauty” or “fretless wonder.”
And then of course there’s my Holy Grail. It’s the actual pickup used for the Gibson patent, and it was given to me by Seth before he passed away. He just had it in a shopping bag; it’s fabricated like a dog-ear P-90 with the dog-ear mounting ring.
Have you ever heard it?
Oh yes, I’ve heard it. It’s actually pretty bright, but it’s because of the pole structure once it got the adjustable poles and everything.
Another one Seth just had sitting in a box was a ‘58-’59 PAF Double Cream. It’s beautiful. It was made from the old butyrate; it’s a certain grade of butyrate, but I have all the historical data on proper ingredients, temperatures and grade of butyrate that were actually used to make the pickup, and we use that in our recreations of it.
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I was doing NAMM shows with my partner Cathy Carter Duncan and Phil Kubicki of K and D guitars. Phil is a brilliant designer and craftsman and builds beautiful instruments.
So we were showing the K and D guitars with our pickups on them during one of these shows in 1976 – when the company was just about to start we were still doing re-winds – and some man came up to me and gave me a business card. He introduced himself as Seth Lover, the guy who invented the humbucking pickup.
Lover set the standard for everything and everyone. We instantly became great friends, and over the years I would go down to his place in Garden Grove, California. We were both into ham radios, so we talked a lot about them and even got on the air a few times and talked to some people in Japan and all over the place. That was so cool.
I felt very proud when he’d take me into his garage and shop. I couldn’t find anything on the workbenches, but Seth knew where everything was. He’d have boxes and boxes of transformers, and the drawers were filled with Fender parts from when he worked with Fender. The other bins would have all the Gibson parts and he’d often give me a thing here and there.
How did you get all the information on the butyrate formulas and other secrets of the pickups – directly from Seth?
Right before he passed away, he said he had some notes for me and he ended up giving me some of his notebooks with all the drawings and different plastics. I have all the sheets from the plastics that he used to make his prototypes. It’s really pretty neat to have, and some day I may publish a book with all this really cool history in it, with the drawings and everything else. I’m just so proud that he thought enough of me to pass on this history.
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The company is very proud to be associated with Seth. I was very proud to have him as one of our endorsees of the products we make here. He put his stamp of approval on our products, how we do it, the manufacturing techniques and how we make all our own parts, including bobbins. We stamp out stuff, laser-cut things, use punch machines, etc., while a lot of other pickup manufacturers buy their parts from outside sources and then assemble the parts themselves.
Who are some of the famous guitarists you’ve wound pickups for?
I’ve always really admired Jeff Beck, and when I was in England in 1972, I made a guitar called the TeleGib. It was my first JB and my first JM model. I called the bridge pickup JB for Jeff and the neck JM for John Milner, who was in American Graffiti. He had that little yellow High Boy hot rod and would drag race against Harrison Ford. This was way before I was manufacturing pickups though – these were rewinds that I had done.
I gave the TeleGib to Jeff and he used it during the last days of the BBA, and then used it on the Blow by Blow album. I actually got the chance to introduce Roy Buchanan and Jeff Beck, and for me to be able to do that was really great because they are two of my favorite guitar heroes of all time.
It was neat having Beck dedicate the Stevie Wonder cover, “Cause We’ve Ended As Lovers” to Buchanan on Blow by Blow, and then have Roy eventually dedicate a song to Beck. I grew up watching Roy Buchanan, and I was quite lucky to know him.
It has to feel good that one of your heroes created some legendary songs and tones with your creations.
I mean, it’s their talent, workmanship and tone that makes their songs really work, but when I hear Jeff’s songs he used with the TeleGib – how tasteful the sound is when he used that guitar – it’s a great feeling.
I did prototype Stack pickups for Michael Sembello for the song “Maniac,” and I worked with Buzzy Feiten when he did Full Moon. I worked with Santana in his early days, and I also did some work with Eric Johnson, who is one of my favorite players. I also worked with James Burton. When I was in England, I wound pickups for Golden Earring and they used it on their song “Radar Love.” I also did the neck pickup for Blackie, Eric Clapton’s famous Strat.
So you did all these re-windings for these guys when their other pickups went bad?
Yeah, pickups can go bad when moisture gets in through the exposed poles. I call it ICPC – Inter-Coil Pole Corrosion. It’s when the coil can actually rust and break down the insulation on the magnet wire. If you’ve ever pulled an old sixties Tele pickup that wasn’t waxed, you’d see a lot of rust around the pole pieces when you take the coil off because there are all sorts of ferrous materials in the pole pieces that can actually rust. That’s why it’s good to use the old lacquer and wax, because that’ll help to stop the moisture from permeating.
My fondest days, though, were when I rewound a bunch of old Strat pickups for Jimi Hendrix. I gave them to Roger Mayer and he put them into one of Jimi’s white Strats back in 1968. I actually rewound two sets of pickups for Hendrix. If you ever see pictures of Hendrix wearing a black brim hat with the rings on it, that’s the era I was working with him.
Actually, it’s funny – during that time, Jimi bought a ’62 or ’63 Jazzmaster, and I took photos of him with it. Two years ago, I get this call from Steven Segal asking if I knew something about a guitar he just bought from the Hendrix family – it was Jimi’s old Jazzmaster. Steven wanted to know for sure, so he came up here with his entourage, and I knew at first glance it was Jimi’s, but we compared the guitar with the photos and confirmed it.
Back in Cincinnati, I was playing at this club called the Mug Club and this guy would come in and sit with me – we were the only guys in Cincinnati (that I knew of) that could play Yardbird songs. The other guy was Joe Walsh, and this was right before he got into the James Gang. We were out there playing and we’ve been friends ever since. He actually was the one who originally got me more interested in ham radio! For me, all those guys were a lot of fun and an honor to work with.
For our video interview, plus footage of rare historical pickups and inside the Seymour Duncan factory, click here. |
Seymour Duncan
seymourduncan.com
This legendary vintage rack unit will inspire you to think about effects with a new perspective.
When guitarists think of effects, we usually jump straight to stompboxes—they’re part of the culture! And besides, footswitches have real benefits when your hands are otherwise occupied. But real-time toggling isn’t always important. In the recording studio, where we’re often crafting sounds for each section of a song individually, there’s little reason to avoid rack gear and its possibilities. Enter the iconic Eventide H3000 (and its massive creative potential).
When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
6V6 and EL84 power sections deliver a one-two punch in a super-versatile, top-quality, low-wattage combo.
Extremely dynamic. Sounds fantastic in both EL84 and 6V6 settings. Excellent build quality.
Heavy for a 9-to-15-watt combo. Expensive.
$3,549
Divided by 13 CCC 9/15
The announcement in January 2024 that Two-Rock had acquired Divided by 13 Amplifiers (D13) was big news in the amp world. It was also good news for anyone who’d enjoyed rocking D13’s original, hand-made creations and hoped to see the brand live on. From the start of D13’s operations in the early ’90s, founder and main-man Fred Taccone did things a little differently. He eschewed existing designs, made his amps simple and tone-centric, and kept the company itself simple and small. And if that approach didn’t necessarily make him rich, it did earn him a stellar reputation for top-flight tube amps and boatloads of star endorsements.
D13’s history is not unlike Two-Rock’s. But the two companies are known for very different sounding amplifiers and very different designs. As it happens, the contrast makes the current Two-Rock company—itself purchased by long-time team members Eli Lester and Mac Skinner in 2016—a complementary new home for D13. The revived CCC 9/15 model, tested here, is from the smaller end of the reanimated range. Although, as we’ll discover, there’s little that’s truly “small” about any amp wearing the D13 badge—at least sound-wise.
Double Duty
Based on Taccone’s acclaimed dual-output-stage design, the CCC 9/15 delivers around 9 watts from a pair of 6V6GT tubes in class A mode, or 15 watts from a pair of EL84s in class AB1 mode (both configurations are cathode-biased). It’s all housed in a stylishly appointed cabinet covered in two-tone burgundy and ivory—together in perfect harmony—with the traditional D13 “widow’s peak” on a top-front panel framing an illuminated “÷13” logo plate. Measuring 22" x 211/4" x 10.5" and weighing 48 pounds, it’s chunky for a 1x12 combo of relatively diminutive wattage. But as Taccone would say, “There’s no big tone from small cabs,” and the bigging-up continues right through the rest of the design.
With a preamp stage that’s kin to the D13 CJ11, the front end of the CCC 9/15 is a little like a modified tweed Fender design. Driven by two 12AX7 twin triodes, it’s not a mile from the hallowed 5E3 Fender Deluxe, but with an EQ stage expanded to independent bass and treble knobs. Apart from those, there are volume and master volume controls with a push-pull gain/mid boost function on the former. In addition to the power and standby switches, there’s a third toggle to select between EL84 and 6V6 output, with high and low inputs at the other end of the panel. Along with two fuse sockets and an IEC power-cord receptacle, the panel on the underside of the chassis is home to four speaker-output jacks—one each for 4 ohms and 16 ohms and two for 8 ohms—plus a switch for the internal fan, acknowledging that all those output tubes can get a little toasty after a while.
“Set to 6V6 mode, the CCC 9/15 exudes ’50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips.”
The combo cabinet is ruggedly built from Baltic birch ply and houses a Celestion G12H Creamback speaker. Construction inside is just as top notch, employing high-quality components hand-soldered into position and custom-made transformers designed to alternately handle the needs of two different sets of output tubes. In a conversation I had with Taccone several years ago discussing the original design, he noted that by supplying both sets of tubes with identical B+ levels of around 300 volts DC (courtesy of a 5AR4/GZ34 tube rectifier), the EL84s ran right in their wheelhouse—producing around 15 watts, and probably more, in cathode-biased class AB1. The 6V6s operate less efficiently, however, and can be biased hot to true class A levels, yielding just 9 to 11 watts.
Transatlantic Tone Service
Tested with a Gibson ES-355 and a Fender Telecaster, the CCC 9/15 delivers many surprises in spite of its simple controls and is toothsome and dynamic throughout its range. Between the four knobs, push-pull boost function, and 6V6/EL84 switch, the CCC 9/15 range of clean-to-grind settings is impressive regardless of volume, short of truly bedroom levels, perhaps. It also has impressive headroom and a big, robust voice for a combo that maxes out at 15 watts. Leaving the boost switch off affords the most undistorted range from the amp in either output-tube mode, though the front end will still start to push things into sweet edge-of-breakup with the volume up around 1 or 2 o’clock. Pull up that knob and kick in the boost, though, and things get thick and gutsy pretty quick.
While the power disparity between the 6V6 and EL84 settings is noticeable in the amp’s perceived output, which enhances its usefulness in different performance settings, you can also think of the function as an “era and origins” switch. Set to 6V6 mode, the CCC 9/15 exudes ’50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips. The EL84 setting, on the other hand, ushers in ’60s-influenced voices with familiar British chime, sparkle, and a little more punch and cutting power, too.
The Verdict
If the CCC 9/15 were split into different 6V6 and EL84 amps, I’d hate to have to choose between them. Both of the amp’s tube modes offer expressive dynamics and tasty tones that make it adaptable to all kinds of venues and recording situations. From the pure, multi-dimensional tone to the surprisingly versatile and simple control set to the top-flight build quality, the CCC 9/15 is a pro-grade combo that touch-conscious players will love. It’s heavy for an amp in its power range, and certainly expensive, but the sounds and craft involved will make the cost worth it for a lot of players interested in consolidating amp collections.
The luthier’s stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metal—it is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While it’s comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its components—an uneasy alliance of materials and craftsmanship. When it works, it’s glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why you’ll occasionally catch one tapping on a rough blank, head cocked like a bird listening. They’re not crazy. They’re hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitar’s voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate what’s already there, and there’s little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but here’s the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesn’t mention. Don’t even get me started about the unrepeatability of “hand-scatter winding,” unless you’re a compulsive gambler.
“One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.”
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone control’s usefulness. It’s subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 “vintage-spec” caps, just to see if they can “feel” the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but they’re quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
It’s All Connected
Then there’s the neck joint—the place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitar’s overall design. There are so many choices, and just as many opportunities to miss the mark. It’s like driving without a map unless you’ve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitar’s greatness doesn’t come from its spec sheet. It’s not about the wood species or the coil-wire gauge. It’s about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But that’s the mystery of it. You can’t build magic from a parts list. You can’t buy mojo by the pound. A guitar is more than the sum of its parts—it’s a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Two Iconic Titans of Rock & Metal Join Forces for a Can’t-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
Thu Sep 18 – Alpharetta, GA – Ameris Bank Amphitheatre*
Sat Sep 20 – Charlotte, NC – PNC Music Pavilion
Sun Sep 21 – Franklin, TN – FirstBank Amphitheater
Wed Sep 24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri Sep 26 – Holmdel, NJ – PNC Bank Arts Center
Sat Sep 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Mon Sep 29 – Toronto, ON – Budweiser Stage
Wed Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Thu Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Sat Oct 04 – Cincinnati, OH – Riverbend Music Center
Sun Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Fri Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Sun Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Tue Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Wed Oct 15 – Wheatland, CA – Toyota Amphitheatre
Sat Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sun Oct 19 – Los Angeles, CA – Kia Forum
Wed Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Thu Oct 23 – Albuquerque, NM – Isleta Amphitheater
Sat Oct 25 – Austin, TX – Germania Insurance Amphitheater
Sun Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity