
David Gilmour releases a special live version of the "The Piper's Call" from his solo album Luck and Strange.
"The Piper's Call Live Around The World" is a digital only release and was recorded at The Brighton Centre, Circus Maximus in Rome, the Royal Albert Hall in London, the Intuit Dome in Los Angeles and Madison Square Garden in New York and edited together by Gilmour, Charlie Andrew and Matt Glasbey to form one seamless track recorded throughout the Luck and Strange tour.
David Gilmour āOn the Luck and Strange tour, I played with the best band I've ever had. Their personalities, playing abilities and enthusiasm for my new music have made for a fabulous experience for Polly and me. Romany's voice really stands out and has its own particular character, she brings a sense of mischief and fun to the live performance, which I think we needed. Thank you to everyone who attended the shows in Europe and America and thank you for buying 'Luck and Strangeā. I hope you found as much enjoyment in the music as we did while performing it.ā
Luck and Strange was recorded over five months in Brighton and London and is Gilmour's first album of new material in nine years. The record was produced by David and Charlie Andrew, best known for his work with alt-J and Marika Hackman. The album features nine tracks, including the singles' The Piper's Call', 'Dark And Velvet Nights', and a beautiful reworking of The Montgolfier Brothers' 1999 song, 'Between Two Points,' which features 22-year-old Romany Gilmour on vocals and harp; the lead-off track, 'The Piper's Call,' and the title track, which features the late Pink Floyd keyboard player Richard Wright, recorded in 2007 at a jam in a barn at David's house. The album features artwork and photography by the renowned artist Anton Corbijn.
The Luck and Strange tour began with two sold-out warm-up shows at the Brighton Centre before moving to Circus Maximus in Rome for six sold-out nights, followed by the same about at London's Royal Albert Hall before moving Stateside for sold-out evenings at the Intuit Dome and Hollywood Bowl in Los Angeles before concluding with five sold-out nights at Madison Square Garden in New York.
Learn more: www.davidgilmour.com.
Each night of a G3 tour ends with an all-out jam and on Reunion Live, the trio hits classics by Cream, Hendrix, and Steppenwolf. āWhen you hear each guy solo, you can hear how weāve changed through the years,ā says Vai.
Joe Satriani, Steve Vai, and Eric Johnson reflect on their groundbreaking tour with a fiery live album that took nearly 30 years to make.
āWhen youāre young, youāre attracted to all these [guitar] ideasādo this, do that,ā says Eric Johnson. āYouāre like a sponge. If you get yourself out of the way, get rid of the ego, and stay open, you remain a student your whole life. But at the same time, you get to the point where youāre like, āThereās only so much time, and I donāt need to learn this and that.ā There are things that Joe [Satriani] or Steve [Vai] do that Iāll never be able to do.ā
Some guitarists would find that notion depressingāof finally extinguishing the naive youthful fire to master every technique on their instrument. (Itās probably easier to find peace when youāre one of the worldās most revered players, with platinum sales and Grammys on your rĆ©sumĆ©.) But when Johnson looks at Satriani and Vai, his fellow virtuosos on the 2024 G3 reunion tour, the idea of āletting goā puts a smile on his face.
āAlthough we stay open, we define some of our journey,ā says Johnson. āWe canāt be everything to everybody. Then you start appreciating what someone else is doing even more.ā
That sense of refinement is crucial to the story of G3, the triple-guitar tour conceived by Satriani and launched alongside Johnson and Vai in 1996. Over the years, the event has morphed to incorporate players from just about every style: from blues-rock (Kenny Wayne Shepherd) to prog-metal (Dream Theaterās John Petrucci) to hard rock (Uli Jon Roth) to the eerie soundscapes of King Crimsonās Robert Fripp. Far from a rote shred-fest, itās a celebration of the electric guitarās unlimited possibilities. And Satrianiās been thinking a lot about that idea following the G3 reunion tour, which ran for 13 dates last January, spawned a new concert album (Reunion Live), and will eventually birth a documentary helmed by his son ZZ.Recorded live at the Orpheum Theatre in Los Angeles, Reunion Live documents the culmination of a 13-date tour that brought the trio together for the first time since the original tour in 1996.
āHe had an interesting idea for a film,ā Satriani says. āOur first G3 show happened the week he turned four, and we decided we were always going to take him with us. He wanted to do a film not only about that and about G3 but also his whole point of view growing up with a very strange father and this community of guitar players. He wanted to know their perspective on guitar playing and music and this life heās been a part of.ā
The younger Satriani grew even more ambitious, proposing that the OG G3s [OG3s?] get together for another tour. āZZ wanted to see what it was really like, after decades of traveling with me and the different bands, to get onstage and play,ā Satch says. āIt all sort of happened in those last two shows at the Orpheum in Los Angeles. ZZ came on and played a song, and that sort of brought the film full-circleāfrom the four-year-old to the 32-year-old playing onstage with his dad. The [as-yet-unreleased] film has really developed into this epic story about guitar players. Eric and Steve have been so generous with their time, letting ZZ interview them about music, guitar, and what it means to them. But thatās really how the whole thing got started this time around.ā
ā30 years later, you can really see more of the dynamic difference in our go-to notes and riffs. Joe is more Joe now; Eric is more Eric now; and Iām more me now.āāSteve Vai
Reunion Live unfolds like the actual G3 shows, with miniature heavy-hitter sets from each artist (you get Vaiās āFor the Love of God,ā Satrianiās āSurfing With the Alien,ā Johnsonās āDesert Roseā), followed by a trio of generous, triple-guitar cover-song jamsāin this case, ripping versions of Robert Johnsonās blues staple āCrossroads,ā Steppenwolfās open-road proto-metal anthem āBorn to Be Wild,ā and Jimi Hendrixās hard-psych powerhouse āSpanish Castle Magic.ā The latter, fronted by Johnson, is the albumās centerpiece: 11-plus minutes of instrumental fireworks that perfectly showcase each playerās distinct flavor. Toward the end, the groove lays back into a quiet, funky simmerāthe perfect platform for an onslaught of tasteful flourishes and ungodly shredding.
Back in 1996, the trio barnstormed across the country and laid waste to guitar nerds everywhere with a scorching version of Zappaās āMy Guitar Wants to Kill Your Mama.ā
Photo by Ebet Roberts
āThe thing I liked about that [choice] was that itās very common to play a Hendrix song in a jam, but most people play the usual suspects,ā says Vai. āEricās Hendrix catalog runs deep, and heās played āSpanish Castle Magicā on multiple occasions, and Iāve played it in the past. When it came up on this G3, I was very excited because itās a great song to play. Itās just got a great feel to it, and the groove for soloing is very open. I was very happy to see that.ā
āI hate the word ācompetition.ā But if we didnāt want to challenge each other, we wouldnāt have agreed to do the tour.āāJoe Satriani
āI remember doing so many cover songs over the past few decades, and every once in a while you come up with an all-purpose song that anyone, from any walk of life, can come join you on,ā says Satriani. āAnd then you have these other songs that really shine a light on an individualās foundation as a player and some of their early inspirations. I know that all three of us were so into Jimi Hendrix. I love doing that song. Iād do any Hendrix song. Eric and I have a lot of experience going out with the Experience Hendrix [tribute] tour. He figured into our early musical livesāeven before I played guitar, I was a big Hendrix fan.ā
āCrossroadsā is also fascinating on many levels. Sure, itās hard for any good rock band to screw this one up, and it could be the most obvious pick for any guitar jam, but the songās simple blues structure also allows for a delicious whiplash, magnifying the vast differences in tonality and note choice between each guitarist.
āAt first, when āCrossroadsā came in, I was like, āOK, itās this classic rock song.ā But once youāre onstage and playing it, the riff is so great,ā says Vai. āItās robust. When you hear each guy solo, you can hear how weāve changed through the years. Not just usāany guitar player who sticks with their craft goes through various evolutions into different directions. Some can stagnate, but youāre usually inching toward something different. Most of the time physicality is involved in that. When I hear āSpanish Castle Magicā or āCrossroads,ā the stuff on this jam, my ears are listening to 30 years ago, in a sense, when we would trade. Today, 30 years later, you can really see more of the dynamic difference in our go-to notes and riffs. Joe is more Joe now; Eric is more Eric now; and Iām more me now. Iāve abandoned trying to sound conventional in any way.ā The more they sound like the definitive versions of themselves, as on this G3 tour, the more in tune with each other they seem to be.Joe Satrian's Gear
The G3 mastermind would never use the word ācompetition,ā but feels like his fellow G3ers wouldnāt show up if they didnāt want to be challenged.
Photo by Jon Luini
Guitars
- Various Ibanez JS Models (tuned to Eb standard)
Amps
- Marshall JVM410HJS
- Two Marshall 1960B 4x12 cabinets
Effects
- Vox Big Bad Wah
- Boss OC-3
- DigiTech SubNUp
- MXR EVH Flanger
- DigiTech Whammy
- Boss DD-8 (in effects loop)
- Voodoo Lab Pedal Power
Strings & Picks
- DāAddario XL110 (.010ā.046)
- DāAddario Satch Grip Picks
āI would listen to Joe and Steve, and I would marvel at the guitar playing and the consistency of how great it was, but for me, it was [also] an opportunity to look beyond [it],ā says Johnson. āIt was a bit of an epiphany doing this tour because I tuned into the energy they had, the songs they were writing, the sounds they were getting, the shows they were doing. It even made the guitar playing more interesting because there was another dynamic I was tuning in to more. Not that it wasnāt always important, but as you get older, you try to see the whole hemisphere and what that means to the audience. Itās a win-win because it doesnāt take anything away from the guitarāit makes it more interesting to have encased in that bigger thing. I noticed that more this time, which made me feel good.ā
āWe canāt be everything to everybody.āāEric Johnson
The G3 tour, and particularly the encore jams, are fascinating at the conceptual level: taking players largely renowned as soloists, and forcing them to share stages and trade licksāworking to compliment each otherās playing instead of simply flexing their muscles and drawing on some primal competitive drive.
āThe ego is the definition of competition,ā says Vai. āIts perspective is, āHow do I stack up? How do I rise above? How do I sell more, make more, have more, be more than anyone else?ā This is nothing personal to meāthis is in the collective of humanity. Ego can wreak havoc in your life and cause a lot of dysfunction and stress. You donāt know it because youāre unconscious of the way the ego can be competitive. More in my earlier days, in the background, there was a perspective of competitiveness. This doesnāt just go for G3, but it was never in a playing way. I felt, āMy playing is so abstract and bizarre that thereās no one else doing this weird stuff.ā Of course, this is still ego.ā
Steve Vai's Gear
āWhen I hear āSpanish Castle Magicā or āCrossroads,ā the stuff on this jam, my ears are listening to 30 years ago, in a sense, when we would trade,ā remembers Vai.
Photo by Jon Luini
Guitars
- Ibanez mirror-topped JEM āBOā
- Ibanez John Scofield JSM
- Ibanez JEM 7VWH āEVOā
- Ibanez Universe 7-String
- Ibanez Hydra Triple-Neck Guitar
- Ibanez JEM 7VWH āFLO IIIā
- Ibanez PIA (tuned to Eb standard)
Amps
- Synergy SYN-2 Preamp
- VAI Synergy Module
- B-MAN Synergy Module
- Fractal Audio AXE-FX III Turbo
- Fryette LX-II Tube Power Amp
- Carvin V412 cabinets with Celestion Vintage 30 speakers
Effects
- Lehle A/B Box
- Dunlop 95Q Wah
- Ibanez Jemini Distortion/Overdrive
- DigiTech Whammy DT
- CIOKS DC-7 Power Supply
Strings, Picks, & Accessories
- Ernie Ball Skinny Top Heavy (.010ā.052)
- Ernie Ball Regular Slinky (.010ā.046)
- Ernie Ball Super Slinky (.009ā.042)
- Ernie Ball 7-String Set (.009ā.056)
- DiMarzio Cables
- Electric Fan
- InTuneGP GrippX Picks (1.14 mm and 1.50 mm)
āBut when it came to Joe, it was a very different dynamic because he was my [guitar] teacherāhe taught me how to play,ā remembers Vai. āJoe was my mentor. I admired him. We were joined at the hip throughout our careers. In the earlier days, you listened to the other guy, and thereās the perspective. One is a very egoic perspective, which sees things as competition. The other perspective is, āWhat can I learn here? What can I get from this thatās going to improve my tools?ā Boy, thereās plenty of that in every G3 tour, every situation Iāve ever been in. But itās a perspective only you can choose. The feeling of competition, I donāt like it. If someone is selling more records or playing faster or tastier or their songs are better, it behooves me to see how I can gain on a personal level from that. If I was the coach of a basketball team, Iād say, āIt doesnāt matter if you win this game. Itās not as important as doing your very best.ā In reality, the only one youāre ever competing with is yourselfāyour bar.ā
āIf someone is selling more records or playing faster or tastier or their songs are better, it behooves me to see how I can gain on a personal level from that.āāSteve Vai
Satriani shares a similar sentimentāthat being ācomplimentaryā in a project like G3 is a real talent and a gift. Working on the documentary has put him in a retrospective mode, thinking about past tours and how theyāve worked to be more expansive and, perhaps, even provocative in their presentation.
Eric Johnson's Gear
āWe canāt be everything to everybody. Then you start appreciating what someone else is doing even more,ā says Johnson.
Photo by Jim Summaria
Guitars
- 1958 FenderĀ Stratocaster
- Fender Eric Johnson Signature Stratocaster
- Fender Stratocaster with internal preamp
Amps
- Fender Bandmaster Reverb
- 50-watt Marshall JTM45 Super Tremolo
- 100-watt Marshall JTM45 Super Tremolo
- Two-Rock Classic Reverb Signature
- ā60s stereo Marshall cabinet with Electro-Voice EVM12L speakers
- ā60s Marshall cabinet with vintage 25-watt Celestion Greenback speakers
Effects
- EP-3 Echoplex
- TC Electronic Chorus
- Ibanez Tube Screamer
- Dunlop Fuzz Face
- MXR M-166 Digital Time Delay
- Dunlop Cry Baby Wah
- BK Butler Tube Driver
- Electro-Harmonix Deluxe Memory Man
- Bill Webb Fuzz Pedal
Strings & Picks
- DāAddario Pure Nickel (.010ā.046)
- Dunlop Jazz III picks
āYesterday I was searching for an original print of a photo from [the G3 tour] in ā97,ā he says, āwhere Robert Fripp was opening the shows, unannounced, hidden behind a wall of gear. That was his requestāto play as people were filing into the venues. I found this great photo of Robert onstage with his guitar and four-year-old ZZ standing next to him holding a plastic pailāI think it was at Jones Beach. It reminded me of how crazy the notion was at the time of Robert joining up with the tour. But he was so excited about it and wanted to do it. We had fantastic times traveling together and hanging out backstage and getting to know each other on that particular tour, and that set the tone for meāknowing that, not only did I have comrades like Eric and Steve, who felt the same way that I did about collaboration in a live setting, but now there was Robert and Kenny Wayne Shepherd, and the concept of G3 started to really catch fire. It was really heartwarming to know that this sort of gunslinger attitude that existed in the ā80s about guitar players could be challenged. We could create something really inclusive about different styles and generations of players and take it on the road. That came back to me when I saw that photo.ā
āI hate the word ācompetition,āā Satriani says elsewhere, surveying G3 history. āBut if we didnāt want to challenge each other, we wouldnāt have agreed to do the tour. We get to hear each otherās sets, which is greatāwe donāt often get to do that when weāre off on our own tours. And then we get to stand next to each other and see what just pops out of nowhere, what each artist decides to throw out as an improvisation. Every night is a once-in-a-lifetime thing. If you can somehow work that into your musical life, youāre really luckyāso I count myself really lucky.ā
YouTube It
Watch Satriani, Johnson, and Vai tear through Creamās classic interpretation of āCrossroads.ā In this video, directed by ZZ Satriani, you can get a feel for the history the trio shares with vintage G3 clips and more.
Guest Picker - Ariel Posen
The past year was full of new sounds and discoveries. Ariel Posen and Jeremy Jacobs join the PGteam to highlight what popped out to them over the last 12 months.
Q: What was your biggest guitar discovery of 2024?
Guest Picker - Ariel Posen
A: Twenty-twenty-four was a year of discovery and re-discovery for me. I tend to come back to records and artists that I haven't listened to in a long time and get back into them with a new-found excitement. In regards to guitar discovery, at the end of 2023 I got into Paramore for the first time, specifically their last album, This is Why. I don't really listen to guitar music these days, but I'm always infatuated by the extreme detail of finely crafted guitar parts that help serve the song, and that album is full of that stuff. In terms of rediscovery, I spent a lot of time digging back into early George Harrison, Christopher Cross, and some specific Steely Dan records. Seems to be a theme there. I love all that stuff but haven't really given it time in a while; that changed this past year.
Obsession: Doechii. Watch her Tiny Desk video. She's incredible and the band is too. I get goosebumps every time I watch it, and I watch it once a day.
Reader of the Month - Jeremy Jacobs
A: I was turned on to Mk.Gee after seeing his performance on SNL and immediately fell in love with the vibe. Iām always trying to keep an ear to the ground for new, innovative guitar sounds, and his unique approach to creating guitar tones was really refreshing and inspiring. I love the blend of retro ā80s synth sounds and modern digital guitar production.
Obsession: Jim Lillās video series on YouTube experimenting with guitar tone. Heās like the Mythbusters of the guitar community and itās really shaking things up! Heās taking a very scientific deep dive into commonly held beliefs about what makes certain equipment āsound goodā and has returned some truly shocking results. Iām thinking about guitar gear in a totally different way thanks to his work.
Managing Editor - Jason Shadrick
A: Big delays and reverbs finally got to me in 2024. Typically, I would favor a modest spring or room setting, but a few gigs this year pushed me into more ambient territory. Itās incredible how the sound of space affects your touch on the instrument. My playing has become more melodic and intentionalābut Iām still not digging the shimmer vibe.
Obsession: Noel Johnstonās YouTube videos from his Creative Fundamentals class have been warping my brain. Fair warning: They do require a bit of theoretical knowledge to get the most out of them. However, his triad workouts are a great way to start to visualize different shapes all over the neckāno matter what key.
Assistant Editor - Luke Ottenhof
A: Last year, I discovered germanium. This isnāt strictly true; Iāve used germ pedals in the past, but I never connected with the transistors until I picked up the Death by Audio Germanium Filter. Now, all I want is sweet, gnarly, splatty germanium grossness on whatever I play. The problem is it doesnāt really fit with my bandās sound. I predict many arguments in 2025.
Obsession: Figuring out ways to make, share, and celebrate music outside of the too-powerful platforms that have monopolized our arts and culture. Thankfully, there are loads of people way smarter than me working with each other to build new networks and meanings for music, including some that would be musician-owned. The future is brightāif we want it!
Oniās guitar duo cover 16 strings between them with a pair of Neural Quad Cortexes and some choice patches.
Jared Dines had been writing for Canadian metalcore outfit Oniāfronted by Jake Oniāfor a few years before Jake invited Dines to join him onstage. Dines had just two days to learn the entire set before rehearsals began. But Eric Palmer can one-up him. He was teching for the band when Jake conscripted himāwith just one day to pick up the set before a performance. Palmer rose to the occasion, and he and Dines have formed Oniās two-guitar tornado for the past year.
Ahead of their gig at Nashvilleās Brooklyn Bowl in December, Dines and Palmer walked PGās Chris Kies through their spartan, one-guitar rigsāno backups, no mercy.
Brought to you by DāAddario.8 is Great
Eric Palmer is used to playing 7-string axes, so this limited-run 8-string Jackson Concept Series MDK8 HT8 MS Modern Dinky didnāt take long to get used to. The Korea-made flamethrower has a basswood body, a 3-piece maple/wenge/mapleneck, and a compound radius ebony fretboard (12" to 16"). It also boasts a dual scale lengthā25.5" to 27.5"āand is loaded with Fishman Fluence Modern pickups, which feature two voicings selected by a push-pull switch. Palmer had this one upgraded to a 5-way switch to access split-coil sounds, and he got rid of the tone knob. āAll gas, no brakes,ā as PGās Perry Bean would say.
Petrucci Power
Jared Dines also needed an 8-string for Oni, so Ernie Ball sent him this Music Man Majesty 8, a John Petrucci signature model. Itās got Fishmanās Powerbridge piezo system, which sees action on the song āControl.ā Dines attached his own string clamp behind the nut to halt noise.
Double Quads
Dines and Palmer both rely on Neural DSP Quad Cortexes on this Oni tour. Their units are mounted on Temple Audio pedalboards, and both guitarists use the Architecture: Gojira X patch for their heavy sounds, and a Roland Jazz Chorus sound for cleans. Both Dines and Palmer employ a MIDI switching system that they pulled from Aaron Marshallās Rig Rundown, and run their signals from direct to front of house.
The author found this one-of-a-kind tremolo/vibrato/sound-altering modulation box at Quattro Music Company in Thomas, West Virginia.
Producer and roots-guitar veteran Michael Dinallo pens his unabashed love letter to tremolo, with fond recollections of vintage Fender and Gibson amps, Dunlopās TS-1, and a one-of-a-kind mystery modulator.
Tremolo is my favorite effect to modulate a guitarās sound (and I love vibrato, too). I love it so much that itās part of the moniker of the production team I had with the late Ducky Carlisleāthe Tremolo Twinsāas well as our Trem-Tone Records label. You might recognize Ducky from his many engineering credits, including Buddy Guy, or our work together on albums like Stax veteran Eddie Floydās heralded Eddie Loves You So, from 2008.
For me, the golden period of tremolo was the early 1960s. The brown-panel Fender amps of that period have astounding harmonic tremolo, as do the Gibson amps from that period. I have a 1963 Gibson GA-5T Skylark that has a tremendous tremolo circuit. I used that amp for all the guitar parts I cut on my new album, The Nightās Last Dance,as well as all the records Iāve worked on over the last four years, either as producer or player. My favorite, though, is the 1963 2x10 Fender Superāalso a brown-panel amp. It can be so soupy that, if multi-tracked, it can almost induce seasickness.
But there are so many choices and classic sounds. The Magnatone and Lonnie Mack jump to mind, or the use of a Leslie cabinet for guitar, which is another sound I love as both player and producer. Two of the most distinct and famous uses of tremolo, to my ears, are Link Wrayās āRumbleā and Reggie Youngās arpeggiating opening chord on āThe Dark End of the Streetā by James Carr. There is a shimmery quality to big chords drenched in a slow tremolo, especially if the part is doubled. From a production standpoint, it adds depth to a track, even if itās mixed way in the back.
Letās talk about doubling a tremolo part. Once in a while you can get lucky and have the amp cycle the wave at just the right time as you hit the record button. But most often not. Usually this is not a big deal and adds to the depth of the bed part being recorded. Sometimes, though, it has to be a tight double. Thatās when Iāve spent much time guessing at the cycling and trying to hit it just right. Itās a blast when you do.
One of my favorite experiments with tremolo was setting up two ampsāa brown-panel Fender Vibroverb and a brown-panel Fender Concertāin a V-shape. The amps were set to the same volume and approximately the same tone settings. Using a stereo mic in the middle of the V, we recorded it to one track. We had to keep tweaking the individual tremolo settings in an effort to not have them cancel each other out. But what a huge, lush sound!
āThere is a shimmery quality to big chords drenched in slow tremolo, especially if the part is doubled.ā
There are many tremolo pedals and recording plugins these days, and theyāre all good, but nothing quite captures the sound of an internal tremolo circuit. You can avoid chasing their cycles, too, if a pedal has a tap-tempo function. But what fun is that?
The one tremolo pedal, for me, that comes the closest to an in-amp circuit is the now-vintage Dunlop TS-1. Thirty years ago, I needed a tremolo pedal for my road ampāat the time, a 1994 Fender tweed Blues DeVille. I found Dunlopās big, honking purple metal box with ātremoloā written across the front in wavy yellow letters. You can get wide, sweeping tremolo or set it to a hard, choppy setting where the volume completely disappears. Iāve used both applications effectively. The hard trem is great for the last chord of a song, especially live, hitting like a boxer sparring with a weighted, hanging bagāespecially if youāre diving into a psychedelic ending. And, of course, mixing in other modulation effects, such as flanging or phasing, adds another twist.
I found the most unique tremolo/vibrato/sound-altering modulation box I have at Quattro Music Company in Thomas, West Virginia. Itās not a pedal per se; itās circuitry housed in a cigar box with so many knobs and switches and variations that I still have not exhausted all the possibilities. Itās a one-off. I was told it was the only tremolo box the inventor made. Combining it with a front-end boost and diming an amp produces otherworldly sounds. Iāve used it on a couple of recordings: āNever, No More (A Reckoning)ā by Keith Sykes and me, and āTime Machineā by the Dinallos (where we were joined by Nashvilleās famed singing siblings, the McCrary Sisters). With the latter, itās most obvious as a tremolo device, and on the former itās as a sound-altering gizmo that enhances the guitar leads.
Of all the toys in the arsenal that guitarists have, Iāve gotta say, long live tremolo!