
Eric Johnson, Steve Vai to join Joe Satriani for a special 2024 edition of G3.
Conceived in 1995 by the multi-Grammy nominated guitarist, Joe Satriani, the inaugural G3 Tour took place in 1996 bringing together three of the most iconic and virtuosic guitarists of their time: Satriani, Eric Johnson and Steve Vai. Known for their incredible technical prowess, musical innovation and unique styles, the G3 tour was a celebration of guitar mastery and proved extremely popular, captivating audiences worldwide. Though the line-up has continually changed over the last 29 years since its inception, Satriani is celebrating G3 in 2024 by reuniting the original trio: Satriani, Johnson and Vai. The tour is set to begin on January 23, 2024 in Tucson, AZ hitting eleven cities before winding up with a pair of shows at the Orpheum Theatre in Los Angeles, CA. Artist ticket pre-sales are set to begin on September 13 at 10am local time (code: R3UNION) with local presale on September 14 at 10am local time. The public on sale is Friday, September 15 at 10am local time. VIP packages will also be available.
Excited to share the news, Satriani commented: "Reuniting the original G3 line up is a dream come true for me. I canāt wait to take the stage with Eric and Steve again!"
Adds Johnson, "Itās going to be an honor to reunite with Joe and Steve and do the G3 tour together again. Iām proud to be a part of it."
With Vai echoing, āItās always an honor to contribute to a G3 tour, and to be with Joe and Eric again playing on stage is like living life to its fullest!ā
G3 2024 Featuring Joe Satriani, Eric Johnson & Steve Vai Announce
With every incarnation of G3, each guitarist performed their solo sets, showcasing their individual brilliance, and then collaborated for a mind-blowing jam session that left fans in awe. Over the decades, the tour has received much critical acclaim and the chemistry between the three guitarists on stage was undeniable, creating an unforgettable experience for guitar enthusiasts and music lovers alike. Each edition of the tour brought its own unique flair, showcasing the ever-evolving landscape of guitar playing while highlighting the talents of the iconic players from different generations and genres. It continues to be a hallmark event for guitar aficionadas across the globe.
Since its inception in 1995, G3 has featured many iconic guitarists, including Kenny Wayne Shepherd, Yngwie Malmsteen, John Petrucci, Robert Fripp, Paul Gilbert, Steve Morse, Steve Lukather, Uli Jon Roth, Michael Schenker, Adrian Legg, Phil Collen along with many other special guests including Al Di Meola, Tony MacAlpine, Johnny Hiland, Keith More, Chris Duarte, Andy Timmons, Neal Schon, Gary Hoey, Brian May, Billy Gibbons, Johnny A, George Lynch, Patrick Rondat, Guthrie Govan, Alejandro Silva and Eric Sardinas.
G3 Tour Featuring JOE SATRIANI, ERIC JOHNSON, STEVE VAI
January 23, 2024, Tucson, AZ - Rialto Theatre
January 25, 2024, Highland, CA - Yaamava Resort & Casino
January 26, 2024, Scottsdale, AZ - Talking Stick Resort Ballroom
January 27, 2024, Las Vegas, NV - Westgate Las Vegas Resort & Casino
January 29, 2024, Spokane, WA ā First Interstate Center for the Arts
January 31, 2024, Seattle, WA - The Moore Theatre
February 1, 2024, Salem, OR - Historic Elsinore Theatre
February 2, 2024, Reno, NV - Grand Sierra Reno
February 3, 2024, Oakland, CA - Fox Theater
February 5, 2024, Fresno, CA ā Saroyan Theatre
February 7, 2024, El Cajon, CA - The Magnolia
February 9, 2024, Los Angeles, CA - Orpheum Theatre
February 10, 2024, Los Angeles, CA - Orpheum Theatre
For more information on shows, ticketing and VIP packages, go HERE.
- 8 Ways to Shred Like Steve Vai āŗ
- All About Eric Johnsonās āVirginiaā Strat āŗ
- Joe Satriani: Outside the Box āŗ
- Joe Satriani, Steve Vai, and Eric Johnson Talk G3 and Reunion Live - Premier Guitar āŗ
Analog modulation guided by a digital brain willing to get weird.
Fun, fluid operation. Capable of vintage-thick textures at heavier gain settings. High headroom for accommodating other effects.
MIDI required to access more than one presetāwhich youāll probably long for, given the breadth of voices.
$369
Kernom Elipse
If you love modulationāand lots of itāyou can eat up a lot of pedalboard space fast. Modulation effects can be super-idiosyncratic and specialized, which leads to keeping many around, particularly if you favor the analog domain. TheKernom Elipse multi-modulator is pretty big and, at a glance, might not seem the best solution for real estate scarcity. Yet the Elipse is only about 1 1/4" wider than two standard-sized Boss pedals side by side. And by combining an analog signal path with digital control, it makes impressive, efficient use of its sizeāstuffing fine-sounding harmonic tremolo, phaser, rotary-style, chorus, vibrato, flanger, and Uni-Vibe-style effects into a single hefty enclosure. Many of the effects can also be blended and morphed into one another using a rotary control aptly called āmood.ā The Elipse, most certainly, has many of those.
Modulator With Many Masks
Anywhere pedal hounds meet and chat youāll encounter spirited talk about the way pedals sound relative to a certain gold standard. It makes sense. Benchmarks are useful for understanding anything. But one of the things I like best about the Kernom Elipse is how it eludes easy comparison to such standards, and how the fluidity of its controls make it sound unique. As with any review, I compared the Elipse to as many pedals as I have that are relevant. Here, that included an Ibanez analog chorus, Phase 90 and Small Stone phasers, an optical Uni-Vibe-style pedal, a Boss BF-2,Mu-Tron Phasor II clone, and more. But what made the Elipse stand out in this company was function as much as sound. Operating the Elipse with an open mind, rather than a quest to replicate another pedalās sound, leads to intriguing, unique, and unusual tones more specialized modulators donāt always offer.
āThe Elipse is pretty ambitious for an analog modulator, but doesnāt spread itself too thin.ā
Three of the Elipseās controlsāspeed, mix, and depthāfunction predictably. The latter two controls, however, change function depending on the pedalās mood (or mode). In tremolo mode, setting the mix at noon generates complex, warbly, and elastic harmonic tremolo-like textures. At maximum, it shifts to a more binary, on/off sound akin to optical or bias tremolo. In chorus/vibrato mode, the noon position marks a 50/50 wet/dry mix of pitch shift and dry signalāthe ingredients for any chorus. At maximum, the signal is 100 percent wet, yielding pure pitch-shift vibrato. The shape control, meanwhile, adjusts the LFO waveform. In tremolo mode that means moving between triangle- and sine-wave pulses. The swirl control is the wild card of the bunch. It adds big-time dimension to the Elipse in all modes. Through most of its range, it slathers slow phase on whatever modulation is already bubbling and burbling. In the latter third of its range, though, it also adds gain, and by the time you reach maximum, the output is discernibly thickened in the low-midrange zone. The gain and low-mid bump helps compensate for the perceived volume loss intrinsic to modulation. But they also excite different segments of the harmonic spectrum as you manipulate other modulation-shaping parametersāadding expansiveness as well as the thickness you might miss from vintage modulators.
Enunciation Modulation
Compared to many of the modulation pedals I used for contrast, the Elipse has a high-mid-forward voice. This frequency bias has advantages. It lends most of the Elipseās modulation textures a clear, airy essence that keeps their character present when adding fuzz or big delay and reverb effects. It makes some modulations less chewy, but itās also easy to imagine such textures slotting easily into a mix where some thicker analog modulators would gobble up harmonic space.
The basic EQ profile also makes it easier to probe the nuances in the āin-betweenā voices, living in the liminal spaces between pedal moods. When you start to play with these blended textures and various blends of drive, shape, mix, and depth, you encounter many sounds that veer from vintage templates in cool ways. Lathering on gain from the swirl control and lazy depth rates made the hybrid chorus/flange intense, dreamy, and enveloping. Similar blends of slow, heavy harmonic tremolo and rotary speaker sounded massive too.
The Verdict
The Elipse is pretty ambitious for an analog modulator, but doesnāt spread itself too thin. Players looking for one or two very specific modulation sounds might find the interrelationships between the Elipseās controls too complex. The inability to save more than a single onboard preset without a MIDI switcher might frustrate guitarists used to all-digital pedalsā preset capabilities. Players that already have MIDI switchers in their rigs, however, could fall hard for the ability to switch between Elipseās myriad, complex, analog-colored textures. With or without MIDI, it is an excellent analog modulator that offers colors galore.
An easy guide to re-anchoring a loose tuning machine, restoring a ālostā input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
This late-ā90s Masterbilt was made to mimic the feeling and look of vintage luxury.
This collaborative effort between Japanese and American guitar builders aimed for old-school quality without breaking the bank.
I recently called a rideshare to pick me up from the airport and was surprised when the driver pulled up in a Jaguar. Iād never been in one and was stunned at how quiet it was, and how the backseat was as comfortable as a living room couch, but retained a refined look. This 1998 Masterbilt prototype reminds me of that airport ride.
Some guitars just feel expensive. Not in an āI shouldn't be touching this, lest I scratch itā way so much as simply exuding luxury. Maybe itās the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps itās the slim, ā60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitarās origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (āHe never played it,ā said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ā70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Macās Guitar Gallery in Kobe, Japan. By the ā90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ā80sāperhaps for one of the half-dozen times heās performed on theGrand Ole Opryāhe met Greg Rich, an instrument designer who was then head of Gibsonās banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. āVintage guitars are fine, but they're limited,ā said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and itās still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
āSome folks think anything from the ā80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.ā
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly āvintageā is hotly debated on Reddit every few months. Some folks think anything from the ā80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ā80s are now 45 years old! We consider guitars from the ā90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a āvintageā guitar?
Photo by Madison Thorn
Itās a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as āvintageā may be up for debate, but the magic in this guitar definitely isnāt. If youāre ever in Nashville, stop by Fannyās and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster⢠body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitarās three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.