
Jeff Beck playing: the ‘Oxblood’, his 1954 Gibson Les Paul.
Christie’s will auction Jeff Beck: The Guitar Collection on January 22, 2025, in London. See the highlights.
Jeff Beck (1944-2023), was a trailblazing guitar icon and legend. A multi-Grammy award-winning artist – twice inducted into the Rock & Roll Hall of Fame – his inimitable sound led to collaborations with countless internationally renowned musicians and friends including: Jimmy Page, Jimi Hendrix, Ronnie Wood, Rod Stewart, Steven Tyler, Billy Gibbons, Jan Hammer, Eric Clapton, David Gilmour, Tina Turner, Mick Jagger, BB King, Buddy Guy, Nile Rodgers, Carlos Santana, Stevie Wonder, Imelda May and Johnny Depp, amongst others.Providing a remarkable opportunity for fans, guitarists and collectors, this unique sale comprises over 130 guitars, amps and ‘tools-of-the-trade’, which Jeff played through his almost six-decades-long career, from joining The Yardbirds in March 1965, to his last tour in 2022. With estimates ranging from £100 to £500,000, highlights will be on public view in Los Angeles from 4 to 6 December, followed by the full collection being on show in the pre-sale exhibition at Christie’s headquarters in London, from 15 to 22 January 2025.
Sandra Beck: “I hope you enjoy reading through this catalogue featuring the tools of my Gorgeous Jeff’s life. These guitars were his great love and after almost two years of his passing it's time to part with them as Jeff wished. After some hard thinking I decided they need to be shared, played and loved again. It is a massive wrench to part with them but I know Jeff wanted for me to share this love. He was a maestro of his trade. He never lusted after commercial success. For him it was just about the music. He constantly reinvented himself with his musical direction and I could not single out one person, one recording or one guitar as his favourite. I hope the future guitarists who acquire these items are able to move closer to the genius who played them. Thank you all for considering a small piece of Jeff that I am now hoping to share with you.”
COLLECTION HIGHLIGHTS:
The sale is led by one of Jeff Beck’s most recognisable guitars – his iconic 1954 ‘Oxblood’ Gibson Les Paul, famously depicted on the cover of his seminal 1975 solo instrumental album Blow By Blow, and used on tracks including the Beck-Middleton original composition ‘Scatterbrain’ (estimate: £350,000-500,000). Purchased in November 1972 in Memphis, the guitar saw extensive live action with the short-lived power trio Beck, Bogert & Appice in 1973. Other notable live shows through the 1970s included his performance alongside David Bowie and Mick Ronson at the farewell show of Ziggy Stardust & The Spiders From Mars, at the Hammersmith Odeon on 3 July 1973, the film of which was released in 2023, including Jeff’s iconic guest appearance.
The original ‘Yardburst’, Jeff Beck bought his circa 1958 Gibson Les Paul in London in 1966 whilst in the seminal British rock group The Yardbirds (estimate: £40,000-60,000). The history and battle scars of this guitar are legendary. Purchased at Selmer’s in Charing Cross for £175 in early 1966, it was used to record ‘Over Under Sideways Down’ and ‘Happenings Ten Years Time Ago’ on The Yardbirds’ album Roger The Engineer, as well as Jeff Beck’s solo track ‘Beck’s Bolero’, co-written with Jimmy Page and recorded with Keith Moon, John Paul Jones and Nicky Hopkins. Jeff removed the black pickguard, switch surround and the original sunburst finish in late 1967, leaving the guitar in its natural raw blonde state. Jeff played the guitar on his debut studio solo album Truth, the first to showcase the talents of backing band the Jeff Beck Group, featuring a young Rod Stewart on vocals and Ronnie Wood on bass, and on tour when the band crossed the Atlantic in 1968, including for a memorable residency at the Scene in New York in June 1968, where nightly encores saw Jimi Hendrix join the band on stage, including for a jam on this very guitar.
The ‘Tele-Gib’ is a hybrid guitar put together by world-renowned pickup designer Seymour Duncan specifically for Jeff Beck in 1973 (estimate: £100,000-150,000). Comprising a Fender Telecaster body and neck with a pair of Gibson PAF humbucking pickups removed from a Flying V, Seymour took the guitar to Jeff whilst he was rehearsing with Beck, Bogert & Appice in London in late 1973. The Tele-Gib can be heard on the beautiful Stevie Wonder track ‘Cause We’ve Ended As Lovers’, from Blow By Blow, and was subsequently used for many other sessions and live performances, including The Secret Policeman’s Other Ball in 1981, alongside fellow former Yardbird, Eric Clapton.
Jeff Beck’s 1954 Sunburst Fender Stratocaster, serial number 0062, was one of his most prized possessions (estimate: £50,000-80,000). A gift from Humble Pie’s Steve Marriott following a late-night session in 1976, Jeff replaced the existing Tele neck with a 1958 Strat neck, which he had used to record many tracks on Beck-Ola (1969), Rough And Ready (1972) and Blow By Blow (1975). The ’54 would become Jeff’s principal performance and recording guitar for the rest of the ‘70s and into the early ‘80s – including for the majority of the 1980 album There And Back, and the A.R.M.S. Benefit Concert and tour in 1983, which saw the three ex-Yardbirds guitarists perform on stage together for the first time – Jeff Beck, Jimmy Page and Eric Clapton – alongside The Rolling Stones Charlie Watts, Bill Wyman and Ronnie Wood and many other world-famous musicians.
‘Tina’ the Pink Jackson Soloist was debuted during the 1983 A.R.M.S. tour, at Madison Square Garden in New York City (estimate: £8,000-12,000). Fitted with a patented Kahler bridge, it enabled Jeff to deliver even more extreme string bends and harmonics and was immediately employed on several important recording sessions with world-renowned artists, most notably Tina Turner. Having lent his unique talents to her Mark Knopfler-written single ‘Private Dancer’, Jeff requested that she sign his guitar in lieu of payment for the session. When the pen failed, she engraved her signature with a flick-knife and then rubbed in green nail varnish for good effect. Jeff would go on to play the guitar on his 1985 album Flash, produced by Nile Rodgers, including for his reunion duet with Rod Stewart, ‘People Get Ready’.
The longest-serving of his Fender White Stratocasters, ‘Anoushka’ was master built by J.W. Black of the Fender Custom Shop (estimate: £20,000-30,000). Jeff modified his Strats – the model he referred to as ‘another arm’ – switching necks, bodies and electronics to suit his needs. The neck of this guitar was Jeff’s favourite and, when united with the present white Strat body he named ‘Anoushka’, became his primary recording and performance Strat for 16 years. It was used to record four solo albums and for hundreds of live performances, including much of Jeff’s legendary Ronnie Scott’s residency, his second induction into the Rock & Roll Hall of Fame, a co-headline tour with Eric Clapton, and for his performance at the Obama White House alongside B.B. King and Mick Jagger in 2012.
- Mod Garage: The Jeff Beck Guitar Files ›
- Jeff Beck — “Blues to the Maximum” ›
- Jeff Beck and the Magic Volume Knob ›
Tetrarch, from left: Ryan Lerner, Diamond Rowe, Josh Fore, and Ruben Limas.
The heavy quartet, led by shredders Diamond Rowe and Josh Fore, returns with a second full-length that advances the nu-metal revival.
In ancient Rome, a tetrarch was one of four joint governors in one of four divisions in a country or province. Tetrarchy, as opposed to monarchy, represents shared governance. If there is any question as to which contemporary band can rule the borders and expand the boundaries of nu metal 25 years after its initial peak, Georgia’s Tetrarch might just hold the answer. Their latest release, The Ugly Side of Me, forms a uniquely unified musical front from four individuals who honor nu metal’s foundations with colossal choruses and maniacal guitar riffs, while also infusing the source material with post-modern industrial aggression and a healthy dose of socially conscious lyrical honesty. The Ugly Side of Meis a creative tour de force that should affirm Tetrarch’s status as one of nu metal’s most potent contemporaries, particularly among the genre’s faithful constituents.
Tetrarch was formed in Atlanta in 2007 by lead guitarist Diamond Rowe and lead vocalist/guitarist Josh Fore. As of 2025, the band is rounded out by bassist Ryan “Doom” Lerner and drummer Ruben Limas. Rowe and Fore initially played traditional metalcore before making a notable shift towards a more melodic sound on their independently released 2017 debut, Freak. Blending elements of nu metal and thrash, along with their metalcore influences, they honed in on a distinct sonic amalgamation and style, combining their signature creepy sounding guitar motifs with bone-crushing rhythms, melodic vocal melodies, and sub hooks.Unstable, released in 2021, drew greater comparisons to nu-metal progenitors like Slipknot and Korn, further entrenching Tetrarch within the hierarchy of that lineage.
Tetrarch’s third album, The Ugly Side of Me, features massive, needle-sharp production co-helmed by renowned producer Dave Otero, along with Rowe and Fore, and boasts a deftly executed combination of unrelenting brutality and undeniable charisma. The ’90s-industrial-infused single “Live Not Fantasize” is a real banger, featuring intense electronic flourishes, fast riffs, and Rowe’s dynamic, tantalizing guitar solos. An anthemic second single, “Never Again (Parasite),” balances monstrous grooves and massive atmosphere with incisive lyrics about facing our own darkest criticisms. The hypnotizing, metallic “Anything Like Myself” opens the album, while “Best of Luck” highlights the rhythmically nuanced interplay between Lerner and Limas.
YouTube It
Lead shredder Diamond Rowe takes the spotlight for a playalong to “Live Not Fantastize,” the first single off of Tetrarch’s new record.
Rowe and Fore have known each other since they were about 11 or 12, so it’s no surprise that they are musically so intimately compatible and completely in sync. “I feel like our playing styles melded into each other because we developed together,” explains Rowe. “We learned how to be in a band, how to play music, how to play shows, and how to play guitar together. When you’ve been playing and practicing with someone for so long, you just lock in, and our playing styles really complement each other. It was a natural progression.” Fore says that they would go to the library after school and instead of doing homework, they would play guitar. “We would print off books’ worth of guitar tabs and learn songs together,” he recalls. They’d also go to Guitar Center and “turn amps up way too loud and play for hours”–likely to the annoyance of the employees, he chuckles.
When it comes to their respective assignments within the band, Rowe plays more of the leads and single-note phrases while Fore, who is also the band’s frontman, plays more rhythm. “It’s very much rhythm and lead player roles,” affirms Rowe. “On choruses when Josh is playing big fat chords, I’ll play octaves or some melody lines, or on verses, if he’s playing some rhythm riff, I’ll do some weird creepy lead.” If it’s a riff-oriented rhythm part, they sometimes match up on those, but even then, Rowe often adds some kind of texture on top.
Fore and Rowe combine to create the band’s creative spark, and handle the bulk of the writing for new songs. For The Ugly Side of Me, they demoed material via their individual Pro Tools rigs and emailed files back and forth before jamming with the rest of the band. “Typically, it will start with me or Diamond coming up with a guitar riff,” explains Fore. “Sometimes one of us will come with a whole skeleton of a song and we’ll get in the room together and take it from there. Every song has its own way of coming together, but me and Diamond usually see it through.”
Tetrarch’s third album cements them as flagbearers of the new nu.
Diamond Rowe’s Gear
Guitars
- Jackson Signature Diamond Rowe Monarkh w/EverTune bridge
- Jackson American Series Soloist
Amps
- EVH 5150III EL34 100-watt head
- EVH 4x12
- EVH 5150III 50-watt head (for backup)
Effects
- Boss CH-1 Super Chorus
- Boss DD-7 Digital Delay
- Boss ES-8 Effects Switching System
- Boss RC-1 Loop Station
- Boss RV-6 Reverb
- DigiTech Whammy 5 Pitch Shift
- Dunlop KH95 Kirk Hammett Signature Cry Baby Wah
- Dunlop Volume (X) Mini
- Electro-Harmonix Small Stone Analog Phase Shifter
- Ibanez TS9 Tube Screamer
- ISP Decimator G String X Noise Reduction
- MXR Carbon Copy Analog Delay
- Strymon blueSky V2
- Two notes Torpedo C.A.B. M+
Strings & Picks
- Ernie Ball Beefy Slinky (.011–.054)
- Ernie Ball Skinny Top Beefy Bottom (.010–.054)
- Dunlop Jazz III black 1.38 mm
- Dunlop Jazz III black 1.35 mm
Josh Fore’s Gear
Guitars
- ESP E-II Eclipse
- ESP LTD EC-01FT
- ESP LTD AA-1 Alan Ashby Signature
- ESP LTD Eclipse
Amps
- EVH 5150III Stealth 100-watt head
- EVH 4x12
Effects
- Ibanez TS9 Tube Screamer
- ISP Decimator G String X Noise Reduction
Strings & Picks
- Ernie Ball Mammoth Slinky (.012–.062)
- InTuneGP GrippX 1.0 mm
For tracking, the guitarists mainly rely on plugins, “Mostly because of how easily you can change things on the fly,” explains Fore. For the new album, they leaned heavily on the Archetype: Gojira X by Neural DSP. The final product, what you hear on The Ugly Side of Me, was re-amped through the EVH 5150III. There’s no ego when they’re in the studio, so the decision of who plays which parts is simply a matter of who executes them the best. “Diamond will play some riffs, I will play some riffs,” says Fore. “We just swap the guitar back and forth. We’re like, ‘What’s the most efficient way? Who sounds better on this part?’ We just go with where the session takes us and try to get the best sounds and performances.”
The eerie signature sonic element that runs throughout all Tetrarch albums courtesy of Rowe’s inventive guitar-effects palette has helped establish the band’s identity. “When we first found it, Josh and I were playing around with POD Farm on the computer and it was just a sine wave chorus that nobody makes in a pedal,” recalls Rowe. “We were writing the song ‘Freak’ and looking for a weird sounding tone, and then it literally became a staple of our sound. For this album, we were like, ‘Alright, we’re not going to use that tone very much.’ We literally said that before making this record and yet here we are [laughter].”
As for their newfound status as the torchbearers of nu metal, Rowe says it’s not the label that matters most. “People could call us ‘progressive country metal,’ but what’s important is we’re writing the music that we really enjoy,” she attests. “Some of my favorite bands are Linkin Park, Slipknot, Disturbed, and Korn, but when I started playing guitar, Metallica was my all-time favorite band. And then, Zakk Wylde, Pantera, and Trivium—all of that was in there too, so I wouldn’t say nu metal was the only thing that I listened to, but it was a huge part of what I listened to.” Fore concludes with a similar sentiment: “People are going to perceive us how they’re going to perceive us. If they want to call us nu metal, then hell yeah, that sounds great.”
An easy guide to re-anchoring a loose tuning machine, restoring a “lost” input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
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 guitar’s 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.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackThe Tone King Imperial Preamp Pedal delivers legendary vintage American tube tone with modern control. Featuring two channels mirroring '50s tweed and '60s blackface tones, built-in zero watt poweramp, stereo convolution spring reverb and tremolo, and low-latency impulse response technology. MIDI programmable with up to 128 presets for instant recall.
The Imperial All-Tube Preamp pedal delivers Tone King’s legendary MKII amplifier's '50s tweed, '60s blackface, and vintage British rock tones in a compact, pedalboard-friendly format. It features the exact preamp section and phase inverter circuitry of the Imperial MKII amp, as well as Reverb, Tremolo and Attenuation, resulting in a pedal that sings with harmonic richness and blooming touch response. Powered by three 12AX7 preamp tubes running at high voltage, this preamp delivers the amp's sound, responsiveness, and exquisite interaction with your pickups and effects. The onboard, low-latency impulse response (IR) loader (per channel), Headphones, easy integration and expansion with your existing gear, and MIDI capabilities, takes these iconic tones into the new era of guitar playing.
Legendary Vintage Tube Amp Tones
The Imperial Preamp Pedal features two distinct channels, each mirroring the '50s and '60s flavors of the Imperial MKII.
- The Rhythm Channel evokes the essence of a classic '60s blackface combo's pristine cleans with a touch-sensitive response that transitions smoothly into overdrive.
- The Lead Channel is inspired by the iconic tweed amps of the '50s’ with the ability to glide between warm articulate cleans and aggressive midrange bark. This channel's Mid-Bite control adds a further layer of tone shaping, focusing the low-end, while adding high-end presence and gain for a British-flavored rock crunch.
Built-In Zero Watt Poweramp - Phase Inverter
The Imperial Pre-Amp Pedal includes the exact phase inverter circuitry of the actual Imperial MKII amp, utilizing one of its three 12AX7 tubes. This built-in “0 watt poweramp” authentically provides the harmonic and dynamic content of the Tone King poweramp section. This revolutionary design is the cornerstone that delivers the ENTIRE Imperial MKII experience right on your pedal board.
Stereo Convolution Spring Reverb & Stereo Tremolo
Like its namesake amp, the Imperial Preamp boasts foot-switchable spring reverb and tremolo (digital on the preamp pedal) which are assignable to each channel. A signature of the Tone King Imperial MKII tube amplifier, these era-correct effects add dimension and movement while transporting you to a golden age of electric guitar tone.
Impulse Response (IR) Cabinet & Power Amp Sim
The Imperial Preamp pedal's low latency IR and power amp simulation technology delivers its tube tones directly to the front of house or your interface. That’s especially evident in the 15 included OwnHammer-made IRs. Each channel has three of our favorites, preloaded, and selectable via dual 3-way toggle switches.
OH 112 Imperial TK1660: Tone King 1660 speaker in a Tone King Imperial 1x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 212 Class A Blue: Celestion Blues from 1963 in a Vox AC30 2x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 412 Basketweave M25: Celestion G12M-25 speakers from 1971 in a basket-weave 1960B 4x12 cabinet. Captured using a Shure SM57, Telefunken MD421, and Royer 121.
There are 12 additional IRs to choose from in the included Tone King Editor software (powered by Synergy) which are easy to swap in and out of the pedal's six available slots. You can also disengage the onboard IR loader entirely to use the preamp with an external IR loader or powered cabinet.
Tone King Editor Software
You can assign the Reverb, Tremolo and IR to each of the channels right on the pedal itself, making it a powerful and easy-to-use sonic tool. Tone King offers an Editor software, powered by Synergy, which takes the Pre-Amp's capabilities to another level, allowing you to fine-tune all of the preamp's digitally controlled parameters and save them in up to 128 MIDI presets
- Control the independent power amp simulation HF Comp and Low-Pass filters
- Access all 15 included OwnHammer IRs• Easily load your own IRs and manage your IR library
- Assign any of your IRs to the pedal's six available slots (three per channel)• Control your reverb, reverb tails, tremolo and effects loop bypass settings• Save these settings to up to 128 presets for instant recall via MIDI
The Tone King Editor software also unlocks all of the Imperial Preamp's modern control. Fully MIDI-capable, you can save your presets and access them instantly with a MIDI pedalboard controller or the laptop running your entire show. It is the perfect marriage of modern control and classic tube tone.
Expanding Your Rig's Capabilities
The Imperial Preamp Pedal is the perfect DI recording and performing solution. But that's just scratching the surface.
Add Channels to Your Current Guitar Amplifier
A standout feature of the Imperial preamp pedal is its ability to easily integrate with your existing amplifiers (must have a series effects loop). A straightforward 3-cable connection is all it takes, and you can instantly alternate between the Imperial Preamp as your amp's front end or your amp's preamp channels.
Networking with Other Effects-Loop-Equipped Preamp Pedals
Create the ultimate pedalboard-based rig with other preamp pedals (with effects loops). Using the same 3-cable method, you get both Imperial channels, your other preamp’s tones, the Imperial's stereo effects loop, and its onboard IRs. Additionally, you can assign the Imperial's spring reverb and tremolo effects to your other preamp channels.
Classic American Tube Tone for Every Stage & Studio
Whether you're a gigging musician, a recording artist, or simply a tone enthusiast, the Tone King Imperial Preamp pedal offers endless possibilities. Use it as a standalone preamp for recording or for silent stages and practice, add its two channels to your existing amplifier, pair it with a power amp and cabinet to move some air, or combine it with other preamp pedals for an even wider range of pedalboard-based tones.
Tone King Imperial Preamp Pedal is the ultimate marriage of legendary, vintage American tube tone and modern control.
For more information, please visit toneking.com
Features
- Two Channel High-Voltage preamp – DI
- 3 x 12AX7 preamp tubes running at proper high voltages
- Built-In zero watt poweramp - phase inverter circuit
- Two channels with independent Volume and Attenuation controls
- Rhythm Channel (top)
- '60s-era American blackface combo tone
- Bass and Treble controls
- Lead Channel (Bottom)
- '50s-era American tweed combo and British rock tones
- Tone and Mid-Bite controls
- Spring Reverb (convolution)
- Reverb and Dwell controls
- Independently assignable to each channel
- Tremolo (digital)
- Depth and Speed controls
- Independently assignable to each channel
- Stereo, Series FX loop (bypassable)
- MIDI programmable
- Save up to 128 presets for instant recall via an external MIDI switcher
- Presets save:
- Channel selection
- Master bypass settingo IR selection
- IR bypass setting
- Effects loop bypass setting
- Reverb bypass and tails settings
- Tremolo bypass settings
- Onboard Impulse Response (IR) Technology
- Low-latency Impulse Response cabinet simulation (bypassable)
- 3-position CAB/IR select switch per channel (programmable via software)
- Included OwnHammer IRs
- Poweramp simulation with software editable HF Comp and Low-Pass filters (per channel)
- Connections:
- Dual stereo balanced XLR outputs with Ground Lift Switch
- ¼" Headphone output
- Effects Send and Stereo Return Jacks
- MIDI 5-pin standard connector
- USB-C connector for use with the included Tone King Editor software editor
- To Amp In, From Amp Send and From Amp Return Jacks – for adding Imperial channels to your amp or preamp
- Included
- 6’ USB Cable
- Universal 12V Power Supply
- Dimensions: 7.2” (W) x 5.7” (D) x 2.75” (H)
- Weight: 1.9 lbs.