
Though not the first, the Charlie Christian pickup was at the vanguard of the shift to electric guitars.
It’s easy to gripe about change, but us guitarists have always had to embrace new technology.
California has always been the place of dreams for young Americans: Hollywood, surf music, pop music, psychedelia, hot rods, biker culture, and glam metal. The Golden State’s only real pop-culture competition has traditionally been New York City, and we know that the beaches and forests are better on the Pacific side. Recently, California Governor Gavin Newsom signed an executive order requiring that, starting in 2035, all new passenger cars and light trucks sold in the state must be zero-emissions vehicles. Once again, Cali leads by example, and what once was unthinkable becomes reality. Strangely, this EV revolution reminds me of the emergence of the electric guitar.
The electric was born both out of a technological opportunity and a genuine need. Guitarists in orchestras and big horn-driven bands suffered from a volume deficit compared to the piercing tones of brass instruments. Even in smaller settings, the piano’s booming voice could easily bury the sound of a 6-string. As is traditional now, guitarists just wanted more volume, and electricity was the answer. Long before electric blues or rock, pioneering jazz guitarists like Tiny Grimes and Charlie Christian embraced the new tech. In doing so, they wrote the book on how guitarists could be standout soloists in any surrounding.
I’m old enough to remember thinking an electric guitar was weird, but somehow space-age cool. How did it work? Did you plug it into a wall socket, and it just performed like a table radio? It seems laughable now, but electric guitars were the target of derision from “serious” musicians because they were used in that new-fangled rock ’n’ roll, a decidedly low-brow form of entertainment. Electrics weren’t found in music schools either. Consigned as the vulgar musical cousin of the hot rod and motorbike, this naturally raised its appeal to some. The electric guitar was at the center of the burgeoning rock sound, so volume levels escalated with crowd sizes. But the transition wasn’t always smooth. As bands grappled for more and more decibels, big amp stacks and massive sound systems with power-hungry amps sometimes exceeded the capacity of the venue’s stage outlets. Eventually, the situation was sorted out, and even the smallest clubs put significant wiring upgrades in place. Festivals and tours sported massive piles of speaker cabinets to reach levels that dazzled the crowds.
If back in the day you had told me that I could play a gig with gear that could be stowed in the trunk of a mid-sized SUV, I would have considered you insane.
Later, something counterintuitive happened. Technology intervened again. Sound systems became smaller, lighter, and more efficient. Guitarists could play theaters with a 50-watt half-stack, then a 2x10 combo. Now, a band can play an arena without any amplifiers on stage. What a difference a couple decades can make.
Modern battery-powered portable systems can sound better than the piles of folded-horn cabinets bands used to haul around in a 24-foot box truck. If back in the day you had told me that I could play a gig with gear that could be stowed in the trunk of a mid-sized SUV, I would have considered you insane. But that’s the way the future always is. Some were terrified of the locomotive when it was invented, and otherwise intelligent people swore that humans could not travel faster than 50 miles per hour without dying.
We can have this mindset when it comes to musical instruments. I’ve been the biggest snob about vintage guitars since they were just called “used” gear. But I have to concede that there’s a lot to like about new instruments and modeling amplifiers. I have a digital pedal that is 90 percent of the way to my analog ideal but weighs a tiny fraction of a Leslie 147. When you don’t have the space (or the physical strength) to justify giant piles of gear, you begin to appreciate new technology.
That’s not to say I think that there aren’t trade-offs. Yes, you can stuff 5000 songs into your phone, or stream anything ever recorded, but when you listen to analog recordings on a proper sound system at full chat, it’s a whole other experience. When you stand next to a real rotary speaker you witness something that still hasn’t been bettered, but audiences don’t notice. I used to think that until you stood on a stage and felt the power of two 100-watt stacks, you hadn’t really lived. And so it goes. We move ahead with efficiency and convenience while sacrificing something that can’t always be measured—and we get used to it. As much as I yearn to pull those big amps out of storage and shake the walls, maybe I’ll just roll down the Pacific Coast Highway in an electric car listening to an old recording and enjoy the memory instead.
Bonnaroo announces its 2025 lineup featuring Luke Combs, Hozier, Queens of the Stone Age, Avril Lavigne, and more.
This year features headline performances from Luke Combs on Thursday, Tyler, The Creator on Friday, Olivia Rodrigo on Saturday, and Hozier on Sunday. Further highlights include John Summit, Dom Dolla, Avril Lavigne, Glass Animals, Vampire Weekend, Justice, Queens of the Stone Age, and the first-ever Roo Residency with King Gizzard & the Lizard Wizard performing three sets over three days. In addition, Remi Wolf will lead the “Insanely Fire 1970’s Pool Party” 2025 SuperJam, Bonnaroo’s legendary tradition. The complete Bonnaroo 2025 lineup is below.
Bonnaroo tickets go on sale tomorrow, Thursday, January 9 beginning at 10 am (CT) exclusively via bonnaroo.com. Guaranteed lowest-priced tickets are available during the first hour of sales, from 10 am - 11 am (CT). 2025 ticket options include 4-Day General Admission, 4-Day GA+, 4-Day VIP, and 4-Day Platinum, along with a variety of camping and parking options starting at just $25 down with a payment plan.
The 2025 festival will offer some exciting new features for Bonnaroovians, including the “Closer” RV and Primitive Camping accommodations that guarantee closer proximity to Centeroo, regardless of which day fans choose to enter The Farm. Among this year’s most exciting additions will be The Infinity Stage, a brand-new, one-of-a-kind venue – presented in partnership with Polygon Live – boasting spatial sound, synchronized lights, and an unprecedented three-dome, open-air design to create the world’s largest, most immersive, 360° live music experience.
Bonnaroo also offers upgraded ticket types for those who prefer an elevated experience. GA+ tickets include unlimited access to the Centeroo GA+ Lounge, with relaxed seating, dedicated food for purchase, air-conditioned restrooms, and hospitality staff to assist with all festival needs; a private bar with drinks for purchase plus complimentary soft drinks; complimentary water refill station; a dedicated premium entrance lane at both gates into Centeroo, and more. VIP and Platinum guests will enjoy the same perks plus additional exclusive upgrades, including dedicated close-in and on-field viewing areas; unlimited access to VIP and Platinum Lounges; express lanes at the Festival Store, commemorative festival gifts, and so much more. To learn more about VIP and Platinum, please seehttp://www.bonnaroo.com/tickets.
A wide range of Camping & Parking options will be available in Outeroo including Primitive Car Camping, Glamping, RVs, Backstage Camping, Accessible Camping, Groop Camping, Community Camping, and more. Premium Outeroo Camping Accommodations include pre-pitched Souvenir Tents, cool and comfortable Darkroom Tents, weatherproof Luxury Bell Tents, and spacious 2-person Wood Frame Safari Tents for the ultimate Bonnaroo camping experience. Cosmic Nomads On-Site Daily Parking passes will be available for ticketholders not camping. For details on all accommodation options, please visitwww.bonnaroo.com/accommodations.
Complete Lineup
THURSDAY, JUNE 12
Luke Combs
Dom Dolla
Sammy Virji
Marcus King
Green Velvet
2hollis
Insane Clown Posse
Joey Valence & Brae
Daniel Donato's Cosmic Country
Wilderado
Max Styler
Azzecca
The Lemon Twigs
Wisp
Sofia Isella
Kitchen Dwellers
Dogs In A Pile
Die Spitz
Hey, Nothing
The Droptines
FRIDAY, JUNE 13
Tyler, the Creator
John Summit
Glass Animals
Tipper
Goose
The Red Clay Strays
Rainbow Kitten Surprise
Megadeth
Wallows
Foster the People
Slightly Stoopid
Flipturn
Of the Trees
JPEGMAFIA
Marina
Tape B
MJ Lenderman
BossMan Dlow
INZO
Levity
Mannequin Pussy
Leon Thomas
Cults
Aly & AJ
Matt Champion
Detox Unit
Rachel Chinouriri
Eater
Ginger Root
Bebe Stockwell
Effin
SATURDAY, JUNE 14
Olivia Rodrigo
Avril Lavigne
Justice
Nelly
GloRilla
Mt. Joy
RL Grime
Beabadoobee
Tyla
Jessie Murph
Modest Mouse
Gorgon City
Flatland Cavalry
Hot Mulligan
Action Bronson
Crankdat
Dope Lemon
Gigi Perez
Wave to Earth
Claptone
Jade Cicada
What So Not
Daði Freyr
Ziggy Alberts
ROSSY
Destroy Boys
The Stews
Thee Sinseers & The Altons
AHEE
SUNDAY, JUNE 15
Hozier
Vampire Weekend
Queens of the Stone Age
LSZEE
Remi Wolf
Raye
Royel Otis
Dispatch
Role Model
Barry Can't Swim
Treaty Oak Revival
Big Gigantic
Jack's Mannequin
ATLiens
Bilmuri
Saint Motel
James Arthur
Alex Warren
Zingara
Natasha Bedingfield
Alexandra Kay
Goldie Boutilier
Grace Bowers & The Hodge Podge
GorillaT
YDG
SPECIAL PERFORMANCES
King Gizzard & the Lizard Wizard Roo Residency: 3 Sets, 3 Days (Friday, Saturday and Sunday)
Remi Wolf’s Insanely Fire 1970’s Pool Party Superjam (Saturday)
The fast-rising Okies use solid-state amp heads, baritone guitars, and a bit of Peavey magic to bring their nightmare-rock to life.
Oklahoma City sludge rockers Chat Pile have had a busy few years. Their 2022 LP, God’s Country, broke them internationally, and their critically acclaimed 2024 follow-up, Cool World, solidified them as one of the most exciting heavy bands of the moment. We spoke with bassist Stin and guitarist Luther Manhole about the record for our November 2024 issue.
Now, we bring you the band’s first official Rig Rundown, filmed ahead of their show at The End in Nashville last fall. Tune in to see how Stin and Luther conjure the band’s brutal soundstorms on the road.
Brought to you by D’Addario.
Bari Blast
Manhole’s main machine is this baritone 6-string, an Ernie Ball Music Man BFR Axis Super Sport, finished in “starry night.” Luther took a tip from tourmate and Agriculture guitarist Richard Chowenhill and slapped some tape over his neck pickup near the first string to prevent it from catching on the edge of the humbucker. It’s tuned to drop A, with Ernie Ball Mammoth Slinky strings.
Quite the Quilter
Back at home, Luther and Stin lean on big vintage amps, but on the road, Luther brings out this Quilter Tone Block 202, which is plugged into an Ampeg VT-40 combo amp that’s been gutted to run just as a 4x10 cabinet. Luther digs the icier, cutting tone from the 10″ speakers.
Luther Manhole's Board
Manhole’s board is minimalist: All he needs is a TC Electronic PolyTune, a Suhr Riot for dirt, an Electro-Harmonix Memory Boy (which is set for a wobbly chorus effect), and a TC Electronic Hall of Fame for reverb—pedals he’s used for over a decade. An Acoustic PBIS08 supplies the quartet with power.
Peavey Power
Around 2007, Stin went on a hunt around Oklahoma music shops for a Peavey T-40. He finally found one—in a total “Wayne’s World moment”—that belonged to a country singer who had passed away. Since the band’s formation, this “hot and clangy” white T-40 has been Stin’s tool for crafting Chat Pile’s elephantine, bottom-heavy sound. He uses the 5-string Ernie Ball Slinky Cobalts (.060–.125), omitting the .040 string, and plucks with orange Ernie Ball Everlast .73 mm picks for strong, percussive attack.
Building Blocks
Stin’s signal runs to this Quilter Bass Block 802, which blasts through a Trace Elliot 4x10 redline cab with horns—the cab that’s been used on every Chat Pile recording to date.
Stin's Board
Stin probably thinks Manhole’s board is excessive. He packs just his Boss TU-3 and a Tronographic Rusty Box, each with their own individual power supply plugged into a power bar that’s fixed to the board.
Enhance your Ratio Machine Heads with Graph Tech's new Barrel Knobs. Designed for comfort and style, these barrel-shaped tuning buttons offer a fresh look and feel to your instrument. Available in chrome and black finishes, these knobs are the perfect way to personalize your guitar.
Graph Tech Guitar Labs has introduced the latest addition to their Ratio Machine Head family: Barrel Knobs. These barrel-style tuning buttons bring a fresh look and feel to the Ratio system, offering players a new way to personalize their instruments – and an easy-to-grip alternative to more traditional tuner knobs.
Available in two different finishes – chrome and black – the new barrel knobs can be ordered as a standalone option. If you already own Ratio Machine Heads, simply order the Barrel Knobs and swap them out – the process is easy and only takes a few minutes. Best of all, there is no need to replace the entire Ratio tuner system.
The new Barrel Knobs were developed at the request of guitarist Thomas Nordegg, known for his work with rock legends like Frank Zappa and Steve Vai. A longtime fan of Graph Tech’s Ratio machine heads, Nordegg saw an opportunity to enhance the system’s ergonomic design and approached Graph Tech with the idea of creating barrel-style tuning buttons to provide an alternative option for players seeking a fresh look and feel. Designed to integrate seamlessly with the Ratio system, these knobs combine ergonomic comfort with understated style, giving players another way to personalize their instruments.
More and more players are option for Ratio Machine Heads on their instruments. Ratio Machine Headsare designed with gear ratios that are uniquely calibrated for each string, making tuning consistent andpredictable across the fretboard. This innovative system simplifies fine-tuning and alternate tunings, saving time and improving accuracy.
Here’s what the new Barrel Knobs offer:
- Refined Functionality: Barrel-shaped design for a natural grip and precise adjustments.
- Timeless Aesthetic: A sleek, modern look that complements any guitar style.
- Perfect Fit: Designed specifically for Ratio Machine Heads, ensuring flawless compatibility.
- Available in chrome and black to suit a variety of instruments and player preferences.
Graph Tech’s new Barrel Knobs are available for $3.00 each and are available in chrome and black finishes.
For more information, please visit graphtech.com.
The celebrated NYC-based veteran talks the heyday of New York’s jazz scene, playing with the greats, arts funding in America, and more.
Mike Stern has been around the block. The jazz-guitar virtuoso earned his stripes through the ’70s and ’80s in New York’s jazz scene, playing 6-string with drummer Billy Cobham before tapping in with artists like Miles Davis and Jaco Pastorius—even at a time when guitar wasn’t necessarily a cornerstone piece of a jazz outfit. In this episode of Wong Notes, Stern fills Cory Wong in on the ups and downs of 50 years spent in one of the most complex and underappreciated music genres.
Stern made the leap to New York from Boston when Davis invited him to join his band (back when jazz was the pop music of the day, notes Stern), but it was a rocky ride—Stern says he and many other musicians were “bottoming out” from addiction, until a friend went sober and convinced them to give sobriety a try. Stern talks about Miles’ hidden love for the guitar, and how he succeeded in fitting into non-guitar environments.
Wong and Stern touch on the decline of arts spaces and cultures in America (thanks, Stern says, to misallocated funding), playing gigs where the band outnumbers the audience members, the benefits of running the same rig in every room, and how to pick the right pick—for Stern, that involves a bit of wig glue. Tune in to get the details, and be sure to check out our 2018 Rig Rundown with Stern, too.