
Vox’s Clyde McCoy wah was arguably the first signature pedal, introduced in 1967. McCoy was a jazz trumpeter, but onomatopoeia inspired the device’s name.
Parsing the (mostly) good and the bad in the world of stompbox endorsements.
In the universe of guitar gear, artist-endorsed products are as common as stars in the night sky. Decades ago, signature pedals only had household names on them, but these days, manufacturers are tailor-making guitar gear for niche guitar players as well, and offering these bespoke creations to the rest of the public, too.
While many, if not most, pedal builders would leap at the chance to collaborate with hero-level guitarists with or without the promise of large financial rewards, the economic incentives are clear. It is tremendously difficult to draw attention to a new product in today’s marketplace. Tapping into the reach of a well-respected and popular musician can make the difference between a good product growing into a hit, or lying fallow.
Artist-endorsed gear offers the purchaser an instant connection to their musical hero. If you love Andy Wood’s music and guitar playing, buying his Wampler Pedals signature Gearbox overdrive gets you that much closer to his sound. Moreover, there is the romantic notion that not only did the signature artist design this piece of gear strictly for themselves, they designed it for you, too. Owning a signature stomp then becomes a personal connection between you and the artist. You’re not just listening to something that they made, but using something they made in a much more tangible way.
Andy Wood’s signature overdrive is an example of a pedal created for all the right reasons.
That increased connection often translates into a greater appreciation of the gear itself. Additionally, there is an implied assurance of quality when purchasing an artist’s signature pedal. The idea being that, like their musicality and technique, an artist’s professional and personal standards far exceed that of mortal guitar players. If a piece of gear has been finely tuned and meticulously crafted to satisfy a guitar hero, then it is surely more than sufficient for the average player. This is akin to the satisfaction some get in getting groceries in a car equally at home on the Nürburgring.
The above notions are how the signature gear world should work. In the real world, endorsed pedals can fall short of this platonic ideal. We have all seen examples of signature gear where the player constantly affirms their device as the end-all-be-all, despite the fact they have never been seen using it outside of a photo op. Additionally, some players use highly altered or tweaked versions of their signature gear, leaving their devotees to buy products that are not representative of what they are actually using.
Unfortunately, there is also a group of endorsees who perpetually shop their name and influence around, showing up every six to 12 months with a new company making the current version of their perfect overdrive, an overdrive whose very existence is a criticism of what they had classified as unassailable only months ago. These situations make it hard to determine whether endorsing statements are heartfelt testimonies or exaggerated marketing talking points.
“Most of the current generation of guitar players see their opportunity to make something for the community as the fulfillment of a lifelong ambition and not just as a cash grab.”
I do genuinely think these ignoble types are the exception rather than the rule. Most of the current generation of guitar players grew up with signature gear, dreaming of a chance to make gear with their own name on it, and see their opportunity to make something for the community as the fulfillment of a lifelong ambition and not just as a cash grab. Accordingly, they spend a great deal of time working to develop and dial in their offering to the nth degree—sometimes much to the weary chagrin of their manufacturing partners.
Some dismiss signature-pedal-playing guitarists as uncreative or as clout chasers, suggesting that “real” players should strictly forge their own path when it comes to the gear they use. However, it is widely supported that playing along with your favorite player’s music is a great way to learn the instrument, and most don’t berate or condemn the beginner for not scratching out their own études over those of Mel Bay.
If your favorite player’s music can help you find your voice, then maybe their gear can, too. Try some signature gear out, even if it comes from artists you don’t favor. It inspired them to do what they do; maybe it’ll inspire you to do what only you can do.
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Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
“What you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.”—Alexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system won’t reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate “realistic” audio experience. I wonder if sometimes that’s misguided.
My exposure to the audio hobby came early, from my father’s influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in “high end” audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, I’ve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitarists—except the prices are now beyond what I’d imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, you’ll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems I’ve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If you’ve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. I’ve found myself wondering if the people on those audio boards—who have spent many tens or even hundreds of thousands of dollars on their home systems—have ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasn’t been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. It’s a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
I’m not convinced, but just the same, I’ll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
Kirk Hammett has partnered with Gibson Publishing to release The Collection: Kirk Hammett, a premium hardcover coffee-table photo book where Kirk tells the stories behind his rare and collectible instruments.
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
Here’s Chris Martin surrounded by a group of guitars created to commemorate his family’s 192-year history.
The home organ once ruled the world, only to go extinct. Is the acoustic guitar next?
When I was growing up, my Aunt Kate had a home organ in her living room. Back then, home organs were everywhere. They were sold at malls across America, and were a staple of post-WWII households. Brands like Lowrey, Magnus, and Hammond dominated the market. Lowrey, a division of Norlin (which eventually acquired Gibson), was especially massive. In fact, in a year where Gibson generated $19 million in revenue, Lowrey pulled in a staggering $100 million.
But like all booms, the home organ’s success was temporary. By the 1980s, it had gone bust. A huge contributing factor was the entrance of Casio: a more affordable, portable alternative that rendered the home organ obsolete.
Thankfully, the acoustic guitar has always had portability on its side. I’ve witnessed three major acoustic-guitar booms in my lifetime: the folk and folk-rock explosion of the late ’50s through the late ’70s, the MTV Unplugged resurgence, and most recently, the COVID-era surge.
The ’80s, however, were a tough time for acoustic guitar builders. That decade belonged to pointy electric guitars and hair metal. But the acoustic guitar came back. And unlike the home organ, it has not only endured, but thrived.
My great-grandfather capitalized on the demand for mandolins in the early part of the 20th century. We also tried to make and sell banjos. In addition to that, we made archtops, and although they weren’t as popular as some other brands, we did borrow the 14-fret neck.
While we were making 12-fret guitars with steel strings (the real benefit of that era was a dramatic improvement in the quality of steel strings), we discovered that many players wanted more access to the body and a slimmer profile. Starting with a 000-size guitar, we quickly converted many of our models to the new modern neck design, most notably our dreadnought model. The timing was right, as the dreadnought became the go-to guitar for country music. The steel-string flattop would lend itself to a fantastic melding of styles and types of music from around the world (and around the corner), becoming the driving voice of not just country, but also folk and many other genres.
Baby boomers (myself included) grew up with the sound of the acoustic guitar, and playing the music of our youth remains an essential part of any enthusiast’s repertoire. Our generation is not only large but also living longer, thanks to modern medicine and healthier lifestyles. Many of us have accumulated wealth, and for those of us in the business of making and selling guitars, that’s good news.
I mean no disrespect when I say, “Thank goodness I wasn’t born into the world’s most famous accordion-making family.” Accordions had their day, just as the home organ once did. Interestingly, accordions still have a niche following, whereas the home organ is now a historical artifact. While home organs were, for a time, all the rage, I doubt that even at the peak of their popularity anyone owned more than one. Quite a different situation when it comes to guitars and guitar collecting.
I do wish I could share with my ancestors how popular the guitar continues to be.
Every so often, someone writes an article with a headline like, “Is the Guitar Dead?” My answer is simple: no.
As long as we boomers—and everybody else—keep playing.
The collection includes Cobalt strings with a Paradigm Core, Tim Henson Signature Classical Strings, and the Tim Henson Signature FretWrap by Gruv Gear.
Engineered for maximum output, clarity, and durability, these strings feature:
- Cobalt with a Paradigm Core (not RPS) for added durability
- Nano-treated for maximum lifespan and corrosion resistance
- Gauges 9.5, 12, 16, 26, 36, 46 (Turbo Slinky set)
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature Classical Strings
Crafted for dynamic, percussive tonality, these strings pair fluorocarbon trebles with silver-plated copper basses to deliver exceptional response and clarity.
- Gauges: 24, 27, 33, 30, 36, 42
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature FretWrap by Gruv Gear
An essential string-dampening tool, the Tim Henson Signature FretWrap is designed for cleaner playing by eliminating unwanted overtones and sympathetic vibrations.
- Features Tim Henson’s custom ‘Cherub Logo’ design
- Size Small, fits 4-string basses, 6-string electric/acoustic guitars, and ukuleles
- Ideal for live performance and studio recording
- Ernie Ball collaboration with Gruv Gear
- Available individually or as part of the Tim Henson Signature Bundle
The Ernie Ball Tim Henson Accessory Bundle Kit
For players who want the complete Tim Henson experience, the Ernie Ball Tim HensonSignature Bundle Kit includes:
- Tim Henson Signature Electric Strings (9.5-46)
- Tim Henson Signature Classical Strings (Medium Tension)
- Tim Henson Signature FretWrap by Gruv Gear (Small)
- Tim Henson Signature Cable (Exclusive 10ft white dual-conductor cable, only available in the bundle)
The Tim Henson Signature String & Accessory Collection is available starting today, March 19, 2025, at authorized Ernie Ball dealers worldwide.
For more information, please visit ernieball.com.