Oz Noy joins the Premier Guitar staff in playing voyeur by admitting their musical heroes they'd want to observe working in the studio.

This month Israeli jazz guitarist Oz Noy joins Premier Guitar staff in playing voyeur, because who wouldn’t want to watch their musical heroes in action? And since you’re reading this, you’re likely obsessed with guitar and will totally relate to our “current obsessions.”

Oz Noy -- Guest Picker
Which band/musician would you give anything to see work in the studio and why?
I have two. The Beatles, just to see how they were able to go around all the technical limitations of recording at that time and came up with all these brilliant-sounding records, especially the later years. And Peter Gabriel—I want to see how they recorded “Sledgehammer.” To me, that is the most amazingly produced song of all times.

My current obsession is: Trying to play jazz standards, especially Thelonious Monk songs with Travis-picking style.

Andy Ellis -- Senior Editor
Which band would you give anything to see work in the studio?
Daniel Lanois and Black Dub. I want to discover how Lanois can take a pulsing live-in-studio band performance and transform it into a psychedelic soundscape using effects and remixing techniques. If you haven’t heard Black Dub, check out “Ring the Alarm.”

My current obsession is: Putting nickel-wound strings on my flattops instead of the typical phosphor bronze acoustic sets. Heresy, perhaps. Except that Tony Rice has done this forever, and after he handed me his Santa Cruz signature model dreadnought during an interview (yes, that was amazing), I became a convert. Nickel-wounds offer a sweeter, less shrieky treble response with a tad less finger noise, and compared to the identical gauge of phosphor bronze, they feel more supple.

Joe Gore -- Senior Editor
Which band would you give anything to see work in the studio?
Duke Ellington’s 1939 band, with Barney Bigard, Ben Webster, Johnny Hodges, and Cootie Williams—plus Jimmy Blanton, arguably the most important bassist ever. You might have even spotted young Billy Strayhorn fine-tuning the charts.

My current obsession is: I’m jonesin’ for germanium! I bought a thousand transistors in bulk—enough for 1,000 Rangemasters, 500 Fuzz Faces, 333 Tone Benders—or one big-ass Fuzzilla. Most “mojo” stompbox parts are bunk, but germanium truly has unique tonal properties.

Tessa Jeffers -- Managing Editor
Which band would you give anything to see work in the studio?
Frank Zappa. His Utility Muffin Research Kitchen had to be like going to the theater. I’d be mesmerized by his art-mock vocals about dental floss, unfathomable guitar work, his eccentric genius for off-the-wall sounds like kazoo, and that facial hair!

My current obsession is: Experimental guitar ideas in soul, hip-hop, and R&B songs like the opening fuzz riff on Miguel’s “Simplethings.” (And every time I think about Zappa, I get more obsessed.)

Jason Shadrick -- Associate Editor
Which band would you give anything to see work in the studio?
Phish's Joy album simply because of how fresh it must have felt in the studio after their lengthy hiatus. Plus, I would totally try and get the scoop on why Trey digs that vintage Ross compressor.

My current obsession is: I simply can't get enough of the mandolin masters like Chris Thile and Sam Bush. The sound of the bluegrass “chop” is inspiring my wife and I to get our mando chops together this summer.

Colton Wedeking -- Director of Marketing
Which band would you give anything to see work in the studio?
The Foo Fighters. Dave Grohl is by far my favorite musician. He's an amazing songwriter and has killer chops. When 2011’s Wasting Light was released I was totally hooked. I'm pumped to see what they do with their upcoming album this fall.

My current obsession is: Flashy guitars. I've been crushin' pretty hard for a Gretsch Sparkle Jet or some kind of funky looking semi-hollow from Gretsch. I've also had my eye on the Eastwood Airline Map. I think it'd be fun to jam on something less common than what you normally see onstage all the time.

A maze of modulation and reverberations leads down many colorful tone vortices.

Deep clanging reverb tones. Unexpected reverb/modulation combinations.

Steep learning curve for a superficially simple pedal.


SolidGoldFX Ether


A lot of cruel fates can befall a gig. But unless you’re a complete pedal addict or live in high-gain-only realms, doing a gig with just a reverb- and tremolo-equipped amp is not one of them. Usually a nice splash of reverb makes the lamest tone pretty okay. Add a little tremolo on top and you have to work to not be at least a little funky, surfy, or spacy. You see, reverb and modulation go together like beans and rice. That truth, it seems, extends even to maximalist expressions of that formula—like the SolidGold FX Ether.

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Megadeth founder teams up with Gibson for his first acoustic guitar in the Dave Mustaine Collection.

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Gibson 1960 Les Paul 0 8145 is from the final year of the model’s original-production era, and likely from one of the later runs.

The story of 1960 Gibson Les Paul 0 8145—a ’burst with a nameplate and, now, a reputation.

These days it’s difficult to imagine any vintage Gibson Les Paul being a tough sell, but there was a time when 1960 ’bursts were considered less desirable than the ’58s and ’59s of legend—even though Clapton played a ’60 cherry sunburst in his Bluesbreakers days. Such was the case in the mid 1990s, when the family of a local musician who was the original owner of one of these guitars walked into Rumble Seat Music’s original Ithaca, New York, store with this column’s featured instrument.

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