
Black Sabbath guitarist Tony Iommi and Epiphone partner on a new version of his beloved SG.
The Epiphone Tony Iommi SG Special features a two-piece mahogany body, a bound one-piece mahogany neck with a rounded profile, an Indian laurel fretboard with 22 frets, a Graph Tech nut, Grover Rotomatic tuners with contemporary style buttons and chrome-covered Epiphone PRO P-90 pickups that are wired to CTS potentiometers and Orange Drop capacitors. A static cling reproduction of Tonyās āMonkeyā sticker is in the included hardshell case. The new Epiphone Tony Iommi SG Special is available in both left and right-handed versions.
Tony Iommi's riffs, heavy tones, and influential albums helped creat the blueprint for heavy metal and many other genres to follow. After an early accident that almost ended his career as a guitarist, Tony persevered to become universally revered. And while Tonyās innovative tuning and playing styles have always been a major part of his monstrous tones, his original, heavily--modified 1964 Gibson SG Special, nick-named "Monkey" was at the center of it all.
Tony Iommi is synonymous with heavy rock, his innovative, de-tuned, dark riffs are considered to be the blueprint for hundreds of bands that followed. Born on February 19, 1948, in Birmingham, England, left-handed Tony picked up the guitar after being inspired by the likes of Hank Marvin & the Shadows as a teenager. Iommiās musical career was nearly derailed prematurely as he suffered a horrible accident at a sheet metal factory, when a machine sliced off the tips of the fingers on his right hand. Figuring that his guitar playing days were behind him, a friend turned him onto guitarist Django Reinhardt (who lost use of two fingers in a gypsy caravan campfire accident), inspiring Tony to give the six-string another go, with soft plastic tips attached to the ends of his fingers. By 1967, he had played with several blues-based rock bands one of which evolved into Polka Tulk (later titled Earth and then Black Sabbath), with bassist Terry āGeezerā Butler, drummer Bill Ward , and singer John āOzzyā Osbourne.
Epiphone Tony Iommi SG Special
$999.00 USD. More info at epiphone.com.
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Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different stylesāB.B. Kingās shake, Claptonās subtle touchābut the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balanceādonāt overdo it, but donāt avoid it completely. Try it out and see how it changes your playing!
The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when youāre plugged in.
Letās talk about guitar amp history. I think itās important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radiosāalthough Iāve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. Iām reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, itās clear thatās where the original Marshall JTM45 amps came from. Also, Iāve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, Iām saying weāre using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. Whatās interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out āloop.ā In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tubeāand then modelingāamplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power suppliesāincluding all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didnāt even mention the speakers or speaker cabinets and the artform behind those. But whatās most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, youāre trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. Itās daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active BartoliniĀ® pickups and preamps results in basses with the tonal flexibility that todayās players require. Donāt settle for less than a bass that delivers everything you want and need āthe look, the feel, and the sound, Tobias.
āIām thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,ā says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. āThis revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.ā
āItās amazing to see this icon of the bass world return,ā adds Andrew Ladner, Brand Manager for Epiphone and Kramer. āThese models are truly a bass playerās bass, and true to the DNA that makes Tobias world-classāthe ace up the sleeve of bass players around the globe since 1978. Todayās players can find that unique voice and feel that only Tobias can offer.ā
For more information, please visit gibson.com.
Sublime, fronted by Jakob Nowell, son of late Sublime singer Bradley Nowell, are in the studio writing and recording new songs for an upcoming full-length album. This marks their first new album since 1996.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BĆRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ā40oz. to Freedomā changed the way I listened to music. Iām so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." ā Travis Barker
āSublime has always been a huge influence on me and to be able work with the band has been inspirational and game changingā¦It has been a highlight of my life to work on such a seminal record with such talented people. Iām so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.ā ā John Feldmann
After Jakob Nowellās debut as Sublimeās new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublimeās late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the bandās first top 10 hit on alternative radio since 1997 with their single āFeel Like That,ā featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 ā LIV Golf Miami ā Miami, FL
- April 18 ā Red Rocks Amphitheater ā Morrison, CO
- May 3 ā Beachlife Festival ā Redondo Beach, CA
- May 16 ā Welcome To Rockville ā Daytona Beach, FL
- May 23 ā BottleRock Napa Valley ā Napa, CA
- May 25 ā Boston Calling ā Boston, MA
- June 14 ā Vans Warped Tour ā Washington, DC
- July 12 ā 89.7 The Riverās 30th Anniversary Show ā Omaha, NE
- July 20 ā Minnesota Yacht Club Festival ā Saint Paul, MN
- September 14 ā Sea.Hear.Now ā Asbury Park, NJ
- September 19 ā Shaky Knees Festival ā Atlanta, GA