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    Ali Handal

    Ali Handal talks about her favorite guitars, including Bella, her Gibson SJ-200, her ’30s Oahu lap steel, and a ’60s Hagstrom gifted to her by an uncle when she was 13. Check out our review of Ali’s new album, “That’s What She Said,” in the March issue of Vintage Guitar. Click the “Hit List” link at the Bottom of the cover and READ NOW!!


    Ray Cummins’ latest lesson changes things up by mixing country, jazz, and blues. He takes a simple chord progression, adds a melody, then bounces between chords and melody, adding a jazz progression on the bridge. Along the way, he shows how to play a few Chet-style licks/endings. Ray is using his Stevie Ray Vaughan signature Strat through his ’63 Fender Vibroverb. Keep up with Ray at http://raycummins.com.

    Hornby Skewes Zonk Machines

    Hornby Skewes Zonk Machines

    Fuzz Bonk

    In 1965, fuzz was the “it” sound. Guitarists had recorded with fuzz before, of course, but after Keith Richards plugged into a Maestro Fuzz-Tone on “(I Can’t Get No) Satisfaction,” its sound was suddenly essential. In England, finding fuzz was an endeavor; the Maestro was expensive and difficult to track down. As a result, even

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    Homer Haynes’ ’59 D’Angelico Excel

    From 1932 to 1964, independent builder John D’Angelico produced some of the finest jazz guitars. After apprenticing and working in the violin trade, D’Angelico transitioned to building archtop guitars with f-shaped sound holes in his shop at 40 Kenmare Street, on the Lower East Side of Manhattan. His earliest models closely resemble Gibson’s L-5 from

    Keb Mo

    Keb’ Mo’

    Writing by Subtraction

    Keb’ Mo’s latest album, Blues Americana, nearly wrote itself. “Going in, I had planned to make a solo acoustic record,” he said. “I got the songs together, but felt it didn’t really hold up. So, I made the record like I wanted – started simple, with guitar and vocal and a click track, because I

    Strymon’s DIG Dual Digital Delay

    Diggin’ In

    Offering the heart and soul of those crystal-clear first-generation 1980s digital delays, California-based Strymon’s DIG Dual Digital Delay provides not only three classic digital voicings, but dual cascading or parallel delay times.  Housed in Strymon’s standard  4×4.5×1.17″ anodized aluminum chassis, the DIG features rear chassis-mounted ¼″ In/Out and Power jacks, including a single Mono/Stereo TRS input

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    Singular Sound BeatBuddy

    Drums Even You Can Play

    Everyone knows a good drummer joke. Or two. Drummers are indeed a special breed. Singular Sound’s BeatBuddy drum-machine pedal, however, is no joke. And as the first drum-machine-in-a-pedal designed for guitarists, it, too, is special. The BeatBuddy provides Charlie Watts in a box – along with Buddy Rich, Al Jackson, Jr., and John Bonham thrown

    Peavey Vypyr VIP2

    Backline in a Box

    Peavey Vypyr VIP2 Price: $199.99 Contact: www.peavey.com For more than 40 years Peavey’s ongoing evolution while building guitars, amps, and pro audio equipment has attracted some big names in the music industry. Adding to their substantial amp roster is their latest offering in the category of modeling amps. Peavey calls the Vypyr VIP 2 “The

    Martin OM-18 and 000-28

    What makes these two Martins remarkable is not necessarily their rarity or historical importance, though both would be welcome additions to any serious collection. Martin has offered sunburst finishes as an option since the 1930s.The earliest Martin catalog reference is a 1932 C-1 archtop with a “top shaded golden brown;” sunburst R-series archtops and dreadnoughts

    The Howlin’ Brothers

    Like a long-lost radio show from the ’50s suddenly coming to life on your radio in the late nighttime hours, this hard-driving string trio summons forth the sounds of old-time bluegrass, vintage country, and roaring rockabilly. The Howlin’ Brothers have one foot tapping time in tradition, the other kicking down the doors. The howling here

    The Budda Twinmaster

    Return of a Boutique Legend

    In the early days of boutique-amp building, there were but a few contenders on the scene. One of the strongest amplifiers in those days was made by Budda. First released in 1995, the company’s Twinmaster presented 18 watts of raw tone that made it a no-brainer buy for many, and it soon found its way

    Blackstar Fly 3

    Best In Show... And More

    While listening to AC/DC’s Back in Black on a small, audiophile-grade table radio, Blackstar Amplification CEO Ian Robinson had an epiphany: small amps don’t have to sound crappy. Previously, there had been a number of discussions at Blackstar about entering the sub-$100 market. After a year of development, they introduced the Fly 3 battery-powered amp

    Crazy Tube Circuits SPT

    Greece Is The Word

    The modal mellowness of Apollo’s lyre or the perky chirp of the bouzouki might come to mind when one thinks of Greek music. But Crazy Tube Circuits? From the Athens not found in Georgia, the CTC Spiral Turbulence (SPT) pedal combines a phase shifter and vibrato. An on/off stomp switch, single-throw mini switch, and four

    Waterloo WL-14

    Waterloo WL-14

    Modern Johnson

    Waterloo WL-14 Price: $2,100, $1,890 (street) Contact: www.collingsguitars.com or www.waterlooguitars.com Robert Johnson slid into a photo booth, dangling a cigarette from his lips and holding a flat-top guitar. What brand was he smoking? Who knows? But scholars think he was holding a Gibson-made Kalamazoo KG-14. And acoustic blues guitarists want to know what Mr. Johnson

    Willie Nelson

    For The Good Times: A Tribute To Ray Price

    Soon after arriving in Nashville in 1960, Willie Nelson signed a songwriting contract with Pamper Music, co-owned by Ray Price, one of the era’s biggest stars. It launched a friendship that endured until Price’s death in 2013. Spending much of ’61 playing bass and singing with Price’s band, the Cherokee Cowboys, Willie worked alongside guitarist

    Shaw Audio Bass 130

    Classic Tone for the Modern World

    Tennessee amp builder Kevin Shaw loves restoring old cars – and creating fine-sounding amplifiers. His ToneRod SE and Fulltilt 18 helped establish him as a factor among amp builders, and his latest offering is (as the name implies) a bass head – the Audio Bass 130. Among modern Class D bass heads, and their enormous

    Brown’s Guitar Factory Lap Steel

    Steel Yourself

    At the beginning of amplified music, one of the first instruments to get a magnetic pickup was the Rickenbacker “frying pan” lap steel – the first of many electrified lap steels made at one time or another by guitar companies including Gibson, Fender, and, of course, Silvertone. Attend a guitar show today, and you’re likely

    Gibson L-5S Ron Wood Signature

    Serious Lumber

    In 1972, Gibson introduced the L-5S as a smaller, thinner solidbody version of its L-5 hollowbody. Most mistook it for a Les Paul with a wider body. Though not Gibson’s most popular model, it did catch the attention of a number of high-profile guitarists, including Rolling Stone Ron Wood. Like the L-5, the L-5S was

    Slim Harpo and Martin Hawkins

    Buzzin’ the Blues: The Complete Slim Harpo and Slim Harpo: Blues King Bee of Baton Rouge

    Mick Jagger admonished the world back in 1968, “What’s the point in listening to us doing ‘I’m A King Bee’ when you can listen to Slim Harpo doing it?” His statement not only summed up the early philosophy behind the Rolling Stones – despite the band’s superlative cover of that song, and later of “Shake