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All Guitar Techniques' audio and video lessons are now accessible online, with animated tab versions of every lesson, previously only available in the magazine's digital edition.

So now you can use GT wherever you are, using your phone, tablet or laptop.

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“I strongly believe that if you give a guitar to five different players – same guitar, same amp – each one of them is going to sound different”: Alex Lifeson takes us behind the scenes at Lerxst to talk gear, tone and the possibility of new music

“A lot of kids are getting millions of hits because they can play Eruption. If you want to impress me, write Eruption”: Jesse Dayton is glad he didn’t have a hit years ago – it might have taken away his freedom

“When companies have success, or they have iconic models, we can tend to get lazy... Consumers and artists deserve better – they need to feel like we’re working hard”: How Martin made its groundbreaking Inception acoustic

“As guitarists, we’re used to looking at wood on our guitars, but its role in shaping the cabinet’s sound is as important”: How does guitar cabinet material affect the sound?

“He’d pull off bass riffs that were just amazing – he doesn’t just follow the roots”: Listen to Geddy Lee’s “flamenco” strumming technique on Rush’s Snakes & Arrows

“Clyde McCoy was duly paid $500 to endorse a pedal he probably never used”: The wah pedal changed the sound of electric guitar – but was originally intended for the trumpet

“I send two delays out to an amp each and pan them. You get this glorious wash that makes you feel like you’re on drugs”: With Oceansize, Mike Vennart influenced a generation of progressive guitarists – and he’s not ruling out a reunion

“As a guitarist you can come in after the one without the house falling apart. But as a bass player, you always have to be there”: How Jonas Reingold switched from classical guitar and became Steve Hackett’s go-to bassist

“We started at a slow tempo, but as the session wore on, people were heading to the bathroom and sniffing stuff, and the tempo got to be almost twice as fast!” Klaus Voormann’s bassline on John Lennon’s Whatever Gets You Thru The Night is a must-listen

“When the bass comes back in it’s like a punch in the face. Nobody plays like that anymore”: Listen to John Deacon’s isolated bassline on Killer Queen

“When I look back, The Strokes were like this tentpole. They led me to learn how to accompany myself and made me want to start my own band”: Waxahatchee’s Katie Crutchfield found her country voice via indie and riot grrrl