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Current page: Guitar Techniques Issue 349

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“They can be really useful when trying to tame some top-end”: How hemp cones affect guitar tone and why Derek Trucks, Carlos Santana and Steve Morse are among their fans

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“I open the door and there’s this 12-year-old kid, a stringless guitar in one hand, a pack of strings in the other”: How Joe Satriani and Steve Vai met, became fast friends, and changed guitar forever

“Karl Sanders taught me there are way more notes you can play during a solo than notes you can’t”: Meet Belushi Speed Ball, the ‘pizza thrash’ band chasing greasy guitar tones and making a pineapple-friendly racket on rare ‘90s Jacksons

Dave Grohl's guitars: meet the six-strings behind the Foo Fighters, plus get DG's tone on a budget

“It makes me sick to even think that I spent that much money on a guitar. Nile Rodgers was like, ‘What is that?!’” Tash Sultana on the magic of Strats and blowing a guitar legend’s mind with an extremely rare model

“If you stand outside of the zeitgeist and try to get people gassed up on the guitar, it doesn’t really work. We should be taking the guitar to the public”: Marcus King on mental health, recovery, and the timeless style of vintage guitars

“Listen to and lock with the drums. Do that and you’ll sound like a pocket genius!” How session legend Neil Jason put on a slap bass masterclass on David Sanborn’s 1979 instrumental classic Hideaway

“David Bowie and Brian Eno used to laugh at me, saying: ‘You’re not supposed to be able to play that!’” Adrian Belew on Frank Zappa’s lessons, Robert Fripp’s synth guitar, and what’s coming up with Steve Vai

“I couldn’t believe it… the list of players could have gone from here to Leeds!” Mark Knopfler on how he enlisted Jeff Beck, Eric Clapton and dozens more for the all-star Guitar Heroes version of his Local Hero theme

“I narrowed it down to the bare essentials and found that three strings were all I needed”: 10 guitarists who played with missing strings on purpose… and the weird reasons why

“At the beginning of the band, we were all happy to be there. When we got to writing Ænima, we spent a year and wrote five songs. That, to me, was so frustrating”: Paul D’Amour opens up on his Tool exit – and his unsung contributions

“There’s the Ozzy thing and the Ronnie thing, and then there’s this”: Black Sabbath’s “lost era” didn’t have Ozzy Osbourne or Ronnie James Dio – but it featured some of Tony Iommi’s best guitar playing