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Collage of Ola Englund (Left), Charles Berthoud (Center) and Bernth (Right) with their instruments

“It might be the only chance you’ll get to see this lineup in a live performance”: Three of the biggest guitar and bass YouTubers are going on tour to ‘Escape the Internet’

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“Paul Reed Smith wanted to do something, but I had to explain it was my dream as a kid to have an Ibanez signature. Paul said he’d do anything to make it happen”: Herman Li on his switch to PRS – and the perils of shredding on waterslides

“Robert had a plan laid out that we would do three records in three years”: Adrian Belew on how King Crimson made an underrated prog classic in “this industrial musical junkyard we created”

“You couldn’t sell them and you wouldn’t want to sell them because they’d be just too hard to say goodbye to”: Mark Knopfler on the guitars he couldn't bear to part with, and the six-strings that surprised him on One Deep River

“The Ford Motor Company had created a color called ‘Daisy Pink’ especially for his aunt. She was famous in her own right and had the paint sent to Fender”: Meet 9 of Fender’s most elusive offset guitars

“Technically, he was such a gifted and bluesy player. I’m not a really good soloist – but I know how to sit down, learn, and get work done”: Jakob Nowell, son of Sublime’s Bradley, is picking up his late dad’s guitar to reunite the band and the family

“There’s an early No Doubt song which might as well be full-on heavy metal, if you want to hear Gwen singing for Black Sabbath. And there’s an absolutely shredding solo!” No Doubt’s Tom Dumont names 10 guitarists (and one genre) that shaped his sound

“I was trying to do the ultimate guitar solo”: Lou Reed once recorded a double album consisting solely of guitar feedback – but his label took it off sale after three weeks

“The bouncers wouldn’t let the audience stand up. That frustrated me to the point that I destroyed my bass guitar”: The Clash's Paul Simonon reflects on that iconic London Calling moment

“They probably only made two or three of them, but there’s a signature Burns Chris Stein Scorpion out there somewhere”: Ahead of a new Blondie album, Chris Stein talks folk and jazz influences, fighting with early effects, and his MIDI future

“Keyboards started coming up a lot more, and so there was a little more of a fight for space with the guitar”: Alex Lifeson looks back on the difficult creation of Rush’s 1984 classic, Grace Under Pressure

“I used to write solos, but there’s a lot of beauty in a more spontaneous take – even an old, known pattern that falls in a different place than usual”: Matheus Canteri is shamelessly blending country with shred – and it’s working