In recent years, headless guitars – once seen as perhaps a relic of the ’80s – have seen an incredible resurgence in popularity.
Ola Strandberg – founder and lead designer of the guitar company that bears his name – ushered them into a new era, leaving bigger firms like Ibanez, Kiesel, and Schecter playing catch-up. And beyond him, younger builders are taking the template even further. One of them, 24-year-old Dom Pearson, reckons that in a few decades’ time, this era’s headless guitars will be the most valuable vintage models on the market.
Now, of all the gear trends I personally have seen in my nine years at this GW online gig, The Rise of the Headless (if someone doesn’t claim that as a metal band name, I will) is probably the one I’m the least fond of.
To be very, very clear, the headless guitar designers I mentioned above are brilliant, and innovative. I struggle with IKEA furniture – don’t ask me to design or build something better, I could never. I just, personally... I don’t like the look of them.
But that’s just my opinion, man. And thinking about it made me want to ask my much more eloquently spoken colleagues about the gear trends they’ve never quite clicked with.
They had some interesting things to say, and so, I imagine, do you. Is there a gear trend that leaves you shaking your head a bit? Let us know in the comments below.
And, if you’re on Apple News, step this way to join the discussion.
Michael Astley-Brown, Editor-in-Chief – Using every single amp model on your modeler
Amp modelers are amazing things. They can downsize your rig and give you infinite options for recording. But seriously, guitarists, pick a lane. Do you really need to switch between dimed Friedman, Bogner, and Marshall models within a single song? I’ve been there, and wasted a lot of time dialing in sounds that ultimately got buried in a live mix (admittedly, I play in a band with three guitarists, so YMMV).
I will forever extol the virtue of sticking with one or two amp models, finding a core sound that responds to the way you play, and getting to know it. How hard do you have to pick to reach the break-up point? What’s the sweet spot for boost pedals? Where do you need to roll your guitar’s volume to clean it up? Building that symbiotic relationship between guitar and amp is one of the great joys of playing. Don’t let the infinite options tempt you away from forming that bond.
Matt Parker, Deputy Editor – The Big Muff
I know. I know. I’m a charlatan. A fake. A sham guitarist. I’ve had a Little Big Muff on my ’board for almost 20 years, used it in a heap of shows, and messed with the settings ad nauseum, but I think – after a two-decade trial – it might be time to admit it’s just not the sound I’m after. I want a gritty, hefty sound, not the wool of the Big Muff and, if I’m honest, I vastly prefer my Danelectro Cool Cat Fuzz, which is chock full of meaty chunks.
I have owned and loved several other EHX builds (the POG, the Cathedral Stereo Reverb), but the headlining Big Muff is not my bag. Why did I stick with it? Well, it was a thoughtful Christmas gift from my now-wife, circa 2007, and it’s only now that I realize that’s the only reason it’s stayed on my ’board. So, er, here’s to the next 20 years…
Matt Owen, News Editor – Prompt-based AI tone generation
Don’t get me wrong, I’m all for making guitar playing easier, but I don’t think I’ll ever fully embrace prompt-based AI tone generation. Asking a smart practice amp or phone app to give me a tone takes away a big part of the fun: chaining pedals, messing with parameters, swapping signal order… ya know, doing the dirty work. And the less I say about image-based tone prompts the better.
These tools are popping up everywhere these days. Positive Grid did it first, but more are catching on to the trend. Again, I completely get why some players would go for it, and concede it’s probably a valuable practice tool, especially for beginners. Plus, it can be fun. But, sorry: it will never be a part of my rig.
What gear trends have never quite clicked with you? Let us know in the comments below.
