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Three custom TONEX ONE pedals to accompany IK’s exclusive three-part series of explosive tones, carefully researched and captured in multiple variations.IK Multimedia announces the Brown Sound Anthology, which includes three limited-edition TONEX ONE pedals and two new Signature Collections for TONEX, completing the three-part series of legendary recorded guitar. Covering the Brown Sound’s evolution across six groundbreaking albums in three TONEX Tone Model collections, the anthology fully captures an artist’s tonal journey as he changed rock guitar forever.A New Vocabulary for GuitarFew artists had a greater impact on rock music in the late 1970s and early 1980s than the young Dutch-born guitarist who entered Sunset Sound Studios in 1978 to record what would become known as the Brown Sound. He inspired and influenced countless guitarists to expand their vocabulary and pursue that unique sound, none more serious than the man behind IK’s Brown Sound Collection.Pursuing PerfectionTo create a comprehensive anthology of those historic tones, IK collaborated with Brown Sound tone guru Jim Gaustad. The result is 150 ultra-accurate Tone Models that feature both authentic recreations and thoughtful variations, representing different theories about how these legendary tracks were recorded. Every detail was explored, and no expense was spared, with no compromises made during production.A Genre-defining MomentReleased in May to rave reviews, the initial series collection, Brown Sound 78/79, captures not only the gear but also the attitude, feel, and raw sonic essence of a genre-defining moment in rock history. By combining confirmed and rumored setups, including alternative speakers, these Tone Models offer exceptional accuracy and creative flexibility. This collection comes with every limited-edition TONEX ONE (a $/€99.99 software value).The Dark and Moody TonesBrown Sound 80/81 captures the darker swagger and heavier edge that marked a milestone in the guitarist’s development. Carefully crafted to match the recorded tones of two albums, this collection features 50 detailed Tone Models, including amp-only captures. With everything from raw rhythm crunch to fiery lead tones, these models faithfully recreate a sound that continues to inspire generations and redefine what the guitar can be.New Depth and DetailBrown Sound 82/84 is the third and final installment of the series. This collection features 50 carefully crafted Tone Models, including amp-only captures. As the push for radio-ready hits grew stronger, the Brown Sound became tighter, more refined, and more polished without losing its iconic edge. Users will experience firsthand the evolution of the legendary guitarist’s tone during this exciting period of increased studio precision and musical ambition.TONEX ONE Limited EditionAvailable in three colors, each limited-edition TONEX ONE comes pre-loaded with 20 carefully crafted presets using Tone Models from all three Brown Sound collections. Additionally, each pedal unlocks the Brown Sound 78/79 collection and a choice of one other Brown Sound Signature Collection (a $/€199.98 software value).Collector’s Limited EditionAvailable in only 200 units, the Brown Sound Anthology box set includes all three pedals (white, red, and yellow) plus all three collections (78/79, 80/81, and 82/84), delivering the complete Brown Sound experience. From the raw energy of the early years to the refined power of later tones, every era is vividly brought to life in one versatile and exceptional bundle.Pricing and AvailabilityThe Brown Sound Anthology limited-edition TONEX ONE will ship in August and is available now for pre-order from IK authorized dealers worldwide, and through the IK Multimedia online store, along with the Collector’s box set, and the new collections at special pre-order pricing as follows:TONEX ONE Brown Sound Limited Edition – $/€249.99* – Available in white, red, or yellow. Includes Brown Sound 78/79 and a choice of one other Brown Sound collection (a $/€199.98 software value). Existing Brown Sound 78/79 users will receive a $/€50 discount at the IK store.TONEX Brown Sound Anthology Collector’s Limited Edition – $/€599.99 – Box set includes all three colors of TONEX ONE (white, red, and yellow) plus all three Brown Sound Signature Collections (78/79, 80/81, and 82/84). 200 units available worldwide.TONEX Brown Sound 78/79 – $/€99.99 – Includes 50 Tone Models.TONEX Brown Sound 80/81 – $/€79.99 pre-order (reg. $/€99.99) – Includes 50 Tone Models.TONEX Brown Sound 82/84 – $/€79.99 pre-order (reg. $/€99.99) – Includes 50 Tone Models.*Pricing excluding taxes.For complete details and information about the Brown Sound Anthology collections and pedals, and to hear the tones, please visit:www.ikmultimedia.com/tonex-brown-sound

Bergantino Audio Systems proudly introduces theNV410T, a limited-edition bass cabinet inspired by the iconic NV610T. Designed byfounder Jim Bergantino, the NV410T captures the sonic character of its predecessor ina more compact, stage-friendly, and portable format.Jim Bergantino shares:“The NV410T is the perfect cab for anyone who loves the NV610T tone but wantssomething smaller and lighter. It’s a win-win!”Built with lightweight Italian poplar and a Baltic Birch baffle, the NV410T features fourcustom 10” ceramic woofers, an adjustable high-definition tweeter, and a customcrossover. Its sealed design delivers tight lows, smooth mids, and articulatehighs—ideal for both large venues and smaller stages.A shallow 13” depth, top-mounted handle, tilt-back wheels, and protective glides ensureeasy transport. Available in Black Bronco or Black Cherry Tolex, this cabinet offersboth rugged performance and standout looks.Key Specs:• 1000W RMS @ 4 ohms• 48Hz–12kHz frequency response• 101.5dB sensitivity• 79 lbs; 39.5”H x 18.5”W x 13”D• MSRP: $1795Pre-orders are now open at bergantino.com/nv410t-bass-guitar-speaker-cabinet/Shipping begins August 2025. Supplies are limited.

As a young musician, I always knew I wanted to be a recording artist. I started to notice that my mentor, Laurence Cottle, was often leading his own bands more than playing sideman gigs. He was the best example of a bass player writing original music and fronting a band that I could’ve asked for.There was just one tiny problem: 30 years ago, I had no idea how to write music. In fact, I didn’t even know where to begin learning composition or how to turn ideas into recordings or live performances.Luckily, around 1994 or ’95, Laurence took me to a show at London’s Jazz Cafe. He was playing with Bandzilla, an all-star big band led by American arranger and producer Richard Niles. I had no clue that a 30-second introduction to Richard would turn into a second mentorship—one that eventually helped me move to the U.S. and become a full-time musician.There’s something about the positivity of American musicians that always fascinated me, and Richard was, and still is, one of those people who loves to say yes. He’s endlessly curious about new talent and always enthusiastic about helping you succeed.He wanted to hear me play, and I wanted to learn everything he knew—chord voicings, arranging, producing, orchestration, composing—all the knowledge that comes from working with artists like Paul McCartney, James Brown, Pat Metheny, and Depeche Mode.Picture me at 16 or 17, knowing the heavyweight status of this guy, being invited into the studio to hang out and make music. I had to remind myself not to let my jaw hit the floor when the wildest stories were told. And he had all the keys to the castle: everything I craved to learn about how to put pen to paper, audio to tape, and people in seats at live shows.But the one thing that stuck with me most from that time—and what I want to share with you—is Richard’s insistence on the importance of form.Now imagine me, a total rookie, saying something like, “I can’t write music,” and Richard jumping in with: “Just take care of the form, and the rest will follow.”He knew I had a couple of strengths, one of them being listening. I listened to music every second I wasn’t playing it. I wore out records. I chewed up cassette tapes from overuse. I never said no to something new.That’s when Richard explained that I probably already had a solid grasp of melodic and harmonic ideas, simply from absorbing music so deeply. What I hadn’t paid enough attention to yet was form.He had me name a random song I liked. I picked “The Chosen” from the Yellowjackets’ album Dreamland. The album had just come out, and I was listening to it every day.He told me to transcribe the form—not the notes or chords, just the number of bars in each section. Then I had to label them: “Intro,” “A-Section,” “B-Section,” “Bridge”—just the bare bones of the structure.And by doing that, a roadmap came into focus almost immediately.I already had licks and lines I loved to play. I had chords I was obsessed with. I’d been fascinated by certain classical passages and often wondered how to incorporate them into my own music.When Richard said, “Now you have somewhere to put all your ideas. Follow the form, and the song will start to make sense,” he was absolutely right.Of course, it was rough at first. None of those early compositions ever made it onto an album. But by identifying the forms of songs I loved, I expanded my options. I started recognizing patterns. I began writing within those frameworks. I started to better understand form as a bassist too, which helped massively when gigging.And over time, from that one simple idea, I created my own forms, my own compositions, and eventually, my own career as an artist.I’ve included a song of mine for this piece. It’s in AAB form—but with an unusual bar structure: 7–7–15. I encourage you to steal that form and see what you can create. It might just be the start of your own journey into writing music.

Question: What’s your No. 1 amp and why do you play it?Guest PickerLuther DickinsonA: My main amp on the road is my signature Category 5 LD100 (or LD50 in a small room). Don Ritter and Barry Dickson of Category 5 and I designed this amp similar to a 100-watt Marshall plexi, but with nice subtle spring reverb and a groovy tremolo that goes from very slow to very fast with a foot pedal controlling the speed.- YouTubeObsession: Live Prince concert footage does not count because that’s constant, but I’m thrilled by Tolgahan Çoğulu and his microtonal guitar YouTube page! As a slide player I’m familiar, even intimate, with some of the microtones they utilize with these amazing guitars with movable modular frets, and thus I love his music, approach, and this scene (including King Gizzard and the Lizard Wizard). READER OF THE MONTHSteve RempisA: Having recently embraced doom metal in a big way, I started on a quest to find the perfect amp for getting a distinctive tone and taking fuzz pedals. After trying all the usual suspects, I stumbled upon a circa 1972 (just like me) Kustom Hustler 4×10 combo. This amp gives me what I consider to be my ideal doom tone, especially when the bright switch is engaged (contrary to conventional wisdom). I pair the Kustom with a Roland JC-40, which handles all my time-based effects. My rig looks and sounds unique, and most definitely dooms! Obsession: My current obsession is parallel fuzzes. When looking for my perfect fuzz sound, I found that I had three pedals (a Pro Co RAT 2, a Rowin Frenzy, and a Keeley Suns) that didn’t get me what I wanted in isolation, but each did great things as part of my tone spectrum. The obvious solution? Run all three! A little internet research led me to the Electro-Harmonix Tri Parallel Mixer pedal, which allowed me to run all three pedals together as separate signals which were then combined at the output. No “stacking” required. I now have a “best of all worlds” fuzz sound that brings a big grin to my face every time I plug in. Charles SaufleyGear EditorA: My 1964 Fender Tremolux is my first amp and it’s certainly the last one I would ever sell. For my purposes, the Tremolux, with its 30 watts and tube rectifier, deftly splits the difference between a tweed Fender’s squish and growl and a black panel’s clarity and immediacy—a nice lane for a lad that counts circa-’69 Crazy Horse, early-’60s South Bay surf, and Mod-era Pete Townshend as tone ideals. With a Fender Reverb unit and an Echoplex out front, it is pure joy.Obsession: Making space in mono mixes. It’s a great workout for the ears, a cure for option fatigue, and reinforces and encourages smart arrangement decisions. But as an individual that marvels at the potency, punch, and sometimes spooky ambience heard in mono records, it’s fun chasing the magic that lurks in those slabs of wax. A: My Dr. Z Maz 18 Junior 2×10 combo has been my dream machine for about 11 years now. It’s a Mark I model, with reverb. A few months back, it wasn’t keeping up with my band at a show, so I started looking around for a used amp in the 50-watt range. I went through a few heads and cabinets only to end up back at my Z, which I paired with a Fryette PS-2 to raise its wattage to 50. Maybe 11 years of Z has just cemented my amp’s frequency range in my brain, but whatever the case, it just feels like home.Obsession: Finding the perfect balance between chime, depth, and aggression. I favor single-coil tones that have a lot of pluck and definition, but striking the right harmony with top-end clarity and thick, characterful distortion is tricky. Blue Colander’s Crooked Axis, a massively expanded take on the Colorsound Power Boost, has been getting me there the past few months. But I have started to wonder: Can I depend on my ears to dial in the sound I want, or have I lost enough high frequencies in my hearing that I’m not a reliable tone sculptor? Overthinkers anonymous, unite.

The word “parallel” is easy to use to describe bass luminaries Bootsy Collins and MonoNeon. Both are remarkably distinctive, not only in their playing style but in their fashion, and they both exist on the leading edge of musical and technological trends. And both innovators have what seems to be everything: signature model instruments and effects, adoring fans across the globe, and the biggest and most important attribute of all, humility. The career paths of these two have been eerily similar, albeit decades apart. Collins, who is 73, electrified the club scene in Cincinnati, eventually being handpicked by James Brown to join his band. Prince caught wind of MonoNeon, who is 34, via his clips online, and soon the young bassist was standing next to Mr. Nelson at Paisley Park, bringing new energy to the Purple One.Both have just released new records. MonoNeon’s You Had Your Chance … Bad Attitude blends funk and soul with dashes of heartbreak and humor, adding to his extensive list of releases. Bootsy has dropped his Album of the Year #1 Funkateer with a fury, collaborating with Snoop Dogg, Fantaazma, Eurythmics’ Dave Stewart, and Ice Cube to blend classic funk with modern grooves. In our hour-long bass conversation, we talked about church, family, and finding your voice in the world, and I was genuinely surprised to hear the tech-savvy approach of the “old guard” Bootsy and the “old soul” approach of the social media influencer MonoNeon. Bootsy Collins: What year did we meet, and you did the bass thing on my record?MonoNeon: Two-thousand-sixteen. That was with [drummer] John Blackwell.Collins: That’s right. That’s when we really got together in person and started hooking up. I checked out Mono on Twitter at the time, and he had such a style and he used the instrument not just as a bass; he took it and communicated with it, showing people that whatever you are saying you can speak through music. It was pretty incredible, because in my day, coming up, that was like a breath of fresh air.Bringing musicality to everyday life was that extra step.Collins: Then the other step was that, you know, he has his grandma on. Kids don’t do that. They want to get away from their parents, and here’s this young cat coming up, sitting with grandma, going to church. So I had to meet this cat. You bring up church—did you guys play in church?MonoNeon: Oh yeah. I grew up in church. Grandma used to take me to a Baptist church in Memphis. I started playing there at age 9. It was intimidating. There were a lot of great musicians there. Collins: There’s nothing like it. Maybe if we hadn’t started there, we wouldn’t be where we are now. That’s the “one.” You start right there, then grow. You can be away for a minute, but that feeling never leaves you. If you don’t have church, though, you don’t know how far is too far. That’s one side; then there’s another side, the Holy Spirit, where you aren’t acting, you’re just being yourself and playing and letting this spirit take over. I know Mono went through that sort of vibe with Prince, too. Walk me through when Prince brought in a new track or idea.MonoNeon: I always just waited on Prince to tell me what to do. I would do my thing on it until he told me “don’t do that.” He always let me be myself. You mentioned John Blackwell earlier. What a force. Let’s talk about drummers for a minute. What do we like in drummers?MonoNeon: Well, for me, the drummer has to have a lot of personality. He has to have great sensibility and just be fearless. I really don’t care about a lot of chops.Collins: With me, my heroes were Clyde Stubblefield and Jabo Starks. And I never could dream of getting the opportunity to play with them. When they came to record at King Records here in Cincinnati, my dream was to at least meet them. I wasn’t even thinking about getting a chance to play with them. It just happened to turn into a relationship once James Brown hired us [Bootsy and his brother, guitarist Catfish Collins], which was unreal at the time. Standing in between those two … Clyde was fire. He was just fire. And Jabo was just the watery, jazzy, swinging-type drummer. A lot of people don’t know the difference in their styles. You know, they just say “James Brown drummers,” but James would use either Jabo or Clyde to record, depending on the style of the song. James knew.Tell me more about James. Collins: The way he treated me and my brother was, “Y’all go ahead and do your thing,” much like Prince with Mono. It was more about our energy coming into the studio rather than his. James would tell us parts in advance, and he was looking for that young energy. James would let us go into the studio before he got there, and we would be in the room grooving and James would come in, like, “Keep it going, keep it going, start the tape.” He’d start the tape up, he’d run out there to the mic and just start yapping—ha! Where did you track with James? Collins: We recorded in Muscle Shoals, Alabama, and Criteria down in Miami. King Records here in Cincinnati is the main one. We’re actually in the process of revitalizing the room and getting it up and cracking again. We think there is a lot we can do for the music and the historical side of the scene here.Speaking of the scene, Mono, you are in Memphis. You grew up with the Stax Records location right down the road and Beale Street not too far away. Your dad, Duane Thomas, is a bass player with some big credits as well. What records were on the family turntable when you were little?MonoNeon: Probably some stuff my dad played on. My dad used to play with Denise LaSalle and Mavis and Pop Staples, so I was listening to all that. My dad also played with the Bar-Kays in the late ’80s. I had music from church and the records my grandma was playing as well—blues like Jay Blackfoot and Johnnie Taylor. That’s why I’ve got an old soul now, because I was hearing all that shit. What was the scene in Cincinnati like in the late ’60s and early ’70s?Collins: Well, at one time it was a great, great scene because you had clubs everywhere and all the bands were working. We’d go and sit in with each other. Roger Troutman, Ohio players, Slade, all these mugs were just working in clubs. And it was an every-night situation. The scene was beaming with clubs and places to go and places to do things so you can show your talent. We didn’t have the computer thing, online and all that, so you actually had to be somewhere to show what you got. We used to walk in clubs and have our instruments out. When you walk in like that, you kind of demanding, like, “We coming to take your gig,” you know? We [Bootsy and Catfish] always brought it. So, we had the reputation going. Then everybody kind of knew, oh, them Collins, them Muppets. That’s why James was looking for us.You both have new records. Tell me about the process of making them.MonoNeon: It’s really just trial and error for me. I sit down at the keyboard and try to figure out harmonies that feel like me. It’s seeing what works or not. I try leaving that space open for whatever comes.How do you map it out? Is it bass parts first then everything else? Do you chart it out as you go? MonoNeon: I don’t chart anything out. I just open up my DAW—Logic—and get on the keyboard and figure out some shit. I make a beat first, usually, especially when I’m working by myself. The guy I work with in L.A., David Nathan, we write songs together, and he’s a great songwriter and producer. So when it comes to songwriting, it’s easier to narrow ideas when I work with him. He’s like a brother to me. So, I trust him with my vision and what we want to do. But since I’m so quirky, he knows my quirks, so he’s able to flesh it out. I am definitely learning more about songwriting being around Davey as well.Bootsy, you have moved into more of a producer role for your new record and have some heavy guests. How do you adjust for each one? Collins: I guess for each song the process really is different, and they come to you differently as well. Back in the day when I was coming through with George Clinton, Parliament-Funkadelic, we got a chance to just vibe a track out, because we always had the band with us. Today is totally different. I might say, “Mono, I’m gonna send you a track and check it out and see if you hear anything on it.” Then he’ll get back and say, “No, I ain’t feeling it.”MonoNeon: C’mon!
Collins: I mean, he ain’t done that yet. Mono always comes up with it, sends it back, so I am always learning. I think with this new record, it gave me an opportunity to learn even more. For example, a few of the songs I did with Dave Stewart, he’s playing acoustic guitar, because I wanted to do some real songs—ones with less groove jams and more structure. That’s something I’ve never done. I’ve always played experimental stuff that comes off of my head. I’ll jam with this groove, or I tell a band what to play, and here’s the tempo. But on this record, each song is different. If I’m going to use a rapper on a song, I’ll write something in that rapper’s style. I probably will never be exact to the genre, and I ain’t trying to be. That’s the good part about it. For me, you know, it’s always wanting to do something different and new. I wanna keep learning different things from different cats, and I feel like we are transmitters and receivers. And if you don’t shut up, you’ll never receive.
MonoNeon: I guess we got good ears and we just hear everything. I don’t consider myself a producer; I just do stuff.
Collins: That’s the attitude that I liked about Mono even before I knew him. You can just tell certain cats got a certain vibe that you already know that you’re gonna gel with them, and that’s why we are closer than we even know. Bass players become producers. We can become anything, you know? But the main thing is we use instruments to communicate. And instruments ain’t just what I play, it’s what I wear—my fashion is an instrument, my glasses are an instrument, you know? My tone, I mean, everything that a bass player uses, is a part of him. We can’t track that stuff; it’s just us. Since you mentioned tone and this is a guitar magazine, what are your two desert island effects pedals?MonoNeon: Ooooh, I guess my Whammy pedal and my Fart pedal. Collins: For me it’s my Mu-Tron and the Big Muff. That’s what I started with. If I can sneak in a third, it would be a Morley wah with the fuzz. Mono, when did you jump into effects? MonoNeon: Kinda early on, but I didn’t really apply it to anything. My use of the Whammy pedal came from being around Prince. I was just watching how he was stepping on it. He had so much swag. I wasn’t really listening to it, I was really watching how he was using it. I just started applying it to what I was doing and cultivating it.Collins: That became his Mu-Tron. That became a great move.

Summer School Electronics Middle School Chorus is a modern take on an 80’s classic. The Middle School Chorus is a unique dive into modulation that saves pedalboard space and opens a world of sonic options. It combines both a chorus and vibrato effect into one stompbox, allowing the effects to be changed with the tap of a foot. This pedal has a wide range of modulation, from classic 80’s chorus-tones to wet, modern guitar sounds. When the blue light is on, the pedal is in Chorus-mode and can be adjusted by the Chorus Rate and Depth knobs. When the green light is on, the clean signal is omitted and the pedal is in Vibrato-mode and can be adjusted by the Vibrato Rate and Depth knobs.Each pedal offers the following features: • Separate Chorus and Vibrato Rate controls with a shared Depth control • Footswitchable Chorus/Vibrato feature • Hand Built in Syracuse, NY • Lifetime Warranty • 9-volt operation and standard DC input The Middle School Chorus is available at Summer School Electronics dealers, at a street price of $199.99 as well as online at summerschoolelectronics.com.

I recently watched a documentary on Nashville’s songwriting culture called It All Begins with a Song, and while it was an occasionally insightful and touching look at the tunesmithing industry, it omitted an important part of Music City’s creative community: the writers who fly under the mainstream’s radar, and yet craft equally—if not more—satisfying numbers that hit deep emotional notes and tell profound human stories.I get it. More viewers would like to watch how the songs they’ve heard were built than songs performed by artists who’ve not, for a lack of luck, financial support, or other business machinations, reached their ears. And yet, I felt the film missed an opportunity to enlighten people to a different kind of Nashville songwriter—a breed of artist less slick in, perhaps, the writing of Top 40 hooks, but sometimes more attuned to the rawness and complexity of real human experience. Writers who have the ability to capture humor, sadness, and life without flounced dressing. I’m thinking of artists like Buddy Miller, Kevin Gordon, Jon Byrd, Tim Carroll, and even Emmylou Harris—the latter a cross-generational bridge with the ability to create a beautiful latticework of words and music with her lyrical skill and unmistakable voice. (Note: Listen to Gordon’s “Colfax,” for example, and you’ll enjoy one of the most complex-yet-accessible stories about adolescence, small-town America, and race put to song.)My point is this: When it comes to every aspect of the music you love, try to dig deeper. If you love guitar, and I know you do, don’t stop with Jeff Beck, Carlos Santana, Josh Homme, or Jack White. Find out about the outliers like Sonny Sharrock and Yvette Young and Stan Lassiter, or, if you dig blues, Junior Kimbrough. They are all uniquely and brilliantly themselves. And Tom Waits is the rare example of an outsider songwriter who has penetrated the mainstream, and a damn fine one.“There are great artists flying just under the widescreen radar everywhere that music is played and stories are told.”I’ve chased artists like this, and the songs and sounds they make, for my adult life. If I had to blame it on anyone, it would be Johnny Cash, whose unadorned music and poetry, punctuated with surprising vocal approximations of train whistles and shouts of “sooey,” spun my head around and opened my ears to the world when I was a child. (Cash was, perhaps, the ultimate outsider insider.) And because of this pursuit, and my decision to become a music journalist as well as a player, I’ve been able to speak with and even be befriended by quite a few of them. Their stories, whether in words or sounds, have profoundly shaped my perspective, character, and creativity. They influenced me to become and remain a storyteller, one way or another. Heck, some, and especially the late Mighty Sam McClain, the greatest soul singer you’ve probably never heard, even became my chosen family. In Sam’s case, a second and better father, whose voice echoed between the Earth and the stars. (Listen to his interpretation of Carlene Carter’s “Too Proud” for a jolt of scarred honesty, then explore his catalog.) The same with R.L. Burnside, who shaped my thinking as a guitarist and a human in ways I’d not realized until they were ingrained.There are great artists flying just under the widescreen radar everywhere that music is played and stories are told. It just takes a little more effort to seek them out. Chances are, if you choose to speak with one of them after a performance or even through social media, you might make a connection. It could be a one-off exchange or it could be a new friendship, because life has a way of taking you down unforeseen roads if you are willing to take the first step onto them. You might even be one of these artists yourself. If you are, you have my respect for striving forward, in search of the essence, the expression that helps the world fall into place for you and those for whom you record and perform. You may be underacknowledged but you are doing essential work. And you understand that it truly can begin with a song or a sound.

In this video, some of your favorite players—Marty Friedman, Jared James Nichols, Steve Reis, and Nate Garrett—share personal stories that go back to the beginning of their guitar journeys when Black Sabbath riffs constructed their musical foundation.