BOSS Articles

Reverberations: Bassist Charlie Jones (Part 1)—Robert Plant and Jimmy Page

Rod Brakes — Thu, 12 Mar 2026 10:17:12 +0000

In the first of three installments in this enlightening Reverberations mini-series, Charlie Jones opens up about working alongside Robert Plant and Jimmy Page—two musicians in a titanic creative partnership that reshaped rock music more than once. This is a detailed account of how Jones earned his place in that world, what was demanded of him, and how those experiences altered the course of his life. Whether you’re a young bass player trying to get ahead in the music business, a fellow pro who can relate to Jones’s story, or simply just curious about how the Led Zeppelin music-making machine operates behind closed doors, there’s plenty to take away here.

Versatile Ventures

Grammy-winning artist Charlie Jones is best known as a bassist, but his legacy runs much deeper. He’s also a talented multi-instrumentalist, composer, producer, and engineer with a career spanning numerous world-class acts.

14 years in the Led Zeppelin sphere with Robert Plant and Jimmy Page shaped significant chapters of Jones’s professional and personal life, which he details below.

Subsequent collaborations with Siouxsie Sioux, Goldfrapp, and The Cult (his current gig) necessitated similarly distinct approaches that served the unique vision of each artist.

Part one of this eye-opening mini-series focuses on the Plant and Page years: auditions, writing, recording, performing, Grammy wins, and staying grounded in the eye of a rock-star hurricane.

Part two turns to Jones’s pivotal role playing bass with The Cult (touching on the band’s signature BOSS and Roland chorus sounds), co-creating and touring post-punk icon Siouxsie Sioux’s debut solo album, and the value of pursuing his own solo projects.

Part three explores Jones’s sonic adventures with electronic pioneers Goldfrapp, the tonal revelations inspired by BOSS pedals, and his formative years as a bassist and music lover.

When BOSS visited Jones at his studio just outside Bath, UK, it felt like walking into a living museum. His tools of the trade are an eclectic mix of vintage, modern, rare, and classic gear, including cherished BOSS and Roland units.

In this exclusive interview, Jones charts his meteoric rise, from a struggling musician on the dole to landing endorsement deals while working with rock royalty.

But it wasn’t all plain sailing. Unexpected twists, complicated dynamics, and moments that pushed his resilience to the limit were part of Jones’s incredible journey. He speaks about it all with striking honesty.

Much of what follows has never been published before, and BOSS is honored to help Jones tell his story—one of perseverance, integrity, and survival in some of the most challenging situations imaginable.

It’s a candid tale of how to endure, adapt, and stay creative at the highest level of the music industry.

Plant a Legacy

How important has Robert Plant been to your music career?

Very important. I owe Robert Plant a lot. He changed my life, truthfully. He was gracious and made me realize what can be achieved creatively.

Do moments still arise that remind you of your musical legacy with Robert Plant?

There have been so many important moments over the years. I wrote a song for him many years ago in my flat in London called “Down to the Sea” [from 1993’s Fate of Nations], which he played in December [2025] at the Royal Festival Hall. He gave me a namecheck, which was nice.

"I was unsure about the whole thing. I remember standing at a payphone in the street, unaware that I was at a monumental crossroads in life."

Led the Way

How did the gig with Robert Plant come about?

It was Tim Palmer, the producer, who recommended me for the Robert Plant gig. I was in a signed band called Violent Blue with the guitarist Neil Taylor [Tears for Fears, Robbie Williams, Tina Turner], and Tim produced our [1985] album You’ve Got to Stay Young. Violent Blue split up in 1986, and Neil went on to become a successful session guitarist. Meanwhile, I was struggling to find work.

In 1987, I was living in a town between Bath and Bristol called Keynsham when Liam Henshall (of Londonbeat) from Right Track Studios in Bristol rang me to say there was a band in London looking for a bass player. I can’t recall their name, but I remember travelling to London for the audition. When I got there, I had nowhere to stay, so Tim Palmer kindly put me up at his place.

When I saw Tim, he told me he was producing Robert Plant’s [1988] Now and Zen record. The bass parts were already recorded by that point [by Phil Scragg], but he said Robert might be looking for a bassist, and that he would put my name forward.

Tim Palmer gave me a number to call for the Robert Plant audition, but I was unsure about the whole thing. I remember standing at a payphone in the street, unaware that I was at a monumental crossroads in life. Thankfully, I decided to go along.

"I didn’t even own a decent instrument because I was so strapped for cash."

Don’t Fret

Why were you in two minds about going to the Robert Plant audition?

The Now and Zen record was all fretless bass, so they wanted a fretless bass player. I played double bass and fretted bass, but not fretless. I didn’t even own a decent instrument because I was so strapped for cash.

What instruments did you bring with you to the Robert Plant audition?

I really had to scrape it together. My mum had given me some money to pay bills with, but I bought a fretless Westone Thunder I-A bass instead. I took the Westone bass and a Jazz Bass to the audition (even though I don’t normally play Jazz Basses either!)

What did your Robert Plant audition involve?

It was a day at John Henry’s rehearsing, followed by a day at Swanyard Studios recording.

"Robert Plant was great—a good laugh. He was very funny, and I hit it off with him immediately."

Bass Instinct

What were your first impressions of Robert Plant?

He was larger than life. And bigger than I thought he was going to be. He wasn’t like a skinny rock ‘n’ roller or introverted; he was like a lion. He was great—a good laugh. He was very funny, and I hit it off with him immediately.

The first thing Robert did when I met him was walk up to my amp and set up my sound. He made it brighter and asked me to use a pick. He had a certain tone in mind and wanted someone to play both fretless bass and traditional rock bass.

Were there any challenging moments during your Robert Plant audition?

One of the songs we were doing was in 5/4, and Robert asked me, “What time signature is this in?” I had no idea! I said, “I don’t know, what is it? 4/4? 5/4?” He just carried on and did his thing.

"I said, 'Listen, if my best isn’t good enough, find someone else.' Robert said, 'He’s alright.' He liked that."

How did you find out you had landed the gig in Robert Plant’s band?

After that rehearsal, I didn’t hear anything for three or four months while they were getting it together. Meanwhile, I’m thinking, “I’m not going to hear back from them.” But it became apparent I was in the band when they asked me to go back to London and start rehearsing again.

Was being new to playing fretless bass an issue?

During the next rehearsals, the MD said, “You can’t sing, and we need a fretless bass player,” so I said, “Listen, if my best isn’t good enough, find someone else.”

Robert said, “He’s alright.” He liked that. Plus, they wanted a visual bass player, and I was someone who moved around on stage a lot.

"I used a BOSS CE-2 Chorus for fretless bass... It was a very fashionable sound in the 1980s."

Powering Up

How did your rig change once you were in Robert Plant’s band?

To begin with, I didn’t have any decent amplification and needed an advance to buy some. I ended up getting two Marshall Jubilee 3560 600W Bass Heads and used them with two 2×15 and two 4×10 speaker cabs. I was moving some air!

Around that time, I also got my Warwick Streamer basses (one fretless and the other fretted). I acquired a nice Precision Bass a bit later in the early ‘90s.

I used a BOSS CE-2 Chorus for fretless bass. They wanted that kind of sound. It was a very fashionable sound in the 1980s. My use of effects expanded greatly when I started working with Goldfrapp in 2002, while recording the Black Cherry album [released in 2003].

"Robert Plant became my father-in-law. But to be honest, all the bands I’ve worked with involve human complexities."

Did you end up moving to London to be closer to the band?

Yeah. After I’d joined Robert’s band, I moved to London and set up my own studio in Hammersmith. I wrote some tracks there that ended up on Robert Plant’s records. I was using Cubase and an eight-track reel-to-reel. I had an Akai S900 sampler and started accumulating more studio gear.

How did you write songs with Robert Plant?

Very simply: Robert took demos from people, and we’d try the songs out as a band. The ones he liked, he’d use.

Hearts in Harmony

How did your relationship with Robert Plant develop over time?

It was a complex relationship for me. I was in Robert Plant’s band and had toured and recorded with him for the best part of two years before I met his daughter, Carmen. I married her in 1991.

Robert became my father-in-law. But to be honest, all the bands I’ve worked with involve human complexities. Being a serious musician often involves personal connections that go beyond the music.

"With Robert Plant and Jimmy Page, it was different: we wrote together in a room as a band."

How did that affect band dynamics?

Well, my role in the band changed because I went from being this guy who plays bass in the band to this guy who’s now the son-in-law. As I’ve gotten older, I’ve learned how hard that was for Robert. At the time, I was just thinking about how tough it was for my wife and me. But truth be told, it was tough on Robert as well.

You can imagine how the dynamic would naturally change, especially if you’ve been touring all your life and away from your family. As a father myself, I can understand that now.

Later in the mid-‘90s, you wrote with Robert Plant and Jimmy Page—how did you find your place creatively?

With Robert and Jimmy, it was different: we wrote together in a room as a band. I spent a lot of time in different studios with Robert and Jimmy sitting down and writing. I was free to do whatever I wanted with the bass.

"Robert Plant and Jimmy Page are very creative people, and they let creativity flow freely."

What was it like working with Robert Plant and Jimmy Page?

It was a boot camp for me and, in a way, an apprenticeship. Most of the music was written in the moment. They didn’t say, “We want you to play this on the bass.” It wasn’t about micromanaging the bass parts.

They gave me space to let the music breathe and be creative. Robert and Jimmy are very creative people, and they let creativity flow freely.

Jimmy Page is also celebrated for producing Led Zeppelin. What was his approach in that regard?

Jimmy is a great producer. He knows how to get the best out of musicians and how to present it. For example, he might say, “I want more open strings on the bass,” and then put a capo on to accommodate that. He has a deep understanding of that kind of thing. He’s a clever guitarist, as we all know.

Robert is also a producer and a great creator of music and ideas. He produces his own music. Jimmy produces differently, and they have to meet in the middle.

"Robert Plant often referenced folk-rock musicians from the 1960s. He would aim for a West Coast bass sound."

Folk-Rock Fusion

What kind of bass sounds was Robert Plant aiming for?

Robert often referenced folk-rock musicians from the 1960s. He would aim for a West Coast bass sound reminiscent of Bob Mosley of Moby Grape. He was always alluding to that.

That usually entailed playing up the dusty end of the neck to achieve a more melodic sound, but this had to be achieved very quickly while setting up for the next song. I mean, there was no time to hang around. I needed to be quick on the draw with ideas.

A good example of that kind of approach to playing bass can be heard on the cover we did of The Youngbloods’ song “Darkness, Darkness” from [2002’s] Dreamland, which was nominated for a Grammy in 2002.

Another good example of that would be the cover of the Tim Hardin song “If I Were a Carpenter” from the Fate of Nations album, released about 10 years earlier [in 1993].

"You can’t direct people like Robert Plant and Jimmy Page, much like I can’t direct Billy Duffy and Ian Astbury in The Cult."

Musical Momentum

What was the creative dynamic like when writing with Robert Plant and Jimmy Page?

It wasn’t always straightforward. For example, I might play a bass part, and then Jimmy would say, “I want to play that on guitar,” so I’d have to come up with another bass part.

Other times, I might do something unorthodox on bass, like chordal stuff, and he wouldn’t blink. Whereas some other musicians would be like, “Stay down the bottom end and hold it down.” Jimmy was very creative like that.

When I say it wasn’t straightforward, I mean I had to respect the writing process. I couldn’t direct. You can’t direct people like Robert Plant and Jimmy Page, much like I can’t direct Billy Duffy and Ian Astbury in The Cult.

I can’t say, “You need to do it like this.” Those guys have a long-established method of creating, and my job as a bass player is to fit in and be part of that.

"The Unledded record was about Led Zeppelin’s catalog being rediscovered and presented in a new way. It was an epic moment."

Remaking History

How did you navigate the job of reinterpreting Led Zeppelin’s catalog while working on 1994’s No Quarter: Jimmy Page and Robert Plant Unledded?

The Unledded record was about Led Zeppelin’s catalog being rediscovered and presented in a new way. It was an epic moment. I think it’s something John Paul Jones could’ve done, but he didn’t because it would’ve then essentially been Led Zeppelin with a new drummer.

Unledded was a reimagining of Led Zeppelin material, and some of the bass parts I played were not accurate to John Paul Jones’s original lines. Jimmy would say things like, “Do you know you’re not playing ‘Ramble On’ correctly? But I like what you’re doing, so leave it.”

How did No Quarter: Jimmy Page and Robert Plant Unledded come together?

I remember our manager saying, “We’re going to do the MTV Unplugged series, but we’re going to call it Unledded. It’ll be recorded with a live audience at London Weekend Television studios.”

We got together above a pub in London to rehearse for the performances. It was so loud in that room, I used to go deaf afterwards and not be able to hear what people were saying on the phone.

"I thought, 'This is just a TV show.' I mean, I didn’t overthink it or dwell on how significant a moment it was."

At the time, were you able to gauge the significance of No Quarter: Jimmy Page and Robert Plant Unledded?

At the time, I thought, “This is just a TV show.” I mean, I didn’t overthink it or dwell on how significant a moment it was. And that’s probably a healthy state of mind to be in.

But it was an exciting period of my life all round—Carmen was there, and she was pregnant.

What was your bass setup for the live performance of No Quarter: Jimmy Page and Robert Plant Unledded?

I wasn’t using my usual live rig; I had a small amp behind me, but I’m not even sure it was a bass amp—it might have been a guitar amp.

"I wanted to go back and fix a few things, but there was no chance of that. They were like, 'The album’s done.'"

How did the recording process unfold for No Quarter: Jimmy Page and Robert Plant Unledded?

They started filming, and every now and then we’d have a break. I was sitting down one time having a cup of tea when Robert and Jimmy came in and said, “We’re going to do ‘Tangerine,’ so you’d better learn it.” I had to figure it out on the spot!

When we finished filming, they were like, “That’s a wrap… And that’s the album.” If you look at the film, it’s slick all the way through. They patched up a little bit of guitar and vocals afterward, but left the drums and bass as is.

I wanted to go back and fix a few things, but there was no chance of that. They were like, “The album’s done.”

"The excitement of Jimmy Page pushing his playing to the edge—that non-safety factor—is breathtaking."

Peak Performance

Do you have any favorite moments from No Quarter: Jimmy Page and Robert Plant Unledded?

“Since I’ve Been Loving You” is great. Jimmy Page is on fire. His playing is astounding. He walks that line, where you don’t know how it’s going to go. Then he lands it, and it’s completely mind-blowing.

The excitement of Jimmy Page pushing his playing to the edge—that non-safety factor—is breathtaking. Truly great rock music is all about that. Billy Duffy is the same. He’s the only lead instrument in The Cult, and he really pushes it.

Robert’s vocal performance on “Since I’ve Been Loving You” was equally exciting. That’s the thing with those guys—there’s no safety factor. Bringing in the Egyptian ensemble, led by the great percussionist Hassan Ramzy (who, sadly, passed away), was Robert’s idea. Robert was instrumental in expanding the sound in that way.

"'Since I’ve Been Loving You' is great. Jimmy Page is on fire. His playing is astounding."

Which other favorite moments from your time with Page and Plant stand out?

Another favorite moment with Page and Plant was when we performed “Wanton Song” live on TV in 1998. That was the first time I used my plastic Nightingale bass.

When Jimmy saw it, he was like, “What the hell is that?!” I had it delivered the night before, and it still had the chrome covers on it. It was a bit of a risk playing it that night, but I leaned into the challenge.

There were lots of incredible moments playing with Page and Plant live. I remember playing in Mexico City, and we did “Black Dog” as an encore. The audience wouldn’t leave!

"Led Zeppelin was conceived by Jimmy Page, but both Jimmy and Robert were band leaders (albeit in different ways), and this was a new situation."

Rising to the Challenge

Did you have any difficult moments playing live with Page and Plant?

With Page and Plant, I was playing massive gigs like Meadowlands Arena and Madison Square Garden. Sometimes, I’d feel relaxed and focused before going on stage—like a boxer—but then three songs in, I’d get an anxiety attack.

I’ve got pretty thick skin, but no more than any other musician who’s had to build a bit of resilience. It amounts to the same pressure, whether I’m playing a pub gig or a stadium.

How did the band dynamic change when Jimmy Page came on board?

Jimmy had his own priorities when he got back together with Robert. But he was walking into Robert’s band—with Robert’s rhythm section. So, naturally, when he came in, he had to find a way of putting his own stamp on the project.

Led Zeppelin was conceived by Jimmy Page, but both Jimmy and Robert were band leaders (albeit in different ways), and this was a new situation.

Jimmy Page and Robert Plant are a formidable force—did they put you through your paces?

When Jimmy and Robert decided to work together on the Unledded project, Jimmy spent a series of days working with our drummer, Michael [Lee, 1969-2008], and me on our own at John Henry’s in London. The idea was to see if he was happy with us as a rhythm section. Robert was confident it would work out well, and it did.

Jimmy and Robert had to be quite hard on me sometimes, but only in ways that you would expect. If you do a gig with anyone like that, it’s not gonna be like having your own band; you’re being paid, and they can have anyone they want, pretty much.

Music First

How firmly did Jimmy Page and Robert Plant stick to their musical vision?

Both Jimmy and Robert were excellent guys to work with as musicians and band leaders. There were complex dynamics, but not at the expense of their musical vision. That was always the zero point with them.

Whether or not they thought, “We need a different bass player, a different drummer, or a different producer,” the music always came first. With both of them, it really did. Whatever was happening, their priority was the music.

"Robert Plant and Jimmy Page are both human beings with insecurities, just like me or anyone else."

Simply Human

Did you ever feel intimidated working with Robert Plant and Jimmy Page?

No. I’ve never been intimidated by anyone I’ve worked with. I wouldn’t be able to do what I do otherwise.

People tend to suffer the same insecurities, no matter what level they’re at. Robert and Jimmy are both human beings with insecurities, just like me or anyone else.

Did Robert Plant and Jimmy Page’s straightforward approach ever catch you off guard?

It might not have been a bowl of cherries, but at least you know what you’re dealing with. It wasn’t like those situations where you think someone’s a really nice guy and then find out they’re dissing you.

If Robert and Jimmy were going to diss you, they’re more likely to do it to your face.

"I understood that if Jimmy Page was going to teach me something, he would play it maybe twice, and that’s it."

Poise Under Pressure

To what extent did Robert Plant and Jimmy Page’s fame add pressure, and did your prior experience make things easier?

Even though Robert is a legendary singer and Jimmy is a legendary guitarist, I had a better handle on it and knew what was expected from working with Robert beforehand.

Like if someone called me now and said, “We want you to play bass with AC/DC,” it would be far less intimidating if I’d previously played with Angus Young in a solo project.

In what ways was it a challenge working with a legendary guitarist like Jimmy Page?

I understood the language. And I understood that if he was going to teach me something, he would play it maybe twice, and that’s it. You’d really have to listen and recognize the subtle cues. It could be just a small movement of his arm or something.

"Steve Albini had an incredible work ethic and absolutely concrete principles."

Walking Into a New Chapter

Steve Albini recorded and mixed 1998’s Walking into Clarksdale Page and Plant album—what was it like working with him?

Steve Albini was a great help to me—super supportive. He had an incredible work ethic and absolutely concrete principles. He didn’t want a production credit—just his fee.

When Steve got the gig, Robert and Jimmy said they wanted to start recording at RAK Studios in three weeks’ time, but he told them he couldn’t because he’d already committed to a band in his studio [Electrical Audio in Chicago, IL]. They weren’t even a signed band, but he’d given them his word, and he stuck to it resolutely.

Steve Albini was all about getting the record moving with minimal fuss. He did a great job and was 100 percent committed to making music. He insisted we go to Studio Two, Abbey Road, but while we were at RAK, he’d stay there and sleep on the couch. When he wasn’t working with us, he’d go off to play with his band, Shellac.

"Steve Albini has almost mythical status."

What are your favorite memories of Steve Albini?

He was really nice, and so was his wife [Heather Whinna]. She ran a record store in Chicago, and Steve gave me a vinyl copy of “Dream Baby Dream” by Suicide as a gift. Suicide are one of my all-time favorite bands, so I loved that.

I’ve been lucky to work with a lot of great producers in Robert’s band, like Chris Hughes and Phill Brown, but Steve Albini has almost mythical status now.

Live and Loud

What was different about working with Steve Albini?

When he first came into the rehearsal room, he’d put his ear right up to my speaker while I was playing and listen to it. He’d walk around the room listening. I often used my Wallace and HH gear to record, but he was more into what I used live.

"Steve Albini liked to record what people would normally hear live."

Steve liked to record what people would normally hear live. He was like, “If you use Marshall Jubilee heads with 2x15s and 4x10s, that’s what I’m going to record.” Robert even had a small PA set up in the room.

We set up in Studio Two at Abbey Road, and he mic’d the room and the walls to record all the slap that was going on. We’d capture a take and go up to the control room for a listen, then look at each other and say, “This sounds awful!”

He told us, “Wait a second. You’ve just been playing. Let your ears settle down, then listen to it.” And he was right. It sounded great. He was a clever guy.

"'Most High' won the Grammy Award for Best Hard Rock Performance in 1999. I also co-wrote the song 'Please Read the Letter,' which won Record of the Year at the 2009 Grammy Awards."

Did Steve Albini share any funny stories with you?

Steve told me a story about when they were first on the road with Shellac. Instead of travelling with a big suitcase, they’d wear a suit, then go to a charity shop and trade it in for another one.

Unfortunately, Steve and someone else picked up a nasty disease—some dreaded lurgy—from those old clothes and ended up in the hospital!

Winning Approach

The Walking into Clarksdale sessions with Steve Albini spawned Grammy wins. Tell us about that.

A song I co-wrote for Walking into Clarksdale, “Most High,” won the Grammy Award for Best Hard Rock Performance in 1999. I also co-wrote the song “Please Read the Letter,” which won Record of the Year at the 2009 Grammy Awards. We wrote that song together in the room.

“Please Read the Letter” was a good song, which Robert loved. He had a bigger vision for it and rerecorded it with Alison Krauss for their [2007] Raising Sand album, produced by T Bone Burnett. Raising Sand itself won Album of the Year at the Grammy Awards that same year.

"Successful songwriting is an organic process, and you don’t have ultimate control over the outcome."

Did you have any inkling that “Most High” and “Please Read the Letter” would go on to be so successful?

I’m really happy about that, but it wasn’t something we were specifically aiming for while we were writing and recording with Steve Albini. “Please Read the Letter” and “Most High” just flowed into place. I wasn’t thinking, “I’ve just written a Grammy-winning song.” It was a big surprise.

The point is that successful songwriting is an organic process, and you don’t have ultimate control over the outcome. It’s far better to simply focus on making the best music you can, in the moment, and leave it up to the world to decide later.

Recording is strange in the sense that you often don’t realize how good something is until way after the event. Striving for something is good, but trying to understand where it might take you is another matter.

"I want to dig deeper into my playing and get back to where I was at the beginning of my musical journey."

Future Forward

Looking forward, what are you most excited about exploring in 2026?

I’m looking forward to doing more writing under my own name or under the name The Captain Francisco. I could do a live production with that.

I’m also very much looking forward to doing more stuff with The Cult. They want to work on further material, and it’ll be interesting to write with them.

Doing more improvisational work with my double bass excites me, too. I want to dig deeper into my playing and get back to where I was at the beginning of my musical journey. I want to explore my tone.

Follow Charlie Jones: Instagram, Facebook, and YouTube.

The post Reverberations: Bassist Charlie Jones (Part 1)—Robert Plant and Jimmy Page appeared first on BOSS Articles.

Multi-Effects Genre Guide: Crafting Blues Guitar Sounds

Tom Wonnacott — Wed, 11 Mar 2026 21:08:53 +0000

Blues guitar doesn’t have a single, fixed sound. From the crisp, vintage attack of Buddy Guy and B.B. King to the saturated modern sounds of Joe Bonamassa and Gary Clark Jr., there are endless ways to approach this genre. Still, at the heart of the blues is a respect for tradition. Reverence for the past shows up in lyrics, structures, and the dogged pursuit of killer guitar tone.

Across different eras and playing styles, sounds range from clean and open to raw and overdriven. Often, these sounds are shaped as much by the player as the equipment they use. What connects them is not a specific amp setting or signal chain, but the way the whole setup responds to touch and dynamics. Because at the heart of the blues is that enigmatic factor: feel.

This guide covers how to approach blues tones on a multi-effects unit like BOSS GX-1, GX-10, or GX-100 with these principles in mind. Rather than chasing a single “correct” tone, focus on building a responsive foundation adaptable to multiple styles within the genre while staying simple, musical, and expressive.

Key Characteristics of a Blues Guitar Sound

“Pushed” amp tone
Responsive to touch and dynamics
Warm, mid-focused EQ
Simple signal chain, with minimal effects

Build a Blues Signal Path Instead of Relying on Presets

For an organic style like the blues, it will help to think in terms of signal paths rather than presets. Instead of starting with a finished sound and tweaking around it, build a chain where each block has a clearly defined role and earns its place through necessity. The most memorable blues tones rely on a simple structure:

A quality vintage-style amp sound doing the core work
A tasteful overdrive like the BOSS Blues Driver or SD-1 to push the amp when needed
EQ and ambience to gently shape the tone

Keeping the signal path short for blues makes it easier to preserve dynamics. A key factor is understanding how each adjustment affects the connection between player and equipment. For example, how does your amp react to the gain or tone knob of your drive? Look for sweet spots and use them to your advantage.

Killer Blues Tone Starts with the Amp

Crafting a great blues tone on a multi-effects unit like the GX series starts with the amp block. This component will do a lot of the heavy lifting, and everything that comes after exists mainly to support what you build here. If the amp isn’t feeling good under your fingers by itself, no amount of drive, EQ, or effects later in the chain is going to fix that.

Traditionally, blues guitarists are looking for a classic “pushed” sound, which means the amp is right on the cusp of breakup without tipping over. It’s what players like Albert King, Samantha Fish, and Eric Gales are all after: a sound that sings with aspects of the human voice.

To get that feel, find a tone that stays clean when you play lightly but gets gritty when you dig in. This kind of dynamic response is essential to blues phrasing, allowing your picking technique and guitar volume to shape the sound naturally.

Choose the Right Blues Amp Model

Look for amp models that break up gradually rather than switching suddenly from clean to distorted. This means the sound changes in small steps as you play harder, adding a little thickness at a time rather than jumping straight into distortion. With this approach, softer notes stay clear and open, while stronger picking brings in bite and compression. That smooth transition is what allows a blues tone to feel expressive rather than fixed.

The amp block’s tone or EQ controls should be used conservatively here. You might need to roll off some bass if the sound is too muddy, and add a little treble if it lacks clarity, but not so much that the amp becomes thin or brittle.

In fact, the midrange is where much of the blues character lives. Boosting the mids helps notes sound fuller and more present, making bends and single-note lines stand out without needing more gain. Lowering them can make the sound feel wider and cleaner, but too little midrange often causes the guitar to disappear in a mix or lose its vocal quality.

Some amp models include additional controls, such as Presence or Bright. These focus on the high end of the sound and can have a big impact with small adjustments. For blues tones, use them sparingly, often to reduce harshness rather than add extra brightness.

"The midrange is where much of the blues character lives. Boost the mids to help notes sound fuller and more present."

Pickups for Blues Guitar Tone

Pickups change how the amp responds before you touch any settings, influencing how quickly it breaks up and how the sound reacts to your touch.

Single coil pickups usually sound clearer and more immediate, which can make light picking more defined and dynamic shifts more noticeable.
Humbuckers tend to sound thicker and push the front of the amp harder, reaching breakup sooner at the same gain level.
P-90 pickups often sit between the two, offering more body than a typical single coil while retaining clarity and bite.

Use Overdrive to Shape Natural Blues Breakup

Now that the amp block is doing the key work, the next step is adding drive. This is often where tones start to fall apart. High-gain distortion flattens dynamics and masks touch, which are defining characteristics of the best blues guitarists. Headroom is your friend.

Think of an overdrive block as a push, not an addition. Its job is to hit the front of the amp a little harder, encouraging natural breakup rather than creating a new gain structure of its own. Set your drive block with the gain low, the level high enough to push the amp, and the tone neutral.

If the overdrive sounds exciting with the amp block switched off, it’s probably working too hard. On its own, the drive should remain subtle. The magic happens when it interacts with the amp, adding grit and sustain without overwhelming the core tone. This will keep your picking dynamics intact. Light playing stays clean and articulate, whereas digging in produces thickness without losing clarity.

Refine Your Blues Tone With EQ

Once the amp and drive are working well together, a separate EQ block can be useful for gentle refinement rather than reshaping the tone. Where the amp’s bass, middle, and treble controls make broad, musical adjustments, an EQ block allows smaller, more precise changes.

Start by playing single notes across the neck and listening for anything that feels uneven or unfocused. If the sound feels slightly boomy, take some of the low end away, and if notes feel buried or lack definition, a small midrange adjustment is often enough. Changes here should be subtle. If the EQ is clearly audible when switched on and off, it is likely doing too much. Keep it natural and vibey. Legends like John Lee Hooker and Muddy Waters possessed the magic in their fingers.

"An EQ block is useful for making gentle refinements rather than broad, musical adjustments."

Add Reverb and Delay for a Classic Blues Feel

In a natural, organic style like the blues, reverb and delay should add space around notes, not draw attention to themselves.

Start with reverb. A small room or spring-style setting will work well here, as it adds depth without softening the note’s attack. Keep the mix low and the decay short. Turn it up just enough so the guitar doesn’t feel dry when playing alone, then stop.

Delay is optional, but it can add weight to single-note lines. Try a single repeat, with low feedback, and a low mix level so the delay sits just behind the dry signal. If the repeats start to distract from what you’re playing, pull the level back. Shorter slapback delays can add a punchy old-school mood like Jimmy Vaughn, while longer tails can evoke the spacey sound of David Gilmour’s neo-blues moments.

Pro tip: Place reverb and delay after the amp and EQ. This keeps the core tone consistent and prevents ambience from affecting the amp’s response to your playing.

Multi-Effects or Individual Pedals for Blues?

Whether you choose to sculpt your blues tone using a multi-effects unit such as one from the BOSS GX series, or curate a collection of individual stomp boxes, is entirely up to you.

Some people prefer the simplicity of having everything in one unit, meaning they can experiment with different amps and effects. Others favor specialized pedals that perform specific functions. Each approach has its own pros and cons and there is no “best” way of doing things. Outlined below are some key differences between each setup:

	Multi-Effects	Individual Pedals
Flexibility	All-in-one units cover all bases, including amp simulation, but are limited to onboard options	Multiple units required, but total freedom to chase specific sounds
Power and Cabling	One power source and fewer cables	Multiple power connections and patch cables. Can get messy and complicated
Consistency	Presets allow tones to be saved and recalled exactly	Settings must be dialed-in manually each time
Workflow	Requires initial setup and menu navigation	Direct, hands-on adjustment of each control
Value	Much cheaper than buying the equivalent individual amps and pedals contained within	Pedals only added if they’reneeded, so no money spent on sounds you have no intention of using. Additional costs include power supplies, pedal boards, and cables.

Adapting the Setup for Different Blues Styles

Delta Blues
Lean towards a cleaner, more direct sound with minimal reverb and little to no added drive. Let dynamics and attack do the work. A slightly brighter tone can help fingerstyle parts cut through.

Chicago Blues
Introduce more edge and sustain. Push the amp slightly harder with overdrive and allow a touch more midrange presence. A subtle reverb or short delay can add weight without softening the attack.

Texas Blues
Use a stronger midrange focus and a little more drive to create thickness and authority. Keep the low end tight and add just enough reverb to maintain clarity in faster phrases

Blues Guitar Tone in Summary

A convincing blues tone is not something you dial in once and leave untouched. It shifts with your hands, your guitar, and the sub-genre you’re playing. A multi-effects unit works best when it supports that flexibility, offering a simple, responsive foundation rather than a fixed sound. From swampy Delta blues to overdriven British blues, the palette is wide and open to your personal touch.

By focusing on a clear signal path and using only the crucial blocks, you leave space for dynamics and expression to do the real work. The result is not an all-purpose “blues tone,” but a setup that can move comfortably across different blues styles without getting in the way. Trust your ears, keep adjustments small, and let feel guide all your decisions.

The post Multi-Effects Genre Guide: Crafting Blues Guitar Sounds appeared first on BOSS Articles.

Multi-Effects Genre Guide: Crafting Metal Guitar Sounds

Tom Wonnacott — Wed, 11 Mar 2026 20:49:50 +0000

Metal guitar spans a vast tonal range. From the ominous grind of Black Sabbath to the razor-edged precision of Metallica and the crushing, down-tuned force of Meshuggah, there are countless ways to define the genre. What unites them is a focus on power, intensity, and unmistakable sonic identity.

Across eras and subgenres, tones range from loose and raw to tightly controlled and hyper-defined. Some styles thrive on swing and saturation, others on stringency and speed. The common thread is not a specific amp model or preset, but how the entire signal chain delivers command and presence without collapsing under high levels of gain.
 
This guide explores how to approach metal tones on a multi-effects unit like the BOSS GX-1, GX-10, or GX-100 with these principles in mind. Rather than chasing a single “correct” setting, the aim is to build a strong, adaptable foundation that works across different metal styles while staying heavy and authoritative.

Key Characteristics of a Metal Guitar Sound 

High gain
Pronounced low frequencies
Modest signal path, with few effects

Build a Metal Signal Chain Rather Than Using Presets 

For an expressive style like metal, it will serve you well to construct your own signal path rather than using a preset. Instead of starting with an out-the-box tone and fine-tuning it, build a path where each addition has a deliberate role and is there strictly because it is needed.

The most iconic metal tones follow a simple structure: 

High-gain amp or pedal
Optional boost or drive to shape saturation
EQ for tonal balance
Noise control to manage high-gain behaviour

Keep the signal chain purposeful. Introducing lots of gain amplifies everything, so every effect block should serve a clear function. If an addition does not strengthen the core principles of the tone, remove it.

"Instead of using an out-the-box tone, build a signal path where each addition has a deliberate role."

Commanding Metal Tone Starts with the Amp 

A masterful metal tone begins with the right amp. On multi-effects units like the BOSS GX series, the amp block is not just another stage in the chain. It defines the character, response, and authority of the entire sound. Think about how many legendary metal guitarists are closely affiliated with their amp of choice: Tony Iommi and his Laney Supergroup, Dimebag Darrell and the Randall RG100, or Iron Maiden and a pair of Marshall JCM800s.

While some players build heavy tones from clean platforms and stack overdrives, this guide takes a more traditional approach. Here, the amp model itself provides the core saturation. Everything that follows refines and supports what is established at this stage.

Choosing the Right Amp for Metal Guitar

Begin by loading a high-gain amp designed for heavy styles and listen to it on its own, with no additional blocks engaged. Set the gain to roughly 60-70% of its available range. This is usually enough to produce sustained distortion without overwhelming the signal. Play sustained chords, repeated riffs, and single-note lines. If everything blurs together, reduce the gain slightly. If the sound feels thin or drops off too quickly, increase it in small increments.

At this stage, you’re looking for continuous distortion that holds its shape. Chords should remain recognizable, repeated notes should not dissolve into noise, and single notes should sustain without collapsing. If you cannot achieve that balance, try a different high-gain model rather than immediately adding pedals of shaping EQ. Establish a convincing core sound first, then refine it with intention.

Pickups for Metal Guitar Tone 

Your pickup type has a direct impact on how the amp responds. Output level, frequency emphasis, and noise behaviour all change the way high gain behaves, so it’s important to understand what your guitar is feeding into the signal chain

Humbuckers are higher output with thicker midrange and stronger low-frequency body. A common choice across many metal styles due to their balance of mass and control. Classic humbucker endorsees include Tony Iommi of Black Sabbath and both Brent Hinds and Bill Kelliher of Mastodon.
Active pickups use an onboard preamp to boost and buffer the signal before it reaches the amp. The result is higher, more consistent output with reduced noise and a more controlled frequency response, as heard in bands like Metallica or Slipknot.
Single coil pickups are lower output with more high-end detail and bite. They can produce cutting, articulate high-gain tones but may introduce more noise and less depth in the lower register. Think Yngwie Malmsteen or Ritchie Blackmore of Deep Purple

Use Overdrive to Shape Metal Distortion 

Once the amp model establishes the core voice, a drive block placed before the amp can be used to shape how the distortion behaves. In this example, the drive pedal is not the primary source of gain, instead it’s used to influence how the front end of the amp responds.

Start with the drive level low and the output high enough to push the amp slightly harder. The goal is not to add a second layer of distortion, but to adjust the texture and response of the existing gain. This can increase density, alter the midrange emphasis, or change how quickly the amp reacts to your picking.

Engage and bypass the drive block while playing the same passage. Listen for changes in attack, sustain, and overall balance rather than sheer volume. If the sound becomes unfocused or overly compressed, reduce the gain slightly. Used deliberately, a drive pedal enhances the amp’s character and reinforces its authority rather than replacing it.

"The goal is not to add a second layer of distortion, but to adjust the texture and response of the existing gain."

Refine Your Metal Tone With EQ 

Once the amp and any drive shaping are working together, an EQ block at the end of the chain can be used to fine-tune the overall balance. At this stage, EQ should not transform the tone into something new. Its role is to correct imbalances and enrich what is already working.

Start by playing familiar riffs across different areas of the fretboard. If the sound feels overly heavy in the lower register, reduce some low frequencies rather than boosting elsewhere. If the tone lacks presence or definition, try a small midrange adjustment before increasing gain. Make changes in small increments and compare with the EQ engaged and bypassed to ensure you are improving clarity rather than simply increasing volume.

Avoid large boosts, especially in the extreme low or high ranges. Subtle cuts are often more effective than dramatic increases. The aim is to achieve a balanced, forceful sound that maintains its character without becoming harsh or undefined.

Use a Gate to Reduce Noise in Your Metal Tone

High-gain amplification brings noise with it. Hum, hiss, and unwanted feedback become more noticeable as gain increases, especially when stacking drive and EQ blocks. Managing this is part of building a stable metal tone.

Start by using a noise gate placed early in the signal chain, typically after the drive block but before the amp. Set the threshold so it silences unwanted noise when you aren’t playing but doesn’t cut off sustained notes unnaturally. Play sustained chords and single notes while adjusting the threshold gradually. If the sound drops out too quickly, reduce the setting slightly.

Avoid relying on extreme gate settings to fix an unstable tone. Excessive gating can make riffs feel abrupt and remove natural sustain. The goal is a clean, controlled signal when idle, while preserving the full impact and continuity of the guitar when you play.

Multi-Effects or Individual Pedals for Metal? 

Whether you decide to sculpt your metal tone using multi-effects like a BOSS GX series unit, or collect an assortment of individual pedals, is your choice. 

Some players prefer the simplicity of an all-in-one unit, which lets them audition different amps and effects. Others prefer focused stomp boxes that perform explicit tasks. Each approach has its own advantages and disadvantages and there is no “correct” way of doing things. Detailed below are some notable distinctions between each setup: 

	Multi-Effects	Individual Pedals
Flexibility	All-in-one units cover all bases including amp simulation, but are limited to onboard options	Multiple units required, but total freedom to chase specific sounds
Power and Cabling	One power source and fewer cables	Multiple power connections and patch cables. Can get messy and complicated
Consistency	Presets allow tones to be saved and recalled exactly	Settings must be dialed-in manually each time
Workflow	Requires initial setup and menu navigation	Direct, hands-on adjustment of each control
Value	Much cheaper than buying the equivalent individual amps and pedals contained within	Pedals only added if they’re needed, so no money spent on sounds you have no intention of using. Additional costs include power supplies, pedal boards, and cables.

Adapting the Setup for Different Metal Styles 

Classic Heavy Metal
Reduce the overall gain slightly and allow more mid-range presence to come forward. Ease off any aggressive gating so the tone feels more open and less compressed.

Thrash Metal
Increase front-end push with a drive block and tighten the gate response to keep fast riffs controlled. Trim excess low frequencies so repeated picking patterns remain defined under higher gain

Doom Metal
Let the amp produce deeper saturation and emphasize low-frequency mass. Lower the gate threshold to allow sustained chords and feedback to bloom naturally, creating a thicker, more enveloping sound.

Metal Guitar Tone in Summary 

A strong metal tone is built through deliberate decisions at every stage of the signal chain. The amp provides the foundation, the drive influences how it reacts, EQ shapes the overall balance, and the gate keeps the system under control. Each element has a defined role, and the effectiveness of the whole depends on the strength of that foundation.

When you prioritize structure over excess, the result is a tone that carries authority without becoming unstable. Start with a solid core sound, refine it in measured steps, and make changes with intent. Whether you lean toward classic heavy metal, thrash, or doom, the same principle applies: build with purpose, then adjust with discipline.

The post Multi-Effects Genre Guide: Crafting Metal Guitar Sounds  appeared first on BOSS Articles.

Reverberations: Rosalie Cunningham

Rod Brakes — Tue, 10 Mar 2026 10:23:24 +0000

Rosalie Cunningham has always moved to her own rhythm. Long before her name began appearing in the pages of major music mags like Mojo, Uncut, and Classic Rock, the Southend-born singer, songwriter, and multi-instrumentalist was already carving out a distinctive musical path rooted in the adventurous spirit of late-’60s and early-’70s rock. Cunningham first emerged in the late 2000s with the all-female outfit Ipso Facto, a band that burned bright before dissolving almost as quickly as it arrived. The experience was a whirlwind introduction to the industry: major showcases, international attention, and the surreal experience of finding herself thrust into the spotlight as a teenager.

Solo Voyager

But it was the psychedelic rock group Purson, formed a few years later, that allowed Cunningham to truly develop as a songwriter and bandleader. Across two acclaimed albums, a host of singles and EPs, and years of relentless touring, Purson built a devoted following and established Cunningham as one of the most intriguing voices in modern psychedelic and progressive rock.

When the band came to an end in 2017, Cunningham faced a crossroads. Instead of stepping back, she doubled down on her creative instincts. Her 2019 self-titled solo debut—nominated for the Mercury Music Prize—revealed a songwriter unafraid to embrace ambition, theatricality, and intricate arrangements while maintaining a sharp melodic core.

Its successor, 2022’s Two Piece Puzzle, only strengthened that reputation, blending baroque pop, vintage rock textures, and prog-tinged flourishes into something vividly personal.

Since then, Cunningham has spent much of her time on the road, refining a live show that balances technical musicianship with the kind of magnetic stage presence that has become her trademark. Check out her 2023 album Live at Acapela for a taster.

Cunningham’s latest album, To Shoot Another Day, continues that creative evolution. Rather than looking back, she’s driven by curiosity—constantly exploring where her music might lead next.

In this inspiring interview, she reflects on her journey from teenage prodigy to fiercely independent artist, the gear that shapes her sound, and the lessons she has learned along the way.

Solid Stomps

Which BOSS pedals do you like?

I’ve used the TR-2 Tremolo, and Rosco [Wilson, guitarist] has one on his pedalboard. I think the BOSS Chromatic Tuners, like the TU-3, are the best ones. Rosco was saying he’s had his TU-2 for 25 years. BOSS pedals are indestructible. I love that about them. They’re so reliable.

I also have a fondness for the FZ-2 Hyper Fuzz (especially for bass) and the BD-2 Blues Driver.

How do you tend to use gain pedals?

I rarely turn my distortion pedal off; I just roll back the guitar volume to clean up. With a Gibson SG, I get really versatile tones from just one distortion pedal. I also like Tone Bender-style fuzz pedals.

You’re well known for using Gibson SGs; what do you love about them?

I had an endorsement with Gibson while I was in Purson. There was a picture of me about 20 feet tall on the side of the Gibson HQ in London, which was pretty cool. Gibson helped me out when I toured and would always lend me guitars.

I currently have a 1971 SG Special with P-90 pickups and a ’70s SG Standard with humbuckers. I love P-90s, but the Special isn’t the most versatile guitar; I find humbuckers are a bit more versatile for rhythm and lead, and they tend to clean up better. My SG Standard sounds lovely.

Flying Start

You began with the all-female band Ipso Facto, went on to lead Purson, and then launched a solo career. How did Ipso Facto shape you as a musician and songwriter?

It was great to have those opportunities at such a young age. We got snapped up at our first gig and were flown here, there, and everywhere. We recorded a song for a Ray-Ban advert and played a fashion show in New York, which included a red-carpet event we walked. I was 17, and it felt crazy at the time.

I wasn’t prepared for it at all artistically or musically. It was too much too soon. It was all a bit of a fireball, and it started falling apart after about a year and a half. The experiences I had obviously taught me a lot, but they didn’t teach me an awful lot in terms of honing my craft because we were kind of seen as a bit of a novelty band.

I was frustrated that we weren’t taken seriously. I was totally underdeveloped at that point, but I’d always been very serious about music.

"I thought I couldn't do things independently. I thought you needed a label... But you actually don't. Not anymore."

Hard Lessons

Looking back, what lessons from Purson did you carry into your solo work, and what did you choose to leave behind?

During the Purson years, I really learned everything about songwriting, recording, and performing live. I mean, we did an awful lot in those years.

So, what have I left behind? Musically, nothing really, because it’s all just been a forward journey. It’s not like I’ve left things behind; you’re learning things all the time. You’re just adding to it rather than taking away.

Business-wise, especially, I was absolutely clueless in Ipso Facto and Purson. I really didn’t have a clue. Even at the end of Purson, I got myself into a load of trouble with record deals and management that I wasn’t happy with. It was a learning curve.

Going solo and doing things as independently as possible with Rosco meant we learned a lot together. I thought I couldn’t do things independently. I thought you needed a label for this and that, and you had to work with all these different people—an extensive team who all take a piece of the pie. But you actually don’t. Not anymore.

Road to Success

How have things changed in the music industry in recent years?

Record labels aren’t so important unless you really want someone to take care of all the headaches for you. But if you’re willing to essentially have a part-time admin job, you can just do it all yourself.

I mean, the music industry is always changing. We go about it in the old-fashioned way. Our engagement isn’t really the result of algorithmic trickery; it’s all about touring heavily and releasing (hopefully) good records continuously.

We do a lot of touring compared to other bands at our level. Everybody always says we do an awful lot. I love it. I mean, it’s got its ups and downs, but generally I love it. I enjoy playing in different-sized venues. There’s something to enjoy about each one.

"Our engagement isn't really the result of algorithmic trickery; it's all about touring heavily and releasing (hopefully) good records continuously."

How important was it to stick to your own artistic vision?

I’ve never allowed other people to interfere with it. That’s never been a problem. Honestly, it’s never been a problem because, luckily, my bandmates have always respected me in that sense. They know the band is a vehicle for my ideas, and they very rarely have anything to say about it.

Unfortunately, the record label did occasionally interfere, but I’ve always stood my ground, which is something I’m proud of. I’ve never bent to anybody’s will creatively.

How did the response to your self-titled 2019 Mercury-nominated debut shape your view of yourself as an artist?

It was certainly very encouraging that people cared who I was, because that year and a half after Purson felt like an eternity, mainly because I hadn’t done any live performances. I had an album, and I hadn’t really shown it to anybody. I’d just kind of lost confidence in everything.

"When I finally released [Rosalie Cunningham] in 2019, it got a good reception, which was hugely encouraging."

The recording and writing processes were very much the same as the bands I’d been in, which is mostly just me. But I just didn’t have an outlet for it. To begin with, I didn’t even know if I was going to go under my own name. So there were a lot of questions and a lot of insecurity.

Purson was doing really well when we broke up in 2017. So, naturally, I was getting well known in certain areas. I guess that year and a half afterwards felt like nothing for other people; they just thought I was busy doing my next thing, but, as I said, it felt like an eternity. When I finally released [Rosalie Cunningham] in 2019, it got a good reception, which was hugely encouraging.

I really, really appreciated the recognition. It’s something I was always looking for in Purson. A lot of people got it and had a lot of respect. I don’t know if it was sexism or what, but other people assumed I was just the face of Purson, like I was just the singer (which I wasn’t). So yeah, I was looking for a bit more recognition, but not in an arrogant way; I just wanted it to be understood.

Transformative Times

Would people often wrongly assume things about you as a musician?

Yeah, it used to happen a lot. But it’s changed enormously in the span of my career. This year, I’ll have been a professional musician for 20 years. The world was a completely different place for women 20 years ago.

Maybe my age was a stigma, too. I was very young when I first entered the music industry professionally. I wasn’t taken seriously wherever I went, whether I was doing a gig or even just going into a guitar shop. It was always assumed that I was someone’s girlfriend or just a singer. That doesn’t happen to me anymore. It might be happening to other people, but I hope not.

"I don't think sexism is just a problem in the music world; it's across the board in virtually every field. But it's changed dramatically in the last couple of decades."

Being older isn’t so much of a stigma these days, either. I’ve played with Arthur Brown quite a few times, and he’s in his 80s, but he’s just so vibrant. He dances around and sings as well as he ever did.

I don’t think sexism is just a problem in the music world; it’s across the board in virtually every field. But it’s changed dramatically in the last couple of decades. It used to be that women were seen as a novelty. Like that awful question, “What’s it like being a female guitarist?” Well, mostly it’s exactly the same as being a male guitarist!

We recently played the Planet Rock Winter’s End festival, and there were 13 bands on the bill that were either all-female or had female members, which was a majority of the lineup. If there isn’t adequate representation, half the population of the planet isn’t expressing itself through music. It seems to be equaling out more now.

Who are some of your favorite musicians?

My favorite musical period is the ’60s and ’70s, so they’re mostly male. But that’s how it was at the time. Female musicians playing prog rock in the early ’70s were rare.

There were some, like Sonja Kristina of Curved Air. She was a big influence on me. I think Kate Bush is an incredible artist, too. But my favorite music is from a period when there weren’t many women doing it.

"Sonja Kristina of Curved Air was a big influence on me. I think Kate Bush is an incredible artist, too."

Stagecraft

What role has live performance played in defining your solo work, and what do you want audiences to experience?

The touring’s been getting heavier and heavier over the years. I just write whatever I like and then figure out how it will go down live later. But recently, when I’ve been writing, I’ve started thinking I should lean more into my band’s strengths. Like writing some twin-lead parts, for example. These days, my live band is definitely influencing how I write.

We’ve been finding that our crowds at our shows are getting younger, which is a great sign. A lot of young girls are coming to our shows, which has not really happened before. I mean, there would be the odd one, but that’s changed. I always try to speak to younger fans, and they’re usually very sweet. I know it can mean a lot to them, so I always make the effort.

Homegrown Produce

Between 2022’s Two Piece Puzzle and 2024’s To Shoot Another Day, your sound evolved. How and why did your approach to recording change?

That had a lot to do with the development of our home studio between those two albums. We used to do bits and bobs at home, some in some studios, and then mix elsewhere.

To Shoot Another Day was the first album I made from start to finish in the home studio. So we had all the time in the world to experiment and hone the sound. I think that’s why it sounds more hi-fi.

"To Shoot Another Day was the first album I made from start to finish in the home studio."

To Shoot Another Day isn’t a concept album, but I wanted it to be more like a soundtrack, like scenes in a film. And I wanted it to have a glossier sheen than my previous stuff (which has been a bit lo-fi).

That’s Rosco’s influence. He’s co-written five of the 10 tracks, and he’s a great producer for me as well. We’ve been working together now for years, and we know each other so well. We play to each other’s strengths in that sense.

Rosco knows how to get the best out of me, though I can sometimes be difficult to work with. I can be very stubborn, which isn’t always a bad thing, but then sometimes I won’t see other ways of doing things that I may be wrong about.

Field Report

What inspired you to release Live at Acapela in 2023, and what do you feel it adds to your body of work as a solo artist?

I’d always wanted to do a live album. I wouldn’t say it’s captured us at our best, but I’m glad we did it because it’s a snapshot of that period. You know, the lineup’s changed slightly now, so that’s forever on record.

I’d really like to do another live album and have a sound engineer with us recording a tour, so it takes the pressure off trying to do everything in one night. With live music, problems often arise. Like, there’s always something that hasn’t worked properly—maybe the DI is not plugged in, or something.

We’ve tried to do it before with someone in the band, but we need an engineer to handle everything because there are too many things to check. If you’re performing, there are already a lot of pressures. If we just recorded every show for like a 12-day tour or something, then we wouldn’t even need to think about it. Our next thing is to find a good live sound engineer.

"Reliable gear is super important, which is quite relevant to BOSS!"

Touring extensively brings its own challenges and insights. What lessons from the road have stayed with you?

Reliable gear is super important, which is quite relevant to BOSS! We take out a stupid amount of vintage equipment, and I’ve always used vintage amps. The number of times they’ve blown up on me is ridiculous. I’ve always had to take a spare.

We probably shouldn’t be going out with an old Hammond and Leslie, given the number of shows we do, because stuff always breaks. That’s something we should have learned but haven’t. I wouldn’t mind trying the new BOSS RT-2 Rotary Ensemble.

The other thing is just like learning to sleep wherever you are. I’m an expert at sleeping in strange places.

Independent Industry

Having worked in genres like progressive and psychedelic rock, how have you witnessed the scene evolve in terms of inclusion over the years?

There’s so much more inclusion now, especially in something as traditionally masculine as prog rock. There are loads of women in prog bands these days. Of course, inclusion is important. It shouldn’t even be a conversation, really, but it’s had to be because of what we’ve come from. It’s happening, and it’s great. But we can’t just pretend it hasn’t always been like this.

What advice would you offer to young musicians who are finding their voice and place in the industry?

You can do it yourself. Try to remain as independent as possible. It is a bit more work, but it pays off in the long run. There are so many sharks out there still. If I could go back and not sign the things I’ve signed in the past, I’d do it in a heartbeat.

"Try to remain as independent as possible. It is a bit more work, but it pays off in the long run."

It used to be like, “Wow! A record deal!” But what does that actually mean? It means someone’s going to take your money for the next however-many years, often for very little. Sometimes, record companies show their worth. I have had great experiences with record labels, so I don’t want to badmouth all of them, but I’d say that in this day and age, keeping as much of it as independent as possible is realistic. It’s often the best route.

How do you draw on personal experiences and emotion when crafting your lyrics and vocal performances?

It’s always about personal experience and emotions, even if you’re wrapping those ideas up in a narrative and singing from the third person. It’s all still things you’ve experienced at some point.

And live, just reliving those words puts you back there. It’s always an emotional experience. Just seeing somebody singing makes it more direct. I think people connect with it more that way. People interpret things in their own way, so it’s not entirely my job to try and convey everything; it’s more about how an audience perceives it.

In today’s rapidly changing music industry, what stands out to you as the biggest challenge and the biggest opportunity for artists?

The way everything is with social media now means there’s so much competition out there. I’d say the hardest thing is to be seen. But on the other side of the coin, it’s also the easiest thing because you can be seen if you do it right.

"Inspiring young girls and young women would be a big deal for me."

Social media isn’t something I have a natural affinity with. I absolutely dread having to do anything like that, but it works for some people. Some musicians absolutely shine in that department. I think the hardest thing is to be noticed for your unique qualities, because there’s just so much information out there.

We do things the old-fashioned way, with people having heard of us not through an algorithm but through word of mouth. Playing festivals is great for exposure. That’s why a lot of people have come to my shows. We did Sweden Rock Festival in a massive tent with an audience of about 5,000 people, and it seemed like everyone who came to our Scandinavian shows afterwards said they were there.

We did all these obscure places on a Scandinavian tour, and loads of them were sold out. I was like, “Since when am I big in Sweden? What’s going on?”

Past, Present, and Future

Finally, what kind of legacy do you hope to leave?

Inspiring young girls and young women would be a big deal for me. We’ve noticed more and more girls coming to the shows. A lot of them already play, or they’re thinking about starting. It would be amazing to know that something I did inspired them—and then see where they are in 10 or 20 years.

Honestly, legacy isn’t something I really think about. I’m just putting one foot in front of the other, trying to make the best record or the best show I possibly can in that moment. Then, after a while, you can look back and be proud of the body of work.

I’m already proud of what I’ve done, so I guess it’s just about continuing in the same way.

The post Reverberations: Rosalie Cunningham appeared first on BOSS Articles.

Reverberations: Ella Feingold

Rod Brakes — Thu, 05 Mar 2026 08:33:55 +0000

Ella Feingold’s storied list of session credits is immense. She has famously lent her world-renowned talents to multiple Grammy-winning artists like Silk Sonic (Bruno Mars and Anderson .Paak) and Erykah Badu. Yet the Massachusetts-based guitar phenom is a prolific creative force in her own right. From collaborations with household-name musicians to visionary solo work, Feingold continues to expand the scope of guitar playing with dexterity and imagination. In the wider online guitar community, she is recognized for her generous spirit while sharing insights on technique and tone. And in this revealing interview, Feingold delves into her inventive use of BOSS pedals on her solo album Tell a Beautiful Lie with Sound. It’s a testament to independent creativity—truly inspiring stuff for any guitarist looking to make music on their own terms.

Musical Exorcism

Last year saw the release of the Ella Feingold/Charlie Hunter collaboration Different Strokes for Different Folks, which Premier Guitar praised as “a masterwork of minimal funk.” Described by the artists as “a conversation between two friends spoken in the language of guitar,” the album is penned in Feingold’s familiar musical dialect of funk, jazz, and soul.

By contrast, her new solo offering, Tell a Beautiful Lie with Sound, was realized in solitude and articulates a six-string vocabulary all its own. Recorded in Jeff Buckley’s old bedroom on a Tascam Portastudio 424 four-track using BOSS pedals and released on Valentine’s Day 2026, it’s a fierce yet tender work that skilfully balances lo-fi directness and high-brow complexity.

Taking inspiration from the DIY albums of fellow Massachusettsan Lou Barlow (Dinosaur Jr., Sebadoh) and John Frusciante (notably Niandra LaDes and Usually Just a T-Shirt and To Record Only Water for Ten Days), Feingold calls this intrepid and highly original set of soundscapes “guitar exorcisms.”

For readers curious about the expressive power of guitar pedals, Tell a Beautiful Lie with Sound is essential listening. A masterclass in how to push the boundaries of effects, it reminds us of the vast range of possibilities that can be explored with even a modest set of BOSS stompboxes.

We caught up with Feingold to find out how she managed to conjure this magical album using a well-loved set of BOSS classics, including the FZ-2 Hyper Fuzz, PS-2 Digital Pitch Shifter/Delay, RV-2 Digital Reverb, RV-3 Digital Reverb/Delay, and DSD-2 Digital Sampler/Delay.

Tapping Into Creativity

How did you record Tell a Beautiful Lie with Sound?

I went to Memphis, and I did it in Jeff Buckley’s old house, in his bedroom. I just recorded it with a Tascam Portastudio 424, BOSS pedals, and an old Hagstrom guitar.

I took a stack of cassettes and stayed for a couple of weeks. I wrote and recorded everything in the house, then dumped the cassettes and did some additional overdubs—just things that I physically couldn’t bring on the plane.

What did it feel like recording in Jeff Buckley’s old bedroom?

It was heavy. I mean, during the day, it was beautiful because the sunlight that comes into the house just sort of holds you in a special way. It’s very warm and inviting. At night, it gets a little bit spooky.

"Jeff Buckley tapped into something in that house... I definitely tapped into something. Or something tapped into me."

How did being in Jeff Buckley’s old house affect the outcome of your recordings?

I could definitely feel something in the house. If not Jeff, just the energy of the place. It’s like he went there and was searching for something, you know. He left New York for Memphis [in 1997] to finish writing his album [working title: My Sweetheart the Drunk]. He tapped into something in that house. I’m not saying the house did it, but that’s where it happened.

In Jeff’s stuff, there was definitely a kind of guttural, punk/post-punk aesthetic that came out in songs like “Gunshot Glitter” and “Murder Suicide Meteor Slave.” And there are songs that never made the album [Sketches for My Sweetheart the Drunk, released in 1998] that are really just kind of jarring and spooky.

"I wasn't going there to make a Jeff Buckley record. I was going to make an Ella record. But I wondered what kind of energy I would feel."

When I went to the house, I wasn’t going there to make a Jeff Buckley record. I was going to make an Ella record. But I wondered what kind of energy I would feel. There were things that came out in my own music that surprised me—these violent guitar soundscape-y things that I’ve never done before.

Like the tone on “Your Life is Waiting for You”—I mean, I just instinctively moved some knobs and turned on some pedals and found that sound I’d never used before. There was definitely a kind of vulgar punk thing that came out in my music that’s never been there before. So I definitely tapped into something. Or something tapped into me.

Where is the house exactly?

It’s in Memphis, Tennessee, on North Rembert Street. You can rent it now on Airbnb. You’d never know that Jeff Buckley lived in the house. They don’t advertise any affiliation with him at all. But you can tell why he loved it.

He used to sit on the front lawn and lie on his back. I did that when I was there, with the trees just swaying, and the birds chirping. It’s so beautiful.

What are the acoustics like in the house?

One of the most important things about the house is its incredible acoustics. It’s all wood floors and high ceilings. It’s like a little shotgun shack from the 1920s. It’s a tiny, tiny house, but the hand claps in there are unbelievable. And so, you know, I tried to utilize the house as an instrument, too.

"BOSS is, without a doubt, my favorite pedal brand. It just connects with me on a spiritual level."

BOSS Family

You have a great collection of BOSS pedals.

BOSS is, without a doubt, my favorite pedal brand. It just connects with me on a spiritual level. It feels like home more than anything. I mean, I grew up with all of these pedals, and there are so many of them. It’s fun.

I’m still discovering BOSS pedals. I love the discontinued ones. It’s like a family. And every now and then, you suddenly realize you have a distant cousin you didn’t know about.

What was the last BOSS pedal you bought?

The last one I got was the PQ-4 Parametric Equalizer, which most people don’t even know about; they often only know the GE-7 Equalizer. The PQ-4 has a similar color scheme to my [FZ-2] Hyper Fuzz, and they’re right next to each other.

"I'm still discovering BOSS pedals. I love the discontinued ones. It's like a family."

I love the FZ-2 so much. If BOSS ever did a Waza Craft version, it would be amazing if it had dual outputs and you could run the Fuzz I and Fuzz II modes simultaneously. That would be crazy. Also, it would be cool if there were a way to turn off the octave sound so that you could play chords.

The FZ-2 Gain Boost mode is a sleeper, too. I can get some great James Brown/Jimmy Nolen-style strident tones just using that boost. You can overdrive your preamp into distortion using it, like I do on a four-track, just with that clean boost.

I probably use the more midrange-focused sound [Fuzz I] more, but I definitely like the scooped sound [Fuzz II].

"My top-three favorite BOSS pedals are the RV-3, the RV-2, and the PS-2."

BOSS Favorites

What’s your all-time favorite BOSS pedal?

My all-time favorite pedal is the RV-3 Digital Reverb/Delay. I love this one. I like pairing it with the scooped FZ-2 fuzz tone and dialing in a room sound, like an early reflection kind of thing. Those two—the FZ-2 and RV-3—just bloom in a really cool way together.

My top-three favorites are the RV-3, the RV-2, and the PS-2—as opposed to the PS-3 [Digital Pitch Shifter/Delay] or the PS-5 [SUPER Shifter]. I also love the DSD-2.

I don’t want to put those pedals down, but back then, it was like BOSS hadn’t yet perfected the chip or algorithm or something, you know. Like on the PS-2, the repeats can get really strident, and it has a distinct color.

"I probably use 20 different sounds from the RV-3."

Like when you’re trying to get an octave down or octave above, it’s not a perfect, super-clean octave; it sounds like it’s trying to do some math, but it’s freaking out and warbling. To me, that’s what makes it sound cool. When it gets to the PS-3 or the PS-5, it’s like, “Okay, we fixed it.” But it lost some of that nice instability.

How else do you like to use the BOSS RV-3 Digital Reverb/Delay?

I probably use 20 different sounds from the RV-3. The space it puts you in is neither lo-fi nor this high-fidelity, expensive sound. It sort of sits in between. I mean, it’s not lo-fi on purpose, but it’s kind of what I like about a lot of older BOSS pedals. It just sits in the middle, where it’s comfortably blue collar. It’s just your everyday working person’s kind of thing.

I record so much on my four-track, and I go direct a lot. The RV-3 sounds great going direct. I used two RV-3s—one for early reflections and slapback, and one for longer delay times with the feedback all the way up. I think I might have also used my DM-2 Delay on a song on Tell a Beautiful Lie with Sound.

"One of the things I love most is that I find everything—every sound—in BOSS pedals. I just eat up every nuance of it."

Heavy Duty

What else do you like about BOSS pedals?

Well, it’s great if you’re ever on the road. I mean, they’re just everywhere. And they’re still reasonably priced. You can still get PS-2s and DSD-2s for 150 to 200 bucks.

And with BOSS, the quality control is there—they’re tried and tested. BOSS are heavy-duty, rugged pedals, whereas a lot of these other smaller companies’ pedals are not always built well.

As I said, I just have such a connection to BOSS pedals because it feels like childhood. All we had back then were mostly BOSS, DOD, and DigiTech. We didn’t have all these boutique companies and everyone remaking remakes.

One of the things I love most is that I find everything—every sound—in BOSS pedals. I just eat up every nuance of it. Like I’m using all of the pedal, as opposed to say having an RV-3 and just using one setting.

"BOSS pedals are so versatile."

With a lot of other pedals, you kind of just get it, and you’re like, “Cool, it does that one thing.” But the BOSS pedals are so versatile.

I mean, it’s the same thing with the PS-2. I use it as a slapback. And I use it for a long delay. Or I’ll use two of them at once; I might swell in chords using an octave below, and then I’ll turn on the octave above, so that it’s almost like playing organ and pulling out draw bars. I love the PS-2.

Which recent BOSS pedal releases are you most interested in?

I’d love to try the new PX-1 [Plugout FX]. It sounds amazing. I just got the [Roland] JC-40 Jazz Chorus amp and a BOSS Poly Shifter. I’m friends with Johnny Marr, and he always raves about the BOSS GT-1000 [Guitar Effects Processor].

Make a Beautiful Album with BOSS

Tell us about how you used BOSS pedals to record your new solo album, Tell a Beautiful Lie with Sound.

There’s a sound on my new record on the track “Your Life Is Waiting for You” which is just the BOSS [FZ-2] Hyper Fuzz and the PS-2 all the way up. It’s the BOSS Hyper Fuzz and the BOSS PS-2 doing that low octave rumbly kind of thing.

I mean, honestly, the entire album is pretty much all BOSS pedals. I shouldn’t say all; I mean a lot of BOSS pedals. I used the DSD-2, the RV-3, the PS-2, the RV-2, and the HF-2 Hi Band Flanger, which a lot of people don’t talk about… Now that I think about it, I don’t know if the HF-2 made it on the album. It might not have. But the RV-3 is on every song. And for delay, I’m kind of going back and forth between using the PS-2 and the DSD-2. I mean, it’s kind of like BOSS soup.

"The RV-3 is on every song. And for delay, I'm kind of going back and forth between using the PS-2 and the DSD-2."

Which other BOSS pedals do you own?

I have plenty of other BOSS pedals. I love the MZ-2 Digital Metalizer and the OS-2 OverDrive/Distortion. Those didn’t make the cut on Tell a Beautiful Lie with Sound, but my main color palette is BOSS pedals. I can get a really cool Bad Brains-style sound from the MZ-2—like the guitar tone on I Against I.

My buddy Nathan Larson from Shudder to Think put me onto the BOSS [HM-2] Heavy Metal pedal. I know everyone associates the Heavy Metal with the chainsaw Swedish death metal guitar tone, but I’ve gotten some interesting, cleaner, kind of broken-amp sounds with it.

I also love the OS-2. I have a secret setting where the [Color] knob is at about 2 or 3 o’clock, where the [OD and DS] blend sits nicely. I have the Drive just up a little bit. The OS-2 might be an exception to what I say about me using BOSS pedals in a million different ways. That’s how I tend to use the OS-2. That particular pedal is a go-to for me with that setting.

How did you control EQ during the recording of Tell a Beautiful Lie with Sound?

I used the BOSS GE-7 Equalizer to add a bit more stridency to the guitar tone. A big part of the sound on the record was that almost everything was direct. More than anything, I needed to boost the midrange because the Portastudio I have doesn’t have a midrange control; it’s just low and high.

"My main color palette is BOSS pedals."

It’s funny. I think there’s literally only one song where I use the Portastudio preamp distortion—the song called “Transsexual Menace.” Anything else that might have dirt on it is really just coming from the BOSS Hyper Fuzz, or possibly the Ibanez [LF7] Tone-Lok Lo Fi.

I’m one of the rare people who doesn’t love the way that the Portastudio breaks up. I don’t mind it on maximum punishment—you know, all the way up. But when you get a little bit of dirt on it, I don’t like what it does to the bottom end. It just doesn’t sound good to me.

"I’m one of the rare people who doesn’t love the way that the Portastudio breaks up."

So Reel

What do you like most about the Tascam Portastudio 424?

What I love most about the 424 “mark one” in particular is its adjustable tape speed. With the slowest speed, it gets into shoebox recorder territory. It’s not quite as low fidelity as that—it’s just a cool color to have in there.

And I love the dbx [noise reduction function]. When you use dbx, you’re supposed to keep it consistent between recording and playback; you’re not supposed to record with it off then turn it on for playback, or record with it on then turn it off for playback.

But I sometimes like how it sounds when you break that rule; it’ll choke the sound in a cool way and compress it.

"What I love most about the 424 'mark one' in particular is its adjustable tape speed."

Flipping the tape over to create reverse sounds is fun. Also, using the pitch control, you can create a demonic, down-pitched voice by recording at high speed, speaking into the mic, and then returning to normal speed.

Because the Portastudio 424 has different speeds, you can do the opposite: pitch up by recording at a slower speed, then go back to normal. It’s an amazing instrument. I love the 424.

How did you achieve the bass sounds on Tell a Beautiful Lie with Sound?

I don’t think it’s a minimalist album, but I really went there with the least amount of stuff possible, and I didn’t even bring a bass. On some of the tracks, I used the PS-2 to pitch down and just turned the Balance knob all the way up [to 100 percent wet]. It gave me a very unstable kind of punk bass sound.

"A lot of the kick drum is me bashing the top of a [mic] with my palm and sending that through pedals."

What mics did you use to record Tell a Beautiful Lie with Sound?

Just a [Shure SM]58. A lot of the kick drum is me bashing the top of a 58 with my palm and sending that through pedals to add more bottom end, room sound, and distortion.

Did you find the limitations of using a Portastudio 424 creatively beneficial?

Yeah, I did. Recording on a four-track has inherent limitations. I only had four tracks to work with, and I wasn’t ping-ponging [bouncing] to open up more. So that, in and of itself, and using those BOSS pedals, was almost like playing an old Moog in the sense I wasn’t utilizing presets. I had to be present, shaping sounds in the moment.

I absolutely love working with limitations. I find I’m more creative because it helps mitigate decision fatigue. With a four-track, it’s like, “If you can’t say anything with four tracks, why do you need six?” You know what I mean? Like, “How is six going to make your idea better?”

"It makes me feel good knowing that house made music again."

House Music

What made you decide to go to Jeff Buckley’s old house to record?

I hadn’t done anything like before that I can remember, just in terms of going to an unknown place. I sort of felt like that house was calling me. I mean, I’m a big fan of Jeff’s music and, as I said, I know he went there searching for something.

I felt like I was searching for something too, and I wanted to see what it would feel like being there. It makes me feel good knowing that house made music again.

How much of the music did you prepare in advance? Was most, if not all of it, made in the moment?

Good question. I just had little kernels of ideas. God forbid I got there and had nothing to say, at least there were some ideas to fall back on.

But most of it was conceived in the house. I mean, for sure, the last song on the album [“Love Me All the Way Through”] was written the day I got there. That just came to me.

"Most of it was conceived in the house."

A lot of the tracks are improvisations I sculpted into songs. For example, “Your Life Is Waiting for You” was just two tracks of guitar, and that was it. I played it for Johnny Marr, and he had some suggestions I carried out, which turned it into this whole other beautiful, powerful thing.

Most of it was all done in the house. I mean, going there with a timeline, I had to make something happen. But it’s not the most gentle restriction to place on yourself in terms of creativity.

I was a bit scared because the house is a little spooky, but at the same time, I only had about 10 days to write and record all this music. I got good sleep, but there was a clock ticking.

"I told myself that this year was going to be the year I devoted to my own music."

Creative Goals

Did you set yourself any creative goals?

I told myself that this year was going to be the year I devoted to my own music. I turned down a big, long Sam Smith tour, which I was very honored to get the call for, but I just thought, “If I don’t start doing my own music, it’ll be this endless seduction of playing for other artists and making money, but never investing in my own sound.” I took a risk this year and, maybe it hasn’t paid off financially, but it certainly has emotionally.

Why is it important to record your own music?

It makes you immortal to write your own music and put it out. It’s there forever. Me playing with an artist is an amazing opportunity, but that doesn’t make me immortal. Nobody remembers that. But if you put out an album, it’s there forever. It really feels like that’s more of a legacy than going on tour with an artist or playing on a hit song.

"It makes you immortal to write your own music and put it out. It's there forever."

Did working on Tell a Beautiful Lie with Sound inspire you to pursue more solo recordings?

If I could, I would just write my own music and not work for other people. At least I’d be very, very choosy. But at the moment, I have to do a lot of different things to stay afloat financially—I play on records, have a Patreon, teach, and do some shows (though not many). I’ll do whatever needs to be done.

In a perfect world, it’d be great to just create my own music and live off of it. A lot of artists would agree. Then, I’d be sort of ultra-focused in terms of what collaborations I want to do with other artists, as opposed to, like, “I need to pay my bills.”

"Most people know me for being an R&B and funk rhythm guitar player on the Different Strokes for Different Folks album with Charlie Hunter."

Sound Lessons

What did you learn from making Tell a Beautiful Lie with Sound?

It was like going to therapy. It taught me about myself. When I put the music out and see how other people respond to it, I get to sit back and sort of check in with myself about the emotions I went through creating it—the doubts, the insecurities, all of those things.

Overcoming them feels different than playing for an artist and being nervous or whatever. With Tell a Beautiful Lie with Sound, it’s more like I’m believing in myself enough to put out music, even though I’m scared to.

I mean, Tell a Beautiful Lie with Sound in particular, is me—it’s music that I live, but it’s not music that people know me for. You know, I think most people know me for being an R&B and funk rhythm guitar player on the [Different Strokes for Different Folks] album with Charlie Hunter.

"Some of the stuff on Tell a Beautiful Lie with Sound is like guitar exorcisms. It feels like an incantation, a spell."

Some of the stuff on Tell a Beautiful Lie with Sound is like guitar exorcisms. It feels like an incantation, a spell. And people don’t know me for that sound. I was terrified that I was just going to alienate a lot of people doing that, and for other reasons too. But it’s real music to me that I’m living. It’s art. It’s me. So I had to put it out.

I don’t feel those kinds of emotions when I play on someone’s record. I feel like when I’m on someone else’s project, I’m just there to help. So it’s not as emotionally attaching. I just want to do a good job and help them with their music.

"I didn't realize how much of an influence John Frusciante was until I made Tell a Beautiful Lie with Sound."

Four-Track Freedom

There have been some really great albums made by guitarists using four-track recorders. What are some of your favorites?

One of the biggest ones for me was John Frusciante’s Niandra LaDes and Usually Just a T-Shirt. I bought that record when it came out in ’94. I still have it, and Smile from the Streets You Hold [released in 1997]. Just that rawness… Oh my god, it’s so direct. I mean, everything is as raw and honest as can be.

I grew up in the ’90s, so obviously the Chili Peppers are part of my history. But I really respect [John Frusciante’s] artistry, whether it’s an electronic record or something raw and angular. He just lives his art.

I didn’t realize how much of an influence John Frusciante was until I made Tell a Beautiful Lie with Sound—like how much his career path and the aesthetic of the four-track recorder influenced me.

"There’s always more to making music and needing to further express yourself."

Obviously, John Frusciante is a very famous musician in a very famous band. Whereas I’m a more behind-the-scenes musician who’s played with very famous people. But still, I can relate to that way of thinking—that there’s always more to making music and needing to further express yourself.

John Frusciante could probably just rest on his success from the Chili Peppers, but he’s a true artist with a need to create, and I respect that immensely. I don’t think any of my music sounds like his, but following his solo career over the last 30-plus years has been huge for me.

Johnny Marr is the same. Anytime I talk to Johnny, he’s always writing. He’s always working on something and tinkering with sound. Like, as artists, this is what we do, you know?

"I love Dinosaur Jr., Sebadoh, Sentridoh, and The Folk Implosion—all of Lou Barlow's projects. That aesthetic was really influential."

Lou Barlow was another big inspiration. I live in The Berkshires in western Massachusetts (in the mountains between New York City and Boston), which is kind of in the same area. I love Dinosaur Jr., Sebadoh, Sentridoh, and The Folk Implosion—all of Lou Barlow’s projects. That aesthetic was really influential.

Jeff Buckley is really important to me also—especially the side B tracks on his Sketches for My Sweetheart the Drunk. I was thinking about this last night. I mean, to some people, it can be a turn-off how real, raw, and up close it is.

With some of Jeff’s stuff—and especially John Frusciante’s Niandra LaDes and Usually Just a T-Shirt—you’re hearing these exorcisms in motion. It makes me think how important authenticity is in music.

"I like any kind of musician who might have tons of chops but chooses to express themselves as honestly as possible."

Unfiltered Genius

How do you personally connect with the music of John Frusciante, Lou Barlow, and Jeff Buckley?

I’m connecting with their search—finding things, and not worrying about perfecting everything. With Tell a Beautiful Lie with Sound, I wanted the emotion of what I’m trying to say to come across. I really value that. I mean, not to put other music down, but there’s a lot of other stuff that doesn’t do that, and it just doesn’t reach me.

Some of your influences are incredibly skilled, yet they prioritize raw expression over technical polish. How does that philosophy shape your own playing?

I like any kind of musician who might have tons of chops but chooses to express themselves as honestly as possible. Marc Ribot comes to mind. Same thing with Thelonious Monk. I mean, Monk could play super mean, and Bud Powell-like, and he’s just funky and raw.

A good analogy is like they’re driving a car that can go 300 miles an hour, but they prefer to go 30 miles an hour with the windows down, just cruising. Like they have the range and power, but they don’t need to show it off. I value that a lot in musicianship.

Follow Ella Feingold on Instagram, TikTok, Threads, and YouTube.

The post Reverberations: Ella Feingold appeared first on BOSS Articles.

Reverberations: Texas Guitarist Tony McGovern

Rod Brakes — Tue, 24 Feb 2026 11:57:46 +0000

Guitarist Tony McGovern plays a key role in shaping the identity of one of Scotland’s most enduring and influential acts: Texas. Formed in Glasgow by singer Sharleen Spiteri, bassist Johnny McElhone, and guitarist Ally McErlaine, the band made an immediate impact with their debut album Southside (1989), which sold over two million copies worldwide. Throughout the decades, Texas has chalked up a succession of anthemic pop-rock smashes, including the multi-platinum albums White on Blonde (1997), The Hush (1999), and The Greatest Hits (2000). Their longevity is underscored by continued chart success—most recently with 2021’s Hi—and a loyal fanbase that fills arenas. At the same time, a younger generation of music lovers has embraced Texas, as evidenced by the rapturous response from “a whole new generation of fans” at Glastonbury Festival’s Pyramid Stage in 2023.

Collective Creativity

From singalong classics like “I Don’t Want a Lover” and “Say What You Want” to modern highlights such as the Wu-Tang Clan collaboration “Hi” and the Donna Summer-infused “Mr Haze,” Texas showcases the power of collective creativity, musical rapport, and expressive range.

McGovern, who first connected with the band through touring and session work, quickly became more than a supporting guitarist. As a longstanding member, his nuanced approach and dynamic playing enhance the tight-knit chemistry of Texas alongside drummer Cat Myers, keyboardist Eddie Campbell, McElhone, and Spiteri.

Renowned for his impeccable taste in gear—particularly his decades-long use of BOSS effects pedals—McGovern balances technical precision with instinctive feel, helping craft the group’s powerful sound both on stage and in the studio.

In a band celebrated for its crossover appeal, his guitar work continues to elevate Texas, ensuring their music resonates with both longtime fans and a new generation alike. BOSS caught up with McGovern to talk effects pedals, guitar heroes, and creative interplay.

"BOSS pedals are just so reliable—they’re virtually indestructible. Also, they just sound great, and I often go back to them. You can’t go wrong with BOSS."

Compact Control

What is it you like about BOSS pedals?

They’re just so reliable—they’re virtually indestructible. Also, BOSS pedals just sound great, and I often go back to them. You can’t go wrong with BOSS. They’re not too expensive, either; you see guitarists of all levels using them.

I like to keep pedalboards relatively simple, especially for smaller gigs, because it’s easier to travel. BOSS compact pedals are great for traveling as they don’t take up much space.

Sometimes, I’ll even do a gig with just a TU-3 Chromatic Tuner and an SD-2 DUAL OverDrive. I rely on the amp sound quite a lot of the time. So, rather than have a big array of pedals, I’ll compact it down.

"BOSS has always done great overdrive pedals. I think they’re the best. I’ve been using them for years."

The SD-2 DUAL OverDrive is one of the lesser-known BOSS pedals. When did you start using it?

The SD-2 is great. I’ve used that since it came out [in 1993]. The two levels [Crunch and Lead] are great for Texas songs like “Inner Smile,” where I need a gain boost. I use a GigRig QuarterMaster to engage the SD-2 and the pedal itself to select either mode.

I’ve also got a BOSS OD-1 Over Drive, which I really like. I’ll use that every now and then. If I’m not using my own amp, I’ll often put that in the chain. BOSS has always done great overdrive pedals. I think they’re the best. I’ve been using them for years. Everyone uses them.

"I’m quite a dynamic player, and the BOSS overdrives respond really well. I love the feel. They sound and feel natural, real."

What do you like specifically about BOSS overdrive pedals?

They give you a lot of control over your sound. That’s also why I like using BOSS overdrive pedals for recording. The frequencies are nicely dialed in out of the box. With a lot of other overdrive pedals, the midrange isn’t as well shaped, and you have to EQ it out—we call that “the cheap sound.”

Also, if you really dig in when you’re playing, BOSS overdrive pedals don’t tend to struggle; there’s a decent amount of headroom. They have a nice, open sound. I don’t usually use compressors because I like the dynamics of a good overdrive pedal.

To me, it’s not as good if everything’s at the same level when you play. I’m quite a dynamic player, and the BOSS overdrives respond really well. I love the feel. They sound and feel natural, real.

How do you like to use the BOSS FRV-1 ’63 Fender® Reverb?

I use the FRV-1 for a touch of top-end sparkle. It’s so good I just leave it on all the time. I don’t use it for an obvious reverb sound; it just gives my guitar tone a wee shimmer, and it’s great for improving separation in the mix.

Used with a BOSS overdrive, it really helps the sound cut through. It’s simple but effective.

"I use the FRV-1 for a touch of top-end sparkle... With a BOSS overdrive, it really helps the sound cut through. It’s simple but effective."

Why have you got two BOSS TU-3 Chromatic Tuners on your Texas pedalboard?

I use one for acoustic guitar and one for electric. You can’t beat the BOSS Chromatic Tuners. They’re so accurate. I’ve got loads of them. Actually, I’ve got a box full of BOSS pedals I’m always diving into—including different delays I’ll use every now and then. The SDE-3 Dual Digital Delay is one of my new favorites.

The Ibanez Echo Shifter is a cool delay, and I have a Foxpedal The Wave delay pedal, but I want to replace it with the BOSS RE-202 Space Echo delay pedal. I tried one in a Guitar Guitar shop, and it sounded great. I keep going back to my BOSS delay pedals. I’ve also got some cool BOSS chorus pedals and reverb pedals I love.

Guitar Heroes

What are the most important qualities you look for in an electric guitar?

I use guitar tone controls a lot. That’s why I like the [Gibson] B.B. King Lucille guitar—the Varitone control is great. If the sound is a bit too bright, for example, I can easily just pull it back a bit.

"If you study the details of Jimmy Page's playing, you’ll quickly discover his technique is incredible."

My ’70s Gibson Goldtop Les Paul is one of my favorites. But, live, I really like the 335 sound. The semi-hollow body makes a real difference to the sound.

What’s your favorite kind of guitar music?

I’m a massive fan of Led Zeppelin. A lot of people say Jimmy Page is a messy guitar player, but if you study the details of his playing, you’ll quickly discover his technique is incredible.

Recently, I’ve been studying Jimmy Page’s playing to better understand why he made the choices he did. I like the stuff he did with The Yardbirds as well, before Led Zeppelin formed.

Which other guitar players do you like?

Bert Jansch, John Squire, and Steve Cradock are truly great players, I think. Recently, I’ve also been enjoying listening to Stevie Ray Vaughan—his technique was amazing.

"It’s all about feel and attitude for me."

I was a ’60s and ’70s buff and really liked Marc Bolan for his feel. Check out the live TV performances of “Children of the Revolution.” His playing and feel are exactly the style I love.

I love [Small Faces and Humble Pie guitarist/vocalist] Steve Marriott as well. The way he plays is my kind of thing. It’s all about feel and attitude for me.

Greenock Boy

What was the music scene like where you grew up in Scotland?

I was born in Greenock [near Glasgow, Scotland]. There was always a good music scene there. The vibe is similar to Manchester in a way. In fact, Mani [Gary Mounfield, 1962-2025], the Stone Roses and Primal Scream bassist, had connections there.

The irony is that, as a musician, I was always trying to get out of Greenock to Glasgow. Being a Greenock boy, I always wanted to play there. Even when the bands I was in got bigger, we’d always play out of town.

"When I joined Texas, I started getting more into effects."

What bands did you play in early on, before you joined Texas?

Before Texas, I was in a band on A&M Records called The Smiles. Before that, I was in a band called Spirea X on 4AD. I tended to use really simple setups with BOSS overdrive pedals.

I was a singer and didn’t think much about pedals, but when I joined Texas, I started getting more into effects.

The Road to Texas

How did you transition from The Smiles to Texas?

The Smiles had the same management as Texas, and we went out on tour with them. I’ve known them for over 30 years and even recorded on some of the early Texas stuff.

As I said, The Smiles were on A&M Records, and when it collapsed, we were wondering what to do. Mercury Records offered us a single deal, but we wanted an album deal. So, we said no to that and decided to hang fire.

In the meantime, I went out on tour playing rhythm guitar with Texas to help out Sharleen. Along the way, I just totally forgot about The Smiles, and things took off with Texas.

"I’ve known Texas for over 30 years and even recorded on some of the early stuff."

As a singer yourself, which vocalists do you admire?

Sharleen, obviously! I’ve always loved Joe Cocker, particularly Mad Dogs & Englishmen. I used to emulate Joe Cocker’s singing when I was younger. One day, I had a chance to meet him, but I was too nervous. Sharleen was saying, “Go and talk to him!” But I couldn’t.

I really regret not speaking to Joe Cocker. It wasn’t too long after that that he passed away. But I’ve nothing but great memories of him.

"Cat really adds something special to the band. She bounces when she plays and has a great feel and sense of groove."

Band Dynamics

How do the other members of Texas shape the band’s sound and the way you perform?

I love playing with Cat. Cat really adds something special to the band. She bounces when she plays and has a great feel and sense of groove. For example, she might pull the snare back a bit for a more laid-back groove or bring it forward a touch when we need to push it.

"Playing with Eddie helped me so much as a guitar player. Space is often more important than playing. Especially when performing with a vocalist."

Cat plays with a click in her ear, but she has a built-in metronome. There have been moments when the click has dropped out, yet Cat keeps playing—and when it comes back in, she’s bang in time. She’s a total natural.

Eddie has an incredible feel, too—his dynamics and push-and-pull. He can do it all. Playing with him helped me so much as a guitar player. Space is often more important than playing. Especially when performing with a vocalist.

Johnny is all about that—less is more. Bass, drums, and simple guitar can be more effective than playing all over the song. Like “Summer Son” is one hook. In that song, each player is doing something strong, and each part supports the song as a whole.

"It’s normal to have fallouts, but we’ve always worked through any problems. That’s what makes a good band."

When Jimi Hendrix was performing, he tended to sing a part, then play. As did B.B. King. He didn’t sing over his hooks. Similarly, Jimmy Page and Robert Plant did a lot of call-and-response in Led Zeppelin. Robert would sing a line, then Jimmy would play a lick.

It seems there’s a really good atmosphere in the band.

Texas feels like a big family bubble. We’re really close. Really tight-knit. Sharleen is great. I actually ended up marrying Sharleen’s sister! And Eddie is like a brother to me; we grew up together.

A lot of bands fall out over the years. It’s normal to have fallouts, but we’ve always worked through any problems. That’s what makes a good band. We have such a laugh on stage. It’s light-hearted, and the audience picks up on that.

Enduring Appeal

Does Texas keep you satisfied creatively?

Yeah. Eddie and I have done quite a lot of recording on Pro Tools and Logic together. You’ve always got to have an idea in your head when you’re going into the studio with Texas; you can’t go in without having fuel in the tank.

I always did my homework, which made me a much better guitarist. I found there were many different styles of playing to learn.

"We’ve got a really young audience now. When we played Glastonbury, it seemed like we had a whole new generation of fans."

Texas formed in the mid-’80s. How has the band’s audience changed over the years?

We’ve also got a really young audience now. When we played Glastonbury [in 2023], it seemed like we had a whole new generation of fans. They were singing along and knew all the words. That was really good to see.

Obviously, there’s an older audience as well, but it seems like we’ve had a boost of teenage fans in recent years. A friend of mine told me, “I went into my boy’s room the other day, and he was blasting out Texas.”

Texas has been around a long time, but we only get better with age!

The post Reverberations: Texas Guitarist Tony McGovern appeared first on BOSS Articles.

Getting Started with the BOSS GX-1 and GX-1B

Tom Wonnacott — Wed, 18 Feb 2026 16:47:56 +0000

From dialing in tones quickly with a clear, hands-on interface, to shaping User Memories that respond as you play, the BOSS GX-1 and GX-1B offer plenty of scope to explore and develop your sound. This guide looks at how to make that possible, helping you move past preset browsing and start creating sounds that feel uniquely yours.

Shaping Sounds on the GX-1 and GX-1B

Sound creation on the BOSS GX-1 and GX-1B is designed to be fast and hands-on. A clear color display and dedicated effect category buttons keep the focus on what you are hearing, not on navigating menus. Effects can be switched on and off with a tap, while a longer press takes you straight to the most relevant setting parameters, making it easy to adjust sounds in real time without interrupting your flow.

Rather than building every sound from the ground up, the GX-1 and GX-1B give you solid starting points straight away. Each amp and effect type includes complete, professionally tuned setups that are ready to play as soon as you select them. From there, you can make meaningful adjustments to suit your instrument, your touch, and the music you’re working on, without the need to fully understand every parameter at once.

"Each amp and effect type includes complete, professionally tuned setups that are ready to play as soon as you select them."

Alongside the effects, both units use AIRD technology to shape how amp tones respond as part of the overall Memory. Instead of treating the amp as a standalone block, AIRD takes playing dynamics and gain structure into account, helping sounds feel more connected as you play. This means tones respond naturally under your fingers and translate reliably across different setups, with less time spent correcting behavior and more time focused on making music.

Plug In and Play Anywhere

The BOSS GX-1 and GX-1B are designed to fit easily into a wide range of everyday setups, from home practice to recording and playing live. Connections are kept simple, but flexible enough to support different ways of working.

Play through an amp or monitor directly—Use either unit as a multi-effect into a guitar or bass amp or connect to a PA straight from the stereo outputs.

Practice quietly with headphones—Plug in headphones for silent practice while keeping the same tones you would use through speakers or an amp.

Jam along via Bluetooth—Stream music wirelessly from a phone or tablet and play along without extra cables or adapters.

Record via USB—Connect to a computer or mobile device to record sounds directly into a DAW or music app.

Power it almost everywhere—Run on AA batteries, AC adapter, or USB power, making it easy to practice or perform even when mains power is not available.

Control and Performance

The GX-1 and GX-1B put real-time control under your feet, not in menus. The onboard footswitches handle common tasks such as changing Memories or turning effects on and off, while the integrated expression pedal adds control for volume, wah, or other parameters.

When you want to go further, control assignments can be tailored to suit different songs or playing situations. Switches can be set to adjust multiple parameters at once, making it easy to create expressive changes without complex choreography. Support for wired and wireless external controllers also means you can expand your setup over time.

Edit and Organize with BOSS Tone Studio

For times when working from a larger screen is more convenient, BOSS Tone Studio amplifies what you can do with the GX-1 and GX-1B. The software mirrors the on-unit layout, making it easy to adjust sounds and organize Memories without changing how the hardware behaves. Tone Studio also adds practical tools for learning and practice. Play along with songs and lessons, slow passages down, loop sections, and work with built-in rhythms and a metronome.

"BOSS Tone Studio makes it easy to adjust sounds and organize Memories without changing how the hardware behaves"

Access to BOSS Tone Exchange provides Livesets created for each model, offering sounds you can audition, adapt, and apply to your own playing.

With built-in Bluetooth, the GX-1 and GX-1B can connect wirelessly to mobile versions of Tone Studio and stream audio directly from a phone or tablet, making practice and sound editing easy without extra cables.

Learn More

For additional information, including owner’s manuals, downloads, and support resources, visit the BOSS GX-1 and GX-1B product pages.

The post Getting Started with the BOSS GX-1 and GX-1B appeared first on BOSS Articles.

Getting Started with the BOSS GX-10 Guitar Effects Processor

Tom Wonnacott — Wed, 18 Feb 2026 16:45:13 +0000

From shaping signal chains directly on the touchscreen to building User Memories around responsive amp tones, the BOSS GX-10 offers plenty of room to experiment and refine your sound. This guide focuses on the tools and workflows that open those possibilities up, helping you move beyond presets and into a sonic landscape of your own design.

Shaping Sounds on the GX-10

With its streamlined interface, the GX-10 makes it easy to build sounds in real-time. It uses the same color touchscreen introduced on the GX-100, letting you view your signal chain clearly and make quick adjustments with simple actions. You can drag-and-drop effects, change their order, tweak parameters, and more without getting pulled into complicated menus. Dedicated hardware controls round out the experience, delivering a customizable, hybrid workflow for shaping sounds instantly, whenever inspiration strikes.

Crafting tones is centered around an effects chain that can be fully shaped to your needs. Include up to 15 effects within a single Memory, reorder them on the screen, and use multiple instances of the same effect type if desired. This makes it easy to experiment with different combinations and refine sounds quickly, without worrying about fixed layouts or hidden restrictions. Utility blocks such as dividers and mixers, along with the send/return loop also give you practical flexibility when building Memories with more complicated paths.

"Experiment with different combinations of effects and refine sounds quickly, without worrying about fixed layouts or hidden restrictions."

Alongside the effects, the BOSS GX-10 uses AIRD technology to dictate how the entire Memory behaves, not just how it sounds. Instead of modeling an amp in isolation, AIRD reflects how it responds within a complex signal chain, taking playing dynamics and gain structure into consideration. This helps Memories stay balanced across different setups, with fewer surprises when you plug in, and minimizes time spent tweaking.

Hear a selection of tones developed exclusively on the GX-10 in the following video.

Connect and Play

The GX-10 is designed to drop easily into a wide range of everyday setups, whether you’re playing through a speaker, practicing with headphones, or recording straight into a DAW.

Play through an amp or monitor directly—Use the GX-10 as a multi-effect directly into your favorite amplifier or use the outputs to send a stereo signal with amp simulation to a PA.

Practice with headphones—Plug in headphones for quiet practice using the exact same sounds you would send to a speaker.

Record via USB—Capture your guitar sound directly into a DAW, making the GX-10 a simple solution for demoing, writing, and recording.

Integrate external pedals—Use the send/return loop to integrate your favorite pedals wherever makes sense within your signal chain.

Edit and Organize with BOSS Tone Studio

For times when working from a computer is more convenient, BOSS Tone Studio opens up a wider range of possibilities. In addition to providing a clear, computer-based view of your Memories, the software gives you access to Livesets created by other BOSS users and artists, offering ready-made sounds that you can audition, adapt, and apply. Alongside this, Tone Studio makes it easier to manage your own Memories over time. You can rearrange sounds quickly and handle deeper edits on a larger screen when that feels more efficient.

"BOSS Tone Studio provides a clear, computer-based view of your Memories, and access to Livesets created by other BOSS users and artists."

Available as a free download for macOS or Windows, Tone Studio connects via USB and works as an optional extension of the GX-10 without changing how you use the hardware day-to-day. You can also edit Memories wirelessly using the iOS or Android version of Tone Studio with the inclusion of an optional Bluetooth® Audio MIDI Dual Adaptor.

Learn More

For additional information, including owner’s manuals, downloads, and support resources, visit the GX-10 product page.

The post Getting Started with the BOSS GX-10 Guitar Effects Processor appeared first on BOSS Articles.

Reverberations: James Walbourne of Pretenders and His Lordship

Rod Brakes — Fri, 06 Feb 2026 16:24:04 +0000

If the idea of a guitar hero still holds weight, James Walbourne makes a compelling case. Pretenders bandmate and Rock & Roll Hall of Famer Chrissie Hynde certainly thinks so, dubbing him a “hotshot” in a 2025 Guitarist cover feature. Underscoring that view, bestselling author and award-winning screenwriter Nick Hornby lauded his playing as “unearthly.” Hailing from Muswell Hill, North London, the dark-horse multi-instrumentalist has emerged as a formidable and omnipresent figure in the guitar world, his name surfacing repeatedly in conversations near and far. This owes, in part, to the gravitas of the role he’s assumed; as the Pretenders’ lead guitarist, Walbourne carries the formidable legacy of original member James Honeyman-Scott and ex-Smiths legend Johnny Marr.

The Great Pretender

Often cited as the Pretenders’ secret weapon, Walbourne is a driving force behind their creative resurgence. He has become a key member of the Grammy-nominated, platinum-selling band’s songwriting core, having forged an inspired artistic alliance with Hynde during the making of 2020’s Hate for Sale album.

Speaking to TotalNtertainment about the Pretenders’ latest LP, 2023’s Relentless, Hynde described their composition process as “honed down to an art,” adding, “He always comes up with something I wouldn’t have thought of myself.” They are currently focused on crafting their next album.

Versatile Virtuoso

Walbourne is no stranger to collaborating as part of a duo. You may also know him from folk-rock act The Rails, where he writes and performs alongside his wife, Kami Thompson, daughter of folk luminaries Richard Thompson and Linda Thompson. Together, they have earned critical acclaim and multiple awards. As The Guardian put it: “They’re the best folk-rock Thompson-affiliated duo since Richard and Linda.”

If high-voltage rock ’n’ roll is more up your street, then don’t miss His Lordship. Catch one of their jaw-dropping live shows, and you’ll witness Walbourne’s six-string virtuosity full tilt. Formed with Pretenders drummer Kris Sonne during lockdown as a back-to-basics, hard-rocking two-piece, the outfit embarked on a sold-out debut tour in 2022. Keep an eye out for His Lordship supporting Johnny Marr later this year.

Chemistry and Charisma

In addition to Pretenders, The Rails, and His Lordship, Walbourne has contributed to numerous albums as a sought-after session musician. His list of credits is extensive and features an eclectic mix of artists ranging from Peter Bruntnell, Edwyn Collins, and Jerry Lee Lewis to Death in Vegas, Saint Etienne, and Soulsavers.

For this guitarist, live performance sits at the very heart of music. Coming of age on the London pub circuit, Walbourne is a magnetic frontman, overflowing with charisma and instinctively drawing audiences in. “There was nothing better than going into a pub and watching a band,” he tells us.

Also a striking solo artist in his own right (check out the debut album, The Hill), live performance for Walbourne is more than a means to an end—it’s a way of life. His impressive gig résumé includes the likes of fellow Muswell Hillian Ray Davies of ’60s trailblazers The Kinks, not to mention North London Celtic punks The Pogues.

Drawing on years of experience, Walbourne has plenty to share with fellow musicians like you. And when BOSS dropped by his London studio, he offered us behind-the-scenes insights and fascinating tales from a life in music.

A longtime BOSS fan, Walbourne’s pedalboard caught our eye immediately. Loaded with the IR-2 Amp & Cabinet, RE-202 Space Echo, VO-1 Vocoder, and TU-3 Chromatic Tuner, his stompbox choices suggest a guitarist who demands versatility, reliability, and world-class tone.

Read on to explore the creative world of one of today’s most exciting guitar players.

Rock ‘n’ Roll Reboot

The new studio looks great. What have you been working on in here lately?

Thanks! We’ve just made a Chuck Berry tribute album here, which has been great fun. We’d listen to the original recordings and say, “Let’s try it differently.” We worked ourselves hard and recorded 14 songs in eight days. It’s been a brilliant experience, and now we know this studio really works for us (including the new His Lordship record).

"I used the VO-1 Vocoder here and there. It’s great. It sounds like Kraftwerk meets Chuck Berry."

Which BOSS pedals did you use to record the Chuck Berry record?

I used the VO-1 Vocoder here and there. It’s great. It sounds like Kraftwerk meets Chuck Berry. If you sing into a mic plugged into the VO-1 and play along at the same time, you get instant Peter Frampton. I’m definitely going to use it live. I’ve only got the talk box thing down with it so far, but I know it can do a lot more.

I like having unique stuff like the VO-1 lying around. It’s the sort of effect that you probably wouldn’t put on every song on an album, but is perfect for a few things. Some instruments are like that, too. A six-string bass, for example, can be a great choice at the right moment.

Jamming with Johnny

Aside from a new album, what’s in the pipeline with His Lordship?

We’re doing SXSW 2026 in March, followed by a West Coast run with Johnny Marr. I know Johnny through Chrissie. We played Glastonbury in 2023, and he did some songs with us, including “Tattooed Love Boys.” Dave Grohl was on drums. It was great fun. We had some time to rehearse at John Henry’s in London beforehand.

It was a pleasure hanging out with Johnny. He’s very inspiring and gracious with his time. He will talk about music and just life in general—everything under the sun. We spent a few days playing and talking. He’s been a real champion of His Lordship. I’m grateful to him for that. He’s like that with everyone. It’s something to aspire to.

"It was a pleasure hanging out with Johnny Marr... We spent a few days playing and talking. He’s been a real champion of His Lordship. I’m grateful to him for that."

Marr’s Machines

Did you pick up any gear tips from Johnny Marr?

He got me onto the BOSS RE-202 Space Echo. It’s really versatile. You can do an awful lot with it. I mainly use it for slapback delay. I’m always looking for that classic rock ‘n’ roll slapback sound, which the RE-202 does really well.

You can get some pretty wild sounds with the different tape head combinations, and I love the Warp and Twist functions, which I’ve used live. I like the spring reverb sound, too. It can be pretty intense, so I tend to have it set fairly low.

"Johnny Marr got me onto the BOSS RE-202 Space Echo. It’s really versatile. You can do an awful lot with it."

Johnny also recommended the BOSS IR-2 Amp & Cabinet, which I’ve been using constantly. When I first plugged it in, it made a massive difference immediately. It makes my guitar sound come alive when I use in-ears. I got a great sound with the IR-2 straight away; I didn’t need to mess around with it much at all.

The IR-2 is basically the on-stage sound in my ears. I have a DI, and the amp goes out front. It gives the sound guy much more control. It also means we can have lower volume on stage, so I can hear myself sing better. The IR-2 is brilliant. I’ve been using it for everything.

"Johnny also recommended the BOSS IR-2 Amp & Cabinet, which I’ve been using constantly. When I first plugged it in, it made a massive difference immediately."

BOSS Essentials

Of course, no pedalboard is complete without a BOSS Chromatic Tuner.

The TU-3 Chromatic Tuner is a staple for every guitarist. You cannot do without it.

Are there any other BOSS pedals that interest you?

BOSS chorus is another thing I’ve been really interested in recently because of James Honeyman-Scott, the original Pretenders guitarist. He used the first chorus pedals—the big CE-1 Chorus Ensemble and the CE-2 Chorus.

Chorus is a unique sound I really want to delve into. It’s on classic Pretenders songs—all over some of them. I was a bit unsure about using it when I first joined the band, but I’m a fan of chorus now.

"BOSS chorus is another thing I’ve been really interested in recently because of James Honeyman-Scott, the original Pretenders guitarist."

The CE-2W Chorus is a great pedal, and super easy to use.

Yeah, I sometimes get stumped by complex pedals—how to program them. But people like Johnny Marr and Troy Van Leeuwen, who use them properly, can get some really great sounds. I’m definitely more of a plug-and-play guitarist. That’s why I like a lot of the older BOSS pedals.

What are some of the older BOSS pedals you used?

I used to use a CS-3 Compression Sustainer all the time, mainly as a solo boost. I don’t know why I did that—it’s quite strange! I also used to use an OC-2 Octave because I wanted to sound like Neil Young. He’s the pinnacle of a certain type of guitar playing I love. He’s my number-one influence.

My playing has an edge of chaos. You only have to take a look at my pedalboard to see how chaotic I can be. It always changes. My Pretenders board is different again. I don’t like using too many sounds because I find that it can suddenly start to bloat.

"I used to use a CS-3 Compression Sustainer all the time... I also used to use an OC-2 Octave because I wanted to sound like Neil Young."

P-90 Perfection

You get an incredible range of sounds out of your single-pickup 1963 Gibson SG Junior.

The Junior is an amazing guitar. The best thing about it is the single P-90 pickup. You can get a lot out of it. It’s a bit like my pedal selections: the simpler you keep it, the better, I find. I stumbled upon it by chance, during the first Pretenders record I did [2008’s Break Up the Concrete] in LA. They hired a ridiculous number of vintage guitars, but I just played a Junior throughout the whole thing.

I’d never played one seriously before, and I don’t really like the look of them that much, truth be told. It would never have been my first choice, but it was undeniably great. When I got back to London, my pal Andy Hackett had this one in his shop, Angel Music, for a couple of grand, which I bought. I’ve played it ever since.

Chuck Berry’s Birthday Bash

The SG Junior works really well for Chuck Berry songs—how did this recording project get started?

In October 2025, I did a show in St. Louis, [Missouri], his birthplace, called Chuck Berry’s Birthday Bash, to celebrate his 99th birthday. It was with the St. Louis Symphony Orchestra, which was very difficult as a guitar player.

We also had Doug Wimbish and Will Calhoun, the rhythm section from Living Colour, playing with us. [The Rolling Stones’ saxophonist] Tim Ries and The Stones’ singer Chanel Haynes were there, also. Bobby Floyd, the keyboardist, too. I mean, they were all amazing players.

I ended up singing a load of songs. Chuck Berry’s wife, Themetta [Suggs], was there to see the show, and I got to know his son and grandson. Suffice to say, I went deep into Chuck’s music, and it was great to reconnect with it. He was one of the main architects of rock ‘n’ roll and a true original.

Rock ‘n’ Roll Mastery

What was it that struck you about the music of Chuck Berry?

I discovered it’s all about the lyrics and songwriting. But you can’t really do a tribute that’s as good as Chuck himself. So, that begs the question: how do you approach it? It was all about his personality. The songs were so… him! It was a period of soul-searching. I mean, you can’t just do a Chuck Berry impression.

I began asking myself how His Lordship could write songs in a similar vein. We had to simplify them, which was really difficult. The takeaway was: rock music is difficult. It’s not an easy thing to do. Constructing a song that sounds simple and having the guts to cut it back is tough. It’s way easier to keep adding more.

"Being able to axe your own ideas is key to being in a band."

How important is it to be able to “kill your darlings”?

Being able to axe your own ideas is key to being in a band. If you can do that and not get the hump when someone says, “I don’t like that bit,” that’s an advantage. It took me a while to get there.

You get so much work done if you can be like that. Obviously, you can keep the bits you really love for something, but if you’re in a band, it’s good to be able to move on. I have a strong working relationship with Kris like that.

Pretender to the Throne

You’ve also built a strong working relationship with Chrissie Hynde. Tell us how you got the Pretenders gig.

[Pretenders founding member and drummer] Martin Chambers and I have a mutual friend we used to be in bands with called Peter Noone (not the Peter Noone from Herman’s Hermits, though!) We would play every week at a pub in North London called The Boogaloo. Martin only lived down the road in Crouch End, so he would come up and watch us.

"Chrissie came over to my house, and we played through a couple of songs. Next thing, I was on my way to Palm Springs [in California] for a kind of trial show. We hadn’t even rehearsed all the songs!"

At the time, I didn’t know much about the Pretenders at all. But one Christmas Eve, I’d flown back from Dublin after a gig with The Pogues, and we were all standing around the carousel waiting for our bags when Martin called me. He said, “We need a guitar player. I’ll give you a call in the New Year,” then hung up.

True to his word, he called me. I met Chrissie in a vegetarian restaurant down in Marlebone [in London]. She came over to my house, and we played through a couple of songs. Next thing, I was on my way to Palm Springs [in California] for a kind of trial show. We hadn’t even rehearsed all the songs!

It sounds like your first gig with Pretenders was pretty challenging.

Yes. Especially because on the journey there, the airline lost all our gear—all my pedals and guitars! But thankfully, we quickly got a bunch of BOSS pedals together.

How did it feel as a new member of the band?

When you go into any new band, you go into their private world. It’s a whole ecosystem. Chrissie would just throw songs up on stage that we hadn’t even played before, so some of it was a bit scary. She still does that.

"The airline lost all our gear—all my pedals and guitars! But thankfully, we quickly got a bunch of BOSS pedals together."

But the thing is, I just love playing. I only feel nervous on stage if I’m out of my depth. For example, suddenly being asked to read music with the St. Louis Symphony Orchestra at the Chuck Berry concert was difficult. I wanted to be a bit wild and couldn’t. But I know what I’m doing in most situations.

A producer once called me “a chancer.” It was really funny because I thought, “Yeah, sort of.” But I can play with a rock ‘n’ roll band and keep up, no problem. I’m very comfortable in that scenario.

Live Lessons

Does that natural ease come from having played live in pubs so regularly early on?

Absolutely. I learned everything from that: slowing down, stops, communication, watching for signs and body language, and how to lead a band. There’s a whole set of subtle cues. You have to go through that process, or you’ll never learn. You could call it stagecraft. I learned so much about that from Chrissie later on as well.

I used to play live in pubs all the time. I used to have my own three-piece blues band, and we’d play pubs every weekend. Dodgy pubs as well, full of customers who didn’t always want to hear us play. But even that was worthwhile. You learn something from everything.

"I used to play in dodgy pubs full of customers who didn’t always want to hear us play. But even that was worthwhile. You learn something from everything."

How important is it for a band to play live?

You can play in a rehearsal room for years, but if you don’t play a gig, you’re not seeing the whole picture. You could rehearse for weeks, then go and play, and it’ll all go wrong. Sometimes, you’re almost better off just learning the songs for a couple of days, then going out and performing them.

That’s where you learn: playing shows in front of people. It’s different from rehearsing. You could get it just right—all your pedal and amp settings, then get to a gig and suddenly find it’s all completely wrong. Or maybe a piece of gear goes wrong, which is all too common.

There are all these factors to consider, and you can’t be prepared unless you get out there and play. That’s my experience anyway.

"You can play in a rehearsal room for years, but if you don’t play a gig, you’re not seeing the whole picture."

Comfort Zone Conquests

Can you describe any live situations that brought you out of your comfort zone?

Playing with the St. Louis Symphony Orchestra is a good example. I had to use in-ears because the amp was set so low. Like, “How can I do Chuck Berry if my amp’s so quiet?”

That, and trying to keep up with an orchestra, isn’t something I really want to experience again. It was hard. But I know what it entails now. I learned from it.

"Trying to keep up with an orchestra isn’t something I really want to experience again. It was hard. But I know what it entails now. I learned from it."

Have any recording sessions pushed you out of your comfort zone in the same way?

When I did a jazz record with Chrissie [called Valve Bone Woe, her second solo album released in 2019], I said, “You should get someone else because I don’t really play jazz. You should get a much better guitar player who knows all those jazz chords.” She said, “No, I want you to play because you’ll bring something different,” so I agreed.

We were recording in Air Studios in London the next day, so I did a crash course in jazz chords the night before. I had the music, so I got all the chords together and started figuring it out. I’d write things down like “Jimi Hendrix chord” or “Chuck Berry thing” to remind myself. I learned loads of stuff in a single night.

It’s interesting what you can do if you put your mind to it. We took it to the Hollywood Bowl and did it live with an orchestra. I was the most nervous I’d ever been. I had to start the whole thing off. I wasn’t fully confident, but I learned so much from it. I used some of what I’d learned to co-write the next Pretenders record.

"Someone recommended using Logic... It completely opened up my songwriting.

Sonic Sketchpad

What tools do you use for songwriting?

I had a big breakthrough with Logic in 2015. Before that, I didn’t have much gear—everything was written on an acoustic guitar with one microphone. It was quite frustrating.

Someone recommended using Logic because it has a lot of virtual instruments, and it completely opened up my songwriting. Suddenly, I could hear a melody with, say, Mellotron sounds. I was instantly transported to different places where I could write more. It blew my mind.

Did Logic help speed up your songwriting process?

For me, Logic made songwriting very quick. My first Pretenders record writing with Chrissie Hynde [Hate for Sale] was the first time I used it in a major way. I used it to make quick demos. I worked really fast. I didn’t have any grand designs for it being the finished article, but it was amazing for songwriting—making sketches of songs.

I’m writing again with Chrissie at the moment for a new Pretenders album. I don’t seem to be travelling as much this year, so it’s a good time right now. It’s a good time to sit there with my friend Logic.

"I’m writing again with Chrissie at the moment for a new Pretenders album... It’s a good time to sit there with my friend Logic."

Songwriting Synergy

How does your songwriting collaboration with Chrissie Hynde typically work?

The way I write with Chrissie is that she’ll send me lyrics. I’ve got hundreds of ideas. I’ll wake up in the morning to emails of lyrics. I’ve got a folder of lyrics I’ll go through, and if something takes my fancy, I’ll just write a song to it.

Her lyrics are often brilliant. And if something speaks to me, a song will spring out. With Chrissie, it can be instantaneous. Which is an odd thing.

How do you know when a set of lyrics is ready to become a song?

It’s almost pre-formed. The melody just appears. For example, I knew the song “Hate for Sale” was going to be a thing straight away. I immediately knew how I would approach it.

When inspiration strikes, how do you go about building a song?

I demo it quickly on Logic, send it to Chrissie, and get her feedback. A bit later, I’ll do the whole song as best I can, then we’ll get together further down the line and knock it into shape.

"As soon as we started to write, the creative tap was fully on."

It took a while to start writing with Chrissie Hynde—what helped you unlock your creative flow?

I’d been in the band for about ten years before we even began to think about writing together. I was very cautious about it at first, but as soon as we started to write, the creative tap was fully on.

It took a long time because we were both kind of scared of going there. We didn’t want it to impact the relationship we’d built. Now, we’re very relaxed about it. It’s enjoyable.

How did you broach the subject of writing together?

We would always talk about it, but never really do it. One day, I said, “I’ve got this melody,” and showed it to Chrissie. She said, “That’s good. Shall I write some lyrics?” I said, “Of course!”

It started with the song “You Can’t Hurt a Fool,” from Hate for Sale. That was the first one we wrote together. I already had the title; it was from a book I was reading. We thought it was a great title. Chrissie wrote lyrics, and then I wrote a song for them. That was how it started.

"It started with the song “You Can’t Hurt a Fool,” from Hate for Sale. That was the first one we wrote together."

Creative Growth

How has your songwriting evolved over time, and what have you learned from writing with Chrissie Hynde?

After writing with Chrissie, my confidence grew. I wasn’t really confident for a long time, even after having written records with my wife in The Rails. I’ve definitely gotten better at it. Songwriting is one of those things that improves the more you do it. I don’t think about it too much. If you’re inspired, you’ll be okay. It’s all about keeping inspired.

How do you stay inspired?

It’s about feeding your imagination. I’ll go to the theatre and galleries, read and watch films. Reading is the biggest one for me. You need to try living the creative life. I’ve read more books since coming off Instagram. I’m picking up new books all the time.

I’ve just finished a Martin Amis book called Time’s Arrow. I also read the latest Ian McEwan book, What We Can Know. It’s about habit. In the morning, the first thing I do is make a cup of tea and read.

"You need to try living the creative life. I’ve read more books since coming off Instagram."

Industry Insights

What’s your take on social media?

Some people are great at social media, but it takes up a lot of time. The question is: should I spend my time on that, or should I concentrate on writing music?

It’s a bit of a chicken-and-egg situation. The music industry expects artists to have a huge social media footprint, but should the whole thing really be about that? I’m not sure it’s healthy for musicians and songwriters, young or old, to have to deal with that on top of everything else that’s thrown at them.

What do you think is essential for success in the music industry?

There’s an element of luck when it comes to meeting the right people. But that’s much more likely if you work hard. It’s true that you make your own luck.

When I was at school, I went to a careers event. There was a woman from a record company there, and one of the dads asked her how to get into the music industry. She just said it was important to go out to pubs and clubs and meet people. But the bloke didn’t want to hear it.

He got so aerated, like, “What do you mean? There must be a different route in!” She just said, “Not really.” I don’t know about now, but back then, going to see bands was how I met everyone.

"There’s an element of luck when it comes to meeting the right people... It’s true that you make your own luck."

Keeping it Real

How important is it to have the confidence to put yourself out there as a musician?

At some point, you need a leap of confidence. I surprised myself. I was painfully shy as a kid, and I found it difficult to introduce myself to people. Having a couple of pints or whatever helped. Not that I want to encourage people to do that, but my truth is that going to pubs and meeting people was massively important.

You could stay in your bedroom playing forever and be the best unknown guitarist in the world. But, at the end of the day, if no one has heard you, then what’s the point? If you’re happy with that, fine. I suppose there’s Instagram, but how significant is it in meaningful artistic terms? And are the audience expecting to hear real music? If you value those things, it’s worth questioning.

"There’s Instagram, but how significant is it in meaningful artistic terms?"

Creative Community

What role did playing with others and connecting in music communities play in shaping you as a musician?

You need to be able to play well and with others—and I mean in a room with people. When I was growing up, there was no YouTube or social media, so you had to leave your bedroom to connect with other musicians.

Music shops were a good place to meet people. I met so many musicians in Angel Music. I worked there for a bit when I was 19 and 20. I took [guitarist] Gem Archer’s job when he joined Oasis.

"Music shops were a good place to meet people. I met so many musicians in Angel Music... I took Gem Archer’s job when he joined Oasis."

Robbo [Brian Robertson] from Thin Lizzy came in on Saturdays to work with me, and we’d just play. This guitar shop was the hub, and absolutely everyone would come in. It was known as the party guitar shop. It was big for me growing up. It’s where I met a lot of people. That’s where I met Martin Kelly, my manager. It was a big community. But it’s gone now. The same thing is happening to music venues. It’s a shame there are fewer around these days.

There was nothing better than going into a pub and watching a band. They could be the best or the worst band, but to just see actual humans getting together and playing music was great. I mean, that’s how I learnt. It’s massive. The whole community thing is not as prevalent now.

Hub of Talent

Didn’t His Lordship form in a pub?

Yeah. We started in The Boogaloo. We didn’t have a preconceived idea about the type of band we would be. I met Martin Chambers in there, along with Shane MacGowan and Spider Stacy from The Pogues.

The Boogaloo was a proper music hub. The guy who owns it, Gerry O’Boyle, made it a brilliant musical place, and we were the regular band in there. Everyone passed through there, whether it was a literary event or a gig.

"I’m so grateful to have met Shane MacGowan, along with a ton of other fantastic musicians, at The Boogaloo."

Shane would just be there. We’d sit with him for hours talking about music and playing together. It was a great education. I’m so grateful to have met him, along with a ton of other fantastic musicians, at The Boogaloo.

We had a band that would play every Sunday. My brother would play drums. It was a debauched Sunday afternoon, and it would just go on and on. It was really my friend Bap Kennedy’s thing (the Irish singer-songwriter). He worked with Steve Earle and other incredible artists, including Van Morrison, Shane MacGowan, and Mark Knopfler. Bap passed away back in 2016, which was a real blow to all who knew him.

Fast forward many years, and I was between tours. I thought, “I’ve got to do something. Let’s get a band together and just play some rock ‘n’ roll.” So, we did just that, and Kris Sonne jumped in. It just came about naturally. Playing at that intensity was just how we were.

We carried on, and we’d get loads of people in—musicians like [Stray Cats drummer] Slim Jim Phantom and [original Sex Pistols bassist] Glen Matlock. Chrissie [Hynde] came along, and [Sex Pistols drummer] Paul Cook was there, too. There was a real community of musicians who showed up every Sunday.

"Slim Jim Phantom, Glen Matlock, Chrissie Hynde, Paul Cook... There was a real community of musicians."

We thought, “This is quite good. Let’s write a couple of tunes,” and now, we’re here. The first tune we wrote was “All Cranked Up.” That’s the song that got us on the radio first. It was a surprise because it was the first band I’d been in where I hadn’t cared about success. I mean, it was primarily for us to have fun. That’s when I realized not caring was key.

That’s Entertainment

How do you approach performing for a live audience?

Entertainment is the rule. His Lordship is kind of old school in that regard. That’s one of the reasons we started. During lockdown, I was so sick of hearing dreary acoustic sets through a computer. It felt like an intense rock ‘n’ roll show was a little bit rare. At least I didn’t see it much around that time.

If we’d have done this 20 years ago in The White Stripes era, it wouldn’t have seemed so rare, but intense rock ‘n’ roll shows are almost an oddity now. There are great young bands out there, but they seem to be less common than they were a couple of decades ago. I’m a big fan of Fontaines D.C. and Amyl and the Sniffers. Amy Taylor is brilliant.

"Entertainment is the rule. His Lordship is kind of old school in that regard."

You seem to have a good time on stage with His Lordship.

We do. We have a great time. Some people don’t really like performing. They might get nervous and not want to play live. Whereas that was the thing I wanted to do more than anything. I love playing with people. I love it! I don’t think there’s anything better.

Rock ‘n’ roll is an expression of the self with loud guitars and drums. It’s an unapologetic, freeing art form. When I perform, it’s almost like it’s not me. It’s like another character comes out.

"Rock ‘n’ roll is an expression of the self with loud guitars and drums. It’s an unapologetic, freeing art form."

Is it fair to say that performing live helped you overcome your shyness?

It’s funny: I was very shy off stage, but I was fine on stage. I’m not sure if people change so much as they just find themselves. It could be that a musician had a bad experience on stage early on and didn’t want to repeat it. But this is all I wanted to do from an early age.

Despite being shy, there was never any doubt about what I wanted to do. And there isn’t to this day. It’s tunnel vision. I never considered doing anything else. I’m grateful I’m still here doing it, being able to write music, play on stage, and record.

Live and Lively

How do you approach recording with His Lordship?

We’ve been recording in the studio here using Logic on a laptop. We’re a live band, and everything is recorded live (including the vocals), so it’s done really quickly. That means we can focus more on the music itself—how we structure the songs and experiment with sounds.

There are only three of us in here [including bassist Dave Page], and it’s been enlightening. We even keep the mistakes in, because it’s kind of what you want. We don’t tend to go back and fix things.

"I love the camaraderie of being in a band. It’s a good life."

That’s what I love about Neil Young’s recordings—there’s this certain magic that no one can recreate. It’s what we’re aiming for: something that can’t be duplicated. I think that’s where we need to get to again: bands performing together in the recording studio. That’s the soul of it, the essence of it.

What are your hopes for the future of His Lordship?

I’d like His Lordship to reach a wider audience, because it’s a good band and people seem to love it. I love touring here and in the States. I want to keep on doing it. I love the camaraderie of being in a band. It’s a good life.

The post Reverberations: James Walbourne of Pretenders and His Lordship appeared first on BOSS Articles.

Over and Over: Beatbox Champion Martin Benati

Rod Brakes — Wed, 21 Jan 2026 10:10:08 +0000

In the ever-evolving world of beatboxing and live looping, there are still moments of genuine breakthrough. Vision and dexterity reign supreme in a musical democracy where everybody is encouraged to bring something new to the table. Though competitions are the lifeblood of the art form, there exists a level playing field where camaraderie and mutual respect thrive. Meanwhile, untapped talent is always bubbling beneath the surface, ready to spring up under the pressure of performance and break new sonic ground. Such was the case when Martin Benati, aka Tino and Dekartellas, suddenly stepped onto the scene. At the heart of his performances was the BOSS RC-505mkII Loop Station.

3, 2, 1… Beatbox!

In 2024, the Loop Station master appeared seemingly out of the blue at the NUE Beatbox Battles. There, he announced his unforeseen arrival with an explosive triumph. Going from strength to strength the following year, he scored a hat-trick of wins in a frenzied streak of victory at the genre’s most respected competitions.

Armed with the RC-505mkII—the gold standard for live beatboxing and looping—Benati went head-to-head against the best beatboxers on the planet. Using this industry-leading model, he tackled high-pressure battles with flair. They were jaw-dropping spectacles of skill and spontaneity that left audiences stunned.

The French artist’s rapid rise has been defined not just by trophies; creative growth and community are equally important to this vocal virtuoso. Guided by instinct from the beginning, his natural curiosity soon became a calling. Now, beatboxing is a purpose.

BOSS caught up with Benati to trace his remarkable journey, including appearances at the NUE Beatbox Battles, French Beatbox Championship, vokal.total, and Grand Beatbox Battle. Along the way, he reveals the inspiration behind his resounding victories and offers insight into creative technique and mindset.

Read on to discover how inspiration starts one loop at a time, over and over.

Loop of Victory

Congratulations on your incredible run of competition wins. How does it feel to be a beatboxing champ?

Thank you very much. Well, it’s kind of recent, so I still need to fully identify this feeling. But what I can say is that it’s incredible and fulfilling. It feels like the biggest confirmation you can have that the time, work, attention, dreams, and passion you put into the craft all pay off. It’s so amazing.

"The time, work, attention, dreams, and passion you put into the craft all pay off."

You have enjoyed an incredible run of victories, including the NUE Beatbox Battles in 2024, followed by the French Beatbox Championship, vokal.total, and Grand Beatbox Battle in 2025. How do you look back on this period, and what has it meant for your growth as an artist?

The NUE Beatbox Battles 2024 (in Tamworth, England) was my first-ever competition. I remember feeling something new back then—the energy of the battle, the energy of sharing the stage with people who were supposed to be my adversaries.

My first opponent was Slether from Germany. I’ll never forget the feeling of being next to him on stage—watching him perform, hearing him encourage me, both of us dancing to each other’s songs… By the way, he’s such an amazing artist. I’m proud he was the first person I shared a battle with.

Then I got to face my French friend Smonal in the finals. And what a great experience it was! I had met him more than a year earlier and watched him win NUE23. He was the one who indirectly motivated me to give it a try—and to make NUE24 my first loop competition.

And then winning the whole thing… I already knew I had a chance—and I had prepared for it—but actually succeeding and winning sparked something in me. It motivated me to push even further, to become one of the best. To make history.

I was like, “Okay, I don’t know what to expect from this experience, but I love it. And I won it. Let’s win everything now!”

After the NUE Beatbox Battles in September 2024, there was the French Beatbox Championship in April 2025. At the time, I was focused on giving it my all, just like always—giving my maximum on stage for the people in front of me. And we all did great—all four participants. Together, we gave our absolute best performances.

It was only afterwards, the moment my hand was raised and I became the new French champion, that I realized I was actually competing. People were telling me, “Dude! You’re the French champ now!” And I was like, “Oh shit! I guess they’re right!”

That experience was really fun. I kept my eyes on what was coming next.

"Succeeding and winning sparked something in me. It motivated me to push even further, to become one of the best. To make history."

After the French Championship, I already knew what my next step would be: vokal.total, happening in July 2025. I felt even more motivated to continue my winning streak. This third experience felt very different from the others, and more time had passed.

The setting of this competition was a bit special because we weren’t battling; it was more like a collective showcase. There were five of us on stage, all performing next to each other. After each song, one person got eliminated until only one remained.

I remember the pleasure of being on stage together with Nils, Raje, AVH, and FRIIDON, feeling more like a family than opponents. The whole experience of being in Austria was so pleasant, and the people were incredibly nice. Everyone was so warm, joyful, and welcoming.

I also got to connect with many more beatbox artists and loopers who had come to enjoy the event. I got to hang out with all these people from the beatbox family in such a warm space. It felt more like a vacation than a competition. I loved it.

"I remember the pleasure of being on stage together with Nils, Raje, AVH, and FRIIDON, feeling more like a family than opponents."

At that time, I also knew in advance that I had been selected for the Grand Beatbox Battle [in late October/early November 2025], and my battle mindset was a bit different. I was thinking, “I really want to make this my third win—then I’ll have that status of the guy who’s never lost a battle!”

But as I said earlier, when I arrived, everything just felt so different that I didn’t care that much. I mean, I knew it was going to be enjoyable whatever happened.

Step Back, Go Forward

What mindset or preparation helps you stay focused and consistent when you step onto the competition stage?

My preparation process comes in different steps. The biggest one is to compose and create my tracks. That takes the longest amount of time. Once I’ve created my tracks and rehearsed them, it’s essential to focus on taking care of myself.

"I rehearse my tracks as much as I can until they're ready. And once they're ready, I don't over-practice them."

My mindset is to rehearse my tracks as much as I can until they’re ready. And once they’re ready, I don’t over-practice them. Usually, that’s the moment when I can take some distance from my tracks.

For example, at vocal.total, we battled on the third day of the trip. During the first two days, I focused on enjoying everything as much as possible—enjoying it while also taking care of myself.

I was taking some distance from looping and just rehearsing once a day, doing the song just once to ensure my memory and fingers were fresh.

Taking a step back has always been very important to me. Sometimes, the more you work on something, the fewer ideas and inspiration you have, because you become locked into what already exists.

Like on my loops, I can press play and listen infinitely to what I have and get stuck; I can risk losing sight of what I had in mind. Usually, in those moments, taking a step back and going for a walk is beneficial.

Here’s an example of something I like to do that usually unlocks my creativity: I’ll go take a walk and start humming one of my unfinished tracks. Once it gets to about one minute in length, I’ll freestyle the rest while recording myself.

"Taking a step back has always been very important to me. Sometimes, the more you work on something, the fewer ideas and inspiration you have."

Relistening to it later helps me get a fresh perspective. It unlocks me, especially when it comes to structure. At the right moment, taking some distance from my own looping is essential. That’s my mindset for creating and performing.

Are you saying your creativity thrives when your mind is clear?

Strangely, yes. I thought it was strange at first, but now it makes perfect sense. Once you’re able to strip away things, you can just focus on being with yourself and listening to yourself.

Brave New World

Away from competition mode, what other musical interests do you have? Are there any styles or projects you enjoy exploring outside of the beatboxing world?

I’m also a drummer. I was before I had my first Loop Station. I was already composing and producing on Ableton. Outside of the looping world, I’ve worked with friends who are artists in Paris, and I’ve been in bands here and there.

"When I’m looping, I’m really pulling from every part of my musical background, from drumming to producing, and fusing it all together."

When I’m looping, I’m really pulling from every part of my musical background, from drumming to producing, and fusing it all together. I know that’s who I am and what I enjoy. Drumming is an integral part of my identity, and finding ways to incorporate it into looping felt intuitive.

It came easily, and I’m really happy it happened this way, because it was something that scared me at first—like, “How am I going to use my experience from outside of the looping world?” It’s a different world, but it came together fast.

I was already really inspired by some looping artists like Marc Rebillet and FKJ [French Kiwi Juice] before I knew about the beatboxing community. They both kept me indirectly in touch with the art of looping for many years, so maybe that’s also why it came to me relatively easily.

Mix It Up

Who were the artists that first influenced you on your journey, and who inspires you most today, whether from the beatboxing world or beyond?

Well, like I said, Marc Rebillet and FKJ are definite inspirations. My looping style is also partly inspired by the producer Kaytranada—his approach to creating dance-y beats and mixing different vibes. I feel really connected to his style and to his grooves.

"Sometimes I try to incorporate influences here and there from artists I love or random songs I love."

For the rest, it varies. Sometimes I try to incorporate influences here and there from artists I love or random songs I love. Sometimes it’s conscious, sometimes it might not be.

Like, for example, Snarky Puppy, who are one of my all-time favorite bands. In my musical artistry—my musical thinking and way of seeing music—I definitely got inspired by them, without even noticing.

Also, Nate Smith is one of my favorite drummers. I feel a strong connection to his music.

The Core of Looping

Alongside the BOSS RC-505mkII Loop Station, what other gear is central to your setup?

Well, I would say the RC-505mkII has everything you need. It’s good not to add too much stuff. I see many artists combining it with other interesting components and exploring possibilities, like adding MIDI controllers and a computer.

But I found myself to be more inspired and more creative by stripping it down to just the RC-505mkII—the core of looping.

"The possibilities of the RC-505mkII are limited only by your imagination. For me, it's the perfect device for creativity."

The possibilities of the RC-505mkII are limited only by your imagination. For me, it’s the perfect device for creativity. Using computers, I’m often confronted with so many tools and effects that I can lose focus and, with it, the inspiration.

My approach is to stick to the core of looping, because there are already so many possibilities to explore.

Reanimation

Can you describe the moment you decided to pursue beatboxing as a dedicated artistic path?

It was a thing that came into my life really soon—like before I even started to talk. When I was a few years old, I started making sounds with my mouth, but it was limited to just trying to imitate drum sounds in the music my parents were listening to.

That was a thing that was part of my life, but I never developed it further until June 2022, when I saw MB14 in concert.

"When I saw MB14 perform his song “Pyramids,” I was immediately fascinated by beatboxing and looping... It felt like a passion reanimated itself inside of me."

I was at a festival, and randomly saw that he was performing. Like, “Oh, cool, there’s a beatboxer performing here. I’ve never heard a beatbox performance before.”

When I saw MB14 perform his song “Pyramids,” I was immediately fascinated by beatboxing and looping. During his performance of that song at that moment, it felt like a passion reanimated itself inside of me.

That was when I decided to learn more about beatboxing and looping, so I started watching videos and researching.

Dance to the Music

What is the most essential piece of advice you can give to someone who is just starting with beatboxing or looping?

There are many different approaches to learning beatboxing and looping—different technical approaches—and everyone will have their own strengths. But I would say there is one crucial thing for anybody: you have to enjoy what you’re doing.

You absolutely have to. If you’re trying beatboxing or looping and you find yourself bopping to it, then you’re probably enjoying what you’re doing. And that’s the most important thing.

"When I watch an artist, I love that feeling when they totally believe in what they’re doing, because it feels like their true essence. That's such a beautiful thing."

If you learn how to love your art, people will love it as well. If you don’t enjoy yourself on stage—if you don’t enjoy your music when you’re performing it—then how can people enjoy listening to you?

It’s something you can feel when you watch an artist. When I watch an artist, I love that feeling when they totally believe in what they’re doing, because it feels like their true essence. That’s such a beautiful thing.

There are so many ways of finding your own artistic path into looping or beatboxing. So, I think it’s worth trying lots of different stuff, because you’re obviously going to be more attracted to some styles than others. It makes sense to try to discover what you enjoy most in the moment.

Music First

For players who already understand the basics of the RC-505mkII, what advanced techniques or creative approaches would you encourage them to explore?

Over time, after many years of using the RC-505mkII, some people may feel discouraged, thinking they’ve already explored a lot but still haven’t found their style or identity. But never forget that you are doing music first and foremost.

Don’t be too obsessed with exploring new techniques and finding more unique ways to use the device. Using a specific set of effects and parameters isn’t the only way of being different.

"Never forget that you are doing music first and foremost."

Beatboxers and vocal performers are already doing something truly unique: using their voices. Every voice is distinctive—everyone’s vocal cords and mouth are unique.

So, I think that whenever you find a technique you love using and feel is your own, keep on doing it. It develops.

Sometimes you feel like you’re always doing the same thing, but when you take a closer look, it often becomes more polished over time. Since there are many ways to use the RC-505mkII, focus on areas where you feel strong.

Go With the Flow

Can you share some tips or techniques that have helped you shape your sound on the RC-505mkII?

In the loop-building process, as soon as people hear the first sound—the first loop—the music is already underway. It’s good to build everything in a way that feels like it’s really going somewhere—not just setting up all the elements you need in the intro, and then pressing play later. Try to keep every sound people hear purposeful and musical.

I also really enjoy using my voice and beatboxing skills because I know they are strengths I can rely on to keep things lively. I’ll usually try to incorporate singing or beatboxing elements between recordings to make transitions as the track progresses. It’s important to always do this in a musical and entertaining way.

"Try to keep every sound people hear purposeful and musical."

Recently, I’ve been really deep into techniques that allow you to sing chords instantly, rather than recording different notes separately. Harmonizer and chorus effects work really well together. They can create layers of notes, so when you use just your input voice, you already have a full chord to harmonize with.

Playing with the Osc Bot effect is also very satisfying in that regard. Your vocal audio signal already does so much to influence the sound. If you’re making different sounds with your voice, different vowels, it will bring another texture to the effect.

But whatever technique I’m using, I’m always trying to use it in a way that helps the flow of the music and keeps people into it.

Organized Chaos

How do you take a new idea and develop it into a complete performance piece?

My creative process is a bit chaotic sometimes. You have to be inspired when you’re working on music. And, unfortunately, you cannot always command the inspiration to come.

Sometimes, I try to picture a song I have in my repertoire or knowledge of music, and if there’s one I can imagine myself performing as if it were my own, it instantly becomes a huge inspiration for me.

"A song that inspires you can be a great starting point for imagining the possibilities of looping, beatboxing, and using your voice to approach that style."

It could be the approach of the song that inspires me, or just a musical genre I haven’t explored before. In other words, I’ll generally use other songs as a model to create my own tracks.

I think it helps to have a model, rather than feeling like you’re starting from a blank page. You know, like when you’re creating, if you feel you haven’t a single idea to begin with, it’s really hard to know where you’re going.

So, a song that inspires you can be a great starting point for imagining the possibilities of looping, beatboxing, and using your voice to approach that style.

Once I have the first step accomplished, I can leave it there for many weeks or even months. I’ll take a step back from it and leave it in demo state. It’s the same thing as when I’m producing. I have lots of starting ideas that are demos.

I’ll take a step back because I feel like I can’t advance it any longer. Later, I’ll have those starting ideas in mind, but I’ll have enough distance to be able to improvise.

For the competitive aspect, you have many rules to follow, and there are often limitations on time—the duration of the track. You might have only three and a half minutes, for example, so it’s a good way to start thinking about the structure. Therefore, if you’re using a specific BPM, you can easily work out how many measures you need.

Infinite Potential

What do you enjoy most about beatboxing as an art form, and what keeps you inspired to keep pushing your sound forward?

One thing I really admire about beatboxing is that it’s an instrument everyone carries with them. Human beings have unique voices and can explore them if they’re curious enough. The human aspect of it—the social aspect of it—means a lot to me.

Beatboxing is often seen as a weird thing to do. I have wondered why people find it weirder than, say, playing piano or violin. I mean, the voice is an instrument too. Perhaps some find it unusual because most people have a voice, but aren’t accustomed to hearing it used this way.

"Beatboxing takes proof of infinite human potential to another level."

We use our mouths to talk, so if you use them to make sounds, it seems weird; it’s not the way people usually picture a human being using their mouth or vocal cords. But I think it’s more proof of the infinite potential we have as human beings. Beatboxing takes proof of infinite human potential to another level.

Beatboxing could help many people socially because I feel like it’s a language—a way to communicate with others. And it’s a thing that has no barrier. Having something that has no barrier and that we constantly have with us (because it’s our mouth, our body) is really inspiring.

I wish for people to be more curious and aware of beatboxing because it’s one of the most human things you can do.

Step to the Beat

Which features or effects of the RC-505mkII stand out as your favorites?

Recently, I’ve been using the RC-505mkII Flanger effect much more because of the possibilities—the sheer polyvalence. Aside from typical flanger use, you can widen the sound by adjusting the separation parameter. You can also sequence it in many different ways—even similarly to how you would use the Step Slicer effect.

"I love everything that allows you to create interesting rhythms."

I also really like using EQ, of course. People often don’t realize how overpowered and important it is. Oftentimes, when people are searching for something to enhance the texture of a sound, they might go for an effect that’s intended to be artistic, like maybe the Distortion effect. But they could end up getting what they are looking for, or even better, just by enhancing the right frequencies with the EQ.

The LPF, BPF, and HPF filters are also really fun to play with. As are the Pattern Slicer and Step Slicer effects. I love everything that allows you to create interesting rhythms.

Back to Basics

Where do you see beatboxing and loop-based performance heading in the next few years? What role do you think the RC-505mkII will play in shaping that evolution?

Beatboxing and looping are not separate; they are mutually beneficial. It’s hard to get a handle on a global view of where all this is going, but the beatboxing community is growing, for sure.

It attracts more and more people all the time, and that is a great thing.

"The Grand Beatbox Battle was stripped down to using just the Loop Station... They took it back to the core of looping."

I think the future of looping looks good, too. For me, 2025 was the richest year yet in terms of innovation. The Grand Beatbox Battle was stripped down to using just the Loop Station, and participants were not allowed to use MIDI devices, unlike in previous years. They took it back to the core of looping.

I was both very excited about it and a bit scared because I felt it might not be something people would agree with or find inspiring. Fortunately, the exact opposite happened. People got so inspired and so innovative—more innovative than ever before, in fact.

Taking it back to using just the RC-505mkII motivated so many artists to create new stuff. I also saw many legends return to the scene and reconnect with their roots.

Given that, it’s hard to say whether looping will shift to a more old-school vibe or a new-school vibe. I feel like it’s something of a mix between the two.

"Taking it back to using just the RC-505mkII motivated so many artists to create new stuff."

Currently, there are numerous approaches to looping. Whether it’s a very technical or more intimate approach, people are increasingly more open to different styles.

My approach to looping is about enjoying the styles I like, exploring new things, and being as true to myself as possible.

Along the way, I hope I’ve convinced at least some people to try looping while staying true to themselves, too.

Follow Martin Benati on Instagram, Facebook, and YouTube

The post Over and Over: Beatbox Champion Martin Benati appeared first on BOSS Articles.

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