Artists profiles players through their hands and their rigs: picking technique, tunings, phrasing, amplifier settings, and the choices behind a recognizable tone. Interviews stay on craft, including practice routines and what a player would change. Written for guitarists studying other guitarists, and listeners chasing a specific sound.
Guitarists and string players profiled through what they actually do: right-hand attack, tunings, gear choices, and the sound they became known for.
Long before the phrase 'guitar hero' existed, Sister Rosetta Tharpe was filling stadiums and bending the instrument to her will — a documented look at the player the Rock and Roll Hall of Fame credits with shaping the sound that followed her.
A bottleneck player who carried the blues into the pop charts and is still winning awards for it — the documented arc of one of slide guitar's great interpreters.
The player who treated the steel-string acoustic as a full percussion-and-melody instrument — two-handed tapping, slap harmonics, and tunings that rewired what a solo guitar performance could be.
A Glasgow-born guitarist who merged blues, jazz, and Celtic forms on a borrowed acoustic — and became the musician other guitarists name when asked about influence.
A homemade guitar built from a fireplace by a father and son in 1960s London carried one of the biggest rock bands in history — and the design decisions still hold lessons.
Annie Clark built an art-rock catalog on disciplined, effects-aware playing — then sat down with a manufacturer and specified a signature guitar built around her own ergonomics.
A self-taught Tennessean with a thumb pick and a producer's ear shaped both the sound of country guitar and the records that carried it.
An Argentine guitarist whose hundred-year-old lesson books still sit on music stands — the rare method that outlived its author by shaping how beginners meet the instrument.
Andrés Segovia spent seven decades turning the classical guitar from a salon instrument into one the world's major stages took seriously — and almost every classical player today works in his shadow.
A self-taught left-hander who never retrained her hands gave guitar one of its most original techniques and a folk standard written before she was a teenager.