Justus West, a rapidly rising star in the world of session guitarists, has earned a reputation for his work with some of the biggest names in music. His impressive portfolio includes collaborations with artists like Thundercat, John Legend, Ariana Grande, Mac Miller, Alicia Keys, Snoop Dogg, and Beyoncé, among others. In addition, he’s a favorite contemporary guitarist of none other than John Mayer.
Now, West is sharing insights into the behind-the-scenes realities of being a session guitarist in 2025, particularly the growing importance of plugins, amps, and digital modelers in today’s recording environment.
In an interview with Guitar World, West highlights the importance of having access to quality guitar plugins, including those from companies like Neural DSP and Safari Pedals. “There are great guitar plugins out there,” he says. “Producers do not know about these plugins!” According to him, the onus is still on the guitarist to have a broad range of tones ready to go for each session. “Some producers will ask for a particular sound with a specific amp, but many aren’t that detailed in their requests,” he explains.
Despite this, West views the situation positively, explaining that it’s not a problem since, “the producer’s job is to look over the entire song and the whole album.” However, to stay competitive, he emphasizes that session guitarists need to have access to a wide range of tools. “It’s crucial to have an array of plugins, amps, and nowadays even mics. A lot of big-name studios here in LA don’t even have an amp or mic locker anymore.”
When it comes to whether West has fully embraced digital modelers, he admits that he only resorts to them when absolutely necessary. “I only use that stuff when I’m absolutely forced to!” he says. “I’m still using an amp. I’m into being loud and having fun.” For guitarists on tour, however, digital modelers like Fractal Audio and Kemper offer a practical solution, allowing them to get a wide array of tones without lugging around multiple amps. West agrees but insists, “I still use an amp any time I possibly can.”
Reflecting on his work for Beyoncé’s Cowboy Carter, West shares that he used the Neural DSP Plini plugin for the track 16 Carriages. He adds that, in his case, plugins have been a lifesaver due to the high cost of living in LA. “Could I even afford a real-life amp that sounds like that modeler? I don’t think so,” he admits. “Living in LA makes this tough because you’re paying all this money for rent, and your place is not that big. I don’t have space to have a bunch of amps!”
In addition to discussing the evolving technology in the music industry, West recently called out labels for prioritizing awards over ensuring session musicians are paid fairly and on time, shedding light on the ongoing challenges faced by musicians behind the scenes.
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