
Although he’s playing a Fender Mustang bass in this photo, Crumbly’s current main instrument is a well-worn 2012 Fender American Special Precision he got off the wall at Chicago Music Exchange.
On his new album ForEver, the songwriter, player, and conceptualist shows he knows no stylistic bounds.
Joshua Crumbly says that a lot of his musical ideas start out reflectively, like a mantra or meditation, often repeated over and over as he develops them. It’s a Zen-like practice that allows him to access a deeper, more intuitive headspace. “All of the songs that made ForEver, they kind of took my mind and heart somewhere as I played them,” he says of his new album. “And there was so much going on in the world during the pandemic, I just feel like the storylines came to fruition.”
The inventive bassist was born and raised in Los Angeles and attended the prestigious Juilliard School in New York City. When we spoke, he was in Dallas, Texas, co-producing and writing an album for Brandon Marcel. Crumbly and Marcel both tour in R&B singer Leon Bridges’ band. Marcel is one of the background vocalists.
“We were engaged in writing for three or four days last week,” says Crumbly. “And then yesterday we had to do a streaming show with Leon Bridges.” Apparently, the guys in Bridges’ band have been making fun of Crumbly because he’s always bouncing between New York and Los Angeles and can’t decide where to put down some roots. “I keep telling them, ‘I’m finally going to officially move back to L.A. permanently.’ So, they’re like, ‘Yeah, right.’ And now I’ve been in Dallas for a couple of weeks and I’m like, ‘Oh man, I’m loving Dallas.’ I’ll figure it out. The grass is always greener, right?”
Joshua Crumbly - The See (Official Music Video)
Crumbly’s debut 2020 release Rise, embraced that concept wholeheartedly. “I’m initially coming from different jazz settings, and I’ve gotten to play with some brilliant people over the past 11 years or so,” he explains. “But [with jazz] I just got to a point where I was like, ‘Man, we have all these brilliant minds, and everybody’s writing songs with the same exact form, and every song has the same experience for the musicians as well as the audience.’ So I was like, ‘I want to see if there’s a way to create songs that have a different journey to them.’”
This songwriting journey continues on ForEver. Stylistically, like Rise, the tunes on ForEver aren’t necessarily jazz. They run the gamut from indie rock (“THREE”) to ambient (“ForEver”) to the Motown-infused thump of his playing on “C.S.C.” Crumbly mostly eschews the traditional jazz arrangements that primarily defined his formative years as a bass player and sideman. Take a song like “Reflection.” Grounded by a hypnotic bass ostinato, it upends jazz norms by introducing the melody at the end of the tune, as opposed to playing the melody first, then a bunch of solos, and then the melody out, as in a conventional post-bop arrangement. If Crumbly’s ambition was to construct songs in such a way as to give everyone involved a new experience, on ForEver he unequivocally succeeds.
“Shout out to Universal Audio for changing my life. And believe it or not, I use GarageBand.”
Born in 1991, Crumbly began to study music at an early age, at the behest of his father, saxophonist Ronnie Crumbly. He started out playing classical piano before picking up the bass at age 9. He learned to play by ear in church, and then dove into heavy metal at the local music store, where he subsequently took lessons, before binging on the jazz records at home that would become his muse. Though Crumbly studied with such venerable jazz stalwarts as Ron Carter and Reggie Hamilton, there’s a pop element to his songwriting that makes his recordings eminently welcoming for the average listener. His fascination with pop songs, as a writer, can be attributed to what he calls “commercial sentiment.”
“What I think is actually cool about popular music, is the power of a song is still prevalent, and it doesn’t always hinge on a million solos and that sort of thing—just a melody and a vibe, with no solos or anything like that.”French playwright Antonin Artaud once made the provocative assertion, in his seminal 1938 theatrical treatise, The Theatre and Its Double, that the actor is “an athlete of the emotions.” Likewise, Crumbly doesn’t knock you out with chops on ForEver. Instead, he tugs at your heart with an empathic vibe that comes across in his songwriting as well as his bass playing. Instead of rapid-fire slapping or lightning-fast finger tapping, Crumbly’s virtuosity on ForEver lies within his ability to convey qualities like fragility and tenderness. His performances often affirm the age-old adage that it’s not always about what you play, but how you play it.
TIDBIT: Crumbly’s latest release was started at Brooklyn’s Figure 8 Recording studio, but he finished the album at home on GarageBand, using hardware and plug-ins from Universal Audio and Arturia.
“I’ll give you some insight to the song ‘Reflection,’” he offers. “I wrote it during the time when the tremendously sad George Floyd incident occurred, and that was coinciding with rising Covid cases. The news would go between speaking about George Floyd and then reporting on all these deaths around the world from Covid. So, I started accompanying the news with the ostinato that the song is based on, and just reflecting on what the feeling of the time was. But then, the more I played it, I started becoming more hopeful. That’s how that song came about—just regarding what I might have been thinking about at the time.”
The catalyst for recording ForEver was an unexpected call from Figure 8 Recording’s Shahzad Ismaily. “I didn’t have his number saved in my phone,” recalls Crumbly, “so I had no idea who it was. And he said, ‘Josh, you need to record a solo bass album.’ And I was like, ‘Uh, okay.’ He generously offered me some time at his beautiful studio, Figure 8, in Brooklyn. I started ‘THREE’ there, and then also ‘We’ll Be (Good).’ But then I just got super busy with putting out Rise, and constantly being on the road, so ForEver had to get shelved. And then, when the pandemic happened, I got a bunch of recording gear and was able to devote time at home to finishing ForEver. So, shout out to Universal Audio for changing my life. And believe it or not, I use GarageBand.”
Joshua Crumbly’s Gear
Crumbly, always in search of unfamiliar sounds, plays flatwounds on his Michael Tobias Design Kingston bass. He also enjoyed “testing the limits of what a P bass could do” while making ForEver.
Photo by Ronnie Crumbly
Basses
- Fender American Special Precision Bass
- Michael Tobias Design Kingston (4-string)
- Moon Guitars J Bass
Amps
- Ampeg SVT (with 4x10, 6x10, or 8x10 SVT cab)
Strings & Picks
- La Bella Deep Talkin’ Bass flatwounds (.049–.105)
- Labella Custom Nickel (.050–.105)
- Fender Classic Celluloid medium picks
Effects
- Aguilar Octamizer
- Electro-Harmonix Big Muff Pi
- MXR Phase 90 M101
- Universal Audio Golden Reverberator
- Universal Audio Starlight Echo Station Delay
Recording Gear
- Arturia interfaces and plug-ins
- GarageBand for Mac
- Universal Audio hardware and plug-ins
Most of the effects heard on ForEver are delay modulators. “I messed with a lot of the Universal Audio plug-ins, and I’m really happy that they came out with physical renditions of those plug-ins in the form of actual pedals,” admits Crumbly. “I’ve been able to recreate some of the sounds live. I did use some pedals at Shahzad’s studio that I don’t even remember the names of, but I would say 80 percent of it is different delay modulators from UA, and the song ‘To Morrow’ is a combination of modulators and fuzz pedals. That was the one song on the record that I had to work on for a few days. I was searching for this particular sound in my head, for that melody line.”
There’s a cinematic quality to the music on ForEver that Crumbly’s tasteful use of effects enhances, each song characterized by a distinct mood or atmosphere. “When I had an idea, and then found the effects that were speaking to me for that song, I think it definitely took me somewhere, gave me this experience, and brought meaning to the song. It amplified the whole experience.”
As a jazz-based musician, Joshua Crumbly takes a road less traveled, through pop, rock, and ambient music, to get to his signature approach.
Photo by Giraffe Studios
As for instruments, Crumbly says there’s “a lot of 4-string P bass” on ForEver. “I bought a 2012 Fender American Special Precision Bass that I found, all beat up, at Chicago Music Exchange,” he remembers. “When I brought it to soundcheck, everyone was like, ‘Oh my God, it sounds amazing.’ So, I put away all the other 5-string basses that I had. It was fun, testing the limits of what a P bass could do on this record.” On the ambient title track, however, Crumbly went back to what he considers his first real instrument: an MTD Kingston bass. “It’s actually a passive instrument,” he clarifies. “I switched things up a little bit. I hadn’t ever seen anyone using flatwounds on an MTD. So that’s what’s on there now.”
“‘I want to see if there’s a way to create songs that have a different journey to them.”
Songs like “Reflection” and “We’ll Be (Good)” are crafted around chords and double-stops for the central bass line, and Crumbly says his technique for that kind of approach is “the thumb, and then my index and middle finger.” However, he is not a fingerstyle purist, as demonstrated in the video for “The See,” in which he plays an astronaut. “I’m playing with the pick, and I have to shout out a mentor of mine named Reggie Hamilton. I would not be playing upright bass if it weren’t for him, nor would I be playing with the pick. I owe a lot to him for broadening my horizons. People are sleeping on how cool playing with a pick is on the bass, but I’m okay with that. I’ll be like, ‘All right, I’ll be one of the few, I guess.’”
Space is the place: Joshua Crumbly donned an astronaut costume for the video for “The See," from his new album.
Photo by Ronnie Crumbly
As for his time at Juilliard, Crumbly says “keeping a vision” was one of the most important things he learned at the school. “I think keeping a vision helps you get through a lot of things that may be tough at the time,” he explains. “College was a bittersweet experience, because I was juggling being on the road with [trumpeter] Terence Blanchard and being in school full time. And a lot of the administration wasn’t cool with that, but I had a dream job that I couldn’t say no to, and it was a dream for my parents that I went to college and finished. They weren’t so sure that I was able to do both, but when you have a vision, though, you’re looking ahead. It also makes the present moment sweeter at the same time. I also learned how to be more disciplined, studying with Ron Carter, getting to see how on point he is, and what a master he is, and the level that he expects of his students. He just believes in you infinitely. I think we should all believe in ourselves in that way, too.”
Ultimately, Crumbly says that making ForEver was a “crazy adventure” that allowed him to explore the bass in a new way. “I feel like I’m on a path that I can explore infinitely by way of the bass and by way of emotion as well,” he explains. “I just hope that my music is very inviting to whatever people may like. You don’t have to be a jazz head or a rock head or whatever. I just want it to be a super-inviting, welcoming sound.”
Listen to Joshua Crumbly and his ensemble—saxist Josh Johnson, pianist Ruslan Sirota, and drummer Jason Burger—shape jazz in their own free-ranging, ambient image while performing “Noah,” from 2020’s Rise, at the now-shuttered Los Angeles jazz mecca the Blue Whale.
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The Tone King Imperial Preamp Pedal delivers legendary vintage American tube tone with modern control. Featuring two channels mirroring '50s tweed and '60s blackface tones, built-in zero watt poweramp, stereo convolution spring reverb and tremolo, and low-latency impulse response technology. MIDI programmable with up to 128 presets for instant recall.
The Imperial All-Tube Preamp pedal delivers Tone King’s legendary MKII amplifier's '50s tweed, '60s blackface, and vintage British rock tones in a compact, pedalboard-friendly format. It features the exact preamp section and phase inverter circuitry of the Imperial MKII amp, as well as Reverb, Tremolo and Attenuation, resulting in a pedal that sings with harmonic richness and blooming touch response. Powered by three 12AX7 preamp tubes running at high voltage, this preamp delivers the amp's sound, responsiveness, and exquisite interaction with your pickups and effects. The onboard, low-latency impulse response (IR) loader (per channel), Headphones, easy integration and expansion with your existing gear, and MIDI capabilities, takes these iconic tones into the new era of guitar playing.
Legendary Vintage Tube Amp Tones
The Imperial Preamp Pedal features two distinct channels, each mirroring the '50s and '60s flavors of the Imperial MKII.
- The Rhythm Channel evokes the essence of a classic '60s blackface combo's pristine cleans with a touch-sensitive response that transitions smoothly into overdrive.
- The Lead Channel is inspired by the iconic tweed amps of the '50s’ with the ability to glide between warm articulate cleans and aggressive midrange bark. This channel's Mid-Bite control adds a further layer of tone shaping, focusing the low-end, while adding high-end presence and gain for a British-flavored rock crunch.
Built-In Zero Watt Poweramp - Phase Inverter
The Imperial Pre-Amp Pedal includes the exact phase inverter circuitry of the actual Imperial MKII amp, utilizing one of its three 12AX7 tubes. This built-in “0 watt poweramp” authentically provides the harmonic and dynamic content of the Tone King poweramp section. This revolutionary design is the cornerstone that delivers the ENTIRE Imperial MKII experience right on your pedal board.
Stereo Convolution Spring Reverb & Stereo Tremolo
Like its namesake amp, the Imperial Preamp boasts foot-switchable spring reverb and tremolo (digital on the preamp pedal) which are assignable to each channel. A signature of the Tone King Imperial MKII tube amplifier, these era-correct effects add dimension and movement while transporting you to a golden age of electric guitar tone.
Impulse Response (IR) Cabinet & Power Amp Sim
The Imperial Preamp pedal's low latency IR and power amp simulation technology delivers its tube tones directly to the front of house or your interface. That’s especially evident in the 15 included OwnHammer-made IRs. Each channel has three of our favorites, preloaded, and selectable via dual 3-way toggle switches.
OH 112 Imperial TK1660: Tone King 1660 speaker in a Tone King Imperial 1x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 212 Class A Blue: Celestion Blues from 1963 in a Vox AC30 2x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 412 Basketweave M25: Celestion G12M-25 speakers from 1971 in a basket-weave 1960B 4x12 cabinet. Captured using a Shure SM57, Telefunken MD421, and Royer 121.
There are 12 additional IRs to choose from in the included Tone King Editor software (powered by Synergy) which are easy to swap in and out of the pedal's six available slots. You can also disengage the onboard IR loader entirely to use the preamp with an external IR loader or powered cabinet.
Tone King Editor Software
You can assign the Reverb, Tremolo and IR to each of the channels right on the pedal itself, making it a powerful and easy-to-use sonic tool. Tone King offers an Editor software, powered by Synergy, which takes the Pre-Amp's capabilities to another level, allowing you to fine-tune all of the preamp's digitally controlled parameters and save them in up to 128 MIDI presets
- Control the independent power amp simulation HF Comp and Low-Pass filters
- Access all 15 included OwnHammer IRs• Easily load your own IRs and manage your IR library
- Assign any of your IRs to the pedal's six available slots (three per channel)• Control your reverb, reverb tails, tremolo and effects loop bypass settings• Save these settings to up to 128 presets for instant recall via MIDI
The Tone King Editor software also unlocks all of the Imperial Preamp's modern control. Fully MIDI-capable, you can save your presets and access them instantly with a MIDI pedalboard controller or the laptop running your entire show. It is the perfect marriage of modern control and classic tube tone.
Expanding Your Rig's Capabilities
The Imperial Preamp Pedal is the perfect DI recording and performing solution. But that's just scratching the surface.
Add Channels to Your Current Guitar Amplifier
A standout feature of the Imperial preamp pedal is its ability to easily integrate with your existing amplifiers (must have a series effects loop). A straightforward 3-cable connection is all it takes, and you can instantly alternate between the Imperial Preamp as your amp's front end or your amp's preamp channels.
Networking with Other Effects-Loop-Equipped Preamp Pedals
Create the ultimate pedalboard-based rig with other preamp pedals (with effects loops). Using the same 3-cable method, you get both Imperial channels, your other preamp’s tones, the Imperial's stereo effects loop, and its onboard IRs. Additionally, you can assign the Imperial's spring reverb and tremolo effects to your other preamp channels.
Classic American Tube Tone for Every Stage & Studio
Whether you're a gigging musician, a recording artist, or simply a tone enthusiast, the Tone King Imperial Preamp pedal offers endless possibilities. Use it as a standalone preamp for recording or for silent stages and practice, add its two channels to your existing amplifier, pair it with a power amp and cabinet to move some air, or combine it with other preamp pedals for an even wider range of pedalboard-based tones.
Tone King Imperial Preamp Pedal is the ultimate marriage of legendary, vintage American tube tone and modern control.
For more information, please visit toneking.com
Features
- Two Channel High-Voltage preamp – DI
- 3 x 12AX7 preamp tubes running at proper high voltages
- Built-In zero watt poweramp - phase inverter circuit
- Two channels with independent Volume and Attenuation controls
- Rhythm Channel (top)
- '60s-era American blackface combo tone
- Bass and Treble controls
- Lead Channel (Bottom)
- '50s-era American tweed combo and British rock tones
- Tone and Mid-Bite controls
- Spring Reverb (convolution)
- Reverb and Dwell controls
- Independently assignable to each channel
- Tremolo (digital)
- Depth and Speed controls
- Independently assignable to each channel
- Stereo, Series FX loop (bypassable)
- MIDI programmable
- Save up to 128 presets for instant recall via an external MIDI switcher
- Presets save:
- Channel selection
- Master bypass settingo IR selection
- IR bypass setting
- Effects loop bypass setting
- Reverb bypass and tails settings
- Tremolo bypass settings
- Onboard Impulse Response (IR) Technology
- Low-latency Impulse Response cabinet simulation (bypassable)
- 3-position CAB/IR select switch per channel (programmable via software)
- Included OwnHammer IRs
- Poweramp simulation with software editable HF Comp and Low-Pass filters (per channel)
- Connections:
- Dual stereo balanced XLR outputs with Ground Lift Switch
- ¼" Headphone output
- Effects Send and Stereo Return Jacks
- MIDI 5-pin standard connector
- USB-C connector for use with the included Tone King Editor software editor
- To Amp In, From Amp Send and From Amp Return Jacks – for adding Imperial channels to your amp or preamp
- Included
- 6’ USB Cable
- Universal 12V Power Supply
- Dimensions: 7.2” (W) x 5.7” (D) x 2.75” (H)
- Weight: 1.9 lbs.
The legendary Louisville rockers brought tons of vintage tone tools on the road this year.
My Morning Jacket’s Is, their 10th album, released on March 21, and as we reported in our feature on the band in our May print issue, it showcased a band exercising their classic strengths as well as newfound vision and curiosity. Helmed by superstar producer Brendan O’Brien, Is finds MMJ at their anthemic, psychedelic best.
We caught up with Carl Broemel for a Rig Rundown back in 2015, but on this year’s tour, PG’s John Bohlinger checked in with all three axemen—Jim James, Broemel, and bassist Tom Blankenship—to hear about their road rigs. In Broemel’s estimation, they’re lazy—they just like to bring everything.
Brought to you by D’Addario.
Three's a Crowd
This gorgeous Gibson Jimi Hendrix 1967 SG Custom, aged by Murphy Labs, initially had three humbuckers, but James kept hitting his pick on the middle pickup, so it got the yank—as did the hefty bridge and Maestro Vibrola system, which were replaced with a simple stopbar tailpiece.
Mirror Image
James picked up this 1998 Gibson Flying V right around when My Morning Jacket got started. He traced and ordered the flashy mirror pickguard himself. It’s got Gibson pickups, though James isn’t sure of the models.
Jim James' Jimmy
James plucked this one-of-a-kind from Scott Baxendale’s collection of restored vintage guitars. He guesses it’s either an old Kay or Harmony guitar, but the decorations, including the custom plastic headstock plaque, make exact identification difficult. But it was clear this one was meant for James, since it has his name on it.
Elsewhere backstage is James’ Epiphone Jim James ES-335, a custom shop Fender Telecaster and Strat, a 1967 Gretsch Chet Atkins Country Gentleman, and a Gibson Barney Kessel.
Make Love, Not War
James loves repurposing old military equipment for creative, peaceful purposes, which is how this old radar system came to be a part of his live amplification kit. Along with the old tech, James runs two 3 Monkeys Orangutan heads through a 3 Monkeys cab.
Jim James' Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps you see here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Arts and Crafts Night
One night while a bit tipsy, Broemel took out his paint pens and set to work on this Gibson Les Paul Standard Faded, resulting in this masterpiece. He also removed the pickup selector switch; even though the neck pickup remains, it never gets used.
Relic By Broemel
This 1988 Les Paul Standard predates the band, and Broemel has given it its aged finish over the years—on one occasion, it fell out of a truck. It’s been treated to a Seymour Duncan pickup upgrade and occasional refrets when required.
Carl's Creston
This Creston Lea offset has two Novak lipstick pickups in the neck, with a switch to engage just one or both, plus a low-end roll-off control. It’s finished in the same blue-black color as Broemel’s house and sports a basil leaf on the headstock in tribute to Broemel’s son, Basil.
Also in the wardrobe are a shiny new Duesenberg tuned to open G, and a custom shop Fender Telecaster with a fattened neck and Bigsby to swing it closer to Broemel’s beloved LPs.
Milk Route
Broemel routes his GFI Ultra pedal steel, which is tuned to E9, through a board which includes a Milkman The Amp, which is projected through the speaker of a Fender Princeton Reissue combo. Operated with another GigRig QuarterMaster, the board also includes an Eventide H9, Moog MF Delay, Fender The Pelt, MXR Phase 90, EHX Nano POG, Xotic Effects EP Booster, Source Audio C4, and a Peterson StroboStomp HD.
Side-Carr
This time out, Broemel is running two Carr Slant 6V heads in stereo.
Carl Broemel's Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
More From the Creston Crew
Blankenship, too, has brought along a few guitars from Lea, including these Precision-bass and Jazz-bass models. The dark-sparkle P-style rocks with GHS flatwound strings, while the natural-finish J-style has roundwounds.
Emperor's New Groove
Blankenship just got these brand-new Emperor cabinets, through which he cranks his Mesa Boogie WD-800 Subway heads.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Shop My Morning Jacket's Rig
EarthQuaker Devices host Echo Reverb Pedal
ISP Technologies DECI-MATE Micro Noise Reduction Pedal
Electro-Harmonix Mel9 Tape Replay Machine Pedal
EarthQuaker Devices Spatial Delivery Envelope Filter Pedal
Universal Audio UAFX Starlight Echo Station Delay Pedal
Universal Audio UAFX Astra Modulation Machine Pedal
Fender Custom Shop Stratocaster
Fender introduces the Stories Collection Mike Campbell Red Dog Telecaster, paying tribute to the iconic guitarist's heavily modified instrument. Featuring two signature humbuckers, a custom single coil bridge pickup, Bigsby tremolo, and a unique "Destruct" circuit, this Telecaster allows players to channel Campbell's legendary tone and style.
Today, Fender Musical Instruments Corporation (FMIC) and the Fender Custom Shop (FCS) introduce the newest member of the ‘Stories Collection’ family—a series of instruments that pays tribute to iconic Fender guitars and basses that have been uniquely modified by the legendary artists who played them. Mike Campbell, the tasteful and versatile player who is responsible for some of Tom Petty and the Heartbreakers’ most memorable riffs, has teamed up with Fender and the Custom Shop to develop the Stories Collection Mike Campbell signature guitars - the Red Dog Telecaster and FCS Limited Edition Masterbuilt 1972 “Red Dog“ Telecaster—two reproductions of Campbell’s stunning and heavily modified Telecaster that gives players the opportunity to create their own sonic identity through the framework of one of rock and pop’s greatest guitar players.
“Telecasters are the heart and soul of rock and roll music and this one is a beautiful instrument,” said Mike Campbell. “I could tell The Red Dog was special as soon as I picked it up. It felt like it was in the right place at just the right time. The humbuckers give it so much power and such a wide variety of tones while the destruct button really sets it apart from just about any other tele.”
The tale of the Red Dog Telecaster began when one of Campbell’s former students living in Florida offered to sell him a guitar. However, after seeing the guitar in question, it became clear that this was no standard instrument pulled from the rack. Campbell was presented with a bright red Tele equipped with humbuckers in the neck and middle position, a Bigsby tremolo and, perhaps the guitar’s most idiosyncratic flourish, an onboard electronic boost dubbed the “destruct” circuit. As any other lifelong guitar devotee would, Campbell bought this glorious Frankenstein of an instrument without a moment’s hesitation. The Red Dog was subsequently used most memorably on the Heartbreaker’s track “Refugee” and is prominently featured in the song’s music video. All throughout his storied career playing with Tom Petty, as a session guitarist, alongside Fleetwood Mac and touring the world with his solo act The Dirty Knobs, this singular Telecaster has been inextricably linked to Campbell’s career and legacy as one of rock and roll’s finest players.
The Stories Collection Mike Campbell Red Dog Telecaster offers the same level of craftsmanship and sonic capability at a more accessible price point. The two signature Mike Campbell humbuckers in the neck and middle position bring a low-end growl and high octane output that sets it apart from other Telecaster guitars. However, the custom single coil bridge pickup delivers the caliber of twang that people worldwide associate exclusively with Tele guitars. A Bigsby B5F tremolo allows players to extenuate riffs and solos with an additional level of flourish and attitude. Perhaps the Red Dog’s most exciting feature lies beneath the surface—the “Destruct” circuit. With the push of a sleek silver button on the control plate, an added 34 dB of gain can be activated for complete tonal dominance.
“It’s our mission to honor the legacy and sonic character that Mike Campbell has infused into every note played on his beloved ‘Red Dog’ Telecaster®,” said Justin Norvell, Executive Vice President of Fender Products. “Every scratch, modification, and battle scar tells a story, and with these meticulously crafted recreations, we’re giving players everywhere the chance to channel that same timeless energy and write their own musical history.”
While the Red Dog Telecaster came into his hands already modified, its custom features were universal and powerful enough to elevate Campbell’s personal playing style and the same can be said for Fender’s painstakingly detailed and powerfully crafted recreations. The FCS Limited Edition Masterbuilt 1972 “Red Dog” Telecaster is a jaw dropping representation of the instrument as it exists today—dings, paint chips, dents and all by FCS’s Senior Masterbuilder Dennis Galuska. Outfitted with vintage replica Arcane, Inc. pickups and signature “Destruct” boost circuit wired by Analogman, this custom Telecaster can achieve the same biting jangle heard on “Refugee.” Features include a flat sawn maple neck with custom Oval “C” back shape, 7.25” radius fingerboard, 21 vintage upgrade frets, 5-way pickup sector and vintage style Jazzmaster bridge with threaded saddles.
“The ‘Red Dog’ Telecaster® is a testament to how a heavily modified instrument can be both deeply personal and universally cherished,” said Chase Paul, Director of Product Development - Fender Custom Shop. “There’s an undeniable magic in an instrument that evolves alongside its player, and every modification on this guitar serves a purpose, working together to create something greater than the sum of its parts. Dennis Galuszka and the Custom Shop dedicated countless hours to faithfully recreating every detail, bringing players and fans as close to Mike’s legendary Tele® as possible.”
Stories Collection Mike Campbell Red Dog Telecaster® ($3,499.99) Revered for his tasty rhythms and fiery leads, Mike Campbell is responsible for many of the iconic hooks from the Tom Petty and the Heartbreakers catalog. For decades now his faithful Fender guitars have been at the heart of his trusted formula for award-winning tone.Campbell bought what became known as the “Red Dog” from a former guitar student in Florida, complete with Bigsby tremolo and a powerful onboard boost, known as the “Destruct” circuit. Mike’s iconic 1972 Red Dog Telecaster is featured on the Damn the Torpedoes track “Refugee” and can be seen in the accompanying music video. The Stories Collection Mike Campbell “Red Dog” Telecaster features an Heirloom™ nitrocellulose lacquer “Red Dog Red” finish, 1-piece maple neck with 7.25” radius fingerboard and 21 vintage-style frets as well as an onboard “Destruct” boost circuit. The custom Mike Campbell Red Dog pickup set features two vintage-style humbuckers and a single-coil Telecaster bridge pickup, Bigsby B5F tremolo and a custom Red Dog neck plate. Custom accessories include a vintage-style case, strap, picks and certificate of authenticity.
Unique, versatile and utterly original, The Mike Campbell “Red Dog” Telecaster pays tribute to a veteran Heartbreaker with a serious knack for writing extraordinary songs and delivering catchy, captivating and magnificent guitar parts.
Fender Custom Shop Limited Edition Masterbuilt Mike Campbell 1972 “Red Dog” Telecaster® ($20,000.00) With raw, powerful riffs and explosive leads, Mike Campbell firmly established himself as one of the greatest guitarists and songwriters in music history—and throughout his accomplished career, Fender guitars played in integral role in his creative expression. One of his most noteworthy instruments was his modified three-pickup Telecaster that would come to be known as the “Red Dog.” Fender Custom Shop Senior Masterbuilder Dennis Galuszka partnered with Mike to recreate this incredible guitar. From beautifully faded red metallic finish to the worn and Bigsby B5 vibrato tailpiece, every nick, ding and scratch was meticulously replicated to bring this tribute guitar to life. Loaded with vintage replica Arcane, Inc. pickups and a “Destruct” boost circuit wired by Analogman, this Tele plays, sounds and feels just like the guitar heard on “Refugee.” Its two-piece select alder body and custom-shaped, one-piece maple neck feature a well-loved Relic® lacquer finish, while the hardware is aged to look like it’s been played for the last five decades. Wonderfully unique and with a storied past, the Limited Edition Masterbuilt Mike Campbell 1972 “Red Dog” Telecaster is a fitting homage to such an incredibly captivating and inspiring musician. Other premium features include flat sawn maple neck with custom Oval “C” back-shape, 7.25” (184.1 mm) radius, 21 vintage upgrade (45085) frets, 5-way switch, 3-ply parchment pickguard, vintage-style Jazzmaster® bridge with threaded steel saddles, vintage-style “F”-stamped tuning machines, bone nut, two American Vintage ‘65+ string trees with nylon spacers, deluxe hardshell case, strap and certificate of authenticity.
For more information, please visit fender.com.
Fender Stories Collection Mike Campbell Red Dog Telecaster Electric Guitar - Red Dog Red
Stories Collection Mike Campbell Red Dog Tele, MapExperience the pinnacle of Taylor playing comfort and tone with the Builder’s Edition 514ce, 514ce Kona Burst, and 524ce. These models feature solid Shamel ash back and sides, uniquely voiced V-Class bracing, Gotoh 510 tuners, ES2 electronics, and a Deluxe Hardshell Case.
The Builder’s Edition 514ce, 514ce Kona Burst and 524ce join our acclaimed Builder’s Edition Collection, giving you more ways to experience the pinnacle of Taylor playing comfort and tone.
Each model boasts a gloss-finish cutaway Grand Auditorium body with solid Shamel ash back and sides, an artfully applied Kona burst on the back, sides and neck, uniquely voiced V-Class interior bracing, Gotoh 510 antique chrome tuners, ES2 electronics, and a Deluxe Hardshell Case.
Refined, comfort-enhancing features include a beveled armrest and cutaway, chamfered body edges and a smoothly contoured Curve Wing bridge. Italian acrylic “Compass” inlays and a vibrant firestripe pickguard add tasteful aesthetic accents.
Responsibly sourced from cities in Southern California, Shamel ash is given a second life as a tonewood in our premium-class guitars. It yields a focused, fundamental-strong voice with midrange power and balance comparable to Honduran mahogany.
Models:
- Builder's Edition 514ce - $3,399 - Featuring a natural Sitka spruce top paired with solid Shamel ash back and sides, the Builder’s Edition 514ce delivers warmth, depth and musical versatility for any style or genre.
- Builder's Edition 514ce Kona Burst - $3,499 - Showcasing a vintage aesthetic flair, this solid Shamel ash/Sitka spruce model features a Tobacco Kona burst top.
- Builder's Edition 524ce - $3,499 - This model pairs solid Shamel ash back and sides with a mahogany top—also featuring a Tobacco Kona burst—that adds a bit of natural compression to help create incredible tonal balance across the frequency spectrum.
For more information, please visit taylorguitars.com.