The bass phenomenon goes electric and eclectic to chase her muse through a childhood-inspired wonderland of music, poetry, dance, and theater.
Esperanza Spalding is a rare artist whose cosmic blend of intuitive creativity and hyper self-awareness has enabled her to make some audacious choices throughout her life. After 10 years of playing violin in her childhood, she got to high school and intuitively switched to upright bass. Once enrolled in college, she left the comforts of her hometown Portland State University in favor of the arguably more competitive Berklee College of Music. Upon graduating, she immediately put her education to work by becoming the youngest teacher at her alma mater.
With four albums under her belt since her 2006 debut, Junjo, Spalding has become known for singing elegant vocal melodies over often-unpredictable bass lines—and performing both with uncommon virtuosity. Her open-minded approach to selecting and arranging material has earned her accolades from jazz icons Wayne Shorter and Pat Metheny, among many others. Spalding’s sophomore release, Esperanza, came out in 2008 and quickly put the jazz world on notice. Since then, her career highlights include performing at the Nobel Peace Prize ceremony with President Barack Obama in 2009, playing with Herbie Hancock at the Kennedy Center Honors in 2014, and winning four Grammys, including Best New Artist in 2011. She is the first jazz musician ever to win that category.
But now, rather than simply relying on the contemporary jazz template responsible for such milestones, the 31-year-old Spalding is making yet another bold choice. On her latest album, Emily’s D+Evolution (pronounced “D plus evolution”), Spalding shakes things up by mining her early childhood interests in theater, poetry, and movement and channeling them into a much broader concept of performance. It’s been four years since her last release, Radio Music Society, and the muse she’s cultivated, or shepherded, in that time is both aurally adventurous and aesthetically compelling. Check out her videos for “One” and “Good Lava” and you’ll get a clear sense of where her head is at these days.
“There’s this theme of inviting your brain out to play with your body and your heart,” Spalding explains. “It’s also a willingness to throw away, tear apart, strip down, and evolve all that you know, all that you’ve planned, all that you’ve progressed towards—a willingness to devolve so that you can evolve. It’s the willingness to break down all that you’ve built up for the sake of moving forward.”
Her persona transformation into the spirited, visually eccentric, electric-bass-wielding Emily is the kind of metamorphosis one might expect from a pop star like Prince, rather than jazz’s reigning low-end phenom, but, similarly, it’s a definitive statement from an artist/musician who refuses to be boxed in. And while she hasn’t completely eschewed her jazz heritage in favor of a multifarious vibe, it’s clear that her frame of reference is expanding. Elements of Joni Mitchell’s Jaco-era Hejira pervade songs like “Earth to Heaven” and “Noble Nobles,” while “Funk the Fear” invokes the politically charged mayhem of early ’70s Funkadelic.
The final track, a cover of “I Want It Now” from 1971’s Willy Wonka & the Chocolate Factory soundtrack, perfectly epitomizes the youthful energy at play on Emily’s D+Evolution. It’s extremely evocative, with Emily at her most overt as catalyst and muse. The spoiled brat character Veruca Salt, who originally sang the song, may contradict Spalding’s openhearted personality, but the sentiment clearly illustrates there’s another force at work on this record. And though the entire album brings this new spirit to life, it’s Spalding’s seemingly innate ability to tune in and listen that allows her to chart a new course right before our very eyes and ears.
Premier Guitar spoke to Spalding during her tour stop in Portland, Oregon, and she provided the lowdown on Emily, her new album, and the trajectory that resulted in such a singular-sounding effort.
Listening to Emily’s D+Evolution for the first time, my immediate reaction was just, “Wow!” How did you learn to sing and play such complex lines simultaneously?
I guess the same way anybody does anything. You just work on it. I play and sing a lot, so by this point it’s not something I have to work out. Once I know the bass line and I know the kind of thing I want to sing, I can do it. And with this album, we played a lot of the material live first, so by the time we went into the studio, we just did the show—in front of people and in front of microphones.
Do you write on bass or on other instruments?
I write songs on the piano, but a couple of the songs on this record came from bass—at least from bass lines on the piano. I wrote “Rest in Pleasure” on bass. And “Judas” started as a bass line and the song grew around it.
I understand that childhood interests, like theater, poetry and dance, influenced this new record. How so?
I don’t know yet. I’m trying to figure that shit out. But I know it’s important. I actually didn’t remember that I was so interested in those things when I was a kid, until I started this project and started remembering how I used to present my ideas to family and friends. They were always staged and they were very physical. And I realized that, for whatever reason, I never pursued that mode of expression in my life, and yet, I think it’s important to me. Learning about it is important to me, so part of what Emily does is she opens the channel for that to happen in my life.
So, besides being your middle name, is Emily your alter ego?
I don’t see her as an alter ego. It’s my own archetype of something. She’s the archetype of an energy—a way of engaging with the world. So, at times, when I was gaining clarity about the direction I wanted the show to take, I’d ask her, “What do you want to do? Why did you come here? What do you need to say that I haven’t said—that I can’t say?” And one of the things she said was, “I’m here to move.” That was really clear when I was communing with the embodiment of energy she represents.
There’s definitely real vibrant imagery to the songs.
I understood that intuitively from when I first got the inspiration to do this project, because I was seeing the music happen in vignettes. They were almost like music videos, but it was performance. So I thought, “Okay, this is deeper than what I’ve done before, but I don’t know how to do this, so I guess it’s going to be a difficult project.” I’ve been reaching out in different directions to try to find the kind of collaborators and codirectors that can help get us there. But because I haven’t exactly seen it yet, I’m not sure where to point as an example of what I want this thing to do. So, we speak a lot in functional terms, which are not very specific in terms of aesthetic or actual movement or actual direction. It’s a slow, slogging process [laughs].
The physicality of the music is palpable. How did you capture that on the album?
I thought the best way to capture that would be if we actually performed it for the recording, so I invited a bunch of people—friends, coworkers, etc.—into the studio and we did the show for them. That’s the record. And I think you can hear that on those songs. It’s not like we were in this isolated space doing our best to get the song on tape. We’re performing the songs in this world we created for a live audience sitting in the control room. It’s Emily’s cerebral world, with her jungle. And I do think that energy comes through. It’s a different energy.
Is that “different energy” why there’s no acoustic bass on this record?
No. I just heard electric bass on it from the beginning. It wasn’t deep. And it’s not really me. I’m using my talent and my gift to give body and story and sound and presence to Emily’s energy. I still play acoustic all the time, so, in that regard, it didn’t feel like I was leaving something to go somewhere.
What gear did you use to craft your bass tone?
All of it is through an Ampeg SVT-4 PRO, which sounded awesome. The studio had lots of different stuff. I told them I wanted a “tacky” sound. I wanted it to be real buoyant and have a thickness, but I also wanted to have the clarity. I call that “tackiness,” like caramel stuck on your shoe or something. And so the engineer recommended the Ampeg. I heard it and I said, “Yep, that’s exactly what I need.”
What about Simon Propert’s South Paw bass? Did he make that for you?
He didn’t make it for me, but he let me take it once he made it. He’s one of the luthiers at David Gage in NYC, which is where I’ve taken my upright bass a few times to get it worked on. He started making his own instruments and he was like, “If you ever want to try it out, let me know.” And I was like, “Yeah, I want to try it out.” So, he let me take it to try and I really liked it. He said I didn’t have to give it back. I just had to pay for the Bartolini electronics, which I did, and we’ve been happy ever since.
Do you have a preference between the 4- and 5-string?
No, I just wasn’t comfortable enough with the 5-string to play it full time, but now I am, so on this tour I’m playing the 5-string.
After winning an impressive five Grammys, Spalding has opted for the unusual career move of an artistic and personal makeover. Photo by Holly Andres
What did famed David Bowie producer Tony Visconti bring to the project? He came in after the material was recorded, correct?
He’s a sound-craft master. He mixed and did stuff to the songs that I can’t even explain to you. I didn’t understand what he was doing, but he brought the sound to where it was always supposed to be.
Did you give him any direction or did you simply hand it off to him?
I told him I wanted it to feel intimate, but be in-your-face. I wanted people to really be able to hear what we were playing—to hear the interplay between us, because so much of what makes the music special is the interplay between the drummer, the guitar player, and me. I felt he highlighted that interplay and made it feel like a whole. And he believed in it. At that point I needed a champion. I needed somebody to believe in this project with me and he did.
Did you have the musicians in mind when you started this project?
I reached out to specific people who I thought would be right for it, and that was Karriem [Riggins, on drums] and Matt [Stevens, on guitar]. They were into it. I thought that was all we needed. I thought that would give it the sound I was looking for.
Esperanza Spalding's Gear
Basses
• Simon Propert South Paw 5-string fretless (with a Bartolini 5-string Music Man Stingray pickup)
• Fender Jaco Pastorius Jazz Bass (fretless 4-string)
Amps
• Ampeg SVT-4PRO
• Ampeg PN-410HLF cab
Strings and Picks
• Fender 9050M Stainless Steel Flatwound Long Scale (.055-.105)
Matthew Stevens’ Gear
Guitars
• Harrison GB
• Moollon T Classic
• 1959 Fender Telecaster
• 1959 Fender Stratocaster
• 1968 Gibson Les Paul goldtop with P-90s
• 1960 Gibson Les Paul Junior
Amps
• 1964 Vox AC30 (2)
Effects
• Boss TU-2 Chromatic Tuner
• Binson Echorec
• Fulltone Tape Echo
• EarthQuaker Disaster Transport Jr.
• Strymon Deco Tape Saturation & Doubletracker
• Boss DD-7 Digital Delay
• Strymon BlueSky Reverberator
• Tech 21 Boost RVB
Strings and Picks
• D’Addario Nickel Wound (.011–.050 sets with a .012 replacing the .011)
• Dunlop Gator 2.0 mm
Did you know when you were first writing these songs that a three-piece was the right configuration?
At the beginning of a project, you don’t know what the fuck you’re doing—at least in my case [laughs]. I don’t think you can plan ahead too much. You have to trust your instincts and then you can plan your brains out. But in the mode of initial inspiration I tend to operate out of an intuitive sense with regard to people and things. I get in touch with what I want to do with the project first, then think about who could partner in that. And both guys immediately came to mind because of experiences I’ve had playing with them. I knew about the breadth of their musicianship.
I often feel that at some point in the creative process the music takes on a life of its own and it becomes an artist’s job to be a good steward, rather than imposing his or her will on it. Is that true for you?
Another way of saying that is you have to be honest about what’s working. Often I find that’s the impetus for change. I’ll be like, “God, this isn’t working. Why?” Then you try something different and you stumble upon something that works or, inversely, you might be in the early development stage and you stumble upon a piece that you hadn’t expected to be a part of it and you realize, “Oh man, that’s really working and it’s supporting this whole project as it grows in a way that will make it more compelling, inviting, stronger, or unified.” There’s no absolute. I think we all get a sense of what’s working and what’s not. I feel like it’s really important to be unattached to everything as you’re going along because the project is teaching you. Be in touch with what’s working and what’s not and let that be the guide. It can help you ask better questions.
You started out on violin and you also play piano. Does knowing other instruments give you an edge as a bassist?
If you really learn any instrument thoroughly, you’re going to gain access to an understanding of music. Particularly if you’re beyond the student level and you’re out playing with other people professionally. You get drawn in a million different directions on your instrument, and it’s wonderful—whatever instrument it is. If you have the time or the talent to cultivate a second instrument, that’s great, but I don’t think it’s necessary. The fact that I started on violin just happened to be my direction. That was the first way I got involved in learning about and playing music. I played for 10 years and then I switched to the bass, but it could’ve been anything, really.
Playing the violin for so long must’ve helped you transition to bass though, no?
When I picked up the bass I could figure out how to get to the notes I wanted to hear because I was familiar with a non-fretted, stringed instrument. I understood the spatial things, depressing the strings and creating the tone. But I was also immediately introduced to the idea of improv. I was able to engage in improvising right away, at that shitty little, very beginner, level, but it allowed me to get a taste for it. And once I had a taste for improvising, that drew me out into the rest of my life. Improvised music was the key for me.
What about the piano?
Having access to the piano is important, because of how you can see harmony on it. It’s such a wonderful tool. But then again, you’ll think about harmony differently if you don’t play piano. It’s important to take the time to really wrap your brain and body and instrument around harmonic concepts. Every way is valid.
You started college at Portland State, then transferred to Berklee. Why?
I was very happy at Portland, but I got a full scholarship to go to this music school in Boston I’d heard so much about. I was excited about getting out of Portland and trying something new. It wasn’t that I was dissatisfied with Portland State. It was amazing. I had an incredible time there. I just didn’t have a full scholarship and I did at Berklee.
Were you a good student?
I wasn’t a good student my whole life. I’m not proud of that fact, but it’s the reality of how my brain was operating and where my priorities were. I loved reading and learning about things and doing homework, but I’d always get shitty grades. It was so disheartening, because the affirmation I was getting from my school environment didn’t reflect how I felt about learning. It was hard. I think I carried some of that when I moved on to college.
You ended up teaching at Berklee. What did you teach? And were you better at teaching than being a student?
I taught a couple of ensembles. I had a lot of private bass students. I really love teaching. I got to teach at the Banff Centre a couple years ago and I loved every second of it. I think I’m good at it. I decided to quit because I was starting to tour as a bandleader and I couldn’t give Berklee or the students the focus that they deserved.
Who were some of your early influences?
All my bass teachers from Portland: Dave Captein, [the late] Ken Baldwin, Andre St. James, and Dan Schulte. One of them turned me on to Leroy Vinnegar, who was a Portland resident for a while. I checked him out a lot. Obviously Paul Chambers, because [Miles Davis’ 1959 classic] Kind of Blue was the first record I really got into once I was invited into the world of improv. And then I got into Slam Stewart, because it was the first time I heard that kind of linear, melodic playing on the bass. Not that Paul Chambers didn’t do that, but with the arco sound and Stewart’s voice, I was really hearing the singing quality of the lines and it became a goal of mine to play a melody like that. [Editor’s note: Stewart’s trademark was his ability to bow the bass and simultaneously hum or sing an octave higher.]
You won a Grammy for Best New Artist in 2011. Did you experience any pressure from that afterwards?
No. It has a limited effect. It helped bring in a more diverse crowd to the venues we were playing. I got more promo out of it. I get that caption now, in association with my name. I didn’t feel any pressure. I thought it was weird. I quickly realized that just because it happened doesn’t mean my craft is received in the commercial playing field. It hasn’t been so far, and the Grammy didn’t change that.
I do, however, recognize what it represents in terms of how many people chose to tick my name off on a ballot. And that was intentional, on all of those people’s parts, and I really appreciate that. It was a big affirmation for me to keep going.
What have you learned from playing with guys like Wayne Shorter and Herbie Hancock?
I admire them so deeply. Their music is so profound, magical, brilliant, intelligent, and soulful. And that’s how they are as people. So maybe the takeaway is that you have to act like and be like you want your music to be. Being a little satellite in their orbit was a great lesson in how to live one’s life. It’s one of the greatest blessings in my life.
YouTube It
The official video for “Good Lava,” the first single from Esperanza Spalding’s new album, Emily’s D+Evolution, is a psychedelic summation of its uninhibited strengths. Musically intense, poetic, packed with movement, and visually explosive, it’s also a showcase for her new 5-string South Paw bass.
Photo by Meg Stacker
Matthew Stevens on Defying Guitar Dogma: How an NYC jazzer’s free-thinking background prepared him for performing with Esperanza Spalding.
New York City-based jazz guitarist Matthew Stevens has carved out quite a solid career for himself over the past decade, working with artists like New Orleans trumpeter Christian Scott and drummers Terri Lyne Carrington and Harvey Mason, Sr. In 2015, Stevens released Woodwork, his debut recording as a bandleader.
Not surprising, given his unique approach, the guitarists who’ve influenced Stevens the most over the years are musicians he says are often difficult to categorize. “Jimi Hendrix, John Scofield, and Pat Metheny are examples of players who aren’t self-consciously or heavy-handedly combining genres,” he explains. “They just don’t adhere to that dogma to begin with. They do what they want in the moment.” Stevens grew up in Toronto, so he also drew from Canadian guitarists Ed Bickert and Lorne Lofsky—guys who come from the equally free-ranging Lenny Breau jazz tradition.
“Follow your guiding principles as a musician, listen to the music, and collaborate with what it’s asking for,” Stevens offers as his approach, echoing a sentiment Esperanza Spalding applied to her latest album. Stevens’ playing on Emily’s D+Evolution defies categorization, but he says one of his—and the band’s—guiding principles for the sessions was to channel a bit of rock ’n’ roll bombast. “We wanted to make the stuff in-your-face and really punchy and aggressive, like some of the power trios we’d all been inspired by at different points,” he says, naming Band of Gypsys and Cream as two prime examples.
“It was really interesting to jump into Esperanza’s demos,” he continues, “which were basically just piano and voice, while we’re a guitar, bass, and drums trio. We worked from really stark demos that were awesome, but just guides. It was more about capturing the spirit of something.” He says Spalding invited him to interpret the songs in his own way right from the get-go. “Since there’s no piano in the band, some of the stuff needed to be represented harmonically on guitar,” he relates. “She’s a really open-minded musician, obviously, and a really inclusive leader and collaborator, so it wasn’t scripted. It didn’t have to be a certain way.”
As for tracking guitars on Emily’s D+Evolution, Stevens says he tapped into an unorthodox approach for the first time. “I don’t usually go true stereo, but I did on this record,” he explains. “We were messing around with it on the first session, we liked how it sounded, and, because we were a trio, there was the sonic room for it. I hadn’t ever done that for an entire record.” Among the go-to effects in play was an old piece of studio gear he thinks was the Cooper Time Cube—an obscure delay that actually uses a section of garden hose in its works and is highly regarding for its doubling effect.
His goal was to simply be true to himself and the music. “When it’s not your own music, it’s rare to feel so connected to it,” he says. “It does happen under great leadership and with great material. I was like, ‘I can genuinely connect to this music, even though I didn’t write it. It speaks to me, and the person who wrote it is inviting me in—not just as a guitar player, but as an artist.’ And that’s the best—when you have an opportunity like that. I think the songs are so strong and she’s an amazing lyricist. The whole spirit of the music and the project was just leaping into the unknown together.”
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
“The new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,” said Kepma USA president Tony Moscal. “With their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instruments—all at an entry-level price.”
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenix™ Series offers four configurations to suit every player’s preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every player’s needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFex® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepma’s FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepma’s neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepma’s commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma ¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether you’re a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shure’s patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyne’s combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineers’ need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.
The moe. frontline from left: Chuck Garvey (guitar), Rob Derhak (bass), Al Schnier (guitar), and Nate Wilson (keyboards). In the mist behind them is Jim Loughlin (percussion) and Vinnie Amico (drums).
The two guitarists are known for their sympathetic 6-string interplay. They remain as tight as ever, despite setbacks, as they deliver the buoyant, vibrant Circle of Giants, the long-running jam band’s 14th studio record.
Thirty-five years ago, a group of University of Buffalo students gathered in a basement, drank a lot of beer, and played some tunes. They had no goal other than to have fun and party. But it wasn’t long before they headed into a studio housed in an apartment above local guitar shop Top Shelf Music to record the debut moe. album, Fatboy. Slowly, the band built a devoted fan base, crisscrossing the country in a van. As they persevered, the band and their audience grew up together, and now it’s the fans’ children who are discovering the group.
The story of moe. is one of friendship, survival, resilience, and joy. Now poised to release their latest, Circle of Giants—chock full of rock ’n’ roll grooves both lilting and bone-shaking, and anthemic chord progressions—the group is as strong as ever. Chuck Garvey and Al Schnier’s vibrant, bright guitars chime, crush, strum, and wail, and there’s a buoyant spirit and evocative lyrics. The lead single, “Ups and Downs,” is a song bassist Rob Derhak wrote after a casual conversation with a mailman about the peaks and valleys of a long marriage. One of the album’s most moving tunes, the lyrics go:
She looks at him
He coughs into his overcoat
It smells like gin
From a different moment
Sail along, just another wounded soldier
Now carry on, carry on but older
The last bittersweet couplet might well apply to the band. They faced extraordinary challenges over the past six years that all but stopped them in their tracks.
Thirty-five years after forming at University of Buffalo, on Circle of Giants, moe. maintain their close-knit family vibe.
The first blow was Derhak’s battle with oropharyngeal cancer in 2017. With the group rallying around him and fundraising initiated by fans, he went through harrowing treatment, beat the odds, and the cancer went into remission.
Not long thereafter, Garvey had a stroke. He lost partial movement in his left side as well as the ability to speak. “My syllables didn’t know how to find each other,” he recalls. The guitarist had to relearn movement and speech. The band gathered, made music, and helped him heal. All marveled that, even with diminished facility, he still sounded like Chuckwhen he picked up his instrument.“I grew up listening to the Grateful Dead. They were kind of a model, but there were so many other things that I loved as well. Punk, prog, bluegrass…. There was never any question that we could put all of this into the band.” —Al Schnier
There were also personal losses, and then the pandemic came. Suddenly everyone was writing music in isolation, deprived of the companionship they had come to know so well. After regrouping post-pandemic, there was a tragedy at a New Year’s Eve concert in 2023, where several audience members were struck and killed by a vehicle outside the concert hall. Devastated, moe. responded by saying, “We believe in the power of music to heal and unite.”
Al Schnier's Gear
Al Schnier jams out on a Paul Languedoc G4.
Photo by Paul Citone
Guitars
Amps
- Two 1973 Mesa/Boogie Mark I amps loaded with Celestion Cream speakers
Effects
- Zvex Wah Probe
- Analog Man Envelope Filter
- Zvex Fuzz Factory
- Analog Man CompROSSor
- ARC Effects Klone
- Providence Chrono Delay
- Analog Man Bi-Chorus
- Kaden Effects FlutterTone tremolo
- Voodoo Labs Pedal Power 2 Plus
Strings and Picks
- D’Addario XL140 (.010–.052)
- Dunlop Primetone Semi Round 1.5mm
I asked Schnier how it felt to be making music with his partners after all they’ve been through. “The band brings me a sense of place,” he says, “a sense of identity and affirmation. The bonds between us are so deep. When we’re on the road, and we have a day off, we often all end up back in the bus around 8 o’clock just hanging out together. I don’t know if it’s that we’re creatures of comfort or that we just like each other’s company. It truly is a family.”
“The bonds between us are so deep.” —Al Schnier
The classic two-guitar frontline has defined the band’s sound from the beginning. Currently, Garvey plays a 1973 Telecaster Thinline that he outfitted with Lollar Wide Range humbuckers. His amp of choice is a Tony Bruno Underground 30. Schnier’s number one is a Custom Shop korina Gibson SG, which he plugs into two of the first Mesa/Boogies ever made (numbers 73 and 75).
The band’s guitar parts stem from the interplay between both players. Garvey and Schnier craft their lines by jamming, one riffing off the other—the sense of brotherhood extending to their composing habits. Someone will bring in a sketch and present it at rehearsal. The other members will help to shape the final product. No matter how finished a song might feel coming in, someone will always have an idea to make it better.
Chuck Garvey's Gear
Chuck Garvey’s 1973 Tele Thinline is loaded with Lollar Wide Range pickups.
Photo by Paul Citone
Guitars
- Jerry Jones 6-string Doublecut Dual Lipstick
- 1973 Fender Telecaster Thinline with Lollar Regal Wide Range pickups
- 1994 Fender Custom Shop Stratocaster with Seymour Duncan single-coils
- 1978 Ibanez PF200
Amps
- Tony Bruno Underground 30 head with 3x10" cab
- Magnatone M10
- Tony Bruno Tweedy Pie 18
Effects
- Analog Man Sun Face “BART”
- Analog Man Buffer
- Analog Man Bi-CompROSSor
- Analog Man King Of Tone
- Foxrox Octron
- Benson Germanium Boost
- Benson Germanium Preamp
- Klon Centaur
- Italian-made Thomas Organ Company Cry Baby
- Paul Cochrane Timmy V1
- Chase Bliss Warped Vinyl MkII
- Source Audio Nemesis Delay
- TC Electronic Tuner
- Fulltone Deja’Vibe 2
- Lee Jackson Mr. Springgy
- Chelli Amplification Spring Reverb and Harmonic Tremolo
- Vemuram Shanks ODS-1
- Lehle 1at3 Switcher
- Voodoo Labs Pedal Power
- True Tone 1 Spot Pro CS11
Strings and Picks
- Dunlop Primetone Semi Round Smooth Pick 1.4 mm
- Wegen Triangular TF140 White 1.4 mm
- D’Addario NYXL (.010–.046)
The sound of moe. is often described as “genre defying.” I ask what this rather generic phrase means to them. “I grew up listening to the Grateful Dead,” Schnier says. “They were kind of a model, but there were so many other things that I loved as well. Punk, prog, bluegrass…. There was never any question that we could put all of this into the band."
“You never know when you’re going through a crisis whether it’s going to turn out okay.” —Chuck Garvey
Garvey chimes in and talks about his admiration for Frank Zappa. “When we started out at Wetlands in New York City around 1990, it was a very open environment. One day they would program ska, the next some African band, the next a punk band. We were into it all.”
Over the many years, moe. has had many “ups”: innumerable headline tours, international festivals from Bonnaroo to Japan’s famed Fuji Rock, and sold-out shows alongside such like-minded acts as the Allman Brothers Band, Robert Plant, members of the Grateful Dead, the Who, and Gov’t Mule. Next, 2025 brings a long tour. In some ways they’re making up for lost time.
As for the “downs”? Says Garvey: “You never know when you’re going through a crisis whether it’s going to turn out okay. I think I can speak for everyone when I say that our whole family coming together has been helpful for everyone. It’s part of that smaller community—but also that huge community of fans who are right there with us when we go through these things.”
Schnier, with a noticeable degree of emotion in his voice, adds, “It’s all made us closer, stronger. It’s all because we have each other. I couldn’t do it without these guys. I’m so grateful for that.”
YouTube It
Hear how guitarists Schnier and Garvey intertwine their parts and their sounds, creating a distinct guitar vocabulary as moe. tackles the lead single from Circle of Giantslast August in Denver.