
The Free Form Funky Freqs—guitarist Vernon Reid, bassist Jamaaladeen Tacuma, and drummer Calvin Weston—never play a note together before a show. Not even during soundcheck.
Living Colour’s guitarist and the ex-Ornette Coleman bassist let their Free Form Funky Freqs flags fly on the new Hymn of the 3rd Galaxy.
How many bands can pinpoint the exact number of times they’ve played together? “It’s rare,” acknowledges guitarist Vernon Reid of Free Form Funky Freqs, the power trio he co-leads with bassist Jamaaladeen Tacuma and drummer G. Calvin Weston. Because “Free Form” is meant quite seriously—not a note of the music is planned in advance—every Freqs performance is a wholly unrepeatable event with its own distinct marker. This includes the three FFFF studio albums to date. The just-released Hymn of the 3rd Galaxy was performance number 73. Urban Mythology, Vol. 1, the band’s 2008 debut, was number three, after kickoff gigs at Tonic in New York and Tritone in Philadelphia (both defunct). Bon Vivant, the 2013 sophomore release, was number 15.
Owing to pandemic isolation, however, Hymn of the 3rd Galaxy was the first FFFF project to unfold asynchronously. First, Weston laid down his drums. Tacuma responded on bass. Reid brought up the rear with a pair of signature model Paul Reed Smiths and an abundance of digital and analog stompboxes, amp modelers, guitar synth floor units, and laptop-driven software synthesizers. There were no rules, save for this ironclad dictum: one uninterrupted take per track, no fixes, no overdubs. If it’s not “an organic improvised scenario,” in Tacuma’s words, it’s not Free Form Funky Freqs. It’s something else.
“I always dig an amp that’s gonna shake the room.” —Jamaaladeen Tacuma
“I just closed my eyes and pretended I was onstage with those guys,” Tacuma recalls. “The key was to keep the integrity of our process,” says Reid. “It was kind of like a self-imposed honor system.” This is, after all, a band that makes a point of not soundchecking together at gigs. “We have to explain this to house engineers,” Reid continues. “We’ll get sounds, then maybe check bass and drums, then guitar and drums. But we make it clear that the three of us are going to play only when it’s actually time to play.” To do otherwise would corrupt the method.
While their previous albums were live shows, the new FFFF opus was improvised in the studio—one artist at a time!
This improvisational purism makes sense given the band members’ overlapping histories in what Reid calls “the loose circle around Ornette Coleman.” The legendary alto saxophonist and free-jazz pioneer hired Tacuma for his groove-oriented ’70s band Prime Time, when the bassist was only 19. He later hired Weston, as well, at 17. “I was playing with [founding Prime Time drummer] Ronald Shannon Jackson,” adds Reid. “Calvin had played with Blood [experimental blues guitarist/singer James ‘Blood’ Ulmer].” There was a shared vein of experience in the contemporary avant-garde, and yet, as Tacuma observed to Reid one night, the three had never played together as a unit.
“We have to explain this to house engineers. We’ll get sounds, then maybe check bass and drums, then guitar and drums. But we make it clear that the three of us are going to play only when it’s actually time to play.” —Vernon Reid
Reid, of course, had also ascended to rock stardom with Living Colour in the late ’80s and cofounded the innovative Black Rock Coalition. For decades, each one of the Freqs had straddled genres and blown open the conversation about creative music in their time. It was practically fated for this band to form.
Vernon Reid’s Gear
Vernon Reid freqs-out on one of his PRS Custom Signature S2 Velas.
Photo by Sound Evidence
Guitars
- Two Paul Reed Smith Custom Vernon Reid Signature S2 Velas (one with EMGs, one with DS pickups)
- 1958 Gibson ES-345 (on “Earth”)
Amps
- Line 6 Helix
- Kemper Profiler
Strings & Picks
- D’Addario NYXLs (.011–.049)
- Dunlop 205s, Brass TeckPicks, V-Picks
- Graph Tech TUSQ 2.0 mm (“It’s kind of a fetish,” Reid says of his fascination with picks.)
Effects
- Moog MF-107 FreqBox
- Red Panda Tensor
- DigiTech Space Station
- Eventide H9
- Chase Bliss Tonal Recall
- Chase Bliss Dark World
- Boss SY-300
- Roland GI-20 Guitar MIDI Interface
- Spectrasonics Omnisphere software synth
- Arturia Pigments software synth
Studio production for FFFF has been divvied up evenly: Reid produced Urban Mythology, Vol. 1, Tacuma took the helm on Bon Vivant, and Weston brought the remote recording of Hymn of the 3rd Galaxy across the finish line. Each album bears the imprint of its producer in some way.
Weston named the new album and the individual tracks as well, and the meaning of it all becomes clear when you pull up a map of the Milky Way (one of three galaxies, along with Andromeda and Triangulum, that dominates what is known as the Local Group). “Near Arm,” “Outer Arm,” “Norma Arm,” “Perseus Arm,” “Sagittarius Arm,” “Orion Spur,” “Scutum Centaurus,” “Far 3 kpc”—these are names that astronomers have given to the Milky Way’s various regions. In this environment, “Earth” and “Sun” (two more track titles) are just infinitesimally small dots.
“Bill Connors’ playing is so full of fire, but it’s also emotionally vulnerable in a way.” —Vernon Reid
The album title is also a conscious reference to Return to Forever’s 1973 album Hymn of the Seventh Galaxy—the fusion supergroup’s one recording to feature guitarist Bill Connors. “That record was very important in my development,” says Reid. “Bill Connors’ playing on it is so full of fire, but it’s also emotionally vulnerable in a way. I was very affected by the compositions, as well. When Calvin mentioned the title, it put this project into a frame for me—the idea of spatial ambience—and that did affect my choices for sounds.”
Those sounds are an amalgam of raw, plugged-in lead guitar crunch and otherwordly sonic glitter: notes that start as notes but become starbursts, or decay like pyrotechnic embers; chordal shapes that overlap and gather into big nebulous clouds. With his seemingly limitless tech-heavy rig, Reid has all frequencies covered.
Jamaaladeen Tacuma’s Gear
Jamaaladeen Tacuma brings his epic funk at the 2003 Ponderosa Stomp festival in New Orleans, where he performed with James “Blood” Ulmer and FFFF drummer Calvin Weston.
Photo by Joseph A. Rosen
Effects
- Korg ToneWorks G5 Synth Bass Processor
- JAM Wahcko
- JAM WaterFall
- JAM LucyDreamer
Strings
- La Bella various-gauge sets
The groove is just as essential, and Tacuma and Weston know how to bring it, whether it’s a slow shuffle (“Perseus Arm”), a mid-tempo Meters-like vibe (“Norma Arm”), or an outbreak of fast, full-tilt abstraction (“Far 3 kpc,” “Sun”). Regardless of feel, Tacuma’s criterion for a bass sound is straightforward: “I always dig an amp that’s gonna shake the room. I mean, I need that room-shaker. Coming up in Philly, hearing R&B groups at the Uptown Theater, which was like the Apollo, as long as that bass was shakin’ the room, that was the most important thing. Aguilar has proven to be a wonderful addition to my setup for the clarity and punchiness, and the ability to dial in certain sounds that I want.” Holding up the Korg Toneworks G5 synth-bass unit that he used on Hymn, during our Zoom call, he adds: “I’m not really a pedal guy, but now and then I’ll bring one out for a special black-tie occasion.”
Ultimately, what explains FFFF’s ability to create together on the fly is musical intelligence and empathetic listening. When Reid’s guitar is more enveloping and spacious and legato, Tacuma’s playing might get busier, and vice versa. “If you go outside right now,” Tacuma observes, “somebody’s walking, somebody’s running. Somebody’s listening, somebody’s talking. Somebody’s eating, somebody’s drinking. All these things are happening, and with music it’s the same thing.” For Reid, as well, deciding when to go for maximum synthesized mayhem (“Galactic Bar”) or a cleaner, more identifiably guitaristic tone (“Earth”) is a matter of attending to the moment. “It’s different than dealing with songs that have a verse-chorus-bridge,” he says. “This is a whole different kind of flow.”
“I’m not really a pedal guy, but now and then I’ll bring one out for a special black-tie occasion.” —Jamaaladeen Tacuma
When discussion turns to Tacuma’s other projects, such as his 2017 album Gnawa Soul Experience, the bassist suggests a link between the FFFF worldview and the time he shared with ethnic Gnawa musicians in Essaouira, Morocco. “Musically, I learned so much,” he recalls. “When they play all night and they don’t have anything written in front of them, and they’re just grooving and going higher and higher in the music, that’s basically what we do, when you put it in perspective. People relate to that; they can understand that.”
With every Freqs encounter, the three bring new elements and ideas they’ve absorbed in the interim, and this keeps the music fresh and evolving. Tacuma and Weston continue to nourish their local Philly scene, mentoring and giving exposure to younger players. Tacuma’s annual Outsiders Improvised & Creative Music Festival always provides a burst of energy. Living Colour is still percolating since the release of Shade, its sixth album, in 2017. Meanwhile Reid has kept additional irons in the fire, including the Zig Zag Power Trio (with bassist Melvin Gibbs and Living Colour drummer Will Calhoun) and other projects. If he, Tacuma, and Weston keep up the pace, they could soon hit the big 100—the Freqs’ centenary performance. Stay tuned for that album.Free Form Funky Freqs Live | Ch0 | 2012
All hail the groove! Sure, this 2012, Ljubljana, Slovenia, performance by Vernon Reid, Jamaaladeen Tacuma, and Calvin Weston is freaky … but the funky vibe dictates the flow of its ambient sounds. Catch Tacuma freestyling on the mic at 4:00.
- Rig Rundown: Living Colour's Vernon Reid and Doug Wimbish ... ›
- Jamaaladeen Tacuma: Grooving Hard, Embracing Risk - Premier ... ›
- Rig Rundown Best-Ofs: Gargantuan Pedalboards Vol. 1 - Premier ... ›
Featuring Bluetooth input, XLR inputs, and advanced amplifier platform, the KC12 is designed to offer exceptional sound quality and versatility for a wide range of applications.
The KC12 is a first-of-its-kind, 3-way, 3000-watt active loudspeaker system encompassing the visual aesthetic of a column loudspeaker while surpassing the acoustic performance of conventional designs. Simple and easy to deploy, the elegant KC12, available in black and white, is ideal for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production, and static installations.
Column-style portable loudspeaker systems are most often put into service due to their unobtrusive form factor. However, typical designs lack clarity and definition, particularly when pushed to high output levels, forcing the user into a form-over-function compromise. Solving this common dilemma, the KC12 cleverly utilizes a 3-way design featuring QSC’s patented LEAF™ waveguide (first introduced in L Class Active Line Array Loudspeakers) combined with a true 1-inch compression driver, two 4-inch midrange drivers, and a high output 12-inch subwoofer, while still maintaining the desired, elegant appearance of a “column” system. The KC12 produces an outstanding full-range horizontal coverage of 145 degrees and 35 degrees of audience-directed vertical coverage with clean and natural sound at all output levels.
The system features three inputs: a Bluetooth ® input combined with a 3.5 mm TRS stereo input, as well as two combo XLR inputs (Mic/Line/Hi-Z and Mic/Line/+48 V), with independent, assignableFactory Presets for each XLR input, making it ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multi-function digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200 ms), or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low latency pairing between the music source and both left and right loudspeakers simultaneously.
Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for utilization on a floor, riser or raised stage. The system is backed by a 6-year Extended Warranty (with product registration).
“The KC12 exquisitely resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” states David Fuller, VP of Product Development, QSC Audio. “With the benefit of time, experience, extensive customer research, and cutting-edge innovation, our talented design team has truly created something very different from the status quo – not simply a differentiated product, but an overall better solution for the customer.”
The feature set and performance characteristics of the KC12 are complemented by a new, advanced amplifier platform, first incorporated into the L Class LS118 subwoofer released this past October. Fuller adds, “Among the platform’s key attributes are layers of real-time telemetry and protection to ensure uninterrupted performance day after day, which is a foundational QSC brand attribute.”
“Just like our first K Series reset the bar for powered loudspeakers, elevating customers’ expectations for performance, quality, reliability, usability, and professional appearance, the K Column offers a compelling, new approach to a familiar category and is destined to redefine the whole notion of what a ‘column’ is for users of portable PA products,” states Ray van Straten, VPBrand, Marketing & amp; Training, QSC Audio. “The product is simply stunning in its sleek and elegant appearance, but with the marketing tagline, ‘Just Listen’, we’re confident that once again, QSC sound quality will ultimately be the reason customers will quickly embrace the K Column as the next ‘New Standard’ in its category.”
The QSC KC12 K Column carries a MAP price of $1,999.
For more information, please visit qsc.com.
This pedal is designed to offer both unique distortion qualities and a tonal palette of sonic possibilities.
At the heart of the Harvezi Hazze pedal is a waveshaper designed around a unijunction transistor - a relic from the early days of the semiconductor industry unearthed from the e-waste bins of flea markets in Tbilisi, Georgia, the Eastern European country's largest city.
The unijunction transistor offers unique properties allowing one simple component to replace a number of very complex devices. Therefore. depending on the operating mode, users can access a distortion, a limiter, a waveshaper and a generator - with smooth transitions among each of these.
The name "Harvezi Hazze" translates from Georgian as "a fault on the transmission line" or "signal jamming", and both the semantic and phonetic nature of these translations imply what users can expect: an impediment to the input signal, which can range from pleasant harmonic distortions to complete obliteration. The signal chain of Harvezi Hazze consists of an optical compressor with fixed parameters; a dual-mode distorting amplifier with either softer or harsher clipping; a waveshaper built around a unijunction transistor; and a tone stack section designed to tame these sonic building blocks.
Signal flow and controls
Following the input, the signal goes to the Compressor, Distorting Amplifier, Waveshaper, and then to the Tone Stack and output stages. Harvezi Hazze features six control knobs, a three-way switch and a footswitch.
- Gain Control: This controls the output amplitude of the signal in the distorting amplifier section. Depending on the position of the switch, the distortion introduced by this section is soft (with the switch in the left position) or more aggressive with an abundance of high harmonics (with the switch in the middle position).
- Spoil and Spread: This knob controls the operation of the unijunction transistor (waveshaper section). Spoil sets the point on the amplitude axis at which the wave will fold, and Spread sets the amplitude of the folding. The higher the Spread value, the more severe the distortion will be, while Spoil will change the timbre and response threshold. By adjusting Spoil, users can achieve various gating and cutoff effects; at low Spread values, distortion sounds are mixed into the clean sound.
- Tone: This knob adjusts the brightness of the sound. With higher values, higher harmonics become present in the signal.
- Three-way switch. This feature regulates either the distortion mode in the amplifier section (left and center positions), or turns on the total feedback mode (right position) when the values of all knobs begin to influence each other. In this position, effects occur such as resonance at certain frequencies and self-oscillation.
- Level knob: This controls the output volume of the signal.
- Footswitch: This routes the signal through the effect circuitry or from input to output directly (true bypass).
The array of switches on the side of the unit provides even further tonal options; the lower position of the switch enables the specific function:
- Tone Stack: Routes the signal through the tone stack section (Tone knob).
- Bass Boost: Enhances bass frequencies.
- Tone Mode: Changes the behavior of the Tone knob (tilt or lowpass).
- Notch Freq: Changes the central frequency of the filter.
- High Cut: Attenuates high frequencies.
- Compressor: Routes the signal through the compressor.
Harvezi Hazze is priced at €290. To learn more, please visit https://somasynths.com/harvezi-hazze/.
Ibanez Blackout series acoustic guitars feature all-black aesthetic, high-quality electronics, and in-demand woods. Models include AEG721 with Fishman S-core pickups, AEWC621 with Ibanez AEQ-SP2 preamp, and TCY621 with Ibanez under-saddle pickup. With prices ranging from $249.99 to $399.99, these guitars offer a unique and stylish option for musicians.
Ibanez has unveiled its new Blackout series of acoustic guitars to their lineup. Inspired by the popular Iron Label series, these instruments feature an all-black aesthetic, including a matte black finish and black hardware. The Blackout series offers three distinct models: the AEG721 7-string acoustic-electric, the AEWC621, and the TCY621. Each model boasts in-demand woods, including a Spruce top, Sapele back and sides, and Macassar Ebony or Purpleheart for the fingerboard and bridge.
To complement their unique appearance, the Blackout guitars are equipped with high-quality electronics. The AEG721 and AEWC621 feature Fishman’s S-core pickups and Ibanez AEQ-SAP2 preamps, while the TCY621 utilizes an Ibanez under-saddle pickup and AEQ-2T preamp.
For more information, please visit ibanez.com.
AEG721
- AEG body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip 3pc Nyatoh/Maple neck
- Macassar Ebony fretboard & bridge
- Black dyed Bone nut & saddle
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez Advantage™ bridge pins
- D'Addario® XTAPB1253, plus .070 guage Phosphor Bronze
- String Gauge: .012/.016/.024/.032/.042/.053/.070
- Factory Tuning: 1E,2B,3G,4D,5A,6E,7B
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
AEWC621
- AEWC body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip Nyatoh neck
- Macassar Ebony fretboard & bridge
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-Core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez IACS6C coated strings
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
TCY621
- Talman Double Cutaway body
- Neck joint at 16th fret
- Spruce top
- Sapele back & sides
- Okoume neck
- Purpleheart fretboard & bridge
- Black Die-cast tuners
- Ibanez Undersaddle pickup
- Ibanez AEQ-2T preamp w/Onboard tuner
- Ibanez Advantage™ bridge pins
- Recommended case: TM50C/MAP: $179.99
- Finish: Blacked Out
LIST PRICE: $374.99
ESTIMATED STREET PRICE: $249.99
Martin's 2025 NAMM Show lineup features new guitars with enhanced playability and vintage aesthetics.
C. F. Martin & Co. is unveiling an exciting lineup of new guitars ahead of The 2025 NAMM Show, including refinements to its trusted Standard Series and two all-new Retro Plus guitars.
With the Standard Series refresh, Martin brings fans enhanced playability, timeless aesthetics, and three stunning new models, while its two new Retro Plus guitars offer thermally aged spruce tops and the classic appearance of an 18-style guitar at an accessible price point. These releases showcase Martin's mission to create instruments that unleash the artist within.
These new guitars and more will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25, with more releases to come.
Standard Series Refresh
Martin is refreshing its popular Standard Series lineup to bring subtle yet impactful refinements to enhance the look, tone, and playability of these iconic guitars, while introducing three new models to the series: the D-17, 000-17, and OM-45.
One of the key updates is Sitka spruce Golden Era (GE) top bracing, as featured on the Modern Deluxe Series, which offers a more vintage, breathy tone with enhanced sustain. The GE modified low oval neck profile maintains its popular shape but is optimized for vintage appeal with minimal increase in total mass.
It's paired with playability enhancements like a thinner fingerboard with a gently beveled comfort edge and refined string spacing at the nut, while the new GE modern belly bridge features smoother, more comfortable corners.
Standard Series guitars also now feature either bone or ebony bridge pins, along with newly added sunburst and ambertone finish options for select models. Additional aesthetic updates include a long diamond neck transition, a nut cut on angle, and a sleeker vintage-style heel.
These are the changes Martin enthusiasts have been asking for, delivering a blend of vintage appointments and modern playability enhancements. Players will notice improved comfort and vintage tones, particularly with the GE-inspired bracing and aesthetic refinements.
For more information, please visit martinguitar.com.
D-17
The Martin D-17 is a bold new offering in the refreshed Standard Series, combining vintage-inspired appointments with modern refinements for players seeking rich sounds and enhanced playability. Its iconic Dreadnought body shape is a favorite among players for its loud, projective tone and strong bass. This model is handcrafted with a satin-finished solid mahogany body, delivering a warm and woody tone, while vintage-inspired details such as a sleeker heel and nickel open gear tuners give the guitar a timeless, elegant look. With its satin-finished select hardwood neck and 25.4" scale length, whether you’re strumming big chords or picking intricate tunes, the D-17 delivers powerful, dynamic sound with a classic, vintage vibe.
000-17
The Martin 000-17 is another fresh addition to the Standard Series lineup. Its Auditorium (000) body shape offers a balanced tone and comfortable size, making it great for both fingerstyle playing and heavy-handed strumming. Crafted from solid mahogany with a satin finish, it delivers a warm, woody tone with a clear top end and a punchy midrange—ideal for players seeking a vintage-inspired sound with a modern edge. Its satin-finished select hardwood neck and 24.9" scale length contributes to a more relaxed string feel and warmer, mellower tones. Whether you’re playing at home, in the studio, or on stage, the 000-17 delivers the balanced, dynamic sound that players expect from a high-quality Martin.
OM-45
The Martin OM-45 is a pinnacle of craftsmanship in the refreshed Standard Series, combining classic appointments with modern enhancements for a truly exceptional instrument. This all-new full-gloss acoustic is crafted with solid East Indian rosewood back and sides and a solid spruce top, delivering a rich, resonant tone with remarkable sustain. Its genuine mahogany neck ensures a smooth, effortless feel, while the longer 25.4" scale length provides just the right amount of string tension for enhanced clarity, making this guitar great for intricate picking and strumming. Its dazzling pearl inlay, aging toner, and gold open gear tuners offer an elegant touch, making the OM-45 as stunning to look at as it is to play.
De Retro Plus Mahogany
The Martin DE Retro Plus Mahogany is inspired by Martin’s legendary 18-style flagship models. It combines powerful tone and iconic design with cutting-edge craftsmanship at a fraction of the price. Its torrefied solid spruce top is thermally aged for enhanced resonance and a beautifully seasoned sound, delivering the rich, broken-in tone of a vintage instrument from the first strum. It’s the same premium feature long reserved for our Authentic and Modern Deluxe series, now available for the first time ever in the Road Series. It even comes stage-ready with Martin E1 electronics, featuring a built-in tuner and controls for dialing in your perfect live tone.
000E Retro Plus Mahogany
This 000 model blends balanced tone with the same cutting-edge craftsmanship and 18-style appearance as its Dreadnought counterpart, including a torrefied solid spruce top. With solid mahogany back and sides, scalloped spruce X bracing, a Performing Artist neck, ebony fingerboard and bridge, and Martin E1 electronics, these guitars have everything you could want in an acoustic. Ideal as a gigging workhorse or your first step into premium acoustics, they deliver best-in-class quality at an unbeatable value for serious players, and a lifetime of inspiration for anyone who picks one up. Just be warned, you won’t be able to put them down—because nothing compares to a Martin.