
Lindsey Buckingham's new album, which bears his name, is a perfect reflection of him as an artist: contemplative and complex, but also direct in its lyric poetry and melodic heart, and full of fire.
The fingerstyle rock icon talks about the power of layering clean-toned guitars, direct recording, crafting arrangements, and the lessons of survival—all part of his first new solo album in a decade.
Lindsey Buckingham's career has seen the highest of highs and the lowest of lows. On one hand, it's full of classic albums, multiple Grammy awards, and his membership in one of the most legendary rock bands ever—and, thus, in the Rock & Roll Hall of Fame—as well as a successful solo career spanning four decades. Yet it's his breakups, firings, and Fleetwood Mac's inter-band turmoil that people often focus on. And, as you'll soon read, the drama continues.
Through it all, Buckingham proves himself a survivor with immense talent and an undying drive to create. As a guitarist, songwriter, and vocalist, he has never lost sight of his unique touch and sound. And those decades of perseverance offer him the confidence and wisdom that permeate his first solo album in 10 years, Lindsey Buckingham.
The album is a fiercely personal offering about the effects of commitment in relationships and music. And Buckingham knows a thing or two about time's effect on music. He's been obsessed with the guitar and crafting great rock 'n' almost roll since the genre first shook its hips.
Lindsey Buckingham - On The Wrong Side (Official Audio)
"There are certainly any number of people who ended up playing rock 'n' roll whose lives were changed forever when Elvis Presley showed up," says Buckingham. "One day, my older brother brought home all those records. This was 1956, when 'Heartbreak Hotel' blasted on the scene. That was just a life-changing moment for me. About a year later, I got a three-quarter-size acoustic guitar. I was always sitting in my brother's room, listening to his 45s, and learning to play and sing those songs."
But early rock 'n' roll wasn't Buckingham's only influence. The '60s had something new waiting in the wings. "When the first wave of rock 'n' roll fell off, folk music took over," he recounts. "That informed my musicianship differently, in that my fingerpicking became more pronounced. The whole orchestral style of playing was something that I grasped and took on for myself quite early. But whatever originality and vision that I have now are because I was completely self-taught and didn't ever take a lesson and still don't read music."
From the rockabilly vibes of the new album's "Blind Love" to his acoustic classic "Never Going Back Again" from Fleetwood Mac's Rumours, his marriage of folk and rock 'n' roll is readily apparent. These sounds beautifully coalesced during Buckingham's historic run with Fleetwood Mac. Joining the band in time for 1975's Fleetwood Mac album, Buckingham brought a new life and new sound to an already well-established organization. He also had a little help, demanding his then-girlfriend Stevie Nicks come with him. The band agreed and cemented the future of classic rock.
"Whatever originality and vision that I have now are because I was completely self-taught and didn't ever take a lesson and still don't read music."
If you wonder how a band known for blues-rock heroism was able to evolve so quickly into chart-topping hitmakers, according to Buckingham, it was all about his songwriting chemistry with Nicks. "If you take a song like 'Dreams,' for example, the way she presented it to me was playing it with two fingers on the piano. It's the same two chords over and over," Buckingham explains. "It's a beautiful song, and the vocal placement is brilliant. But it needed architecture around it to set the sections off. That was all done through me holding onto the vision with layered guitar work. Having the architecture fulfill the potential of the song is where a lot of that comes from."
That songwriting chemistry propelled Fleetwood Mac through eight albums and for over 40 years.It also spawned such mega-hits as "Go Your Own Way," "Rhiannon," "Little Lies," and many more. But it was Buckingham's second album with the band that, in many ways, defines his legacy. And not only for the music. That album was 1977's Rumours.
Despite nearly every song being a classic, history remembers it as the ultimate breakup album. Not only were Buckingham and Nicks drifting apart, but bassist John McVie and keys player Christine McVie divorced. And bandleader/drummer Mick Fleetwood was suffering a relationship crisis of his own. Yet Rumours persisted. And thank goodness it did. Those struggles created a rock 'n' roll masterpiece.
Lindsey Buckingham’s Gear
Rocking out with his Rick Turner—a guitar commissioned by Buckingham that's become an inseparable part of his musical personality. "I asked Rick if he would design me a guitar whose sound was a cross between a Les Paul's fullness and the crispness and percussiveness of a Stratocaster," he says.
Photo by Steve Kalinsky
Guitars
- 1964 Fender Stratocaster (studio only)
- Taylor 814ce with Fishman preamp
- Rick Turner Model 1
- Rick Turner Renaissance baritones
- Gibson Chet Atkins CE solidbody classical with MIDI pickup
Strings
- D'Addario XLs (various gauges)
Amps & Cabinets
- Two Mesa/Boogie Dual Rectifiers (electric)
- Trace Elliot TA 200 (synth)
- Fishman Loudbox (synth)
- Two SWR California Blondes (acoustic)
- 2x12 cab with Electro-Voice speakers
- 1x12 cab for acoustic guitar
Effects
- Boss SD-1 Super Overdrive
- Boss DD-3 Digital Delay
- Boss RC-30 Loop Station (live only)
- Roland GR-50 Guitar Synthesizer
As if time is cyclical, 44 years later, Buckingham finds himself in what might be a similar creative and emotional spot as he did back then. He was released from Fleetwood Mac in 2018 under closely kept circumstances. And once again, the split is part of the story behind a great album. "Well, ironically, this new album was done even before all this stuff went down with Fleetwood Mac. It was my intention to put this current album out so that there would be a somewhat smaller-scale project squeezed in and preceding yet another Fleetwood Mac tour," he explains. "But the politics within the band were somewhat prohibitive of my doing that. I was only asking for three months to tour and to do some TV and some press, and but not everyone was comfortable with that."
So once again, the Buckingham/Fleetwood Mac story is one of heartbreak. Today, the band is soldiering on with Mike Campbell (of Tom Petty and the Heartbreakers) filling the guitar spot. But many fans are asking, "Is there a Fleetwood Mac without Lindsey?" Not one to dwell in the past, Buckingham is asking a very different question: "Who is Lindsey without Fleetwood Mac?" Unfortunately, the album that now answers that question had to wait … and wait, and wait.
"It got put on the shelf after all this stuff went down with Fleetwood Mac," says Buckingham. "Then I thought, well, rather than put this new album out right now, let's do the anthology [Solo Anthology: The Best of Lindsey Buckingham]. I did that, and that was very cathartic for me, because I'd always known that I'd done a lot of good solo work. But I hadn't really revisited it and lived with all of that work in quite a long time. It was a more visceral response to everything. That was really a nice feeling to have."
TIDBIT: Onstage, Buckingham and his Rick Turner Model 1 are inseparable, but in the studio this time, he employed a '64 Strat and Taylor 814ce.
Little did Buckingham know that the anthology wasn't the only hold-up coming his way. Invasive heart surgery and the pandemic would also play a role. "Literally right after that, in the very beginning of 2019, I had surgery. We were gearing up to tour and to put this current album out, and I had a multiple bypass operation that kicked it down the road," Buckingham says. "Then COVID hit, and we had to kick it down the road even further."
Although the delays were many, the most captivating thing about Lindsey Buckingham is how timely and relevant the songs are. Every word and every note seem to point to this exact moment in time. From lyrics about disintegrating long-term relationships to father time's effects on us all, it's like 2017 Buckingham already knew where 2021 Buckingham would be.
"The album has been done for over three years. So, it's not like the last three years had any influence on the subject matter or the style," Buckingham points out. "But I think all of the things that happened enriched the subject matter for me. They've come home to roost as much more tangible elements of my life. I think people, in a way, are picking up on that."
"When Fleetwood Mac asked me to join, they actually did try to get me to use a pick. But I was 25 then, and I'd been playing for about 19 years. My style was pretty much written in stone."
Regardless of when it was written, there's no question that the new album is intensely personal. And it's not just the subject matter. Put on a good set of headphones and you'll hear a presence and energy that only Buckingham can deliver. And I mean only Buckingham. Having written, recorded, performed, produced, and mixed almost every song by himself, the album is a beautiful self-portrait of who and where Buckingham is as a guitarist and songwriter today.
But aren't those clearly female vocals on songs like "I Don't Mind"? Nope. Those, too, are reflections of Buckingham's production and arrangement techniques. "I still have the old Neve console that I got in 1986. It's the same console that we cut [Fleetwood Mac's] Tango in the Night on. And I was using an old Sony 48-track reel-to-reel that you can slow the machine down to do a lot of work with your voice. It will then come up to speed, sounding more female or smaller. That's just something I've always loved to do, and I've been using it for years and years."
By taking this truly solo approach, Buckingham had time to sculpt each song to perfection. His 6-string orchestrations of layered guitars perfectly play off each other, as do his famous vocal harmonies.
Rig Rundown - Lindsey Buckingham
"If you are working on an album with Fleetwood Mac, you've got to bring in a more or less completed song to present to them. Then, to get from point A to point B to point C, it's all got to be verbalized. It's a much more conscious set of steps and perhaps even a more political process," Buckingham explains. "When I work alone, I'm in my studio by myself. I'm engineering. I'm also playing everything, so it becomes a bit like painting. You're having this one-on-one with the canvas. The production and the songwriting become much more intertwined. You don't necessarily have to even begin with a concrete idea.
"You're free to explore as you start to put things down, record them, and start to assemble some form to what you're doing. The work itself, or the canvas, if you will, starts to take on its own life. It leads you in directions that you might not otherwise go. And the process of discovery is greatly enhanced if you're someone who values being outside your comfort zone, wanting to take risks, and wanting to discover new things."
Dressed to match his Gibson Les Paul, Buckingham digs into the low strings on tour with Fleetwood Mac in 1975—the year of "Over My Head," "Say You Love Me," and "Rhiannon."
Photo by Laurens Van Houten/Frank White Photo Agency
That process worked. The album is pure ear candy in the best way, while also covering a lot of sonic ground. Songs like the opener "Scream" are classic Buckingham. And the album even offers a few tips of the hat to his old band. "Maybe I'm harkening back to some Fleetwood Mac references to some point. You could maybe connect the dots between the guitar-chiming 'On The Wrong Side' and 'Go Your Own Way.'"
But just when you fall into Buckingham's familiar trance, tracks like "Swan Song" and "Power Down" take an inspired and unexpected turn—full of electronic drum loops, chaotic vocal harmonies, hip-hop-approved guitar parts, and angular solos. "The foundation of both of those is actually the same. I had this multi-track of a drum loop, and it had many different tracks. It's the same drum loop on both songs," Buckingham points out. "So, they are definitely soulmates. They represent the cutting-edge aspect that moves further to the left from that pop sensibility. I thought it was important to have that represented."
Of course, Buckingham's guitar tone and playing permeate every minute of the album, displaying his elegant, high-energy fingerpicking style. "When Fleetwood Mac asked me to join, they actually did try to get me to use a pick. But I was 25 then, and I'd been playing for about 19 years. My style was pretty much written in stone. The fingerpicking just became part and parcel with my own style.
"Eddie Van Halen, for instance. He was a brilliant guitarist. But you could make the case that he's playing over the track and not into the track."
"Even if you go back before the folk influences that I had, Scotty Moore, who was Elvis's original guitar player, used his fingers. There was an orchestral style that he presented on those early records, as well," said Buckingham. "And I was listening to very folk-oriented stuff, like James Taylor and Cat Stevens. Even some rock stuff that had acoustic considerations, like Led Zeppelin. Jimmy Page was a super producer."
Another Buckingham trademark is his immaculate tone. Few others have carved out a signature style with clean sounds. Though not afraid to kick in his trusty Boss SD-1 for leads, it is layers of sparkling cleans that define his guitar's voice. "The cleanliness is helpful if you're trying to approach guitar work in service of a song," says Buckingham. "Eddie Van Halen, for instance. He was a brilliant guitarist. But you could make the case that he's playing over the track and not into the track. If you really want to follow in the footsteps of the Scotty Moores or the Chet Atkinses, who always are in service of making a better record out of a song, then I think cleanliness is helpful."
Axes & Artifacts: Rick Turner Model 1 Lindsey Buckingham Prototype
Another essential of Buckingham's approach to tone is his famed Rick Turner Model 1. "The Turner has been around so long because it was something that I specifically asked Rick Turner to make," states Buckingham. "Before I joined Fleetwood Mac, I'd been using a Stratocaster, which was very well suited to the finger style I had. But when I joined Fleetwood Mac, its sound was thin and a bit too percussive. So, I started using a Les Paul, which is not as well suited for fingerstyle. A few years in, I asked Rick if he would design me a guitar whose sound was a cross between a Les Paul's fullness and the crispness and percussiveness of a Stratocaster. The Model 1 was what he came up with. That really was the ticket and has been my guitar onstage ever since."
When guitarists picture Buckingham, it's typically with one of his Rick Turners. It may come as quite a shock that none of them made it onto the new album. In fact, not a lot of gear did.Instead, he relied on a couple of other trusty guitars, plugged straight in. "I don't use the Turners that much in the studio," he admits. "I tend to use the Strats or acoustics. Sometimes it's even just a Roland synth guitar if I want to get a certain preset sound. And I don't use a lot of amps in the studio. There are no amps at all [chuckles]. I do a lot of direct. So, what you're hearing is either an acoustic direct into the console or a Stratocaster. Those would be the two main go-to guitars for sure."
Buckingham bends a note while Stevie Nicks swirls behind him on a 2014 Fleetwood Mac tour. The guitarist says the band's mega-hits during the mid-'70s were the result of the pair's songwriting chemistry.
Photo by Ken Settle
Even for effects, Buckingham only keeps two trusty Boss pedals close by: an SD-1 Super Overdrive and a DD-3 Digital Delay. "I look around at most guitar players who have 10 or 12 pedals, and I don't know what to do with them. I just stick to the basics [laughs]."
The one outlier to the album's DIY, straight-in ethos is the closing song, "Dancing," which breathes with an ambiance all its own. Even still, those pad-like chords are just Buckingham and his Taylor. "I just used some plate reverbs off of some outboard gear. I can't tell you which actual settings. And I probably used some slap echo." Buckingham notes that engineer Mark Needham added some sonic colors to the track and says, "I'm not exactly sure what Mark put on there. I think he added his own element of atmosphere to it. I just thought the mix was cool, and we went from there."
So, with Lindsey Buckingham out and free of Fleetwood Mac's demands, Buckingham now has solo dates scheduled through the end of this year and into 2022. But with COVID continuing to threaten live music worldwide, Buckingham's taking whatever may come in stride. "The way this Delta variant is going, someone could call me up in a week and say, 'Hey, we're going to cancel it.' But I don't think so. I think we're just going for it at this point."
Big Love (Live At Saban Theatre In Beverly Hills, CA / 2011)
Lindsey Buckingham rips through a version of Fleetwood Mac's hit "Big Love" on a synth-loaded Gibson Chet Atkins acoustic in this gorgeous, often close-up, study of technique and tone.
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After surviving a near-death aortic dissection onstage, Richie Faulkner shredder has endured some health challenges. In this exclusive video, he opens up about how the cardiac event impacted his mental health both on- and offstage.
During Judas Priest's the Louder Than Life 2021 performance at the Louisville-based festival, lead shredder Richie Faulkner suffered an aortic dissection onstage. (It's worth noting, the steadfast professional finished the "Painkiller" solo before ending the set—an amazing feat.) He was rushed to the nearby University of Louisville hospital that saved his life. (Serendipitously, the hospital was only a few miles from the festival grounds.)
Faulkner fully recovered from the near-death experience but has endured other health setback stemming from the aortic dissection resulting in several issues including his right-hand coordination and strength. He's powered through the last 3+ years of performances and only now is open to talking about the difficulties he has playing the technical rhythm parts and how that's impacted his mental health both on- and offstage with the massive metal band.
Seven previously-unheard Bruce Springsteen records will be released for the first time this summer with “Tracks II: The Lost Albums,” coming June 27.
A set spanning 83 songs, "The Lost Albums" fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist. “'The Lost Albums' were full records, some of them even to the point of being mixed and not released,” said Springsteen. “I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”
From the lo-fi exploration of “LA Garage Sessions ’83” — serving as a crucial link between “Nebraska” and “Born in the U.S.A.” — to the drum loop and synthesizer sounds of “Streets of Philadelphia Sessions,” “The Lost Albums” offer unprecedented context into 35 prolific years (1983-2018) of Springsteen’s songwriting and home recording. “The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions,” Springsteen explained. Throughout the set, that sonic experimentation takes the form of film soundtrack work (for a movie that was never made) on “Faithless,” country combos with pedal steel on “Somewhere North of Nashville,” richly-woven border tales on “Inyo” and orchestra-driven, mid-century noir on “Twilight Hours.” Alongside the announcement of “The Lost Albums,” a first look at the collection also arrives today with “Rain In The River” — which comes from the lost album “Perfect World,” and encapsulates that project’s arena-ready E Street flavor.
“The Lost Albums”will arrive in limited-edition nine LP, seven CD and digital formats — including distinctive packaging for each previously-unreleased record, with a 100-page cloth-bound, hardcover book featuring rare archival photos, liner notes on each lost album from essayist Erik Flannigan and a personal introduction on the project from Springsteen himself. A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD. “The Lost Albums” were compiled by Springsteen with producer Ron Aniello, engineer Rob Lebret and supervising producer Jon Landau at Thrill Hill Recording in New Jersey.
For more information, please visit brucespringsteen.net.
Tracks II: The Lost Albums
LA Garage Sessions ’83
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)
Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party
Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)
Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville
Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House
Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun
Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World
Bruce Springsteen - Tracks II: The Lost Albums Trailer - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.The guitarist-of-all-trades runs us through his formidable live rig.
Rhett Schull’s a busy guy. Between being one of the most prolific YouTubers in the guitar sphere, working as a trusted hired gun, and creating his own original music, including last year’s EP The Early Days, he’s an avid cyclist. Just a week before we met up with Rhett at Eastside Bowl in Madison, Tennessee, for this Rig Rundown, he was slated to ride a 100-mile race in Stillwater, Oklahoma. Those plans were dashed when 70-mile-an-hour winds stoked a wildfire near town and burned just over 26,000 acres. But the show must go on: The next night, Schull played a gig in town, a special release for people reeling from a brutal natural disaster.
Schull’s a certified gear aficionado and tone wizard, so PG’s Chris Kies headed to Eastside Bowl to have him walk us through his current live rig. Check out the Rundown here, and stay tuned; Schull’s got more music coming later this year.
Brought to you by D’Addario.
Special Serus
Schull’s wife pointed out this Novo Serus J hanging on the wall of a guitar shop back in 2017, and it was love at first strum. Made from tempered pine and loaded with Amalfitano P-90 pickups, plus sporting an unmissable pink sparkle polyurethane finish, it’s a real looker, and one of Schull’s favorite guitars.
Third Man Thumper
After Schull did a video on the Fender Jack White Pano Verb amplifier, Fender sent him a Jack White Triplecaster Telecaster, part of his signature series of gear with Fender launched last year. Schull calls it one of the most versatile guitars he owns, with each of the three pickup options virtually splitting it into three separate guitars.
Firebird-Watching
This beauty from Gibson’s Custom Shop came to Schull following NAMM in 2020. On tour, he needs something with humbuckers and something with single-coils. Then, he thinks of what’s exciting him. These days, it’s this Firebird V, which doesn’t have a typical Firebird tone, but cuts closer to something like a Telecaster at times.
Rockin' Two With a Two-Rock
Schull runs two amps onstage, but he doesn’t run them in stereo; he believes the stereo image doesn’t translate as well in a live situation where listeners are spread across the speaker system’s field. With this Two-Rock Classic Reverb Signature and an AC15-ish David Edwards Apollo, Schull gets a “broadband” sound set for big, fat clean tones, like one giant amp on the edge of breakup.
Fun fact: Edwards surprised Schull with the Apollo when Rhett went to Florida to work on some videos.
Rhett Schull's Pedalboard
Schull’s 2024 EP is very effects-heavy, so he commissioned the pedalboard-whisperers at XAct Tone Solutions to build him this double-decker station based around an RJM Mastermind PBC/6X switcher. Some of the stomps, like the Chase Bliss Mood, are activated by MIDI, and all the different sounds from each song—from intro to chorus to bridge to finish—is set up in the RJM. If Rhett wants to go off script, he can hit the function button, which lets him engage pedals on a one-by-one basis. A Line 6 HX One is a “wildcard” pedal in this rig, filling in gaps as needed.
In addition to those machines, the rig includes a Chase Bliss Dark World, GFI System Synesthesia, Hologram Electronics Chroma Console, Boss Space Echo RE-202, GFI System Duophony (which mixes the Dark World and Synesthesia), Chase Bliss Automatone Preamp MkII (used for boost, EQ, fuzz, or overdrive depending on the song), Old Blood Noise Endeavors Beam Splitter, Source Audio ZIO, Memory Lane Electronics Tone Bender clone, and a Mythos Argonaut. A mysterious Japan-made Noel dirt pedal, finished in striking red and gifted to Shull by JHS Pedals’ Josh Scott, rounds out the collection. Utility boxes include a TC Electronic PolyTune3 Noir, Lehle Little Dual, a pair of Strymon Ojai power supplies, and a bigger Strymon Zuma supply.
Sterling by Music Man introduces the Joe Dart Artist Series Collection, featuring the Dart I, II, and III basses.
The original Dart I features the Sterling-shaped body with a single humbucker and volume knob. The Dart II, featuring the beloved Ernie Ball Music Man Caprice body, swaps the humbucker fortwo single-coil pickups, each with its own volume knob for precise, hum-free control. Completing the trilogy, the Dart III is a short-scale StingRay bass with a split single-coil pickup and single volume knob.
A blank canvas, the bass collection embodies the no-frills philosophy of the original Ernie BallMusic Man design—everything you need and nothing you don’t. All three basses are equipped with passive electronics, Ernie Ball flatwound strings, and are available in Natural or Black finishes. No tone knobs here.
“Jack Stratton and I are thrilled to team up once again with Sterling by Music Man to build affordable versions of the three best basses I've ever held in my hands. The JoeDart I, II, and III represent three different sounds and feels, three different eras of bass,and three different shades of my own work as a bassist,” said Dart. “The feel of these instruments is incredible, and the quality would be remarkable at any price point.”
This is a special “Timed Edition” release, only available for pre-order on the Sterling by MusicMan website for two months. Each bass is made to order, with the window closing on May 31st and shipping starting in September. The back of the headstock will be marked with a “2025Crop” stamp to commemorate the harvest year for this special, one-of-a-kind release. A gig bag will be included with each purchase.
All basses are priced at $499.00
For more information, please visit sterlingbymusicman.com.