
The punch-packing duo digs into the wide-ranging influences, weird alchemy, and haunted guitars on their fifth album together, Ash & Ice.
Kicking back in the mood-lit, mod-plush lobby of the Bowery Hotel in New York Cityās East Village, Jamie Hince is still riding a wave of adrenaline from last nightās sold-out show across the river in Brooklyn. āIāve had such a nice time in New York,ā he raves. āEveryone came back up to the dressing room after the show, and it was my perfect little environmentāall my friends there, and Iām just DJāing, and everyone was dancing. The whole room was packed and dancing to reggae, and it was so lovely. I met Lydia Lunch, and it was like, wow, my God!ā
Alison Mosshart, sprawled a bit sleepily in the highback chair across from Hince, perks up at the mention of the genre-busting poet and singer, once dubbed āthe angriest punk of the ā70sā by the local paper of record. āShe was rad,ā Mosshart exclaims reverently. āI met her on the stairs backstage and she was so ā¦ cool.ā
Given their rapid embrace by a plethora of scenesāfashion, art, tech-disruptive and indie undergroundāthe Kills have made their own case for embodying a rather significant modicum of edgy cool themselves. But theyāre not making music just to be invited to all the hip partiesāfar from it. Starting in 2002 with their aggressively lo-fi Black Rooster EP, Hince and Mosshart (whose stage names are āHotelā and āVV,ā respectively) threw down the gauntlet with a statement that bands like the White Stripes, Royal Trux, and the Velvet Underground had also hinted at, each in their own way: for every dark, abrasive, and menacing seam you can peel back to make a record, thereās an equal and opposite source of warmth, light, and redemption waiting in the wings.
That duality is a phenomenon that Hince and Mosshart have coaxed and nurtured to the hilt in their own songwriting, and itās finally reaching an apex on Ash & Ice (Domino). Over the years, rock crits have insistently categorized their sound as āscuzz-rock,ā but most of that flies out the window with the sparse but precisely layered garage sound of āDoing It to Death,ā the hyped-up acid-techno blues of āHard Habit to Break,ā the sidewinding trance-rock excursion of āSiberian Nights,ā or the louche grit-meets-gospel shimmer of āHum for Your Buzz.ā Put simply, whether itās unvarnished punk or pure rock ānā roll, youāll find plenty of influences swirling around in the mix on Ash & Ice, all of them pitched seamlessly into a light-and-dark battle for the soul of the band. It makes for a delicious and wild ride.
āWe are kind of opposite in a lot of ways, but so perfectly opposite that it fits together,ā Hince explains, while Mosshart blushes and laughs softly. āI was thinking about this the other day, how Alison is so chaotic in her songwriting. Sheās so disciplined in her life, so regimented and routine, and Iām the opposite. In my creating, Iāve got to absolutely work it out, but my life has no discipline. So I think thatās where I absorb all the chaos and the whirlwind in my life, and then try and compartmentalize it in songs. She does it the other way āround. Her songwriting is where she goes bananas.ā
Mosshart also points out that their geographical separationāsheās based in Nashville, Hince in Londonāleads to its own bit of drama when they eventually reunite to record a new album. āWe do tend to write everywhere,ā she says. āThen I come with all these songs that I wrote on my Martin acoustics, and Jamieās just like, āWhat the fuck am I gonna do with that?ā Trying to go at it from the other side, you know, weāre always starting at opposites, but thereās this very interesting moment when stuff starts to click. You donāt know when itās coming, but things just start to come together. For a long time, they donāt feel like theyāre going to.ā
Thereās also an inevitable hiatus between albums; Mosshart fronts the Dead Weather with Jack White, and is molding a second career as an established painter, while Hince remixes other artists (most recently U.K. art-rockers the Big Pink), pursues photography, and is constantly retooling his studio sound. But this time out, shortly after winding down the tour for 2011ās heatseeker hit Blood Pressures, theyād already started work on the new album when Hince slammed his left hand in a car door. Five surgeries later, heād lost the use of his middle finger. It meant completely relearning how to play the guitar.
āI was never the most orthodox player in the first place, which sort of helped me,ā Hince says. And in fact, none of the guitars he favorsāamong them a ā66 Gretsch Silver Duke, a Supro Ozark, and a vintage Gibson L-1 acoustic he insists is haunted (more on that later)āare fretted to be all that forgiving, but that didnāt deter him from adjusting to his injury. āIāve always been a believer that your ideas are more important than your ability. So in that way, although Iāve lost the use of a finger, itās just made me adapt my ideas rather than hinder my ability, if that makes any sense. I mean, my hand is fucking painful. Every now and again Iāll pick something up, and Iāll get a shooting pain down it, and if I rub it, Iāve got lumps and scar tissueābut now Iām just trying to make you feel sorry for me [laughs]. Itās actually really easy playing guitar with a finger missing!ā
Alison Mosshart plays her 1967 Gretsch Corvette at Atlantaās 2016 Shaky Knees Festival in May 2016. Her No. 1 is outfitted with stars she applied when she dressed up for Halloween as the night sky and wanted her guitar to match. Photo by Chris Kies
Co-produced by Hince and John OāMahony, Ash & Ice was recorded at a house in L.A. that was ingeniously outfitted with a mobile studio built by the bandās longtime engineer and friend Bill Skibbe, and then mixed by Tom Elmhirst almost in its entirety at Electric Lady Studios in New York (three tracks were mixed by Tchad Blake in Wales). Hince and Mosshart are clearly energized by the resultsāa white-hot slab of groovy, bluesy rock that remakes the band in a fiery and exuberant new image, with a thick guitar sound that recalls such hard-rocking heroes as PJ Harvey, the Velvet Underground, the Nation of Ulysses, and many more. And with bassist/keyboardist Scott Paterson and drummer Jonny Scott rounding out their sound on the road, the Kills are barnstorming American cities with a live show thatās blowing the roof off every room they play. Now thatās chaos they can live with.
Once [engineer] Bill Skibbe had set up the mobile recording studio in L.A., did you jump right into making the album?
Alison Mosshart: Well, there was still some writing to do. We started out with what we always doāwe made up a board, and there was just a ton of songs on it, like 30 or 40. These were the combination of all the things weād been working on, but none of them were done. They were just these skeletons or lyrics or melodies, and we started going through them, because part of it is about getting rid of stuff so you can focus on what youāre trying to finish. But we wrote a ton. I mean, we kept writing the whole time.
Jamie Hince: One of the hardest things is to get everyone to agreeāeveryone being me and Alison, and Bill to some extentāthat thereās an album there, and that itās ready. Iām always the bringer of bad news, because I never think it is. Part of it is my problem, of never being able to see that something is finished. But part of it is I want to just keep pushing the standard a bit. So it was a difficult way to start a record, because I think everyone was a bit deflated when they thought I was winding them up, being like, āWeāve got more writing to do.ā I mean, at least for Alison, itās like, āHow much more writing? Iāve written a hundred songs!ā
Mosshart: And if Iām lucky, Iāll keep writing! You know whatāI mean, we were still writing in Electric Lady. We got there and we were in this tiny little B studio for a week, just to write. We wrote āBlack Tarā in a day there, and we wrote āLet It Dropā on the last day of recording. So the writing part never stops, really. Recording is easy.
Hince has a large collection of Hofner 176 guitars, but his newest white 176 model shown here is fast becoming his No. 1 live guitar. The secret weapon of his tone is the three single-coil āsharkfinā or ābladeā pickups he puts into
every Hofner he can find. Photo by Chris Kies
Alison youāve said you write on an acoustic guitar. Whatās your main one?
Mosshart: There are a coupleātheyāre both Martin 00s. Then I have this Gibson that I love, which is a little baby B-25. I use that a lot. It feels like a normal-size guitar to me, even though itās three-quarter scale. You walk up to it and it seems like it shrinks as you get closer to it [laughs]. Itās an awesome guitar, but I wrote on the Martins for this album. Theyāre old and they have a sound to them. I always write on acoustic because I feel like Iām really in touch with it.
I never really got into writing on electric guitar. Sometimes I have, but you knowāitās loud, and itās not secret. I mean, itās like the greatest thing ever onstage, but if I used it to write, Iād end up using the crazy noise instead of actually finding the real notes and a melody and nailing it down. Iām not the greatest guitar player of all time, so itās better for me to work on an acoustic because I can control it and hear it. And I can write so fast on it. The melodies come so quickly, just because itās all very focused as itās happening.
in touch with it.ā āAlison Mosshart
You whipped out a Gretsch to play āHeart Is a Beating Drumā [from Blood Pressures] last night.
Mosshart: Thatās a [1967] Gretsch Corvette. Iāve had it for a while. I have a couple of those. I love them because they have a super-skinny neck and they donāt weigh anything. Having a guitar really ties me down if I canāt carry it and jump around, too, so I always seek them out. I used to play a Hagstrom [Kent PB-24-G], which was pretty much the same. It was super-light and so nice. Iāve played the Bo Diddley Gretsch, but that was too heavy. Thatās an odd guitar to play too, because it sits on your body really strangely. But I love those Corvettesātheyāre great. He has a white Gretschāthe Silver Duke.
Jamie you also played a small-body Supro toward the end of the show.
Hince: Yeah, thatās the Ozark. I saw it in a shop online, and I just kept going back to it. Itās almost embarrassing because itās kind of a stupid-looking guitar [laughs], but itās the first time that I really had this feeling that I could see that the guitar sounded good. I could see it! I said to Bill Skibbe, āIām really into this guitar, and I know youāre gonna laugh.ā
Hince's Supro Ozark inspired the Kills' new song "Siberian Nights."
Tell me about how āSiberian Nightsā came together. I know thereās a story behind it.
Hince: Well, I rode on the Trans-Siberian Express, and I think it was Celine or Flaubert who said, āYou have to drink an ocean to piss a cupful,ā meaning you have to write a lot of stuff before you get to something useful. So I wrote loads of stuff. It wasnāt like songs or lyrics, because I never really want to restrict myself like that. I just wrote a fantasy story about Vladimir Putin. I wanted to cast him in this homoerotic environment, almost like a surreal thing where his masculinity is his downfall. Itās almost like the narcissism is so extreme that heās just had enough of being that barking manly. He just wants to take his shirt off with another man and just have a little cuddle, and then they can go back to beingāokay, I know. This is what being on the Trans-Siberian Express and not speaking English for two weeks does to you [laughs]. But I started putting this story together, and then I chipped away at it and made it into a song. It was originally called āMe Tarzan, KGB.ā
Mosshart: [Cracking up.]
When a song like that comes together for you, are there different ways it can happenālike on a guitar, or with a beat?
Hince: Yeah, it happens every way, but Iāve honed it down a little. On this album, Iād have a song where Iād do all the music on my ā68 Neve board. Iād program things and thereād be this really full, realized music in my head. But then when it came to vocal melodies, Iād write those on my acoustic guitar for the same song. It was a weird, convoluted way of doing it, but I didn't want to get obsessed with the song, and I didn't want to get obsessed with the sound. I wanted to separate them until the last minute. Does that make sense?
Both halves of the Kills keep busy. Mosshart is a painter and fronts the Dead Weather with Jack White, while Hince dabbles in photography, DJāing, and remixing other artists. āI wanted [Ash & Ice] to be a Kills soul record, with a dub production sound to it,ā he says. Photo by Chris Kies
Absolutely. And thatās really interesting about the vocal melodies. What do you play to go digging for those?
Hince: Well, itās a guitar I call the Black Devil. Itās a 1921 Gibson L-1 parlor guitar. Iām in love with it. Someone once saidāwe were talking about religion, and Iām a devout atheist, and someone asked me, āDo you believe in ghosts?ā I said, āYeah.ā And they were like, āThat doesnāt make sense.ā I couldnāt make sense of it, either, but I picked up my Black Devil, and that thing has just given up so many songs to me. Itās not the best-sounding guitar, and itās really painful to playāitās got a really thick neck with high actionābut every time I pick it up, it gives up a crazy song. And I just thought, āThatās why I believe in ghosts.ā Thereās something in that vibration that remains in the world, even though itās dead and gone, and thatās how I feel about that guitar. I can pick up another guitar and not get anywhere with it, but I pick up that thingāitās making the hairs on my arms stand up even now.
After slamming his hand in a car door, Jamie Hince had five surgeries and a tendon replacement in 2013, forcing him to relearn how to play the guitar without the use of his left middle finger. Photo by Chris Kies
Does that happen for you, with your Martin acoustics?
Mosshart: Oh yeah. Thereās always that honeymoon period when you first get a new guitar, where you write a fucking ton of songs. I mean, Iāve written everything that Iāve done on the last two records on those guitars, so I owe a lot to them. They definitely suit me. Theyāre little, they feel good, and they sound amazing.
You have a lot of influences running through this albumāa little bit of everything compared to your older records. Can you take me through āDoing It to Death,ā for example?
Hince: I remember hearing a story about the Sex Pistols and one of their songs, āSubmissionā maybe, and how they wrote it AāBāCāDāE, because they were just cocky. They just did it like that! And in a way, thatās the drumbeat from āDoing It to Death.ā I wanted to write it so that every bar added a bass drum. The first one had one, the second had two, then three, and then four. I was reading a lot about the mathematics of music, and it sounded really good when I programmed it.
āJamie Hince
And then the melody, I donāt know where that riff came from. I suppose itās a little bit classical, isn't it? I do know absolutely for sure that the first parts came from listening to Vybz Kartel, this Jamaican dancehall with crazy delivery. Iād rewind bits of the verses because I just couldn't understand the beauty of the delivery. I couldn't work out how they were doing it. It was like the bass drum started on one bar, and the phrasing of the vocal melody seemed to start halfway through it. It was just fucking genius. So I sort of broke this thing down mathematically, and then rebuilt it in āDoing It to Death.ā
You also have soul and gospel influences on here.
Hince: I wanted that, because when youāre programming drums, itās difficult not to sound like a machine, you know? And I heard us back a couple of times, and I didn't think it had soul in it like I wanted it to. So there are a lot more drum samples on thereāāImpossible Tracksā has an old gospel demo from a church band [Mighty Voices of Wonder], using the drums from that. So we were just trying to inject some soul into it. I wanted it to be a Kills soul record, with a dub production sound to it.
Jamie Hinceās Gear
GuitarsHofner 176 (various models)
1966 Gretsch Silver Duke
Supro Ozark 1560S
1921 Gibson L-1 acoustic
Amps
Divided by 13 FTR 37
Selmer Zodiac
Various Selmer heads
1950s Magnatone 280
Divided by 13 cabinets
Effects
Electro-Harmonix POG (two first-generation models)
Boss DD-3 Digital Delay
Fulltone Supa-Trem ST-1
Radial BigShot ABY True Bypass Switcher
Boss TU-3 Chromatic Tuner
The GigRig HumDinger, EvenFlo adapter, and Distributor
Strings and Picks
DāAddario EXP140 (.012ā.052)
Alison Mosshartās Gear
Guitars1967 Gretsch Corvette
Martin 00 acoustics (two)
Gibson B-25 acoustic
Amps
Divided by 13 RSA 31
Vox cabinet (vintage, originally matched with Vox AC50 head)
Effects
Boss VE-20 Vocal Performer
Electro-Harmonix POG (first generation)
Boss TU-3 Chromatic Tuner
āHum for Your Buzzā is another one that fits into that gospel mold, but itās really stripped down.
Hince: I was blown away when Alison brought that song to me, because it was like, āYouāve just written a song that is so old, it shouldāve always been aroundāand youāve written it now.ā All I did on guitar was just play along with her vocal line. There was just nothing else to add to it, really. We didnāt do anything to that song. I just played guitar parts to go with the vocal. We tried it a few times with drums, and every time it seemed to make the song weaker. And I love that, when youāve got a song that the more you add to it, the worse it sounds. You just know that this is how itās got to beājust nothing.
Mosshart: It didnāt even need a verse. It didnāt need anything else. But that was one of those songs that just drops out of the sky. I remember where I was sitting when I did it. I had my headphones on, and my acoustic guitar, and just started singing it and playing it. Itās amazing what happens if you just let yourself not think, and open your mouth and start singing or playing, and you feed off that energy. Suddenly before you know it, you have a song and itās like a giftāyou donāt know where it came from. And you know, I wrote it without having a doubt that weād record it. But as itās coming through, itās impossible to think about, because it doesnāt happen very often. That was one of those magic ones that just kind of wrote itself in a few seconds. And then I was like, āJamie, youāve gotta listen to thisāthis is crazy!ā Itās almost as though I have nothing to do with it.
Hince: Thatās one thing I always think is important for us, at least at the beginning of making an album, where youāre allowed to have your time just to create something without having to go through a consensus, you know? You might as well just let your idea fly the way you want it. The thing this time that was so weird was how different our songs wereāunlike before, because weād been vaguely in the same place writing, you kind of catch ideas and catch what each other is doing. But I was mostly writing in London, and Alison was mostly writing in Nashville, so what I noticed when we brought our songs together was how different they were. And it really irritated me.
Mosshart: It always irritates you [laughs].
Hince: It really did, but itās a process of having a bit of a tantrum about it, because in the end, what itās really proved to me is that trying to make something out of these two crazy opposite things is the sound of our band. Thatās the sound. All you know is that no matter how hard and impossible it looks at the start, it always seems to work by the end.YouTube It
Jamie Hinceās funky 1966 Gretsch Silver Duke comes out for a rousing live studio performance of āHeart of a Dogā on BBC Radio 6 Music. On this track, Hince tunes his Duke to C#āG#āC#āF#āA#āD#.
Hereās Hince strumming the guitar he calls the Black Devilāa vintage (c. 1921) Gibson L-1. Mosshart grabs one of her Martin acoustics for some percussive accompaniment on āHeart Is a Beating Drum.ā
Jamie Hinceās funky Supro Ozark comes out for a rousing encore of āSiberian Nights.ā
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashvilleās Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, Iām going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computerās file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Abletonās built-in browser (on the left-hand side). Navigate to the sampleās location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your projectās tempo.
Organize your samples into collections using the āAdd Folderā option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sampleās location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select āImport Audioā to locate and add your sample.
Tips: Use LUNAās built-in varispeed capabilities to match your sample to the sessionās tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or āFā key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logicās flex time feature to sync samples to your projectās tempo. Organize samples into Logicās library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click āConvertā or āAddā to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio Oneās browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the āStretch Audio Files to Song Tempoā option in the browser for automatic tempo synchronization. Create sample folders within Studio Oneās browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last monthās installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sampleās tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, weāre off to āconsoleā land and Iāll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more āstudioā sound. Until then, blessings and namaste.
Black Sabbath to Reunite for First Time in 20 YearsāOzzy Osbourneās Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: āWhile other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.
The shredder and son of legendary artist Frank Zappa gives a tour of his up-to-date gear, including a complex stereo switching system, four racks of pedals, and some of his fatherās favorite guitars.
Dweezil Zappa was always going to end up being an incredible guitarist. His dad, Frank Zappa, is celebrated as one of the most talented and creative guitarists in history, and by age 12, Dweezil was recording music produced by Eddie Van Halen. (Little surprise that heās covering Van Halenās 1981 stunner āPush Comes to Shoveā lately.) Heās been a bona fide guitar star ever since, releasing seven original solo records, six tribute records, two LPs with his brother Ahmet Zappa, and guesting on recordings across the music universe.
Ahead of his gig at Memphisā Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappaās Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PGās John Bohlinger a boot-to-bonnet look at his current road setup. Thereās a lot of ground to cover between his and his fatherās catalogues, and Dweezil loves the challenge, which he meets with a mix of his own gear and some special vintage assists courtesy of his dad.
Brought to you by DāAddario.Shut Up ān Play Yer Les Paul
This coveted GibsonĀ Les Paul Custom, featured on the cover of Frankās 1981 record Shut Up ān Play Yer Guitar, came out on the road this tour. Dweezil says that around 1986, his dad swapped in Dan Armstrong-made ceramic pickups. At one point, Frank installed a second input to try to use the guitar as a synth controller, but it didnāt track well enough to continue the experiment.
Along with the standard controls, the guitar includes switches to turn on different parts of the onboard preamp, which boosts the signal and adds plenty of gain. A rotary knob controls a wired-in parametric EQ set up to emulate different settings along the sweep of a wah pedal. Dweezil didnāt get much of the lowdown from his father on the complex operations; it was more trial-and-error. āYou just have to turn knobs until you find something that you like,ā he says. He connects to his rig with ZZYZX SnapJack magnetic cable connectors.
Rockin' with Roxy
Also out on the Rox(postroph)y tour is Frankās iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, itās got a preamp circuit to boost the signal, a sweepable EQ, and can achieve acoustic, piezo-adjacent sounds. The preamp configuration in this one is red-hot; it dishes out tons of gain.
Signature Shabat
For Strat-style tones, Dweezil calls on his signature Shabat Lynx DZ, which has been used to dial in his cover of āPush Comes to Shove.ā Per Shabat, it has a ābody-mounted HSS configuration with a push/pull phase shift on the middle pickup, simplified single-knob layout, custom-cut 3-ply parchment/gold pickguard, and ā¦ a Vega-Trem VT1 tremolo."
The Lynx DZ is constructed with an alder body and a quartersawn hard maple, medium-C-profile neck with a 25.5" scale length. Itās loaded with Lollar Special S and Lollar El Rayo pickups, and the middle Special S is wired for phase shift. The Lynx, as well as the SG and Les Paul, are strung with Optima Gold-Plated 2028 FZ Frank Zappa strings (.008ā.046), and struck with DāAddario .50 mm celluloid picks. (Dweezil likes them for pick slides.)
On the Ground
Zappa keeps a significant board at his feet, which he controls with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each side in front of him, plus a wah and expression pedal.
The row of pedals perched atop the pedalboard includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing āNanook Rubs Itā), and a 29 Pedals FLWR.
In the Rack
On our 2013 Rig Rundown, Dweezil was using the Fractal Axe-Fx II, and this time around, heās upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a āClown Vomitā fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Wrapping up the rig is the bottom rack, which again runs to both sides. It carries most of Zappaās exquisite dirt sounds, thanks to a Union Tube and Transistor Tsar Bomba, Chase Bliss Automatone Preamp MKII, Goochfx Dirty Hippie, Tru-Fi Two Face, Foxrox Electronics Paradox TZF2, and a Paul Trombetta Design Rotobone that ā¦ somewhat reasonably apes a trombone sound. Paul Trombetta, we salute you.
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.
āThe new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,ā said Kepma USA president Tony Moscal. āWith their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instrumentsāall at an entry-level price.ā
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 youāre 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 Fenixā¢ Series offers four configurations to suit every playerās 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 playerās 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 AcoustiFexĀ® 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. Kepmaās 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: Kepmaās 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 Kepmaās 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 youāre 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 Ā¾ 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 youāre 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.