New models include the Postmodern series, 1959 Journeyman Relic Precision Bass, American Custom series, and more.
Scottsdale, AZ (January 22, 2015) -- The Fender Custom Shop is proud to announce the 2015 Collection for the 2015 NAMM Show.
2015 Limited Edition Tele Caballo Tono (Tone Horse Tele)
The 2015 Limited Edition Tele Caballo Tono presents a fresh take on Fenderās original workhorse tone machine. Its name translates to āTone Horse Tele,ā and there is indeed a great deal of horsepower here, courtesy of a TV Jones Classic neck pickup, a hand-wound Texas Tele bridge pickup and a Greasebucket⢠tone circuit, which rolls off highs without reducing gain. Itās a dark horse too, with a Black lacquer finish on its lightweight alder body and the aged-and-worn Relic treatment to impart the look of authentic wear and tear.
Other premium features include a quartersawn AAA flame maple neck with a highly worn heavy-Relic treatment, 9.5ā-radius maple fingerboard with 21 narrow jumbo frets, distinctive Cabronita pickguard and reverse control plate (pickup switch placed behind control knobs), rock-solid Custom Shop RSD bridge, Sperzel tuning machines with pearl buttons, and Schaller strap locks. Black LTD case included.
2015 Limited Edition 1955 Stratocaster
The 2015 Limited Edition 1955 Stratocaster takes you straight back to the instrumentās original era, with a lightweight ash body in Dirty White Blonde or Two-Color Sunburst lacquer Relic finishes that evoke years of hard-fought wear and tear. The sparkling trio of hand-wound ā55 single-coil Stratocaster pickups is mounted on a single-ply eight-hole white pickguard, with five-way switching for modern tonal versatility.
Other premium features include a quartersawn maple neck with highly worn Heavy Relic treatment on the back, 9.5ā-radius maple fingerboard with 21 narrow jumbo frets, rock-solid American Vintage synchronized tremolo bridge, American Vintage tuning machines and a Custom Shop Limited Edition neck plate. Includes blonde LTD case containing a 1955 Fender Downbeat catalog insert reproduction.
2015 Limited Edition 1955 Esquire
The 2015 Limited Edition 1955 Esquire is a peerlessly crafted take on the single-pickup classic that preceded even the Telecaster in Fender history. Everything about the instrument takes you back to that original era, with a lightweight ash body in Dirty White Blonde or Two-Color Sunburst lacquer Relic body finishes that evoke long years of wear and tear. Authentic Esquire snap comes from its hand-wound ā55 Telecaster single-coil bridge pickup with staggered/beveled polepieces, and, in a special touch, the guitar comes with a neck pickup conversion kit containing a ā55 Telecaster single-coil neck pickup, pickguard and control assembly should you prefer dual-pickup tone and performance.
Other premium features include a quartersawn maple neck with āsoft Vā profile and highly worn Heavy Relic treatment on the back, 9.5ā-radius maple fingerboard with 21 narrow jumbo frets, three-way tone/pickup switch with black ātop hatā tip, single-ply five-hole white pickguard, ā55 Telecaster bridge with ¼ā steel saddles, American Vintage tuning machines and a Custom Shop Limited Edition neck plate. Includes blonde LTD case containing a 1955 Fender Downbeat catalog insert reproduction.
2015 Limited Edition 1955 Precision Bass
The 2015 Limited Edition 1955 Precision Bass gives you a magnificently crafted original-era version of the bass that started it all. Its lightweight ash body is sculpted with comfortable body and forearm contours, and comes in Dirty White Blonde or Two-Color Sunburst lacquer Relic body finishes that evoke the wear and aging of decades of frequent use (and occasional abuse). Its muscular blunt-force tone comes from a hand-wound ā55 Precision Bass single-coil pickup with a classic chrome cover.
Other premium features include a quartersawn maple neck with a highly worn Heavy Relic treatment on the back, 7.25ā-radius maple fingerboard with 20 vintage-style frets, single-ply seven-hole white pickguard, authentic reproduction bridge with chrome cover, American Vintage tuning machines and Custom Shop Limited Edition neck plate. Includes blonde LTD case containing a 1955 Fender Downbeat catalog insert reproduction.
2015 American Custom Telecaster
The Fender Custom Shop 2015 American Custom Telecaster takes a double-bound early-ā60s classic and decks it out with knockout appointments that make it a dazzling performer. The two-piece lightweight alder body comes in Three-Color Sunburst, Black and Faded Lake Placid Blue finishes with parchment top and back body binding and an NOS treatment that evokes the look of a brand-new instrument in its original model year. Scorching Telecaster snap comes from a pair of hand-wired Twisted Tele single-coil pickups and Fenderās Greasebucket tone circuit, which rolls off highs without reducing gain.
Other premium features include an AAA flame maple neck with ālarge Cā profile, fast compound-radius (9.5ā-12ā) maple or dark rosewood āslabā fingerboard with bone nut and 22 narrow jumbo frets, three-way pickup switch with black ātop hatā tip, three-ply eight-hole parchment pickguard, custom deluxe Telecaster bridge, and Elite chrome tuners with pearl buttons. Includes black textured vinyl hard-shell case.
2015 American Custom Telecaster FM
The Fender Custom Shop 2015 American Custom Telecaster FM takes a double-bound early-ā60s classic and decks it out with knockout appointments that make it a dazzling performer. The two-piece lightweight ash body has a gorgeous two-piece book-matched AAA flame maple top, with parchment top and back body binding. The guitar comes in elegant Violin Burst or Honey Burst finishes with an NOS treatment that evokes the look of a brand-new instrument in its original model year. Scorching Telecaster snap comes from a pair of hand-wired Twisted Tele single-coil pickups and Fenderās Greasebucket tone circuit, which rolls off highs without reducing gain.
Other premium features include an AAA flame maple neck with ālarge Cā profile, fast compound-radius (9.5ā-12ā) maple or dark rosewood āslabā fingerboard with bone nut and 22 narrow jumbo frets, three-way pickup switch with black ātop hatā tip, three-ply eight-hole parchment pickguard, custom deluxe Telecaster bridge, and Elite chrome tuners with pearl buttons. Includes black textured vinyl hard-shell case.
2015 American Custom Stratocaster
The Fender Custom Shop 2015 American Custom Stratocaster takes the quintessential Fender electric guitar and decks it out with knockout appointments that make it a dazzling performer. The two-piece lightweight alder body is sculpted with deep ā57-style contours for remarkable playing comfort, and comes in Two-Color Sunburst, Black and Shoreline Gold finishes with an NOS treatment that evokes the look of a brand-new instrument in its original model year. Singing Strat sparkle comes from hand-wired ā69 Stratocaster single-coil neck and middle pickups (middle pickup is reverse wound/reverse polarity) and a hand-wired Texas Special single-coil bridge pickup.
Other premium features include an AAA flame maple neck with ālarge Cā profile and ā57-style small headstock; fast compound-radius (9.5ā-12ā) maple or dark rosewood āslabā fingerboard with rolled edges, bone nut and 22 narrow jumbo frets; five-way pickup switch; three-ply 11-hole parchment pickguard with countersunk pickup- and switch-mounting holes; vintage white control knobs and switch tip; custom deluxe tremolo bridge; and Elite chrome tuners with pearl buttons. Includes black textured vinyl hard-shell case.
2015 American Custom Stratocaster FM
The Fender Custom Shop 2015 American Custom Stratocaster FM takes the quintessential Fender electric guitar and decks it out with knockout appointments that make it a dazzling performer. The two-piece lightweight ash body is sculpted with deep ā57-style contours for remarkable playing comfort, with a gorgeous two-piece book-matched AAA flame maple top. The guitar comes in Violin Burst and Honey Burst finishes with an NOS treatment that evokes the look of a brand-new instrument in its original model year. Singing Strat sparkle comes from hand-wired ā69 Stratocaster single-coil neck and middle pickups (middle pickup is reverse wound/reverse polarity) and a hand-wired Texas Special⢠single-coil bridge pickup.
Other premium features include an AAA flame maple neck with ālarge Cā profile and ā57-style small headstock, fast compound-radius (9.5ā-12ā) maple or dark rosewood āslabā fingerboard with bone nut and 22 narrow jumbo frets, five-way pickup switch, three-ply 11-hole parchment pickguard with countersunk pickup- and switch-mounting holes, vintage white control knobs and switch tip; custom deluxe tremolo bridge, and Elite chrome tuners with pearl buttons. Includes black textured vinyl hard-shell case.
2015 Postmodern Stratocaster
The 2015 Postmodern Stratocaster is elegantly designed with a reappraisal of modern assumptions. A thoroughly contemporary take on a time-honored classic, it has a lightweight ash body with a comfortably contoured heel, a quartersawn maple neck with a finely sculpted ā60s āCā profile, a fast compound-radius (9.5ā-12ā) āround-laminatedā maple or rosewood fingerboard with 21 narrow jumbo frets, and three sparkling Fat ā60s single-coil pickups with modern five-way switching and a special āTone-Saverā treble-bleed network that keeps tone consistent at any volume (no loss of highs when decreasing volume).
Other premium features include a three-ply parchment pickguard, American Vintage synchronized tremolo bridge, staggered tuning machines (no string tree), Schaller strap locks and Fender āFā logo engraved neck plate. Available in Black, Olympic White, Dakota Red and Three-Color-Sunburst NOS and new āJourneymanā Relic lacquer finishes, the latter of which imparts the appearance of years of aging and light use without heavy wear and tear. Includes black textured vinyl hard-shell case.
2015 Postmodern Telecaster
The 2015 Postmodern Telecaster is elegantly designed with a reappraisal of modern assumptions. A thoroughly contemporary take on a time-honored classic, it has a lightweight ash body with a comfortably contoured heel, a quartersawn maple neck with a finely sculpted ā60s āCā profile, a fast compound-radius (9.5ā-12ā) āround-laminatedā maple or rosewood fingerboard with 21 narrow jumbo frets, and dual Twisted Tele pickups with three-way switching and Greasebucket tone circuit, which rolls off highs without reducing gain.
Other premium features include a three-ply parchment pickguard, Custom Shop RSD bridge, American Vintage tuning machines, Schaller strap locks and Fender āFā logo engraved neck plate. Available in Black, Dakota Red and Aged White Blonde NOS and new āJourneymanā Relic lacquer finishes, the latter of which imparts the appearance of years of aging and light use without heavy wear and tear. Includes black textured vinyl hard-shell case.
2015 Postmodern Precision Jazz Bass
The 2015 Postmodern Precision Jazz Bass is elegantly designed with a reappraisal of modern assumptions. A thoroughly contemporary combination of Fenderās two most time-honored basses, it has a lightweight alder Precision Bass body with a comfortably contoured heel, a quartersawn maple Jazz Bass neck with a finely sculpted ā60s āUā profile, a 7.25ā-radius āround-laminatedā rosewood fingerboard with 20 medium jumbo frets, and a seismic ā63 Precision bass split single-coil pickup with a vintage-style chrome cover.
Other premium features include a three-ply parchment pickguard (three-ply tortoiseshell pickguard on Three-Color Sunburst model), Custom Shop string-through-body RSD bridge, American Deluxe tuning machines and āStealthā A-string retainer, Schaller strap locks and Fender āFā logo engraved neck plate. Available in Olympic White, Dakota Red and Three-Color Sunburst NOS and new āJourneymanā Relic lacquer finishes, the latter of which imparts the appearance of years of aging and light use without heavy wear and tear. Includes black textured vinyl hard-shell case.
1959 Journeyman Relic Precision Bass
The Custom Shop 1959 Journeyman Relic Precision Bass takes you straight back to the original era of the bass that started it all. Its two-piece ash body comes in Vintage Blonde or Faded Three-Color Sunburst āJourneymanā Relic lacquer finishes, which impart the appearance of years of aging and light use without heavy wear and tear. The quartersawn maple neck has a carefully sculpted ā60s āoval Cā profile and a highly worn Heavy Relic treatment on the back, topped by a 7.25ā-radius rosewood fingerboard with 20 vintage frets.
Other premium features include a ā59-ā62 Precision Bass split single-coil pickup with chrome cover, gold anodized aluminum pickguard, authentic reproduction bridge with chrome cover, and American Vintage tuning machines. Includes brown textured vinyl hard-shell case with gold interior.
1960 Journeyman Relic Jazz Bass
The Custom Shop 1960 Journeyman Relic Jazz Bass transports you to the debut year of Fenderās most popular bass guitar model. Its two-piece alder body comes in Aged Olympic White or Three-Color Sunburst āJourneymanā Relic lacquer finishes, which impart the appearance of years of aging and light use without heavy wear and tear. The quartersawn maple neck has a carefully sculpted ā60s āUā profile and a highly worn Heavy Relic treatment on the back, topped by a 7.25ā-radius rosewood āslabā fingerboard with 20 vintage frets.
The two single-coil Jazz Bass pickups are designed for era-specific authenticity, with chrome covers and, in a special period-correct touch, dual āstackedā concentric control knobs (volume and tone for each pickup). Other premium features include a four-ply tortoiseshell pickguard, authentic reproduction bridge with āFā logo chrome cover, and American Vintage tuning machines. Includes brown textured vinyl hard-shell case with gold interior.
1970 Relic Stratocaster
The Fender Custom Shop 1970 Relic Stratocaster delivers the authentic style and sound of the era when the Strat ascended to world dominance on the charts and concert stages everywhere. Features include an alder body, quartersawn maple neck with 1969 āUā profile and large headstock, 9.5ā-radius maple or rosewood fingerboard with 21 narrow jumbo frets, three Fat ā60s single-coil pickups (reverse wound/reverse polarity middle pickup) with five-way switching, three-ply parchment pickguard, vintage white control knobs and an American Vintage bridge. Available in Black, Lake Placid Blue, Three-Color Sunburst and Olympic White (maple fingerboard model only) worn Relic finishes. Includes black textured vinyl hard-shell case with red interior.
1960 Relic Telecaster Custom
The Fender Custom Shop 1960 Relic Telecaster Custom is a sight and sound to behold, with an alder body dressed in a gorgeous Three-Color Chocolate Sunburst Relic finish with Dark Plum sides, and the elegant top and back binding that is the early-ā60s hallmark of the instrument. Pure Telecaster snap and sparkle comes from a pair of hand-wound Twisted Tele pickups, and the quartersawn maple neck is sculpted with a comfortable early-ā60s āoval Cā profile.
Other premium features include a 9.5ā-radius rosewood āslabā fingerboard with 21 narrow jumbo frets, three-way pickup switch with aged white ātop hatā tip, three-ply mint green pickguard, American Vintage Telecaster bridge with threaded saddles, and American Vintage tuning machines. Includes brown textured vinyl hard-shell case with gold interior.
1957 Relic Stratocaster
The Fender Custom Shop 1957 Relic Stratocaster takes you straight back to the pivotal year when the instrument was largely perfected into the form known worldwide today. Its deep-contoured alder body comes in Two-Color Sunburst, Black and HLE Gold lacquer Relic finishes, while an ash-body model is available in a White Blonde lacquer Relic finish. Sparkling tone comes from three hand-wound ā50s Stratocaster single-coil pickups (reverse wound/reverse polarity middle pickup) with modern five-way switching.
Other premium features include a quartersawn maple neck with a ā57 āsoft Vā profile and small headstock, 9.5ā-radius maple fingerboard with 21 narrow jumbo frets, single-ply parchment pickguard, vintage white control knobs, American Vintage bridge, and American Vintage tuning machines. Includes hard-shell tweed case with gold interior.
1963 Relic Stratocaster
The Fender Custom Shop 1963 Relic Stratocaster takes you back to a pivotal period in the instrumentās history, when surf music was riding high and the Strat underwent some notable design mods. Its deep-contoured alder body comes in Three-Color Sunburst, Black, Candy Apple Red and Olympic White lacquer Relic finishes. Sparkling tone comes from three hand-wound ā60s Stratocaster single-coil pickups (reverse wound/reverse polarity middle pickup) with modern five-way switching.
Other premium features include a quartersawn maple neck with a comfortable ā60s āoval Cā profile and small headstock, 9.5ā-radius āround-laminatedā rosewood fingerboard with 21 narrow jumbo frets, three-ply mint green pickguard, vintage white control knobs, American Vintage bridge, and American Vintage tuning machines. Includes brown textured vinyl hard-shell case with red interior.
1952 Heavy Relic Telecaster
The Fender Custom Shop 1952 Heavy Relic Telecaster is an authentic evocation of Fenderās first workhorse guitar, along with some upgraded features for modern playability. Its ash body comes in Two-Color Sunburst, Black or Nocaster Blonde Heavy Relic lacquer finishes. Time-honored Telecaster snap comes from dual Nocaster pickups with three-way switching and Fenderās Greasebucket tone circuit, which rolls off highs without reducing gain.
Other premium features include a maple neck with a Nocaster āUā profile, 9.5ā-radius maple fingerboard with 21 narrow jumbo frets, single-ply parchment pickguard (black pickguard on Nocaster Blonde model), ā52 Telecaster bridge with brass saddles, and American Vintage tuning machines. Includes hard-shell tweed case with center pocket.
1963 Relic Telecaster
The Fender Custom Shop 1963 Relic Telecaster takes you back to the early years of one of modern musicās most electrifying decades. Its alder body comes in Three-Color Sunburst, Olympic White and Blue Ice Metallic lacquer Relic finishes, with signature Telecaster snap and sparkle coming from dual American Vintage Telecaster pickups with three-way switching and Fenderās Greasebucket tone circuit, which rolls off highs without reducing gain.
Other premium features include a quartersawn maple neck with a comfortable mid-ā60s āoval Cā profile, 9.5ā-radius āround-laminatedā rosewood fingerboard with 21 narrow jumbo frets, three-ply mint green pickguard, American Vintage Telecaster bridge with threaded saddles, and American Vintage tuning machines. Includes black textured vinyl hard-shell case with red interior.
For more information:
Fender
An ā80s legend returns in a modern stompbox that lives up to the hype.
A well-designed recreation of one of the most classic tone tools of the ā80s. Sounds exactly like the tones you know from the original. Looks very cool.
If you donāt like ā80s sounds, this isnāt for you.
$229
MXR Rockman X100
Was Tom Scholzās Rockman the high-water mark of guitar-tone convenience? The very fact that this headphone amp, intended primarily as a consumer-grade practice tool, ended up on some of the biggest rock records of the ā80s definitely makes a case. And much like Sonyās Walkman revolutionized the personal listening experience, itās easy to argue the Rockman line of headphone amps did the same for guitarists.
MXR Rockman X100 Recreates Tom Scholz's Iconic Boston Guitar Sound | First Look
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.But just as decades of advances in listening technology make the Walkman now seem clunky and dated, modern guitar tech makes the Rockman look like old news. Multi-effects units, modelers, and portable interfaces all surpass the convenience of the Rockman in form factor as well as in sheer number of sonic options. But while there are any number of ways to dial up an ā80s-style guitar tone these days, nothingās better than the real thing. The Rockmanās analog tones are still as legit as it gets. Though Dunlop continues to produce the Guitar Ace, Metal Ace, and Bass Ace headphone amps (for a cool $99 street), a pedal version with the functionality of the original would be the ultimate modern package for ā80s fetishists, right? Enter the MXR Rockman X100.
With Tones Like These, Who Needs Options
After the release of the original Rockman, Scholz continued to develop the product, spawning a whole line. But for its pedal resurrection, the MXR team set their sights on the Rockman X100, which used hard-clipping LED diodes for its two distorted settings. The new stompbox version recreates all four modes from the original: cln2 is the default setting, cln1 in the second position is EQād with a mid-boost, edge delivers moderate clipping, and dist is high-gain. All are switchable via a small LED-lit mode button, and a control input allows for external mode switching. Another button activates an analog chorus circuit using MN3007 bucket brigade chips, as in the original.
To drive home the ā80s aesthetic, MXR used sliders for volume and input gain controls. Volume determines output, while input gain is tied to compression. Higher input gain means more compression, which is tuned for slower release on the two clean modes, and a fast release on both dirty modes. The X100 works in both mono and stereo, but to change between them, you have to pop off the back to access an internal switch. Just make sure a TRS cable is used for stereo mode, or else the output will be muted while the pedal is bypassed.
The only things I noticed that are missing from the originalās simple set of features is the headphone output and the echo settings. I donāt know how many players would find value in the headphone jack, and considering that would add circuitry, itās probably best for cost and space savings that it was excluded. As for the echo, you can argue that itās canon, but I find it to be the least essential feature and donāt miss it, personally.
(Much) More Than a Feeling
Since I do not have an original Scholz X100 sitting on my desk, Iām using YouTube videos and recordsāDef Leppardās Hysteria, Huey Lewis and the Newsā Sports, and Joe Satrianiās Surfing with the Alien, for exampleāas my reference points. Those are high bars to clear, and the MXR gets there.
The default cln2 setting delivers instant gratification, with a full-bodied, sparkly tone, no matter what guitar I played through it. And though it provides loads of ā80s fun, itās much more versatile than that, offering a great all-round clean tone that requires no additional processing. Though it might seem odd that cln2 is the default, switching to cln1ās thinner, more mid-focused sound makes the design decision clear. I can imagine situations where Iād need to cut through a mix and cln1 would be preferred, but I found myself sticking with the default mode for all my clean needs.
The distorted modes are differentiated mostly by how much gain they offer. Edge tones live just beyond the point of overdrive, and the input gain control adds a range of extra texture. The dist mode is full-on, pick-squeal-inducing high-gain saturation, with loads of everlasting sustain. These modes lean into the aesthetic much harder than the clean modes, making it a less versatile tool, but for ā80s rock excess, I canāt imagine a better option.
On a couple recording sessions, I plugged the X100 right into an interface and board to deliver spanky direct clean tones as well as tight, saturated distortion. In doing so, I discovered that direct recording is my preferred use for the X100. Thatās not to say it doesnāt sound great through an ampāit does. But plugging into a front end of an amp yields less classic and authentic Rockman sounds, as the amplifierās preamp colors the tone. Plugged through a few Fenders, I found that the treble needed taming, a problem I didnāt have when forgoing the amp. For live playing, I might explore plugging the X100 into the return input on an ampās effects loop or right into a powered speaker to deliver an unadulterated Rockman sound more in line with the original.
The Verdict
MXR nailed it with the Rockman X100 pedal by focusing on the limited options of the original unit and getting them just right. For $229, you not only get a great ā80s rock tone, you get what is arguably the ā80s rock tone, with no other gear required, unless you want to add a little ā80s-vintage reverb too. As a performance tool, itās probably best to think less like youāre using a pedal and more like youāre using the original in a different form, which is to say that plugging straight into an amp isnāt the only way to get the sound you wantāand, in fact, itās probably not even the best way. For recording, itās a perfect tool. PG
Experience the pinnacle of Taylor playing comfort and tone with the Builderās Edition 514ce, 514ce Kona Burst, and 524ce. These models feature solid Shamel ash back and sides, uniquely voiced V-Class bracing, Gotoh 510 tuners, ES2 electronics, and a Deluxe Hardshell Case.
The Builderās Edition 514ce, 514ce Kona Burst and 524ce join our acclaimed Builderās Edition Collection, giving you more ways to experience the pinnacle of Taylor playing comfort and tone.
Each model boasts a gloss-finish cutaway Grand Auditorium body with solid Shamel ash back and sides, an artfully applied Kona burst on the back, sides and neck, uniquely voiced V-Class interior bracing, Gotoh 510 antique chrome tuners, ES2 electronics, and a Deluxe Hardshell Case.
Refined, comfort-enhancing features include a beveled armrest and cutaway, chamfered body edges and a smoothly contoured Curve Wing bridge. Italian acrylic āCompassā inlays and a vibrant firestripe pickguard add tasteful aesthetic accents.
Responsibly sourced from cities in Southern California, Shamel ash is given a second life as a tonewood in our premium-class guitars. It yields a focused, fundamental-strong voice with midrange power and balance comparable to Honduran mahogany.
Models:
- Builder's Edition 514ce - $3,399 - Featuring a natural Sitka spruce top paired with solid Shamel ash back and sides, the Builderās Edition 514ce delivers warmth, depth and musical versatility for any style or genre.
- Builder's Edition 514ce Kona Burst - $3,499 - Showcasing a vintage aesthetic flair, this solid Shamel ash/Sitka spruce model features a Tobacco Kona burst top.
- Builder's Edition 524ce - $3,499 - This model pairs solid Shamel ash back and sides with a mahogany topāalso featuring a Tobacco Kona burstāthat adds a bit of natural compression to help create incredible tonal balance across the frequency spectrum.
For more information, please visit taylorguitars.com.
AI, which generated this image in seconds, can obviously do amazing things. But can it actually replace human creativity?
Technology has always disrupted the music biz, but weāve never seen anything like this.
AI has me deeply thinking: Is guitar (or any instrument) still valid? Are musicians still valid? I donāt think the answer is as obvious as Iād like it to be.
As a professional musician, Iāve spent the vast majority of my days immersed in the tones of tube amps, the resistance of steel strings under my fingers, and the endless pursuit of musical expression. Each day, I strive to tap into the Source, channel something new into the world (however small), and share it. Yet, lately, a new presence has entered the roomāartificial intelligence. It is an interloper unlike any Iāve ever encountered. If youāre thinking that AI is something off in the ānot-too-distant future,ā youāre exponentially wrong. So, this month Iām going to ask that we sit and meditate on this technology, and hopefully gain some insight into how we are just beginning to use it.
AI: Friend or Foe?
In the last 12 months, Iāve heard quite a bit of AI-generated music. Algorithms can now ācompose,ā āperformā (with vocals of your choosing), and āproduceā entire songs in minutes, with prompts as flippant as, āWrite a song about__in the style of__.ā AI never misses a note and can mimic the finer details of almost any genre with unnerving precision. For those who are merely curious about music, or those easily distracted by novelty, this might seem exciting ⦠a shortcut to creating āprofessionalā sounding music without years of practice. But for those of us who are deeply passionate about music, it raises some profound existential questions.
When you play an instrument, you engage in something deeply human. Each musician carries their life experiences into their playing. The pain of heartbreak, the joy of new beginnings, or the struggle to find a voice in an increasingly noisy and artificial online world dominated by algorithms. Sweat, tears, and callouses develop from your efforts and repetition. Your mistakes can lead to new creative vistas and shape the evolution of your style.
Emotions shape the music we create. While an algorithm can only infer and assign a āvalueā to the vast variety of our experience, it is ruthlessly proficient at analyzing and recording the entire corpus of human existence, and further, cataloging every known human behavioral action and response in mere fractions of a second.
Pardon the Disruption
Technology has always disrupted the music industry. The invention of musical notation provided unprecedented access to compositions. The advent of records allowed performances of music to be captured and shared. When radio brought music into every home, there was fear that no one would buy records. Television added visual spectacle, sparking fears that it would kill live performance. MIDI revolutionized music production but raised concerns about replacing human players. The internet, paired with the MP3 format, democratized music distribution, shattered traditional revenue models, and shifted power from labels to artists. Each of these innovations was met with resistance and uncertainty, but ultimately, they expanded the ways music could be created, shared, and experienced.
Every revolution in art and technology forces us to rediscover what is uniquely human about creativity. To me, though, this is different. AI isnāt a tool that requires a significant amount of human input in order to work. Itās already analyzed the minutia of all of humanityās greatest creationsāfrom the most esoteric to the ubiquitous, and it is wholly capable of creating entire works of art that are as commercially competitive as anything youāve ever heard. This will force us to recalibrate our definition of art and push us to dig deeper into our personal truths.
āIn an age where performed perfection is casually synthesized into existence, does our human expression still hold value? Especially if the average listener canāt tell the difference?ā
Advantage: Humans
What if we donāt want to, though? In an age where performed perfection is casually synthesized into existence, does our human expression still hold value? Especially if the average listener canāt tell the difference?
Of course, the answer is still emphatically āYes!ā But caveat emptor. I believe that the value of the tool depends entirely on the way in which it is usedāand this one in particular is a very, very powerful tool. We all need to read the manual and handle with care.
AI cannot replicate the experience of creating music in the moment. It cannot capture the energy of a living room jam session with friends or the adrenaline of playing a less-than-perfect set in front of a crowd who cheers because they feel your passion. It cannot replace the personal journey you take each time you push through frustration to master a riff that once seemed impossible. So, my fellow musicians, I say this: Your music is valid. Your guitar is valid. What you create with your hands and heart will always stand apart from what an algorithm can generate.
Our audience, on the other hand, is quite a different matter. And thatās the subject for next monthās Dojo. Until then, namaste.
Our columnistās bass, built by Anders Mattisson.
Would your instrumental preconceptions hold up if you don a blindfold and take them for a test drive?
I used to think that stereotypes and preconceived notions about what is right and wrong when it comes to bass were things that other people dealt withānot me. I was past all that. Unfazed by opinion, immune to classification. Or so I thought, tucked away in my jazz-hermit-like existence.
That belief was shattered the day Ian Martin Allison handed me a Fender Coronado while I was blindfolded in his basement. (Donāt askāitās a long story and an even longer YouTube video if you have time to kill.) For years, I had been a single-cut, 5-string, high-C-string player. That was my world. So, you can imagine my shock when I connected almost instantly with something that felt like it was orbiting a different solar system.
Less than 5 minutes with the instrument, and it was all over. The bass stayed in Ianās basement. (I did not.) I returned home to Los Angeles, but I couldnāt stop thinking about it. I kept playing my beloved semi-chambered single-cut 5-string, but I sent its builder, Anders Mattisson, a message about my recent discovery. I asked if there was any way we could create something with the essence of a Coronado while still suiting my playing and my music.
Thatās when everything I thought I knew about bassāand the personal boundaries I had set for myselfācame crashing down.
When we started talking about building a bass with a fully chambered body, much like the Coronado, I was adamant about two things: It needed to have active electronics, and I would never play a headless bass.
Fast-forward three months to the winterNAMM show in California. Anders arrived for dinner at my house, along with a group of incredible bass players, includingHenrik Linder. I was literally in a chefās apron, trying to get course after course of food on the table, when Henrik said, āHey, letās bring the new bass in.ā
He came down the stairs carrying something that looked suspiciously like a guitar caseānot a bass case. I figured there had been some kind of mistake or maybe even a prank. When I finally got a break from the chaos in the kitchen, I sat down with the new bass for the first time. And, of course, it was both headless and passive.
I should mention that even though I had made my requests clearāno headless bass, active electronicsāI had also told Anders that I trusted him completely. And Iām so glad I did. He disintegrated my assumptions about what a bass āhas toā or āshouldā be, and in doing so, changed my life as a musician in an instant. The weight reduction from the fully chambered body made it essential for the instrument to be headless to maintain perfect balance. And the passive nature of the pickups gave me the most honest representation of my sound that Iāve ever heard in over 30 years of playing bass.
Iām 46 years old. It took me this long to let go of certain fundamental beliefs about my instrument and allow them to evolve naturally, without interference. Updating my understanding of what works for me as a bass player required perspective, whereas some of my most deeply held beliefs about the instrument were based on perception. I donāt want to disregard my experiences or instincts, but I do want to make sure Iām always open to the bigger pictureāto other peopleās insights and expertise.
Trusting my bass builderās vision opened musical doors that would have otherwise stayed bolted shut for years to come. The more I improve my awareness of where the line between perception and perspective falls, the more I can apply it to all aspects of my world of bass.
Maybe this month, itās playing an instrument I never would have previously considered. Next month, it might be incorporating MIDI into my pedalboard, or transcribing bass lines from spaghetti Westerns.
No matter what challenges or evolutions I take on in my music and bass playing, I want to remain openāopen to change, open to new ideas, and open to being proven wrong. Because sometimes, the instrument you never thought youād play ends up being the one that changes everything.