
A self-contained MIDI guitar system with excellent tracking and minimal installation hassles.
Most guitarists have never quite warmed to MIDI the way keyboardists have. However, as times change—with iOS-based recording systems, live looping rigs, and amp and effect modelers becoming the norm—it’s no longer such a drastic leap for the average player to embrace this technology.
The Fishman TriplePlay is a self-contained MIDI guitar package consisting of a wireless controller connected to a hexaphonic pickup via cable, both of which go on the guitar, and a class-compliant USB receiver dongle that plugs into a computer (TriplePlay is compatible with Mac OS X 10.6.8 and higher, or Windows 7 and higher). There is no guitar synthesizer hardware and there are no MIDI cables to connect. For live use, you can play through a laptop-based rig, or connect hardware synths via a device such as the Kenton USB Solo, which has a USB-to-DIN converter.
Along with the TriplePlay hardware, Fishman provides a generous library of well-chosen free software (available via download). It includes Fishman’s TriplePlay, which works as both a standalone app and a VST plug-in, plus IK Multimedia’s SampleTank 2.5 and AmpliTube Custom Shop, Native Instruments’ Komplete Elements, Notion’s Progression notation software, and PreSonus’ Studio One DAW.
Mounting Concerns Mitigated
With previous MIDI guitar systems, simply installing the hardware was enough of a hurdle to scare off many potential 6-string synth slingers afraid of damaging their precious axes. The TriplePlay mounting system eliminates many of these issues. At a PRS event at the Metropolitan Museum of Art in New York City, fusion pioneer John McLaughlin told us, unsolicited, that he easily installed TriplePlay on his PRS by himself—and he has access to the best guitar techs on the planet.
There are multiple ways to install the controller and the pickup: You can mount both using the included adhesive-backed mounting rings and pads. Alternately, you can attach an included endpin bracket to your strap button. (Magnets in the controller secure it to the bracket.) This way, no adhesives touch the surface of your guitar. There’s an additional pickup-mounting bracket for adhesive-free installation on guitars with Tune-o-matic bridges, though you need to attach the pickup bracket with adhesive on guitars with other types of bridges. Either way, the pickup slides in and out of the bracket, so you can remove it when you don’t need it.
I used the endpin bracket for the controller and the adhesive pad for the pickup mount. Initially there wasn’t enough clearance between the pickup and strings. I eventually got it to fit, but in some cases (as on older Strats), you may need to shim the neck slightly for sufficient clearance.
Once the hardware is mounted, you pair the controller and the receiver by pushing the dual-function LED/push buttons on both items. As simple as that sounds, I have to admit it took me some time to activate the controller’s button, which doubles as an LED indicator. I gently poked it a few times, then pushed it hard, which did the trick.
Play Time
A switch on the controller lets you choose between synth, mix, or guitar. Corresponding to these controls are five synth channels and one guitar-audio channel in the TriplePlay software UI. Selecting guitar mutes the synth sounds. Selecting synth mutes the guitar channel. Selecting mix enables both sources. The wireless system does not transmit the sounds of the guitar’s magnetic pickups—the regular guitar signal must be sent via the guitar’s jack, as usual. The controller also has navigation buttons, though I found it easier to maneuver from the computer.
For many, the biggest concern with playing MIDI guitar is whether tracking will keep up with their playing without glitching. On this account, the TriplePlay really impressed me—its tracking is the best I’ve yet encountered. Even quick hammer-ons and pull-offs registered, though picked notes generally worked best. The system also captured dynamics well.
Still, your playing does have to be precise, as the TriplePlay’s tracking is very unforgiving. That said, no matter how well any guitar synth tracks, expressive guitar nuances such as ghost notes, slides, and bends are likely to get lost in translation—but that’s because synth voices don’t typically have any sort of programmed analog to a guitar’s quirky nonstandard sounds. The fact is, MIDI guitarists will probably always have to modify or adapt their playing slightly from patch to patch. It helps if you write and play parts idiomatic to the chosen MIDI instrument. For example, playing Jeff Beck licks with a grand-piano patch probably won’t yield realistic results—though it might be crazy fun. Depending on your musical proclivities, a think-outside-the-box ethos can open many new doors.
Compose and Record
The TriplePlay’s included Progression notation software lets you input notes on a score in real time via guitar. Other than pencil and paper, this has to be the simplest, most direct way I’ve come across for notating guitar music. Strangely though, the onscreen fretboard and generated tabs sometimes displayed wrong note locations. Sometimes the program corrected itself if I added a note that confirmed a specific fretboard location, though. For example, I fingered a fifth-fret A barre chord and played the D, G, and B strings. This somehow registered as an open-position A chord on the G, B, and E strings. When I added a 7th-fret B note on the high E string, the chord registered in the correct location.
Ratings
Pros:
Fast tracking. Easy installation.
Cons:
Inconsistent results with music notation software.
Tones:
Playability/Ease of Use:
Build/Design:
Value:
Street:
$399
Fishman TriplePlay
fishman.com
After sketching out some ideas, I used TriplePlay to record parts in real time using GarageBand. Having the self-sufficiency to record all the instruments greatly enhanced the compositional experience for me—no more having to call in a favor from a violinist friend just to lay down a test part that might not even make the cut.
One-Man Band
Just as some synthesizers let you assign different sounds to different registers of the keyboard, TriplePlay lets you split the fretboard into as many as four zones, with a different sound assigned to each. For example, I was able to play rudimentary walking bass and chord patterns by assigning an acoustic-piano sound to the upper four strings and a bass patch to the lowest two strings. An ambitious and coordinated player could use a four-way split to simultaneously perform simple drum grooves, bass lines, chords, and even melodies.
The Verdict
If your musical horizons extend beyond power chords or 12-bar shuffles, the Fishman TriplePlay may be the key to a new musical universe. Its excellent tracking ability is a game changer in many ways. It’s a home run for guitarists who have been intrigued by MIDI guitar but were put off by the logistics of conventional systems, or for players who have yearned to add non-guitar elements to their music but lacked the keyboard skills to execute them.
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!