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FINNEAS, known for his Grammy Award-winning collaborations with Billie Eilish, collaborates with Fender on his signature Acoustasonic.
Having picked up his first guitar at the age of 12, FINNEAS' guitar-playing journey has been a key element in his career. Known for his ability to seamlessly blend acoustic and electronic elements, his music resonates with authenticity and emotional depth. In March 2019, he garnered widespread acclaim for his Grammy-winning contributions to Billie Eilish's breakthrough album When We All Fall Asleep, Where Do We Go?. FINNEAS then stepped into the spotlight with his own debut, the Blood Harmony EP in 2019, followed by his debut full-length album, Optimist, in 2021. His latest collaboration with Billie Eilish on her album HIT ME HARD AND SOFT continues to push musical boundaries and has garnered critical acclaim, further solidifying their impact on the music industry. Together, they have captivated a global audience, inspiring a new generation of artists to explore and embrace authenticity and vulnerability in their music. Their dynamic partnership has become a beacon for those seeking to innovate and express genuine emotion through their art.
Exploring the Finneas Acoustasonic Collection | Fender Artist Signature | Fender - YouTube
“The most important thing to me about a guitar is versatility,” said FINNEAS. “I was first introduced to the Acoustasonic guitar in 2019 when I was on tour with Billie, and I played it at every show that year. When we started conversations about my signature model, I knew this guitar was great in a live setting, and I wanted to find ways to take it into the studio and make it a versatile, expressive studio instrument. This is the result of that. ”
In addition to the release of his first-ever signature guitar, FINNEAS has just released his latest single, “For Cryin’ Out Loud!”, now available on all major streaming platforms. This track is a precursor to his much-anticipated sophomore album, For Cryin’ Out Loud!, which is set to be released on October 4.
The FINNEAS Acoustasonic Player Telecaster and the Limited Edition FINNEAS Acoustasonic Telecaster guitars mark Fender’s first-ever Acoustasonic artist signature guitars. Distinguished by custom electronics curated by FINNEAS, these models combine a magnetic Acoustasonic Shawbucker pickup and a Fishman undersaddle transducer to deliver clean electric, small-body acoustic, and dreadnought acoustic tones. Additionally, both models feature an onboard chorus effect selected by FINNEAS, seamlessly integrating added sonic characters.
The key differences lie in their finishes and places of manufacture: the standard model boasts a modern Cappuccino Fade satin finish on its solid spruce top, while the LE features an all-Arctic White satin finish for a premium aesthetic. Both guitars share a Modern Deep “C”-shape neck for a confident yet comfortable feel and a Shawbucker magnetic pickup known for its tonal charm and noiseless performance, ideal for studio use. The standard model is made at Fender’s Ensenada facility in Mexico, whereas the limited edition is crafted at Fender’s historic facility in Corona, California.
“We are incredibly proud to collaborate with FINNEAS on his first signature guitar,” said Justin Norvell, Justin Norvell, EVP of Product at FMIC. “The FINNEAS Acoustasonic Player Telecaster and LE FINNEAS Acoustasonic Telecaster capture the unique blend of acoustic, electric and onboard effected tones that characterize his music. This guitar is more than an instrument; it's a versatile tool meant to inspire the next generation of producers and artists to explore new sonic landscapes and push their creative boundaries. FINNEAS's innovative spirit and dedication to authenticity shine through in every detail of these signature models.”
FINNEAS Acoustasonic Player Telecaster ($1,399.99) Purposefully streamlined and equally versatile, the Fender Acoustasonic intuitively transitions from acoustic to electric thanks to revolutionary magnetic and under saddle piezo electronics with 3-way switching co-designed with Fishman to deliver an unmatched acoustic experience. This evolution of the Acoustasonic Player Telecaster offers a set of six voices chosen by FINNEAS to range from clean electric to small-body and dreadnought acoustic, and includes a hand-selected onboard chorus effect in two positions for a versatile array of studio-worthy sounds. Built with uncompromising tonewoods including a braced solid spruce top, mahogany body and neck, and a rosewood fingerboard and bridge, this Acoustasonic is crafted to deliver the organic sonic nuance that is sure to resonate. Other personalizations include a Cappuccino Fade satin finish and an engraved FINNEAS signature on the back of the headstock. A deluxe padded gig bag is also included to provide premium protection and portability.
Limited Edition FINNEAS Acoustasonic Telecaster ($2,499.99) This limited edition American Acoustasonic Telecaster offers a set of ten voices chosen by FINNEAS to range from clean electric to various flavors of acoustic and includes a hand-selected onboard chorus effect in two positions for a versatile array of high-fidelity studio-worthy sounds. Built with premium tonewoods including a braced solid spruce top, mahogany body and neck, and an ebony fingerboard and bridge, this Acoustasonic is crafted to deliver organic sonic nuance that is sure to resonate. Other personalizations include an all-Arctic White satin finish and a FINNEAS signature on the back of the headstock. A deluxe molded hardshell case is also included to provide premium protection and security while traveling.
For more information, please visit fender.com.
Fender Finneas Signature Acoustasonic Player Telecaster - Cappuccino Fade
FINNEAS Sig American Acoustasonic Tele, CappuccinoPure nickel wound strings designed to capture classic tones. Available in popular gauges (9s and 10s), these strings are intended to offer rich, warm tones and longer string life.
The Seymour Duncan Antiquity series of pickups have always given musicians access to the true vintage tones of the most famous guitars ever produced. To further our commitment to capturing these influential sounds, Seymour Duncan is now pleased to offer the perfectly voiced companion, a set of Antiquity Vintage Modern Strings.
Before nickel-alloy plated strings became commonplace, pure nickel wound strings were found on most electric guitars. Their rich, warm tone became a crucial ingredient to the sounds of classic blues and rock & roll. An added benefit of a pure nickel wrap is a longer string life and a more consistent tone between string changes. Now our Antiquity Vintage Modern Strings bring you even closer to the sound of electric guitar’s early heyday. Pure nickel wound and available in your favorite modern gauges (9s and 10s), Antiquity Vintage Modern Strings are the perfect start to your signal chain in the quest to unlock your favorite classic guitar sounds.
For more information, please visit seymourduncan.com.
Bandleading on bass offers a unique challenge. Here’s how one player rises to the occasion.
Bassists are natural leaders, both rhythmically and harmonically, but filling the foundational function doesn’t always lend itself to becoming an actual bandleader or solo artist. For most of us, that’s just fine. We’re perfectly happy holding it down and creatively keeping things together. (Of course there are plenty of exceptions: Stanley Clarke, Les Claypool, Meshell Ndegeocello, Thundercat, and Victor Wooten, to name a few.)
But for those who do envision themselves centerstage, making the shift to leader requires a new way of thinking. To get some perspective, I wanted to talk to a bassist with recent experience transitioning to being in charge. I immediately thought of Big New York.
I met Big New York nearly 20 years ago at Bass Player LIVE!, back when Bass Playermagazine held its annual event in Manhattan, before moving it to Hollywood from 2008 to its final act in 2017. Christian de Mesones told me people only started calling him Big New York after he moved to Virginia, where his stature and distinctive accent stuck out. “In New York, there’s about a million guys who look and sound like me,” he laughs. It turns out that he lived in my sorta-hometown of Woodbridge, Virginia, where he recently retired after nearly two decades driving school buses.
Following his late ’70s graduation from the Bass Institute of Technology, Christian played in dozens of bands over the years. Then, ten years ago—with his wife’s firm encouragement—he decided to start leading his own project. Though he grew up listening to hard rock and heavy metal—kids loved it when he played AC/DC and Black Sabbath on his bus—his own sound blends soul and jazz with Latin feels. After steadily releasing singles and holding high-profile performances with special guests, Christian released his debut album in 2020, They Call Me Big New York. The following year, his track “Hispanica (Instrumental),” featuring legendary pianist Bob James, climbed to No. 1 on Billboard’s Smooth Jazz Airplay charts. This spring he released his sophomore album, You Only Live Twice.
As a leader, Big New York is a composer, an arranger, a marketer, a strategist, a people manager, and a showman—all while still being a bass player. Here’s what he says about these different aspects:
On whether being a leader means always playing the lead: “I’ve always been writing music, from the day I first picked up the bass. I write everything on the bass—melodies, grooves, and chordal structures. I do almost all my writing on my Alembic Epic, but I don’t feel like everything I write has to be played on bass. There are only a few songs where I’m playing the lead melody on bass. If you’re coming into the market brand new, you can’t focus only on yourself or even be the best musician in your band. Believe it or not, the narcissism shows.”
On the critical importance of low end: “If you play lead bass, you have to have another bass player backing you because without it, the music drops. I don’t like that. That’s why I hire a keyboard player that doubles on bass. He keeps his bass nearby for when I play lead.”“I try to make that connection with the audience so they’re with us all the way.”
On having a leadership personality: “You’re taking care of so much—the payroll, the bills, and so many things. So you’ve got to deal with people in a way that they don’t take any energy from you. You may not want to hear someone say, ‘Sorry, my car broke down,’ or ‘My dog ate my homework,’ but that’s what you’re going to get, even from the best musicians on the planet. It’s up to you to bite your tongue, not flip out, and just say everything’s going to be alright. You’ve gotta have backup players, so if one horn player is gone for the gig, you can still do the show. You’ve always got to think of a way to not lose your cool, but it can be hard when it’s your money on the line.”
On showmanship: “When it comes to the dynamics of the show, I know where the lows should be, where the highs should be, where the climax should be. I create it; that’s part of the job. I usually put the bass-led songs near the end. On a recent show I brought in Bill Dickens and Al Caldwell as bass guests, and after the show they paid me a great compliment. They said they really loved watching me leading the band and communicating with the audience. I try to make that connection with the audience so they’re with us all the way.”
On the biggest challenge to being an artist and a bandleader: “The fight to stay relevant. I’m mature enough to realize if I get my few minutes of fame, someone else should get theirs. But when it happens once, you are hoping it’s going to come around again for you. You don’t want to fade away.”Our columnist traces the history of the 6-string Cuban tres—from Africa, to Cuba, to the top of American country music.
I love that I was taught by my father and grandfather to build a variety of string instruments. I have continued to do this—I have built so many different types, and I learn from each one. I am currently building a nanga, a rectangular, harp-like African instrument played by the Ganda people of Uganda.
As I have been building this instrument and learning from the musician who commissioned it, I am often reminded of the influence Africa has on so many instruments, from drums to the banjo, or akonting as it was originally named. A popular instrument that I have recently been getting more requests for that is equally influenced by Africa’s music is the tres cubano, or Cuban tres.
In comparison to other chordophones—instruments whose sounds come from the vibration of stretched strings—from around the world, this instrument is relatively young, appearing first towards the end of the 1800s. The original tres is said to have three courses with a total of six strings, and while the 9-string version is now more associated to the Puerto Rican tres, a 9-string iteration of the Cuban tres is documented as early as 1913, though it’s believed that the Puerto Rican instrument influenced the additional strings.
Most early models of the tres have a similar body to a classical guitar or the requinto romántico, but the more common shape now is a smaller, pear-shaped body offered either with or without a cutaway. The tres has only begun to get more visibility in the past 25 years, so sizing can vary greatly from luthier to luthier, but to help players who are unfamiliar with this instrument to get a better idea of the size, here are some specs from a Delgado model.
“The note placements of the tres in a changüí summon something deep inside any musician who is stirred by tempo and a hypnotic rhythm.”
One of the models I make has a body depth of 4″. The upper bout is 9″ and the lower bout is 14 1/2″ with a scale length of 545 mm, or 21 1/2″. The tuning also depends upon the player, but the traditional tuning is G–G–C–C–E–E. The outer string pairs—the Gs and Es—are each tuned an octave apart. Their gauges, from top to bottom, are .031–.011–.014–.014–.012–.023.
Again, you will see a range of string placements, gauges, and differences in tuning, but this is the foundation to help give you a basic understanding.
Now to describe the sound and style of the tres—I am literally moving to the rhythms I hear in my mind as I write this. While my heritage is Mexican, I feel so in touch with so many genres of music from around the world, and the music from Cuba is one of them. I like to describe this instrument as a percussive string instrument, because the note placements of the tres in a changüí—the Cuban music form that gave way to the Son Cubano, or “Cuban Sound”—with its strong African-infused beats, summon something deep inside any musician who is stirred by tempo and a hypnotic rhythm.
Like how Linda Ronstadt was key in helping bring audiences to appreciate and invest in mariachi music with the release of Canciones de mi Padre, I would argue that Ry Cooder did the same for Cuban music when, after traveling to Cuba, he helped introduce the world to Cuban artists as old as 89 on the 1997 album, Buena Vista Social Club, the creation of which was captured in the 1999 documentary of the same name.
Since the release of this album, we have seen the tres grow in popularity and availability. Many artists and bands have fused the tres into their music, using it in untraditional styles, but the sound is still recognizable. We have even built custom electric tres cubanos for clients! Pancho Amat, an ambassador for the tres and arguably one of the greatest living musicians to play the instrument, blends his classical and jazz backgrounds with the tres’ natural sounds to create a unique sound. Thinking in terms of a drum pattern and African roots, you will have a better grip on the method when trying this instrument for the first time.
Now, do yourself a favor. Find an evening to relax, mix yourself a beverage—preferably a mojito—and rent the Buena Vista Social Club … then give me a call for your Delgado tres cubano.