Use Me
Appleseed Recordings
In the mid ’60s, David Bromberg backed a host of heavyweights—including Bob Dylan, Jerry Garcia, the Eagles, Ringo Starr, Willie Nelson, Link Wray, Jorma Kaukonen, and Jerry Jeff Walker—on guitar, Dobro, and pedal steel. Bromberg’s superb acoustic and electric chops and earthy sound made him one of the East Coast’s most in-demand accompanists and session players. By the late ’60s, Bromberg was running with the best: When he released his 1971 debut solo album, his buddy George Harrison added guitar and even cowrote a song for the project. After releasing a handful of successful albums—and still at the top of his game—Bromberg dropped out of the music business and eventually stopped playing guitar. Then in 2007, he made a surprise comeback with his first album in 17 years, Try Me One More Time, which was nominated for a Grammy.For his latest release, Use Me, the 66-year-old-string wizard gathered a few friends in studios around the country to help him celebrate his return to guitar and concertizing. And what friends! Levon Helm, Vince Gill, Los Lobos, Jimmy Herring and Widespread Panic, Dr. John, Linda Ronstadt, Keb’ Mo’, Tim O’Brien, and John Hiatt all join Bromberg for a track on the album. (Helm and his band actually join Bromberg for two songs.) Each guest either wrote a song or picked a cover for the project, and also agreed to produce the session.
Whether plucking snappy B.B. King-inspired blues licks with Levon Helm, laying down shiny slide over Jimmy Herring’s toothy riffs, or weaving bell-like flattop lines around Vince Gill’s snappy mandolin, Bromberg plays with a supple groove and fat tone. The result is an outstanding mix of bluegrass, country, R&B, and blues that’s united by Bromberg’s soulful picking, quirky vocals, and emotional connection to the music, regardless of the genre.
The shift to 3D printing allows for intricate detailing and tighter tolerances, ensuring each nut meets exact specifications.
The process begins with powdered metal, which is precisely 3D printed into the desired shape using advanced metal printing technology. After printing, the parts are depowdered and cleaned before undergoing a sintering process—an advanced heat treatment—during which the parts achieve full density and hardness. Lastly, the nuts are CNC “kiss-cut” to exacting specifications for consistency and control of the fit before receiving a premium electroplating finish.
“Floyd Rose has always been synonymous with innovation, and by embracing this incredible new technology we are able to continue that legacy,” said Andrew Papiccio, president of AP International Music Supply of which Floyd Rose is a division. “The accuracy and flexibility of the new 3D printing method will allow us to make a more consistent piece while also giving us full control of the manufacturing right here in the USA.”
Initially, the 3D-printed locking nuts will be available in ten classic sizes with a 10” radius, with plans to expand the range to accommodate various fretboard radii in Spring 2025. This augmentation will offer players more options for customizing their setups to match a wide variety of fretboard curvatures.
To get a sneak peek at the new Floyd Rose USA Series, come visit us at NAMM in booth 5734 in Hall D.
