
Martin Guitar's GPCE Inception Maple offers skeletonized scalloped bracing and sonic channels to enhance resonance and tone, while the combination of European spruce top, maple sides, and a maple and black walnut back are designed to produce a clear and balanced sound.
The skeletonized bracing (pictured below) and sonic channels inside the body work together to increase sustain and amplitude, optimize airflow, and reduce the guitarās mass without losing structural support.
The GPCE Inception Maple is made from a combination of sustainable tonewoods, including an FSC-certified European spruce top, maple sides, and an eye-catching three-piece back of maple and black walnut. These woods provide a clear, projective, and balanced tone, improving upon what has, up until now, been the standard sound of maple.
The guitar also features a new satin amber fade sunburst finish, black walnut binding, maple arrow fingerboard inlays, gold open gear tuners, a cutaway to help players reach the highest frets, a 25.4ā scale length, LR Baggs Anthem electronics, and a molded hardshell case.
"The new Martin GPCE Inception Maple marks a new innovative approach to building acoustic guitars utilizing sustainable domestic woods,ā says Fred Greene, Vice President of Product Management at Martin. āOur new innovative design will allow guitar players to experience the Martin tone they have always loved in a guitar made from woods sourced in North America. I am super proud of our design team for taking on this challenge and providing a creative and unique solution that guitar players will find both fun and inspiring to play."
Visit the Martin Guitar booth at The 2024 NAMM Show to experience this incredible instrument firsthand and stay tuned to martinguitar.com for the latest updates.
For more information, please visit martinguitar.com.
- Martin Introduces the M-30 Jorma Kaukonen Custom Artist Edition āŗ
- Oldest Acoustic Guitar Alive? āŗ
- Martin GPCPA1 Grand Performance Acoustic Guitar Review āŗ
- Martin & Co Unveils Remastered X Series Guitars āŗ
- C.F. Martin & Co. to Debut New Models at 2024 NAMM Show āŗ
- A Guide to Choosing and Caring for Guitar Strings - Premier Guitar āŗ
- Introducing Martin Oāahu HG-28 Guitar by Martin & Co - Premier Guitar āŗ
- Hawaiian Guitarists Helped Create Martinās Dreadnought - Premier Guitar āŗ
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.
The Mick Ronson Cry Baby Wah, meticulously recreated from his own pedal, offers fixed-wah tones with a custom inductor for a unique sound.
The Mick Ronson Cry Baby Wah taps into the vibrant, melodic character of one of rock ānā rollās most gifted songwriters. Few guitar players have been able to combine a keen musical instinct with a profound grasp of how to bring a composition together like Mick Ronson. Laden with expressive resonance, his arrangements layered deliberately chosen tones and textures to build exquisite melodies and powerful riffs. The Cry Baby Wah, set in a fixed position to serve as a filter, was key to the tone-shaping vision that Ronson used to transform the face of popular music through his work with David Bowie and many others as both an artist and a producer.
We wanted to make that incredible Cry Baby Wah sound available to all players, and legendary producer Bob Rockāa friend and collaborator of Ronsonāsāwas there to help. He generously loaned us Ronsonās own Cry Baby Wah pedal, an early Italian-made model whose vintage components imbue it with a truly singular sound. Ronson recorded many tracks with this pedal, and Rock would go on to use it when recording numerous other artists. With matched specs, tightened tolerances, and a custom inductor, our engineers have recreated this truly special sound.
āYou place the wah, and leave it there, and that's the tone,ā Rock says. āIt's all over every record he ever made, and Iāve used it on every record since I got it. Dunlopās engineers spent the time and sent me the prototypes, and we nailed that sound.ā
āMick Ronson Cry Baby Wah highlights:
- Tailor-made for Ronsonās signature fixed-wah tones⢠Carefully specād from his own wah pedal
- Custom inductor replicates higher frequency response and subtler peak
- Fast initial sweep with Instant reactivity
- Distinctive EQ curve from period-accurate components
- Special finish inspired by Ronsonās monumental work
The Mick Ronson Cry Baby Wah is available now at $249.99 street from your favorite retailer.
For more information, please visit jimdunlop.com.
Slayer announces a one-night-only show just added to the bandās handful of headline concerts set for this summer. Marking the bandās only U.S. East Coast performance in 2025, Slayer will headline Hershey, PAās 30,000-seat Hersheypark Stadium on Saturday, September 20, 2025.
The concert will be hosted by WWE Superstar Damian Priest, a well-known āmetalheadā and a long-time Slayer fan. Priest's signature āfinisherā is Slayerās āSouth of Heaven,āand Slayerās Kerry King provided guitar for Priestās āRise For The Nightā Theme.
This exclusive concert brings together a multi-generation, powerhouse line up:
Slayer
Knocked Loose
Suicidal Tendencies
Power Trip
Cavalera (performing Chaos A.D. - exclusive)
Exodus (performing Bonded by Blood)
All confirmed Slayer 2025 concert dates are as follows:
JULY
3 Blackweir Fields, Cardiff, Wales, UK
Line-Up: Slayer, with Special Guests Amon Amarth , Anthrax, Mastodon, Hatebreed and Neckbreakker
5 Villa Park, Birmingham, UK ⢠Black Sabbath ⢠Back to the Beginning
6 Finsbury Park, London
Line Up: Slayer, with Special Guests Amon Amarth , Anthrax, Mastodon, Anthrax, and Neckbreakker
11 Quebec Festival d'ƩtƩ de QuƩbec City, Quebec
Direct Support: Mastodon
SEPTEMBER
18 Louder Than Life @ Highland Festival Grounds, Louisville, KY
20 Hersheypark Stadium, Hershey, PA
Some names youāve heard, others maybe not. But they all have a unique voice on the instrument.
Intermediate
Intermediate
⢠Open your ears to new influences.
⢠Understand how to create interlocking rhythm parts.
⢠Develop a new appreciate for the rhythmic complexity of Wayne Krantz, the effortless bebop of Biréli Lagrène, and the driving force that is David Williams.
The guitar has been a major factor in so many styles of music over the last 70 years, and any experienced musician can tell you that playing any one of those styles with authenticity takes countless hours of dedication. As we learn the instrument, we seek out music that we find inspiring to help guide us toward our voice. The legends we all know in the guitar pantheon have inspired millions of players. In my musical journey over the years, Iāve always been thrilled to discover unique musicians who never attained the same recognition as their more famous counterparts. With so much music at our disposal these days, I thought this group of guitarists deserved a little more spotlight. The inspiration and knowledge they have provided me were paramount in my development, and I wouldnāt be the player I am without them.
BirĆ©li LagrĆØneās Bombastic Bop
Standards was the first jazz guitar record I really listened to, and his playing on this entire album is devastating. There is so much groove, joy, and ferocity in every note. The way he lays ideas out on the fretboard made a lot of sense to me, his rhythms were intentional and clear, and it was surprisingly easy to dig into as a rock guitarist at the time. He has an extensive catalog of jazz, gypsy jazz, and fusion records with some of the best in the world, and heās also a killer bass player who can sing just like Frank Sinatra! Ex. 1 is over the first eight measures of āStella by Starlight.ā I stole so much vocabulary from this solo that I can still play bits from memory 20 years later. LagrĆØneās treatment of two-measure chunks to play his ideas was significantly helpful. Whether it was an engaging rhythmic phrase, constant eighth-notes, or just cramming in as much as he could, I stopped worrying so much about catching every chord change after I learned this one.
Ex. 1
Stella by Starlight
Old-School Swing!
George Barnes is a unique jazz guitarist who was a contemporary of Charlie Christian, Johnny Smith, and Django. A significant part of his early work was writing and arranging for radio and television, for NBC, and he also wrote the very first electric guitar method book in 1942. A friend in Austin gave me two CDs of his: a collection of his playing from the Plantation Party radio show and an overview of his octet recordings. The octet recordings sound like unhinged cartoon music with guitar and orchestral instruments and are highly enjoyable. Ex. 2 is a line I lifted from a recording of him playing āAināt Misbehavin.ā It was one of the hippest endings I have ever heard on a jazz tune, and although I canāt find the recording anywhere, I still use it all the time. I love the intention in George Barnesā playing. Swinging and mischievous, he always sounds like he was having fun.
Ex. 2
The George Barnes Sextet - Lover, Come Back to Me
āThrillingā Rhythm Solos
David Williams is one of the greatest rhythm players of all time. He is responsible for most of the memorable guitar moments on Michael Jacksonās records, and all his parts have an infectious nature. He is the primary reason I got interested in rhythm guitar, and he is still an inspiration on that front. One of my favorite examples of his playing is the breakdown in Michael Jacksonās āThrillerā (where Vincent Price does the rap). His signature thunderous right-hand approach to single-note rhythm parts is in full effect, and the natural accents between the two rhythm parts are infectious on their own but weave perfectly together. Ex. 3 is my interpretation of two interlocking parts in this style. Heās said in interviews that his concept as a player was to develop ārhythm solosā that could stand out front in a song, and this is a perfect example of that.
Ex. 3
Thriller
(Better than) Average Riffs
Though Hamish Stuart is most known for being an original member of the Average White Band, the singer/guitarist/composer/producer also did extensive work with heavyweights such as George Benson, Paul McCartney, Chaka Khan, and Aretha Franklin. Though AWB was still working until 1983, Hamish was doing sessions with various artists as a sideman in the early ā80s, including this excerpt from āMove Me No Mountainā off Chaka Khanās Naughty from 1980 (Ex. 4). Iāve always loved the interplay between these two parts, range-wise and rhythmically. The lower pick line hits some unusual 16th-note placements, and the higher dyads have a churn to them that is amazing. Both parts together feel different rhythmically from anything I have ever heard but sound so cool and unique.
Ex. 4
Chaka Khan - Move Me No Mountain
Wayne Krantz
Wayne Krantz is one of those guys that hit me like a lightning bolt. Upon hearing him, I felt like I had āpermissionā to play more with the fingers of my right hand, use jagged and intentional rhythms, and above all, to play more naturally. Wayne has always played like himself. His control over rhythm and articulation alone is legendary, not to mention the vast body of unique work he has created. Ex. 5 is an excerpt from the only solo I ever learned of his, from āInfinity Splitā off 1999ās Greenwich Mean. I love this solo because it is incredibly engaging rhythmically and melodically, but almost 100 percent inside the harmony. This solo taught me more about rhythmic placement and articulation than anything.
Ex. 5
Wayne Krantz - Infinity Split
Though I could only grab a certain percentage of these guysā āvocabulary,ā learning these parts over the years helped me find my sound. The result was an attempt to emulate some of their musicality in my way, rather than outright imitating them. Anything you hear that grabs your interest is probably worth sitting down and figuring out. While we might not mention the guitarists above alongside Hendrix or Van Halen, they have all done their part to put a brick in the cathedral, furthering music, and the instrument.