Dave Matthews’ guitar playing left its mark on the hosts of 100 Guitarists. In this episode, we’re talking about his unique style and sound and the players who influenced it. From his work leading DMB to his duo performances with guitarist Tim Reynolds, there’s a lot to cover.
Speaking of Reynolds, Jason calls on Dave and Tim to return to Luther College for the 30th anniversary of their first live record. And Jason learns about Michael McDonald’s guest spots with DMB.
Recording sessions for Janek Gwizdala’s debut album in November 2004 at Manhattan Center Studios, NYC. Back row left to right: John Ellis, Mark Turner, Elliot Mason, Albert Leusink, Tim Miller. Front row: Jojo Mayer and Janek.
Photo by Jonas Bostrom
What does your favorite player’s back catalog reveal about their artistry?
I recently reconnected with one of my earliest teachers and mentors in London, Geoff Gascoyne. Google him—he’s had an incredible career, and he set me up with some invaluable information at the beginning of mine. I was a guest on his podcast, The Quartet, and so many amazing memories about my very first days of becoming a bass player came flooding back.
One of the most important lessons I learned, just weeks after picking up my first bass, was also something that wouldn’t come into focus for some years—and it’s something I think we all deal with as fans of music.
We all have our favorite artists and favorite albums or periods of output from our heroes. It’s one of the major considerations that factors into whether we’ll go that extra step and buy a new recording or a concert ticket. Geoff knew I wanted to be a jazz musician and recommended some incredible albums like Art Pepper Meets the Rhythm Section, Speak No Evil by Wayne Shorter, and Soul Station by Hank Mobley. But in that very same lesson, he threw another name into the mix: Meshell Ndegeocello.
I fell in love with her albums Peace Beyond Passion and Plantation Lullabies, and her playing on those records has shaped my foundation as a bass player more than any other artist I’ve ever listened to. Both came out in the early and mid ’90s, when I was doing nothing but listening to and playing bass every day. They were the soundtrack of a very formative time in my life, and as such, my attachment to the music was intense.
Fast forward a decade to the mid 2000s: I’m living in New York, even playing on the same bill as her. Through my initial disappointment that she didn’t play any of those songs I loved so much as a kid, I started to understand something incredibly important about what it is to be an artist.
She was playing for herself in the studio. She was making music that mattered to her and not following a tried-and-tested formula of copying the albums that made her successful early on. It would have been so easy to make variations of Plantation Lullabies and be known for a specific thing for the rest of her career. But despite the massive success of Peace Beyond Passion, which was her second album, she followed it up with Bitter: acoustic guitars, strings, and big, open-sounding drums. A complete—and very brave—left turn.
“Curiosity is always going to win out in the artist’s mindset, and those who are truly curious tend to write and play for themselves.”
This is not the norm today. People find something that works, and then they do it over and over again. They maybe change the lighting in their TikTok video once in a while or go do “their thing” in front of a famous landmark in the hopes of more followers. But they rarely seem to play for themselves. They do it specifically because they deal in the metric of attention, and are beholden to their audience.
My big takeaway is that I think it’s important to realize this both as a fan and as a player. It’s easy to expect something from your heroes because you have such a connection to a small part of their catalog—and that’s what you want to hear when you go to see them live. But history tells us that a large percentage of serious artists have moved on, sometimes even before an album is released.
Curiosity is always going to win out in the artist’s mindset, and those who are truly curious tend to write and play for themselves. Whoever comes along for the ride is a bonus.
We’re all basically along for the ride, and I think we can lose sight of that when we get too attached. Don’t get me wrong—I’m always going to love Peace Beyond Passion—but I’m also going to remember that it’s the artist beneath the performance that I’m actually most attached to. I now try to have as open a mind as possible when I go see my heroes live or listen to their new music, and that has a massive impact on how I go about my own career as an artist.
With my current goal of releasing three new albums every year until my time here ends, I have to let go of the last thing and move to the next more efficiently than ever.
I think you’d be surprised by some artists you think you really know—then you go digging in their back catalog and discover there are things they put out that never reached your ears.
Now, more than ever in history, it’s our job as fans and players to stay engaged in the fundamentals—and ignore the noise.
PG contributor Tom Butwin tries the Lutefish Stream, a desktop device that lets musicians rehearse, record, and collaborate online with ultra-low latency. Tom tours the hardware, explores the browser-based mixer, and enlists a musical collaborator to test a real-time rehearsal for an upcoming performance.
Benson Amps is proud to present their new flagship tube effect unit, the Tall Bird Plus Reverb and Tremolo. This marks a leap forward in spring reverb and optical tremolo design, solving many of the noise and technical issues of classic units, while also pushing the boundaries of what these circuits are capable of. The Tall Bird Plus is musical, quiet and extremely flexible.
According to company founder/ designer Christopher Benson, ”In a tale as old as time, in 2023 we were approached by The Beach Boys to create a limited edition reverb-tremolo unit called the Surf’s Up, based on the classic Fender circuits with some upgrades, which was exciting because it allowed us to slay some dragons in the form of abiding tech problems with that type of circuit.
After the dust settled, we realized the dragons could be deader, threw out the Fender schematics and performed a ground up redesign of how WE would achieve the classic sounds with even more versatility and lower noise…and also have regular AND harmonic tremolo in one unit. After “some” experimentation (like a LOT) we settled on a design called the Tall Bird Plus that checks all the boxes."
Key features:
Separate Wet and Dry controls
EL84 driven transformer coupled reverb.
“Size” control – Shapes reverb character from splashy and shimmery to boomy and cavernous. - “Dwell” controls how much signal is sent to the reverb tank, ranging from short, spanky sounds through longer decay all the way up to saturation of the tank circuit.
“Classic” and “Harmonic” tremolo modes, possibly the only tube-driven optical harmonic tremolo on the market.
Reverb and Tremolo are can be independently bypassed with the included 2 button foot switch.
Iconic British string manufacturer Rotosound is proud to reveal a fresh redesign of its electric andacoustic guitar string packaging. The new look delivers a clean, modern feel while paying tribute tothe brand’s rich legacy of serving music’s rebels, rule-breakers, and pioneers. Rolling out thismonth with the Rotos product line, the updated packaging will appear across other lines in thecoming months.
At the heart of the redesign is a celebration of Rotosound’s storied heritage. Created in-houseusing the company’s own archives of catalogues, advertisements, and vintage string packs, the artwork draws directly from designs dating back to the 1960s. For example, the Jumbo King, TruBronze, and Super Bronze sets repurpose graphics directly from one of the company’s earliest string packs. The aesthetic also draws inspiration from the visual language of early British rock and punk — including album art from Decca Records and the use of bold typography — connecting the new look to a lineage that includes The Who, Pink Floyd, The Clash, and The Damned.
Function Meets Familiarity with a Splash of Color
One of the key goals behind the packaging refresh was to improve product differentiation.Previously, many Rotosound string sets shared a similar visual identity, making it hard to distinguish between different lines — for instance, a regular gauge nickel set like Roto Yellows and an acoustic Tru Bronze set. The new designs give each line a unique visual identity, making it easy for players to find exactly what they need at a glance.Despite the fresh appearance, brand familiarity has been carefully preserved. Longtime Rotosound users will recognize the brand logo, gauge information, and key descriptors in their familiar positions. The British flag still adorns each pack — now in a clearer, refined form —representing the company’s proud tradition of UK manufacturing since 1958. Still using airtight foil pouches — containing the strings, a silica gel sachet, and nothing else — Rotosound’s packaging remains one of the industry’s most eco-friendly, with 90% less packaging material than other packing methods.To further streamline the experience, gauge-specific colour coding now links sets across different lines. For example, all 10–46 gauge sets, regardless of series, share a yellow theme;9–42 sets are pink.
Notably, packaging for the acoustic sets now match the colour of the string material itself, allowing players to connect what's on the outside with what they’ll find inside.
Designed with Players in Mind
Rotosound consulted players and retailers to better understand what information was most valuable on the shelf. The result is a dedicated product information box, placed uniformly across the new packs, which makes it easier to compare materials, instruments, and tonal profiles.Short, descriptive summaries have been added to help players understand each line’s sonic characteristics, whether they’re chasing warmth, brightness, or vintage feel.
New endorsees have also been added to Rotosound’s impressive artist roster of legendary and contemporary acts — from Jimi Hendrix to Blur, AC/DC to Idles. Last but not least, a QR code on the back of each pack links to extended product details, recycling advice, and GPSR compliance information, giving players more insight — and more options — than ever before.
Rolling Out from the Factory to the World
The new packaging is shipping now, beginning with the Rotos line. Other sets — including BritishSteels, Jumbo King, Tru Bronze, and more — will update gradually as retailers replenish their stock. Players around the globe can expect to see both old and new designs side-by-side on the shelves of Rotosound’s dealers across the world during this transition period.
