On this episode, the country guitarist walks Shifty through her blazing solo on "Hits Me," after sharing all about what makes her guitar-mind tick.
But before the two get into the solo breakdown, they cover some ground delving into topics like Lindsay's early bluegrass studies (and how her teacher Randy Bachman later introduced her to jazz and blues), her experience playing with producer Dann Huff, and why there aren't more female lead guitarists. (For that last one, she's not sure she has the answer, but is proud to be on the vanguard!)
"Hits Me" is in Bb, which could be a challenging key to play in, and even Chris admits he gets lost on the fretboard if his songs aren't in the far more common keys of E, A, or G. But, she didn't want to be pigeonholed as the "girl who uses a capo," throwing it out at a very young age, and plays the solo high up on the neck, mostly on the top strings, around the 16th fret. It's also full of "guitarmony"āwhich she loves doing on just one guitar, although the solo was tracked on two for the recording to throw a bone to the mixing engineer.
In the final minutes of the ep, Lindsay reveals one of her favorite warm up exercises, which she calls "chromatic spiders," which Shifty finds pretty wild (and they sound just as creepy as their name). Watch the full episode to get the whole story on Lindsay and the nuts and bolts of her guitar wizardry.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Fender Honors Legendary Mike Campbell with Stories Collection āRed Dogā Telecaster
Fender introduces the Stories Collection Mike Campbell Red Dog Telecaster, paying tribute to the iconic guitarist's heavily modified instrument. Featuring two signature humbuckers, a custom single coil bridge pickup, Bigsby tremolo, and a unique "Destruct" circuit, this Telecaster allows players to channel Campbell's legendary tone and style.
Today, Fender Musical Instruments Corporation (FMIC) and the Fender Custom Shop (FCS) introduce the newest member of the āStories Collectionā familyāa series of instruments that pays tribute to iconic Fender guitars and basses that have been uniquely modified by the legendary artists who played them. Mike Campbell, the tasteful and versatile player who is responsible for some of Tom Petty and the Heartbreakersā most memorable riffs, has teamed up with Fender and the Custom Shop to develop the Stories Collection Mike Campbell signature guitars - the Red Dog Telecaster and FCS Limited Edition Masterbuilt 1972 āRed Dogā Telecasterātwo reproductions of Campbellās stunning and heavily modified Telecaster that gives players the opportunity to create their own sonic identity through the framework of one of rock and popās greatest guitar players.
āTelecasters are the heart and soul of rock and roll music and this one is a beautiful instrument,ā said Mike Campbell. āI could tell The Red Dog was special as soon as I picked it up. It felt like it was in the right place at just the right time. The humbuckers give it so much power and such a wide variety of tones while the destruct button really sets it apart from just about any other tele.ā
The tale of the Red Dog Telecaster began when one of Campbellās former students living in Florida offered to sell him a guitar. However, after seeing the guitar in question, it became clear that this was no standard instrument pulled from the rack. Campbell was presented with a bright red Tele equipped with humbuckers in the neck and middle position, a Bigsby tremolo and, perhaps the guitarās most idiosyncratic flourish, an onboard electronic boost dubbed the ādestructā circuit. As any other lifelong guitar devotee would, Campbell bought this glorious Frankenstein of an instrument without a momentās hesitation. The Red Dog was subsequently used most memorably on the Heartbreakerās track āRefugeeā and is prominently featured in the songās music video. All throughout his storied career playing with Tom Petty, as a session guitarist, alongside Fleetwood Mac and touring the world with his solo act The Dirty Knobs, this singular Telecaster has been inextricably linked to Campbellās career and legacy as one of rock and rollās finest players.
The Stories Collection Mike Campbell Red Dog Telecaster offers the same level of craftsmanship and sonic capability at a more accessible price point. The two signature Mike Campbell humbuckers in the neck and middle position bring a low-end growl and high octane output that sets it apart from other Telecaster guitars. However, the custom single coil bridge pickup delivers the caliber of twang that people worldwide associate exclusively with Tele guitars. A Bigsby B5F tremolo allows players to extenuate riffs and solos with an additional level of flourish and attitude. Perhaps the Red Dogās most exciting feature lies beneath the surfaceāthe āDestructā circuit. With the push of a sleek silver button on the control plate, an added 34 dB of gain can be activated for complete tonal dominance.
āItās our mission to honor the legacy and sonic character that Mike Campbell has infused into every note played on his beloved āRed Dogā TelecasterĀ®,ā said Justin Norvell, Executive Vice President of Fender Products. āEvery scratch, modification, and battle scar tells a story, and with these meticulously crafted recreations, weāre giving players everywhere the chance to channel that same timeless energy and write their own musical history.ā
While the Red Dog Telecaster came into his hands already modified, its custom features were universal and powerful enough to elevate Campbellās personal playing style and the same can be said for Fenderās painstakingly detailed and powerfully crafted recreations. The FCS Limited Edition Masterbuilt 1972 āRed Dogā Telecaster is a jaw dropping representation of the instrument as it exists todayādings, paint chips, dents and all by FCSās Senior Masterbuilder Dennis Galuska. Outfitted with vintage replica Arcane, Inc. pickups and signature āDestructā boost circuit wired by Analogman, this custom Telecaster can achieve the same biting jangle heard on āRefugee.ā Features include a flat sawn maple neck with custom Oval āCā back shape, 7.25ā radius fingerboard, 21 vintage upgrade frets, 5-way pickup sector and vintage style Jazzmaster bridge with threaded saddles.
āThe āRed Dogā TelecasterĀ® is a testament to how a heavily modified instrument can be both deeply personal and universally cherished,ā said Chase Paul, Director of Product Development - Fender Custom Shop. āThereās an undeniable magic in an instrument that evolves alongside its player, and every modification on this guitar serves a purpose, working together to create something greater than the sum of its parts. Dennis Galuszka and the Custom Shop dedicated countless hours to faithfully recreating every detail, bringing players and fans as close to Mikeās legendary TeleĀ® as possible.ā
Stories Collection Mike Campbell Red Dog Telecaster® ($3,499.99) Revered for his tasty rhythms and fiery leads, Mike Campbell is responsible for many of the iconic hooks from the Tom Petty and the Heartbreakers catalog. For decades now his faithful Fender guitars have been at the heart of his trusted formula for award-winning tone.Campbell bought what became known as the āRed Dogā from a former guitar student in Florida, complete with Bigsby tremolo and a powerful onboard boost, known as the āDestructā circuit. Mikeās iconic 1972 Red Dog Telecaster is featured on the Damn the Torpedoes track āRefugeeā and can be seen in the accompanying music video. The Stories Collection Mike Campbell āRed Dogā Telecaster features an Heirloom⢠nitrocellulose lacquer āRed Dog Redā finish, 1-piece maple neck with 7.25ā radius fingerboard and 21 vintage-style frets as well as an onboard āDestructā boost circuit. The custom Mike Campbell Red Dog pickup set features two vintage-style humbuckers and a single-coil Telecaster bridge pickup, Bigsby B5F tremolo and a custom Red Dog neck plate. Custom accessories include a vintage-style case, strap, picks and certificate of authenticity.
Unique, versatile and utterly original, The Mike Campbell āRed Dogā Telecaster pays tribute to a veteran Heartbreaker with a serious knack for writing extraordinary songs and delivering catchy, captivating and magnificent guitar parts.
Fender Custom Shop Limited Edition Masterbuilt Mike Campbell 1972 āRed Dogā TelecasterĀ® ($20,000.00) With raw, powerful riffs and explosive leads, Mike Campbell firmly established himself as one of the greatest guitarists and songwriters in music historyāand throughout his accomplished career, Fender guitars played in integral role in his creative expression. One of his most noteworthy instruments was his modified three-pickup Telecaster that would come to be known as the āRed Dog.ā Fender Custom Shop Senior Masterbuilder Dennis Galuszka partnered with Mike to recreate this incredible guitar. From beautifully faded red metallic finish to the worn and Bigsby B5 vibrato tailpiece, every nick, ding and scratch was meticulously replicated to bring this tribute guitar to life. Loaded with vintage replica Arcane, Inc. pickups and a āDestructā boost circuit wired by Analogman, this Tele plays, sounds and feels just like the guitar heard on āRefugee.ā Its two-piece select alder body and custom-shaped, one-piece maple neck feature a well-loved RelicĀ® lacquer finish, while the hardware is aged to look like itās been played for the last five decades. Wonderfully unique and with a storied past, the Limited Edition Masterbuilt Mike Campbell 1972 āRed Dogā Telecaster is a fitting homage to such an incredibly captivating and inspiring musician. Other premium features include flat sawn maple neck with custom Oval āCā back-shape, 7.25ā (184.1 mm) radius, 21 vintage upgrade (45085) frets, 5-way switch, 3-ply parchment pickguard, vintage-style JazzmasterĀ® bridge with threaded steel saddles, vintage-style āFā-stamped tuning machines, bone nut, two American Vintage ā65+ string trees with nylon spacers, deluxe hardshell case, strap and certificate of authenticity.
For more information, please visit fender.com.
Fender Stories Collection Mike Campbell Red Dog Telecaster Electric Guitar - Red Dog Red
Stories Collection Mike Campbell Red Dog Tele, MapExpansive range of subtle thickening and focusing tones to fuzz. Great alternative to run-of-the-mill overdrive and fuzz. Enables surgical shaping of guitar sounds within a mix.
Interactive, sometimes sensitive controls make certain tones elusive and lend the pedal a twitchy feel.
$179
Catalinbread Airstrip
With the preamp from a Trident A-Range console as their target, Catalinbread conjures up a varied gain device that can massage or mangle your guitar tone.
Replicating a recording console preamp in a pedal is a pretty elementary idea, but itās inspired stompboxes as varied as theJHS Colour Box andHudson Broadcast. All recording desksāand the pedals that imitate themāhave their own color. Catalinbreadās Airstrip chases the sound of a Trident A-Range channel strip. (Search āTrident Studiosā to get a handle on the kind of clientele the place attracted back in the ā60s and ā70s).
Presently, a new Trident A-Range channel strip costs thousands of dollars. An original? Well, only 13 desks were made, so you can probably get a nice used Rolls Royce for lessāif you can find one. Rightly then, one should temper expectations about how well a $179 pedal can ape a priceless console. But like many preamps in a box, the Airstrip excels at a wide range of gain-shaping tasks, from surgical boost and EQ shadings to fuzzy, filtered, ready-to-rip-through-a-mix Jimmy Page/Beatles/Neil Young-style direct-to-desk tones. Even at extremes, the Airstrip is sensitive to touch, volume, and tone dynamics, enabling pivots from light (if very focused) overdrive to ā60s germanium-fuzz-like sounds with changes in guitar volume and tone. And though itās dynamic and responsive, at many settings it also exhibits lovely compression tendencies, softening transients before giving way to wide-vista tone bloomsāa great recipe for spare, lyrical, melodic leads with a ā60s biker-flick-soundtrack edge. Without any of its market-leading competitors around for comparison, itās hard to say exactly how the Airstrip aligns with their EQ biases and core tones. What is certain is that there are scores of mellow to unconventionally aggressive colors here to explore.
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.
Our columnistās bass, built by Anders Mattisson.
Would your instrumental preconceptions hold up if you don a blindfold and take them for a test drive?
I used to think that stereotypes and preconceived notions about what is right and wrong when it comes to bass were things that other people dealt withānot me. I was past all that. Unfazed by opinion, immune to classification. Or so I thought, tucked away in my jazz-hermit-like existence.
That belief was shattered the day Ian Martin Allison handed me a Fender Coronado while I was blindfolded in his basement. (Donāt askāitās a long story and an even longer YouTube video if you have time to kill.) For years, I had been a single-cut, 5-string, high-C-string player. That was my world. So, you can imagine my shock when I connected almost instantly with something that felt like it was orbiting a different solar system.
Less than 5 minutes with the instrument, and it was all over. The bass stayed in Ianās basement. (I did not.) I returned home to Los Angeles, but I couldnāt stop thinking about it. I kept playing my beloved semi-chambered single-cut 5-string, but I sent its builder, Anders Mattisson, a message about my recent discovery. I asked if there was any way we could create something with the essence of a Coronado while still suiting my playing and my music.
Thatās when everything I thought I knew about bassāand the personal boundaries I had set for myselfācame crashing down.
When we started talking about building a bass with a fully chambered body, much like the Coronado, I was adamant about two things: It needed to have active electronics, and I would never play a headless bass.
Fast-forward three months to the winterNAMM show in California. Anders arrived for dinner at my house, along with a group of incredible bass players, includingHenrik Linder. I was literally in a chefās apron, trying to get course after course of food on the table, when Henrik said, āHey, letās bring the new bass in.ā
He came down the stairs carrying something that looked suspiciously like a guitar caseānot a bass case. I figured there had been some kind of mistake or maybe even a prank. When I finally got a break from the chaos in the kitchen, I sat down with the new bass for the first time. And, of course, it was both headless and passive.
I should mention that even though I had made my requests clearāno headless bass, active electronicsāI had also told Anders that I trusted him completely. And Iām so glad I did. He disintegrated my assumptions about what a bass āhas toā or āshouldā be, and in doing so, changed my life as a musician in an instant. The weight reduction from the fully chambered body made it essential for the instrument to be headless to maintain perfect balance. And the passive nature of the pickups gave me the most honest representation of my sound that Iāve ever heard in over 30 years of playing bass.
Iām 46 years old. It took me this long to let go of certain fundamental beliefs about my instrument and allow them to evolve naturally, without interference. Updating my understanding of what works for me as a bass player required perspective, whereas some of my most deeply held beliefs about the instrument were based on perception. I donāt want to disregard my experiences or instincts, but I do want to make sure Iām always open to the bigger pictureāto other peopleās insights and expertise.
Trusting my bass builderās vision opened musical doors that would have otherwise stayed bolted shut for years to come. The more I improve my awareness of where the line between perception and perspective falls, the more I can apply it to all aspects of my world of bass.
Maybe this month, itās playing an instrument I never would have previously considered. Next month, it might be incorporating MIDI into my pedalboard, or transcribing bass lines from spaghetti Westerns.
No matter what challenges or evolutions I take on in my music and bass playing, I want to remain openāopen to change, open to new ideas, and open to being proven wrong. Because sometimes, the instrument you never thought youād play ends up being the one that changes everything.