PHOTO: Something magical happened in the 1950’s. Gretsch drums, Fender Tweed, paired with (my ’67 version) Leo’s iconic guitar…they play together so well recording is effortless.PHOTO: Sporting team colors, Sjuggs points out the Plexi/Tweed switch on this awesome Dumblesque “Tweedle” 5E3 build from Denver Amp Works. Fluxtone speaker tech is probably the greatest invention since radio — imagine your tone is perfect no matter what the volume in the room.
My good bud Steve Sjuggerud flew up from Florida this week to hang out in the studio and catch up. Our plan was to record a jam session, but we got distracted by amplifiers. More specifically, amplifier mods. Turns out, this might be the deepest rabbit hole of all time. We forgot to play and just talked for two days.
Choose your tubes. Pot values. Caps. Resistors. Rectifier? Schematic. Point to point. Switches. Wire gauge. Speaker. Magnet material. Cabinet material. Open back or closed? Pine. Birch ply. Finger joint. Tolex. Tweed.
Change out any of those variables and the amp becomes an entirely different beast.
Steve, so awesome to catch up in person. Thank you for our time together — and also this amazing amp.
PHOTO: Black anodize Rick Toone™ tremolo on the ’67. In the background the 5E3, patiently waiting to jam.
I fell completely in love with this guitar. Something about the simplicity feels familiar. Sleight-of-hand simplicity, however. Unusual multi-scale plus the Advantage™ neck profile plus the ingredients adds up to a delightful playing experience.
Plus, that tone. Warmth, piano clarity, sweetness.
Deeply grateful to Andrew for allowing me a blank canvas and his patience as I thought through how to manifest this machine.
“Have you considered designing a 7-string single cut? I have always been drawn to single cuts (mainly Teles), and I have been looking for a seven string. I can’t, however, find one that I like. Please let me know if that is something you would be interested in working on. I just love single cuts, but most people don’t push the limits of what they are capable of. I was thinking a headless multiscale, humbuckers (probably Bare Knuckle), 6-way switch, tone and volume. Simple finish, probably a nice black stain with a nice wood grain.” (Andrew)
“I am still a bit speechless…I have been playing almost non-stop, and I am completely blown away. Even when I am not playing it, I am still thinking about it. The design and aesthetic are incredible. It is so much fun to play, and I have barely scratched the surface. It is so comfortable, and you were right…a complete tone machine. The fun starts now, as I am already finding new ways to approach my playing. I can’t wait to see where she leads. Thank you so much, and it was definitely worth the wait.” (Andrew)
PHOTO: Adam J. Wilson recorded live at American University in Washington D.C. on October 10, 2024.
Before we get into the details, here is the overview. Adam is playing multi-scale fretless Spearfish™ 6-string guitar through a signal chain of electronics controlled by software he wrote. Output is into an 8.2 channel speaker array.
“I made an mp3 clip that is suitable for posting on your site; a little over a minute excerpt. I am trying to post/share only clips from the forthcoming record; still trying to figure out how to contend with AI/scraping/etc.
“The title is 2024.2, it is a 16-channel electroacoustic piece, and the personnel includes me, playing the second fretless spearfish (‘Plectrodon’) you made for me, and my real-time improvisation software (collectively called ‘Skronkbot’). The first 30 seconds of the drums is composed, and the remaining 6 minutes are generated algorithmically from that kernel. The bass and harmony instruments are generated in real-time in response to my playing. The harmonic resources are based on a 16-tone just intonation scale with a variable reference frequency.
“I am really enjoying the sound of the latest Plectrodon. I am definitely converted to a bridge pickup guy. I feel like with the sustainer and the Bare Knuckle in the bridge position, I was able to achieve a cello- or saxophone- like timbre using a massive amount of gain on a tweaked ENGL model.
“Funny story: I was contemplating getting a tube amp, and I auditioned a lot of them. My favorites were ENGL amps: the Savage 120 and the Founders Edition. Then I discovered that my favorite stock model on the Axe Fx, ‘Angle Severe,’ which I have been modifying to get my sound for a couple of years, is based on the Savage 120! The ear wants what the ear wants!” (Adam J. Wilson)
PHOTO: Spearfish™ 6-string guitar. Multiscale fretless patented component system, precision machined from aircraft aluminum and stainless steel. Bare Knuckle custom pickup. Sustainiac driver with custom electronics.
PHOTO: Killick Hinds & Adam Wilson — so good to see these friends in person. Thank you both for wonderful conversation and music…let’s do it again soon!
Have a listen to the recording above.
That’s the unedited raw audio, exactly how it sounded to us in my studio, as Killick and Adam played live. Think of it like a documentary. No EQ or compression. FM9 + Noble DI > Logic = as heard through NS-10s.
Duet guitars are Wingspan 6 and my personal Strat equipped with a prototype RICK TOONE ’67 tremolo.
The playing is extraordinary. Completely unrehearsed live improvisation for five and a half minutes, exchanging guitars halfway through the session, giving each a turn with both instruments. The performance is so compelling, as they listen and respond to one another.
A gathering of friends under sunny skies. We hit record and talked and laughed and marveled. Adam and I got to try on new guitars and new timbres like tailored crystalline cloth. From undifferentiated exploration these precious snippets fell into the grand cosmic lap, a glimpse into insight and telepathic conversation on the subtlest of levels. A very inspiring and elucidating day! (Killick Hinds)
VIDEO: Killick Hinds coaxes out harmonics not found in the textbook.
Perfect indulgence for a guitarist: spending an afternoon with Rick Toone and Killick Hinds, doing nothing but talking about and playing guitars. Highlight for me was getting to play “Wingspan” — three things stood out about the instrument: (1) the unparalleled harmonic richness of the instrument (meaning natural harmonics can be played in places on the neck that only produce dead thunks on most other instruments…plus the strength of the upper partials when plucking strings is equally remarkable), (2) the immense timbral palette afforded by the electronics, and (3) the incredible ergonomic design, particularly the balance of the guitar. Having played many of Rick’s guitars, and being lucky enough to own a couple of them, I see the elements that he’s been refining for years finding their culmination in this machine. Devoid of any hyperbole, Wingspan is the finest guitar I have played. (Adam Wilson)
