“Fred Frith in the UK and Hans Reichel of Germany were the pioneers of the pickup over the strings at that end of the neck in the 1970’s.” (Henry Kaiser)
Neck Over Strings Pickup
fretless
Adam J Wilson Live
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)
Chris Buono | Fretless
Chris Buono is battling pinched nerve spinal issues caused (in part) by years of tortured ergonomic playing posture. The resulting neuropathy brings on debilitating chronic pain and numbness extending from his left shoulder all the way down to his thumb.
This is a recurring theme I’ve seen in many players to various degrees, throughout my career. The solution involves better instrument design.
Our priority was threefold…
First, design an instrument focused on posture correction to help relive discomfort, allowing Chris to continue to work as he heals. Second, to help prevent or at least greatly diminish future nerve inflammation issues. We want to keep Chris healthy so he can continue his career for decades to come.
Equally importantly, the guitar will simultaneously extend his formidable fretless technique into new territory.
Fretless guitar is extraordinarily difficult to master. A player must have the skilled intonation of a classical stringed instrument musician—violin, viola, cello—plus the added ability to precisely form chords.
The reward for mastery is supreme expressiveness.
Yesterday I was treated to a private test flight when we met in his studio to debut the new guitar. Running straight into a hot-rodded vintage Marshall, one of the first things he played was EVH’s Panama solo. Absolutely mesmerizing to watch.
Chris is going to be dangerous on this machine.
Total game changer. (Chris Buono)
This is the single best piece of “functional art” I have ever seen. AMAZING.
(Steve Pucciarelli: Reactive Neuro Physical Advancement Center)
Focus Group
Saturday, I hosted Chris Buono and Adam J. Wilson for a focus group session. Our mission was to evaluate two current areas of research: multi-scale fretless design, and Pisces™ tremolo performance.
We tested both of Adam’s fretless Spearfish™ guitars plus Pisces™ prototype through an extensive array of tube and solid state amps plus modeling: Roland Jazz Chorus, Carr, Fender ’64 Deluxe, AxeFx II.
Not many people in the world play fretless guitar, let alone exceptionally well, nor do many people build fretless guitars, let alone exceptionally well. Today, I got to hang with both varieties. With all that’s going on in the world, this was a welcome respite. (Adam J. Wilson)
In addition to intensive discussion, I was treated to several hours of duets and solo improvisation. You are already well familiar with Chris Buono and his mastery of the instrument. Adam is similarly gifted, employing a fascinating two handed fretless tap technique. He makes fretless shredding look absolutely effortless…micro-tones, scales, harmonies: eight fingertips on the fingerboard is just so fast.
A meeting of like-minded fretless freaks is a rare thing. This was an immensely important day for me on many fronts and will surely change how I approach fretless guitar going forward. (Chris Buono)
I have some new ideas for how to improve fretless design. Fretless is a tiny niche market of players who are super skilled and super dedicated to the almost limitless possibilities of a life without speed bumps.
Imagine the virtuosity of a solo violinist yet with the added capability of harmony.
Glorious day of exploration and learning. Most importantly…it was so good to see old friends in person. Magic happens when we share a space and music together.
