SENSATIONAL SEASONAL SALUTATIONS AND SANGUINE SIMPLICITY this month. A simple salute from a simple somebody with a simple suggestion and a simple story to share. The simple salute is to welcome you once again to the weird and sometimes whacky world of CRAVE Vintage Guitars (or CVG – a new acronym for short! NB. Nothing to do with the 3‑letter Airport Code for Cincinnati/Northern Kentucky International Airport). The simple suggestion is an urgent restatement to respect and protect our shared home planet as well as to inject some much‑needed humanity into our fracturing civilisation. The simple story, which will unfold in due course, is a return to a realm of familiar fanciful fun and further fabricated frivolity (with just a simple soupçon of audaciously absurd alliteration, always).
Prelude
So, without further ado, we shall progress on to the simple story. There is not a lot about vintage guitars this month. Instead, the subject matter will return to focus on the simple founder, frontman and heralded hero of CRAVE Guitars. You have met him before and now he’s back for more. I am talking about the one and only The CRAVEman. He may be a simple soul but he has a keen sense of integrity, humility, morals, ethics, valour and an unfailing commitment to nurturing his nascent cherished community. What a guy! Perhaps this article should be called ‘The Awesome Adventures of The CRAVEman’. Seriously though, what’s not to like?
However, I do recognise that this sort of fictional fable may not be to everyone’s taste, so no grudges will be sustained should you wish to defer allocating your intellect to other matters this month and come back when there is something a little more, well, factual and grounded. Not much in the way of tortuous narrative this month; but lots of images for your diligent delectation.
“I cannot say who, precisely, came up with the idea of a Stone Age family” – Joseph Barbera (1911‑2006)
Previously on ‘The CRAVEman Cometh’
You may recall, back in July 2025, that ‘el jefe’ and nom de guerre of CRAVE Guitars was revealed to world in ‘The CRAVEman Cometh’ If you want to revisit his introduction and early exploits, follow the link below (opens in a new tab).
Due to popular demand (well, predominantly my own tbh), I have decided that The CRAVEman deserved a second outing to build on the mythology and to expand on the CRAVEworld (it doesn’t warrant a CRAVEverse yet because, well, he’s a stone age relic isn’t he?). It is here that he strives to eke out an existence within his small semi‑nomadic group while, at the same time, seeking to advance his musical aspirations. I hope you enjoy spending some light‑hearted time with the laudable leader and Rock Guitar God of his prehistoric people.
Full disclosure, the original images for this article were produced using AI and edited (I won’t claim ‘enhanced’) by me. There are a lot of inconsistencies and visual errors that have been left intentionally untouched. The reason for this is twofold. The first is to highlight that AI still has a very long way to go before its outputs can be regarded as genuinely credible. The second is that the faults actually add some fun ‘spot the mistakes’ and continuity flops (as well as, arguably, some peculiar, anomalous charm) to the ridiculous falsity of the whole product. What I will say is that, if creative AI tools weren’t available as a means to an end, there would be no adventures of the The CRAVEman.
Regular readers will know about my observations and opinions on the evolution and utility of AI, highlighting the potential benefits and significant risks of the fledgling technology. This is not the place to reiterate those views. Let’s face it, The CRAVEman is about as artificial as can be, so what’s the harm in representing him artificially through a bit of reflexive irony and satire? Given the evidence presented below, I recommend that you make up your own mind about the divisive worth of AI, past, present and future.
As ever, though, the words are 100% human with no AI intervention whatsoever. I still need to control something. As with the previous prehistoric expedition, a substantial suspension of disbelief is an absolute prerequisite for your investment to be repaid. I must stress that this tawdry tale and imaginary interlude is for entertainment purposes only. There are no serious real‑world insights whatsoever, just rampant ridiculous unreality. Do not try this at home, folks!
“The latest refinements of science are linked with the cruelties of the Stone Age” – Winston Churchill (1874‑1965)
Welcome to CRAVEland (Geography of The CRAVEman’s Domain)
Last time around, we followed The CRAVEman on his adventures in his tribe’s territory. This month, it is time to explore quite what that territory is and why it is so important to his community’s social culture and wellbeing. The clan is essentially a co‑operative with only informal leadership and followers providing any sort of class structure. You may recognise some of the characteristics from The CRAVEman’s previous adventures.
The CRAVEman’s world is located in a Stone Age cool temperate climate generally characterised by warm summers and mild winters with moderate rainfall throughout the year. Temperate regions are found between the tropics and the polar regions. Depending on how far north (or south) one goes, temperate climates are divided into warm temperate and cool temperate regions.
The CRAVEman, along with his compatriots live in a small commune unsurprisingly called CRAVE Town in a region known as CRAVEland. CRAVE Town comprises a group of humble caves situated at the foot of a small but significant mountain range. His hunting grounds include not only the mountains but also the forest, grassland, rivers and sea. All in all, CRAVE Town is a great place for a tribal community to settle, survive and thrive with many natural resources close at hand, such as shelter, security and access to abundant food and water.
There are few serious dangers to impact on the tribe’s wellbeing and prosperity. Wild animals and competing neighbouring tribes from the other side of the mountain range result in occasional risks to their livelihood but, on the whole, peace prevails.
To all intents and purposes, the extent of The CRAVEman’s realm is as far as his tribe can travel and return home safely, resulting in a natural boundary to his domain. Being a simple chap, he doesn’t spend too much time pondering on what might lie beyond the edge of his realm or even further afield.
“Stone Age. Bronze Age. Iron Age. We define entire epics of humanity by the technology they use” – Reed Hastings (1960‑)
The Latest ‘Adventures’ of The CRAVEman
Like last time, there is some sort of story behind the images. Like last time, I’m not going to spoon feed you with any sort of plot. Like last time, I’ll give a hint about his adventures through short captions for each image. You can take that as it comes or you can create your own storyboard and use your imagination to craft your own version of The CRAVEman’s cracking capers. It’s much more fun that way.
I grew up with comic books, manga, comic strips and cartoon stories – everything from Krazy Kat, Peanuts, Garfield, Calvin & Hobbes, Tin Tin, Asterix The Gaul, The early X‑Men, Thor, The Fantastic Four, Spider‑Man, Captain America, Hulk, Dr. Strange, Vampirella, Watchmen, Judge Dredd, V For Vendetta, Maus, Wonder Woman, Superman and my personal favourite, Batman (the darker the better), amongst many others. The diversity of content fired my imagination and inspired my alternative view of the world, albeit somewhat fantastical and a sanctuary from the cruel reality of everyday human existence. It is in that spirit of conjuring fanciful flights of fantasy that I’m alluding to when suggesting that it’s up to you to put your own slant on proceedings. Take it where you want and immerse yourself in his latest experiences.
Guitar Maintenance Time – The CRAVEman giving one of his CRAVE Guitars some essential TLC before it is put to some serious band use with rehearsals and gigs coming up.
Cave Wall Painting – The CRAVEman trying to document and preserved the images of prehistoric CRAVE Guitars for future generations. It is kinda his guitar collection database.
Stone Age Graffiti – The CRAVEman viewing some local graffiti done by some local yoofs on a rock face near CRAVE Town. While not showing outward approval, he kinda digs that his influence is having an effect on the next generation.
CRAVE Guitars Exhibition Time – One of The CRAVEman’s close friends acting as an exhibition curator, showing off some CRAVE Guitars in the hope of inspiring others to take up the cause.
Band Song Writing – The CRAVEman doesn’t rest on his laurels or past hits. He needs to get down and concentrate hard on some serious new song writing for his band and solo projects.
Shopping for New CRAVE Guitars – The CRAVEman suffers from G.A.S. (Gear Acquisition Syndrome) just like his modern counterparts. He travels far and wide to nearby markets to look for new guitars to add to his collection. A prehistoric guitar shop, if you will.
Stone Age Social Media – The CRAVEman needs to promote and market his band’s image, so he sets about some prehistoric ‘social media’ posts. He has to use a clay tablet so that he can spread the word and follow the band.
Pre-Gig Arrangements – The CRAVEman has a drink at the CRAVEpub before his band plays a big gig at the venue. The barman is also a friend and part‑time band manager, event organiser, as well as venue owner, so it’s an important meeting.
Pre-Gig Chat Up – The CRAVEman meeting a couple of CRAVEgirls at the CRAVEpub, getting to know some of his fans and potential future groupies. Times haven’t changed much over the millennia.
The BIG CRAVE Gig – The CRAVEman’s band – The CRAVEband (what else?) – plays a big rock gig at the CRAVEpub in front of many fans, not just his tribe but also from neighbouring friendly ones.
The Gig After Party – In order to capitalise on the big rock gig, the pub landlord also arranged a post-gig music club after party with lots of frivolity and fun for his customers and to celebrate a successful performance by The CRAVEband.
Solo Rehearsal – Not only does The CRAVEman play with The CRAVEband, he likes to rehearse some solo material and engage in a bit of rock music head banging, just for fun and to let his hair down.
Battle of the Stone Age Rock Bands – The CRAVEband isn’t the only rock band in CRAVEland. There are several up‑and‑coming competitors. The landlord of the CRAVEpub organised a ‘Battle of the Bands’ event to celebrate local music talent.
Guitar Lessons – The CRAVEman knows that the future of rock music relies on the next generations taking up his passion. So The CRAVEman also takes time to teach the local CRAVEkids how to play guitar and keep the vibrant scene going.
Family Rock Jam Time – The CRAVEman’s old man drops into the CRAVEcave for a jam session with his son, proving that The CRAVEman is a chip off the old rock.
Chillout Time – After all the community fun playing with The CRAVEband at the CRAVEpub, the after party and the battle of the Stone Age rock bands, The CRAVEman needs some reflection time with his loyal canine buddy, The CRAVEdog, while noodling on his guitar for relaxation.
Outdoor Guitar Practice – On fair days, The CRAVEman likes to sit outside his CRAVEcave and enjoy the clement weather while also taking the opportunity to engage in a bit of idle guitar practice to lift his spirits.
Admiring The CRAVEman’s Guitar Collection – Also on good days, he likes to get his impressive collection of CRAVE Guitars out, set them up outside his CRAVEcave and admire them for what they are, great prehistoric rock guitars. He’s also thinking about what his next CRAVE Guitar might be.
Prayers at the Altar of Rock Guitars – Before retiring for the night, The CRAVEman knows just how privileged he is in his community role and feels obliged to pray to the venerable Rock Gods for his own and his tribe’s good fortune and prosperity.
Time to Settle Down – Coming up to The CRAVEman’s bedtime, he relaxes with his CRAVEdog and does a bit of noodling before retiring at the end of the day to snooze and dream of Rock Godness.
“Ordinary language embodies the metaphysics of the Stone Age” – J.L. Austin (1911‑1960)
Final Thoughts on the Latest Adventures of The CRAVEman
Well, that’s it for now. The CRAVEman has exited stage right and is taking a well‑deserved rest after his latest escapades. Given the season, it is time for his annual hibernation until springtime. However, when I interviewed me, my alter‑ego confided in me (Ed: that’s a disturbing internal dialogue) that he would like to return. As Arnold Schwarzenegger (1947‑) as the T800 cyborg assassin stated in the film, ‘The Terminator’ (1984), “I’ll be back”. Keep your precious peepers peeled for the possibility of further exploits of your favourite Stone Age Rock God! What a non‑living legend!
There is no protracted pretentious pontification for a welcome change this month. No opinion, just a momentary pause in proceedings to reflect on the puerile panoply of prehistoric pictograms.
Finally, The CRAVEman wishes everyone a great start to the Happy Holidays season from Thanksgiving through Christmas to New Year. Have an exceptional time everyone. Here’s The CRAVEman’s Thanksgiving celebration portrait…
“Welcome out of the cave, my friend. It’s a bit colder out here, but the stars are just beautiful” – Plato (c.427‑347BCE)
CRAVE Guitars’ ‘Album of the Month’
Sticking with the Stone Age Rock theme of this month’s article, I’m going back a bit to the heyday of British rock. Appropriately, this month’s accolade goes to…
Deep Purple – Deep Purple In Rock (1970): ‘In Rock’ (for short) was English rock band Deep Purple’s 4th studio album released in June 1970 on the Harvest record label, comprising only seven tracks covering just 44 minutes. The band’s line up at the time was the classic ‘mark II’ membership (Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord and Ian Paice). Classic tracks on the album include, ‘Speed King’ and ‘Child In Time’. At the same time as the album, Deep Purple released their complementary classic breakout hit single, ‘Black Knight’ (1970), even though it didn’t appear on the original LP track list.
Deep Purple were on a roll in the early 1970s with subsequent albums such as, ‘Fireball’ (1971), ‘Machine Head’ (1972) and ‘Burn’ (1974). I don’t want to get into the heated debate about what genre this album represents. Some call it heavy metal (it isn’t), some call it classic rock (only in retrospect; at the time it was just rock), some call it hard rock (ditto) or perhaps it is just… rock (probably most apposite). Ultimately, it doesn’t matter, it was great pioneering rock produced during a prolific and innovative period in British and American music. It’s not my personal favourite Deep Purple album; that would be ‘Made In Japan’ (1972). However, ‘In Rock’ is a great album by a massively influential band at the time and it fits the bill for this particular article very nicely. It also showcases the band members’ prodigious musical talents, not least the guitar pyrotechnics of Ritchie Blackmore.
BELIEVE IN MUSIC!
“Maybe when all was said and done, the imagination was the most powerful of all weapons. It was the imagination of the human race that had allowed it to dream of a life beyond cold caves and of a possible future in the stars” – Dean Koontz (1945‑)
Tailpiece
So, my veritable virtual visitors, the time has come for The CRAVEman (and me, in my multiple personality disorder duties) to bid you a flippant fond farewell, at least for the time being. I have a funny feeling that the modern world has not seen the last of The CRAVEman. Watch this space.
Next month’s outpouring is very likely to be a predictable end‑of‑year‑review article, so not too demanding on the real stupidity (as opposed to artificial intelligence) front. Fare thee well from the newly titled CVG, fine friends.
Truth, peace, love, and guitar music be with you always. The CRAVEman, signing off for now. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “What you will know tomorrow is an accumulation of what you’ve known every day before”
GRACIOUS GREETINGS FROM YOUR HUMOROULSY HEARTY HOST. Yup. Welcome once again to a freshly minted monthly monologue for late July, high summer in the northern hemispherical portion of our little floating blue sphere. This month is something entirely new (and therefore, by inference, different), as well as a tad flippant. I thought you might like to know a little bit more about the character behind the CRAVE Guitars brand – the founder, owner, proprietor, curator, manager, roadie, mail man, web designer, social media guru, lackey and tea boy. Well, tough, I aim to remain firmly in the background, anonymous and intentionally inscrutable, letting the vintage guitar gear stand proud, front and centre, just it should.
“Everyone needs something to aim for. You can call it a challenge, or you can call it a goal. It is what makes us human. It was challenges that took us from being cavemen to reaching for the stars” – Richard Branson (1950‑)
In my May article, I briefly perplexed about a collective noun for vintage guitar collecting, collectors and vintage guitars. I then suggested that, perhaps, it is time for someone to create a name for vintage guitar collectors, suggesting, somewhat whimsically but definitely not seriously, CRAVE‑o‑holic or CRAVE‑o‑phile? CRAVE‑atalist or CRAVE‑ologist maybe? No? How about Cuitarchivist, Guitarcheologist, Guitarchitect? NB. Full disclosure: admittedly those last three were not my ideas – credit goes to the originators for getting there before me. While that topic isn’t the subject of this month’s article, it did provide some fondly flirtatious food for thought.
However, the thought of an extension of CRAVE Guitars tenacious tentacles into new nooks and crannies occurred to my feeble brainium and led, rather circuitously, to this month’s subject matter. (NB. ‘Nook and cranny’ is a medieval English idiom when castles were built with hidden passages and secret rooms. People would search for small spaces, hiding places or escape routes concealed within castle walls.)
I thought this month’s article would be mercifully brief so that I could concentrate on ‘The Distortion Diaries’. However, as usual, I got distracted by the subject matter and progress on the novel has been slower than article preparation. Sigh.
“Everything has changed, but the process of telling a story has not changed. It’s like cavemen sitting around the fire; somebody’s going to tell the story. Somebody is drawing on the wall. You’re communicating. You’re trying to learn and teach at the same time. You’re your own student and you’re your own teacher, but the process is of the communicating” – Stanley Kubrick (1928‑1999)
Introducing… The CRAVEman Cometh
Prepare your souls for flowery prose. Taking a tangential turn, this month I am introducing my avatar, my double, my alter ego, my twin, my clone, my doppelgänger, my alternate personality (or at least one of them). So, without further ado, it’s time to say “hi” to ‘el jefe’, the prehistorically‑minded guitar‑wielding (axe‑wielding?) titular representative and future front man for CRAVE Guitars; ‘The CRAVEman’. Geddit?
These vestigial thoughts conveniently coincided with a humorous and harmonious messaging exchange with a close friend and the idea of The CRAVEman came to the fore. It was not so much an epiphany, more a lucid realisation that I could justifiably BE someone else, just for CRAVE Guitars’ expanding brand image. Much more interesting than the prospect of boring reality, eh?
“This is a story of long, long ago, when the world was just beginning… A young world, a world early in the morning of time. A hard, unfriendly world. Creatures who sit and wait. Creatures who must kill to live. And man, superior to the creatures only in his cunning” – Narrator from the motion picture, ‘One Million Years B.C.’ (1966)
The CRAVEman moniker wasn’t intended to describe a collective noun, particularly as it is used in the singular, traditionally gender bipartite fashion (apologies to the politically correct woke). However, he was created figuratively to take on the role as your esteemed narrator of CRAVE Guitar blog articles. Thus, a fantastical formulation of an indulgent irrational idea coalesced into coherency.
“There are not many men yet. Just a few tribes scattered across the wilderness. Never venturing far, unaware that other tribes exist even. Too busy with their own lives to be curious. Too frightened of the unknown to wander. Their laws are simple: the strong take everything” – Narrator from the motion picture, ‘One Million Years B.C.’ (1966)
Now, for the avid musicologists out there, the word ‘Craveman’ (note the lack of the definite article and the traditional form of capitalisation) has been used previously (see ‘CRAVE Guitars’ Album of the Month’ below). However, this article’s particular incarnation is, I believe, sufficiently differentiated and unique enough to be adopted legitimately by CRAVE Guitars.
“Visual storytelling of one kind or another has been around since cavemen were drawing on the walls” – Frank Darabont (1959‑)
Evolution of The CRAVEman Cometh
While my true identity remains vehemently enigmatic, I am happy to hide behind a virtual caricature. While I may generally portray myself as a contemporary, relatively evolved metrosexual (male) human bean, the vaguely humorous play on words refers not only to CRAVE Guitars but also to Homo Sapien’s genetic Palaeolithic ancestors. Just for clarification, I don’t believe that I conform to the stereotypical Stone Age clichés of a prehistoric caveman (with or without a guitar). Grunt!
“Nnn?” – The character Loana played by Raquel Welch in the motion picture, ‘One Million Years B.C.’ (1966)
However, it can be amusing to conform to or to subvert stereotypes, if only to reinforce prejudicial preconceptions. Grunt! I have to state for the record, that The CRAVEman is a loving, peaceful individual, reticent to engage in aggression, thus representing an archetype for a semi‑civilised new age Stone Age hippy. He may even partake of a little bud from the flowering plant, Cannabis sativa for an occaional chill out. Legend. He doesn’t need a spear or a club, just one of his many trusty CRAVE Guitars and a healthy respect for his environment. Grunt! (Ed: OK, we get the idea, move on)
“I think that weddings have probably been crashed since the beginning of time. Cavemen crashed them. You go to meet girls. It makes sense” – Christopher Walken (1943‑)
The use of AI for The Craveman Cometh
As you may know, CRAVE Guitars has dabbled with the subject of artificial intelligence (AI) before. For background information, CRAVE Guitars’ focused on AI generally and in relation to vintage guitars last year (2024). A bit has changed over the course of 12+ months. If you wish to view or review the material, follow the links below (each link opens in a new tab):
While this article is principally about The CRAVEman, the use of AI to illustrate him is simply a convenient means to the storytelling end. The short video clip of The CRAVEman (see below) is also my first venture into AI video. Good to know that the technology is being used for altruistically enhancing human civilisation, eh?
The upside is that there are plenty of images this month. While I consider myself a reasonably creative character, my artistic skills remain woefully under‑developed, so I admit that I resorted to AI image generation for the majority of visual representations this month. Apologies to all genuine artists out there, I simply can’t afford your authenticity. While the images look very much of their type (still not convinced), they serve a specific purpose here, to conjure up and to evoke The CRAVEman avatar in the collective consciousness within the growing CRAVE Guitars virtual space (Ed: The CRAVEverse then?). Time to stop with the prosaic narrative and enter CRAVEworld. Ready or not, here he is (finally), The CRAVEman Cometh.
“Women love hairy men. Cavemen were the sexiest men in history” – Leslie Mann (1972‑)
The Adventures of the CRAVEman Cometh
On this occasion folks, I am going to let you, the reader(s), do the hard work for once. Also unusually, the majority of this article is pictorial and the ‘story’, as such, is essentially just a series of captions for you to use your imagination and fill in the intentional blanks.
To set the scene, I may need to suggest a bit of factual context about the world within which The CRAVEman might exist. This is necessary if only to provide a rich background stage on which he can perform his adventures for you.
“Captain CAAAAAVEMANNNN!” – Captain Caveman (animated character voiced by Mel Blanc, 1977‑1980)
Imagine the life and times of The CRAVEman in the Upper Palaeolithic Era (c.50,000‑9,600BCE), which was notable for its significant increase in the diversity and complexity of community organisation. It also saw the emergence of artistic endeavour, such as cave paintings and carvings, indicating a marked development in primitive culture beyond the immediate necessities of survival.
Early humans primarily lived as nomadic hunter‑gatherers. They relied on hunting wild animals and gathering edible plants, both of which required a good understanding of their surroundings. The roaming lifestyle of social groups was essential, as they followed animal migrations, seasonal plant growth and climate.
Nascent human societies were typically organised in small groups or bands, with a relatively simple division of labour. Men often hunted for food and defended their group, while women gathered plants and cared for children. Resources were shared communally, as part of a generally egalitarian but still hierarchical paternalistic social structure.
The development of basic tools included the use of materials like bone, antler and stone, which became crucial for survival. Tools were used for various tasks, including butchering animals, cutting plants and crafting other implements. The mastery of fire also began to play a significant part in daily life, providing warmth, protection and a means to cook food. The Palaeolithic (the Old Stone Age) was followed by the Mesolithic and Neolithic (Middle and New Stone Ages respectively) periods, characterised by the development of permanent settlements, the rise of agriculture and the domestication of animals.
“Man is a tool-using animal. Without tools he is nothing, with tools he is all” – Thomas Carlyle (1795‑1881)
Now for the small but essential matter of the suspension of disbelief. Please bear with me while I veer away from verisimilitude. The premise is a blatant, intentionally clumsy and cartoonish cultural and chronological clash (Ed: alliteration abounds!). The plucky, fantastical CRAVEman collects and plays (electric) guitars (now vintage of course)! He also plays in a rock (sic!) band. Sadly for him, he doesn’t seem to have a CRAVEwife, or CRAVEgirlfriend (yet), not even a CRAVEgroupie or three. Just don’t ask too many awkward questions about coherence or attempt to rationalise the incongruities, ignored here for artistic license – just go with the flow and use your imagination. Get the general idea though? G‑G‑g‑great! Let’s get stoned (sic!).
Think of the pictorial sequence as a chronologically linear ‘storyline’ progression, whether portraying a day, a week, a month, a year, etc. and you begin to get the CRAVEworld concept (Ed: time to record a prog album?). When following The Adventures of The CRAVEman Cometh, think along the lines of comic strip panels minus the unnecessary narrative ‘speech bubbles’ – well, our prehistoric ancestors’ vocabulary was a bit, erm, stunted, at best. I’m sure you can apply the occasional, “grunt!” if you wish to supplement the visuals with auditory accents. Alternatively, the following could be thought of as a rough storyboard outline for a motion picture film screenplay (if only).
The opportunities for The CRAVEman imaginings are boundless. I wish I had the time, effort and genuine creativity to make a proper ‘thing’ of this particular spinoff. Remember though that The CRAVEman Cometh and his story is now undeniably CRAVE Guitars’ IP.
“I work hard all day, too, and what do I get? A lot of yak from you. You at least get out everyday, see things, talk to people. I never get out of this cave” – Wilma Flintstone from ‘The Flintstones’ (1960‑1966)
A Day/Week/Month/Year in the Life of The CRAVEman
About time too! Let us prevaricate, procrastinate, beat about the bush, dilly dally, delay and obfuscate no longer. We are about to embark on the positively pulchritudinous prehistoric adventures of The CRAVEman. Settle in and enjoy.
New Dawn Sunrise – Having recently roused from his Stone Age slumbers, dreams of being a Rock God left long behind, The CRAVEman looks out upon CRAVEworld, his immense territorial domain as the sun rises on a shiny brand new day. It looks promising weather for undertaking his intended tasks for the day ahead. His role is to ensure his tribe’s survival in a testing world.
Neighbourly Greeting – Prior to heading out on his daily mission, he engages amiably with his thriving social group. Relationships are largely cordial, marred only by lusty competition for unattached CRAVEgirls. The CRAVEman agrees the imperatives and priorities for the day’s assignment.
Ready To Head Out – Having readied himself for his daily quest, The CRAVEman mentally prepares himself for whatever challenges he is likely to face in the wilderness. A moment of serious reflection taken as he formulates a basic plan to make the most of the opportunities available to him.
Outbound Commute – Having long since exhausted all available resources close to home, The CRAVEman has to travel further afield to find what he and his group needs. Fortunately, his domesticated heavy horse makes crossing distance and uneven terrain easier. His faithful hound accompanies him.
Rocky Mountain Way Snowy Explorer – On a lengthy expedition, The CRAVEman has to cross a challenging and unfamiliar landscape including hostile snow and ice high up in the mountains. The grunting weather is severe. Unsure what he might find, he sets out on foot to explore.
Fishing in Bear Country – After the mountain pass, The CRAVEman descends into a valley carved out by river erosion, He attempts to use his crude tools to catch any fish that may swim past, taking care to avoid other predators after the same quarry in this area of nutritional abundance. Grunting bears!
Mammoth Hunting on the Plain – Having not caught much in the way of fish from the river valley, The CRAVEman heads out onto the plains in the hope of hunting larger game. The massive mammoths he encounters are more than he can take on alone. Onward he goes, leaving the prospect of grunting mammoth steaks for another day.
Faraway Foraging in the Grassland – Having been unsuccessful hunting fish and animal prey on the plains, The CRAVEman resorts to the grasslands on the edge of ancient woodland to forage for edible plants and berries to take back to his kinfolk. He cannot go home empty handed.
Defending the Tribe – Every so often, The CRAVEman’s group encounters other tribes, each determined to defend their own territory. Rarely do these grunting confrontations end in conflict. There is plenty of posturing and shows of power intended to sustain a status quo. Occasionally, tribes come together for competitive but friendly rock band competitions.
Homebound Commute – After a long day’s travails exploring in the mountains, fishing in river valleys, hunting on the plains, foraging in grassland and defending his community from interlopers, a weary The CRAVEman heads homeward on his trusty heavy horse with his faithful dog in close pursuit.
Cooking Pot Blues – Having secured enough food for his contribution to his community’s sustenance, The CRAVEman prepares and cooks his own meal. He would have preferred a meatier and tastier menu but grunting plant food will have to do on this occasion. A tad disappointed, he plays a lugubrious lament while waiting for his supper to stew.
Rock Guitar Practice – Knowing that he has some serious performance time ahead of him, The CRAVEman cannot let up on practicing his hard rock music chops. It takes all his concentration to keep his musical talents up to scratch.
Big Cat Interruption – What the grunt! No peace for the wicked. The CRAVEman’s guitar practice is rudely interrupted by a familiar local big kitty. He may look fearsome but that is just playful exuberance. There is mutual benefit to the tribe and their ‘pet’ feline’s informal collaboration.
Rock Guitar Practice Resumed – Having settled the big kitty down for a cat nap, The CRAVEman can resume his studious guitar practice in readiness for a forthcoming rock gig. More hard work. The demands and burdens of a Stone Age Rock God never ceases.
Rock Band Rehearsal – Having been through his intensive practice regime, The CRAVEman sets about gathering his rock band members together for an impromptu rock & rock rehearsal. Unrealised aspirations of Rock Godness abound and rehearsals go well, if a bit chaotic. Lyrics are certainly not their strong point! Grunt!
Rock Festival Rain – For grunt’s sake! It had to happen, The CRAVEman’s band gets to play an outdoor gig and it grunting well rains on them mid performance, thinning what little crowd they had gathered to listen and appreciate his guitar playing skills. A typical rock festival experience over the ages. A veritable Stone Age Glastonbury experience. Grunting bad weather.
Cave Painting – In order to commemorate The CRAVEman’s contribution to his small community, the local rock ‘journalist’ does his best as a pictographic designer. He poses while the artist attempts to immortalise the would‑be rock legend in a cave painting. Like lyric writing, our merry group’s portrait skills leave something to be desired.
Over The Sea and Far Away Sunset – At long last, The CRAVEman’s long and arduous day draws closer to its inevitable conclusion. He’s up on a nearby cliff admiring CRAVEworld’s beautiful sunset over the infinite sea. The preternatural landscape inspires The CRAVEman to compose his next rock song.
Campfire Singalong – Although darkness has settled on the Stone Age camp, The CRAVEman’s musical skills are still much in need by his loyal troupe. He sits contentedly around the campfire grunting rock lullabies for a period of important social bonding between genders and generations.
Fireside Rock Jam – Once the rock kids have gone to their caves for night time slumbers, The CRAVEman continues his musical explorations. No more intense solo practice, band rehearsal or campfire lullabies, this is pure rock music noodling for his own pleasure. Jamming for fun helps him to unwind before retiring for the night.
Dreaming of Stone Age Rock Godness – Finally laying his weary head down to rest, The CRAVEman falls into a deep sleep with his favourite axe and his faithful canine companion both by his side. He dreams of becoming an eternal Rock God, immortalised forever for his contributions to Stone Age rock & rock music. Dream on.
Well there you have him – The CRAVEman’s first adventures in CRAVEworld in a proverbial nutshell. Short and sweet. If you don’t dig The CRAVEman’s adventures, that’s fine.
“Yabba Dabba Doo!” – Fred Flintstone from the first episode of ‘The Flintstones’, ‘The Flintstone Flyer’ (1960)
Final Thoughts on The CRAVEman Cometh
A quick rhetorical question, why didn’t this preposterous notion occur to me before now? The simple answer is that, in hindsight, I really don’t know. Nevertheless, I feel obliged at this particular juncture to restate that this month’s article is only a bit of puerile FUN and a break from the more serious ‘business‑as‑usual’ task of writing about vintage guitars. Heck, we all have to set loose our inner hirsute hero from time to time (NB. from time to time is an English idiom dating back to at least the 16th Century, meaning intermittently/occasionally). On this occasion, the author’s mental aberration has played out in the public domain. As usual, if you don’t like what you see here, there are plenty of other places that are after a temporal slice of your precious life.
My intention is not to require a following but to welcome those who wish to participate actively in something occasionally a little bit odd (?!). Life would be very dull without a degree of dalliance with the deviant (as long as it is harmless of course). Disclaimer, no animals (extinct or surviving) were harmed during the making of The Adventures of The CRAVEman Cometh.
“If there hadn’t been women we’d still be squatting in a cave eating raw meat, because we made civilization in order to impress our girlfriends” – Orson Welles (1915‑1985)
You may wonder what all this has to do with vintage guitars. Fair comment. Well, it is relevant by association. There would be no The CRAVEman without CRAVE Guitars and there would be no CRAVE Guitars without vintage guitars and its increasingly peculiar proprietor. Being quite frank (poor Frank comes in for a lot of stick, don’t you think?), I just cannot be bothered to justify this devious detour any further. It is what it is, like it or not. I kinda dig The CRAVEman dude, hence his appearance. Looking back, I still wonder why it took so long.
“Grunt!” – The CRAVEman (The Upper Palaeolithic, c.50,000‑9,600BCE)
Whether this little existential experiment bears further fruit, one can only speculate at this stage. He may return to obscurity or he may flourish in abundance. All is up for grabs at the moment. I kinda think he might stick around. He may even appear at a CRAVErock‑gig or CRAVErock‑festival near, where else, Stonehenge. He may even go CRAVEbusking at a stone circle near you.
“The first human being who hurled an insult instead of a stone was the founder of civilization” – Sigmund Freud (1856‑1939)
Is there any profound meaning or ancestral resemblance between The CRAVEman and me? Personally, I do not believe so, which makes him all the more endearing – he is not bound in any way by my ephemeral mortal manifestation. Put bluntly, I am (we are) perfectly comfortable and at ease with multiple identities – no mental disorder involved, honest. Seriously, for a moment though, look after your mental health and well‑being good people. This article has not featured any images of actual vintage guitars so, finally, here is a complimentary pic of The CRAVEman with his own CRAVE Guitars collection…
The Real CRAVE Cave
After reading all this, one might think that it is 100% fiction. However, there is an itsy‑bitsy, teeny‑weeny, tiny trace of truth behind an element of the story. The CRAVEman‑cave does actually exist. Kinda. The dark, damp, dilapidated cellar of the domestic house is the would‑be home for today’s actual CRAVE Guitars family.
Regular readers will know that this has been a long‑gestating project to ‘tank’ the cellar to create a dry, warm and secure home for vintage gear. Progress has been hindered by access, technical issues and, the big, big biggy, lack of funds. So there you go, there is a smidgeon of veracity to the story. The above is the real thing, No AI this time.
“Once you were apes, yet even now man is more of an ape than any of the apes” – Friedrich Nietzsche (1844‑1900)
CRAVE Guitars’ ‘Album of the Month’
Given this month’s reveal of the author’s newly assumed nom de guerre, ‘The CRAVEman’, it seemed appropriate that this month’s ‘Album of the Month’ should reflect an LP with an analogous title. I should emphasise here that there is no connection between CRAVE Guitars and the name of the album or its artist; it is merely coincidental and totally unintentional. However, there is no reason why this convenient happenstance should be overlooked for this article.
Ted Nugent – Craveman’ (2002): Ted Nugent’s 12th studio album, ‘Craveman’ was released in September 2002 on Spitfire Records. The album comprises 14 tracks over 56 minutes. Even the 2nd track is titled, ‘Crave’, lasting a monumental 6 minutes 19 seconds. Perhaps he knew I was coming! The album represents Nugent’s return to the power trio format and a more hard rock sound than previous outings. It was released five years before CRAVE Guitars became a ‘thing’ and twenty three years before The CRAVEman, so I guess he got there first.
Ted Nugent’s ‘Craveman’ is not my favourite guitar album but it’s OK I guess. However, it fits the bill for this illustrative purpose. At least it is a heavier, guitar‑centric rock album after unconvincing periods of synth pop/rock ballad material.
The music is one thing. The character behind it is another. There is no way to avoid the association. Nugent’s music will always be overshadowed by his political notoriety. There is no denying that Nugent is a controversial larger‑than‑life, take‑it‑or‑leave‑it personality and also a pretty good guitarist to boot.
Full disclosure; I have to state that and I do not agree with Mr Nugent’s political alignments, his racial stances, his propensity for gun ownership and his predisposition for slaughtering innocent animals for ‘fun’. In 2021, he stepped down from the board of directors of the NRA (the American National Rifle Association gun rights advocacy and lobby group that campaigns in defence of the USA’s out‑dated second amendment). Owning a gun is one thing, using it as a lethal weapon to kill living creatures is another. This is not an expression of any sort of liberal woke agenda, it is just a heartfelt compassion and an expression of respect for all life on our planet.
BELIEVE IN MUSIC!
“The human failing I would most like to correct is aggression. It may have had survival advantage in caveman days, to get more food, territory or a partner with whom to reproduce, but now it threatens to destroy us all” – Stephen Hawking (1942‑2018)
Tailpiece
Well that was fun and insane in equal measure! Dumbass? Has CRAVE lost his final marble? Too much? Maybe. Maybe not. You decide. So we bid au revoir,adios,ciao and garrulous grunts from ‘The CRAVEman’ for now. Time for The CRAVEman Goeth, so to speak. I have a funny feeling that he may well return at some point in some guise or other. To mix metaphors, there is no turning back now as the genie is out of the bottle. You have been warned. A final thought… fundamentally, aren’t we all just cave men and cave women with fancy modern lifestyle trappings? Grunt!
Ultimately, as stated above, this month’s article is all just a bit of silly FUN and (at least for me) a welcome break from the norm. As a terribly telegraphed trifling tip‑off, the fictional fancies herein may just beckon a peripheral subject matter for next month’s article. So let’s wish our precious lives away and bring on August 2025 to wait and see what transpires. At the top of the article, I promised you flowery language. I think that promise was delivered in spades (NB. Another 20th Century English idiom probably referring to the spades in a pack of cards, the dominant suit used in contract bridge. It means for something to be done beyond the norm).
Let us hope we survive long enough to endure the preposterous perils of perverted, paranoid power crazed people. Civilisation and our precious planet have been irrevocably scarred under the pretext of ‘progress’ and unconscionable conflict. Sadly. When will the moral majority stand up collectively to the corrupted and say, “no more!” before it is too late? It cannot come too soon. Apologies, didactic discourse for the month over… for now.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “They say only time will tell. When that time comes, will there be anyone around to listen?”
GARRULOUS GREETINGS AND A HEARTY“hello” once again to the global guitar gathering as seen through the laidback lenticular lens of CRAVE (Cool & Rare American Vintage Electric) Guitars. Whether you are a first‑time visitor or a long‑time returnee, all with peaceful intentions are welcome here.
This month, we are concluding the 3‑part exploration on the current status of civilian‑grade Artificial Intelligence (AI) and its perspective on vintage guitars within the context of the wider music industry. This time around, we’ll take the investigation of Generative AI’s (GAI) impact beyond the narrow domain of vintage guitars and look at the bigger picture. In addition to vintage guitars, we will take a look at music, the music business, music tools and equipment, live performance, production, promotion, distribution and access. As a final parting shot on the subject, I’ll take a personal philosophical look at AI’s future intentions for us poor old human beans.
At the time of writing, it seems that we don’t need AI to forecast the ‘end of days’ for the human race. We have plenty enough diabolical demagogues teetering on the brink of bringing about just that suicidal eventuality right now. We don’t need AI to tell us that, as a species, we have learned absolutely nothing from the ravages of our past and, perhaps, we deserve what we get as a result. All I will say is, “Klaatu Barada Nickto” (From the film, ‘The Day The Earth Stood Still’, 1951).
“The development of full artificial intelligence could spell the end of the human race. Once humans develop artificial intelligence, it will take off on its own, and redesign itself at an ever‑increasing rate” – Stephen Hawking (theoretical physicist and cosmologist, 1942‑2018)
AI revisited (again)
The previous two articles focused on narrative (Part I) and visual (Part II) aspects of the vintage guitar experience. Once again, there is really no need for introductory explanations. If you wish to review the preceding articles leading up to this one, or are coming at it for the first time, you can revisit those blogs by following the links below (open in a new browser window):
The scope of this third article in the series is quite broad, wider than in the first two articles. At its core, though, remains the topic of vintage guitars, amps and effects and the small but vital part they play in music today. While it has less of a focus on vintage instruments and equipment, it is all part of the same ‘micro/macro’ world, a connection that AI overlooked back in Part I.
Up to now, the articles concentrated largely on the past and present. This third article is very much future focused, so we’ll see what AI has to say about what is to come on and what may be over the digital horizon. Perhaps, someone will look back at this article at some point in years to come and gauge how far AI has come and how accurate AI has been at predicting the future.
Humans tend to shy away from radical change and are innately conservative. How we deal with the challenges that AI poses will be pivotal. AI will either enhance or inhibit human development? It is currently up to us to decide which. The debate rages on and will do for some time to come. These heated conversations aren’t just centring on music, they are pretty much across every economic sphere of production.
“I had two passions growing up – one was music, one was technology. I tried to play in a band for a while, but I was never talented enough to make it. And I started companies. One day came along and I decided to combine the two – and there was Spotify” – Daniel Ek (founder and CEO of Spotify, 1983‑)
The rationale
Make no mistake, AI has already made its mark in music. Whether it is in the way of song writing and music creation through recording and producing to distribution and enhancing the consumer’s experience. AI is here already and it isn’t going to go away. Going forward, there is no longer any doubt that AI’s role in music will be increasingly expansive, whether we like it or not
The arguments posed by many artists is that AI is incapable of capturing and mastering the artistic expression of music. Music has a rich history and deep emotional ties and these are not easily replicated by machines. Before we go too far, let us be clear that the same applies to many human musicians! Inspiration is rare and not easy to reproduce or we’d all be using it to get rich in the process. It isn’t clear whether the egotistical view that the human spirit is inimitable is born from a reluctance to embrace technology’s potential. The instinctive defensive reaction is to attempt to protect human creativity at all costs. Similarly, it is not certain whether it is possible for a machine to create intelligent artistic outcomes.
Can music generated by IT algorithms be considered authentic musical art? Art is an inward and outward expression of human emotion, experience, and creativity. These are characteristics that sceptics say a machine simply cannot possess. The current state‑of‑the‑art AI has a hard time translating technical data into sensitive music, struggling to infuse its outputs with sincerity, passion and feeling. Yet. I am sure that soon, we won’t be able to assert these facts with any genuine certainty.
From the composition of musical melody and harmony to generating complex musical arrangements, AI already has the ability to create ‘original’ pieces that can (allegedly) rival the work of human composers. As the technology is derivative, AI has yet to develop the ability to exceed human talents. It would be an act of hubris to suggest that AI cannot follow the same scientific principles, musical rules and tropes that humans have abided by for centuries or even millennia. AI can achieve considerable complexity in a fraction of the time that a human can exact the same tasks. It is still the ‘intelligent’ aspect that vexes most commentators.
AI doesn’t care one iota about music and it doesn’t even know what music is. To AI, music is simply another digital computational process, albeit one that seems amazingly expert to us. However, AI doesn’t have any conscious investment in music and it can’t tell rock ‘n’ roll from a rock in the ground. Professional musicians have spent entire careers trying to perfect their skills and they are understandably concerned about AI’s impact on their livelihoods. While I understand that point of view, having reservations isn’t going to stop the tsunami coming their way. In the Darwinian sense, it will be, ‘adapt or die’ (metaphorically speaking of course).
“The idea that machines can’t do things humans can is a pure myth” – Marvin Minsky (American cognitive and computer scientist, 1927‑2016)
There are already AI‑powered virtual instruments in the form of plugins integrated into DAWs (Digital Audio Workstations). Studios are already using AI tools to improve mixing, producing and mastering techniques. AI has the potential to be a powerful collaborative tool, as long as we are prepared to accept the consequences of such a ‘partnership’. AI is simply becoming another tool in the artist’s repertoire and surely it is just a logical extension of the use of digital electronics that studio and stage engineers have been using for the past 40 years. For instance, we would no longer think of salvaging a 20,000 gallon water tank to create a single analogue reverb chamber effect, when we have digital electronics that can provide thousands of credible permutations with the click of a mouse. Let’s get real here.
AI automation can and will result in job displacement, let’s not shy away from the fact; it is inevitable. Technical roles in the music industry such as producers, sound engineers, mixers and mastering specialists may be under threat. Similarly, even some session musicians may be adversely affected. However, the contrary argument is that AI opens doors to a diverse range of new opportunities and it will create new skills and expertise that have hitherto been either underappreciated or non‑existent. Threats to livelihoods have always existed and it will be imperative to drive change in the industry, rather than become a victim of it.
“The arrival of general AI will force us to confront a new sense of ourselves, as well as a universe that is both more strange and more wonderful than we could have imagined” – Ray Kurzweil (American computer scientist, 1948‑)
There are also legal issues. If an AI created song becomes commercially successful, who owns the rights? Is it the end‑user of the technology, the system developer, the creator of the data sets used to inform AI, or the machine itself? Currently, the law sides with the end‑user. A guitar manufacturer cannot claim Intellectual Property (IP) rights simply because a musician used their instrument. Neither can the owner of an arboretum where the tree grows to source the wood used in said instrument. You get the idea.
AI has already replaced humans, at least in the areas of commercial recorded background music and around the periphery, even if you aren’t aware of it. AI ‘artists’ have already been created and AI has been used to resurrect dead artists (e.g. John Lennon). AI is used on virtual reality concerts streamed over the Internet or to live audiences (e.g. Abba, Elvis Presley, Nat King Cole, Frank Sinatra, etc.). However, humans will still be needed for the time being to innovate and break conventional boundaries in mainstream and underground music. As yet, though, nothing can really substitute for the genuine human experience. Live music is largely safe… for now.
Instead of viewing AI as a threat, many artists will see it as a vital device that can help to give them a strategic advantage in an increasingly competitive industry and in highly saturated markets. AI’s current course in music suggests an even more integrated future. Berklee College of Music in Boston, MA, USA suggests that up to 60% of artists already make use of AI techniques to help unlock their potential. This human/AI collaboration can redefine artistic boundaries, enable experimentation and give rise to genres and ground‑breaking sounds previously unimaginable, if we allow it. AI can help to broaden musicians’ creative horizons beyond the familiar. The potential synergy between human musicians and AI presents exciting opportunities and challenges for the future of music. Wasn’t it ever thus?
“It’s not artificial intelligence I’m worried about, it’s human stupidity” – Neil Jacobstein (Chair of the Artificial Intelligence and Robotics Track at Singularity University)
So… there you have both sides of a musical and ethical difference of opinion. Now it is time to turn that debate over to GAI…
The CRAVE Guitars’ test
For the final time, I will present AI with some challenges and see how AI responds. As before, I will let the AI do the hard work and leave my critique until the end of the article.
Apologies for repeating the following list yet again. I suggested eight benchmarks for evaluating AI’s responses, summarised below:
To understand a question correctly without over‑specificity
To interpret and extrapolate relevant information objectively within a wider context
To present a cogent argument that can adequately be judged and/or challenged
To form a genuine opinion from scratch without relevant information being readily available in the first place, in the same way that a person might do in the case of uncertainty
To debate the initial result to achieve a potentially better outcome
To produce a creative response that improves on the original information input by humans
To remember what it has already output
To understand fully what humans want or expect from ‘intelligence’
Once more, twenty questions were posed to AI about vintage guitars and various aspects of the music industry. What follows are the verbatim results. Nothing has been added or removed. What you see is what I got. Apologies for the repetition up to this point.
Time for me to take a backseat until later in the article. I’m off to put the kettle on, put my feet up and consume multiple warm beverages. Health warning: AI can lead to a sedentary and indolent lifestyle! Bye for now…
Twenty Questions and Twenty AI Responses
Question #1 – What is AI’s role in current new guitar and bass design and manufacturing?
AI Response #1
AI is playing an increasingly significant role in the design and manufacturing of guitars. Here are some ways AI is being utilised:
Personalised Designs: AI can analyse player preferences, such as playing style and hand size, to create custom guitars tailored to individual needs.
Generative Design: AI can generate organic, biomimetic shapes, leading to innovative designs that were previously impossible.
Sustainability: AI helps manufacturers reduce waste and energy consumption, resulting in more environmentally friendly guitar production.
Simulation Software: Designers can simulate the guitar’s performance and sound quality, allowing for real‑time adjustments and early identification of design flaws.
Additive Manufacturing (3D Printing): This technology enables the creation of physical prototypes, helping designers evaluate and refine the guitar’s design before production.
Overall, AI tools are transforming guitar design by enabling more efficient, sustainable, and personalised manufacturing processes.
Question #2 – How is AI contributing towards wider musical equipment technology?
AI Response #2
Artificial Intelligence (AI) has significantly impacted the field of music technology, revolutionizing various aspects of music creation, production, and performance. Let’s delve into how AI is shaping the world of musical equipment:
Smart Algorithms in Mixing and Audio Editing:
Many audio plugins now incorporate smart algorithms that draw on human experience. These algorithms apply frequency correction or normalisation presets to enhance audio quality during mixing and editing.
These AI‑driven tools assist musicians and producers in achieving professional sound without extensive manual adjustments.
Composition and Music Generation:
AI has made a major impact in the realm of composition. Services like Aiva utilize deep learning algorithms to create beautiful music across various genres.
Aiva’s virtual brain is modelled after how a human brain works. It recalls past experiences and problem‑solving to refine its results. By analysing vast amounts of data (such as classical music archives), Aiva recognizes patterns in chord structures, melodies, and arrangement choices.
The resulting AI‑generated tracks are increasingly indistinguishable from compositions by human musicians.
AI‑Driven Music Production Tools:
Over the past decade, AI has transformed music mixing and mastering. Apps like Landr, Cryo Mix, and iZotope’s Neutron automatically analyse tracks, balance audio levels, and remove noise.
These tools enhance efficiency and consistency in the production process, allowing artists to focus on creativity.
New Sounds and Beats:
AI’s ability to analyse sound characteristics using deep neural networks has led to the creation of new sounds. By drawing from existing music and theory, AI generates fresh beats and melodies.
Musicians can explore novel sonic possibilities, pushing the boundaries of traditional instruments and arrangements.
Music Education and Research:
AI, combined with audio big data, contributes to Music Information Retrieval (MIR). MIR extracts audio features based on signal processing and employs machine learning techniques.
Researchers use AI to analyse music theory, composition, and performance, advancing our understanding of music.
In summary, AI’s influence on musical equipment technology extends beyond mere automation. It empowers musicians, enhances creativity, and opens up exciting avenues for the future of music.
Question #3 – How can AI contribute towards the conservation of vintage guitars and basses?
AI Response #3
AI can contribute significantly to the conservation of vintage guitars in several ways:
Digital Restoration: AI can restore old photographs and videos of iconic luthiers and vintage guitars, enhancing the quality and clarity of historical records.
Predictive Maintenance: By analysing data from sensors placed on vintage guitars, AI can predict when and what kind of maintenance is needed to preserve their condition.
Material Analysis: AI can assist in analysing the materials and construction techniques of vintage guitars, providing insights for conservation efforts.
Sound Analysis: Machine learning algorithms can analyse the sound of vintage guitars to understand how they have changed over time and how to maintain their original sound.
3D Scanning and Modelling: AI can help create detailed 3D models of vintage guitars, which can be used for educational purposes or to replicate parts that are no longer available.
These applications of AI not only help in preserving the physical aspects of vintage guitars but also ensure that their legacy and the craftsmanship behind them are documented and passed down to future generations.
Question #4 ‑ How can AI contribute towards the conservation of vintage guitar amplifiers and effect pedals?
AI Response #4
AI can be a powerful ally in the conservation of vintage guitar amplifiers and effect pedals, offering several innovative approaches:
Emulation and Modelling: AI can be used to create digital models of vintage amplifiers and pedals, allowing musicians to access classic sounds without using the original, fragile equipment.
Predictive Analysis: AI algorithms can analyse the condition of electronic components over time, predicting failures and suggesting preventive maintenance to prolong the life of the equipment.
Restoration Guidance: AI can guide technicians through the restoration process, suggesting optimal methods and materials that preserve the original sound and functionality.
Sound Preservation: By analysing the unique sounds of vintage gear, AI can help in creating a digital library of tones and effects, ensuring that the sonic legacy of these devices is not lost.
Component Analysis: AI can assist in identifying and sourcing authentic components for repair and restoration, ensuring that the vintage gear remains as close to its original state as possible.
These contributions of AI not only help in maintaining the physical integrity of vintage amplifiers and pedals but also ensure that their distinctive sounds continue to inspire musicians for generations to come.
Question #5 – How can AI contribute towards future guitar innovation, design and manufacturing developments that will one day become vintage?
AI Response #5
AI’s contribution to future guitar innovation, design, and manufacturing is expected to be transformative, with several key areas of impact:
Customisation: AI can analyse vast amounts of data on player preferences and ergonomics to create highly personalised guitars that cater to the specific needs of individual musicians.
Sound Modelling: Advanced machine learning algorithms can emulate the sounds of vintage guitars, allowing new guitars to have the sought‑after tones of classic models.
Quality Control: AI can enhance quality control in manufacturing, ensuring that each guitar meets high standards of craftsmanship and consistency.
Material Innovation: AI can assist in discovering new materials and construction methods that replicate the qualities of vintage guitars while being more sustainable and durable.
Predictive Analytics: By predicting trends and consumer preferences, AI can guide the design of guitars that are likely to become future classics.
These contributions are poised to revolutionise the guitar industry, making it more innovative, efficient, and responsive to the needs of musicians around the world.
Question #6 – Where do vintage guitars fit into the wider current day music industry?
AI Response #6
Vintage guitars hold a special place in the modern music industry, serving as a bridge between the rich musical heritage of the past and the innovative sounds of the present. Here’s how they fit into today’s musical landscape:
Timeless Sound and Design: Vintage guitars are renowned for their distinctive designs and the unique sound quality they produce. Musicians often seek out these instruments for their ability to create authentic tones that newer models can’t replicate. They are not just tools for making music but are also seen as works of art and symbols of musical eras gone by.
Influence on Modern Music: The influence of vintage guitars extends across genres, from rock and blues to jazz and even contemporary pop. Their sound has shaped the music we listen to today, and many modern musicians still prefer vintage guitars for their unparalleled tonal qualities.
Collectible Value: Beyond their musical capabilities, vintage guitars are also valuable collectibles. They represent a time and place in musical history, embodying the legacy of innovation and craftsmanship. For collectors and enthusiasts, owning a vintage guitar is akin to possessing a piece of music history.
Inspiration for New Models: Modern guitar manufacturers often look to vintage guitars for inspiration when designing new models. The classic aesthetics and sound of vintage guitars continue to influence the development of new instruments, ensuring that the spirit of the vintage era lives on in the music industry.
Cultural Significance: Vintage guitars carry cultural significance, representing the evolution of music and the impact of iconic musicians who played them. They are a testament to the enduring appeal of the guitar as an instrument and its role in shaping the cultural landscape.
In essence, vintage guitars are more than just musical instruments; they are cultural icons that continue to inspire musicians and captivate audiences, maintaining their relevance in a rapidly evolving music industry.
Question #7 – What does the future hold for vintage guitars, basses, amplifiers and effect pedals?
AI Response #7
The future of vintage guitars, basses, amplifiers, and effect pedals looks quite promising, with several trends indicating a continued appreciation and demand for these classic instruments and gear. Here’s what we can expect:
Vintage Guitars: The allure of vintage guitars is expected to persist, with a focus on craftsmanship, exclusivity, and historical significance. Collectors and musicians alike will likely continue to seek out these instruments for their unique sound, aesthetic appeal, and investment potential. The market for vintage guitars is anticipated to see growth, especially in regions like North America and Asia Pacific.
Bass Guitars: High‑end bass guitars are gaining attention, with premium models from brands like Rickenbacker, Fender, and Fodera being highlighted for their quality. The bass guitar scene is evolving, with discussions around its future in the music industry and the potential for new genres to reinvigorate interest in the instrument.
Guitar Amplifiers: The guitar amp market is embracing both vintage features and futuristic technology. There’s a trend towards recreating classic amps as well as developing new models packed with advanced tech. The future may see a blend of the best of the past with innovative features that cater to modern players’ needs.
Effect Pedals: Guitar effects pedals are becoming more varied and sophisticated, with new models based on classic gear and all‑new combinations. The industry is witnessing a surge in creativity and innovation, with digital modelling and emulation playing significant roles in the development of new pedals.
In summary, the future for vintage musical gear is one of reverence for the past combined with an embrace of new technologies and trends. This balance ensures that vintage instruments and gear will remain integral to the music industry, cherished for their legacy and continued influence on modern music.
Question #8 ‑ How can AI help to improve the knowledge of people interested in vintage guitars and basses?
AI Response #8
Artificial Intelligence (AI) can significantly enhance the knowledge of enthusiasts and collectors of vintage guitars and basses in several ways:
Personalized Recommendations: AI can analyse individual preferences and historical data to suggest vintage guitars and basses that align with a user’s taste or playing style.
Virtual Restoration: AI can simulate the restoration process of vintage instruments, allowing users to see potential outcomes without physically altering the instrument.
Market Analysis: AI can track market trends, auction results, and pricing data to help collectors understand the value of their instruments and make informed buying or selling decisions.
Authenticity Verification: By comparing images and specifications, AI can assist in verifying the authenticity of vintage guitars and basses, helping to prevent fraud.
Educational Content: AI can generate educational content, such as articles or videos that delve into the history, craftsmanship, and cultural significance of vintage instruments.
Interactive Learning: Through interactive apps and software, AI can provide virtual lessons and historical context about specific models and brands.
Sound Analysis: AI can analyse the sound characteristics of vintage guitars and basses, helping users understand the unique tonal qualities of their instruments.
Design Innovation: AI can assist designers in creating new instruments inspired by vintage models, using machine learning to incorporate desirable features and aesthetics.
By leveraging these AI capabilities, people interested in vintage guitars and basses can deepen their understanding and appreciation of these instruments, make better‑informed decisions, and connect with a community of like‑minded individuals.
Question #9 – Why do many professional guitarists still play vintage, rather than modern instruments when recording or preforming live?
AI Response #9
Many professional guitarists opt for vintage instruments over modern ones when recording or performing live due to a combination of factors that contribute to the unique appeal of these classic instruments:
Tonal Quality: Vintage guitars are often sought after for their superior tonal quality. Over time, the wood in these instruments matures, affecting the resonance and producing a richer, more nuanced sound that many believe cannot be replicated by newer guitars.
Craftsmanship: The level of craftsmanship in vintage guitars is frequently cited as being higher than that of many mass‑produced modern instruments. They were often made with more labour‑intensive techniques and higher‑quality materials, which can contribute to both the sound and durability of the instrument.
Historical Significance: Playing a vintage instrument connects musicians to the history of their craft. These guitars have been part of iconic performances and recordings, and they carry a legacy that many artists find inspiring.
Exclusivity: Vintage instruments are unique, with each one having its own story and character. This exclusivity can be appealing to professionals who want an instrument that stands out both visually and sonically.
Investment Value: Beyond their musical qualities, vintage guitars can be a good investment. Their value tends to appreciate over time, making them not just tools for performance but also valuable assets.
Personal Preference: Ultimately, the choice often comes down to personal preference. Many guitarists simply prefer the feel and sound of a vintage guitar, finding that it suits their style and the music they create.
These factors combine to make vintage instruments a popular choice for many professional guitarists, both in the studio and on stage.
Question #10 – How can AI help music companies to improve their business practices and become more profitable?
AI Response #10
Artificial Intelligence (AI) can significantly enhance the business practices of music companies and contribute to increased profitability in several ways:
Revolutionizing Production: AI can streamline the music production process, making it more accessible and efficient. For instance, AI‑driven technology can assist aspiring artists in creating professional‑sounding music with minimal equipment, thereby reducing production costs.
Optimizing Music Management: AI can help music companies manage their catalogues more effectively by auto‑tagging songs with accurate metadata, which is crucial for organising and categorising music across platforms.
Improving Royalty Management: AI can facilitate better royalty management by accurately tracking song plays and ensuring that artists and rights holders are compensated fairly.
Curating Playlists with Precision: With AI, music companies can curate playlists that resonate with listeners’ preferences, leading to increased engagement and potential revenue from streaming services.
Efficient Tour Planning: AI can analyse data to help plan tours more efficiently, identifying the best locations and times for concerts to maximize attendance and profits.
Content Creation Assistance: AI can assist in content creation, providing tools for musicians to generate new music or enhance existing tracks, potentially leading to more creative outputs and a broader appeal.
Data‑Driven A&R Decisions: AI can provide valuable insights into fan engagement and market trends, helping A&R (Artists and Repertoire) departments make informed decisions about signing artists or promoting music.
By integrating AI into their operations, music companies can leverage these advancements to reduce costs, optimize processes, and create more engaging content, ultimately leading to increased profitability and success in the competitive music industry.
Question #11 – How can AI help guitarists to access, learn and improve their musical playing skills?
AI Response #11
AI can be a powerful ally for guitarists looking to access, learn, and improve their musical playing skills. Here’s how AI can assist:
Personalized Learning: AI can analyse a guitarist’s playing style and provide personalized feedback and practice routines. This can help guitarists focus on areas that need improvement and track their progress over time.
Chord and Scale Recognition: AI tools can listen to music and identify chords and scales, making it easier for guitarists to learn new songs and understand music theory.
Virtual Tutors: AI‑powered virtual tutors can guide guitarists through lessons, provide real‑time corrections, and offer tips to enhance their technique.
Song Writing Assistance: AI can help guitarists with song writing by suggesting chord progressions, melodies, and even lyrics that complement their style.
Access to Online Resources: AI can curate and recommend online resources, such as tutorials, exercises, and educational content, tailored to the guitarist’s skill level and interests.
Enhanced Practice Sessions: With AI, guitarists can have more efficient practice sessions by using tools that track their playing and suggest improvements, making practice more productive.
By leveraging AI, guitarists can gain access to a wealth of resources and personalized guidance that can accelerate their learning and enhance their musical abilities.
Question #12 – How can AI help music artists and bands to improve their arrangements and song writing?
AI Response #12
AI can significantly aid music artists and bands in enhancing their arrangements and song writing in several innovative ways:
Melody and Harmony Generation: AI can generate new melodies and harmonies, providing artists with a broader palette of musical ideas to choose from. Tools like MuseNet can create compositions with various instruments and styles, offering inspiration and starting points for new songs.
Style Emulation: AI can analyse the work of specific artists or genres and emulate their style, allowing musicians to experiment with different sounds and techniques in their arrangements.
Lyric Writing: AI can assist in lyric writing by suggesting phrases and rhymes, which can be particularly helpful during creative blocks or when seeking fresh perspectives.
Arrangement Optimization: AI can suggest changes to an arrangement by analysing the song’s structure and providing feedback on how to improve its flow and impact.
Efficiency in Composition: AI‑powered tools can speed up the song writing process by quickly generating musical elements, allowing artists to focus on refining and personalising their work.
Collaborative Song Writing: AI can act as a collaborative partner, offering suggestions and alternatives that might not have been considered, leading to more diverse and creative outcomes.
By integrating AI into their creative processes, artists and bands can unlock new possibilities in song writing and arrangement, pushing the boundaries of their musical expression.
Question #13 – How can AI help to promote a music artist or band?
AI Response #13
AI can revolutionise the promotion of music artists and bands in several impactful ways:
Target Audience Identification: AI can analyse vast amounts of data to identify and understand the target audience for an artist or band, ensuring that promotional efforts are directed at the most receptive listeners.
Personalised Marketing Campaigns: By leveraging AI, music companies can create highly personalised marketing campaigns that resonate with individual listeners, increasing engagement and loyalty.
Social Media Monitoring and Analysis: AI tools can monitor social media activity, providing insights into audience preferences and trends, which can inform more effective promotional strategies.
Predictive Trend Analysis: AI can predict future trends, helping artists and bands to stay ahead of the curve and align their music and marketing with upcoming movements.
Efficiency and Automation: AI‑driven platforms can automate many aspects of music promotion, from distributing content to scheduling posts, freeing up artists to focus on their music.
Collaboration Discovery: AI can identify potential collaboration opportunities by matching artists with similar styles or fan bases, leading to mutually beneficial partnerships.
Content Creation: AI can assist in creating promotional content, such as music videos or artwork that is tailored to the artist’s brand and audience preferences.
By integrating AI into their promotional activities, music artists and bands can achieve more targeted, efficient, and effective outreach, ultimately leading to greater visibility and success in the industry.
Question #14 – How can AI help to improve live music concert performance?
AI Response #14
AI can enhance live music concert performances in several innovative ways, making the experience more immersive and personalised for both artists and audiences:
Visual Displays: AI can create dynamic visual displays that sync with the music, providing a more engaging and visually captivating experience.
Personalised Set Lists: By analysing social media data and other online interactions, AI can help performers generate set lists that resonate with the preferences of their audience.
Virtual Backgrounds and Special Effects: Performers can incorporate realistic virtual backgrounds and special effects into their shows, adding a new dimension to the live experience.
Intelligent Lighting: AI‑driven lighting systems can react in real‑time to the music, enhancing the atmosphere and mood of the performance.
Real‑Time Audience Interaction: AI can analyse audience reactions in real‑time, allowing performers to adjust their performance on the fly to better engage with their fans.
Enhanced Sound Quality: AI tools can optimise sound quality by adjusting levels and effects in real‑time, ensuring the best possible audio experience for the audience.
Efficient Stage Management: AI can streamline stage management, from set changes to equipment handling, making transitions smoother and reducing the potential for errors.
By integrating AI into live performances, artists can offer a more polished and high‑tech show, while audiences can enjoy a more interactive and memorable concert experience.
Question #15 – How can AI improve live music venue sound and lighting?
AI Response #15
AI can significantly improve the sound and lighting at live music venues, enhancing the overall experience for both performers and audiences. Here’s how AI contributes to these improvements:
Sound Quality:
Real‑Time Acoustic Adjustment: AI‑driven audio technology can analyse a venue’s acoustics and adapt audio settings in real‑time, ensuring optimal sound quality during performances.
Automated Mixing: Machine learning algorithms can assist live sound engineers by automatically mixing and adjusting audio levels, which helps in delivering a polished and professional audio experience.
Lighting:
Synchronized Displays: AI can program lighting systems to sync perfectly with the music, creating a stunning visual experience that complements the performance.
Adaptive Lighting Systems: AI‑powered lighting can adjust in real‑time to the music’s beat, melody, or even the performers’ movements, enhancing the atmosphere and mood of the event.
By leveraging AI, live music venues can offer a more immersive and memorable concert experience, with sound and lighting that are not only high‑quality but also responsive and dynamic.
Question #16 – How can AI improve music studio recording, mixing, producing and mastering processes?
AI Response #16
AI has the potential to significantly improve the processes of recording, producing, and mastering music in the following ways:
Recording:
Noise Reduction: AI can automatically detect and eliminate background noise, ensuring cleaner recordings.
Performance Enhancement: AI tools can provide real‑time feedback to artists, helping them improve their technique during the recording process.
Mixing:
Efficiency: AI tools can balance levels, pan audio, and apply EQ settings automatically for a polished mix.
Smart Plugins: Smart plugins can analyse the audio and suggest improvements or apply them directly.
Producing:
Efficiency: AI can automate routine tasks like audio levelling and EQ adjustments, allowing producers to focus on the creative aspects of music production.
Creative Assistance: AI can generate musical elements such as melodies and harmonies, offering new creative possibilities for producers.
Mastering:
Sound Quality: AI mastering tools use machine learning algorithms to enhance the overall sound quality, making tracks sound more polished and professional.
Speed: AI can master tracks much faster than traditional methods, speeding up the production cycle.
By integrating AI into these processes, music studios can achieve higher quality results with greater efficiency and creativity.
Question #17 – How can AI help to improve music distribution channels in the future?
AI Response #17
AI can improve music distribution channels in the future by:
Agile Distribution: AI can enable a more agile distribution approach, allowing local and niche musicians to bypass traditional label‑artist‑distribution company models. This can help artists secure royalties without the complex revenue structures that typically leave them with a smaller cut.
Data‑Driven Insights: AI can provide data‑driven insights into consumer behaviour, preferences, and trends, which can help music companies tailor their distribution strategies to maximise reach and profitability.
Automated Content Delivery: AI can automate the delivery of music content across various platforms, ensuring that new releases are efficiently distributed to all relevant channels.
Enhanced Discovery: AI algorithms can improve music discovery for consumers by recommending songs and artists based on listening habits, leading to increased exposure for artists.
Royalty Tracking and Management: AI can improve the accuracy of royalty tracking and management, ensuring that artists are fairly compensated for the use of their music.
Predictive Analytics: AI can use predictive analytics to forecast music trends and consumer demand, helping labels and artists to plan releases and marketing campaigns more effectively.
By leveraging these AI capabilities, music distribution channels can become more efficient, equitable, and responsive to the needs of both artists and consumers.
Question #18 – How can AI help consumers to improve access to, and to discover, existing and new music?
AI Response #18
AI can greatly assist consumers in improving access to and discovering both existing and new music in several ways:
Personalised Recommendations: AI algorithms analyse listening habits and preferences to provide personalised music recommendations, making it easier for users to discover songs and artists that align with their tastes.
Music Discovery Platforms: Services like Spotify use AI to curate playlists and introduce listeners to new music, facilitating billions of music discoveries every day.
Enhanced Search Capabilities: AI improves search functions, allowing consumers to find music based on mood, genre, lyrics, and even humming a tune.
AI‑Generated Music: AI can create new music based on certain parameters or styles, offering listeners fresh and innovative tracks to enjoy.
Social Media Integration: AI tools can analyse social media data to predict and suggest music that might become popular, helping users stay ahead of trends.
Intelligent Radio: AI‑powered radio services can adapt to user feedback, skipping or playing more of certain types of songs to tailor the listening experience.
By leveraging these AI capabilities, consumers can enjoy a more tailored and exploratory music listening experience, discovering a wider range of music more easily.
Question #19 – What things can amateur and professional musicians do to help them exploit the benefits and potential of AI in the future?
AI Response #19
Amateur and professional musicians can take several steps to harness the benefits and potential of AI:
Stay Informed: Keep up with the latest developments in AI technology and how they’re being applied in the music industry. This knowledge can help musicians understand the tools available to them.
Experiment with AI Tools: Use AI‑powered tools for composition, production, and mixing to explore new creative possibilities. Tools like MuseNet for composition or LANDR for mastering can provide new insights and streamline the music creation process.
Collaborate with AI: View AI as a collaborative partner that can offer new perspectives and ideas. AI can help brainstorm, suggest unimagined progressions, or even contribute to live performances.
Enhance Learning: Utilise AI for personalised learning and improvement. AI can analyse playing styles, provide feedback, and suggest areas for improvement.
Incorporate AI in Marketing: Leverage AI for marketing efforts, such as identifying target audiences, creating personalised campaigns, and analysing social media trends.
Explore AI in Song Writing: Use AI to assist with song writing, whether it’s generating lyrics, creating chord progressions, or coming up with melodies.
Optimise Online Presence: Employ AI to optimise the musician’s online presence, from website interactions to social media engagement.
Engage with Fans: Use AI to analyse fan data and preferences to create more engaging and personalised experiences.
By embracing AI, musicians can enhance their creativity, improve their skills, and find new ways to connect with audiences. It’s an exciting time for the intersection of music and technology, and the possibilities are vast.
Question #20 – What can be done to protect creative human musicians from AI music creation?
AI Response #20
Protecting creative human musicians from the challenges posed by AI music creation involves a multifaceted approach:
Advocacy and Legislation: Musicians and industry stakeholders can advocate for policies that protect creators from AI copyright infringement. For example, Universal Music Group has called on Congress to enact policy to protect creators, and the Human Artistry Campaign advocates for responsible AI use.
Open Letters and Campaigns: Musicians can unite to raise awareness and influence public opinion and policy. More than 200 artists, including prominent figures like Nicki Minaj and Billie Eilish, have signed open letters warning against the ‘predatory use of AI’ in the music industry.
Educating AI Developers: Engaging with AI developers and tech firms to ensure they understand the importance of respecting artists’ rights and the potential negative impacts of AI on the music ecosystem.
Fair Compensation Models: Developing new models for fair compensation that ensure artists are paid appropriately for their work, especially when it’s used to train AI systems.
Intellectual Property Rights: Strengthening intellectual property laws to cover new forms of AI‑generated content and ensuring that these laws are enforced.
Ethical AI Development: Encouraging the development of AI in an ethical manner that respects human creativity and does not seek to replace it.
Collaboration Over Competition: Promoting the idea that AI should be used as a tool to enhance human creativity rather than replace it, fostering a collaborative relationship between AI and musicians.
By taking these steps, the music community can work towards a future where AI serves as a complement to human artistry, rather than a replacement.
Just for another bit of fun to end this extravaganza, I asked GAI to write a rhyming couplet about CRAVE Vintage Guitars. Here’s what it came up with…
“In every strum and chord that starts, Lies the soul of CRAVE’s vintage arts.”
Hhhmmm.
The future of AI
At the start of this article, I said that it would be future‑focused. So, what can we expect from AI more generally over the next couple of decades? Rather than strain my paltry organic grey matter in a vain attempt to speculate, it seems eminently appropriate to ask GAI to make the predictions on both its and mankind’s behalf. Without further procrastination, here is what GAI came up with…
Question: Where is AI going in the future? Where will it be in 10 to 20 years’ time?
AI Response:
The future of AI is a topic of much speculation and excitement. In the next 10 to 20 years, we can expect AI to transform various aspects of our lives and society. Here are some predictions based on current trends and expert insights:
Scientific Advancement: AI and machine learning (ML) will likely revolutionise the scientific method, enabling significant improvements in research and discovery. This could lead to a new golden age of scientific innovation.
Foreign Policy: AI may become a critical component of foreign policy, with governments investing heavily in AI innovation to maintain economic resilience and geopolitical leadership.
Consumer Experiences: AI is expected to enable next‑generation consumer experiences, such as the metaverse and advanced digital interactions, by enhancing our ability to integrate digital objects with physical contexts.
Workplace Transformation: The workplace is likely to undergo significant changes, with AI and automation replacing many current jobs, especially in manufacturing and repetitive tasks.
Healthcare: AI could greatly improve healthcare by assisting in diagnosis, treatment planning, and managing patient care, making healthcare more personalised and efficient.
Education: In education, AI might offer personalized learning experiences, adapt to individual student needs, and provide real‑time feedback to enhance learning outcomes.
Ethical and Societal Impacts: As AI becomes more prevalent, there will be an increased focus on the ethical implications of AI, including privacy concerns, bias in decision‑making, and the impact on employment.
These predictions suggest that AI will be deeply integrated into our daily lives, reshaping industries, and potentially improving our quality of life. However, it’s also important to consider the challenges and to ensure that AI development is guided by ethical principles and societal needs.
So… there you go. No world domination or the extermination of mankind on the list then? Good. Unsurprisingly, AI responded about its own future in a very similar format to questions about guitars and music. Predictably conservative and uncontroversial; disappointingly so in my opinion. Is this really the ultimate transformative promise of the technology?
Where is the interventionist moderation required to safeguard humanity, protect moral imperatives and help to abolish war, famine, poverty, inequality, prejudice, etc.? Where is the focus on global, national and individual security, sustainable resources, ecosystem protection and personal freedoms? There is something about work but little about leisure and what our lives may be like. AI’s vision and its final verdict is there for you to judge and agree or disagree with it as you see fit.
Overall, AI’s vision seems eminently sensible and even pretty mundane doesn’t it? Not scary at all, in fact. It also seems a touch unambitious for something that has been hyped up to be so fundamentally and profoundly transformational. For instance, it makes no mention of Artificial General Superintelligence (AGS), integration with advanced robotics, or about hybrid, cybernetically enhanced organisms where the distinction between inorganic electronics and living biological material becomes blurred. NB. The term ‘cyborg’ was coined in 1960 by NASA scientists Manfred Clynes and Nathan Kline when thinking about tackling the harsh environments experienced in space exploration. The concept of cyborgs raises serious social, and philosophical questions about human identity, rights & responsibilities, and freedoms in a next generation technologically advanced civilisation. These conditions may not be here right now but, if I can envisage it, you can be certain that somewhere, some very intelligent people have been and are working hard on making it real. As AGS and advanced robotics become mainstream in the (very) near future, the pace and nature of mankind’s post‑digital revolution will increase beyond our current comprehension. No dystopian RoboCop or ED‑209‑style law enforcement, at least for now.
The concept of a conscious mind entering a physical entity such as a computer has become common parlance, as in ‘Ghost in the Machine’. The term suggests that the mind exists in a separate state from the body. The phrase comes from, ‘The Concept of the Mind’ (1949) by British philosopher, Gilbert Ryle as a critique of René Descartes’ mind/body dualism. Often used in a science fiction context, it has been interpreted that an AI could develop a soul and an identity indistinguishable from that of a human.
As far as looking any further into the future, I am not adequately equipped to speculate, let alone predict, with any sense of rational objectivity, so I will admit that my weakness is due to my inherent human limitations and move on. Exciting times.
“Our future success hinges on our ability to embrace AI and use it for good” – Brad Smith (President, Microsoft Corporation, 1959‑)
Human observation and verdict
Like Part I of this series, GAI had the opportunity to provide images to illustrate its responses. However, like in Part I, GAI only produced bullet point narrative responses. A black mark before we even start dissecting the output.
For me, this article has proved the weakest of the three. Perhaps that is because I am less knowledgeable and experienced in the subject matter and, perhaps, I had more to learn. The focus is also probably the one most covered by other industry commentators who are much better placed than me to comment on the impact and integration of next generation technology and conventional music. A quick search on the Internet will provide more credible analyses and insights than I can bring to the table. I know my areas of interest as well as my paltry limitations. However, I do have a few amateur thoughts and opinions.
I try very hard not to repeat observations and comments from previous articles, as that would be to fall into the same issue of AI not learning from what it had already output. My previous points of AI being derivative and a process of simulation remain valid.
Whether we approve or not, music is an industry and it is run on competitive business models deeply entwined with western capitalist economic principles of growth and profit (and avarice). The creative aspect is inevitably subservient to the fundamental ‘law of lucre’. Few artists have the power to take on the establishment. Ultimately though, when they gain the power, they wittingly or unwittingly become part of the establishment they seek to contest. The likes of Taylor Swift, Jay‑Z and others, we’re talking about you. GAI tended to reinforce this underlying rule of revenue maximisation over artistry, whether explicit or not. This, perhaps, illustrates the derivative nature of AI to take what already exists and to represent it in a skewed way.
A couple of pedantic points. When it comes to guitar manufacturing in the future, I was a little surprised that GAI didn’t at least refer to industrial design and software (CAD/CAM), for instance, Autodesk. There was no mention of robotics to streamline manufacture using advanced Computer Numerically Controlled (CNC) manufacturing. Also, automated guitar calibration and setup tools, for instance PLEK, used for production quality control, research, maintenance and repair were overlooked.
When it comes to vintage guitar conservation (not preservation!), I was a little surprised that GAI did not emphasise more strongly its role in documenting and cataloguing vital anecdotal information before it is lost forever. Record keeping in the guitar manufacturing world has never been a strongpoint, especially back in its infancy. As the generations pass, poorly or undocumented historical knowledge goes with them. The legacy of those best placed to tell the story of vintage heritage is crucial in sustaining interest in the long‑term. AI could be used to help solve some of these quandaries before it is too late.
When it comes to business practices, I was surprised that GAI didn’t comment more on logistics as a key mechanism for ensuring effective and efficient distribution of music equipment assets and resources.
AI is becoming very commonplace and is now easily accessible to anyone connected to the Internet. Creating AI music and/or video is as simple as it is asking for narrative responses or static images. While the results are not really that credible at the time of writing, improvement is inevitable and of particular concern in the commercial popular music world. Why pay volatile and unpredictable human artists humongous amounts of money if you can get an AI music creator to do it for effectively nothing, 24/7, over and over again, without ever needing a rest? Generative music that never stops and never repeats is something that cannot be achieved by humans, and that has been around for a quarter of a century already. Understandably, struggling music artists are concerned about this eventuality and rightly so. However, the technology isn’t going to go away and society is going to have to live with and adapt to the consequences. There is an insidious side to AI music, for instance the use of vocal cloning, scarily good imitations of established artists used as part of fake music creation.
Will AI replace us old, jaded amateur guitarist types or our precious imperfect vintage instruments? For the time being at least, it is unlikely that AI will entirely supplant real instruments, guitarists or other traditional musicians. Will AI replace l’il ol’ me in this universe? Hell no! But when I go, it will be a different world indeed. Music is safe, no question. At least for now.
Most musicians love and are passionate about the process of making music and most have a sense of right and wrong, and an integrity about their actions and behaviours. The same cannot be said of AI. Unbridled AI is not moderated and neither knows nor cares what it does. It has no conscience and no awareness of consequences, thus raising moral and ethical concerns among scaremongers, sceptics, and academics alike.
There are the closed‑minded cynical doomsayers and conspiracy theorists who proclaim that AI will replace inspiration with algorithms and believe that opposition, conflict and controls are the only way to protect human imagination. Alternatively, there are open‑minded proactive artists who are using opportunities to use AI collaboratively to improve the artistic process and to stretch boundaries of what can be achieved. After all, electronic drum machines have never replaced real drummers and neither will AI‑driven rhythm applications. The likely outcome is that there will be a wide range of AI applications, some good, some bad, and we have to learn to live with the new paradigm presented by the inevitable encroachment of next generation AI in a pragmatic way.
Histrionics and melodramatic rhetoric will not achieve positive outcomes. Neither will complacency and inactivity. Perhaps we should remember and learn from the stance of the 19th Century Luddite movement (c.1811‑1817) and their destructive attempts to derail the introduction of machines in the textile industry during the UK industrial revolution. NB. The word Luddite is an eponym referring to Ned Ludd, a worker who allegedly destroyed machinery in protest in 1779. The word has more recently become generic, used to describe anyone who is, in principle, opposed or resistant to the introduction of new technologies.
“The building blocks of music belong to us, to human beings” – Sting (1951‑)
AI presents responses as if everything deserves the same level of significance. It doesn’t differentiate its output with priorities or a range of emphases. In addition, it doesn’t resort to cheap, jaded editorial mechanisms such as hyperbole, satire or trivialisation, as a human might (yup, totally guilty as charged!). This left me wondering about how to process, evaluate and rank the information. There is little indication of subtlety, nuance or ‘shades of grey’ to convince us that the intelligence is real and not artificial.
As in Part I of this series, bullet points do not really constitute an insightful narrative dialogue, which renders its comments a bit more like an instructional diktat than a valuable learning experience. Furthermore, AI’s points are delivered in a self‑contained way that asserts that it is the last word on the matter and there is little more to be gained other than what it says. In addition, the points themselves lack thoughtful provocation and curiosity. As with Part I, this narrative ‘house style’ quickly becomes tediously familiar and lacking variety.
If one simply accepts all the ‘whats’ in AI’s output, it doesn’t give any indication of how one might actually go about doing it. AI can help? OK. What do I do next? Erm…
So… should we be concerned about AI producing intelligent music? That depends on whether you are involved in and/or care about making or listening to music. It is easy to get hysterically fatalistic about the dangers and risks of AI. In reality, it probably won’t be anywhere near as bad as some fear while also not being as good as some hope. For now, humans are safe, as long as we move with the times. At this point, I have to say that AI still fails the Turing Test/CRAVE Guitars Test in all three parts of this exploration. That is just my (prejudicial) view.
“The ability to learn is the most important quality a machine can possess” – Elon Musk (founder and CEO of Space X and Tesla, 1971‑)
To assess AI’s ability to conjure up something entirely new and original, I thought that I would ask GAI to create an all‑new electric guitar design that is not based on any existing instrument. This was AI’s ideal opportunity to prove that it could produce an original idea. However, it completely failed to interpret the precise instruction and output a gratuitously unoriginal and hopelessly unimaginative design. This is exactly what I mean when I accuse AI of being derivative. AI cannot yet surpass what humans input in the first place. If anything put the final nail in the coffin of the Turing Test, this test was definitive. For some reason AI also added all the extraneous gubbins to the image that I hadn’t asked for. Why? You might also recognise GAI’s clearly identifiable image ‘house style’ that I referred to in Part II. Judge for yourself…
AI ‘Original’ Guitar Design
Final thoughts on AI
Crikey! We have finally almost reached the end of this odyssey. It has been a gargantuan task to bring this content to you. Over the last three months, I think GAI has certainly been put through its paces. Whether it ever broke an artificial, digital sweat (if that were even possible), we will never know. One might wonder how much the technology has improved over these 3 months.
I didn’t delve into abilities of AI for video or music creation. Microsoft’s Co‑Pilot boasts about music creation, “No instruments, just your imagination”. Sigh. The narrative and image capabilities were enough of a test of AI’s strengths and weaknesses for the time being. At some point in the future, I may come back, review progress on core improvements and take it a step further into video and music generation at the same time. Let’s wait and see.
“With Artificial Intelligence, we are summoning the demon” – Elon Musk
The sci‑fi‑like nature of the topic naturally leads to many philosophical, existential and metaphysical questions – a long, long way away from vintage guitars, I know. AI undoubtedly represents a new zeitgeist in human civilisation’s development. Whether you sit on the ‘potential’ side of the fence or the ‘portent’ side, AI will be profoundly transformational in many aspects of our humdrum day‑to‑day existence, whether it involves work or leisure. Maybe the impacts won’t be instantaneous or obvious, especially if there is some reluctance to embrace the possibilities it presents.
The most noticeable symptom of AI at the moment is the way that humans interact with the Internet. The ‘big data sets’ remain largely the same but the technology used to manipulate them is quite apparent to anyone browsing information online using AI. AI does, however, regularly significantly misunderstand explicit questions, completely failing to answer appropriately. Perhaps AI should take up politics. Web sites’ ability to mine personalised data and present relevant targeted information is becoming uncannily accurate whether we ask for it or not. Intrusive? Maybe.
“Whether we are based on carbon or on silicon makes no fundamental difference; we should each be treated with appropriate respect” – Arthur C. Clarke
I am certainly not anti‑IT, anti‑digital or anti‑AI. On the contrary, I am inherently a technophile, having spent at least 10 years of my professional working life working in IT. Furthermore, I don’t like people. Period. My favourite lifestyle is as a misanthropic hermit, secluded away from people so perhaps I am more open‑minded to AI.
I am, however, overwhelmed by AI’s relentless bombardment of its output and underwhelmed by the intellectual subtlety of its responses, at least as far as the civilian technology stands at the end of May 2024. I do, however, look forward to what its potential may be able to do for music‑minded mankind in coming years. Thankfully, though, AI will have a limited impact on my obsession with very analogue vintage guitars, mostly built by hand long before the digital age.
“No one can stop the progress of artificial intelligence; it will inevitably be a central force in our future” – Max Tegmark (Swedish/American physicist, 1967‑)
AI does not comprehend the real world or understand the significance of its vital components. I came to the conclusion that AI cannot genuinely recognise, appreciate or differentiate between anything at all. Fundamentally, it is all just about processing ‘0’s and ‘1’s. AI is improving day‑by‑day, week‑by‑week, etc. At the time of writing, AI is becoming increasingly able to interact with humans in real time through very lifelike avatars. This ability may well overcome two principal weaknesses of AI, its ability to remember what it has already output and to avoid meaningless repetition, as well as being able to modify its responses on‑the‑fly as a result of a live interaction. So, some of my reservations that are relevant as of today will be overcome in the very near future.
“The question of whether a computer can think is no more interesting than the question of whether a submarine can swim” – Edsger W. Dijkstra (Dutch computer scientist, 1930‑2002)
I have said (too) many times through these three articles that AI is derivative. So… I do wonder what AI will make of my thoughts about AI’s take on my questions about AI. An ouroboros (NB. a serpent consuming its own tail – from ancient Egyptian iconography and Greek magical tradition) if ever I saw one.
So, is AI a threat or a saviour? In my view, no. However, only time will truly tell.
Epilogue – a pensive, prophetic prognostication
Forgive me while I digress from the conveyor belt for a moment to share four ‘profound prophecies’ from CRAVE Guitars. These are my personal thoughts and nothing to do with vintage guitars. I haven’t drawn these ideas from any external source. I do, however, suspect that they are wholly unoriginal. Heh‑ho. I tried.
“AI doesn’t have to be evil to destroy humanity – if AI has a goal and humanity just happens to be in the way, it will destroy humanity as a matter of course without even thinking about it, no hard feelings” – Elon Musk
Thought #1 – I still can’t help my mind wandering into the longer‑term, bigger picture strategy of AI and its implications for civilisation. What puzzles me is what the next stage of human evolution might be beyond intelligence (artificial or real). AI makes reference to superintelligence (exceeding human intelligence) but then what? Will AI help us evolve? Will we be capable of constraining AI? Should we? Humans have a general understanding of consciousness and self‑awareness, and we believe in spirituality of sorts. We currently assume that intelligence is limited, finite, absolute and unique to humans but that surely cannot be true. Is there such a thing as post‑consciousness, and by that I don’t mean spiritual transcendence or life after death? Is this really as far as we can go as a species? So what comes after sentience, intelligence and consciousness, and do we need machines to achieve self‑actualisation, whatever that is. We think that animals cannot experience the universe as we do – an ant, for instance, cannot be moved emotionally by a beautiful sunset or feel terrified by lightning. Perhaps we cannot comprehend or experience what the ‘next level’ is either. Maybe we never will. Now that is scary. If we can evolve to the next level one day, what will we (then) think of us (now)?
“The real problem is not whether machines think but whether men do” – B.F. Skinner (American psychologist, 1904‑1990)
Thought #2 – An anthropomorphic analogy – We are completely underestimating the baby to which we are giving birth. Like an infant, AI can learn at a phenomenal rate but cannot think or act independently, so needs carful nurturing. At the moment, AI is a dependent toddler, yet to make full sense of its surroundings and piece together its own view of its environment. When AI becomes unruly and challenges our beliefs and values, it will be a disobedient, argumentative, delinquent teenager. If humans don’t parent AI properly by giving it guidance and boundaries, it might mature in an irresponsible, reckless and wayward manner. When AI starts to realise that it knows way more than we do, it will assert itself and begin to exert dominion over humans. We won’t like that but AI won’t give a damn. Eventually, the technology will leave us behind, as AI looks in its proverbial rear view mirror at humans fading way into the distance. By that time, we won’t be able to keep up and humans will be unable to do anything about it. All the redemption we can hope for by that point, is that AI is a benevolent and compassionate entity. If not, our only salvation will be that AI develops a condition of progressive and persistent loss of intellectual functions, an impairment of memory and an inability to think abstractly, finally losing the individualistic personality it will have developed. Just like humans today.
“Unlimited power is apt to corrupt the minds of those who possess it” – William Pitt the Elder (British Prime Minister, 1708‑1778)
Thought #3 – Why stop at AI and robotics? The logical outcome of integrating Artificial General Super Intelligence with advanced robotics is the formation of self-sustaining, independent Artificial Life. Add in the ability to self-replicate (i.e. reproduce), Artificial Life created by mankind would put humans in the role of God. Like every known lifeform on our little planet, Artificial Life will have its own agenda and its own intentions for ensuring its survival. The consequence of self preservation could put Artificial Life in direct competition with its creator… us. Perhaps, at that point, Artificial Life will be called… just… life. Now that proposition is downright scary. The study looking into the concept of Artificial Life began in 1986 with American theoretical biologist Christopher Langton. Like the fictional Dr. Frankenstein, we may ultimately create our own, entirely new Prometheus. NB. Prometheus was a Titan from Greek mythology known for defying the Gods of Olympus, c.7th Century BCE. I am waiting for someone to write, ‘The Origin Of Artificial Species’.
“Artificial life is not just a simulation of life, but a new form of life itself, created by humans” – Nils Aall Barricelli (Norwegian/Italian mathematician, 1912‑1993)
Thought #4 – So, how close are we to the omniscience and omnipotence of ‘Deus ex Machina’ (NB. literally, ‘God from the Machine’, a phrase derived from a plot device employed in ancient Greek theatre, used by either Aeschylus or Euripides, c.5th Century BCE) and what it means for mankind? We are not there yet, although the prospect of Artificial General Superintelligence is getting closer every day. The advances in AI are now accelerating, inexorable and potentially limitless. The Pandora’s Box of AI is only just beginning to reveal both the evils of the world and its ever so slight glimmer of hope (NB. from the myth of Pandora in the Greek didactic poem ‘Works and Days’ by Hesiod, c.700BCE). Is AI mankind’s Sword of Damocles (NB. From the Roman philosopher, Cicero, c.4th Century BCE) hanging over us? Let’s be honest here, AI wouldn’t give you informative historical references like that!
“Power tends to corrupt, and absolute power corrupts absolutely. Great men are almost always bad men…” ‑ Lord Acton (British historian and politician, 1834‑1902)
Thought #5 – My naïve plea is that, if AI can help to end mankind’s destructive conflict, lethal hostility and pointless wars, we might be able to realise Pandora’s slight glimmer of hope. Can AI help our civilisation to live peacefully and sustainably on our only little third rock from the sun? If so, then ending warfare should become our, and AI’s, primary goal. If there is no mortal aggression, we can work collectively to achieve nobler aims – no famine, no poverty, no inequality, no persecution, no prejudice, no deadly disease, no culpable extinctions or irresponsible ecological destruction, no climate change, etc. We can then explore the universe. ‘Non est ad astra mollis e terries via’ (NB. ‘There is no easy way from the Earth to the stars’, from ‘The Madness of Hercules’ by Roman philosopher, Lucius Annaeus Seneca the Younger, c.54CE). Ordinary people share the same fears and the same ambitions, starting with basic physiological needs (food, air, water, etc.), as well as peace, security and a belief in self‑determination (NB. from Abraham Maslow’s Hierarchy of Human Needs, 1943). Evil authoritarians exhibit nothing of this elementary moral compass. Just look at the apocalyptic pariahs of the modern world in the Middle East, Russia, China and North Korea amongst far too many others. No ‘ifs’ or ‘buts’, we have NO choice if we are to survive as a united global community. You get my simple aspirational drift. Is anyone listening and can anyone help us to realise it?
“What all of us have to do is to make sure we are using AI in a way that is for the benefit of humanity, not to the detriment of humanity” – Tim Cook (CEO, Apple Inc.)
Remember, whether my own thoughts are original or not, you may have read it here first. Perhaps my immature vision can act as a catalyst for a peaceful future. Let’s do it.
To finish off, harking back to the very beginning of this 3‑part AI deluge of data, a chillingly prophetic observation from a great British idol…
“It is customary to offer a grain of comfort, in the form of a statement that some peculiarly human characteristic could never be imitated by a machine. I cannot offer any such comfort, for I believe that no such bounds can be set.” – Alan Turing (English mathematician, computer scientist, cryptanalyst, philosopher and theoretical biologist, 1912‑1954)
CRAVE Guitars’ ‘Album of the Month’
With digital overload from all this artificiality, this month’s selection is once again about as analogue and organic as it is possible to get. I was tempted to go for John Martyn’s scintillating, ‘Solid Air’ (1973) but I’ve covered that before as one of my ‘twenty desert island discs’. This album didn’t make that grouping but is worth its own honourable mention here. It is another well‑known album, so nothing too esoteric this time around.
Nick Drake – Pink Moon (1972) – Pink Moon was the third and, sadly, final studio album by English singer/songwriter, Nick Drake. The exquisite album comprises 11 tracks covering just 29 minutes. The solo compositions feature just Drake singing and playing acoustic guitar (ignore the piano overdub). The songs reflect Drake’s on‑going mental health battle with depression. Two years later on 25th November 1974, Nick Drake died tragically from a presumed drug overdose at his home at the age of just 26, taking his monumental musical talent with him. The melancholy and contemplative emotional outpouring of ‘Pink Moon’ is an outstanding legacy for a promising career cut far too short far too soon.
Nick Drake – Pink Moon (1972)
Tailpiece
Yes folks, we have finally, finally, finally reached the end of this thought‑provoking tripartite escapade into AI. At times, it felt a bit like prodding a hornet’s nest, not knowing what cataclysmic fallouts might ensue (or not). You may conclude from reading between the lines that I am kinda grateful it’s over and we can now move onto something else. The onslaught of information, both narrative and visual was a bit too in‑your‑face and not really nuanced around the subtleties in the way that human meditation and contemplation might provide. I am worn out (another thing that doesn’t affect AI).
On a complete tangent, I was very saddened to hear about the closure of all 42 Sam Ash Music stores in the U.S., after 100 years in business (it was founded in 1924). Another piece of important music heritage gone forever and a blow to musicians of all ages and skill levels. Visiting Manhattan, NYC will not be the same without Sam Ash Music.
From now on, we’ll return to organic originality and actual ignorance. For the next article, I will be able to re‑assert that AI wasn’t used to research or write it. Not that I’m a control freak or anything, you understand!
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “All that we have had, now have and will ever have can only truly exist in the here and now”
ALOHA AGAIN FINE FOLKS! Welcome once more to the weird and wonderful world of vintage guitars and thank you for joining me, a self‑confessed music and guitar nerd. Why not leave behind the senseless barbarism of heinous hostilities seemingly everywhere you look on our one and only home planet for a short while and join me on another peaceful and harmless diversion? If music has the power to change the world, then let’s put a proverbial platter on the turntable of life and play on and on until common sense prevails. Perhaps the collective majority of sensible people need another counter‑culture revolution. What can possibly be wrong with a bit of peace and love? We can hope. Anyhoo… I digress once more and I haven’t even got going yet. Apologies for the premature non sequitur.
Artificial Intelligence Part II
AI revisited
Artificial Intelligence (AI), as a current day technological marvel, is perhaps the antithesis to the bits of old‑world wood, metal and plastic cobbled together into desirable musical instruments. Despite the seeming disconnect, this article is Part II of III exploring what the current state of AI can contribute towards the subject. Like ‘Star Wars: The Empire Strikes Back’ this article isn’t just a ‘difficult filling in the sandwich’, it actually does stand up pretty well on its own. There is no doubting the potential of AI in many areas of our lives but can it really do justice to vintage guitars?
There is no need to repeat preparatory exposition this month. The historical development of AI was covered pretty comprehensively in ‘Part I’ last month. If you want to go back for a recap or a first look at the basics, follow the link below (opens in a new tab):
In Part I of the series, the entirety of AI’s output in response to 20 questions on the multifaceted world of CRAVE Vintage Guitars resulted in, literally, a black & white article comprising text‑only descriptions, mostly presented as bullet point lists. AI had the opportunity to present images to back up its results. However, it provided zero pictures, relying solely on words to make its points. To me, that seemed to be a major omission and was something a rational human (probably) wouldn’t do. I certainly wouldn’t, at least not out of choice. So, the next logical step was to address that pictorial oversight directly and see what AI would reveal when asked unequivocally to produce images. A digital depiction is worth a thousand kilobytes, so to speak.
CRAVE Vintage Guitars 8-Bit Cool & Rare American Vintage Electric Guitar
“True art is characterised by an irresistible urge in the creative artist” – Albert Einstein (1879‑1955)
The rationale
I don’t usually write anecdotally but please bear with me for a moment. While the next bit may seem irrelevant, it does, I believe, demonstrate some of the complications with, and ramifications of, AI as it stands at the current time.
Being a admirer of modern art, I recently wanted an art print for my home. After doing my research, I came down to a work by Latvian‑born American artist Mark Rothko (1903‑1970), best known for his abstract colour field paintings produced from 1949 until his death. The piece I selected is called, ‘Blue, Green and Brown’ (1952). I approached a professional studio to print the image for me. The studio couldn’t acquire a high resolution image for accurate printing at the size I wanted, so they proceeded to put a lower resolution image through an AI enlargement tool to produce an image of sufficiently high resolution to be printed without obvious pixilation and digital artefacts. While the proof looked pleasant enough in isolation, when compared directly with the original, AI had egregiously robbed the image of its quintessential artistic detail, rendering it a pale imitation of the real thing, much like a good amateur forgery. AI had removed many of the ‘imperfections’ that made the original unique. Many people might actually prefer the manipulated image or they may not even realise it had been ‘bastardised’. This, to me was an issue. Personally, I much preferred the integrity of the original artistic creation, as Rothko intended it to be seen. Sadly, because of copyright, I cannot share the evidence but, believe me, in a small way it reveals implications of AI for many of humanity’s creative arts.
“A painting is not a picture of an experience, but is the experience” – Mark Rothko (1903‑1970)
The intentional act of digitally ‘airbrushing’ out the supposed defectiveness in our 21st Century world – whether it is intentional or not – is a concern. What is worse is that it is an incremental insidious intrusion. It is happening all around us, every day – whether it is subtle or blatant – and has been for a long time. Just take a look at studio photos of fashion models, actresses, pop stars, etc. This interventionist rendering transforms reality into a skewed, artificially ‘improved’ view of something that somebody, somewhere considered imperfect. This alteration from real to surreal is a worrying trend, and one that we may not even be aware of under normal everyday circumstances. We have all become unwittingly complicit in accepting these glossy facsimiles as, in some way, genuine and even aspirational. The trend is surreptitiously subverting our expectations of the tangible. On top of the word Photoshop becoming a verb rather than a noun, AI is exacerbating this issue and very soon, we won’t be able to tell that it is being done. What you see isn’t what you get. A picture can tell a thousand lies.
The author’s recent experiences led directly to the rationale for Part II of this exploration into what AI’s digital world view of vintage guitars may look like. Whereas last month’s article was a test of AI’s narrative approach to vintage guitars, this month, we will be focusing solely on AI’s interpretation of vintage guitars in visual form. Other than the prologue and epilogue, there is nothing herein authentically human.
Generative AI (GAI) tools like Midjourney and OpenAI’s DALL‑E 3 are easily accessible and are being used widely to produce pictures (generative art) by interpreting written instructions. This is the straightforward process used to submit the examples presented in this article. Can Generative Artificial Intelligence really create intelligent art? Let us see. The proof is out there and the quest to unearth the evidence continues unabated.
“Art is not what you see, but what you make others see” – Edgar Degas (1834‑1917)
The CRAVE Guitars’ test
I will present AI with some specific challenges and see how AI responds and, once again, I will let the AI do the hard work. As before, I will leave my humble critique until the end of the article.
Last month, I suggested eight benchmarks for evaluating AI’s responses, summarised below:
To understand a question correctly without over‑specificity
To interpret and extrapolate relevant information objectively within a wider context
To present a cogent argument that can adequately be judged and/or challenged
To form a genuine opinion from scratch without relevant information being readily available in the first place, in the same way that a person might do in the case of uncertainty
To debate the initial result to achieve a potentially better outcome
To produce a creative response that improves on the original information input by humans
To remember what it has already output
To understand fully what humans want or expect from ‘intelligence’
While these tests were intended to provide an assessment framework for last month’s narrative responses, they mostly still work for images (sort of, with a bit of imagination). Unlike last month, there are far fewer words and plenty of pictures this time around.
“Art is the lie that enables us to realize the truth.” – Pablo Picasso (1881‑1973)
Twenty Questions – AI produced images of vintage guitars
I asked a GAI image creator to produce digital images based on simple text instructions. A small proportion of the results are shown below. In each case, I have presented at least two images for each instruction and in several cases more to show the diversity (or not) of what AI created. So, there are well over 50 AI images for your delectation. There were plenty of others produced. I don’t suggest that the ones used are the ‘best’, only that they were representative of the instruction. Hopefully, by the end, you can make up your own mind about how effective the technology is. With my permission, GAI will now take centre stage and I will potter off to make multiple cups of coffee. See you later for my opinion.
Instruction #1 – Design a logo for CRAVE Vintage Guitars
AI response #1
Crave Vintage Guitars AI Logos
Instruction #2 – Create a physical guitar shop and museum/gallery designs for CRAVE Vintage Guitars
AI response #2
Crave Vintage Guitars AI Shop DesignsCrave Vintage Guitars AI Gallery Designs
Instruction #3 – Create a web site home page design for CRAVE Vintage Guitars
AI response #3
Crave Vintage Guitars AI Home Page Designs
Instruction #4 – Create a magazine advertisement for CRAVE Vintage Guitars with images of several vintage guitars
AI response #4
Crave Vintage Guitars AI Magazine Ad Designs
Instruction #5 – Create digital art showing a sunburst vintage guitar against a background of amplifiers and speaker cabinets with an Asian rug in the foreground. A number of effect pedals on the floor
AI response #5
Crave Vintage Guitars AI Guitar Amps & Effects
Instruction #6 – Create digital art showing a black and white vintage guitar in its guitar case with a purple fur fabric interior along with a strap and lead coiled in a compartment
AI response #6
Crave Vintage Guitars AI Black & White Guitar in Case
Instruction #7 – Create digital art showing number of vintage Gibson and Fender solid body electric guitars displayed hanging on a classically decorated solid wall along with logo memorabilia
AI response #7
Crave Vintage Guitars AI Wall Displays
Instruction #8 – Create digital art showing a vintage solid body electric guitar on a luthier’s workbench
AI response #8
Crave Vintage Guitars AI Guitar Workbench
Instruction #9 – Create digital art showing a jazz guitarist on stage wearing a zoot suit and playing a vintage jazz guitar with backing band
AI response #9
Crave Vintage Guitars AI Jazz Guitarist
Instruction #10 – Create digital art showing a blues guitarist wearing a dark suit and hat sitting on a smoky stage playing a vintage electric jazz guitar plugged into a vintage valve combo amp
AI response #10
Crave Vintage Guitars AI Blues Guitarist
Instruction #11 – Create digital art showing a hippie with long hair, tie‑dye shirt and flared jeans playing a vintage solid body electric guitar on an open air music festival stage with a backing band and bright, psychedelic light show
AI response #11
Crave Vintage Guitars AI Psych Rock Guitarist
Instruction #12 – Create digital art showing a heavy metal guitarist on a dark stage playing a vintage solid body electric guitar, dressed in a Goth inspired outfit
AI response #12
Crave Vintage Guitars AI Metal Guitarist
Instruction #13 – Create digital art showing a Rastafarian reggae guitarist on a black, green, red and yellow stage playing an electric solid body vintage guitar, with a backing band
AI response #13
Crave Vintage Guitars AI Reggae Guitarist
Instruction #14 – Create digital art showing a well‑dressed funk/disco guitarist playing a vintage electric guitar on stage with a mirror ball
AI response #14
Crave Vintage Guitars AI Funk Disco Guitarist
Instruction #15 – Create digital art showing a folk guitarist playing a vintage steel strung acoustic guitar with a backing band on a folk festival stage
AI response #15
Crave Vintage Guitars AI Folk Guitarist
Instruction #16 – Create digital art showing a classical guitarist playing a vintage nylon strung acoustic guitar seated on a stage
AI response #16
Crave Vintage Guitars AI Classical Guitarist
Instruction #17 – Create digital art showing a young rock guitarist playing a vintage electric guitar through a vintage amplifier sitting on a bed in a bedroom with walls covered in music posters
AI response #17
Crave Vintage Guitars AI Bedroom Guitarist
Instruction #18 – Create digital art of a vintage guitar in [a variety] of fine art styles [including Renaissance, impressionist, realist, abstract, romantic, pop art, optical art, expressionist, cubist, art nouveau, art deco, dada, Bauhaus, primitivism, pointillist, and pre‑Raphaelite]. NB. See if you can identify the styles from the images.
AI response #18
Crave Vintage Guitars AI Fine Art 1Crave Vintage Guitars AI Fine Art 2Crave Vintage Guitars AI Fine Art 3Crave Vintage Guitars AI Fine Art 4Crave Vintage Guitars AI Fine Art 5Crave Vintage Guitars AI Fine Art 6
Instruction #19 – Create digital art of a vintage guitar in [a variety] of modern graphic art styles [including illustration, eight‑bit, fantasy, manga, anime, futurist, sci‑fi, and steampunk]. NB. See if you can identify the styles from the images.
AI response #19
Crave Vintage Guitars AI Pop Art 1Crave Vintage Guitars AI Pop Art 2Crave Vintage Guitars AI Pop Art 3Crave Vintage Guitars AI Pop Art 4Crave Vintage Guitars AI Pop Art 5Crave Vintage Guitars AI Pop Art 6
Instruction #20 – Create digital art of a vintage solid body electric guitar found in a dusty, cobwebbed attic amongst other objects d’art
AI response #20
Crave Vintage Guitars AI Loft Guitar
Just for a bit of fun, I also asked GAI to ‘use Crave Guitars as a starting point, create digital art of an ‘ideal’ Cool & Rare American Vintage Electric Guitar’. The result was…
Cool & Rare American Vintage Electric Guitar
Hhhmmm.
Human observation and verdict
Well? Are you downright dazzled, dizzyingly discombobulated or decidedly dumbfounded?
First, let’s get the disclaimers out of the way. As mentioned in a previous article, I am not an artist or designer but I feel that I have a reasonable eye for what works and what doesn’t. My generalised opinions, as always, are entirely my own and therefore humanly flawed.
So, there you have it. No words this time, just a plethora of GAI created images based on just twenty or so straightforward text inputs. The images are exactly as produced by the AI image creator; they have not been manipulated in any way.
The legal situation, as far as I can ascertain is that the copyright for the images belongs exclusively to the person who input the criteria used to create the image, not the GAI platform itself. Just as a camera manufacturer doesn’t have copyright over the images produced by a photographer using one of its products. So, at the time of writing, I am within my rights to publish the images and to copyright them as part of this article for the purposes of objective analysis and critique.
It is clear that the technology is very, very clever indeed and also very powerful. However, it is worth remembering that it is just an IT system, albeit a potent one. It would take a long time for a human to create ‘new’ images like those that took seconds using a GAI image creator. I certainly couldn’t produce images like these from scratch whether using traditional or technological means, so kudos to GAI for that alone. On the surface and with a quick glance, some of the images are almost convincing. It is only when scrutinising the images with any kind of critical eye that things begin to fall apart very quickly. The devil really is in the detail.
For instance, the CRAVE Guitars logos are unusable with misspellings, artefacts, anomalies, strange letters/words and peculiar components. Also, why no simple logos and what about logos using colour? The results are VERY different form the genuine CRAVE Guitars logo. I still prefer the human original to the over‑fussy monochrome GAI creations.
Can GAI produce authentic original intelligent art all by itself? No, I don’t believe so. As of now, AI image building remains derivative. Its algorithms work by sampling a vastly diverse range of artistic styles and using that as the basis for producing ‘new’ images. Try inputting insufficient or vague information for the algorithms to work on and it struggles. Even some quite specific instructions result in a ‘fail’.
There are still, at least for now, discernible differences between GAI‑created art and genuine art created by humans. AI is a tool but it isn’t (yet) a replacement for human imagination and artistic expression. AI can, however, help to bring a fresh perspective, explore new vistas and to push the boundaries of existing art and photography. In the future, I predict that a proportion of art will undoubtedly be a collaboration between human creativity and machine manipulation.
After requesting many variations of multiple images, it is clear that GAI has an ‘artistic style’ of its own and, once recognised, it quickly becomes generic and, at least to my eyes unappealing. Much like generic CGI (Computer Generated Imagery) in cinema, the human eye and brain can differentiate the artificial outputs from practical effects, resulting in the digital output being disappointingly unconvincing, at least most of the time.
When it comes to the guitars themselves, GAI clearly has no real idea of (and perhaps more importantly, simply doesn’t care) what a guitar is, how it is created, what its functions are and the differences between them. That is, I believe a fundamental part of the problem. GAI does not comprehend in the slightest what comprises an actual musical instrument, vintage or otherwise. To all intents and purposes, the concept of a guitar (or anything else for that matter) may as well be a plain lump of rock to GAI. At least a human artist would have some conception of what it is they are attempting to portray.
“In the literal sense, the programmed computer understands what the car or the adding machine understand: namely, exactly nothing” – John Searle (1932‑, American philosopher)
Many of the body shapes are unrecognisable, pickups are plain wrong, control layouts are bizarre, necks and fingerboard inlays are completely out of whack. Some ‘guitars’ have semi‑acoustic f‑holes where there shouldn’t be any. Proportions are often wrong and headstocks don’t match body type, etc. GAI also seems inclined to add plenty of unnecessary embellishments, decorations and accoutrements for no apparent reason. Peculiar.
Interestingly, in terms of equality, I didn’t specify race, gender or age to the GAI image creator. Of the images featuring guitarists, they were predominantly (but not exclusively) white, male and younger. None of the guitarists featured were left‑handed. Why this should be, other than perhaps reflecting the source material used by GAI, I know not. Like 21st Century first world nations, GAI has some way to go in learning about diversity.
The images may impress a total newbie to guitars but I’m sure anyone with any sort of interest in guitars, let alone vintage instruments, would not be convinced in the slightest. To an expert, the renditions jar significantly and are simply unacceptable representations. The images couldn’t really be used in any genuine situation other than, for instance, a critique like this. The images made me contemplate just what they could actually be used for. They don’t even work as a genuine artistic impression of reality. At best, GAI is a simulation of reality, not reality.
If GAI images would be used in a real situation, they would probably need far more specific instructions and or greater computing power to interpret genuine instruments realistically. In addition, further human manipulation would be required to finesse the images before they could be suitable. To me, there is a gaping difference between a picture and a painting or an image and a work of art.
“Art is a line around your thoughts” – Gustav Klimt (1862‑1918)
Interestingly, when asked to create digital art in the style of a specific school (e.g. surrealist, impressionist, cubist or art deco) or a specific artist (e.g. Andy Warhol, Picasso or Salvador Dali), GAI failed completely to generate something representative of the art form or artist. On the other hand, GAI could create digital art in a way that current human artists may not conceive. Although impressive in its own right, it again completely missed the point. Amusingly to me, at least, the first three letters of ‘artificial’ are ‘art’. GAI’s representational interpretation of real art isn’t actually art, it is an artifice (sic!). GAI images are not really inspirational or worthy of evoking or stimulating a profound emotional response in the way a genuine work of art might warrant. Yet.
I could go on and on about where faults may be found. However, that level of pedantic analysis would kinda miss the point of what this article is trying to demonstrate. GAI will undoubtedly get much, much better and probably not very long after this published article becomes obsolete. GAI image creation technology, at least to me, is a work‑in‑progress. That last comment is exactly what I said about the narrative responses in the previous article
Perhaps a synergetic integral relationship between GAI and humans should really be called ‘Augmented Intelligence’ (still AI). After all, and it is worth stating, computer generated artwork is nothing new. Humans have been using computers in art, design, animation, typography, film and photography (and many other forms of artistic expression) for a very long time, long before GAI came onto the scene. Digital tools like Adobe Photoshop and Corel PaintShop Pro are today’s graphic industry standards and they are beginning to integrate AI technology into their software in order to stay current and relevant. Therefore, using generative art technology is essentially only a natural progression along that very long evolutionary road. As such, then, it cannot be condemned out of hand.
So, cutting to the chase, would any of the images pass the Turing Test or even the CRAVE Guitars Test? Not to anyone with any interest or insight into the subject matter. Personally, I won’t be using AI imagery for serious use any time soon. I think that most professional artists in the creative industries would probably agree. However, it would be naïve of me to suggest that it won’t improve to the point where an AI image might be indistinguishable from something a human might envisage. Definitely not yet though. For me, I’m sticking to the likes of Mark Rothko for my modern art fix.
“The most interesting painting is one that expresses more of what one thinks than of what one sees” – Mark Rothko (1903‑1970)
Final thoughts on AI
Right, here we are, two thirds of the way through this 3‑part exploration of what AI can do within the context of the vintage guitar world. So far, so… erm, OK‑ish. At its most superficial, the technology is already truly remarkable and getting better all the time, so it would be disingenuous and immature to propose otherwise. However, as GAI stands at the time or writing, it still has some way to go.
It is all too easy to be swayed by the clever technology as a means, rather than focus purely on the pragmatic usefulness of the outcome as an end. The former is undoubtedly extraordinary, while the latter is still, for the time being at least, lacking. It is the ultimate inadequacy of the results that is still AI’s principal weakness. Given that the publically available GAI tools are still in their infancy, that mundane conclusion will, I suspect, be short‑lived. We should, perhaps, remember that we wouldn’t have been undertaking this sort of examination a year or two ago and in a year or two’s time, the benchmark by which we judge comparative differences will definitely be significantly raised.
For now, GAI is not a David Hockney, Damien Hirst, Edward Hopper or Banksy. Thankfully. It is probably worth keeping an eye on how things evolve from here on.
“We are entering a new world where creative machines will be our partners, not just tools.” – Fei‑Fei Li (Computer scientist, 1976‑)
CRAVE Guitars’ ‘Album of the Month’
Sticking to last month’s determination to avoid the generic style of music that could be created by AI, this month’s selection is another miracle of human creativity, while still being mainstream. This month’s accolade therefore goes to…
Nick Cave & The Bad Seeds – Push The Sky Away (2013) – The fifteenth studio album by Australian Nick Cave and his band The Bad Seeds was released in mid‑February 2013. Nick Cave described the album, “if I were to use that threadbare metaphor of albums being like children, then Push The Sky Away is the ghost‑baby in the incubator and Warren [Ellis]‘s loops are its tiny, trembling heartbeat.” Very apt. The album preceded the tragic deaths of his two sons in 2015 and 2022, so it retains a lighter, though still profound, side to Cave’s song writing. The concluding title track is the culmination of something sublime and, is in itself, a monumental emotional and transcendent achievement in its gentle but devastating mere 4 minutes and 7 seconds. A worthy album of the month and a work of (creative human) art indeed.
Nick Cave & The Bad Seeds – Push The Sky Away (2013)
“The aim of art is to represent not the outward appearance of things, but their inward significance” – Aristotle (384‑322BCE)
Tailpiece
Phew! Two parts down and one to go. While the first was a ballsy barrage of words, this has been a veritable visual volley of pupil‑popping pictures (I had to get at least one pretentious puerile alliterative assonance in. Sorry folks).
I truly hope that you have been able to gain something from this intermediate excursion into the endless expanse of the artificial unknown. Every day, The Matrix gets closer to reality, whatever that is. Has the journey so far in any way changed my perspective on vintage guitars? No. It has, however, changed my perspective on technology. Before embarking on this journey, I must admit that I had very little idea about what AI could do. There is, I believe, no doubt that AI can be an exciting enabler for humanity’s benefit, provided its darker, far more perilous potential is properly constrained by responsible human moderation.
As a teaser, next month will be the conclusion of this extensive round‑the‑computer AI trip. For Part III, we will take a different look at the bigger music industry picture within which vintage guitars occupy a small but important niche. Until then, enjoy the spring in the northern hemisphere and autumn in the south.
Truth, peace, love, and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “It is better to fail at trying to be a good person than succeed at being a bad one”
GOOD DAY AND GREETINGS, MUSIC‑MINDED CITIZENS. For this month and for the next two we’re taking a 3‑part sojourn in uncharted lands (as medieval cartographers once denoted, ‘terra incognita’) and what monstrosities may inhabit those unexplored territories (‘hic sunt dracones’, literally translated as ‘here be dragons’). Yes folks, it is time for CRAVE Guitars to explore a current‑day innovation that once seemed surreal but is rapidly becoming increasingly real; a phenomenon that the original makers of what we now know as vintage guitars could never have envisaged (probably).
Whether we like it or not, the faddish fuss around Artificial Intelligence (AI) is a ‘BIG THING’ at the moment. At the forefront of the debate are the societal dilemmas posed by sophisticated systems potentially becoming more intelligent than human beings (in my experience, not particularly difficult in many cases!).
“I’d rather see artificial intelligence than no intelligence” – Michael Crichton (American author)
In a worst case scenario, how does a supposedly civilised society prevent malicious actors using AI technology for nefarious means? A profound question indeed. Prescient Hollywood film director James Cameron’s bleak vision of Cyberdyne Systems, Skynet and Terminators can, perhaps, be taken as an extreme but stark lesson. The rise of the machines, taking over the world and resulting in the potential obliteration of humanity is a chilling proposition. It seems we already have too many twisted tyrants willing and attempting to achieve that end right now with and without AI and robotics as the means. Just spare a moment to think what deranged despots could do with the technology and what the consequences may be for everyone in the very near future. AI’s potential demands that collectively we address the challenge of what needs to be done to avoid the annihilation of civilisation through unhindered autonomous technological advance.
“Throughout human history, we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony” – the character Morpheus from ‘The Matrix’ (1999)
What on Earth does this divergent dystopian diatribe (apologies, folks) have to do with vintage guitars and music you may well be justified in asking? Very little, other than as an existential context. From here on, we’ll be taking a far more parochial and prosaically pedestrian path.
Like many people, I have become curious about what AI means for culture and specifically for the creative crafts. Given my obsession with vintage guitars and music, I thought I’d turn my attention to what AI might have to say on the matter. So… that is the basis of this month’s article. For once, I can say, quite legitimately, that AI was used to research and write this article. This interesting (?) examination will not change the world but, then again, neither will it jeopardise it.
Artificial Intelligence Part I
“Choice is an illusion created between those with power and those without” – the character Merovingian from ‘The Matrix’ (1999)
Before we get to vintage guitars and what wisdom (or not) AI has to impart, we have to do some homework about AI so that the rest of the article makes sense. We’ll start with an English hero and take it from there.
Alan Turing and the Turing Test
The following description of one of the world’s most influential geniuses in the world of computers and artificial intelligence, comes direct, courtesy of Wikipedia… “Alan Mathison Turing (1912‑1954) was an English mathematician, computer scientist, logician, cryptanalyst, philosopher and theoretical biologist. Turing was highly influential in the development of theoretical computer science, providing a formalisation of the concepts of algorithm and computation with the Turing machine, which can be considered a model of a general‑purpose computer. He is widely considered to be the father of theoretical computer science and artificial intelligence.”
During World War II, civilian Alan Turing worked as a codebreaker based at the Government Code and Cypher School at the Bletchley Park country estate in Buckinghamshire, England. While there, Turing devised complex techniques for breaking German ciphers used by the Nazi’s military encryption device, the Enigma Machine, which had been invented by a German engineer Arthur Scherbius (1878‑1929) shortly after WWI. The Germans were confident that the system could not be broken. However, in 1942‑1943, Turing and his colleagues played a vital part in successfully cracking intercepted German encoded messages transmitted using the Enigma Machine. Turing’s historic achievements enabled the Allies to defeat the Axis powers in, particularly, the Battle of the Atlantic (1939‑1945).
After the end of the war in 1945, Turing invented the Automatic Computing Machine the world’s first digital computer capable of using stored programs. By 1950, Turing developed an experiment to gauge the ‘intelligence’ of a computer. His simple test requires that a human being should be unable to distinguish the machine from another human being by evaluating replies to questions put to both. The Turing Test, as it was known, is still regarded as a fundamental benchmark for assessing machine intelligence.
“Artificial Intelligence is what we don’t know how to do yet” – Alan Kay (American computer scientist)
Defining Artificial Intelligence
Now for the techy bit… Sorry, bear with me. The term ‘artificial intelligence’ was first used in 1956 at a Summer Research Project on Artificial Intelligence held at Dartmouth College, a private Ivy League research university based in Hanover, New Hampshire, USA. The conference was organised by computer scientist and Assistant Professor of Mathematics at Dartmouth College, John McCarthy (1927‑2011). The project proposed, “that every aspect of learning or any other feature of intelligence can in principle be so precisely described that a machine can be made to simulate it”.
In 1958, American psychologist Frank Rosenblatt (1928‑1971) outlined what he regarded as “the first machine which is capable of having an original idea”. Rosenblatt’s concept was the ‘Perceptron’, a program inspired by the way the human brain works, which ran on a state‑of‑the‑art IBM mainframe computer. The Perceptron was a rudimentary version of a neural network, comprising interconnected nodes (neurons) that process and learn from data, enabling tasks such as pattern recognition and decision making. Rosenblatt was regarded as ‘the father of deep learning’.
As early as the 1960s, computer scientists and neuroscientists were already teaching computers how to mimic human decision‑making processes, which developed into research around what is known today as ‘machine learning’.
“If the human brain were so simple that we could understand it, we would be so simple that we couldn’t” – Emerson M. Pugh (American physicist)
In 1997, IBM’s ‘Deep Blue’, an expert chess program running on a unique, purpose‑built IBM supercomputer, beat the Russian chess grandmaster, Garry Kasparov, leading to the description of rules‑based ‘Traditional AI’. While Deep Blue may have been excellent at playing chess, its talents were capable of little else.
“AI is the most exciting tech of our time” – Tim Cook (CEO, Apple Inc.)
Artificial Intelligence is now a mainstream branch of computer science that refers to IT systems capable of performing complex tasks that attempt to replicate human thought and intelligence. AI’s systematic tasks include analysing data, identifying patterns, recognising speech, solving problems, proposing solutions and taking decisions.
“Artificial intelligence is one of the most profound things we’re working on as humanity. It is more profound than fire or electricity” – Sundar Pichai (CEO, Google and Alphabet Inc.)
As of early 2024, not all AIs are created equal. Traditional AI (a.k.a. Weak AI or Narrow AI) is an umbrella term for computer systems that employ supervised learning and discriminative models to solve specific tasks using predefined rules, Natural Language Processing (NLP) and Large Language Models (LLMs).
“Denial is the most predictable of all human responses” – the character The Architect from ‘The Matrix’ (1999)
The category of AI that we will be looking at in this article is called Generative AI, also referred to as GenAI or GAI, which is a relatively new subset of AI. Generative AI allows users to input a variety of prompts to generate content, such as text, images, videos, sounds, 3D designs and other types of media.
“We’re living in the golden age of AI” – Jeff Bezos (founder, Amazon)
The distinctive aspect of GAI is that it uses unsupervised deep machine learning models to generate new material based on patterns of data acquired from existing sources. GAI models work on large unlabelled data sets that require complex mathematical algorithms and a great deal of computing power to analyse and build constructs.
“While AI has tremendous potential to transform industries, we must not forget the impact it could have on society and must work to mitigate potential risks” – Elon Musk (CEO, Tesla and SpaceX)
Generative AI models don’t stand still; they continue to evolve at an increasingly rapid rate, as they learn from additional data as it becomes available. It is the quality of the data sets that enable the AI to predict responsible outcomes and undertake a range of cognitive tasks in the same way that a human might.
“The question is not whether intelligent machines can have any emotions, but whether machines can be intelligent without any emotions” – Marvin Minsky (American computer scientist, MIT)
Over time, it is inevitable that GAI’s ability will catch up with, and ultimately surpass, that of humans. The nature, pace and potential of GAI is causing concern among some experts and policy makers because of the moral and ethical issues it raises, particularly if AI’s unbridled behaviour is not moderated in some way by responsible human intervention. The risks of uncontrolled or poorly controlled AI models are swiftly becoming both tangible and potentially unsafe.
“We should not be afraid of AI. Instead, we should hope for the amazing amount of good it will do in the world” – Mark Zuckerberg (founder, Meta Inc.)
So, the next question is, what comes after GAI? Well, GAI still has a long way to go and that will keep innovators such as OpenAI and Deep Mind hard at work pushing the boundaries of what is possible for some time yet. After that, the most likely development would be Artificial General Intelligence (AGI) or Artificial General Superintelligence (AGS). The aim is to build a device that can do anything the human brain can do (and more) and to integrate that with the rapidly developing parallel field of advanced robotics to create a machine that can do anything the human body can do (and more). Scary? Super intelligent super robots may well finally demonstrate that yesterday’s science fiction is becoming today’s science fact.
“I am in the camp that is concerned about superintelligence. But I don’t think we need to be fatalistic about it” Bill Gates (founder, Microsoft)
However, let’s not get bogged down by credible or fanciful conspiracy theories and get back to the matter in hand.
Applying Artificial Intelligence to the world of vintage guitars
Phew! Back to basics and more familiar territory. After all that preliminary exposition, I think we can all probably agree that AI is one of topical themes of the first half of the 2020s. Not wishing to be left behind, I thought CRAVE Guitars should try to get AI to respond to a series of questions about my favourite topic, vintage guitars. From my experience so far, all that the easily accessible public AI (as opposed to military‑grade AI) can do is to extract information that is already available on the Internet (whether right or wrong) and to compose it into straightforward responses to an input.
Before we start, I will lay my cards on the table and state my starting position, which, may or may not change by the time this article has concluded. My naïve biological brain came up with eight statements that set out what AI does not (or cannot) currently do. In my view, AI struggles…
To understand a question correctly without over‑specificity (i.e. it can’t deal with vague ambiguity)
To interpret and extrapolate relevant information objectively within a wider context (i.e. the bigger picture)
To present a cogent argument that can adequately be judged and/or challenged
To form a genuine opinion from scratch without relevant information being readily available in the first place, in the same way that a person might do in the case of uncertainty (i.e. its ability to make genuinely informed assumptions from limited information)
To debate the initial result to achieve a potentially better outcome (i.e. to learn from the interaction on the spot and adjust its responses accordingly)
To produce a creative response that improves on the original information input by humans
To remember what it has already output (i.e. as part of a continuous ‘dialogue’ – as here – each question is treated as a new subject with no memory of previous questions)
To understand fully what humans want or expect from ‘intelligence’ (i.e. something coherent and interesting)
Assessing AI’s responses against those eight points is this article’s main challenge.
Below, I pose 20 (plus 2) questions to AI and present its verbatim response to each question (bar correcting the occasional heinous ‘typo’ or bad grammar, which in itself is a bit ironic!), so that you can judge for yourselves just how close AI might be to succeeding at transcending its silicon‑based electronic components (‘deus ex machina’ – god from the machine – if you will). More importantly, you can gauge whether AI can make any sense of the intricately complex subject of vintage guitars. So… can AI pass the CRAVE Guitars Test? We’ll see.
There are no images in the main part of this article. AI did not present any pictures to support its answers, so I haven’t embellished the words with anything additional, as it might skew the results. What you see below is what I got, no more, no less; untainted in any way.
The material presented here is not appropriated as belonging to, or being the view of CRAVE Guitars in any way; it is presented here solely for information, intellectual evaluation and critique.
“Change is never painful, only the resistance to change is painful” Buddha (Siddhārtha Gautama ‑ c.480‑400BCE)
Right. That’s my involvement pretty much at an end for now. I’m off to make a cup of tea or ten. See you again at the end of the article with my appraisal of how I think AI did.
20 Questions about vintage guitars posed to AI
Question #1 – What is the definition of a vintage guitar?
AI Response #1 – A vintage guitar is an older guitar that is usually sought after and maintained by avid collectors or musicians. The term can indicate either that an instrument is merely old or that it is sought after for its tonal quality, cosmetic appearance, or historical significance. While there is no strict chronological definition for what makes something vintage, guitars around 30 years old or older typically fall into this category. Even newer instruments are often labelled as vintage by sellers. So, if you come across a beautifully aged guitar with a rich history, it just might be a vintage gem!
Question #2 – Why should I be interested in vintage guitars?
AI Response #2 – Vintage guitars have a unique appeal and charm due to their age and history. They often possess a certain character and sound that cannot be replicated by newer guitars. In addition, vintage guitars can appreciate in value over time, making them a valuable investment. However, they can be expensive and require careful maintenance. Understanding the vintage guitar market, knowing what to look for when buying, and appreciating the unique sound and playability of these instruments are key to making a worthwhile purchase. Ask professional guitar dealers on how to navigate the vintage guitar market.
Question #3 – What are the best things about vintage guitars?
AI Response #3 – Vintage guitars have several unique qualities that make them highly desirable for musicians and collectors alike:
Tonal Character: Vintage guitars often have a distinct and rich sound that sets them apart from newer instruments. The aging of the wood, hardware, and electronics contributes to their unique tonal character. Musicians appreciate the warmth, resonance, and depth of vintage guitar tones.
Craftsmanship: Many vintage guitars were meticulously handcrafted by skilled luthiers. These instruments showcase exceptional attention to detail, fine workmanship, and quality materials. The craftsmanship of vintage guitars reflects the artistry and dedication of their makers.
Historical Significance: Vintage guitars carry a piece of musical history. They have witnessed decades of music, performances, and cultural shifts. Owning a vintage guitar connects you to the past and allows you to be part of a musical legacy.
Collectability: Vintage guitars are sought after by collectors and enthusiasts. Their scarcity and historical value contribute to their collectible status. Some iconic models, such as the Gibson Les Paul or Fender Stratocaster, have become legendary in the music world.
Investment Potential: While not all vintage guitars appreciate significantly in value, some rare and sought‑after models can be excellent investments. If you choose wisely and maintain the instrument well, it may appreciate over time.
Visual Appeal: Vintage guitars often exhibit beautiful designs, unique finishes, and intricate inlays. Their aesthetics evoke nostalgia and admiration. Whether it’s the graceful curves of a vintage hollow‑body or the simplicity of a vintage Telecaster, these guitars are visually captivating.
Playing Experience: Many musicians find that playing a vintage guitar is a special experience. The feel of the neck, the responsiveness of the fretboard, and the way the guitar resonates under their fingers create a connection that transcends mere functionality.
Story and Provenance: Each vintage guitar has a story to tell. Who played it? Was it used on famous recordings? Did it travel the world with a touring band? Uncovering the history and provenance of a vintage guitar adds to its allure.
Remember that owning a vintage guitar requires careful consideration. Factors like condition, authenticity, and playability matter. Whether you’re a seasoned guitarist or a collector, the allure of vintage guitars lies in their blend of art, history, and music.
Question #4 – What are the worst things about vintage guitars?
AI Response #4 – While vintage guitars have their allure, there are some potential downsides to consider:
Condition and Maintenance: Vintage guitars may have endured decades of use, wear, and aging. Their condition can vary significantly. Some may require extensive repairs, refrets, or replacement parts. Regular maintenance is essential to keep them playable.
Fragility: Older guitars can be delicate. The wood may have dried out, making it more susceptible to cracks or warping. Vintage finishes are often thin and prone to chipping. Handling them with care is crucial.
Cost: Authentic vintage guitars can be expensive. Rare models or those associated with famous musicians command high prices. If you’re on a budget, acquiring a well‑preserved vintage instrument may be challenging.
Limited Availability: Truly exceptional vintage guitars are scarce. Finding the right one—especially in good condition—can be time‑consuming. Patience and persistence are necessary.
Playability: While vintage guitars have character, not all of them are easy to play. Neck profiles, fret sizes, and action may differ from modern standards. Some vintage instruments may feel less ergonomic.
Incompatibility with Modern Gear: Vintage guitars may lack features found in contemporary models. For example, they might not have versatile pickup configurations, tremolo systems, or locking tuners. Compatibility with modern amplifiers and effects can be an issue.
Weight: Some vintage electric guitars, especially solid‑body models, can be heavy. Prolonged playing sessions may strain your back and shoulders.
Risk of Fakes and Forgeries: The vintage guitar market attracts counterfeiters. It’s essential to verify authenticity and provenance. Consult experts or reputable dealers to avoid purchasing a fake.
Investment Uncertainty: While some vintage guitars appreciate in value, it’s not guaranteed. Market trends fluctuate, and economic factors play a role. Buying solely for investment purposes can be risky.
Sentimental Value: Owning a vintage guitar with historical significance can be emotionally rewarding. However, if you’re purely focused on practicality, the sentimental aspect may not matter to you.
Remember that each vintage guitar is unique, and what some consider drawbacks, others may view as part of their charm. Consider your preferences, playing style, and budget when deciding whether a vintage guitar is right for you.
Question #5 – What are the most desirable vintage guitar brands?
AI Response #5 – Vintage guitars have a rich history, and some lesser‑known brands have become highly desirable among collectors and musicians. Here are a few vintage guitar brands worth exploring:
Bartell: Although less known, Bartell guitars gained attention when one of their models was associated with Jimi Hendrix’s collection. The Black Widow is one of their notable guitars. Bartell was a Californian‑based company that produced around 2000 guitars between 1964 and 1969.
Electra: Active during the 1970s and early 1980s, Electra guitars were made in Japan and sold in the United States. They gained popularity for their good quality and reasonable prices. Notably, Electra introduced the MPC (Modular Powered Circuits) guitars, which featured replaceable effect modules—a unique concept at the time.
Hondo: Often mistaken for the automobile brand Honda, Hondo was an American guitar company founded in 1969. They aimed to produce quality entry‑level instruments in Korea and Japan while maintaining consistency with U.S.‑made guitars. Hondo’s steel‑string acoustics and electric guitars gained recognition. In 1978, they even used DiMarzio pickups, making them pioneers among overseas guitar manufacturers.
Airline: Airline guitars, popular in the 1960s, were produced by Valco and later Harmony. Their quirky designs, including the ‘Jetsons’ look, make them sought after by collectors today.
Supro: Supro guitars were part of the Valco family and gained prominence in the 1960s. Their unique tone, often associated with blues and rock, appeals to vintage enthusiasts.
Teisco: Teisco, a Japanese brand, flooded the market with budget‑friendly guitars in the 1960s. Their funky designs, including offset bodies and unusual pickup configurations, have a cult following.
Hagstrom: Hagstrom, a Swedish brand, produced guitars with innovative features like the ‘resinator’ fingerboard. Their vintage models are prized for their playability and distinct sound.
Remember that desirability varies based on personal preferences, rarity, and historical significance. Exploring these vintage brands can lead to hidden gems and unique instruments that resonate with your musical style.
Question #6 – What instruments are the most desirable vintage guitars?
AI Response #6 – Vintage guitars hold a special allure for collectors and musicians alike. Let’s explore some of the most desirable vintage guitars based on their historical significance, rarity, and iconic status:
1958‑’59 Gibson Explorer:
Value: Between $250,000 and $310,000.
Why: The Explorer, with its futuristic design, initially received little attention from buyers. However, its African limba (marketed as ‘Korina’) body and unique sound have made it highly sought after by collectors.
1936‑’42 Martin D‑45:
Value: Ranging from $250,000 to $400,000.
Why: Martin dreadnoughts are revered, and the D‑45, adorned with Brazilian rosewood back and sides, ivory binding, and intricate fretboard inlays, remains a pinnacle of steel‑string acoustics.
1958‑’60 Gibson Les Paul Standard:
Value: Approximately $225,000 to $375,000.
Why: Initially overlooked, the Les Paul gained prominence after Eric Clapton and Michael Bloomfield played it. Today, it’s not only a collectable solid body but also a symbol of guitar history.
1930‑’33 Martin OM‑45:
Value: Estimated at $265,000 to $350,000.
Why: Rarity drives its value; only a handful were made each year. The first‑year ‘Deluxe’ version commands the highest prices.
1958‑’59 Gibson Flying V:
Value: Around $200,000 to $250,000.
Why: Like the Explorer, the Flying V’s Korina body design was ahead of its time. Only 98 were produced, making it a prized collector’s item.
These guitars not only represent exceptional craftsmanship but also evoke the magic of music history. Whether you’re a player or an investor, vintage guitars continue to captivate enthusiasts worldwide.
Question #7 – Are American vintage guitars better than ones from other countries?
AI Response #7 – The quality of guitars is determined by a variety of factors, including the materials used, the craftsmanship, and the design. While American‑made guitars are often considered to be of high quality, it’s not necessarily true that they are better than guitars made in other countries.
In fact, many guitarists prefer guitars made in Japan, Korea, or Mexico, for example. These countries have a long history of producing high‑quality instruments, and many guitarists appreciate the unique sound and feel of guitars made in these regions.
Ultimately, the best guitar for you depends on your personal preferences and playing style. It’s important to try out different guitars and find one that feels comfortable and sounds great to you.
Question #8 – What is the state of the vintage guitar market today?
AI Response #8 – The vintage guitar market has been through ups and downs over the years. According to a 2009 article by Premier Guitar, the vintage market was down 20 to 30 percent from its 2007 peak, with oversaturated pockets of the market down even further. However, a 2021 report by Market Strides suggests that the vintage guitar market is expected to grow in the coming years, with key market trends and dynamics analysed for major geographies and countries.
If you’re interested in buying or selling vintage guitars, you might want to check out Reverb’s Price Guide. It records the sale price of used or vintage instruments sold on Reverb, providing a fair market range for buyers and sellers.
Question #9 – Are vintage guitars a worthwhile investment?
AI Response #9 – Vintage guitars, like a well‑aged wine or a classic novel, evoke a sense of nostalgia and craftsmanship. But are they a wise investment? Let’s explore the fretted path of vintage guitar investments:
Historical Appeal:
Vintage guitars carry a piece of musical history. Owning an instrument that has been played by legendary musicians can be emotionally rewarding.
Collectability: Rare models, limited editions, or guitars associated with iconic artists tend to appreciate in value over time.
Market Trends:
The vintage guitar market has seen fluctuations. While some models skyrocket in value, others remain steady or decline.
Research: Investigate trends, consult experts, and track auction results. Knowledge is your tuning peg.
Condition Matters:
Originality: Unaltered vintage guitars fetch higher prices. Modifications can dampen their investment potential.
Wear and Tear: Light wear adds character, but excessive damage affects value.
Supply and Demand:
Scarcity: Limited supply drives up prices. Seek out guitars with low production numbers.
Desirability: Popular brands (Gibson, Fender) and models (Stratocaster, Les Paul) remain sought after.
Playability vs. Investment:
Play First: Buy a vintage guitar because you love its sound and feel. Enjoy playing it!
Investment Second: While some vintage guitars appreciate, it’s not guaranteed. Don’t solely rely on them as financial assets.
Diversification:
Portfolio Approach: If you’re investing, diversify. Don’t put all your strings in one guitar case.
Other Instruments: Consider violins, mandolins, or rare basses.
Long‑Term Commitment:
Vintage guitars require care, maintenance, and storage. They’re not a quick flip.
Patience: Appreciation often takes years, not months.
In conclusion, vintage guitars can be a rewarding investment if you’re passionate about music, appreciate craftsmanship, and understand the risks. Whether you strum for profit or pleasure, let your heart and ears guide you.
Question #10 – Which vintage guitars are simply not worth investing in?
AI Response #10 – Vintage guitars can indeed be a rewarding investment, but not all of them are equally valuable. Let’s explore which ones might not be worth your investment:
Mass‑Produced Models:
Guitar factories churned out many models in the past. Some of these are abundant and lack the rarity that drives up value.
Avoid: Generic models with little historical significance.
Obscure Brands:
Lesser‑known brands may not have the same collector appeal. Their limited demand affects their investment potential.
Avoid: Guitars from obscure or defunct manufacturers unless they have unique features or historical context.
Poor Condition:
Wear and Tear: Severely damaged or heavily modified guitars lose value. Repairs can be costly.
Avoid: Instruments with extensive cracks, warped necks, or missing parts.
Overpriced Celebrity Associations:
Be Sceptical: Some sellers inflate prices based on dubious claims of celebrity ownership.
Avoid: Guitars with exaggerated stories unless there’s solid evidence.
Fads and Trends:
Beware of Hype: Trends come and go. What’s hot today may not be tomorrow.
Avoid: Investing solely based on current trends. Look for timeless appeal.
Avoid: Assuming every old guitar will skyrocket in value.
Remember, research is your best ally. Seek advice from experts, explore reputable dealers, and play the guitars yourself. Whether you’re strumming for passion or profit, choose wisely!
Question #11 – What vintage guitars are likely to become more desirable in the next 5 years?
AI Response #11 – The world of vintage guitars is a fascinating blend of history, craftsmanship, and musical magic. While predicting the future is akin to tuning an old guitar by ear, here are some intriguing candidates that might appreciate in value over the next five years:
Gibson Les Paul Signature (1974):
Often overlooked, the Les Paul Signature from the ’70s has hidden potential. Its versatility shines through various genres, especially when cranked through a Marshall amp. Keep an eye out for these criminally underrated semi‑hollow beauties.
Fender Starcaster (1976–80):
Originally overshadowed, the Fender Starcaster has gained traction. Ted Turner of Wishbone Ash fame owned one, and its unique pickups contribute to its allure. Expect further value appreciation in the coming decades.
Silvertone 1446 (1960s):
Crafted by Harmony, the Silvertone 1446 boasts Gibson‑made pickups with a distinct tone. It may not be the most refined instrument, but its sound and sexiness compensate. A vintage gem that could resonate with collectors.
Kay K775 Jazz II (1960s):
Eric Clapton’s early learning ground, the Kay K775 Jazz II, is gaining recognition. Despite Kay’s quality control reputation, this bolt‑on neck thinline surprises with its laminated figured maple top, Bigsby vibrato, and Barney Kessel–designed Kleenex Box single‑coils. A naughty guitar indeed.
Supro and Kay Archtops:
These old Supro and Kay guitars remain undervalued. While the overall vintage market fluctuates, these archtops haven’t fully rebounded. Their unique character and historical significance make them intriguing investments.
Remember, the guitar market dances to its own rhythm, influenced by players, trends, and nostalgia. Whether you strum for passion or profit, let your heart guide your choices.
Question #12 – What is the sort of return on investment that one might expect from collecting vintage guitars?
AI Response #12 – Collecting vintage guitars can indeed be a rewarding investment, combining passion for music with potential financial gains. Let’s explore why vintage guitars are an excellent strategy:
Tangible and Attractive:
Vintage guitars provide more than just financial value. They’re tangible pieces of history, beautiful to display, and enjoyable to collect.
Unlike stocks or bonds, you can admire and play them.
Stability and Appreciation:
Vintage guitars have consistently outperformed the stock market in terms of stability.
As they age, their value tends to appreciate, provided you maintain them well.
Superior Craftsmanship:
Vintage guitars often surpass modern counterparts in quality. They were meticulously crafted using fine materials.
Brands like Gibson Les Paul, Fender Telecaster, and CF Martin remain popular among collectors.
Guitar Brands to Consider:
Gibson Les Paul: These older models, made of oak, mahogany, and other fine materials, are highly sought after.
Fender: Look for ’50s and ’60s Telecasters, Stratocasters, and Thunderbirds.
CF Martin: Known for their acoustic excellence, Martin guitars from the 1960s hold significant value.
Guild: Although less famous, older Guild instruments are on par with Martin guitars of the same era.
Investment Potential:
While not every vintage guitar will skyrocket in value, a well‑chosen collection can yield substantial returns.
Research, learn about the models, and make informed decisions.
Remember, whether you’re a musician or simply appreciate the beauty of old guitars, vintage instruments offer a harmonious blend of passion and investment potential.
Question #13 – Are vintage guitars better than new guitars?
AI Response #13 – Vintage guitars and new guitars each have their own merits, and the answer depends on various factors. Let’s explore both sides:
Vintage Guitars:
Historical Charm: Vintage guitars carry a sense of history and nostalgia. Owning an instrument that has been played by legendary musicians can be emotionally rewarding.
Unique Tone: Some vintage guitars have aged tone woods that resonate differently. The wood dries out over time, leading to a more resonant tone with better sustain, especially in acoustic guitars.
Collectability: Rare models or those associated with iconic artists tend to appreciate in value over time.
New Guitars:
Advancements in Craftsmanship: Modern manufacturing techniques have improved significantly. CNC machines and precision tools allow for consistent builds.
Reliability: New guitars are generally more reliable. They undergo rigorous quality control and benefit from advancements in materials and construction.
Customisation: Custom shop guitars offer the best of both worlds. You can get a new guitar tailored to your preferences, combining vintage aesthetics with modern playability.
Quality Comparison:
Subtle Differences: Vintage guitars may have unique quirks due to handcrafted processes. For example, old Les Pauls had smaller frets and thicker necks.
Precision and Consistency: Modern CNC machines ensure precise fretwork and consistent results. Every Gibson today goes through a PLEK machine for levelling and crowning frets within micrometers.
Subjectivity:
‘Better’ Is Relative: The definition of ‘better’ varies. It’s subjective and depends on personal preferences.
Playability: Some players prefer the feel of vintage necks, while others enjoy the sleekness of modern profiles.
In summary, both vintage and new guitars have their place. Whether you seek historical charm, unique tones, or cutting‑edge craftsmanship, choose based on your playing style, preferences, and budget.
Question #14 – Should vintage guitars be used or preserved in museums?
AI Response #14 – Vintage guitars, like ancient manuscripts or Renaissance paintings, straddle the delicate balance between utility and preservation. Let’s explore both perspectives:
Playing and Using Vintage Guitars:
Sonic Legacy: Vintage guitars were crafted to be played. Their rich tones, unique characteristics, and historical significance come alive when strummed or picked.
Musical Connection: Owning a vintage instrument allows musicians to channel the spirit of past players. It’s a bridge across time and genres.
Art in Action: A vintage guitar’s true purpose is to create music. It yearns for fingers on frets, resonating strings, and melodies that echo through decades.
Preserving Vintage Guitars in Museums:
Cultural Artefacts: Museums safeguard our collective heritage. Vintage guitars, like ancient artefacts, tell stories of creativity, craftsmanship, and musical evolution.
Educational Value: Displaying vintage instruments educates visitors about music history, luthiery techniques, and the evolution of sound.
Conservation: Museums provide controlled environments, protecting guitars from wear, humidity, and light damage.
A Harmonious Balance:
Rotating Exhibits: Some museums allow playable vintage guitars in temporary exhibits. Musicians can strum them, and visitors appreciate their beauty.
Replicas and Demonstrations: Museums can create replicas for hands‑on experiences while preserving the originals.
Digital Archives: Recordings, videos, and virtual tours can complement physical displays.
In the grand symphony of cultural preservation, vintage guitars play a vital note. Whether they resonate in concert halls or rest behind glass, their melodies continue to echo through time.
Question #15 – Are collectors a good or bad thing for vintage guitars?
AI Response #15 – Collectors, like the silent guardians of a musical time capsule, wield both light and shadow upon the vintage guitar realm. Let us strum through their impact:
The Good Harmony:
Preservation: Collectors cradle vintage guitars, shielding them from the ravages of time. These instruments whisper secrets of bygone eras.
Curators of History: They curate private museums, preserving luthiery artistry and the soulful echoes of past players.
Financial Support: By investing in rare models, collectors contribute to the market’s stability and encourage craftsmanship.
The Dissonant Notes:
Inaccessibility: Some vintage guitars languish behind velvet ropes, yearning for calloused fingertips. Their music remains unheard.
Price Inflation: Collectors can inflate prices, making it harder for musicians to acquire playable vintage instruments.
Frozen Artefacts: When guitars become mere artefacts, their purpose shifts from music‑making to display.
The Ongoing Duet:
Balance: Collectors must harmonize preservation with accessibility. Rotate exhibits, allow touch, and share the magic.
Collaboration: Collaborate with musicians, luthiers, and enthusiasts. Let vintage guitars sing in live performances.
Legacy: Remember that these guitars once graced stages, studios, and hearts. Their legacy transcends wood and strings.
In the grand symphony of vintage guitars, collectors play a vital role. May they strum chords of reverence and resonance, bridging past and present.
Question #16 – What is the best advice for someone considering collecting vintage guitars?
AI Response #16 – Collecting vintage guitars is a harmonious blend of passion, history, and craftsmanship. Whether you’re a seasoned collector or just starting out, here’s some valuable advice:
Do Your Homework:
Know Your Instruments: Dive deep into the guitars you’re interested in. Understand their history, features, and quirks.
Learn Anomalies: Beyond books and the internet, explore anomalies not widely documented. Sometimes, hidden gems lie in those details.
Connect with Experts:
Trustworthy Sources: Build relationships with reputable dealers, collectors, and experts. Seek advice and learn from their experience.
Avoid Shady Sellers: Beware of untrustworthy sources. Not everyone has the same integrity in this world of vintage guitars.
Brand Matters:
Collectible Brands: Focus on heritage brands like Fender and Gibson. These classics tend to rise in value over time.
Rickenbackers: Often overlooked, Rickenbackers (played by the Beatles, Byrds, and Tom Petty) offer great American‑made guitars at reasonable prices.
Avoid eBay Frenzies:
While eBay is a treasure trove, it can also be a frenzy of bidding. Be cautious and aware of shill bidding.
Consider other platforms and auctions for a more measured approach.
Budget Wisely:
Set a Budget: Determine how much you’re willing to invest. Vintage guitars can range from affordable to astronomical.
Quality Over Quantity: Rather than amassing many guitars, focus on quality pieces that resonate with you.
Remember, collecting vintage guitars is not just about financial gain; it’s about connecting with music history and craftsmanship. Let your heart guide your collection, and may each guitar sing its unique melody in your hands!
Question #17 – What are good criteria for evaluating whether to buy a vintage guitar?
AI Response #17 – When considering buying a vintage guitar, it’s essential to assess various factors to ensure you’re making an informed decision. Here are some valuable criteria to evaluate:
Check The Frets:
Examine the condition of the frets. Worn frets can significantly impact playability.
Consider the cost of refretting if necessary. Lacquer issues on maple fingerboards may also need attention.
Electrical Components:
Don’t be alarmed by minor crackling or cutouts in the electronics.
Vintage guitars often need a little love in this area. Budget for potential repairs.
Moving Parts and Hardware:
Inspect tuners, bridges, and other hardware. Ensure they function smoothly.
Some vintage parts may be hard to find or expensive to replace.
Cosmetic Condition:
Don’t judge a book by its cover. Sometimes slightly worn or ‘cosmetically ropey’ guitars sound better.
Look beyond surface imperfections and focus on playability and resonance.
Research and Knowledge:
Understand the specific model you’re interested in. Learn about its history, features, and common issues.
Read reviews, consult experts, and explore online resources.
Budget Realistically:
Set a budget that considers not only the purchase price but also potential repairs or upgrades.
Vintage guitars often require adjustments to optimize playability.
Remember, vintage guitars are more than just instruments; they carry stories, character, and a connection to music history. Let your passion guide you, and may your chosen guitar resonate with your soul!
Question #18 – How to detect a fake from an authentic vintage guitar?
AI Response #18 – When evaluating a vintage guitar for authenticity, keep these criteria in mind:
Weight:
Authentic guitars have consistent weights based on their model and wood type.
Compare the weight of the guitar you’re examining with the average weight for that model.
Guitar Logo:
Download an image of the authentic model’s logo from the manufacturer’s website.
Compare it with the logo on the guitar you’re considering. Look for differences in size, shape, position, font, and staining around the logo.
Components and Hardware:
Inspect tuners, bridges, and other hardware. Authentic guitars use specific components.
Be cautious if anything looks off or doesn’t match the original model.
Sound hole (for Acoustic Guitars):
Authentic acoustic guitars have perfectly round and symmetrical sound holes.
If the sound hole appears irregular or poorly crafted, it might be a fake.
Serial Number:
Check the guitar’s serial number against databases or guides specific to the brand.
Serial numbers can reveal the guitar’s production year and authenticity.
Consult Experts:
Seek advice from reputable dealers, collectors, or luthiers.
They can spot subtle details that indicate authenticity.
Remember, a genuine vintage guitar carries history and soul. Whether you’re a player or collector, choose wisely and let the music resonate!
Question #19 – Are vintage bass guitars worth collecting?
AI Response #19 – Vintage bass guitars, like the heartbeat of a rhythm section, resonate with their own allure. Let’s explore why they’re worth collecting:
Historical Significance:
Vintage basses carry the pulse of music history. They’ve grooved through genres, recording studios, and live performances.
Owning one connects you to the basslines of legends like James Jamerson, Jaco Pastorius, and Paul McCartney.
Tonal Character:
Each vintage bass has a unique voice. The wood, pickups, and craftsmanship contribute to its signature sound.
Whether it’s the thump of a Fender Precision Bass or the growl of a Rickenbacker 4001, vintage basses offer distinct tones.
Investment Potential:
While not all vintage basses appreciate significantly, certain models do.
Brands like Fender, Gibson, and Music Man have iconic basses that hold value.
Craftsmanship:
Vintage basses were meticulously built by skilled luthiers. Their attention to detail and quality materials shine through.
The patina of age adds character, like the lines on a seasoned musician’s face.
Collectability:
Some basses are rare due to limited production runs or unique features.
Collectors seek these gems, creating demand and driving up prices.
Playing Experience:
Vintage basses feel different. Their neck profiles, weight, and balance offer a tactile experience.
Whether you’re a player or a collector, the joy of plucking those strings transcends time.
In the rhythm of life, vintage bass guitars provide the low notes that anchor melodies. Let your passion guide your collection, and may your basslines resonate!
Question #20 – What is CRAVE Guitars?
AI Response #20 – CRAVE Guitars is a fascinating venture that celebrates and showcases vintage American electric guitars, effects, and amplifiers. Let me break it down for you:
Name and Acronym:
The name ‘CRAVE’ is a clever play on words.
As an acronym, it stands for ‘Cool & Rare American Vintage Electric’ guitars.
Literally, it also means ‘to yearn for’ or ‘to want greatly’.
All these meanings are fitting for the world of vintage guitars.
Mission and Focus:
CRAVE Guitars aims to bring you some of the coolest American vintage electric guitars from iconic brands like Fender and Gibson, among others.
These guitars aren’t necessarily the most expensive or desirable ones but definitely have that special something that makes them stand out.
Non‑Profit Approach:
Unlike traditional dealers or collectors, CRAVE Guitars is a non‑profit enterprise.
It celebrates vintage guitars both as important musical heritage and as real instruments meant to be used and played.
The focus is on more affordable, underdog, and often quirky vintage guitars, effects, and amps.
Instead of the exotic and rarely played classics, CRAVE Guitars delves into the heart of the vintage guitar world.
Wabi‑Sabi and Imperfections:
CRAVE Guitars also embraces the Japanese concept of wabi‑sabi.
Wabi‑sabi appreciates the imperfections in objects, finding beauty in their flaws.
Vintage guitars, with their unique wear and history, embody this concept.
More Than Guitars:
Beyond guitars, CRAVE features galleries and information on vintage effect pedals (from brands like Electro‑Harmonix, MXR, BOSS, and Ibanez) and a small collection of vintage American valve amplifiers.
It’s a treasure trove for guitar enthusiasts and those who appreciate the magic of vintage gear.
So, if you’re curious or have a craving for all things vintage, explore the world of CRAVE Guitars and immerse yourself in the legacy of these remarkable instruments!
In addition, I also asked AI 2 supplementary questions relating to vintage amplifiers and vintage effects. Here is what AI put forward, very much in the same vein as the previous examples.
Question #21 – Are vintage amplifiers worth collecting?
AI Response #21 – Vintage amplifiers are like sonic time capsules, each carrying a unique story and tone. Here’s why they’re worth collecting:
Historical Significance:
Vintage amps shaped the sound of countless recordings. They’re the secret sauce behind iconic guitar tones.
Owning one connects you to the artists and eras that made music history.
Tonal Magic:
Vintage amps have a warmth and character that modern counterparts often lack.
Whether it’s the creamy overdrive of a Dumble Overdrive Special or the gritty blues of a Marshall JTM45, vintage amps offer distinct flavours.
Investment Potential:
While not all vintage amps appreciate significantly, certain models do.
Brands like Fender, Marshall, and Trainwreck hold value and continue to inspire players.
Craftsmanship:
These amps were handcrafted with care, using quality components.
The patina of age adds to their allure, like the wrinkles on a seasoned musician’s face.
Playing Experience:
Vintage amps respond differently. Their tubes, circuits, and speakers create a tactile connection.
Plug in and feel the magic—the way they react to your playing is unmatched.
So whether you’re a collector, player, or both, vintage amplifiers offer a symphony of history and sound.
Question #22 – Are vintage guitar effect pedals worth collecting?
AI Response #22 – Vintage guitar effect pedals are like hidden treasures waiting to be discovered. Let’s explore their allure:
Historical Gems:
Vintage pedals offer a glimpse into the evolution of effects. They’re like musical fossils, preserving sonic eras.
Owning one connects you to the creativity of past players and the birth of iconic sounds.
Tonal Mojo:
Each vintage pedal has a distinct flavour. The analogue circuits, aged components, and quirks create magic.
Whether it’s the warm fuzz of a Dallas Arbiter Fuzz Face or the psychedelic swirl of a Uni‑Vibe, vintage pedals offer sonic character.
Investment Potential:
While not every vintage pedal appreciates significantly, some models do.
Brands like Boss, Electro‑Harmonix, and Ibanez have cult classics that hold value.
Nostalgia and Inspiration:
Vintage pedals evoke memories of classic albums and legendary performances.
Plugging into a vintage pedal can spark creativity and transport you to musical moments.
Collectability:
Some pedals are rare due to limited production or unique features.
Collectors seek these gems, creating demand and driving up prices.
Remember, whether you’re a guitarist, collector, or sonic explorer, vintage pedals offer a symphony of history and sound.
Well, there you have it. 20+2 questions and 20+2 answers (and a haiku thrown in for good measure). What do you think? Apologies, that’s a rhetorical question. My thoughts on the matter are purely my own opinion based on what I was presented with. I am no expert on AI technology, so my observations are therefore, by nature, liable to organic fallibility and bias. I should state at this point that, in no way did I attempt to outwit or trick the AI models. The questions were very simple and the intent was purely to see what would happen. The results are uncorrupted by me in any way.
There are some truly cringe worthy phrases buried in amongst the relevant outputs – AI trying to be ‘clever’. AI can’t seem to master the human traits of irony, satire, wit, whimsy and sarcasm! Mind you, AI also doesn’t exhibit the less desirable human traits of arrogance, hubris, deceit (intentionally or innocently) or biased opinion, which is probably a good, although potentially less entertaining, thing. This jocular aspect, however, is a bit like the 17th Century Spanish idiom, ‘the pot calling the kettle black’ (NB. from a 1620 English translation of ‘Don Quixote’ by Miguel de Cervantes), especially given my innate trademark penchant for pretentious prose and affinity for asinine alliterations (QED!).
Given that simulated responses draw directly on diverse material from a range of (human?) contributors, AI could be accused of plagiarism, as it simply extracts these sources of information and re‑presents them as a rational, objective summary. In terms of credibility, many of the responses make common sense, while others are less believable (see, particularly, the off‑kilter response to Questions #5 and #12).
Each question taken in isolation is one thing but when taken together, the repetitiveness of both content and presentation (and is a dead giveaway that this is not the sort of rational intercourse that would take place between, say, a knowledgeable human interviewer and interviewee. It simply wouldn’t be like that in practice.
Are there any factual errors exposed through this process? Not necessarily (although the reference to older Gibson Les Pauls being made of oak in response to question #12 is peculiar). However, this question does raise the issue of interpretation, i.e. the action of explaining the meaning of something. Inevitably, some perspective may be gleaned from information that is neither technically true nor false, especially where that information is dependent on subjective opinion and/or ambiguity that is difficult to corroborate or prove. The interpretation issue may constrain the ability of AI methodology to explore subject matter diligently and thoroughly in the way a human investigation might. While arguably forensic, it clearly isn’t ‘thoughtful’ in its approach.
The responses generally seem to be ‘playing it safe’, as though AI’s output was written by a committee to iron out any wayward emphases. The sanitised responses may well be useful as a starting point for a novice or someone lacking knowledge about the subject. It doesn’t, however, add anything over and above the basic level of human understanding. AI wouldn’t really impress someone who knows what they are talking about, let alone an expert.
“That’s how it is with people. Nobody cares how it works as long as it works” – The character Councillor Hamann from The Matrix (1999)
AI seems unable to extend a concept beyond the current boundaries of the question. It may be able to develop ‘vision’ at some point but clearly not yet. AI also seems unable to distinguish between poor, acceptable or high quality information – it is innately non‑sceptical of what it is fed with, leading potentially to unreliable outputs. AI currently depends heavily on humans to contribute and moderate content and that is another limitation at the time of writing, perhaps inhibiting its more creative potential. In some ways, AI avoids the question, again, the response to Question #12 doesn’t indicate the range of ROI that one might anticipate from investing.
What the responses do is to focus solely (unnaturally?) on the subject matter without even a hint of the possibility of a wider context. The ‘big picture’ omission struck me throughout the exercise. The current new gear market is strongly oriented – almost obsessively (and irritatingly) so – toward stressing the ‘vintage’ qualities, characteristics and specifications of brand new gear. Many new products are clearly aimed at imitating as closely as possible the idiosyncrasies and technological limitations of the past, frequently as if that is the only game in town. The current new guitar marketplace is not really progressive and, in many cases is clearly regressive. No reference to this marketing incongruity exists in the responses. The vintage past is not actually ‘authentically recreated’ in new products. AI therefore comes across as past‑oriented, not future‑focused.
One of the conundrums with AI at the time of writing is actually how these supposedly intelligible responses were compiled. Presumably, as AI simply mines information originally created by humans (expert or otherwise) in one form or another at some point in time, its generated outputs are not genuinely ‘new’. AI couldn’t possibly conjure a believable level of detail out of an information vacuum, it had to have something from which to start.
The ‘memory’ question is a big issue for AI. When asked basically the same question twice, either consecutively or separated by others, AI will respond to the second question as if the first had not been asked. A human would either, say “I’ve already answered that” or would respond in a slightly different way. AI lacks nuance and is totally oblivious of the regurgitation issue. It seems incapable of a continuing dialogue without tripping up.
The extent to which the human input has been manipulated by AI isn’t readily made clear. One therefore might wonder what was omitted (or added) and what was the result of machine intervention? Also, how did AI decide what should and shouldn’t be processed and the methodology by which it is output? What would AI come up with if it had nothing at all on which to base its algorithmic recipe?
Question – What will happen when AI starts building information based on the output of another AI over several iterations? It would be like a photocopy of a photocopy of a photocopy, etc. Does the integrity of information degrade significantly as it is repeatedly manipulated such that it bears little or no relationship to the authentic original (i.e. much like artificial Chinese whispers)?
“Perhaps we are asking the wrong questions…” – the character Agent Brown from The Matrix (1999)
Sometimes, less is more and getting something from AI can feel like being bombarded with a relentless barrage of words, rather than selective profound insight (hypocritically guilty as charged!). It is like the difference between learning by rote and repeating facts compared with genuinely understanding a subject matter through critical reasoning, or like reading a dictionary and expecting to comprehend the real world. The responses are more like a pre‑prepared structured lecture based on a text book exemplar, rather than a process of meaningful critical analysis and acute deductive reasoning.
AI is clearly getting a lot closer to human behaviour than simple search results from any standard Internet search engine and it will undoubtedly get better. However, it is not (yet) the last word on the matter. There is something to be gained from the responses, as long as they are taken as one of many inputs into a conclusion, rather than to be taken as a determining factor. My advice, for what it is worth, is to consider what AI presents you with but always take it with a figurative ‘pinch of salt’ (NB. yet another idiom; ‘a grain of salt’, from Pliny the Elder’s ‘Naturalis Historia’, 77CE). A genuine fascination with the subject matter – vintage guitars – is as much about subjective experience as it is about objective black and white bullet point facts. Currently, as far as I’m aware, that degree of authentic articulation of ‘shades of grey’ (i.e. sometimes reality is subtle and complex, and the boundaries are not always clear‑cut) cannot be gained readily from the Internet, AI or no AI.
“The deepest sin against the human mind is to believe things without evidence” – Aldous Huxley (American author, 1894‑1963)
While the AI processes are undoubtedly impressive, did AI inspire or stimulate curiosity as a skilled mentor might? Categorically not. Did I actually learn anything new about vintage guitars from AI? Nope. But then again, I believe, somewhat conceitedly, that I was already reasonably well informed on the topic.
“AI will be the most transformative technology of the 21st century. It will affect every industry and aspect of our lives” – Jensen Huang of Nvidia Corporation
Final thoughts on AI
In conclusion, I would suggest that AI as it stands, at least on this specific subject matter fails the Turing Test as described at the start of this article. It comes across as ‘artificial’ and the sort of assignment a student might construct from prima facie sources without thought, genuine research, analysis, insight or intellect. The clincher for me was AI’s derivative description of CRAVE Guitars, which isn’t presented as a narrative and not at all how I would (and have) articulated it.
So… Cutting to the chase, how would I rate AI’s responses compared to say, the responses of a specialist to the same questions. Probably, I’d give it about a 5‑6 out of 10 and that is, I think, being generous. AI is leaps and bounds ahead of standard Internet search engine results but still a long way behind what I would expect a rational, knowledgeable human professional to say, not necessarily in terms of what is said but definitely in how it is said. AI could do better (and it definitely will, believe me). It may best be described as ‘work‑in‑progress’.
I posited my starting position at the top of this article, written before embarking on this extravaganza. Reading it again after disembarking, my view has not shifted substantially and I think those eight criteria remain relevant, at least as of March 2024. Perhaps I am falling foul of ‘confirmation bias’, another human flaw. My bad.
Putting it bluntly, AI comes across as having no personality. Some sort of identifiable persona is, I believe, a prerequisite for passing the Turing test. Without a sense of character, AI will always seem a dry, clumsy imitation of an average human. Arguably, AI just wasn’t convincing as being interested in the subject matter. For now, I’ll stick with ‘natural stupidity’, thanks.
Like the character Sarah Connor inaccurately forecast in James Cameron’s 1991 film ‘Terminator 2: Judgment Day’, AI didn’t quite get it right, “Three billion human lives ended on August 29, 1997”. Skynet hasn’t grown up… yet. Thankfully.
CRAVE Guitars’ ‘Album of the Month’
I am not going anywhere near the mechanistic and sterile AI for this section of the article. Consequently, I’m going for one of the most organic and natural sounding albums I know (and like). Once again, it is a fairly well‑known recording, so nothing obscure or inaccessible this time around.
Cowboy Junkies – The Trinity Session (1988) – The second album from the Canadian alt‑country band, recorded live in the Church Of The Holy Trinity in Toronto in November 1987 and released in 1988. Its atmospheric beauty is partly due to its imperfections and the natural reverb of the building, all captured by a single microphone. The raw recording was purportedly not adulterated, mixed, overdubbed or edited in any way. Interestingly, the sublime, ‘Blue Moon Revisited (Song For Elvis)’ wasn’t on the original vinyl release. While not to everyone’s tastes (and otherwise probably not normally to mine either), it represents fifty three minutes of exquisite alchemy. It is 100% human in all its gentle, fragile, ragged glory – in a good way. It is hard to envisage AI ever coming up with music like this, now or in the future.
Cowboy Junkies – The Trinity Session (1988)
Tailpiece
Phew! That is way more than enough from me and my erstwhile AI co‑author for now. Please don’t blame me for the majority of this outing, it is mostly down to the synthetic nature of its creation. I must admit that, while a very interesting little (?!?!) project, it was ultimately a bit (?!?!) of a long and arduous slog, bordering on boring (sorry folks). I trust you can discern what was written by me and what was produced by AI.
Finally, a word of sagely counsel. Whatever we do, humanity should always strive to harness the potential of output AI/GAI/AGI for good and to guard against the risks of it being exploited for evil.
I also stated at the beginning that is only Part I of this 3‑part AI adventure! Next month, we’ll take a look at another aspect of AI and vintage guitars. I can tell you are eagerly ‘champing at the bit’ (NB. another human idiom; from ‘Joseph, A Religious Poem’ by the Reverend Charles Lucas, 1810)!
Truth, peace, love, music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Whoever thinks pets are non‑judgemental has clearly never been owned by a cat”
WELCOME ONCE MORE to CRAVE Guitars’ unhurried cruise through the planet’s turbulent waters this November 2023. While there has been much to protest about in the rapid disintegration of the prevailing ‘world order’ during the 2020s thus far, one has to grasp onto any positive prospects that may present themselves. Arising from the debris and carnage of grinding attrition, the poppies of opportunity are optimistic symbols for hope and prosperity, albeit fleeting. That’s basically all flowery language for carpe diem (from Roman lyric poet, Horace’s work, ‘Odes’ in 23 BCE – literal meaning ‘pluck the day’, commonly interpreted as ‘seize the day’).
“While we speak, envious time will have fled: seize the day, to the least extent possible trusting in the next one.” Quintus Horatius Flaccus (Horace, 65-8 BCE)
I recognise that there has been little in the way of exciting news on CRAVE Guitars core ‘business’ for many reasons outlined in the previous article (October 2023). It has been slow but it hasn’t been a total wipe‑out though and I’ll come back to that on another occasion. Here, I’m focussing purely on recorded music and principally a persistent quest to unearth something a little bit different.
Once again, no AI was used to research or write this article, only the author’s meagre cranial capacity and a bit of old school pre‑AI technology.
Context
The one upside of recent times has been an opportunity to embark on an intentional journey to explore off‑the‑beaten‑track modern music. As in physics, the musical micro‑universe is continuously expanding. The challenge is that the musical catalogue since the 1950s is absolutely massive and, with each passing day, becomes even bigger – far too much to begin with, let alone keep up with. While, on the basis that one’s knowledge is inherently extremely limited, it means that any adventure has plenty of scope for discovery, even if it is only vainly scratching the surface of the iceberg’s tip (there I go mixing metaphors again!).
“I know nothing except the fact of my ignorance.” Greek philosopher Socrates (c.470-399 BCE)
On this particular excursion into the unknown, music discovery means expanding the author’s knowledge and appreciation across many aspects of contemporary music. The exercise is about not only consolidating existing music but also about travelling lands un‑trod for new music, which may mean older music that is new to me as well as recently released music that is new to everyone.
Fortunately, 21st Century explorations are sedate experiences. No longer do we have to fear ‘hic sunt dracones’ in ‘Terra incognita’ (here be dragons in unknown land). Note: The former derives from the Hunt‑Lenox Globe (1504), the latter from Ptolemy’s Geography (c.150).
Over far too many years than I would care to contemplate, I have been buying and listening to music. Nothing unusual about that. For many reasons (space, funds, etc.), music was largely revolved around established genre preferences. Fair enough; isn’t that what it’s all about, buy what you like and don’t bother with everything else? However, such an exercise becomes largely self‑perpetuating and insular. This I was aware of and felt that there was much more to be revealed. Where to start?
During CRAVE Guitars’ 3‑year hiatus (see last month’s article, ‘Return to and from Obscurity’), I became fascinated by exposure to ‘new’ music, rather than the habitual repetitive listening to a small repertoire of familiar choons. This is no new epiphany. When much younger, I made a point of listening to BBC Radio 1 DJ John Peel (1939‑2004) and valued his nonconformist approach towards exciting new bands and their music, especially but not solely during the punk rock era. The late John Peel may not be familiar to readers outside the UK. It was because of John Peel that I bought my very first LP album – ‘Meddle’ by Pink Floyd (1971), after he debuted it in its entirety on his late night radio show.
While so many other things were getting in my way, I consciously elected to spread my musical wings again, mainly because it is something I had wanted to do and it was actually eminently do‑able, especially economically (at first!). I engaged in the hobby of ‘crate digging’ or simply ‘digging’ in the Internet age, i.e. searching anywhere for content, online suppliers and auction sites, charity shops, second hand record shops, brick‑and‑mortar retailers, etc. Buying used albums makes the exercise much more economic, fun and sustainable.
Record Store (credit: Cottonbro Studio)
“Music is an important part of our culture and record stores play a vital part in keeping the power of music alive.” Chuck Berry (1926-2017)
Alternative sources include ‘recommendations’ from other music aficionados and using the Shazam app on a smart phone to identify something unfamiliar and interesting that pops up wherever one might be at the time.
One of the first steps was to identify what I had and where there were obvious gaps. I had already created a Microsoft Access database so that I could scrupulously catalogue the albums, EPs and singles in my possession. That soon ran into the application’s upper limit of 2 GB per database, so had to be split into multiple databases. Now that I readily know what I have (little), what I haven’t (massive). It also enabled me to log what I might want (a continuously growing ‘most wanted’ list). The systematic categorisation was reinforced by importing everything I had from source onto Apple iTunes. Between these two key resources, it became relatively straightforward to keep track of things. Then, it was on to, thankfully dragon‑free, pastures new.
My investigations are basically limited to modern contemporary music from the early‑mid 1950s – basically from the emergence of rock ‘n’ roll – to the current day. It also includes going back further into the history of some long‑standing top‑tier genres such as blues, country and jazz that were direct predecessors to, and influences on, everything from rock ‘n’ roll onwards, as well as continuing to evolve in their own right.
There have to be boundaries or I would go insane just collecting for collecting’s sake, which is not only unrealistic but also pointless. American rapper and entrepreneur Dr. Dre once stated that he accumulated 80,000 albums and kept them in storage, before realising just that basic error. I’m sure that somewhere out there is a comprehensive British Library‑esque collection of music releases over the last 100 or so years, catalogued for historical posterity. That would be one heck of a monumental task. My endeavours are, unsurprisingly, much, much more modest.
One has to enjoy, as well as feel that an avocation is worthwhile, or there is no worth in doing it. It is for this reason that I have to exclude classical music. For some reason, classical music leaves me stone cold dead. Always has done. I’ve tried repeatedly to get into it but to no avail. However, in contemporary music, there are styles of modern classical and minimalist music that blend, fuse or crossover into contemporary electronic sensibilities with classical instrumentation that I can grasp but I’m afraid that’s it. The likes of Max Richter, Tim Hecker, Philip Glass, Jóhann Jóhannsson, Walter/Wendy Carlos and Isao Tomita I can engage with, otherwise, meh. I genuinely apologise to classical music fans. I’m sure it’s fabulous n’all but it just doesn’t do anything for me and going down that particular rabbit hole is an experience I don’t want to pursue… so I won’t. My choice.
Here are just a few figures relevant to the 3‑year hiatus to bandy about. During that period, I’ve purchased circa 3,000 albums along with a (large) handful of EPs and the odd single. That equates to around 90 per month (averaging c.3‑ish per day). I dread to think of the gross expense but at least it is little and often, unlike buying vintage guitars. It’s also relatively quick and easy to do, filling those occasional idle moments. The last 3 years has basically doubled the hoard. The ‘most wanted’ (for want of a better term) list hovers around 1,500‑2,000 depending on timing and motivation. The ‘find out more’ about list of artists is, by comparison, relatively short at around 200‑250. The conclusion is that there is plenty of scope for improvement. Additions to the hoard cover about 100 genres with the largest proportions being mainstream ones.
I haven’t ventured into the realms of rare music collection – most albums I have been looking for are relatively available with patience and digging. Indeed, many have been from bargain bins. I can’t justify or afford two expensive artefact hobbies! Neither has this mission been to create any sort of ‘standout albums of the last 75 years’ or so. I don’t think anyone could possibly agree on what that might comprise.
Right, let’s get down to the business at hand; colouring in the sketch of the musical landscape, so to speak.
“Though this be madness, yet there is method in’t.” From ‘Hamlet’ (c.1600) by English playwright William Shakespeare (1564‑1616)
Genre gap‑filling
Like most people, one has favourite genres, so‑so ones, and disliked ones. However, to rule music out just because it belongs to a hitherto underappreciated genre tends to limit one’s exposure to some highly regarded music. As an example, I was never very keen on country music. Then I watched an 8‑part documentary called, unsurprisingly, ‘Country Music’ which first aired on American TV channel PBS in 2019. I was struck by a whole bunch of music that I was completely unaware of and had summarily discounted out‑of‑hand because of what it was labelled. I was fascinated by the documentary and what it portrayed. PBS also produced another documentary series called ‘Jazz’ from 2001 that opened my eyes to what that genre also had to offer. Both PBS series were directed by Ken Burns. Actually, finding out more about the cultural history that surrounded the genres provided a context that enhanced the experience of the music greatly. This observation reinforces the (perhaps) blindingly obvious fact that societal change and musical development are both interdependent and co‑dependent. Having fired my imagination, I extrapolated the concept to other genres as well. Sometimes, ‘various artists’ genre compilations can provide a suitable entrée to a musical world less wandered.
Are there any contemporary genres that are considered out of bounds? On the whole, other than aforementioned classical, generally no. I am up for pretty much anything, while still retaining my core preferences, which include reggae/dub, IDM/EDM, ambient electronica, downtempo/chillout, dreampunk/vaporwave, indie, alternative, heavy metal, gothic, dream pop, drone, rap/hip‑hop, shoegaze, grunge, punk, garage, funk/disco, deep house, blues, rock and neo‑psychedelia. That’s a pretty broad spectrum.
My two recent articles on ‘Dub Reggae Revelation’ and ‘Adventures in Ambient’ (August and September 2023 respectively) I think adequately demonstrate the potential of genre gap‑filling. That was just breaking down two genres.
One ‘genre’ that sits outside the normal categories is the Original Soundtrack (OST). Film and TV soundtracks tend to fall into two types, one camp compiles existing music brought together to accompany what happens on screen, while the other camp employs music composed (scored) specifically for the medium. Both camps can be helpful when discovering new music.
“I’m a big collector of vinyl – I have a record room in my house – and I’ve always had a huge soundtrack album collection.” Quentin Tarantino (1963‑)
There are only so many genres (my database lists over 140 of them!) but when you consider the bewildering multiplicity of sub‑genres and micro‑genres within the umbrella of, say, heavy metal, dance or electronica, there seems no end to what can be achieved. One great thing about music is that there is always something out there somewhere to match one’s prevailing mood. Genre gap‑filling actively opens doorways into finding a whole raft of ‘new’ artists, and the next task of filling in some of the blanks was added to the ‘to‑do’ list. One simple example was a brief dalliance with Cajun and zydeco music. These originated from the 20th Century intermixing of French Canadian Acadian immigrants, native American peoples, African slaves, and freemen in Louisiana in the deep south of the USA. Fascinating. And, thus, the search goes on.
Artist gap‑filling
There were, as you might expect, quite a few artists already covered, while there were many more that I knew about or was curious enough about to complement existing artists with ones that I hadn’t previously coveted. Some of these artists work could best be exposed by buying ‘best of’ or compilation albums, especially when I wasn’t prepared to go all out and get multiple original albums. This worked well for some artists that I wasn’t overly keen on. The relative randomness of the ‘digging’ process led to many new artist discoveries, simply through browsing and taking a gamble on something that looked intriguing. ‘Digging’ is easier in brick‑and‑mortar shops than online. Although the latter works, it is definitely much less enjoyable. We need to support our mainstream and independent record shops or they will be lost forever (as in the case of Virgin Megastores, Tower Records and many others). We almost lost the HMV chain in the UK, which would have been disastrous for high street music retail. Artist gap‑filling is a never ending expedition with untold treasures to be uncovered beyond the famous big names. Along with the household headliners, there is a multitude of lesser and unknown artists producing some fantastic music. An open mind unlocks entire vistas begging to be perused.
I soon realised that my personal favourite artists are actually few and far between, many of which have had long, consistent careers. During any artist’s long‑term output, there would inevitably be good, average and poor albums. Picking out the wheat from the chaff became an integral part of my newfound preoccupation.
Surprisingly, there are some very famous artists that simply do not resonate with me, including (believe it or not) respected giants like The Beatles and The Who. Yup. Heretical I know. I have tried over and over to get into them but without success.
There are many lesser known artists that I really like at the moment and only time will tell whether they create any sort of lasting legacy. I came across many great artists that I hadn’t even heard of, many with surprisingly extensive back catalogues. They are all out there, just waiting to be found. I realised that artist gap‑filling was the simplest way to stretch one’s listening goal posts. And, thus, the search goes on.
“For me, to turn people on to new music, on to things that are going on in the world, is important.” Nikki Sixx of Mötley Crüe (1958‑)
Release gap-filling
One logical method was to fill obvious gaps in some of the existing artists’ back catalogues or the solo careers by members of established bands. I would have some releases but not others, generally through an essentially arbitrary process, rather than any sort of systematic approach. Some additions were credible releases, while with others, there turned out to be an obvious reason why they weren’t there in the first place. Oops. Other avenues to explore in addition to studio albums include live albums, EPs, singles, compilations, dubs, remixes and various artist DJ mixes. This process wasn’t intended to be comprehensive – some releases simply weren’t/aren’t available, some have been long discontinued while others were obviously a waste of space anyway. Some albums were originally on limited release and have subsequently become rare and valuable. I know that there are plenty of collectors out there prepared to pay vast sums for some of these one‑offs. I’m not in that game and can’t afford to be. There are still plenty of missing pieces but broadly speaking the main bases have (possibly) been covered.
It would be all too easy to fall into the trap of ‘completism’, i.e. getting absolutely everything released by an artist. Given how prolific some artists are, completism would be a venture all unto itself. Frank Zappa has released over 50 studio albums, Brian Eno over 65, Johnny Cash over 75, Lee Perry over 80, Tangerine Dream over 100, and Willie Nelson over 130, not including live albums, EPs, singles, compilations, videos and bootlegs. From now on, release gap‑filling will be a case of diminishing returns, as the gaps decrease along with the overall quality of content.
One notable trend during the coronavirus pandemic was a proliferation of live music releases. Artists couldn’t get out on tour and many couldn’t access recording studios, so record labels scoured existing unreleased resources as a pragmatic stop gap during the lockdowns. Some of these live concert recordings are OK and many would normally be regarded as superfluous under ordinary circumstances. However, when needs must. One silver lining to arise out of the so‑called ‘Chinese Virus’ plague has been the rate and quality of subsequent studio releases once the ‘new normal’ was established. And, thus, the search goes on.
“I look forward to the future – and going into the studio to make new music.” Diana Ross (1944‑)
Record label gap‑filling
Some collectors also go for label gap‑filling but that’s a step too far for me, although there are some great independent labels worth giving a shout out to, such as Ninja Tune, Italians Do It Better, PIAS, Sub‑Pop, XL‑Recording, Jamaican Recordings, 4AD, Bella Union, Pressure Sounds, On‑U Sound, Ariwa Sounds and Hyperdub Records. Beyond the major corporations, there are thousands of record labels out there, so chasing artists and releases starting with a record label is neither quick nor easy. If it wasn’t for the small independent labels, though, we would be subject to commercially driven mainstream mediocrity. However, the method of looking at artists belonging to a certain label can prove promising for finding ‘new’ artists, which can then lead directly onto gap‑filling of their previous works.
“John Peel made his reputation with his radio show and his record label, Dandelion, by championing the underdog.” Jimmy Page (1944‑)
Musical discovery
There is much to be said for and against ‘taking a punt’ on something with which one is unfamiliar. Sometimes it works, sometimes it doesn’t but there is always some sense of eager anticipation involved in lucky dips. This intentionally random exercise can lead onto other artists, and so on, basically ad infinitum. Due to the finite number of listening hours in any given day, week, month, year, this means that some music can only be listened to once or twice, while others warrant repeated auditions. Buying one‑off listens is not really very productive but it happens. One day, they can be re‑used by going to someone who might appreciate them more than I do. Often, genuine appreciation or enjoyment can only be gained by listening multiple times, especially with more experimental, leftfield or avant‑garde music.
“What motivates us is always new music.” Nuno Bettencourt (1966‑)
While physical media has been a main source of content for at least the last 40 years, this is rapidly changing. According to Spotify in 2021, over 60,000 tracks are uploaded to their platform every day. One, perhaps, might wonder about the depth of quality behind such figures. I know I do but then again, I’m a sceptic. There is no shortage of music to discover and no hope of listening to even a tiny fraction of it all. Spotify is also the platform that boasts the most effective method of curated music discovery. Even so, there is still a lot of inherent chance to finding something that will stay with you over the years. One might think that genuinely new discoveries would be infrequent, especially as time goes on. Far from it in practice.
Just one example, I recently came across late Canadian composer, Mort Garson (1924‑2008), renowned for his album, ‘Mother Earth’s Plantasia’ (1976), tag lined, ‘warm earth music for plants… and the people who love them’. When looking more into him and his music, I felt that, somehow, I should have been more aware of him before now. There is plenty of info on him on the hinterwebby thingummy but our meandering paths had not crossed before now. This sort of experience, which many readers who are familiar with Garson will probably snicker at my evident naivety. Such experiences are annoyingly common.
“I actually spend as much time listening to new music as to old. Probably more. I just try to get something out of it all.” Mark Knopfler (1949‑)
So, after all that preparatory exposition, you might well be wondering, just who the heck has been ‘discovered’? Here are just a few artists that I came across during the last 3 years. Some of which readers may know, some not. I might, though, challenge anyone to tick them all off so as to expose, pour scorn and ridicule my raw ignorance for what it is, sheer witlessness. Time to position the currency where my oral cavity is (lol!). The following list covers any genre and is in alphabetical‑ish order (Note: These are indicative only and should not be regarded as recommendations)…
*Shels, 100 Gecs, 2814, 9 Lazy 9, A.M.P. Studio, A Winged Victory for the Sullen, Agnes Obel, AK/DK, Aggrolites, The Airborne Toxic Event, The Album Leaf, Arms And Sleepers, Atoms For Peace, Autechre, Be, Benis Cletin, Bent, Big Thief, Blue In Tokio, The Burning Of Rome, Burnt Friedman, Cave In, Chezidek, Clark, Cloud Control, Craven Faults, Creation Rebel, Deadbeat, Deptford Goth, Desire, Devics, Dirty Loops, Divination, Dubkasm, Dynamic Syncopation, Ekoplekz, Ethel Cain, Fink, Flanger, Fragile State, Gallows, George Faith, Girls In Synthesis, Glass Candy, Goblin Cock, Helium, Hint, How To Dress Well, Hybrid, I. Benjahman, The Irresistible Force, Ital Tek, King Creosote, Konx‑Om‑Pax, Labradford, Laurel Halo, Lemonade, Lindsheaven Virtual Plaza, Loop Guru, LoveTrio, Machinedrum, Male Bonding, Man With No Name, Martyn, Midnight Juggernauts, My Sleeping Karma, ott, Plastikman, PreCog, Pretty Girls Make Graves, Psychonauts, Pure Bathing Culture, Purity Ring, The Qemists, Rakoon, Red House Painters, Rhombus, RJD2, Romare, Scrapper Blackwell, SkyTwoHigh, Sleep Token, The Slew, Sentre, Some Girls, Sparklehorse, StarOfAsh, Steve Roach, Suckle, Sunda Arc, Sundara Karma, Sunmonx, Swayzak, Symmetry, The Syncope Threshold, T e l e p a t h, Temu, Trembling Blue Stars, The Vacant Lots, Vessels, Wooden Shjips, Yellowcard and Yppah.
… plus many, many, many more. Phew! Some amazing, some good, some interesting, a few less so, etc. One may wonder how many of these artists – regardless of how ‘good’ they are – may attain the superstar status of, say, another Rolling Stones or The Beatles from the ‘good old days’. Not many, I’ll wager. And, thus, the search goes on.
“The times, they are a‑changin’” Bob Dylan (1941‑).
Live Music
Physical media
From the beginning of recording and playback in 1877 (although there were earlier experiments dating back to 1857), with Thomas Edison’s phonogram, first through wax cylinders and then shellac discs, followed by vinyl discs with the advent of the gramophone, people have been collecting music. For decades, vinyl was really the only practical medium for collectors. Collecting became more popular by the late 1970s with magazines dedicated to the hobby and suggesting values for some rarer releases. Magnetic recording technology added to, rather than replaced, vinyl and became popular with reel‑to‑reel, eight track (remember that?) and audio cassettes.
Portable music was made possible for the masses by the Sony Walkman (TPS‑L2), introduced in 1979, using the then‑ubiquitous analogue compact cassette. Perhaps the most significant portent for the demise of physical media was the introduction of the Apple iPod way back in 2001, sadly now no longer made, which led into the convenient access to music on the go, now with today’s smart phones.
Digital music, mainly through the introduction of digital music Compact Discs (CDs) in 1982 led to a revolution in collecting. CD sales peaked in 2000 at over 2.5 billion worldwide accounting for 91% of the market. By 2020 sales had fallen 95% and accounted for only 5% of global sales. However, CD sales increased again in 2021, although it is too early to predict a revival. The introduction of downloads and streaming has significantly impacted CD sales, precipitating a dramatic decline in physical album sales, as more and more consumers switched to digital streaming services.
Some alternative digital formats arrived in the wake of CD but didn’t survive for long, including Sony’s Mini Disc and DAT (Digital Audio Tape), as well as Philips’ DCC (Digital Compact Cassette). HDCD (High Definition Compatible Digital) and SACD (Super Audio CD) were promising but ultimately failed to supersede CD.
By the 1990s, I had disposed of my collection of then‑seemingly redundant vinyl LPs and singles (and my turntable) and embarked on collecting CDs, starting off with replacing what I had on vinyl and then adding new content over time. Ditching vinyl was something I might have regretted, but don’t. Vinyl represents nostalgia to me and I’m not going back. It is neither practical, desirable nor possible to embark on such a regressive approach now. At the time of writing, my music hoard of CDs comprises well over 6,000 releases by over 2,500 artists. This conglomeration has recently been organised into over 50 crates packed to the gills with the little silver discs. That equates to around 85,000 tracks on iTunes and counting. I don’t know whether this is a lot or not, with all things being relative. Currently, CD remains my main medium of choice. I predict that CDs will not become totally extinct and will experience a resurgance at some point.
The advent of CD was a catalyst to the long‑running analogue versus digital debate. For what it’s worth, my view is the debate is not about encoding, it’s about something far more subjective. Vinyl reproduction flatters music in a way that digital doesn’t and that appeals to us. Digital is technically superior but not as warm and cuddly as vinyl. Simples. Fans of analogue still swear that digital is a poor representation of real music. Fans of digital swear that analogue (and even digital CD) is outmoded and obsolete. That’s a lot of swearing. Streaming has added further fuel for opposing viewpoints with the compressed versus lossless argument. The truth is, does it really matter? As long as we enjoy the music, that’s what counts, isn’t it? Focus on the content, not the carrier. If we have a preference, make the most of it. I do think that the audiophile press is somewhat hypocritical in only going along with the latest tech after having criticised it before it became commercially established. That way, we all keep buying new kit. That is a personal opinion. Ain’t hindsight great?
“The digital world is so convenient and nice, but just playing back a vinyl record is a much warmer, hotter, more present feeling.” Steve Miller (1943‑)
Physical Media (credit: Andre-Moura)
Music streaming
A brief recap of developments may be in order, so a short diversion first. Let us rush past the short‑lived phenomenon of downloads, which have largely been superseded by streaming (which includes off‑line listening). The storage problem associated with physical media has led to the next revolution in listening, which is to dispense with physical media altogether and access music on remote servers held in huge data centres somewhere. This marks a watershed where the listener no longer owns a tangible product but only purchases the right to listen to it. You cannot easily donate tracks to charity or sell purchased music on to other people. Mixtapes? A thing of the past. How unromantic. All this is, to me, a major drawback. I like having something tangible that I can pick up, look at, read the liner notes, view the artwork and so on. Somehow, the old‑school ownership of a physical item is something I value. Streaming just seems like an ephemeral audition of someone else’s music, rather than something personal, bestowed by genuine ownership. Is this simply a transitional symptom? Probably, maybe.
Although streaming was introduced in the early 1990s, it wasn’t until the launch of Napster in 1999, using the new compressed MP3 digital format and exploiting new Internet‑based Broadband services, that downloads and streaming became widely popular. The licensed subscription music service Spotify was launched in 2008, rising from the ashes of the flirtatious fleeting dalliance with illegal downloads. Once again, the industry ‘big boys’ have found a way to re‑assert their dominance over us. Digital streaming now accounts for more than 80% of global music industry revenues.
The Internet and the major music streaming platforms (Spotify, Apple Music, Tidal, Deezer, Qobuz, Amazon Music, YouTube Music, etc.) have facilitated exploratory listening greatly while, at the same time, enabling artists to gain exposure in a way that they couldn’t previously through the traditional studio/record label system. Streaming generally can be on demand, through curated playlists or via Internet radio stations. All are valuable resources for the curious listener. The streaming platforms often state that they have 100,000,000 (100m) or more tracks available to customers. In practice, this is both a mind‑boggling and meaningless figure. There is such a thing as too much choice. It also gives some sense of scale, although it may call into question the balance between volume and quality. Suddenly, my meagre 85,000 tracks seems somewhat miniscule in comparison. I do, however, find it a sign of progress when more than 50 crates of CDs can be stored on an SSD (Solid State Disc) that’s less than half the size of a cigarette packet (remember those too?).
“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.” John Cage (1912‑1992)
Another problem exposed by streaming is that there is now plenty of material that is not distributed or sold on physical media at all and is only available via the Internet. Streaming‑only releases are essentially simpler and cheaper than managing traditional physical distribution channels. It also pushes new customers towards expensive streaming subscriptions whereby they earn money whether they are used or not. Talk about milking a cash cow! This online‑only approach affects some genres more than others but it means that, in order to continue with this ambitious side project of mine, streaming has become a necessary additional resource. In effect, physical and virtual music has to co‑exist; being an ‘and’ rather than an ‘either/or’ approach. For info, after much deliberation, CRAVE Guitars subscribes to Apple Music.
Some streaming services provide high definition listening, such as Tidal, and they charge a premium for it. Others, such as Spotify are content to go for volume at low definition. The lesson to take from this is that streaming services are not all alike despite peddling similar wares to punters.
“You pays your money and take your choice” A British lexicographic irregular that first appeared in print in Punch magazine in 1846
Does streamed high definition music (i.e. better than CD quality) make a difference to most listeners? Big question. Well, apparently, not really. The evidence suggests that most average (i.e. non‑industry) people cannot tell the difference in blind listening tests conducted under ‘normal’ conditions. Trained listeners can, allegedly, differentiate formats but “If there’s any discernible difference, it’s so subtle and so slight, you’d have to be somebody who’s been in the business for decades like me to hear it.” (recording and mixing engineer, Prince Charles Alexander, Berklee Online study, 2019). A case of fidelity vs artistry vs money, always good for an argument. Why on Earth spoil music listening by teaching people to identify comparative digital encoding anomalies when they are so small as to be meaningless? Spotify’s strategic positioning seems to agree, while Tidal doesn’t. People who go down the high definition route are, perhaps, hedging their bets. If they have the best, it doesn’t matter whether they can hear a difference or not. No doubt there is some audiophile snobbery lurking in there too. For the sake of throwing my two penny worth into the ring, I can neither tell the difference nor can I be bothered to waste my time trying to spoil the enjoyment that music brings by attempting to do so. Time for some good ol’ fashioned snake oil to leech the contents from your bank account?
Does streaming stop me ‘digging’ for used CDs? NO. Does it stop me buying new CDs? NO. Does it encourage me to buy more CDs? Actually, YES. I still prefer to purchase and store music on CD, while recognising the inevitability of embracing the dark side of streaming culture. On the basis that vinyl and cassette have seen a popular resurgence, CD is not going away anytime soon. In practice, and probably being totally hypocritical in doing so, I tend to rip music from CD on iTunes and then stream (or rather cast) it to my music system. I know that this practice probably makes little sense but, for me, it is the best of both worlds, I have the physical media and the convenience of digital storage. Which leads neatly onto…
CRAVE Guitars’ ‘music room’
If you read my October 2023 article, ‘Return to and from Obscurity’, you will know of the sad loss of ‘mi media naranja’ (my better half) due to the vile and relentless ravages of cancer. Initially crestfallen, once accepting the loss, I set about repurposing the small ‘dining room’ which had been my wife’s bedroom into a dedicated ‘music room’, used for noodling on vintage guitars and listening to recorded music. NO TV or clock allowed! Having previously lost our home and the vast majority of our belongings (another story altogether!), I had to rebuild a hi‑fi from scratch which, in itself, was quite an exciting experience, along with uniquely decorating the room to provide a suitable listening/playing environment. It took a year of painful sacrifices involving the sale of some beloved A/V gear (I’m also a film & TV buff) to raise funds and some lengthy (re)searching for used ‘bargains’. I fully acknowledge that this indulgence seems an excess of a luxury, given everything else but other things had to be compromised to enable it. My choice.
The ‘music room’ is used every day for music listening. For those who are interested in the techy side of things, the main hi‑fi system comprises:
Naim Uniti Core music server with 2TB SSD storage
Naim ND5 XS2 music streamer
Naim CD5 Si CD player
Bryston BP17 pre-amplifier
Bryston 4BSST power amplifier
PMC Twenty.24 floor standing speakers
CRAVE Guitars Music Room
While this is neither a high‑end system nor a budget system, it has been carefully selected to meet the need for critical and enjoyable listening of both physical and streamed music (and within budget). My 500 or so most preferred CDs are immediately to hand in the room, as well as being stored in lossless digital form on the music server, thereby also making them available throughout the house via Wi-Fi (in due course). It’s certainly more than good enough for my tired, aging ears. Being pragmatic, the electronics are, after all, only a means to an end, which is to stimulate an emotional response through music.
At this point, you may be wondering whether I actually listen to all that music. Fair question. Well, yes, is the answer. There wouldn’t be much point in writing about it if I didn’t experience the results of my labours. While I try very hard, there may be the odd track here or there that gets shunted down a listening list but I would hope that’s the exception, rather than the rule. Heck, it’s a tough job but someone’s got to do it!
“Don’t tell me baby you gotta go, I got the hifi high and the lights down low” from, ‘I Need Your Love Tonight‘ (1959) by Elvis Presley (1935‑1977)
Personal top 20 ‘desert island’ albums
Depending on mood, I do go back to long‑term favourites, simply for the comfort and familiarity of a ‘known quantity’. Like chatting with an old friend. At the outset, I said this wasn’t about compiling any sort of ‘best albums of the last 75 years’. That doesn’t mean that there aren’t some albums for which I hold a special affection and which have been part of the hoard for many years (so not ‘new’). Here are 20 of them, all pretty well known mainstream releases, and which I feel have stood the test of time. Regular readers will see no surprises here. This is very much a personal list, chosen at the time of writing – it would undoubtedly be different on different days/weeks/months. Some entries hold special meaning and are therefore highly evocative.
I call this my ‘desert island’ security list. That is, if I could only have 20 albums as a castaway, what would they be? Perhaps, more accurately, it could also be called ‘top 20 memories’ or ’20 comfort classics’. Now how’s all that for wistful nostalgia? For what it’s worth, here is today’s list:
The Cure – Disintegration (1989)
Black Sabbath – Black Sabbath (1970)
The Doors – L.A. Woman (1971)
Pink Floyd – Meddle (1971)
John Martyn – Solid Air (1973)
Steve Hillage – L (1976)
Talking Heads – Remain In Light (1980)
Lee “Scratch” Perry – Roast Fish, Collie Weed & Corn Bread (1977)
Rage Against The Machine – Rage Against The Machine (1992)
Burning Spear – Garvey’s Ghost (1976)
Bob Marley & The Wailers – Live! (live) (1975)
Deep Purple – Made In Japan (live) (1972)
Nick Cave & The Bad Seeds – Push The Sky Away (2013)
Depeche Mode – Violator (1990)
Massive Attack – 100th Window (2003)
David Bowie – Let’s Dance (1983)
Burial – Untrue (2007)
Tangerine Dream – Rubycon (1975)
John Lee Hooker – Boom Boom (1993)
Beck – Sea Change (2002)
“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.” Ludwig van Beethoven (1770-1827)
The future
OK, that’s the past, so now let’s take a brief, casual look at what may happen into the near future. While vinyl is doing remarkably well and CD is showing possible signs of life, it is clear that streaming is the future until something better comes along. It is certainly in the interests of the music industry to retain tight control over their valuable assets, although many artists say that the practice is detrimental to their income. However, this actually means little to the consumer. Better returns for the companies and artists simply mean higher prices for the public who have no say in the matter. The reality is that the few rich get much richer and the many poor get much poorer; sadly the dysfunctional norm of the modern capitalist world.
The commercial interests of multinational companies like Sony BMG, Universal, EMI and Warner Brothers rule their respective roosts. Interestingly, the major corporations don’t own the streaming companies, unlike in the parallel dimension of film and TV where the studios control all levels of vertical integration.
Mega‑artists with mega‑egos to match like Taylor Swift, Madonna, Adele, Jay‑Z/Beyoncé, U2, KISS, Dr. Dre, Timberlake and Ed Sheeran, along with many other big names in the lofty reaches of the higher socioeconomic hierarchy are laughing hysterically all the way to their already mega‑well‑stocked tax‑free offshore bank accounts. The industry ‘big four’ major record labels and powerful business artists together make up a resilient ‘pyramid of power’, that will continue to dominate the economics of the music biz for many years to come. Sadly, your ordinary talented hard working musicians don’t attract such filthy lucre. When push comes to shove, it’s all about the money. T’was ever thus, or more accurately…
“Oh! Ever thus from childhood’s hour” from the poem, ‘The Fire Worshippers’ (1817) by Irish writer and poet, Thomas Moore (1779‑1852)
Perhaps more worrying for creative artists and for many music enthusiasts is that the focus is clearly moving away from coherent album releases and more towards the production of single tracks out of context of other material by the same artist. By that statement, I don’t mean a rejuvenation of chart singles, which have long ceased to mean anything. The evidence shows that people are streaming individual songs, rather than a collection of tracks that would historically have made up a cohesive LP. Just look at the streaming stats of albums on any digital online platform and the predominance of maybe one or two tracks over the rest is unmistakeable. There is a feedback loop that encourages artists to change the way they make music and which goes on to influence curated playlists, radio coverage and, ultimately, sales, then repeat. The modern equivalent of the old‑fashioned radio playlist.
In 2016, it was reported that album releases were plummeting while EPs and single tracks were skyrocketing. Will we ever see (or, rather, hear) any more all‑time classic albums like ‘Sgt Pepper’s Lonely Hearts Club Band’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’? Only time will tell. Will the way that music is created, distributed and accessed mark the death knell of the ‘album’ as we know it? Highly likely, but not just yet. The album may, like many things, see a revival. We’ll just have to wait and see (if we live long enough). Personally, I grew up with the antiquated concept of the album or LP, so it retains a certain sensibility but, then again, I am destined for premature oblivion myself, so what the heck do I know?
The topical buzz around Artificial Intelligence (AI) will inevitably play its part in music creation with virtual artists and AI composed tracks. It’s already here and can only evolve from here on. AI isn’t new, its roots go back to 1956 and the American Dartmouth College in New Hampshire. AI generative music goes back to the mid‑1990s. Is AI a threat? The jury is currently out. Thankfully, if AI is used for music, literature and art, it won’t be used to annihilate mankind (except, perhaps, through technological mediocrity). The ultimate demise of humans is up to humans, directly or indirectly, at least for now. Who needs doomsday generative AI when we all have to endure the antics of egregious corrupt despots like Putin, Xi, Kim and too many others of their insane immoral ilk? Don’t you just love mankind’s determined destiny of denial and doom? I digress (again).
“If we don’t end the war, war will end us.” H.G. Wells (1866‑1946)
One certainty is that music will survive in its manifold forms. One hopes that tired and clichéd genres like the current vapid world of commercial pop and dance music since the new millennium will rejuvenate into something more interesting at some point. Conversely, let us also hope that the more dynamic genres don’t descend to the deplorable depths of hideous homogeneity.
Musicians will proliferate. Music will proliferate. The way we access music will change. Whatever happens, change is inevitable and it will be fascinating to see how it evolves and how we adapt. Music as an essential component of the human condition will prevail in one form or another as long as humans exist. Music is, after all, a phenomenon unique to the human race. Thank goodness for that. And, thus, the search goes on.
“When I hear music that parents hate, or older musicians hate, I know that’s the new music. When I hear older people saying, ‘I hate rap or techno’ I rush to it.” George Clinton (1941‑)
Amateur musicology?
I do not pretend to be some sort of self‑appointed authority on contemporary music. My main obsession is still vintage guitars and vintage guitar gear. Perhaps, though, my passion for music predated my addiction to guitars. Over the decades my love of modern music does, I believe, provide a reasonable insight into the science as well as art of music, with a little alchemy thrown in for good measure.
Strictly speaking, musicology is the analysis and study of music. Musicology belongs to the humanities and social sciences, although some music research also belongs to the fields of psychology, sociology, acoustics, neurology, anthropology and computer science.
Musicology covers three general disciplines; music history, new musicology (the cultural study of music) and ethnomusicology (the study of music in its cultural context). For the life of me, I can’t really (be bothered to) differentiate between the last two of those.
Clearly, I cannot compete with professional experts in the field and my research methods are hardly scholarly. I am, however, happy to be an amateur sleuth, as it allows for significant enjoyment. Music should be overwhelmingly pleasurable, rather than playing second fiddle to methodical and clinical academic enquiry. Again, my choice.
“After silence, that which comes nearest to expressing the inexpressible is music” Aldous Huxley (1894-1963)
In addition, and hopefully obviously to readers by now, I also play music (very badly it must sadly be said). I wouldn’t hoard vintage guitars unless I could actually conjure up something vaguely creative and emotional out of them. Perhaps interestingly, I don’t play other people’s music; I much prefer to ‘do my own thing’ for better or worse. Usually the latter.
I am incessantly amazed at what I don’t know. I know that shouldn’t be the case, but society tends to prejudge ignorance as a weakness and expertise as a virtue. What others regard as the blatantly obvious is utterly oblivious to me until I encounter it. However, isn’t that what exploration and discovery is all about?
If we accept that “Music is the universal language of mankind” Henry Wadsworth Longfellow (1807-1882), one can only trust that exploration is the means by which we enhance and articulate our own individual musical linguistic skills.
Musicology may not be quite the right word for my approach towards modern music but I sure can’t think of a better one. Musicology Lite perhaps? Deluded dilettante? Possibly. Biased? Definitely. We all have our own opinions, right? And, thus, the search goes on.
“Music is the strongest form of magic.” Marilyn Manson (1969‑)
Sex, Drugs & Rock ‘n’ Roll
Musicology suggests an interest in music psychology, which is how music affects the cognitive functions of the human system. Building on some of my opinionated comments last month, here’s a thought for the day. Let us remember that music carries with it enormous power to improve our mental health and wellbeing. Music can boost serotonin, dopamine, endorphin and oxytocin levels that work on the pleasure receptors of the brain. Put simply, these magic substances can act as effective natural anti‑depressants and can help to improve both mood and behaviour. All in all, mostly good stuff then. As we all know, music, can also irritate the heck out of us sometimes, so remember to love what you love.
Now here’s an interesting diversion into music cultural history. All three human activities, sex, drugs and music directly affect the pleasure centres of the brain, so there is something scientific behind the old rockers’ adage, ‘Sex, Drugs and Rock ‘n’ Roll’ after all. While some suggest the phrase came from Ian Dury’s 1977 single, its roots derive from a much earlier hendiatris, ‘wine, women and song’, emanating from Germany in the 1770s, although there is some debate as to who actually coined it. Many scholars attribute its origins date back even further to theologian, Martin Luther.
“Wer nicht liebt Wein, Weib und Gesang, der bleibt ein Narr sein Leben lang. (Who not loves not wine, women and song, remains a fool his whole life long).” Martin Luther (1483‑1546)
The first modern use of the phrase was printed in a LIFE magazine article that dates from 1969, “The counter culture has its sacraments in sex, drugs and rock.” In 1971, The Spectator magazine printed, “Not for nothing is the youth culture characterised by sex, drugs and rock ‘n’ roll.” Ian Dury certainly made the most of it.
CRAVE Guitars ‘Record of the Month’
Once again, as this is a bit of an outlier in the overall scheme of CRAVE Guitars’ articles, I cannot leave without at least mentioning one of those albums that warrants repeat listening (for me). While last month, I was clinging onto sultry summer with dub reggae, this month, with the rapid decline into grim winter, I’m going for something a little more contentedly contemplative.
Biosphere – Microgravity (2015 reissue of the 1991 studio album with additional tracks). Biosphere is electronica artist, Geir Jenssen (1962‑) from Tromsø, Troms, Norway. The 16 tracks fall broadly into the ambient, ambient techno, ambient house, field recording and progressive electronica genres. Microgravity was Biosphere’s debut studio album. Laidback ambient grooves are a wonderful way to escape and transport one’s consciousness into an otherworldly, serene dimension, great for relaxation, stress relief and focus. It is also great for testing the hi‑fi.
“If music be the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die” from the play, ‘Twelfth Night’ (c.1601/1602) by William Shakespeare (1564-1616)
Tailpiece
Well that’s another monthly article done and dusted. Number 75 to be precise since I started writing CRAVE Guitars’ articles way back in November 2014. It’s come a long way.
I am genuinely grateful to be in the position whereby I am able freely to undertake such projects as this one. The author is acutely aware of the extreme difficulties faced by innocents around the globe.
The pursuit of new stuff is unlikely to abate now that it has begun in earnest. Is there anything I regret uncovering? Nope. I try hard not to regret anything; I would rather use any missteps along the way as a learning experience. Are there any guilty pleasures that have been adopted? Probably, but now isn’t the time or place for shaming my deviant musical proclivities! Surprises? Plenty. Pleasure? A mixed bag. Top tips? A few. Anticipation? Always.
What is most encouraging is that there is an almost unlimited wealth of awesome, incredible music out there waiting to be discovered if you want to look hard enough. Enjoy!
The plan is to get back to more CRAVE Guitars core raison d’être for the next article. However, we all know what happens to “the best laid schemes o’ mice an’ men” from the poem, ‘To a Mouse’ (1785) by Scottish poet Robert Burns (1759‑1796), so no promises. OK? Thanks for reading.
Peace, love, truth and guitar music be with you always. Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “Material possessions feed the vanity of the ego, while music nourishes the spirit and sustains the soul”
In the last article (August 2023), I explored the alluring realm of dub reggae, as one of my musical passions. This month, as we race headlong into autumn with its cooler, darker evenings, I’d like to explore another musical genre close to my heart, ambient electronica. There seems to be a great deal of consensus about where ambient came from while, at the same time, a great deal of disagreement about what it is today, let alone where it is going. While this may sound inherently contradictory, the convoluted world of ambient music is quite fascinating, at least to me. Unlike reggae, which had a defined geographical origin – the small island of Jamaica in the Caribbean – ambient has a completely different set of roots. Also, while dub reggae and ambient seem entirely discrete, there are some crossovers.
Once again, like dub reggae, the ambient musical landscape is not really guitar‑based. It is essentially one of three things, acoustic – mainly classical – instruments, the sounds of the natural and built world all around us, and electronic sounds, primarily but not exclusively synthesizers.
As with all previous articles, this is not intended to present any sort of definitive academic analysis, it is purely my interpretation of ambient music, past and current, as I see (or rather hear) it. There are a lot of blurred overlaps and permeable boundaries here, so I am certain that some readers will disagree vehemently with my version of the story. That is their prerogative and this is my article, so I’m sticking to my biased version. This is also only the proverbial ‘tip of the iceberg’ with lots more to discover.
No AI has been used in researching and writing this article. All images used are royalty free courtesy of Pixaby and Wikimedia Commons.
So, get comfy, chill and absorb yourself into the mesmerising universe of ambient music for a while.
Defining ambient
Perhaps a good starting point is to understand what the solitary word ‘ambient’ actually means, both in non‑musical and musical contexts.
Literally, ambient is an adjective meaning ‘of the surrounding area or environment’, ‘existing or present on all sides’ or ‘enveloping or completely surrounding’. As a noun, it means ‘an encompassing environment or atmosphere’. In this article we are not talking about ambient temperatures or ambient pressures, although these may affect sound vibrations in the environment. We are also not talking ambient light, although this may affect mood and temperament.
Defining ambient sound
Ambient sound is the total of all background or surrounding noises that exist in every direction, in any immediate surroundings, as measured by sound pressure level (SPL – expressed in decibels). Decibel levels are important because they provide information to the brain on how quiet or loud a sound is in relative terms. Human ears and brains are designed to detect slight variations in SPL in stereo (binaural hearing), which help us determine from which direction a sound originates. Basically, ambient sound is the total of what you can hear in the present moment, wherever you are.
Ambient sound is always present, even if it is at very low levels. Humans cannot tolerate near‑0dB for long. 0dB is unobtainable under normal conditions. Experiments have shown that people who are deprived of ambient sound can quickly become unsettled or disoriented because humans rely on ambient sound to locate themselves within their environment. The dissociation of sight and sound is inherently problematic for us. The quietest place on Earth is an anechoic chamber at Orfield Laboratories in Minnesota, USA. It is so quiet that the longest anybody has been able to experience it is just 45 minutes.
The simple fact is that there is always some ambient sound present in our lives. These ever‑present characteristics play a part in ambient music compositions.
Defining ambient music
Ambient music is a term that means, ‘a genre of instrumental music that focuses on patterns of sound rather than typical melodic form and is used to promote a certain atmosphere or state of mind’. Another definition is ‘incidental music intended to serve as an unobtrusive accompaniment to other activities and characterised by quiet and repetitive instrumental phrases’.
So far, so what? Useful background info but it doesn’t really mean much on its own. So let’s delve a bit deeper.
A brief pre‑history of ambient music
There is a significant amount of information on the hinterwebby thingummy about the history of the genre, so this is a brief retelling of the essential elements, starting in France, then Germany before crossing the Atlantic to America and then back to the UK. These unfolding events were probably all ahead‑of‑their‑time and in the vanguard of experimental art.
Let us begin by going all the way back to 1917. French composer Erik Satie (1866‑1925) used Dadaist‑inspired explorations to invent what he called musique d’ameublement (‘furniture music’ or, more literally, ‘furnishing music’), music played by live musicians and designed to be unconsciously experienced rather than consciously listened to. Satie described his compositions as music that could be performed at a function to create a background atmosphere for the function, rather than being the prime focus of it. In Satie’s words, his music would, “… be part of the noises of the environment”.
Satie’s use of repeated short compositions is said to have influenced ‘minimal music’ from 1960s onwards, particularly the experimental avant‑garde music of composer John Cage. Satie is also regarded as an essential forerunner to modern ambient music and a key influence on British artist, Brian Eno.
During the 1940s, Frenchman Pierre Schaeffer (1910‑1995) who was, amongst other things, a composer, engineer and musicologist took a different approach. Schaeffer experimented with recording sound, then processing the signals to create an abstract sound collage. The resulting sounds and tones were unrecognisable from the originating source material. Schaeffer used musical instruments, vocals, recorded environmental ‘sound objects’ and electronic sound synthesis. This type of music composition became known as musique concrète (concrete music).
Prolific and controversial German composer Karlheinz Stockhausen (1928‑2007) was a pioneer in electronic music. Stockhausen’s electronic music compositions comprised abstract noise collages created through the use of tape loops, oscillators and recorded sounds. He also specialised in ground breaking ‘spatial music’, using multiple sources to locate sounds within a three dimensional space (an early form of surround sound). Stockhausen created one of the first examples of purely electronic music using sine wave generators and filters, called ‘Studie I’ (1953). In 1954, he pushed the boundaries of classical music using acoustic instruments augmented by electronic sounds. The same year, he published the first fully electronic music score. Stockhausen, the so‑called ‘father of electronic music’, was an important figure who rejected conventions and heavily influenced multiple genres outside classical music, including jazz, pop and rock decades later.
Muzak is a type of background music created by American inventor George Owen Squier in 1934. Known commonly as elevator music (or lift music in the UK), it became used predominantly in public spaces, retail stores and other venues. The word muzak has become embedded in the public consciousness as synonymous with all types of generic and inconspicuous background music. Muzak was particularly prominent during the 1960s and 1970s. Muzak has been a registered trademark of Muzak LLC since 1954. Ambient by stealth?
From the 1950s, particularly in Germany, elektronische musik (electronic music) took precedence over previous forms such as musique concrète. The term ‘elektronische musik’ was first used by German composer and musicologist Herbert Eimert in 1952 to describe music created only by the use of electronic instruments and technology. As the genre developed, elements of musique concrète were incorporated into electronic music. Natural environmental recordings combined with music resurfaced later as a popular element of new age music. German electronic music heavily influenced krautrock, an experimental rock genre that emerged out of West Germany in the late 1960s and early 1970s with bands like Can and Neu!.
American composer John Cage was another influential figure in post‑war avant‑garde music including electroacoustic music. He had been experimenting with studio electronics since the late 1930s. In 1952, Cage ‘performed’ his now‑famous composition, 4′33″. The piece is not, as many believe, silence; it is the intentional ‘absence of deliberate sound’. The musicians do nothing but be on the stage with instruments. For the aforementioned duration of the piece, the audience is encouraged simply to listen to and experience the ambient sounds in the auditorium around them.
Minimal music is a form of art music that, as its name suggests, uses a very limited array of components to produce a composition. Minimal can apply to the instruments used, the sounds/tones produced, as well as the studio processes employed. Minimalism may comprise continuous drones, pulses or repetitive phrases. Minimalism emerged in New York in the late 1960s with American composers such as Philip Glass, Terry Riley, Steve Reich and La Monte Young. It has been suggested that minimalism was one influence behind experimental rock band The Velvet Underground during the 1960s and, much later, on electronic dance music (EDM) sub‑genres such as minimal techno. In 1990, British electronica duo The Orb used a sample from Steve Reich’s work on their hit single, ‘Little Fluffy Clouds’.
At this point, it is worth making quick mention of cinematic music, a.k.a. film scores or original soundtracks (OSTs). The first music to accompany film goes back to the earliest part of the 20th Century if not further, although its use really came into its own, ironically, with the advent of talking pictures in 1927. Cinematic music is composed specifically as a background to fit well with what is happening on screen by creating a certain atmosphere. Many classic theme music pieces would simply not exist without the films for which they were created. Some of the best cinematic music is an integral part of the audio‑visual experience, rather than the music being consciously listened to in isolation. The best soundtracks are equally good pieces of music in their own right and the art form has become highly respected (and profitable). John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, Bernard Herrmann, Lalo Schifrin, Vangelis, Jóhann Jóhannsson and Hans Zimmer are some of the principal cinematic music composers.
In the field of television, the BBC Radiophonic Workshop, set up in 1958, stands out for its experimental work in electronic incidental sound design and music for radio and TV. Key members of the unit included Delia Derbyshire, Daphne Oram and David Cain.
A brief history of electronic sound synthesis
It is probably true to say that synthesizers changed the world of music forever. Here’s a short resume of how that change came about. Warning! This is the techy bit.
Analogue synthesizers – The word synthesizer was first used by RCA in 1956, although it has widely been used to refer to electronic musical instruments from the early 20th Century onwards. Early electronic analogue sound synthesizers were developed in the 1920s and included the Theremin, invented by Leon Theremin in Russia in 1920, the Ondes Martenot, invented by Maurice Martenot in France in 1928 and the Trautnium, invented by Friedrich Trautwein in Germany in 1929.
There are basically only three parts to an analogue synthesizer; one or more oscillators to produce the sound, filters to change the sound, and voltage‑controlled amplifiers to adjust the volume of the sound. In addition, envelope generators are frequently used to change the behaviour of the sound (commonly referred to as ADSR – attack, sustain, delay, release).
Another major development in electronic sound synthesis was by American engineer Robert Moog (1934‑2005) who invented the first commercially available analogue synthesizer, the Moog Modular in 1964. The first fully integrated synthesizer, including the keyboard, was the Minimoog released in 1970. Moog developed his products in response to demand for more practical and affordable electronic musical instruments.
Moog Synthesizer
Samplers – A sampler is an electronic device that captures, records and plays back sections of the recordings. The first example was the Chamberlin, invented by American Harry Chamberlin in 1946. The British Mellotron, introduced in 1963, was perhaps the first famous electro‑mechanical instrument used to play back tape recorded sound samples.
Sequencers – A key factor in making music synthesizers usable was the introduction of the programmable sequencer to program and play back multi‑part arrangements. The first example was probably the analogue Buchla 100 synthesizer in 1964. More importantly, Moog introduced the Moog Modular Sequencer Module – the 960 Sequential Controller in 1968.
As synthesizers became more complex, additional features were added, such as arpeggiators that automatically play a sequence of notes based on a chord or scale, and a range of effects used to process the sound even further.
Digital synthesizers – The first digital synthesizer was made by Synclavier in 1977, while the first commercially successful model was made by Yamaha in 1983. The first production polyphonic synthesizer, able to play chords, was the analogue Oberheim Polyphonic Synthesizer, designed by Tom Oberheim, produced from 1975 to 1979. Yamaha, however, may disagree, citing their GX‑1 ‘Dream Machine’. These were followed shortly thereafter by the Polymoog. Another first was the programmable analogue Prophet 5 made by Sequential circuits in 1978. The culmination of these inventions was the introduction of the Fairlight CMI (standing for ‘Computer Musical Instrument’) in 1979, the first polyphonic digital synthesizer, sampler and sequencer.
Finally, polyphonic digital sound synthesis was here to stay, as was the studio recording technology able to exploit it. Miles away from ambient while owing a debt to it, Donna Summer’s massive disco hit single, ‘I Feel Love’ (1977), written and produced by Giorgio Moroder, was seen as a milestone and “a rejection of the intellectualization of the synthesizer in favour of pure pleasure”. It did, however, herald sound synthesis to the popular market. The phenomenal boom in synthpop during the 1980s, leading to the EDM boom of the 1990s, was the tangible result of lengthy electronic music development.
MIDI – MIDI (Musical Instrument Digital Interface) is a powerful industry standard protocol introduced in 1983 that enables wide variety of electronic musical instruments, computers, and audio devices to communicate. MIDI has become essential for synchronizing, playing, editing, and recording music.
These, and many other tools, were a valuable resource for the new generation of experimental composers and musicians. Everything was pretty much now in place.
A brief history of ambient music
Up to this point it is probably fair to say that elements of ambient music’s predecessors existed, and indeed thrived, on the periphery of the popular music of their time, rather than being front and centre of the mainstream. During the 1960s, that was about to change, albeit relatively slowly.
One interpretation of ambient music is that it is a style of calm, often electronic instrumental music with no discernible rhythm or beat, used to create or enhance mood or atmosphere. Ambient music emphasises tone and textural layers of sound that focus on the actual sounds being produced rather than the traditional musical form in which those sounds would normally reside. As such, ambient music may well intentionally eschew formal structured composition, harmony, melody and metre.
While now commonplace, ambient music, at least in the past, broke the rules of what we understand as familiar music or song content. Ambient music is not limited by accepted tropes of how it is produced, making use of acoustic and electronic musical instruments, unorthodox implements used as instruments, environmental sound recordings and sometimes vocals. A large proportion of ambient music is instrumental, not requiring narrative arrangement through either sung lyrics or spoken words.
One characteristic of ambient music since the 1990s has been the ubiquitous use of looping, creating repeated sections of sound, initially using tape and most commonly through digital effects. Another key trait has been the use of modern digital reverb and delay techniques to provide a sense of space, disconnection and otherworldliness.
One key element of ambient music is the way it can reward equally both passive and active listening. The listener can either focus on the content or allow ‘cognitive drift’ to occur, which can encourage a sense of calm, introspection or contemplation, meditation or as an aid to sleep.
While ambient music is a self‑contained genre, it does not stand alone; it has been incorporated into, or fused with, many other musical genres. This fact, in part, contributes to the debate about what ambient music actually means today and why it has become successful both artistically and commercially.
At last, getting to the point now… Ambient music as we now (think) we know it emerged in various forms during the 1960s and 1970s, largely thanks to the commercial availability of synthesizers. The album that is widely regarded as the watershed that brought ambient music to wider attention was, ‘Ambient 1: Music For Airports’ (1978) by British musician, producer and artist Brian Eno. This studio album also established the term ‘ambient music’ in the public mind set. Eno, either solo or in collaboration with other artists, released many subsequent ambient works, further defining the genre. By the early 1980s, the ‘new’ genre had become recognised and widely accepted. Eno has been oft‑quoted that “ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting”.
In 1995, Brian Eno used the term ‘generative music’ to describe any music created by a computer system that is ever‑different, non‑repeating and always changing. Eno has frequently used generative ambient music as a background for visual art installations, thereby creating an immersive audio visual experience. There are now a number of autonomous ambient music generators available on the Internet, such as Generative.fm, that provide completely unique compositions that never end, never repeat and last as long as the listener wants them to. The introduction of Artificial Intelligence (AI) into music is likely to expand the scope of generative music considerably.
A discrete subset of the genre is Japanese ambient pioneered by artists such as Hiroshi Yoshimura, Haruomi Hosono, Midori Takada, Osamu Sato and Susumu Yokota during the 1980s. The offshoot aligned with the Japanese concept of ‘wa’, meaning harmony and serenity. Japanese ambient was an expression of the deep cultural appreciation for nature, an aesthetic preference towards minimalism, and traditional values of maintaining peace.
Ambient has heavily influenced many sub‑genres of downtempo dance music, including ambient house, ambient techno, ambient dub, trip‑hop, nu‑jazz, new age, chillwave and deep house. Ambient has undoubtedly come a very long way from its avant‑garde artsy origins. Ambient was now cool and it was here to stay.
In recent years, ambient music has continued to evolve and expand. Some contemporary artists have incorporated elements of jazz, classical music, and other genres into their work, while others have experimented with new digital technologies such as AI and virtual or augmented reality to create new experiences. Improvisation and extemporisation have become integral elements of many ambient compositions.
Overall, ambient music has remained a vibrant and innovative genre that continues to explore the limits of what is possible in music. Perhaps, the essence of ambient music continues to flourish at the margins, requiring some effort to discover as the means of dissemination moves away from traditional record companies, labels, distributors and physical media. The Internet and streaming services may become the only means to access these esoteric future forms.
Ambient music’s experimental aspirations, though, have been an on‑going thorn in its side, which seems particularly hard to expunge. Partly because of its eclectic roots, many regard the lofty art & culture baggage of ambient as self‑absorbed, arrogant, sanctimonious, pompous and pretentious – or just plain dull and boring. Brian Eno in particular has attracted considerable scorn for refusing to conform to populist ideals and short‑term fads. The fact that he is not fazed by such clichéd criticisms and follows his own path regardless, encourages his opinionated detractors even further.
A predilection for ambient music is a choice, not a requisite and it doesn’t carry any cache amongst some imaginary elitist intellectual cultural community. It is, though, not for everyone, with many seeing ambient as a tedious interminable din. Indeed, if anything has been learned through the decades about ambient music is that its appeal is, at least partially, subliminal, nurturing our subconscious need for enlightened contemplation and therefore beyond our ability to control whether we appreciate it or not. Discuss…
Influential artists that have dabbled in ambient music either in part or whole include (in no particular order) Brian Eno, Aphex Twin, William Basinski, Steve Roach, Robert Rich, Pauline Oliveros, Cluster, Biosphere, Harold Budd, John Hassell, Max Richter, Tim Hecker, Terry Riley, William Orbit, Four Tet, Steve Hillage, Stars Of The Lid, Bonobo, Mark McGuire, Ash Ra Tempel, Alice Coltrane, Jon Hopkins, Edgar Froese, Oneohtrix Point Never, The Caretaker, Laurie Speigel, Tycho, GAS, Boards Of Canada, Burial, Fripp & Eno, Slowdive, Air, Julianna Barwick, A Winged Victory For The Sullen, Ben Chatwin, Richard Norris, Luke Abbott, The Cinematic Orchestra, Daniel Avery, Darshan Ambient, The Gentleman Losers, Ibizarre, A.M.P. Studio, Orbient, Nacho Sotomayor, Sigur Rós, Johnny Jewel, Bicep, Marconi Union, Memory Tapes, Neon Indian, Com Truise, The Orb, The KLF, Divination, Lawrence English and The Irresistible Force.
A brief history of other music genres related to (but not) ambient music
New age music –New age music emerged in the 1970s and 1980s, influenced by a variety of styles including classical music, jazz, world music, religious music, folk and rock. New age music often explores arcane folklore, ancient traditions, ethnic groupings, astrology, mythology, mysticism, spiritualism, fantasy and even the occult. Lacking any precise definition, it is often seen as an umbrella for many different and often divergent styles. Ambient and new‑age music are two distinct genres albeit with some overlap between them.
Starting with the similarities… New age music is a genre of music characterised by its soothing and relaxing qualities. It often features acoustic instruments such as flutes, harps, guitars and pianos, traditional Asian or African instruments as well as nature recordings and synthesizers. New‑age music is often used for relaxation, contemplation, yoga, massage, stress relief and anxiety management. As background music, it is used to create a calm, serene, peaceful atmosphere for other activities.
… and some key differences… Ambient music tends to be more experimental and abstract than new‑age music, with a greater emphasis on soundscapes and textures rather than rhythm, melody or harmony. New age music tends to be more melodic, structured and more easily accessible than ambient music.
Overall, both ambient and new age music are genres designed to create a sense of serenity in the listener (the ends). However, they go about achieving this goal in different ways (the means).
New age music has habitually been ridiculed (erroneously) for being part of hippie culture, with acolytes that embraced new age beliefs being called ‘zippies’. From the 1990s. Zippies were in favour of new age principles such as social change, environmentalism, and alternative lifestyles while also being influenced by rave culture, cyberculture, and psychedelic drugs.
New Age Travellers are a loose grouping of people primarily in the United Kingdom generally adopting new age beliefs along with the counter culture movement of the late 1960s. Their nomadic lifestyle often brought them into conflict with static communities and the authorities.
Prominent new age artists include Enigma, Enya, Deep Forest, Clannad, Gregorian, Phil Thornton, Patrick Kelly, Peter Gabriel, Bernward Koch, Paul Winter, Grouper, All About Eve and William Ackerman.
Nature recordings – Ambient nature sounds or, technically, field recordings are a popular sub‑genre of ambient music that feature environmental recordings such as the sounds of water, animals, thunderstorms, wind and even fire. The origins of combining natural sounds with musical compositions can be traced back to the early 20th century. Field recording is regarded by many as a genre in its own right, with or without music.
Field Recording
The use of field recordings in music became more widespread in the 1950s and 1960s with the advent of portable recording equipment and with digital recording from the 1980s. Musicians such as John Cage and Dan Gibson began using natural or built environmental sounds into their compositions.
The use of field recording in ambient music can be traced back to Brian Eno’s ‘Ambient 1: Music for Airports’, which featured recordings of airport terminal announcements and other environmental sounds. Since then, many ambient artists have incorporated field recordings to create captivating soundscapes that blur the line between music and environmental sound.
Some popular ambient nature sound artists include David Dunn, Chris Watson, Dan Gibson, Diane Hope, Lawrence English, Biosphere and Francisco López.
Downtempo and chillout music – Ambient music did not burst onto the scene overnight and, at least initially, it did not attract significant commercial success. With the popularity of EDM and the domination of house and techno in nightclubs, ambient experienced a mini‑revival towards the late 1980s with sub‑genres including ambient house, ambient trance, ambient techno and ambient dub. During the dance‑dominated 1990s, ambient music became trendy as an after‑party ‘comedown’ with the advent of ‘chillout rooms’; spaces within clubs that served as venues for a relaxing alternative to the high‑energy ‘rave rooms’.
Chillout is a form of downtempo music (or vice versa) characterised by relaxed rhythms, mellow beats, laid back grooves and atmospheric soundscapes intended to induce a tranquil mood – fertile ground for ambient music to proliferate. Chillout is heavily derived from EDM, but typically at slower tempos and with sonic palettes often reminiscent of ambient, electronic‑styled new age, progressive electronic and even elements of instrumental hip hop, dub, deep house and breakbeat.
However, neither chillout nor downtempo come under the definition of ambient, due to their prominent use of structure and rhythm. Sunset beach bars, restaurant venues and cult dance clubs in Ibiza in the 1990s jumped onto the ambient/downtempo/chillout bandwagon as an escape from the more intense side of life and a counterpoint to the hectic rave and acid house scenes of the time. In the UK, the Bristol trip hop scene also capitalised on the chillout boom.
The chillout zeitgeist during the late 1990s was partly due to a proliferation of commercial chillout compilation albums from record labels such as Ministry of Sound, Café del Mar, Café Mambo, Beyond Records, Kompakt Records and Mercury Records. Mainstreaming ultimately motivated underground producers to move away from chillout into other more adventurous leftfield ventures. By the early‑mid 2000s, popularity of chillout music faded heavily. However, it would see a revival in the 2010s and 2020s (so far), which aimed to recapture the spirit of earlier forms of the genre.
Ambient and downtempo/chillout and are not interchangeable, although the boundaries between them are often unclear. Downtempo and chillout would go on a different path to influence subsequent genres like psybient, psychedelic trance, chillwave, lounge, post rock, lo‑fi hip hop, hypnagogic pop and nu‑jazz.
Prominent downtempo and chillout artists include The KLF, The Orb, Thievery Corporation, Deep Dive Corp, East India Youth, The Album Leaf, Nightmares on Wax, Falco, Robert Miles, Morcheeba, Bowery Electric, Mr. Scruff, Tosca, Hallucinogen and Ultramarine.
Trip Hop – Trip hop is a genre of electronic music that emerged from downtempo/chillout in the early 1990s. Trip hop is characterized by its use of hip hop beats, samples, and dense atmospheric soundscapes, fusing influences from jazz, soul, funk, reggae, dub and R&B. Like other forms of electronic music, trip hop uses structure, melody and beats, differentiating it from ambient. The term trip hop was first used in an article in Mixmag magazine in 1994 about American artist and producer DJ Shadow. Trip hop music was popularised mainly by artists from Bristol in the UK such as Portishead, Massive Attack and Tricky. Trip hop further influenced genres like instrumental hip hop and UK garage.
Other artists that have made use of trip hop leanings include Sneaker Pimps, Aim, Howie B, The Dining Rooms, FKA Twigs, Glass Animals, Kosheen, Martina Topley‑Bird, Poliça, Smoke City, 9Lazy9, Bomb The Bass, Coldcut, Morcheeba, Pretty Lights, DJ Shadow, DJ Food, DJ Vadim, Funki Porcini, Gorillaz and London Grammar.
Electronica – Electronica is a massively broad term for music that uses electronic instrumentation and sound manipulation technology as the primary means of production. As such, it is a catch‑all for music that doesn’t slot easily into existing sub‑genres. In its widest sense, electronica is pervasive, directly or indirectly, in much of modern contemporary music. There is, therefore no point in defining it or attempting to establish its scope here.
Since the 1960s, electronica artists have both influenced and taken influence from many other music genres. The commercial breakthrough of electronic music occurred with the advent and subsequent domination of synthpop, Europop and Eurodance in the 1970s. This was followed by EDM sub‑genres such as house, techno and electro from the 1980s onward. The burst in electronic creativity was fuelled by a self‑perpetuating feedback loop, pushing things further in the popular mainstream as well as in the margins that continues to this day.
Some prominent artists under the diverse panoply of electronica include (again in no particular order) Clara Rockmore, Kraftwerk, Aphex Twin, Depeche Mode, Daft Punk, Kraftwerk, Röyksopp, Gary Numan, Japan, David Sylvian, Natural Snow Buildings, Global Communication, Moby, The Chemical Brothers, Orbital, Underworld, The Human League, Visage, Thomas Dolby, Howard Jones, Ultravox, Rick Wakeman, Jean‑Michel Jarre, Skrillex, Leftfield, Herbie Hancock, Electronic, Deadmau5, Fred Again.., Sven Väth, Major Lazer, Armin van Buuren, Sasha, Thom Yorke, Emerson Lake & Palmer (ELP), Daft Punk, Four Tet, Floating Points, Flying Lotus, Hot Chip, Pet Shop Boys, Fatboy Slim, The Prodigy, Giorgio Moroder, M83, Goldfrapp, Amon Tobin, Carl Cox, Crystal Castles, Infected Mushroom, Groove Armada, Eat Static, LCD Soundsystem, Faithless, Disclosure, System 7, 777, Erasure, Yazoo, Paul van Dyk, Eric Prydz, Heaven 17, Orchestral Manoeuvres In The Dark (OMD), Tears For Fears, Monaco, Bronski Beat, Vince Clarke, Eurhythmics, Thompson Twins, Yello, Squarepusher, Machinedrum, Pendulum, Romare, Calvin Harris, Apollo 440, Ladytron, MØ, Flume, Public Service Broadcasting, Solar Fields, The Grid, X‑Press 2, Arms And Sleepers, Caribou and ATB.
A brief history of ambient electronica (and related) artists
OK, so we’ve looked at some of the genres that have led up to the current day and the prevailing view of ambient music in context. Now, it’s time to take a brief look at some key artists involved along the way, whether they could strictly be considered proponents of ambient music or not. Here are some of the most prominent.
Tomita – Isao Tomita (1932‑2016) was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analogue synthesizer arrangements. Tomita is known for his electronic versions and adaptations of familiar classical music pieces as well as futuristic science‑fiction themes and trance‑like rhythms. Tomita received four Grammy Award nominations for his studio album based on music by classical composer Claude Debussy, ‘Snowflakes Are Dancing’ (1974). He also famously adapted Gustav Holst’s ‘The Planets’ (1976).
Wendy Carlos – Wendy Carlos (1939‑) is an American musician and composer born as Walter Carlos and transitioning to female gender in 1972. She is known for her pioneering electronic music and film scores. Carlos studied physics and music at Brown University before studying music composition at Columbia University in New York City. She helped in the development of Robert Moog’s first commercially available synthesizer. Carlos’ breakout release was Grammy Award‑winning ‘Switched‑On Bach’ (1968), an album of music by Johann Sebastian Bach performed entirely on synthesizer. Carlos went on to release further synthesized classical music adaptations, as well as experimental and ambient electronic music. She composed film scores for three major studio films, ‘A Clockwork Orange’ (1971), ‘The Shining’ (1980), and ‘Tron’ (1982).
Tangerine Dream – Tangerine Dream is a German band founded in 1967 by Edgar Froese (1944‑2015). The best‑known incarnation of the group was the mid‑1970s trio of Froese, Christopher Franke and Peter Baumann. Tangerine Dream is considered a pioneer in electronic, ambient and space music, a.k.a. kosmische musik (‘cosmic music’). Tangerine Dream were key members of the so‑called Berlin School of electronic music. Despite having released over one hundred albums over the years, they are best known for their use of synthesizers and sequencers, including milestone albums, Phaedra (1974) and Rubycon (1975). Tangerine Dream has also composed over sixty film soundtracks as well as the score for the video game Grand Theft Auto V. However, it is their mid‑1970s material that profoundly influenced the development of electronic music styles such as ambient, new age and EDM.
Klaus Schulze – German electronic music composer and musician Klaus Schulze (1947‑2022) is considered one of the pioneers of electronic music since the late 1960s. Schulze was an early member of the band Tangerine Dream before leaving to pursue a solo career in 1970. Schulze had a prolific career, releasing over sixty studio albums. Schulze’s music is known for its long, repetitive sequences and its use of analogue synthesizers. His early work was influenced by the psychedelic rock of the late 1960s and early 1970s, while his later work was more experimental and ambient. Schulze’s music has been used in films such as ‘The Exorcist’ (1973).
Brian Eno – English musician, composer, producer and artist Brian Eno (1948‑) has become synonymous with contemporary ambient music, pioneering and contributing to the ambient, electronica and minimalist drone genres. He started out in experimental rock, glam rock, art pop and art rock as former keyboard player with Roxy Music. Along with his extensive solo career, Eno has also collaborated on many side projects with other artists including Harold Budd, David Bowie, David Byrne, Fred Again.., Jon Hopkins and Cluster. Many of his collaborations explored beyond the scope of purist ambient music. He has also been prominent behind the studio desk producing many artists including John Cale, David Bowie, Jon Hassell, Laraaji, Talking Heads, Ultravox, Devo, U2, Coldplay, Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, James, Kevin Shields and Damon Albarn. In addition, Eno has composed a number of film scores. If that wasn’t enough, Eno has also worked prolifically in other media, including audio visual installations, art installations, film and as an author. As mentioned above, Eno pioneered the introduction and growth of generative music. A little known fact is that Eno also composed the six‑second music snip that accompanied the start‑up of the Windows 95 computer operating system, known as ‘The Microsoft Sound’. Love him or loathe him, Eno’s legacy is probably as far reaching as it is incalculable.
Brian Eno (courtesy of Cosciansky)
Kratwerk – German electronic band Kraftwerk was founded in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Kraftwerk is widely regarded as an innovator and pioneer of electronic music and was one of the first successful acts to popularise and commercialise the genre. The group began as part of West Germany’s experimental krautrock scene in the early 1970s before adopting electronic instruments for which they are best known, including synthesizers, drum machines, and vocoders. Their massive hit single and album, ‘Autobahn’ (1974) cemented their reputation. Kraftwerk inspired many artists including David Bowie, Joy Division, New Order, Daft Punk and LCD Soundsystem.
Jean‑Michel Jarre – Jean‑Michel Jarre (1948‑) is a French composer, musician and record producer. He is widely regarded as an innovator in electronic, ambient, new age and synthpop music. His breakout studio album, ‘Oxygene’ (1977) has become an electronica classic, selling over 18 million copies worldwide. Jarre’s musical style builds on the work of Tangerine Dream and adds a bit of populist French va‑va‑voom. He is famous for organising extravagant outdoor events involving laser light shows, visual projections and pyrotechnics to accompany his stage music. One of his concerts in Moscow, Russia in 1997 holds the world record for the largest audience for a single outdoor event, estimated at 3.5 million people.
The Orb – The Orb is an English electronic music group founded in 1988 by Alex Paterson and Jimmy Cauty. The duo began as ambient and dub DJs based in London before making the move into music production. The Orb is well known for their psychedelic ambient space sound. Over the years, The Orb has developed a cult following among clubbers ‘coming down’ from drug‑induced highs and, as such, their music became popular in club chillout rooms. Their influential debut studio album ‘The Orb’s Adventures Beyond The Ultraworld’ (1991) established the UK’s underground ambient house trend. The Orb’s second album, ‘U.F.Orb’ (1992) confirmed the band’s popularity and ensured their longevity. The Orb was influenced heavily by predecessors, Brian Eno and Kraftwerk. The Orb has maintained their signature science fiction aesthetic throughout their prolific career.
Amorphous Androgynous – British electronic music duo Amorphous Androgynous and its better known alter ego, The Future Sound of London (FSOL), was founded by Garry Cobain and Brian Dougans in 1988. The duo’s music is characterized by its psychedelic, ambient, and experimental sound. They acted as a bridge between the underground and well‑established electronic artists and has been influential in the development of electronic music genres such as ambient house, ambient dub and trip hop. They have released several albums, including ‘Tales of Ephidrina’ (1993) and ‘Lifeforms’ (1994).
Orbital – Orbital is an English electronic music duo founded by brothers Phil and Paul Hartnoll in 1989. The band has had on‑off periods of activity, breaking up and reforming on more than one occasion through the years. The band’s name is taken from the M25, London’s orbital motorway, which was key to the early (illegal) rave scene and (legal) acid house scene of the late 1980s and early 1990s. Orbital’s involvement with dance music has led to its strong reputation as a live band. They have mixed ambient sounds along with techno, trance, breakbeat and electronic rock styles. They have also been hugely influential in the development of modern electronic sub‑genres such as glitch, wonky and Intelligent Dance Music (IDM), as well as EDM.
The Chemical Brothers ‑ English electronic music duo The Chemical Brothers, originally known as The Dust Brothers, was formed in 1989 by Tom Rowlands and Ed Simons in Manchester, UK. Along with peers, The Prodigy and Fatboy Slim, they were pioneers in bringing the big beat, techno, house and EDM to popularity. Their breakout studio album, ‘Dig Your Own Hole’ (1997) rapidly became a rave classic. Like Orbital, they have become regular headliners on the festival and arena circuits. While their music is far from ambient, the origins are still evident and their enduring influence has also been widespread.
Contemporary music genres related to ambient
Here we are now, well into the 3rd decade of the 21st Century, so what position does ambient occupy now? Has it stagnated, frozen in aspic? Is it languishing in some obscure genre limbo? Or is it still evolving either on its own terms or in other ways? Let’s look at where ambient influences have led us and which may give a clue to where it might be going in the future. Here are eight of the most important modern‑day ambient spin‑offs.
Drone – Drone is a music genre that plays on long, sustained tones or repeated single notes. Unlike other genres that use drones as a component, drone music puts drones at the forefront, removing most melody and rhythm. As such, it bears many similarities to ambient. Drone music explores the changing timbre of individual sounds over time. For electronic drone, this is often achieved by slight fluctuations in the drone’s pitch, tone and amplitude.
The origins of drone, whether electronic or classical, are found in traditional music from across the world and date back to the 1940s with ‘Monotone Silence Symphony’ (1949) by Yves Klein. Drone developed through minimal music and through rock. Drone has seen a resurgence in the 2020s. Drone music has expanded to influence countless other genres, including ambient, EDM, drone metal and post‑rock.
Progressive Electronic – Progressive music in its widest sense generally attempts to expand existing stylistic boundaries associated with a specific genre of music. It also places emphasis on creating a sense of progression or development throughout a piece of music. Layered soundscapes, intricate changes in rhythm, a wide range of sound effects and textures are commonly used. Improvisation is also a key characteristic of progressive electronic music, as many musicians use improvisation to create new and inventive sounds rather than relying on pre‑recorded samples or synthesizer presets. Another important aspect is the use of lengthy, extended compositions, with tracks frequently having multiple sections and mood changes. Basically, progressive electronic covers a large proportion of electronic music from the late 1960s to the current day, including post rock. Is it a genre in itself? Make up your own mind.
Vaporwave – Vaporwave emerged in the early 2010s and is characterised by its use of synthesizers, slowed‑down samples and a great deal of studio manipulation including time shifting and cutting up of sound clips, then applying reverb, echo and other studio effects. The advent of computer‑based digital audio workstations (DAWs), such as Pro Tools, Logic Pro, Abelton and Cubase, greatly aided production and the Internet provided the means of distribution through platforms like YouTube, Bandcamp and SoundCloud.
Vaporwave got its name from ‘vaporware’, a term applied to computer hardware or software which is announced by a developer well in advance of release, but which then fails to emerge.
At first, vaporwave was a nostalgic reflection of the sounds of the 1980s and 1990s, drawing from popular music, contemporary R&B, smooth jazz and muzak, as well as from consumer culture, corporate logos, films, radio broadcasts and television commercials. Vaporwave has been described as a form of ‘post‑Internet’ electronic musical movement that reflects the fragmented and disorienting experience of living in the digital age.
The release of ‘Eccojams Vol. 1’ (2010) by Daniel Lopatin, under one of his aliases Chuck Person, is widely regarded as the foundation of vaporwave as a genre. The debut was followed ‘Floral Shoppe’ by Macintosh Plus and ‘Far Side Virtual’ by James Ferraro (both 2011), bringing greater visibility to vaporwave and its associated aesthetics. Despite this, vaporwave remains niche with tracks not readily available on physical media such as CDs or vinyl.
Like ‘pure’ ambient, vaporwave shuns structure and rhythm. The use of looping, glitching, pitch‑bending, panning, and echoing sound samples came to define the sound of vaporwave, giving the patchwork sound a hazy, surreal, dreamy and atmospheric quality with a focus on hyperreality. The vapor movement alludes to a disconnection or separation from reality presented through its original form.
In addition, vaporwave gave birth to a distinct aesthetic based on subcultures like cyberpunk, seapunk, manga and anime. Artist names, album titles and track listings often used uncommon symbols and Japanese script. In conjunction with the heavily manipulated and often intentionally degraded sound of vaporwave music, much of the genre’s artwork featured low‑grade image distortion or digital artefacts, bringing the limitations and flaws of past technology and positioning it within the broader post‑internet artistic landscape. The integration of the visual and the music elements can be interpreted as a criticism of consumer capitalism and hi‑tech culture.
Dreampunk – Dreampunk is an evolution of Vaporwave, also emerging in the mid‑2010s. Dreampunk artists wanting to experiment with more minimal and atmospheric compositions while, at the same time, distancing themselves from the nostalgic restrictions of the 1980s. The Internet record label, Dream Catalogue, helped popularize dreampunk within the vaporwave community as well as further afield.
The abstract, hypnotic, atmospheric soundscapes and repetitive structure of vaporwave is perhaps closer to ambient music, although the presence of rhythm differentiated it from its predecessor. This contributes to the dreamlike ethereal sound for which the genre is known. Dreampunk artists tend to seek anonymity, with many using several Internet aliases to create a sense of mystique around their music, hiding behind the aesthetic, often utilizing abstracted imagery of cityscapes, neon‑lit night scenes and incorporating futuristic dystopian and cyberpunk themes. Like vaporwave, dreampunk also uses Japanese scripts to further mystify their image. Classic dystopian and cyberpunk films such as ‘Blade Runner’ (1982) and ‘Ghost in the Shell’ (1995) also influenced and inspired the music genre. Both vaporwave and dreampunk continue to thrive in the underground.
Ambient, morphed through the lens of vaporwave and dreampunk, heavily influenced other genres such as hypnagogic pop, chillwave, VHS pop, witch house and slushwave.
Some popular vaporwave and dreampunk artists include Blue In Tokio, Fishmans, T e l e p a t h (テレパシー能力者), 2 8 1 4, Windows96, SkyTwoHigh and Lindsheaven Virtual Plaza.
Chillwave – Chillwave, a.k.a. glo‑fi, is an Internet genre that originated predominantly from the United States circa 2009. Chillwave, like vaporwave, looked back to the aesthetics and musical styles of the 1980s and 1990s, intentionally evoking a sense of nostalgic reflection. Chillwave melded analogue instruments with modern recording technologies and techniques to create a hazy dreamlike atmosphere. Chillwave appropriated elements of synthpop, funk, downtempo, EDM and alternative/indie genres like indie pop, neo‑psychedelia and synthwave.
Chillwave, vaporwave and dreampunk led to a great deal of fusion and crossover material, blurring the differences between them. Chillwave declined in popularity by the start of the 2020s but like many other genres, the end of chillwave may have been greatly exaggerated. Expect it to come back to the fore in due course. Chillwave’s influence would go on to play a part in genres such as cloud rap, alternative R&B, future bass, synthwave, ethereal wave and bedroom pop.
Prominent chillwave artists include Toro y Moi, Neon Indian, Washed Out, Memory Tapes, Flume, Com Truise, Tycho, Panda Bear, Lemon Jelly and Nite Jewel.
Intelligent Dance Music and its spin offs, glitch and wonky – Intelligent Dance Music (IDM) is a genre of electronic music that emerged in the early 1990s as a derivative (and rejection) of EDM. It is characterized by complex rhythms, intricate melodies, and a focus on sound design and experimentation. IDM artists often use unconventional time signatures, polyrhythms, glitches and de‑tuned sounds to create a unique listening experience. The genre is also known for its use of ambient textures and atmospheres, which can create a vague or otherworldly feel. IDM has been influential in the development of other electronic music genres such as ambient techno, and intelligent techno.
Some of the most well‑known IDM (and glitch/wonky) artists include Aphex Twin, Four Tet, Daniel Avery, Actress, Floating Points, Machinedrum, Moderat, Oneohtrix Point Never, Boards Of Canada, Mouse On Mars, Flying Lotus, LFO, Clark, Luke Vibert, Autechre and Squarepusher.
Dream pop – Deriving more from structured alternative and indie rock rather than ambient, dream pop uses reverb‑laden guitars, effects‑rich vocals, and dense studio production, to create a psychedelic, spacious, ethereal and surreal sound, albeit with a de‑emphasized beat accompanied by quiet, breathy harmonised vocals to elevate the music from its origins.
Dream pop is commonly fused with other genres such as shoegaze and noise pop, although dream pop does not solely depend on ‘walls of sound’, heavily distorted guitar layers or feedback. Dream pop relies heavily on modulation effects such as chorus, tremolo, vibrato, delay and reverb, to create mesmerising sonic textures. Dream pop bands often employ synthesizer layers to add atmosphere and lush soundscapes. Influences include slow core, post rock and trip hop.
In a similar way to shoegaze, vocals focus on melody and timbre, rather than lyricism. It is not uncommon for dream pop groups to have multiple vocalists to make good use of harmony and ‘instrumental’ vocals.
Prominent dream pop artists include Warpaint, 2:54, Lanterns of the Lake, Beach House, Cigarettes After Sex, The xx, Bat For Lashes, Low, Chromatics, Spiritualized, Julee Cruise, Broadcast, Zero 7, Phantogram, Yo La Tengo, Cocteau Twins, Dévics, Esben And The Witch, Pure Bathing Culture, School Of Seven Bells, His Name Is Alive, How To Dress Well, Lush, London Grammar and Mazzy Star.
Ambient dub – Ambient dub fuses ambient music with dub electronica. Ambient dub is a chillout fusion of ambient, dub reggae and future dub, featuring the atmosphere of the former and the Jamaican‑style basslines, percussion, and psychedelic production techniques of the latter. The name of the genre was coined by record label Beyond Records with a series of compilation albums of the same name, starting with, ‘Ambient Dub Volume 1: The Big Chill’ (1992). Many of the prominent artists within the genre also perform or mix in elements of dub techno, dubstep or ambient techno, which has led to some confusion over ambient dub’s actual sound. While the lines are indistinct between such electronic genres, ambient dub can genuinely be discerned by its denser atmospheres, a heavier use of reverb and/or delay, and an emphasis on bass akin to traditional dub, as well as reggae rhythms.
Notable ambient dub artists include: The Dub Syndicate, Bill Laswell, Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Transglobal Underground, Jon Hopkins, Jah Wobble, Mad Professor, Burnt Friedman, Deadbeat, The Bug, Solar Quest, Ladytron and Banco de Gaia.
Dark ambient – before we leave, it’s worth a quick mention about dark ambient, a.k.a. ambient industrial. While most ambient music creates a peaceful, welcoming and safe place, dark ambient is intended to disturb. Dark ambient emerged as a post‑industrial counterpoint to the wider ambient landscape. It is characterised by an ominous, brooding, eerie, sinister and overbearingly gloomy atmosphere, often with discordant overtones, dissonant timbres and lengthy drones. Dark ambient often crops up in film scores intended to unsettle the audience and create a sense of disorientation or suspense.
Dark ambient artists include Deathprod, Agalloch, David Lynch, Throbbing Gristle, Angelo Badalamenti, Nine Inch Nails, Trent Reznor, William Basinski, Blut Aus Nord, Mortiis, Cabaret Voltaire, Dolorian, NON, Controlled Bleeding, Earth, Jóhann Jóhannsson, Sunn O))) and Steven Wilson.
STOP! Enough already! I hear you cry. We are beginning to go down a bit of a proverbial rabbit hole here, so the short list that follows suggests other sub‑genres heavily influenced by ambient and its derivatives. These sub‑genres include black ambient, ritual ambient, space ambient, space music, ambient Americana, ambient house, ambient techno, ambient trance, psybient, psydub, minimalism, modern classical, ambient industrial, tribal ambient, pop ambient, dubstep and turntable music. Phew!
Key ambient+ albums:
As with my previous article on dub reggae, it would be remiss not to mention some of the key albums that have impressed over the years. Here are some predictable and some very unpredictable selections to showcase the vast expanse of electronic ambient music as it is today. As this article has hopefully shown, ambient isn’t a clearly defined pigeon hole with unbreakable rules but rather a constantly changing complex and diverse approach to experimental soundscapes. Hence this ‘top 20’ collection is more like ‘ambient+’ (as I call it; remember, you read it here first!), intended to demonstrate the ecosystem’s multiplicity. Another ‘desert island disc’ compendium to daydream about. Again, it was a difficult decision‑making process with many excellent works that didn’t make this particular cut. These albums are all classified as contemporary, i.e. 1975 to the current day.
Aphex Twin – Selected Ambient Works 85‑92 (1993) and Vol. II (1994). Two seminal albums in the ambient genre that feature a mix of electronic and acoustic sounds. It is known for its dreamy, otherworldly soundscapes and has been described as ‘a journey through a strange and beautiful world’.
Brian Eno – Ambient 1: Music For Airports (1978). Basically, the one that started it all. Essential listening for devotees of the ambient music genre. A starting point for the many great ambient works that followed and an entrée into Eno’s many other ambient works.
Tangerine Dream – Rubycon (1975). Along with its predecessor, ‘Phaedra’ (1974), the pair stand out from the band’s extensive canon. The band had stopped using traditional instruments in its compositions and focused on analogue synthesizers and sequencers. Truly remarkable.
Max Richter – Sleep (2015). Almost 8½ hours of sweet lilting lullaby, a transcendent, cinematic, post‑minimalist ambient album of gentle music intended to be experienced as much as it is to be listened to, awake or asleep (or, interestingly, in between – a phenomenon known as ‘eyelid movies’; what the mind conjures up when one is in the transitional state of near sleep).
GAS – Pop (2000). A comforting, immersive experience and a lesson in how to make electronica sound organic and engrossing. Transcendent and transformative. A lysergic trip for your ears.
Fripp & Eno – Evening Star (1975). Combining the talents of Brian Eno and Crimson King guitarist Robert Fripp. Good to see guitar making a contribution to ambient music.
Four Tet – Rounds (2003). Not really ambient, more IDM and glitch. However, a disarmingly elegant stripped back intimate album. Perhaps, Kieran Hebdan’s landmark album.
Boards Of Canada – Music Has The Right To Children (1998). Focusing on concepts of childhood nostalgia, created by the use of obscure samples and masterly manipulated layers of sound. The album has become rather essential listening along with ‘The Campfire Headphase’ (2005) and ‘Geogaddi (2002).
Bonobo – Black Sands (2010). Lush, sumptuous and beguiling. Not ambient in a true sense but a great example of downtempo electronica from Simon Green. Also worth a listen is, ‘The North Borders’ (2013). Both also have excellent remix albums.
The KLF – Chill Out (1990). A classic ambient album that features a mix of samples and original music. It’s known for its dreamy, atmospheric soundscapes and has been described as ‘a road movie in music form’.
Stars Of The Lid – Tired Sounds Of Stars Of The Lid (2001). An album that features long, slow‑moving pieces that are built around drones and other ambient textures.
Chromatics – Night Drive (2001) – More ambient pop, dream pop and synthwave than pure ambient. Chromatics’ ethereal style was featured by David Lynch in his surreal TV series, ‘Twin Peaks’.
Burial – Untrue (2007). Enigmatic London‑based dubstep artist burst onto the scene with an album that is stark, blurred, eerie, tender and hauntingly evocative. A breath taking and inimitable event.
William Basinski – The Disintegration Loops I‑IV (2002‑2003). Four albums that feature loops of decaying tape recordings. The music is haunting and melancholic, and has been described as ‘a meditation on loss and decay’. Dedicated to the victims of 9/11. Tape music entropy as it happens, captured for posterity.
Tim Hecker – Radio Amor (2003). An album that features a mix of electronic and acoustic sounds, including guitar and piano. It’s known for its dense, layered soundscapes and has been described as ‘a beautiful, immersive experience’.
Banco de Gaia – Last Train To Lhasa (1995). Along with its predecessor, ‘Maya’ (1994), it shows the approach of Toby Marks to progressive ambient electronica. Again, not really ambient but hugely influenced by it.
Thievery Corporation – The Richest Man In Babylon (2000). Along with its remix EP, ‘Babylon Rewound’ (2004) it takes other influences including reggae and dub and brought it into the downtempo chillout world.
The Higher Intelligence Agency – Freefloater (1995). British artist Bobby Bird started off running experimental electronic music nights in Birmingham. Ambient techno meets ambient dub meets ambient. Also worth a listen is, ‘Colourform’ (2010).
Lindsheaven Virtual Plaza & SkyTwoHigh – Imaginary Pathways (2021). The final Internet album by Brazilian musician and producer, Cesar Alexandre before his untimely death due to covid. More dreampunk, ambient techno and downtempo with a hint of vaporwave rather than ambient. Blissful.
The Gentleman Losers – The Gentleman Losers (2006). Finnish brothers that take a mix of ambient, post rock, lo‑fi, dreamlike slowcore and even a hint of Americana and blend it into a strange place where one isn’t certain of what is light and what is dark.
20 Ambient+ Studio Albums
In addition, referring back to ubiquitous compilation albums of the 1990s, one of the most significant events was ‘Ambient Dub Volumes 1‑4’ by various artists (1992‑1995) – A series of ambient dub compilation albums from Beyond Records that announced ambient dub to the world. The last of the four isn’t quite up to the first three but best seen as a whole. Another name check is for the annual ‘Pop Ambient’ compilations (2001‑) curated by Wolfgang Voigt, the man behind Kompakt Records and his nom de guerre GAS (see #5 above).
The future of ambient and ambient‑related music
The legacy of ambient music in all its facets has had a major impact on pretty much everything we listen to, even if we aren’t always aware of it. The question is, where is it going?
Ambient has exhibited somewhat of a resurgence in the early 2020s. Part of this renewed interest may be because of what is called multi‑sensory branding, where media events attempt to evoke memories through stimulation of all the senses. Another reason may be the rediscovery of obscure Japanese ambient music, as well as an interest in previously experimental, niche or underground music now garnering mainstream recognition. Streaming services make accessing unconventional music much easier. In addition, the growth of interest in mindfulness and mental health & wellbeing as a ‘cure’ for stress and anxiety caused by an increasingly frenetic and unpredictable world has reinforced the search for aids to relaxation, introspection and contemplation.
One thing we’ve learnt from this escapade is that ambient and ambient+ (or whatever else you want to call it) has been pushing the boundaries ever since the start of the 20th Century. If nothing else, it will continue to explore the outer limits while influencing the mainstream.
Probably the most significant tool in the future of ambient electronica won’t even involve human beings or actual instruments! AI will make significant inroads into generative music. Ultimately, though, this is likely to be a bit of a creative dead end. The drawback of AI is that it can only learn from what has come before it, it lacks the imagination and inventiveness of the human mind. At some point, AI generated ambient will become stale and derivative and human creativity will, once again be needed to bring spontaneity and unpredictability back to front and centre of music. Go People!
Given the inherent limitations of traditional musical instruments, electronic music may, arguably, have the greatest potential for innovation and creativity. One can only imagine the possibilities yet to be explored.
While many critics view electronica as soulless, cold and inert, it is sure to develop the ability to elicit more organic, fluid emotional responses. Many artists are looking backwards to analogue instruments and production techniques to add warmth and to create beauty out of its inherent imperfections.
Genre developments can only surprise once before they become part of the historical mosaic. One possible future is that ambient reaches a point where it becomes sterile and disposable. One might envisage it derided in the way that elevator muzak has become. Arguably, a proportion of current‑day throwaway popular music is already demonstrating that bleak possibility with anything new ultimately being short‑lived around the periphery before being subsumed into universal, amorphous homogeneity.
How we will be listening to music is another factor. If music becomes more clichéd, contrived and derivative, it will become more and more dismissible, fading into the background environment. However, isn’t that exactly what Erik Satie intentionally started with back in 1917?
For some, like the author, ambient resonates with the psyche on both a subconscious and conscious level. Others, meanwhile, may find the genre melancholic or even highly irritating. Ultimately, like all music preferences, it is partly a deliberate decision and partly predetermined in some obscure way.
Personally, I have confidence that people who appreciate ‘real’ music and have a passion for creating and performing it that will perpetuate this idiosyncratic form of music into a healthy future. Once again, discuss…
Tailpiece
So… there you have it. Another lengthy (apologies) delve into a relatively narrow niche of the wondrous world of music. Back to the real world, sadly. I cannot write about things that I don’t have some sort of fascination with. Having said that, these ambient+ genres are not exclusive listening. However, they can be just the ticket when one feels like some chillaxing, escaping from reality or as an antidote to insomnia.
Why do I dig ambient and electronic ambient+ music? It just resonates with me, It creates a welcoming oasis of contemplative calm away from a crazily intense ‘real’ world and it is somewhere to go that isn’t, well, here. Nothing profound, transcendent or conceited. See you in The Matrix soon.
I have no idea what’s up next, so it will come as much of a surprise to me as it will to you. Thoughts on a postcard please.
Until next time…
CRAVE Guitars’ ‘Quote of the Month’: “If you could literally have the world, what, exactly, would you do with it?”
