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”
Welcome to the 50th monthly article and the inevitable end-of-year roundup and a look back at the last 12 months. As usual with retrospective roundups, it’s a time for lists and reflective hindsight. As one year ends, another is about to kick off, so it is also an opportunity for a tentative look forward. I hope all readers had a great 2018 and have the opportunity to look forward to a positive 2019.
Overall, 2018 was a very difficult and challenging year for CRAVE Guitars. I’m not about to go into personal circumstances; suffice to say that it was immensely testing and an experience I never want to repeat. That said and out of the way, let’s get onto the end‑of‑year summary.
2018 departures:
As is forlornly inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2018 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals this year). Rest in Peace and forever rock the big stage in the sky. Sad losses over the last 12 months include:
‘Fast’ Eddie Clarke (Motörhead), on 10th January, aged 67
Danny Kirwan (Fleetwood Mac) on 8th June, aged 68
Alan Longmuir (Bay City Rollers) on 2nd July, aged 70
Ed King (Lynyrd Skynyrd) on 22nd August, aged 68
Otis Rush on 29th September, aged 83
Pete Shelley (Buzzcocks) on 6 December, aged 63
Plus, there were many notable non-guitarists who are no longer with us, including:
Dolores O’Riordan (The Cranberries) on 15th January, aged 46
Mark E. Smith (The Fall) 0n 24th January, aged 60
Aretha Franklin on 16th August, aged 76
While nothing to do with music, I also wanted to mention that the great granddaddy of comic books, Mr. Marvel himself, Stan Lee passed away on 12th November at the age of 95. We also lost one of the world’s foremost scientists when Stephen Hawking died on 14th March, aged 76.
2018 arrivals at CRAVE Guitars
This may come as a bit of a surprise but, in the background, there were actually a number of music gear purchases during 2018. Normally, I would have covered these under ‘New In at CRAVE Guitars’ articles during the year as they happened. However, with the ‘Potted History of the Guitar’ series dominating the output, coverage of their arrival got side‑lined. Depending on how things pan out in early 2019, I may give the new arrivals a bit more of a deserved coverage. In the meantime, here is a flavourless list of what came in over the last 12 months.
Gear purchases:
Guitars (4)…
1971 Fender Bronco
1978 Fender Musicmaster
1989 Gibson Les Paul Standard
1988 PRS Standard
Guitars 2018
Amps (1)…
1978 Fender Champ
1978 Fender Champ
Effects (12)…
1980 BOSS CE-2 Chorus
1986 BOSS PSM-5 Power Supply & Master Switch
1970s Colorsound Swell (volume pedal)
1998 Electro Harmonix Small Stone Phase Shifter (Russian)
1999 Electro-Harmonix Big Muff p (Russian)
1980 Electro-Harmonix Zipper Envelope Follower
1981 Ibanez AF-201 Auto Filter
1981 Ibanez GE-601 Graphic Equalizer
1983 Ibanez SD9 Sonic Distortion
1976 MXR Phase 45
1980 MXR Six Band Graphic Equalizer
1960s VOX Volume/Expression
Effects 2018
Plus… 3 pedals were also replaced during the year:
1979 BOSS PH-1 Phaser
1982 Ibanez AD9 Analog Delay
1975 MXR Blue Box
Effect Replacements 2018
The last two years of planned and unplanned purchases seems to indicate that CRAVE Guitars is increasingly specialising in 1960s to 1980s gear. The 1960s are getting increasingly expensive for me, hence the lack of recent purchases from that particular decade. The 1970s and 1980s are often seen as an unpopular period for vintage guitars, so… for me, that’s a very good reason to focus on this period and prove the naysayers wrong. There are plenty of VERY good guitars to be had from both the 1970s and 1980s. The spotlight still accords very closely with the principle of ‘Cool & Rare American Vintage Electric’ Guitars, so I’m happy with that as a modest ambition. I’m still not running it as a business, so it is still very much a not‑for‑profit enterprise about conserving the heritage for the future.
I haven’t sold any guitar equipment this year, as is perfectly normal with a deep‑seated guitar‑affliction. However, the plan is that if planned plans go to plan, I will be selling some equipment to reinvest in the heritage, either by trading up to older/better guitars/amps/effects or perhaps just getting something new and unanticipated. Watch this space…
2018 Live concerts (2):
2018 was a sparse year for live music, so the list is short…
BST Hyde Park (The Cure, Interpol, GoldFrapp, Editors, Slowdive, The Twilight Sad, Pale Waves)
Looe Saves The Day music festival (various)
That’s it. Still, better than nothing at all.
2018 Album releases purchased (20):
2018 has proved relatively moribund at times and searching out great new music seemed harder than it should have been. There was, though, a diverse range of music from all sorts of genres. I’m always looking for cool new music to sit alongside the greats (and not so greats). Quality is variable, which is to be expected in this day and age, but there is much fun to be had discovering music both old and new, good and bad – after all, how do we recognise the greats if we don’t have the rest to compare them to? Here are the new albums from the last 12 months gracing CRAVE Guitars’ iTunes:
Courtney Barnett – Tell Me How You Really Feel
Black Label Society – Grimmest Hits
Buddy Guy – The Blues Is Alive And Well
Confidence Man – Confident Music For Confident People
Gaz Coombes – The World’s Strongest Man
The Cure – Mixed Up (Deluxe Edition – original standard release in 1990)
Editors – Violence
Tommy Emmanuel – Accomplice One
Ghost – Prequelle
Goat Girl – Goat Girl
Jon Hopkins – Singularity
Lance Lopez – Tell The Truth
Low – Double Negative
Nightmares On Wax – Shape The Future
Dan Patlansky – Perfection Kills
The Prodigy – No Tourists
Ry Cooder – The Prodigal Son
Shame – Songs Of Praise
Various Artists – This Is Trojan Dub (reggae)
Wilko Johnson – Blow Your Mind
Plus… Black Stone Cherry – Black To Blues (E.P.)
These weren’t the only purchases. They are only the 2018 album releases – I also bought quite a few albums from previous years, not included above.
Social Media
Over the last 4 years, CRAVE Guitars has posted almost 29,000 posts on social media. On 12th September 2018, CRAVE Guitars reached (and exceeded) 4,000 followers on Twitter (4,515 at the time of writing), which has taken an immense amount of hard work doing the research and building up reputation and credibility.
A big shout out to everyone who has shown an interest in the lighter entertainment side of CRAVE Guitars’ social media output. THANK YOU all! In addition to Twitter, CRAVE Guitars also has guitar‑related content on Google+, Facebook, LinkedIn, Instagram, YouTube, Pinterest, Flickr and Tumblr. Check it out.
Here are some genuine comments from Twitter followers that made me think that all the effort has been worthwhile…
“I love Crave Guitars !!!”
“… there are many who greatly appreciate your expertise and your encyclopaedic knowledge around your calling. Thank you for sharing your passion.”
“… thanks for the inspiration CRAVE Guitars.”
“Thank you for sharing your knowledge & all the beautiful guitars”
“… you post great stuff. Thanks, makes my day”
Plus… there are the usual dicks that populate the various platforms. They go with the territory I guess.
Over the year, CRAVE Guitars has showcased guitars by over 200 different guitar manufacturers working hard every day and from around the globe. The brands covered range from the famous global brands right down to individual luthiers who you may not have heard of because they make very small numbers of guitars in home workshops. I will continue to highlight the diverse range of craftsmen and women, all of whom deserve exposure in today’s highly competitive and challenging economic climate.
‘A Potted History of the Guitar’ Articles
The ‘Potted History’ series of articles took over the blog in 2018, using up 9 of the 12 months, leaving little room for other ramblings. Still, it was different from previous years and probably unlike future ones too. Variety is good.
During the year, I got some really nice unprompted testimonials on the series, so a big “Thank You” to everyone who read the blog articles and made all the research and writing meaningful. In addition, I learned a lot from doing it too. Here are some genuine comments received – thanks for your feedback…
“Thanks a million for the personal gift of your writing and pics of gorgeous guitars… You’re cool. Thanks!”
“Brilliant article, I have learnt so much.”
“Really epic article.”
“Finally read the whole series yesterday. You should turn this into a book… It was certainly worthwhile, one of those reads when you’re sorry when it ends. Hat off to you Sir for the effort.”
The ‘Potted History’ was originally intended as an entertainment piece for those that might have an interest in the general subject matter, while also having enough detail for the keen enthusiast but not so dry that it would only appeal to the clinical expert (whimsically described as ‘someone who knows more and more about less and less’). It wasn’t a forensic academic thesis, so it may not have had the requisite degree of nerd‑fodder for some. I didn’t allow comments on the articles, as I simply couldn’t cope with the interaction needed to respond to them properly.
In order to make the series more accessible and coherent, I may try to turn them into a feature on the web site. I don’t have the resources to publish them as a ‘book’, so that seems the best format, at least for the time being.
CRAVE Guitars Web Site
The CRAVE Guitars’ web site has, unfortunately been neglected this year and has hardly been updated at all, a failing that really needs to be rectified. About 15%-20% of the content needs something entirely new and about another 60% of it warrants considerably updated material. In most instances, most of the basic feature narrative has already been written and just requires finessing and the time to do it. New photos are needed for around 50% of the guitars but that requires them firstly to be relocated to ‘here’ and secondly, many of them will require essential refurbishment after a prolonged period of storage. That’s before I even begin to think about creating exciting new and creatively different ways of doing things. It’s all on the ‘to do’ list for 2019.
CRAVE Guitars Website
[Deleted] Whinge
Now that the web site is generating a lot more traffic and social media is picking up, I am getting overwhelmed by [deleted] idiots deluging my CRAVE Guitars’ e‑mail inbox with [deleted] spam and other [deleted] rubbish. I don’t [deleted] care who the [deleted] you are, if you are not interested in Cool and Rare American Vintage Electric Guitars and you are just trying to sell me your [deleted] rubbish, I will not even acknowledge your pathetic [deleted] existence so, if you [deleted] are stupid enough to read this, you know who you are, [deleted] stop wasting my life you [deleted] [deleted]. I have one very short message to you all, [deleted] off!
*Insert your profanities of choice to suit.
Home renovation
As 2018 was an extremely difficult year, no progress was made on converting the dark, damp and grotty cellar into a safe and secure home for CRAVE’s guitars. Most of the other serious structural work has, however, now been completed, so improving the cellar is the next major job on the priority list, funds permitting of course. Converting the cellar into a ‘guitar room’ is still an intention, so maybe in 2019 some headway can be made.
Looking forward to 2019
Overall prospects for 2019, sadly, look even bleaker than for 2018 with little in the way of ‘light at the end of the tunnel’. Quite what this means for CRAVE Guitars, I have no idea and, frankly, I do not wish to speculate. I will, however, endeavour to continue as long as possible and trust that things will one day turn around.
On a more positive note, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2019? This coming year, I will once again have to go for something modest and realistic on a tight budget. I don’t expect to get what’s on the list but, just for the sake of putting it out there, it includes…
Guitars:
1960s Danelectro (no specific model)
1970s Fender Stratocaster
1960s Gibson Melody Maker (type 3)
Effect Pedals:
1970s Electro-Harmonix Bad Stone
1980s Ibanez PT9 Phaser
1980s Ibanez TS-808 Tubescreamer Pro
1970s MXR Micro Chorus
Amps:
1970s ‘silverface’ Fender Princeton (with or without reverb)
I may have to sell one or more existing bits of gear in order to fund any purchases in 2019, which looks like it’s going to be another financially challenging 12 months.
Perhaps more importantly, many of the guitars in the ‘collection’ have been stored with a close friend for far too long while I got our act together. I am hoping that the ones that are not already here may get repatriated very soon. Even if the cellar may not be ready for them yet, the intention is to bring them home and reunite the ‘family’ again early in 2019.
Music
For 2019, I have managed to secure tickets to see Bob Dylan and Neil Young co‑headlining at Hyde Park in London for July 2019, assuming that it will be possible to go. I’ve seen Neil Young before, and very impressive he was too, but this will be my first time for Bob Dylan. The pair may be rock’s ‘old guard’ but it should still be a unique event worth witnessing.
There are no specific albums that are eagerly anticipated for 2019, so let’s just see what happens.
Musings
Much depends on capacity and resources but I am still contemplating an appropriate companion piece to the ‘Potted History’ series for 2019. All will, I hope, be revealed at some point in the New Year, ceteris paribus (but I’m not committing to exactly which New Year!). Such endeavours take up an incredible amount of time and effort. Is it really worth it? I really don’t know and it is probably not up to me to judge. The prospective audience is very limited, not only in total numbers who might read and get something from it but also whether it is pitched at the right level on the right medium to make it popular.
Conclusion
So, that just about wraps it up for another year of CRAVE Guitars’ enthusiastic and obsessive approach to conserving underdog vintage heritage guitars and generally promoting the world’s favourite instrument. It was, on the whole, a [deleted] year but one has to remain thankful for what one does have and make the most of it. Wishing you all a healthy and prosperous 2019.
If you and I are still around and still interested in 12 months’ time, why not pop back this time next year to find out if there’s been anything noteworthy to report.
I really ought to spend more time playing guitars, so perhaps it’s time to pick one up and make some noise. Until next time/next year…
CRAVE Guitars ‘Quote of the Month’: “What is so wrong about believing that peace, love and music are essential ingredients for ensuring humanity’s successful future?”
