Testing an expensive 1960s Martin guitar didn’t impress me as much as I expected.
Fresh off the release of his fifth studio album under the moniker Bon Iver, Justin Vernon paid a visit to the BBC’s Maida Vale Studios to delve into three tracks from the new record with co-producer Jim-E Stack. SABLE, fABLE, the album released in April after a five-year hiatus, features collaborations with artists such as Dijon, Flock of Dimes, Mk.gee, and Jacob Collier, offering a fresh perspective on Bon Iver’s musical evolution in recent years. During an hour-long session with BBC Radio 6 Music, Vernon shared insights into the creative process behind the tracks Speyside, Walk Home, and the collaboration with Danielle Haim on If Only I Could Wait.
Originally introduced as part of a three-track EP in October of the preceding year, Speyside serves as a poignant and introspective ballad influenced by a phase of “guilt and reckoning” in Vernon’s personal life. He revealed an initial demo recorded on an iPhone back in 2021 and recounted his efforts to capture the essence of that recording in subsequent studio sessions: “There was something about the iPhone demo… the iPhone just has that great compression on it.”
In the early stages of production, Vernon embarked on a quest for the ideal guitar to complement the song, expressing his determination to find the perfect instrument: “I was like: ‘I’m going to go find the guitar!'” He pinpointed a vintage ’60s Martin guitar as the key choice for this significant track, feeling the need to match the music with an instrument of equal importance. However, as the recording process unfolded, Vernon discovered a longing for a distinct guitar sound that could transport the listener inside the music, creating a spatial experience where treble and bass strings enveloped the stereo field. “I wanted the left part of the guitar to be in the left ear when you put the headphones on, and the right ear has the upper part of the guitar,” Vernon explained.
To bring this vision to life, Vernon engaged guitar technician Wyatt Overman to modify the vintage Martin by opening up the guitar and installing pickups on both the bass and treble sides, each with its output. Overman, experimenting with the concept, opted to showcase the configuration on a “hideous,” modestly priced Ibanez V70CE that had been rejected by a rehabilitation center in Minneapolis due to its poor condition. Vernon found himself intrigued by the unassuming nature of the Ibanez, contrasting it with the high-end Martin he had initially chosen for the project.
Following the successful implementation of Overman’s modifications on the Ibanez, Vernon requested the same enhancements be made to his prized vintage Martin. He decided to compare the two guitars side by side, acknowledging the craft that went into transforming the Martin while appreciating the unique qualities of the rejected Ibanez. Despite the discrepancy in monetary value between the two instruments, Vernon found himself drawn to the unconventional charm of the Ibanez over the esteemed Martin, ultimately making it the instrument of choice for Speyside and infusing the track with a distinct character that resonates with listeners.