When it was recommended that I check out the new system, at first I was only slightly curious. 

It wasn't yet clear what it even DID, and I knew a lot about guitar tech already. Because it wasn't an effect or attachment to an instrument - defining it was hard, because it's limitation that helps us create a definition. It seemed this system had very few of the limitations we were used to... 

When it arrived, I began to work with it. This was absolutely a new vista. On Day One it was a new guitar thing that I had never seen or heard before. It was already familiar, having all the same guitar stuff I grew up using - only more. We were not limited by some glass-ceiling of old '60s pickups and pedals and amps. I had always dreamed of playing MY guitar, the way I spent thousands of hours practicing - but having a world of new sounds and colors that really still played like that guitar. Guitar synthesizers and layers of pedal effects don't do that.

I wanted to sculpt and shape the response and sound of the guitar like a woodworker, or machinist, or a recording engineer does. I wanted guitar response that was under my design, how long, how smooth. How sharp and how floating the sound would be. I wanted it to follow my fingers, like setting the action or strings or neck shape. To shape the sound while I was playing - which is why we love guitar so much: Picking dynamics, bending strings, muting - all really fast and musical interactions that have become the (limited) guitar vocabulary. Finding that this system could translate my existing musical gestures - and create new ones - this was instantly something I could use. 

Like many, I love playing the old stuff, blues and rock - things that sound really good on almost any guitar. But we started creating beautiful jazz tones AND plucky banjo sounds from the same guitar; I was interested. It seemed like it had different bodies, different resonances, different physical characteristics that used to mean owning different guitars. 

Honestly, the very first day, we came up with a beautiful, soft and musical sound that I'd never heard before and only imagined. Now, it was possible. It still played just like a guitar. For that one sound alone, I would have been happy to buy a new guitar, just to get a single quality sound that nothing else could do. (This is why guitarists often have an acoustic, a 12-string, a hollow jazz guitar, a twangy country guitar, and a variety of electric body and pickup designs. Each brings a new sound - which inspires new parts, new songs, new ideas.) 

The Field guitar does all these and more, because it can make things happen that are physically impossible on a regular "electric guitar". I will be spending weeks and months designing new "instruments" with it: Those classic sounds, maybe new variations on those traditional ideas, or completely new concepts in guitar. "Guitar synthesizers" never really took off. Too cumbersome, too "in their own world" and often didn't even work well. But this is the closest thing - the ability for me to sculpt and shape things with the power of a recording engineer or synthesis. 

The Field Guitar System is truly a game-changing set of new principles - a powerful and raw "tool set" that any guitarist can use to find their voice.

I'm David Catching at Rancho De La Luna Recording Studio in Joshua Tree, California.

I'd like to thank the visionary team at Field for allowing me the opportunity to be amongst the first participants in enjoying the incredible and seemingly endless wonderment of the integrated guitar.

Within an hour of meeting these immensely creative and wonderful humans and setting up their equipment, they were taking my most strange and seemingly impossible requests at what could be achieved with their unique and quite revolutionary guitar, and within minutes had it performing these tasks with ease.

The music world hasn't had this kind of innovation at our fingertips in decades, if ever.

And as soon as these magnificent devices are available for everyone to enjoy and invoke the limitless possibilities it possesses, a new realm of exciting and stimulating potential will be unleashed.

Thank you, Thank you Field.

I had the chance to test this guitar prototype last year, and it was a genuinely inspiring experience. What stood out most was how fun and intuitive it felt to explore the technology, especially the hands on, physical aspect of controlling and shaping sounds in real time, which added a whole new layer of expression to playing live. It’s clear that the team behind it is deeply passionate and fully invested in bringing this vision to life, and that gives me real confidence in their ability to push through challenges and deliver a refined, solid product.

As someone who’s spent years recording, producing, and performing at a high level, I’m always looking for tools that actually push creativity forward, not just replicate what’s already out there. What Hans has built genuinely stands out.

This isn’t just an experimental instrument, it’s a powerful production tool. It opens up textures and workflows that feel fresh, immediate, and inspiring in a real-world studio environment. That’s rare.

I’ve worked across a wide range of sounds and setups, and I can say with confidence this has the potential to become part of how modern records are made, not just something niche, but something artists and producers will actually reach for.

I’m an artist and musician. I’ve done a lot of soundtrack work for film and TV as well as immersive sound installations and experiences.

What’s exciting me about this guitar is that you can take a lot of the power and beauty of the guitar, but you can contextualize it and open it up to new ways of interpretation, new ways of integration. It just opens the instrument up in a way that makes it feel, to me, completely new. Even though the guitar is so ubiquitous everywhere.