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Buzz Feiten

Howard "Buzz" Feiten is an American guitarist, , , and renowned for his versatile contributions to rock, blues, and music, as well as for inventing the Buzz Feiten Tuning System, an intonation-correcting mechanism widely adopted by guitar manufacturers. Feiten's career as a performer began in the late 1960s, when he joined and performed at the Music and Art Fair in 1969, contributing guitar to their early-morning set. He later played with on albums such as Peaceful World (1971) and The Island of Real (1972), showcasing his rhythm and skills in a rock context. In the 1970s, Feiten co-founded the group alongside keyboardist , releasing their self-titled debut album in 1972, which highlighted his songwriting and multi-instrumental talents. As a prolific , Feiten has recorded with an array of legendary artists, including , , , , on "Superwoman (Where Were You When I Needed You)," , , , and , amassing credits that span blues, soul, and pop genres. His collaborations extend to fellow guitarists such as , , , , and , often emphasizing his blues-rooted style evolved into fusion elements. In the early , he formed the band The Whirlies, whose music appeared on specials and the soap opera . As of 2025, Feiten continues to build custom guitars and perform. Feiten's innovations in guitar design and tuning have significantly influenced instrument manufacturing; the Buzz Feiten Tuning System (BFTS) employs a compensated and to address inherent intonation issues in tuning, resulting in more accurate pitch across the fretboard. This patented system is standard on all U.S.-made and basses, as well as select models from other brands, and has been endorsed by prominent players like , , , , and . Additionally, Feiten designed his own line of guitars under the Buzz Feiten Guitars brand, including the Blues Pro model, prioritizing acoustic tone, tuning stability, and player .

Early Life

Childhood and Training

Howard "Buzz" Feiten was born Howard Feiten II on November 4, 1948, in and raised primarily in Centerport on , with time spent in nearby Huntington Station. The son of a classical mother, Pauline, and an airline pilot father, Howard Sr., Feiten grew up in a household infused with music, where his mother's performances fostered an early appreciation for classical repertoire. Among schoolmates and friends in Centerport, he earned the nickname "Buzzy," a moniker that later evolved into "Buzz." From a young age, Feiten received formal training, initially focusing on the , which he studied diligently through participation in local youth ensembles. His dedication led to performances with prestigious groups, including the all-county in County and the all-state youth in . In 1966, he auditioned for the but was not admitted. A highlight of this period came in 1966, at age 17, when he made his debut at as a player with the select American Youth Performs . During high school, Feiten's musical interests shifted from classical traditions toward rock and popular music, prompting him to take up the guitar as his primary instrument. This transition was influenced by the burgeoning rock scene of the mid-1960s, leading him to explore electric guitar techniques alongside his classical foundation. He briefly applied these new skills in a local high school band, The Reasons Why, marking his initial foray into ensemble rock performance.

Initial Bands

During his high school years in the mid-1960s, Buzz Feiten formed The Reasons Why, his first musical group, on , , marking his entry into pop and . The band featured Feiten as lead guitarist and vocalist, alongside Steve Beckmeier on and Al Stegmeyer on bass, and focused on original compositions that blended pop sensibilities with emerging rock elements. Feiten adapted his technical foundation to electric instruments, contributing songwriting and arrangements that showcased the group's youthful energy. The Reasons Why gained local traction through performances at high school events and community venues across , where they honed a sound influenced by the and American garage rock bands like and . Their shift toward rock was evident in energetic live sets that emphasized Feiten's guitar solos and the band's tight rhythm section, helping them build a regional following among teenagers in the area. In the summer of 1966, the band achieved early recognition when two of their original singles, "Tell Her One More Time" and "Same Old Worries"—both written by Feiten—were highlighted in magazine's "new singles" column, noting their potential in the competitive East Coast scene. These recordings, produced independently, represented the group's commercial debut but did not lead to widespread chart success. The Reasons Why remained active through Feiten's high school period but disbanded shortly thereafter as members graduated and pursued individual paths, transitioning Feiten toward more professional endeavors.

Career

Early Professional Work

Feiten joined in 1969 as lead guitarist, replacing , and contributed to the group's shift toward a more horn-driven R&B and sound. He played guitar, organ, , and provided backing vocals on the band's fifth album, Keep on Moving, recorded that year and released on . The album featured tracks like the title song and "Love March," showcasing Feiten's versatile contributions to the ensemble's evolving blues-rock fusion. With the Butterfield band, Feiten performed at major festivals, including the Atlantic City Pop Festival on August 2, 1969, where the group delivered a set amid a lineup of acts like and . He also appeared at the Music and Art Fair on August 17, 1969, playing during the early morning slot, highlighted by his solo on "Everything's Gonna Be Alright" in front of an estimated 400,000 attendees. These high-profile gigs marked Feiten's emergence on the national stage at age 20. In 1970, Feiten transitioned to (formerly The Young Rascals) as lead guitarist, joining after the departure of founders and , and contributing to the band's experimental phase blending , and . He played on their eighth , Peaceful World (1971), a double on featuring his guitar work on tracks like "In and Out of Love," which he also wrote. Feiten continued with the group for their ninth and final studio , The Island of Real (1972), providing guitar, ARP synthesizer, and compositions such as "Jungle Walk." During 1969–1971, Feiten toured internationally with both bands, including European dates with Butterfield that broadcast live from , honing his improvisational skills amid diverse audiences. These experiences fostered his stylistic growth, transitioning from raw phrasing to more intricate, groove-oriented playing suited to ' psychedelic direction.

Major Collaborations

Buzz Feiten established himself as a prolific session in the 1970s, contributing rhythm and to landmark recordings across rock, , and genres, amassing over 100 credits by the . His early freelance work in led to pivotal sessions, including on Bob Dylan's (1970), where he provided supportive textures during Dylan's shift toward more optimistic songwriting. Similarly, Feiten appeared on Aretha Franklin's (1970) and (1977), delivering soulful guitar lines that complemented Franklin's vocal prowess in live and studio settings. In the early 1970s, Feiten's versatility shone through his contributions to Stevie Wonder's innovative albums (1972) and (1972), where he played guitar on tracks like "Superwoman (Where Were You When I Needed You)" and "Looking for Another Pure Love," blending blues-inflected leads with Wonder's funk-soul arrangements. This period marked Feiten's growing reputation as a reliable "gunslinger" in the studio, capable of adapting to diverse styles, from the jazz-infused grooves on Tom Scott's Street Beat (1979) and Desire (1982) to the eclectic pop-jazz of Rickie Lee Jones's self-titled debut (1979), featuring his nylon-string acoustic and electric work on hits like "." Feiten also toured and recorded with , notably on Voyeur (1981), where his rhythmic interplay enhanced Sanborn's alto saxophone-driven fusion sound. Throughout the 1980s and 1990s, Feiten's session style evolved from blues-rooted R&B toward sophisticated -rock , reflecting his immersion in Los Angeles's competitive studio scene alongside peers like and . His reputation for delivering creative, quick ideas solidified his role in pop, rock, and projects, including live performances and recordings that bridged genres, such as his guitar work on Sanborn's live sets captured in Casino Lights (1982). By the late 1990s, Feiten extended this expertise to the Band, serving as lead guitarist from 1998 to 1999 on albums Rhythm of the Soul (1998) and (1999), where his blues- solos added dynamic energy to Weckl's high-energy during tours and recordings.

Solo and Band Projects

Buzz Feiten's debut project as a leader, the 1972 album , marked his entry into fusion jazz-rock, where he served as guitarist, primary songwriter, and co-producer alongside keyboardist . The album blended soulful vocals, funky grooves, and instrumental jams, drawing on Feiten's influences from and to create an accessible yet sophisticated sound that highlighted his fluid guitar phrasing and compositional skills. Released on Douglas Records, it featured contributions from musicians like saxophonist Gene Dinwiddie and drummer Philip Wilson, emphasizing Feiten's vision for a group dynamic that integrated rock energy with improvisational elements. In 1980, Feiten co-formed the Larsen-Feiten Band with , releasing a self-titled album on Records that shifted toward a smoother pop-jazz style, reflecting their session work experiences. Feiten took on roles as co-leader, , and key songwriter, penning tracks like "Who'll Be the Fool Tonight" and "Danger Zone," while co-producing the record to achieve a polished, radio-friendly aesthetic with sophisticated progressions and melodic hooks. The project showcased Feiten's artistic direction toward commercial viability without sacrificing instrumental depth, incorporating elements of adult contemporary and that influenced later acts in the genre. Supported by bassist and percussionist , the album underscored Feiten's growing control over band arrangements and production choices. Feiten continued his leadership in the with more introspective and varied projects. The Whirlies album, released in 2000 on the Ulf label, was a personal endeavor where Feiten acted as bandleader, handling guitar, bass, , and production duties while writing or co-writing most tracks. This and blues-infused work explored themes of love and introspection through vocal-driven songs, such as "Break Down These Walls" and "Fire in the House of Love," which gained licensing for TV shows like , demonstrating Feiten's focus on emotionally resonant songcraft and multi-instrumental arrangements. Building on his earlier fusion roots, Feiten revived the concept with Buzz Feiten & the New Full Moon in , a release on Dreamsville Records subtitled Full Moon Second. As leader, songwriter, and , he directed a blend of , , and reminiscent of the 1972 original but updated with contemporary production and guest musicians like bassist Freddie Beckmeier. Tracks like "A Little More Hope" and the tribute "Hey Dinwiddie" highlighted Feiten's reflective artistic evolution, paying homage to past collaborators while asserting his enduring voice in fusion-oriented songwriting.

Innovations

Tuning System

The Buzz Feiten Tuning System (BFTS), invented by Howard B. Feiten in , is a patented for improving intonation on stringed, fretted instruments like guitars and basses. The system addresses inherent tuning discrepancies arising from traditional fretboard designs, which assume constant string tension but fail to account for variations when strings are fretted. Feiten's approach, detailed in U.S. Patent No. 5,955,689 granted in 1999, introduces precise compensations to align pitches with even temperament, ensuring more consistent tonality across the fretboard. At its core, the BFTS compensates for intonation issues rooted in the "Rule of 18," a Pythagorean-based formula for fret placement that overlooks how string tension increases near the nut, causing low-fret notes—especially the first few—to sound sharp relative to open strings. To counter this, the system repositions the nut approximately 0.020 inches closer to the bridge for steel-string electrics (or 0.047 inches for nylon strings), effectively shortening the vibrating length at the first fret and flattening those notes without altering open-string pitches. Bridge saddles are then adjusted using specific tempering offsets—ranging from -3 to +4 cents at the 12th fret, varying by string (e.g., -3 cents for low E, +1 cent for B)—to fine-tune for string-specific tension differences and achieve equal spacing in even temperament. This dual adjustment ensures that all notes, from open strings to higher frets, align harmonically, reducing pitch distortion caused by non-uniform tension. The system has been licensed to select guitar manufacturers, including , where it became a standard feature on U.S.-made models, and , which incorporated it into production lines for enhanced intonation stability. These partnerships allowed the BFTS to reach broader production scales, with authorized retrofitters worldwide now installing it on existing instruments. Professional adoption of the BFTS has been widespread among session musicians and recording artists, who value its ability to minimize tuning inconsistencies during live performances and studio tracking. Notable users include guitarists such as , , and , as well as bassists like Stu Hamm, who report improved chord voicing and elimination of low-register notes that plague standard setups. By promoting balanced even temperament, the system enhances overall playability, making complex progressions sound more cohesive without constant retuning.

Guitar Designs

In 2012, Buzz Feiten founded , a dedicated to manufacturing and marketing solid-body electric guitars that incorporate his patented tuning system for enhanced intonation accuracy. The initial lineup included five models—the Blues , T , Signature Elite, Classic , and Elite —each crafted with unique combinations of tonewoods and hardware to deliver distinct acoustic profiles suited for professional musicians. In 2018, the company rebranded as Buzz Feiten Guitar Research, emphasizing innovation in instrument design and tuning technology while maintaining production of high-end guitars. Under this name, it launched the series, featuring models like the Supernova Classic, a Les Paul-inspired solid-body with a 24.75-inch scale length, two PAF-style pickups mounted on a resonant 1/2-inch plate for improved sustain and punch, and a wraparound bridge integrated with the Buzz Feiten Tuning System. The Blues Pro, another key model, employs solid body construction topped with , a 25.5-inch scale, and a hybrid pickup configuration (typically two humbuckers with an optional middle single-coil) to provide versatile, resonant tones ideal for and . Buzz Feiten Guitar Research produces and markets electric guitars, basses, and acoustic guitars, all equipped with the built-in tuning system to address inherent intonation challenges and ensure consistent playability across the fretboard. These instruments prioritize solid-body designs for electric models, focusing on tonal clarity, stability, and ergonomic features like contoured necks and premium frets. As of 2025, the company has evolved into a research-oriented entity, licensing its tuning system to leading manufacturers such as Washburn and Suhr for broader adoption in production instruments, while continuing to offer custom electric guitars and basses through specialized retailers.

Discography

As Leader

Buzz Feiten's debut as a leader came with the self-titled album Full Moon by the band Full Moon, released in 1972 on Douglas Records. The album blended jazz-rock fusion with R&B influences, featuring Feiten on guitar alongside keyboardist Neil Larsen, drummer Phillip Wilson, and others; key tracks included "Malibu" and "Midnight Pass" by Larsen, and "To Know" and "Need Your Love" by Feiten, with the group effort "Selfish People" showcasing extended improvisations. It received positive notice for its energetic fusion style but remained a cult favorite due to limited distribution. A live recording, Full Moon featuring Neil Larsen & Buzz Feiten, was released in 1982 on Warner Bros. Records, capturing performances of tracks like "Phantom of the Footlights" and "The Visitor," highlighting the band's chemistry and Feiten's guitar work in a more polished yacht rock vein. In 1980, Feiten co-led the self-titled debut Larsen-Feiten Band on Warner Bros. Records with , emphasizing smooth pop-R&B with undertones. The album featured eight tracks, including the hit single "Who'll Be the Fool Tonight" (co-written by Feiten, peaking at No. 29 on the ), "Danger Zone," and "She's Not in Love," produced by and featuring session players like on drums. It was well-received for its accessible grooves and Feiten's melodic guitar lines, achieving moderate commercial success and solidifying the duo's collaborative dynamic. Feiten's later leadership efforts shifted toward instrumental . Whirlies, released in 2000 on Dreamsville Records, was a solo project where he handled guitars, bass, and production, exploring eclectic textures with tracks emphasizing his versatile playing. The album marked a departure from vocal pop toward experimental -rock, though it garnered limited mainstream attention. This evolution continued with Buzz Feiten & The New in 2002 on Dreamsville Records, a tribute to the original Full Moon featuring updated takes on classics like "Hey, Dinwiddie" and new compositions such as "Zamba" and "Little Sister." Feiten led the ensemble on guitar and vocals, incorporating modern elements while honoring the 1972 , receiving praise from circles for its nostalgic yet fresh approach. In 2008, Feiten released Buzz Feiten With Special Guest Brandon Fields on Dreamsville Records, blending smooth jazz with guest saxophone from Fields on tracks like "Hey Dinwiddie," "Little Sister," and covers such as "Danger Zone." The album highlighted Feiten's leadership in a contemporary fusion context, focusing on groove-oriented instrumentals. No further leader credits have been documented through 2025, though historical coverage may be incomplete.

As Sideman

Feiten's career as a spans over five decades, encompassing more than 176 album credits as a across genres including , , , and pop. His contributions often featured work that added rhythmic drive and melodic texture to ensemble recordings, establishing him as a versatile session player in studios during the and beyond. In the 1970s and early 1980s, Feiten collaborated with prominent soul and rock artists, providing guitar on key albums. He played on Aretha Franklin's (1970), contributing to the album's gospel-infused sessions at . Additional Franklin projects included (1977), where his guitar supported the singer's R&B explorations, and (1981), featuring his rhythm and lead parts on tracks like the title song. With , Feiten's enhanced the innovative funk-soul sound of (1972), notably on "Superwoman (Where Were You?)," and (1972), including the hit "You Are the Sunshine of My Life." For , he delivered on (1970), aiding the folk-rock revival with subtle fills on songs like "The Man in Me." During the 1980s and into the 1990s, Feiten's sideman roles shifted toward jazz and adult contemporary, working with artists who blended improvisation with polished production. On Rickie Lee Jones's self-titled debut (1979), his guitar underpinned the jazz-pop hit "," adding buoyant rhythms alongside on drums. He continued with Jones on The Magazine (1984), providing on tracks like "The Real End." For , Feiten's appeared on Taking Off (1975), contributing to the saxophonist's early outings, and Voyeur (1981), where his tone complemented Sanborn's alto lines on "Let's Just Say Goodbye." With , he played on Street Beat (1979), enhancing the saxophonist's smooth jazz grooves, and Desire (1982), including the live-recorded track "Sure Enough." In the late 1990s, Feiten joined the Band as lead guitarist for their albums Rhythm of the Soul (1998) and (1999), delivering solos and ensemble parts that fused , , and world rhythms on tracks like "Access Denied" and "The Zone." These recordings highlighted his improvisational prowess in a high-energy group setting with drummer , bassist Tom Kennedy, and keyboardist Jay Oliver. Feiten's sideman discography remains extensive and partially undocumented in public databases as of 2025, underscoring his enduring impact on over 100 projects.

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