Interview with The Metal Magazine (France); July 2026.

The Metal Magazine: How did you come up with such an instrument?

Kevin Kastning: It was an evolutionary process. Over several years, I had gone from 12-string acoustic guitars to baritone guitars, then to a 12-string baritone guitar. That was my main instrument for a few years, and I experimented with lower and lower tunings, settling on F#, which is one whole step above bass E tuning, and a minor 7th below concert E guitar tuning. Simultaneously, I was hearing compositions for guitar-family instruments which didn’t exist. These compositions had a wider range than any guitar, were in different registers than guitar; yet they were still guitar pieces. I could compose these pieces, but there was no way to realize them, as the instruments for them didn’t exist.
I had worked with Dan Roberts at Santa Cruz Guitars, then at Daniel Roberts Stringworks in Montana US for years. Around 2009, I approached him with a concept for a 14-string instrument that I named the Contraguitar. The tuning would be based in E, which is the same as a bass tuning. This instrument was given a model name of C1 (Contraguitar no. 1). The 14 strings were arranged in seven double-courses, similar to a 12-string. The scale length was 30 inches, as opposed to a 12-strings’s average 25.5 inch scale. Within a couple of months of receiving the first Contraguitar, I knew it was very close to what I was hearing, but it needed a wider range. I worked with Dan to design a 16-string Contraguitar, and that was much closer to what I was hearing. This was given a model nomenclature of C2 (contraguitar no. 2). It was my main instrument at the time. This was around 2010, and C2 is still in use. After a year or so, I met Alistair Hey at Emerald Guitars in Ireland. Alistair builds instruments in carbon fiber instead of wood, and had an acoustic 6/12 doubleneck that he sent me. I was pretty excited about that, and asked if he could build a 30-string doubleneck instrument consisting of an 18-string Contraguitar on one neck, and a 12-string baritone on the other neck. He did a beautiful job, and that was my main instrument for about two years, and is now my secondary main instrument. The specifications of the 18-string Contraguitar were based on the 16-string Contraguitar that Dan and I had designed. For example, they had the same 30-inch scale, the course spacing was the same, etc. The nut widths on these are around 4 inches.
While I was using the 30-string, I kept hearing two 18-string parts in my head and that seeped into my compositions. Again, there was no instrument to realize these pieces. Around 2011, I worked with Alistair to design a 36-string Double Contraguitar, consisting of two 18-string necks, both in Contra register. This is still my main instrument today.

TMM: How do you tune it?

KK: For the 36, it is tuned to E contra, which is one octave below E concert guitar tuning. One neck is tuned in octaves; the other is tuned in various intervallic tunings of my own creation. This provides a stark contrast between the two necks, and results in something rather orchestral.
For the 30-string Contra-Baritone, the Contra side is tuned to A sub-contra (a fifth below E contra), and the bari side is tuned to A baritone. The Contra side is tuned in octaves, and the bari side is in an intervallic tuning. This means it has a much lower register and range than a bass, and it sounds rather incredible. I used this instrument extensively on the record, “Interchange One” with Paul Wertico.
The 30-string Double Contraguitar is tuned to E contra, but this instrument is very different in that it has six triple courses. Both necks are in differing intervallic tunings. This one is also utilized deeply on “Interchange One.’
With the exception of the Martin D-28, all my instruments are double-course instruments, with the exception of the 30-string Double Contraguitar having six triple courses and six doubles, and the 15-string baritone, which features three triple courses and three doubles.
 

TMM: Have you already played the big neck guitar? Was it the reason for creating a big guitar...

KK: If you’re referring to the Chapman Stick, no, I had not played one. As for the reason for creating the 36-string, it was born out of compositional needs.
4/Is there a country or a school where to learn that playing?
Because these instruments never existed, there was no curriculum for them. As I designed each of these multi-string instruments, I had to learn each one. Each is in a different register, has a different tuning, and varying scale lengths and nut widths as well. For example, the 36 and 30 have 30-inch scale lengths, so I had to learn how to exist on a 30-inch scale instrument. Standard guitar scale is 25.5, so it’s quite a change.
5/You just released a double album with Paul Wertico, how this project took form?
In December 2025, I spoke with Paul about a duo album project. I had been thinking about a duo recording project with drums for years, but never met the right person for that. I had a strong feeling that Paul would indeed be the right partner for this. What I had in mind was something conceptually similar to John Coltrane’s album “Interstellar Space” wherein the drums and saxophone are two equal partners in the compositions. On that record, the drums aren’t functioning in the usual timekeeping drum role or operating as an accompanist; they’re a fully-functioning solo instrument equivalent with the saxophone. I explained to Paul what I had in mind, and we immediately got on the phone to discuss. He was interested, and said yes. Recording sessions took place in January 2026, and we recorded material for two albums. “Interchange One,” the first of the two albums, was released in March 2026. “Interchange Two” is released in August 2026.
 

TMM: Do you often get demands to write project with other musicians this way?

KK: I do get invitations to work with other artists, yes.

TMM: What's your way to compose for such a project? Did he send you drums parts and you kind of played around until you get something you think will match?

KK: Paul and I both have recording studios in our homes, so we would send each other tracks for the other person to add their parts. We stayed in close contact throughout the recording process, with daily phone calls. It was not difficult for either of us to create the right parts for the other person’s parts; it all felt very natural. In fact, every track on the albums was all first takes for both of us.
8/With all the things you have written so far, how do you find creation? Would you say your playing and your instruments, help you get as many different ideas as possible?
I don't really believe in inspiration. I just do the work when it's time. In other words, I don't wait until I'm inspired for a recording session; I just book the recording dates. I don't wait until inspiration strikes to compose something; I just decide I'm going to write something that day, then sit down and do it.
There are times when I'm practicing wherein I'll accidentally stumble across something and a composition comes from it. For example, I might find a new chord voicing or inversion or harmonic structure that really speaks to me, and seems to contain a composition within itself. It's my job to capture that composition on paper or on tape; to either write it down or record it. I don't consider that inspiration; it's just part of the working process.
I have had entire compositions just pop into my head; a complete piece, start to finish. I try to write it all down before it escapes or evaporates. That for me is not uncommon at all. Yet I still do not consider that to be inspiration; it's just part of the working process. I may not be able to explain it, but I am certain that it's not inspiration.
To be able to just decide to compose something and sit down and do it is, in my case, a matter of flipping a switch. The source of the music is always there for me. I just have to turn it on and then start writing or recording. Much like a lamp. The lamp and the light bulb are always there. When you want light, you turn on the lamp. No doubt this could be better explained, but that's the best I have for now.

TMM: You are on every social media, how do you take the time to cope with those while you have a busy schedule playing?

KK: I have my website at kevinkastning.com, plus Facebook and Instagram. Those aren’t much of a time demand to keep updated.

TMM: Is greydisc your own label?

KK: Yes.

TMM: Your cover albums are very subjective, how do you release them?

KK: I am fortunate to have a few amazing artists with whom I work for the cover art. My two main people for this are Chris Friel in England, and George Korunov in Russia. Both gentleman are simply fantastic artists. The cover art is the final step in the album process. After everything is recorded, and when post-production is finished, then I can start thinking about the cover art. The music on each record determines the cover art. The art is connected to the music on that album, and needs to visually represent it or be connected to it. This is a difficult task, to find something visual that connects to or represents something audible. Chris and George both have different artistic directions, and when a record finishes in post-production, I usually know if it will be a Chris cover or a George cover. I’m very thankful for Chris and George, as they’re very helpful and supportive in the process, and of my music.

TMM: Do you hear a voice when composing your music? Would you sing on top of it?

KK: No, I don’t hear any vocal parts, and I am not a singer.

TMM: What makes you decide to change instruments? What's the catch? Tuning, sounds...

KK: That’s a good question. It’s usually register, tuning, and textures. My instruments are tuned to E contra, D sub-contra, C sub-contra, and one of the 30-strings is in A sub-contra. Additionally, none of the instruments have the same intervallic tuning. Therefore, each one is like its own world. They’re all different colors in the palette. Each tuning has its own textures, colors, fabric, and materials. The instrument I’ll use on a solo piece is either directly tied to a specific composition, was composed using that instrument, or is intended for a certain instrument, register, or tuning environment.

When doing solo works, I’ll choose an instrument based on the composition, and sometimes will select which instruments I want to use for a solo project before recording begins. When working with a collaborator, I’ll sometimes choose my instruments based on the instrument they’re playing. For example, I have a recording session next week with saxophonist Carl Clements. Carl plays tenor and soprano saxophones; as well as concert and alto flute, and various bansuri flutes. I’ll select instruments that pair well with whichever instrument he’s planning on using on a given composition. Or, I might have one of my instruments in mind and ask him to use, for example, soprano saxophone with it. On the new album with trumpetist Phil Grenadier that was released this week (“Unreal City”), I used mostly my 36-string Double Contraguitar, as it paired really well with trumpet. I think the only time I’ve used one instrument for an entire record was on Kismaros with percussionist Balazs Major. That was recorded during the 2019 European Tour, and as I used the 30-string Contra-Bari on that tour, it was the only instrument I had with me.

For the two records with drummer/percussionist Paul Wertico, I used various instruments that I felt would provide differing environments for Paul to play against. Paul also changed up his instrumentation for those records; sometimes he’d use a prepared drum kit, or his usual kit using brushes, sticks, mallets, or change out the cymbals for different pieces. When he sent me his tracks, I’d select an instrument that I felt would complement or blend with what he created for each piece.
For the “Codex” solo works album series, the instruments I use are based on not only the compositions on each record, but each record is akin to a symphony in that each piece functions like a movement, and the pieces on each record are all connected. Instruments are selected not just for the artistic requirements for each piece, but also for the overall orchestration of each record. The next records in the “Codex” series (nos. 3 and 4) are released on 7 July 2026.
I don’t think I’ve ever used the exact same combination of instruments on more than one album.

TMM: Have you got only one luthier to create your instruments? How did you find one in a the first place?

KK: No, I’ve worked with Santa Cruz Guitars in California, with Dan Roberts at Daniel Roberts Stringworks in Montana, and Alistair Hay at Emerald Guitars in Ireland. When I work with Martin Guitars, I don’t work with any single luthier there. Additionally, I work with luthier Laurent Brondel in Maine to maintain and sometimes modify my instruments.
I was introduced to Dan in 1998 by a mutual friend. I met Alistair right after he’d built his first doubleneck. I met Laurent in 2005; he contacted me after hearing my album (with Siegfried) “Scalar Fields.”
15/What's your gear? Do you use normal guitar effects?
My instruments are all acoustic, so I don’t use any effects. I am sponsored by K&K Sound pickups; my instruments all have custom stereo K&K pickup systems. When recording, it’s usually the K&K pickups and a stereo pair of microphones; currently Shure SM-81s. Many times, it’s just the K&Ks. You can read more about my instruments on my website at kevinkastning.com.

TMM: Do you have a band? Or you just play with any musicians who can bring something to your albums?

KK: No band. I am fortunate to have an incredible group of musicians with whom I work. I’m honored to work with some of the best musicians in the world for sure. I’m very grateful to all of them.

TMM: Do you play live shows like any musicians?

KK: Every few years there’s a European Tour, and I sometimes do live on-air performances for National Public Radio (NPR) in the US. I’ve cut back on concert performances in the US, as doing concerts is a large time demand, and it eats into my composing and recording schedule. I enjoy doing concerts, but my priority is writing and recording, so that’s where I focus.

TMM: Would you play in a big orchestra?
KK: I’d love to!