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Solo Bass 101 by Michael Manring
The bass guitar has had a pretty interesting journey in the fifty-some odd years it’s been around. Creative artists have explored and tapped the enormous potential of the instrument to amaze us with all kinds of innovations and advancements so that today it’s played with an amazing variety of styles, techniques and approaches in many, many genres. Now there’s a new vision of the bass that’s starting to take shape and develop a small but enthusiastic group of adherents — unaccompanied performance.
Given that the bass has always been thought of as an integral part of a rhythm section — perhaps the essential accompaniment instrument – this development may be a bit of a surprise. But progress in instrument design and enormous advancement in music technology have made it possible for all the subtleties and colors of the instrument to be heard and developed, and the solo format offers a unique opportunity for this extraordinary expressive capability to be appreciated.
My own experience with solo bass has been surprising and fulfilling. Ever since I caught the “bass bug” as a youngster, I loved hearing it by itself and had a feeling there was more potential there than it was given credit for. Many well-meaning friends discouraged me from getting too serious about bass as a solo instrument because they felt it was something, “No one would ever want to listen to for more than two minutes.” I was happy to pursue the more conventional role of the instrument, as that has always been just as interesting to me, but the dream of solo bass never really went away. Over the years I composed little solo pieces for myself and summoned up enough nerve to perform them whenever I could get away with it. Little by little I found myself able to do more and more unaccompanied playing and the more I did, the more I enjoyed it. At this point, even though I’ve had the good fortune to play on hundreds of recordings and in thousands of shows as an accompanist, solo playing has become the main focus of my musical life.
Much to my delight I’ve found I’m not the only person who’s got the solo ‘Jones’. In the last few years a group of dedicated bass soloists has sprung up, playing wherever they could, for whomever would listen. And surprisingly, people are actually listening. Don’t get me wrong — this solo bass stuff doesn’t have major pop stars shaking in their Doc Martens or anything — but a lot of these guys have full performance and clinic schedules and several solo recordings under their belts. In fact, a large number of solo bass oriented events have sprung up around the world and many of them are attracting respectable cult followings. At this point I think it may be safe to say we’re witnessing the birth of “Solo Bass” (with capital letters) as a kind of art form in itself as opposed to just “solo bass” (in small case) as an occasional musical oddity.
So what’s it all about? A surprisingly wide variety of music is being made on solo bass these days. Thinking of it as a “genre” or an “idiom” may not be the best choice as solo bassists come from all sorts of backgrounds from jazz to metal to folk to avant-garde. Some are “converted” guitarists, drummers or other instrumentalists who sensed in the bass something powerful and unique that could help them express themselves in ways no other instrument could. It is possible to put solo bassists into certain camps —
Some use looping technology, some are dedicated improvisers, some specialize in adapting classical or jazz repertoire. Still others are technique monsters, singer-songwriters, ambient-soundscape creators or extended range explorers going way beyond four strings, but almost all feel a kind of camaraderie that transcends easy categorizations. More and more bassists of all kinds are becoming comfortable in either solo or group roles, easily switching back and forth, making it appear that Solo Bass is becoming an integral facet of this versatile instrument.
Solo Bass actually isn’t really all that new and its roots can be traced back to some real masters. The tragically under-appreciated Colin Hodgkinson has been making absolutely amazing solo bass music since the early ’70’s. Jaco Pastorius thrilled everyone with the incredible “Portrait of Tracy” from his 1976 solo release and his live favorite “Slang.” Stanley Clarke and Jonas Hellborg did pioneering all-solo bass shows in the 80’s. Much of the original vocabulary for Solo Bass draws from the long tradition of solo steel-string guitar, solo jazz guitar and piano and even solo chamber music. It’s exciting to see how these techniques are being blended with more bass-native ways of playing to create new sounds and colors.
If you’d like to get your feet wet in the solo world but are unsure how to get started, doing a lot of listening is a good bet. Track down recordings of as many solo bassists as you can. MySpace, YouTube and file sharing are acceptable ways to find out about these guys, but if you like what you hear, please, please buy the recordings. All the solo bassists I know are hard working, independent musicians who need and will very much appreciate your support. Many of these guys are accessible through their web sites or on-line forums. Interacting and discussing can be vital tools to help build your own conceptions as well as for advancing the depth and quality of the movement as a whole. Checking out as much solo bass music as you can will give you a feeling for where the art form is going and how you might fit in, but also consider listening to solo music on other instruments for perspective and inspiration. In addition to listening, the ability to read music will give you tools for understanding and appreciating elements of music from different angles, and transcribing music you like is always useful. I think it’s wise to keep an open mind and learn all you can. The more you know, the more tools you have available to you.
We bassists are good at being the glue in a band; holding things together and making the music work from the ground up. I think that’s an excellent perspective from which to become a soloist, but it’s a good idea to build an understanding of less bass-specific musical concepts as well. Most folks agree that qualities that make for an effective solo piece include a compelling structure, reasonable variety in tone and texture, a workable harmonic/melodic sensibility, a story to tell and an original voice. But this is a new world there are no unbreakable rules, so experiment, follow your heart and don’t be afraid to pursue wild ideas if you think they might lead you to something beautiful and meaningful.
To those of us who are used to standing in the back of the stage, being not only the center, but sole point of attention takes some getting used to, so be prepared for a bit of a consciousness shift at least the first few times you stand on stage by yourself. And speaking of being on stage, it’s important to acknowledge there aren’t an overwhelming number of opportunities for solo bassists to perform, so you may have to get creative to get live experience. Open mike nights are an ideal place to try out your tunes when you’re ready to take them out for a spin. If you’re lucky and your music is good, you’ll eventually get hired to play at the venue. Doing opening sets for local bands is another good way to get out there, but if mainstream music venues aren’t biting, look for off-the beaten-track places to play. House concerts are an important and viable option these days; also consider parks, libraries, schools, and music stores — whatever will work.
It can be difficult, but persevere. There’s no substitute for a lot of live performing experience and the feedback of a live audience is always valuable.
Interest in Solo Bass does seem to be building and I have a few theories as to why it’s gaining momentum. I’ve always felt the bass has a remarkable richness of tone and expressive flexibility. Perhaps it’s that as technology has made improvements in the frequency response of our listening experiences, both live and recorded, those qualities can now be fully enjoyed. Perhaps it’s a matter of the right place and time — we’ve all heard plenty of guitar, piano, violin and saxophone — maybe folks are ready for a new voice, especially one from an instrument that was invented recently, but still has connections to older instruments and traditions. I find it an interesting trend that so many guitarists of all kinds are extending the range of their instruments downwards with tuning and the use of various kinds of baritone and extended range guitars — maybe it’s just that low is cool!
Even if you’re not interested in going down the solo road yourself, I hope you’ll consider checking out those who are. I feel Solo Bass has become an essential part of the character of the instrument and is helping to contribute to its growth, development and evolution. The variety of interpretations the instrument enjoys is a vital aspect of its appeal and depth. In my opinion, arguments about the way the instrument should or shouldn’t be played are of limited value and personally, I’m thrilled to play an instrument that’s capable of supporting so many kinds of expression — even those I don’t have an interest in following myself. As is the case with any musical movement, Solo Bass ranges in quality, but I’m consistently impressed by the creativity, energy and devotion out there. The best Solo Bass performances I’ve experienced have moved me as much as those of great soloists on other instruments or even those of great ensembles.
Where is it all going? Who knows? It may of course, be just another musical fad, destined to a short and obscure existence. But given the depth, variety and vitality of the folks I hear out there these days I’m betting Solo Bass is here to stay — and grow.
Visit Michael Manring online at www.manthing.com
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction:
The Joyo Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
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Future Impact V4 Guitar & Bass Synth Now Available in the U.S….
The Future Impact V4 is an incredibly versatile pedal with an exceptionally wide range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can also drive external synthesizer gear via the optional CV/Gate. As such, it can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Check out this short video with new sounds:
The Future Impact V4 has a completely new hardware platform with numerous enhancements, some of which are:
– 32-bit ultra-low-noise analog-to-digital and digital-to-analog converters
– New app-based software architecture
– Vastly advanced pitch tracking based on 30+ years of experience
– Hard Sync between oscillators to open new sonic worlds
– On-pedal edits that can be saved into program memories
– Total compatibility with all previous Deep Impact and Future Impact patches
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
For more information, visit online at pandamidi.com/bass-guitar-synth
Exclusive U.S. distribution by Tech 21 USA, Inc
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
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Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Gear Review: Joyo Monomyth – A Versatile Modern Bass Preamp
Luthier Spotlight: Garry Beers, GGB Basses
