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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
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
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 Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
