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Sound Ideas With Mark Wright: Urban Legend – Speaker Size
Meet Mark Wright –
No one escapes the frustration of finding the right tone and gear to meet their unique requirements. For most of us, whether touring professional or weekend warrior, it has become a lifelong endeavor. Unfortunately, the results are often prolonged as we shoot ourselves in the foot by relying too much on unfounded assumptions.
These articles will attempt to help in our personal quest as we dispel common myths, theories and preconceived notions about tone and gear.
Let’s begin by tackling one of the more frustrating urban legends: speaker size. We all have our driver of choice. Every day I hear players saying, “I only play 10’s because they’re the fastest”, “12’s are the only drivers with enough punch”, and “15’s are the only way to go because of their depth.”
Why are we so adamant about speaker size? Why do we dig in our heels so deep about what’s right & what’s wrong? The main reasons seem to stem from our personal experiences and what the current popular opinions are from other players. Of course there’s advertising, magazine articles and current trends as well. All of these combined help determine our belief system about which drivers will work and which ones won’t whether it’s reality or not.
As we filter everything through our past experiences, it only makes sense that this would become a main ingredient in forming our thinking. If every 15″ driver you’ve ever played happened to be slow, floppy, woofy and undefined, common sense would dictate that you do not like 15’s. Our experiences (for better or worse) formulate our prejudices.
What about current public opinion? As a young kid growing up, our family bought and drove Chevys. It was almost like talking politics or religion if a friend’s family drove a Ford. Them’s fightin’ words! Looking back, it seems ridiculous. I wanted to fit in, so I preached the virtues of driving a particular brand of gas guzzler.
It’s really no different today when we ask opinions on speaker size. Many players will defend whatever they have invested in to the death, even if they have never tried another size driver. No one likes to admit they didn’t make the best choice.
What’s the correct answer? It may be different for everyone, but there are certain truths that can be applied to help us understand speakers to make a better decision.
We all know that a Luthier building a custom bass can change the tone and playability by opting for a different bridge, pre-amp, pick-ups, pick-up placement, frets, neck, bolt-on, neck-through, body wood, strings, etc. This is a fact that we don’t argue with because it’s a no brainer.
In the same way, there are at least 31 plus different physical parameters, component materials and Thiele-Small Parameters that make up the characteristics of a speaker driver. A few examples are power handling, frequency response, impedance, Xmax (Maximum Linear Excursion) and SPL (Sensitivity). An array of building materials can be used for the voice coil, magnet, basket, type of cone edge, etc. Change any one of these and you’ve just changed the tone of the driver and cabinet. Most of the time more than one parameter is changed from brand to brand and model to model which makes a huge alteration.
Manufacturers have been making midrange sounding 15″ guitar speakers for skinny six string guitar players for decades. They’ve been making eight inch subwoofers for years as well. Change a little here and a little there and you can make a 15 sound like a ten or an eight inch sound like an 18.
What does this mean in real life? It’s not the best idea when attempting to solve your tone and gear problems to be so obstinate about what driver size will work for you. Not all tens are the same, not all 12’s are the same, nor are all 15’s the same. Each loudspeaker cabinet manufacturer either orders what’s available from a speaker driver manufacturer’s stock or they have them built to their custom specs. Line up 20 different ten inch drivers and they will all sound completely different.
Again, what many players say is, “I only play tens, I never play 15’s.” What they actually mean is, “From my personal experience in testing cabinets, the limited number of tens that I have played sounded better for my style of music than the limited number of 15’s.”
On a related note, speaker cabinets are actually built around the speaker driver. In other words, the 31 plus parameters of the driver dictate the cubic inches, porting size and length (ported or sealed). You can’t just stick any old brand of driver in your existing cabinet and expect great results. There are times when a different brand or model may be close enough to work, but remember these specs can be all over the place. The cabinet is built around the driver!
There are many resources online that go into more depth about speaker parameters if interested. The goal wasn’t to do an exhaustive thesis on speaker design, but to simply open our eyes to possibilities that we may not have considered. There may be other speaker sizes out there that might meet your needs better than the ones you have been so passionately defending.
Chevy, Ford? Oh, grow up.
Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away
Gear News
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Esopus Guitars Launches New Acoustic/Electric Bass…
Esopus Guitars is proud to announce the new “Tailwater” bass guitar, from legendary bass luthier Stuart Spector. This 32” scale bass is handcrafted by Stuart using the only finest woods and components at the Esopus Guitar workshop located near Woodstock NY in the Catskill Mountains.
From its fully carved spruce top (the top is carved on both its exterior and interior surfaces) with a thumb rest that is elegantly carved into the top, to its custom-made Fishman piezo pickup and super hard Carnauba wax finish, every detail of the Tailwater is part of creating the ultimate playing experience.
The Tailwater bass features a fully chambered spruce over alder body (15.5″ lower body bout width, 2.25″ body thickness measuring from the peak of the carved top) that delivers a super comfortable tonal tool for all your low-end needs.
Each Tailwater bass is hand-signed and numbered on the back of the peghead by Stuart Spector. A very limited number of Tailwater basses are handcrafted each year at the Esopus workshop.
“I am proud to present the Tailwater bass, a bass that I have spent the last three years perfecting. The Tailwater is a culmination of all of my 45 years of experience, knowledge, and passion for bass guitar crafting. I am so eager to hear what fellow musicians create with this exciting new instrument.” -Stuart Spector
Direct Pricing : $4995.00 plus options.
For more information about Esopus Guitars and Stuart Spector’s handcrafted instruments, visit www.EsopusGuitars.com.
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
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Check out our top 10 favorite basses on Instagram this week…
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Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Interview With Bassist Edmond Gilmore
Have Fret Sprout? Sharp Fret Management… a How-To Video
This Week’s Top 10 Basses on Instagram
Tour Touch Base (Bass) with Ian Allison
Interview With Audic Empire Bassist James Tobias
New Album: Avery Sharpe, I Am My Neighbors Keeper
