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Willis Takes on Your Questions
First, an update from last issue’s question from Nick about wrist problems and mountain biking. I recently put Avid Elixir CR’s on my Cannondale Moto and wow what a difference. These are better than anything I’ve experienced.True 1-finger lockup and the least amount of tension on my wrists and hands that I can imagine.
Check it out:
Hey Willis,
You I noticed that you’ve started your own YouTube channel and there’s a couple of 3-finger technique exercises. Do you have anything for 4 string, or could you upload something? I’d like to see your basic string crossing exercise but for a 4 string bass.
Thanks,
Nathan
Hey Nathan,
I’m uploading your answer as I type.
Yeah, It’s not happened as quickly as I would have liked but my plan is to answer the type of question you’ve asked and also to take requests (as long as they don’t violate YouTube’s Community Guidelines 😉
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Hey Willis.
First, I have purchased all three of your instructional books: 101 Bass Tips, Fingerboard Harmony for Bass & Ultimate Ear Training. I enjoy 101 Tips more than the other two. The question is are all the examples of Key-Finger-String in the Fingerboard Harmony book written for a five string bass? Some of the finger locations really don’t make a lot of sense to an old guy who has only seriously been playing bass for a couple of years.
Thanks,
Joe
Hey Joe,
Speaking of an old guy, I don’t remember . . . Let me look it up . . . Nope, there’s no Key-Finger-String positions for the B string, so it’s all four string. One thing that might be confusing is that there are some K-F-S positions used for 2nd finger on the D string. This will make sense if you remember how the 2nd finger position connects to the 4th finger position below. On a four string bass, you have to imagine the root of that 4th finger position starting on a B string even if you don’t have one. The same thing happens on a five string bass with positions on the A string so don’t feel like you’re being discriminated against;-)
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Hey Willis,
I’d like to know what your amplification rig was for the Progressive Bassics” Video. Were you using 15’s back then? I remember reading that you were blowing 15’s on tour with Tribal Tech around the time you discovered the Eden 10″ drivers. Now you are using Aguilar 12’s. Does this represent a compromise between the sound of a 15 vs. a 10 and if so, why?
Jordan
Hey Jordan,
That rig was a Carver power amp, probably a Yamaha bass preamp and cabinets that I built myself or JBL cabs with an almost identical design. My 15″ cabinet design was basically a big speaker in a shallow box so it had a lot of definition but didn’t move that much air, but at least you didn’t hear the sound of the box that much. Most 4×10 designs use a bigger box tuned to move more air and sound bigger than 10’s naturally do. While the 12’s weren’t really an option with most manufacturers at that time, 10’s were really starting to become popular and I had much better success not blowing speakers.. Then I played Aguilar’s 10’s until I heard their single 12. I had the fortune of participating in Aguilar’s evaluation process and as soon as I heard it, I knew it had the “throaty” quality I was looking for that didn’t come from any combination of speakers or cabinet size I’d heard before. So it’s definitely not a compromise, but to me, pretty much an ideal speaker.
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Hey Willis,
I’m going crazy with DVDs, books, online information. No teacher locally. WHAT SHOULD I PRACTISE? AHhhhhhh….
How do I gain the right focus?
How do I know if I’m making any progress?
All I want to do is play really really well :>)
Hey Anonymous,
IWhy is it that every one of these questions so far is making me feel old?
OK, back in my day, we didn’t have this internet thingy and this humongous warehouse of information, video, music and instruction only a few clicks away. So pardon me if I don’t sympathize too much. Still, I suppose the glut of choices might make someone feel frozen and not know which direction to go. In a way, I still feel lucky that I never had an electric bass teacher. For that reason, I feel like I’ve had success teaching people how to teach themselves. (which is what I had to do) You do have your own learning process, but maybe you haven’t zeroed in on it yet. Also, you have to realize that everybody is on their own schedule so don’t worry about comparing yourself to the latest young bass-stylist-flavor-of-the-month. Try focusing on the learning process that you’re using. Do you enjoy it? Do you feel free to create exercises for yourself? Do your ear and imagination play an important part in the learning process. If you can answer yes to all three of these questions and throw in some discipline while you’re at it, you’ll be well on your way to making progress. Stay with it long enough and you will play really really well. Now get out of my yard, you kids!
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Hey Willis,
To me, the ramp is the most important advance in electric bass regarding playability since bass body shapes became contoured for us beer lovers. Adjustable
ramps are only offered by your bass and other high-end boutique manufacturers (Fodera, etc). Have the Ibanez guys thought of including ramps in other models, or expanding your signature series to fretted and 4-, 6-string basses? Please, answer yes and end my suffering.
Thanks,
Miguel
Hey Miguel,
Your’e a genius! Why didn’t I think of that? “The Beer Ramp” Wait . . . OK, nevermind
So the answer is kinda yes but mostly no. I am able to personally offer a fretted and/or left-handed version of my signature bass, but 5 string only. Several years ago, I was shown a 4 string Willis prototype but the extra manufacturing/labor cost of including an adjustable ramp on less expensive basses doesn’t add up. The competition in the low-end and mid-level instrument market is intense. Maybe you could start a grass-roots, internet-signature-collecting kind of movement:
Yes we can. . . have a ramp on every bass . . .
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Hey Willis,
I am 20 years old and I started playing a couple of years ago. Although I am happy with my progress in general, I have one persistent problem that has always remained.
Whenever I hold a chord, be it a two note, three or four note one, I cannot hold it for more than 10-15 seconds without this shooting pain in the muscles between my left thumb and index finger (I’m right handed)…this was a problem I faced while playing guitar as well (albeit to a lesser degree). I have tried all sorts of hand positions, but that pain doesn’t seem to go away, or it comes later. Are there any adjustments I could make to my left hand technique to reduce the pain or delay it?
Thanks a lot,
Arunabh
Hey Arunabh,
OK, first thing to do is stop playing those 3 and 4 note chords! That’s what keyboard players and computers are for! (guitar players just wanna solo and could care less about chords)
Now, the next place to start is the setup of your bass. There’s information on my site about setup (it’s kind of dated but still works).
Once you’re sure that the bass is set up with the lowest action you can have without buzzing. The next equipment consideration is the height of the nut. Compare how much the string moves when you fret a low F and while it’s fretted, press down the F#. Look to see if there’s a lot more movement when you only press the F. If there’s a huge difference, then your nut is too high. This can be addressed by a luthier or yourself if you’re comfortable with acquiring and using the right tools.
Once those two things are accounted for, then we can consider your technique.
This would be taken from a chapter in my 101 Tips for Bass book.
Repeatedly play a C on the A string but center your left hand finger directly between the frets – on top of the dot.
Continue repeating the C and gradually lift your finger until you hear it buzz. Observe how much pressure is necessary to keep the note from buzzing. Probably less than you normally use, no?
OK, now move your finger up the string until it’s almost on top of the 3rd fret. Do the same thing – repeated C’s and gradually lift up until it buzzes. Keep alternating – buzz/clean to see how much pressure is actually necessary to keep the note from buzzing. I expect you might be surprised how much more pressure you might be using than necessary.
Two things to remember – first, you’re probably using a lot more pressure than necessary to keep your notes from buzzing. Second, if you maintain a very accurate placement of the left hand fingers so that they are in contact with the fret – it will require even less pressure. Less pressure should equal less to no pain – I hope. Also remember, fewer chords on bass equals more gainful employment.
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
Check out our top 10 favorite basses on Instagram this week…
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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.
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 15 Edition – This Week’s Top 10 Basses on Instagram
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
