Latest
Willis Takes on Your Questions
Hey Willis,
I know that you’re a proponent of the rest stroke to get that added “thump” to all the notes, but what happens when things speed up? At what point do you stop using the rest stroke? Is it some kind of tempo line that you cross?
Thanks,
Jerry
Hey Jerry,
I’m not conscious of when my hand uses the rest stroke or when it doesn’t. Of course tempo plays a part but I suppose the role of the bass also contributes. I mean, you don’t necessarily want that “thumpy” attack on every note of a solo. So your question got me to wondering what’s going on?
So . . . this is an almost creepy look at the technique that I use to play a typical solo at a tempo of 180 (Giant Steps changes):
————
Mr. Willis,
Enjoyed the new Actual Fiction. Downloaded from iTunes. Can’t find CDs that easily anymore, especially Jazz.
My question is regarding your choice of MTB. Liked the pics on your site. Also an MTBer. Currently using a Giant Hardtail though. Interested in the switch to Carbon, and rear suspension. Also good for Cross Country or do you get alot of pedal bobbing?
Regards,
Paul
Hey Paul,
Thanks for the kind words and your support of legal downloading – (try shopping at my site for the actual CD 😉
Man, I can’t imagine riding the trails I ride now without full suspension. Unless you’re a super-elite-skinny-cross-country-gram-counting-professional-racer-wannabe, full suspension is the only way to go, especially if you’re gonna spend more than a couple of hours in the saddle. My C’dale Moto is my first carbon fiber bike (rear triangle is aluminum) and it’s been flawless. My biggest surprise is how well it pedals and climbs. Most of the problems involved in rear suspension design have been eliminated in recent years with the development of platform-based rear shocks. They have the sensitivity to distinguish between pedal input and bump forces so you and the bike can power up the hills without losing energy to bobbing. I noticed that if I keep my pedal strokes smooth, I get almost no bobbing, but the cool thing is that when there’s an obstacle or small bump, the shock does its job evening out the trail and allows you to have that extra traction on technical climbs. Let me know what ride you end up with.
————
Hey Willis,
I notice you use, and Ibanez installs roundwound strings on your bass. I have always used flatwounds on my fretless (’81 Ibanez Musician) but like the brightness of roundwounds and use them on my fretted. Do you get a lot of wear on your fretboard from the roundwounds, and if so how do your deal with it?
Brian
Hey Brian,
I pretty much get no wear on my composite fingerboard from the roundwounds. One of the advantages of playing with less right hand intensity is that it allows me to have lower action. Lower action means less pressure is necessary to fret a note with the left hand. Less pressure on the string means less wear and tear on the fingerboard. For the 4-5 years I was using ebony, it wasn’t an issue then either, although you can expect the roundwounds to eventually do something to the ebony. One thing always to avoid is “pulling” on the string (bending it side-to-side) on a fretless. This is exactly not how to get vibrato and will for sure grind away the fingerboard. It’s a useful technique for fretted playing but something you should eliminate wen you’re playing fretless.
————
Hey Mr Willis,
Do you have a set of rules as in when to use the open and close position or would it be up to what feels right?
Thanks alot!
rgds,
Michael
Hey Michael,
It mostly depends on what you’re going to play next – no? 😉 (check the video above)
In teaching my right hand technique, of course, we’ve come across gray areas where it’s possible to use either open or closed. The safest thing is when you encounter something like this – learn it both ways and eventually your suggestion of whatever “feels right” will be the solution.
————
Gary,
Were you by chance ever in a band in Mannheim Germany in the 70,s with your brother.nce!
Obviously, the CIA hadn’t perfected their memory wiping hand-held devices back in ’76. Actually, it wasn’t even a hand-held, it was more like a breifcase. Anyway, by the time the rest of the world reads this, you will have been located via your IP adress and selected memory synapses will have been zapped so you won’t even remember asking this question about my non-existent brother and my non-existent trip abroad back in the 70’s.
————
Hi mr. Willis
In what way has Mile Davis influenced your bassplaying if any?
Anybody that attempts to do anything instrumental – jazz-rock-fusion-funk-avant-garde-etc. had better spend a good part of their time worshiping at the church of Miles. I mean, there aren’t many styles or genres of instrumental music that he didn’t influence heavily or sometimes outright create. As far as a direct influence on how I play, probably not, but as a global influence on the important music of the last 50-60 years – undeniable.
————
Hey Willis!
I have 2 Aguilar GS112 cabs with an Eden Traveler 550 amp. If i get another cab to make 3 x gs112’s
will my amp run too hot or is it bad to run at two ohms all the time?
manythanks
Rob
WHey Rob,
I doubt that the Traveler is rated to go down to 2 ohms. Very few bass amps are equipped to handle that load. Check the manual to make sure.
————
Hey Willis,
I have a question. First of all I’m a HUGE fan of your music and your bass playing. I just notice though, looking through the book of transcriptions of yours as well as many that I’ve done on my own, that it seems like you play almost exclusively pentatonic scales in your improvisations.
On Dominant chords like C7(#9#5) I don’t hear much of the Altered Dominant Scale (C-Db-Eb-F#-Ab-Bb-C) or the
Symmetric Diminished ( C-Db-Eb-E-F#-G-A-Bb-C) for a chord like C13(b9) . Do you purposely avoid or not like the sound of those scales?
And I also don’t hear much chromaticism in your single note lines. Is that a conscious choice? I mean what you do play is killing, without doubt, I guess I’m just kind of surprised that you don’t use other scales more. Anyway, just thought I’d ask.
Thanks,
Lucas Pickford
Hey Lucas,
Thanks for the kind words and your observations. I will definitely plead guilty to pentatonics, no lo contendre (no contest) They provide a very open sound and a great way to create energy, obviously. As far as the diminished scales (or actually scale sequences in general) true, you’re not going to find me playing them in any obvious way because, they don’t readily lend themselves to an efficient way of visualizing harmony and communicating ideas. With those diminished groupings, no matter how I reorganize the notes – most of the time, they still sound like an insertion or intrusion when I try to use them. Finally, without taking offense, I’ll have to take exception to being characterized as not using much chromaticism. Maybe it’s a function of which solo is being scrutinized.
————
Hi Gary, hope you’re well.
On the GWB 35 ramp, what do you use to raise it up, I need to prop it up about 2.5mm next to the pickup and 1mm at the neck. I’ve tried making a few wooden shims for it but they either move when they’re underneath, or just aren’t quite right. Just wondering if you had any tips or tricks for this one, thanks!
Joe
Hey Joe,
Do I know you? No, I didn’t think so. I’m well, though, thanks. OK so around here I’m called Willis (except for that guy above who had is memory wiped so that he doesn’t recognize me now anyway, just gets this funny look on his face ’cause he can’t remember where he knows me)
For the GWB35 ramp, just use some foam – I’ve found that a little 1″ by 1/2″ piece from those thin foam-rubber style yoga mats work great. Experiment – you might need a bigger piece or double thickness – but the foam will hold the ramp in position without slipping out like wood or plastic.
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
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @jermsbass @ramabass.ok @adamovicbasses @mgbassguitars @marleaux_bassguitars @overwaterbasses @mauriziouberbasses @elrickbasses @zemaitisguitars @sandbergguitars
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
