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Willis Takes on Your Questions
Meet Willis –
Hey Willis,
I am very impressed by the sound of your bass on all of your recordings (I am, also, very impressed by your playing and musical ideas). Although I am usually turned away by effected and processed sound, you seem to have perfected it in company of your playing, appearing less processed than the keys or guitars and cutting through the mix as a solid, almost analog sound. The sound is less raw, but the playing isn’t.
Even with Lale on the Timeline release, you allow certain rawness in for specific and intentional sounds, while otherwise excluding it to highlight your ideas. I want to know how you get your sound so clean, rounded and isolated. Your playing style is light, but rarely can I hear your hand movements along the strings and neck, unless it is intentionally included and appears focused into the mix. How do you manage this with the volume up, and especially with bright, new-string bite? I continually battle against the sound of the string hitting the fretboard & the sound of my hand dragging along the strings. When recording, I usually mic my bass amp and use a direct signal from the amp or go direct from my bass, but I still have trouble removing the fret, fretboard and string surface sounds. My sound ends up very edgy and raw but detracts from my ideas and can blur rhythmic phrasings and note definition. I have, also, read about your use of the Roland V-Bass, and have been impressed by its versatility.Would you please advise me of your setup, from bass to cabinets to mixdown (as appropriate), including whatever accessory technology you employ and how & why you use it in conjunction with your playing style and desired sound…? Also, Is the elimination of hand sounds from the mix primarily from your playing style or from manipulation of the signal? Please advise me as to how this is achieved.
Thanks Willis, your time and contribution to bass are much appreciated
Matt
Hey Matt,
Thanks for the kind words and observations.
It’s true that I turn up and play very light. Most people that pick up my bass when it’s plugged in are surprised at how loud the volume is.
The first thing I’d recommend is that if your strings are hitting the fingerboard, you’re still playing too hard.
A couple of things are at work here. One is that because you play too hard, you have to keep the action of the bass higher. When the strings are higher, they require more left hand pressure. This left hand pressure becomes apparent when shifting – as well as cutting down on mobility.
Another thing I’ve discovered an almost direct relationship between playing hard with the right hand and squeezing hard with the left. If you squeeze hard with the left, then you’re pretty much guaranteed to make more sound when you move your hand around.
Another element at work is my right hand 3-finger technique. I keep my thumb and 3rd finger on the strings at all times. This give me an “anchor” (although that’s a bad word choice since it implies pressure) for feeling my way around the right hand duties. Since I try to keep fingers on strings at all times, it’s much easier for me to keep strings and noises quiet.
Finally, the ramp on my basses (that I’m starting to see a lot of other players use) also serves to keep your fingers ready to play with exactly the amount of finger necessary to get the sound you want, but prevents playing to hard.
For recording, I never use a microphone. I always record direct to the converter. For Slaughterhouse 3 is was Apogee’s Mini-Me. For Actual Fiction is was the Apogee Ensemble and I used TC Electronic’s Studio Konnekt 48 for Triphasic’s Shaman. Always having the direct sound recorded as well as a separate track for effects gives you the option to go back and make changes – either in what I played or the sound of the effect. I’ll listen to the effects to monitor when I’m tracking but I’m not stuck with a particular effect mix since the dry track is still available. I’ve used a really wide range of effects for recording, starting with Roland’s V-Bass, all the processing available in Logic Studio, as well as sometimes TC’s G-System and Native Instrument’s Guitar Rig 2.
Finally, the elimination of hand sounds comes from my playing style. The loud volume of the bass (relative to how others approach volume) does have the benefit of a really fat sound and low action but definitely requires a some kind of system from the right hand to keep things quiet. In taht respect, I suppose I was lucky to not have a bass teacher. Curiously, the very first thing I did with my right hand when I got a bass (13 years old) was to put thumb, 1,2 & 3 on the string to keep them quiet.
________
Hey willis!!
As a student of the bass (grade 5) which of your books should i study first:
Ultimate ear training, or fingerboard harmony?
I dont want to study them the wrong way round.
Many thanks and best wishes
Rob
Hey Rob,
I didn’t know there were grades of bass study. (maybe this is strictly a UK phenomena – since your email originated from there)
Even if you already have a great ear – I would definitely start with Ultimate Ear Training. Having a great ear, doesn’t necessarily mean that it’s connected to the fingerboard. It might just mean that you excell in the testing environment. Establishing that connection from your ear to the fingerboard will serve you the rest of your bass playing days, no matter what you’re doing. The Fingerboard Harmony book is a little more advanced and serves as kind of a global foundation for when it’s time for you to choose how you want to play over chord changes. (fills, grooves, solos, walking, etc).
________
Hey Willis,
Another outer fringe bassist here with some technical questions regarding setting up downloads from your host site. I admire how you’ve incorporated instant pay and download mp3s on your site, and I’m looking to do the same with mine. I’ve looked into a bit of Paypal’s developer partners, but I’m curious to what back end service you use to have your listeners pay via Paypal. If you wouldn’t mind, could you shed a little light on the subject?
I enjoy your work, and I find your treatises on the current music business model enlightening.
Thanks for all that you do.
– Benjamin
Hey Ben,
Thanks for the kind words and for noticing integrated download system. It’s actually a combination of 3 things. It begins with Vibralogix LinkLok for PayPal . A PHP system that works with PayPal’s instant payment notification process. The interface is a Flash component package that I customized called PPCC – and although its website is defunct, the flash code and components still work to communicate with the Vibralogix PHP. The audio portion is something I adapted from an article by Drew Maclellan called Flash Satay which prevents audio from continuing to download if it’s not currently playing.
…while the system has worked pretty much without incident, a recent hosting switch has resulted in empty downloads for some users – a problem that seems to be related to a bandwidth limit that I haven’t had time to troubleshoot – still, users get their link emailed to them. I use the same hosting company for triphasic.net and it works fine there…
________
Hey Willis!
First of all I want to send thanks for doing all that wonderfull music!
Most of musicians that I want to thank to are dead so I’m glad you are still alive and hope, doing well :)..!
I have a question about bass that I will buy finally.
I am wondering if it is possibile not to put epoxy on fretboard of Ibanez GWB35 bass and still have it in a perfect condition?
I have no expirience with ebonol and as it is man made material I susppect that it is not wearable?
By the way, I use roundwound strings.
Thank you very much for your answer and continue being creative.
Many greetings
Andrej,
Hey Andrej,
I’m quite pleased to know that you appreciate my not being dead – and thanks for the kind words, and I’m doing fine, thanks.
The ebonal material is quite durable. I have had zero problems with wear on my fingerboards and only use roundwounds. The only compensation that you need to keep in mind when playing a fretless is to avoid the old (fretted) way of getting vibrato by pulling on the string. This grinds the string across the fingerboard and will eventually cause wear. Obviously, because there’s no frets, you should get your vibrato by moving your hand and fingers paralell to the string.
________
Hey willis,
So… i already started to integrate the 3 finger technique and i can say that 95% precent of the time i play i use it
(although i had a realy realy difficult time to switch…)
By now im starting to feel it was all worth it…
Except when i mute the strings with the right side of the hand …and then i find it extremely diffiult to play with the ring finger ..let alone to keep it on the next string..
i checked some video’s and it looks like you are using your thumb as an alternating finger..
(of course i can be wrong)
i would appreciate if you could explain on the matter..
thanks
Uri
Hey Uri,
Glad to hear you’re taking advantage of that 3rd finger.
Actually, I don’t use the 3rd finger that much at all when I palm mute. It will stay resting on an upper string and play the occasional note but I use a LOT more thumb than 3rd finger while I’m palm muting. Unless something is kind of fast, I’ll stick with Thumb, 1 & 2 (not in any particular order) and generally stay on the B, E and A strings. If something’s faster or needs playing on the D string then I’ll add the 3rd finger.
________
Hey Willis!
Im wondering why there is a drastic price difference in your signature basses..Is there that much difference in sound and quality?
Jerry
Hey Jerry!
The prices are deceptive on both counts. The GWB35 has a great sound that I’ve performend and recorded with and its quality is great considering its ultra-affordable price. Obviously, the GWB1005 sets the standard for tone and craftmanship that to me represent the “perfect” bass – hard to put a price on that but considering it’s hand-built, owners have consistently reported they’re worth every penny.
________
Hey Willis,
First, thanks for taking the time to answer questions from us and your website is excellent. I’ve been working on learning theory and walking over standards for a few months. I know that’s an important part of jazz bass but soloing is another part. I’m not sure at what point would be appropriate to start. Ergo, I ask, when should someone start working on solos?
Thanks,
Black Dog
Hey Black Dog,
i would hold of on the soloing a little longer and first spend a good bit of time learning melodies. First of all, melodies help “glue” a song together for memorizing and for associating ideas with harmony. After you’ve learned to play a dozen or so melodies, go back and start learning how to interpret them. Learn how to make them different that what’s on the page. Learn how to make variations (changes in rhythm, pickup notes, phrasing) and carry those through so each succesive idea so that playing the melody becomes more personal. Melodies are great target ideas for development. Learning how to interpret melodies will give you a great head start on how to interpret your own ideas when you start to work on soloing. (big emphasis on the “idea” part of soloing) To me, interpreting and developing an idea is the key to communicating when your soloing.
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
