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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.
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
