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Willis Takes on Your Questions : Ask Willis
Hi Willis,
I watched your Setup Advice video (at www.ibanez.com/Feature/willis) and noticed that some of the statements you make are contradictory to those given in your Setup Instruction Manual:
‘”to set up the intonation on a fretless, you have to make a decision of where you want your finger in relationship to the fret line, to be in tune. Pretty much most people do it dead centre.
I learnt the hard way that even though I prefer my finger here [indicating behind the fret line], it creates problems up and down the neck: it makes it more difficult to play in tune. You’ll have an easier time playing in tune if you set it up dead centre”. I personally find it much harder to play in tune if a bass is set up this way: for me, the necessary compensations don’t come naturally the way they do when I play as if I have frets (of infinitesimal height). It would be very helpful if you could explain how you came to decide to set the instrument up so differently, presumably quite recently.
Niklaus
Hey Niklaus,
It’s true about the discrepancy between the recent video and the older setup manual but I haven’t changed how I intonate my bass. A couple of years ago when Ibanez decided to hand-build the GWB1005 using master luthiers, it was an opportunity to rethink the design and I was determined to see if I could solve the problem. I did a lot of experiments – relocating the nut, moving the bridge – etc. The final result was that if you want to use the lines on a fretless as a reference, then you’ll get the most consistent relationship by intonating the bass with the line directly in the center of your finger. At the time (some 20+ years ago) I was still switching between fretted and fretless and I was determined to try to take advantage of the muscle memory that I had built up by playing fretted just behind the fret, so I intonated the fretless the same way. What I didn’t realize is that it throws off the whole scale length of the fingerboard and creates the inconsistencies. Around that same time, I had noticed a company called Novatone making swappable magnetic fingerboards that had the lines on a fretless with independent lines for each string with lots of variations in the fret lines from string-to-string, so I assumed that these discrepancies were normal. So I taught myself the wrong way to play in tune and have been doing so ever since.
As for your own inclination to compensate for this kind of setup – well, if it ain’t broke . . .
But if you’re just starting out, make it easier on yourself and put that line down the middle!
_________
Hey Willis,
Just to say first that I have been using the light touch along with your 3 finger technique for quite a while and I love it.
My band is always recording stuff in a home studio and every time I record some bass lines (I go direct to the interface) some there is always the problem that there isn’t much volume output from my bass (passive). I love the sound of the pickup that I’m using, and to be honest I don’t want to play hard (I don’t think I’m playing too soft) or use a preamp (at least the ones I tried colored the sound too much). A friend said to go for a bass booster before the Audio/MIDI interface. What do you think of that, any other suggestion?
P.S. Triphasic rocks man
take care
Franklin
Hey Franklin,
A passive bass will have to go through some kind of preamp to get the level high enough for recording. It’s true that preamps can color the sound. Most interfaces have a mic-pre that will get your level up high enough for recording. These don’t usually affect the sound that much – and unlike a regular bass preamp – since they don’t offer any EQ and there’s less chance of altering your sound. I’ve gotten good results with TC Electronic’s Studio 48 and before that I was recording with Apogee’s Ensemble.
_________
Hey Willis
I’ve been a fan for a long time and have adopted your right hand technique and many of your other tips and tricks over the years.
With that said, I’ve watched you play many times and have always commented on how well you utilize/capitalize on how you traverse the fretboard with your left hand.
Do you have any suggestions/exercises on moving to different positions on the fretboard? I ask this because when I have transcribed some of your music and then see you play it later on I notice that your fingering is usually different (more economical) than mine.
Peace and good grooves,
Gerry
Hey Gerry,
That’s actually kind of a trick question – My vocabulary for bass is built on how I look at the fingerboard. Which is explained in glorious detail in my Fingerboard Harmony for Bass book. So how I visually organize the fingerboard influences the possibilities for the ideas I have access to. So, I have been able to maximize what’s available under my hand but moving to different positions is what helps to keep things from feeling static. One important aspect of this visualization is to develop the ability to immediately “see” what’s in the next position up or down the fingerboard. One of the most obvious ways I try to get people to work on this is to limit yourself to 2 strings. Even if I’m only using 2 strings, my hand is “seeing” the underlying harmony as it moves. So there’s a method to arriving at these positions but getting to where you can use them fluently involves more than just a few exercises.
_________
Hey Willis,
What program do you use for video?
Also , you run Logic Pro onstage… right?
What audio interface do you use while on stage?
Deveran
Hey Deveran,
For video I use Grand VJ by Arkaos running off a Mac Mini.
Onstage I use Ableton’s Live 8 on my MacBook Pro. A dedicated midi track in Live gets sent through an Ethernet connection to the Mini.
I use Logic Studio and Final Cut Studio at home for Audio/Midi and Video production.
At home and on stage I use TC Electronic’s Studio 48.
_________
Mr Willis,
A while back I had opted out of ordering your “sure grip” machine heads while waiting for my bass to be built.
Now I am ready to purchase; however, I can’t seem to find them anywhere. Is my only option ordering the whole set of tuning machines from Ibanez?
(Part #2MH1GWB23B)
Any assistance is greatly appreciated.
Banden
Hey Branden,
The individual (knobs-only) packages are no longer available.
The options available now include the machine head:
2MH1GWB23K complete set (2-left, 3-right)
2MH1GWB23K-L for the left side
2MH1GWB23K-R for the right side
_________
Hey Willis,
Im a regular two finger-pluckin player. I’ve spent a lot of time working on my right hand alternation, muting etc. Its become almost an obsession of mine, the whole point being that I want to be the boss of my fingers and not the other way round, it bugs the hell out of me when im trying to play a difficult(for me) line and my right hand just starts doing its own thing. I need help, I know. What I keep coming up against is a simple little thing: when I play a descending line that starts with my fretting-hand pinkie my right hand wants to pluck the first note with its middle finger, and whenever I start a line with my FH index the right hand will pluck with its index. Now I know that maybe my Mom dropped me on my head when i was a baby, but please tell me that this is a natural reflex? Or if you had to overcome this obstacle at some point while developing your technique?
Thanks,
Steve
Hey Steve,
Good to hear that the right hand is almost an obsession. Honestly, I’ve never run into this specific problem of right hand mutiny: LH 4 causes the RH middle to start or LH 1 causing RH 1 to start. It’s true that as soon as anyone starts concentrating on the left hand, their right hand will revert to what ever it’s learned. I would say that you should probably be a little more scientific in training your right hand. And definitely slow things down while you’re at it. The only way to change learned subconscious motor skills or create new subconscious motor skills iis to slow thing down and make everything hyper-conscious. Try playing everything you normally practice (slowly) but using strict alternation: Start everything with only 2 or vice versa. Since you’re only dealing with 2 fingers on the right hand, you should teach yourself the option to start everything you know how to play with either finger – and continue be obsessively scientific about it.
_________
Hi Willis,
Do you make your own straps (as described in 101 Bass Tips)? If not, is there an off-the-shelf strap you would recommend?
Do you think strap design matters very much?
Niklaus
Hey Niklaus,
I do make my own straps and still use the one pictured in the 101 Bass Tips book. I’ve been talking with Planet Waves about developing an adjustable version of the strap from the book. Hopefully it will eventually become available. Meanwhile, I’m not aware of anything that’s manufactured with that much width. The extra width definitely helps distribute the pressure so, to me and the people that have tried and made their own, it definitely helps.
_________
Hi Mr. Willis,
I just wanted to ask you, what type strings you use on your fretless bass.
I just ordered a set of Labella ” Deep Talkin’ ” Black Nylons for a 1994 Ibanez SR506TT (you were the feature artist in that 1994 Ibanez catalog cut for it) that I converted to fretless. I didn’t want to put an epoxy coat on the fingerboard, because I wanted that natural wood sound. I think, but I am not sure, that the fingerboard is ebony, it is very hard and brittle like ebony but I am not sure. I have a set of Labelle on my string bass (made in Germany in1823) and was just what your thoughts were on string selection as a professional player might be.
Thanks
James
Hey James,
If the fingerboard actually is Ebony, then you can get by with using roundwounds (if you’re carefuly about your setup and technique) without a finish.
I use D’Addario XL’s (.045, .065, 085, .105, .135-tapered) and the finish on my GWB1005 is ebonol (synthetic)
_________
Hi Gary,
I’ve got some questions for you. I didn’t see on your last videos the Roland GK-3B. Don’t you use it? I have also a Roland V-Bass.
Thanks
Attila
Hey Atilla,
It’s definitely there – but I think it looks much nicer now. I’m using the Graphtec’s Ghost System. It uses piezoelectric saddles and the rest of the internal are tucked away inside the bass. The VB-99 has a setting now for piezoelectric saddles to accomodate this kind of system.
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
