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Applied Techniques With Igor Saavedra – The Path for a Proper Bass Sound Part 2
Meet Igor Saavedra
The chain is only as strong as its weakest link……..
In the last issue we covered links 1 to 7 on this Path for a Proper Bass Sound. Now we will look at links 8 to 14 in order to finish this saga.
8 – The Bass Head
This is a very complex and simple link at the same time, but a very important one indeed. In order to be able to decide what type of bass head you need, it’s crucial to consider many factors such as price, power, size, noise/signal ratio, if it has an input attenuator, overload and clipping leds, the Eq type (Graphic, Knob, Semi parametric, etc), contour filters, if it has a balanced line output or just regular 1/4 connector, and if it also has level regulation for that specific output signal so that we make those level modifications just for the sound engineer without affecting our levels. It’s also important to consider if the bass head has a ground lift to avoid annoying noises that show up once in a while, and a “pre Eq” or “post Eq” selector to choose if the signal that we are going to send to the mix board is going to be affected by our Eq modifications, or if it’s going to be a neutral signal. Always try to use speakon connectors for the speaker outputs of your bass head. This is even more important for high current amplifiers that once in a while can send a deadly voltage into the metal ¼ connectors that in some circumstances can burn your fingers or even injure you if you are touching them, and your other hand is touching the ground. I know what I’m saying here because this happened to me once in a sound check and I did have to cancel that concert. Finally, also consider if this bass head is rack mountable or not.
9 – The Effects
For this link in particular we must apply the concept of “less is more”, so we have to be very cautious with how much of the effects we’re going to add to the signal. There’s nothing worse for our sound. Don’t fall into “abusing them”, instead of “using them”. It’s good not to forget that 90% of the time we are playing a “supportive bass” role, so the amount of effect must be very subtle.
For me, there’s nothing better than an analog effect, and I’ve had the best digital effects available on the market. Regarding compressors, if you are not prepared to spend a big amount of money on that, let it go, because there’s going to be a huge chance that this is going to harm your sound instead of helping it (same for wireless systems).
10 – The Eq concept
This is one of the “non technological links”, but requires a lot of experience. The best advice I can share on this link is to equalize “around 0 db” (especially on graphic equalizers), otherwise we will just be increasing or decreasing the gain with a potential overload or “underload” of the input signal. It’s also good to be clear on which Eq bands are related to specific notes in order to increase them or decrease them based on our taste.
11 – The Bass Cabinet
The biggest headache of a bass player is here, but what to say, we love them, and we want them big, and looking good, but mostly, “powerful and good sounding”.
The best wood for a bass cabinet is usually plywood, but new materials are coming out and very specific MDF’s are gaining terrain over plywood with the benefit of their ultra light weight. The proportion within the cabinet’s measurements is really very important. And not just the total internal volume, because maintaining the same internal volume is not the same with a deeper than wider cabinet, instead of a wider, deeper one, or a higher and wider cabinet, etc. Be sure to check that out.
It’s also important to consider the air vents and their size, or no air vents. Plastic accessories and their proper installation are important too, because if their quality is low, they will have a tendency to vibrate and loosen. The connectors are very important as well. I prefer using speakon connectors as much as possible. Finally, where to place the cabinet will make a huge difference in the sound. Obviously a cabinet placed on the ground will sound much deeper and will give a fuller sound to the bass frequencies, with less high or mid presence than the same cabinet placed higher on a table, or a chair.
12 – The Speakers
The so called “Output transducer” is one of the most important links on this chain, and one of its weakest points at the same time due to the fact that this link is the exact moment where the electric energy is transformed into mechanical energy, and this means there’s a huge loss of the original information. The game is about loosing the least amount of information as possible, so a poor quality speaker will definitely terminate any possibility of getting a good sound.
I will mention some of the characteristics you have to consider in order to be able to choose a bass cabinet properly:
1. Cone diameter (5″, 8″, 10″, 12″, 15″, and 18″)
Believe it or not, it’s proven that a vast amount of small diameter speakers within a cabinet will reach much lower frequencies than just a single 18 inch cabinet. So be sure to try everything, and pay attention to the sound.
2. Cone material
The list of materials is huge, and each of them will have different sound properties…Polypropylene, Aramid, Kapton, Kevlar, HCL, Cast aluminum and of course Paper which is the warmest.
3. Magnet material (Mostly Ferrite and Neodymium)
I would like to mention that regarding electric bass speakers, neodymium magnets have been slowly replacing ferrite magnets, mostly because of their awesome light weight and good sound.
4. Speaker power
Don’t be under the impression that “the powerful the speaker the better for you”. For example, a 200 watt amp going into a 2000 watt speaker will sound horrible. The reason for this is that a 200 watt amp will not even tickle a 2000 watt speaker because its stiff suspension is designed to start moving only with really high signals, so the final sound will have almost no low frequencies. For a 200 watt amplifier, a good 350 watt speaker will be just perfect.
13 – The listener… Oh, that means… YOU!!
Many times I’ve heard crazy things like “I always leave the bass knob a 12 pm., the mid bass at 10 Am., and the mid high at 2 pm. and the treble at 3 pm—that sounds really good”.
The only thing I will say here is that “There is no fixed equalization for the instrument that will work for every circumstance, so you must consider where you are playing—open space, concert hall, arena, only one wall behind the stage, only one wall in front of the stage, 4 walls, material of the walls and the roof, etc. And most important, you must pay attention and LISTEN to your sound in order to make the necessary adjustments considering all this factors.”
14 – General gear maintenance
Let’s say we’ve already considered and applied the information of all the links in this saga. Many of them will be useless if we don’t do any maintenance on our equipment. In realistic terms, it’s good to be conscious of taking care of our cables. Avoid pulling the cable wire—grab the connector. It’s good to keep your instrument clean, and in dry places with a medium temperature. Keep the strings clean as well, and to avoid cleaning them too often, it might be wise to wash your hands right before playing. Always keep your tools handy—Allen wrenches, screwdrivers, cutters, pliers, etc. If there’s a slight problem with your instrument before going on stage, your sound could be affected.
Finally, always carry ear plugs; they are “a must” for any serious professional bass player. Their use is mandatory for high volume concerts.
That’s it for now my friends. Don’t miss the next issue where we’ll talk about how to approach the teaching/learning process on electric bass.
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.
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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
