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Ask Willis: Willis Takes on Your Questions
Meet Willis –
Hey Willis,
I was in Vitoria and I saw your shows with Triphasic. Congratulations . I was surprised by your show and music.
I’d like to ask about which program you use for video editing and the show live.
And for your Triphasic logo screensaver ?
I have a macbook pro 13′.
Thanks a lot
See you soon,
Manel
Thanks Manel,
I use Final Cut Pro for editing and Arkaos Grand VJ on stage. (I use a MacBook Pro 15″) The lettered logo is from the Shaman CD artwork illustrated by Oriol Malet
http://www.oriolmalet.com/portfolio
The blue background is from a pack of video loops from jumpeyecomponents.com. The triangle shape is a simple mask from a black and white jpeg and composited as a “difference” layer. It’s continuously looped throughout the whole show on an iPod Touch and I switch to it as necessary with the Roland/Edirol V-8 video mixer.
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Hey Willis,
First of all, let me say, that I’m a great fan of your playing. you’re certainly my biggest influence when it comes to fretless bass and I appreciate your very profound approach to the bass. I’ve got the GWB1 model and lately one of the neck screws seem to have worn out the corresponding hole in the neck. It ighten it for as long as I can and it won’t go tighter. Now i’m afraid that the bass hast lost stability/tone/sustain and I have since not assembled the bass again. What would you recommend I should do?
Furthermore, the neck pocket on the GWB1 seems pretty loose. On both sides of the neck joint, there’s a slight space between body and neck. I’d like to hear your point of view on bolt-on necks here because I heard that it doesn’t matter if the neck joint fit is tight. The more important thing is, however, that the surface of the neck joint that touches the heel of the neck has to be very tight because that’s where the vibrations are being transmitted.
Would you say that is correct?
greetings from germany,
Flo
So has it definitely lost sustain or do you just suspect it? Anyway, the first thing to do is fix the screw hole. Take a toothpick and trim a centimeter or so off of it and place it in the hole. Mark the length and trim it so it sits in the hole but doesn’t stick out. You could probably insert a 2nd piece as well. This should fix the stripped wood and get the screw to working again.
For the neck joint itself, I haven’t had the opportunity to experiment a lot. However, with Ibanez, we did try a prototype with a glue-in neck. Everything else about the bass was the same. When I first listened to it I though the pickup was defective or something because the output was about half. It turns out that the bolt-on neck joint is kind of a “black box” of technology that nobody has been able to definitively figure out. Still, something about having a less-than-perfect contact between the neck and the body gives it the ability to resonate the way we want it to.
It also makes sense that it’s more important that the back of the neck makes good contact with the neck pocket. And that the sides are likely not as important.
Let me know if fixing the screw hole makes a difference in sustain or (acoustic) output.
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Hey Willis
I’m trying to learn Say Never from Actual fiction and transcribe your solos.
And i just wondered how you think when you improvise over the Eb69 and the Db69 part of the progression.
Håkon.
Hey Håkon,
It’s a fairly simple progression (for the readers: all 69 chords |: Bb C | D Bb| //// |Bb C |D Bb| //// |Bb C |D Bb |Eb Db| Bb //// :|)
Since the chords keep moving – getting your ideas out of one particular sound helps. For the Eb and Db part there are a couple of things that work. Bb minor (dorian) will be correct with both chords, although you probably are aware of my aversion to thinking about scales. Another thing that works is Cmi pentatonic – works naturally for Eb and give you a #11 over the Db. I try to approach improvisation like a language so I usually do better the less I think. To speak a language fluently means you have to think about it so much that it becomes subconscious – but that’s an answer for another question.
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Why does your signature bass have a string spacing of 16.5mm? I had your signature bass (older one, made in Korea), what a great bass!!
David
Hey David,
I think it was for the production year of 2004 that the bass was manufactured in Korea and the basses from that run were outfitted with a different bridge that had the slightly smaller string spacing. ‘Turns out I preferred the 16.5 and we switched back to that when production returned to be hand crafted Japan.
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Hey Willis,
I have had the GWB1 for nearly a year (got it second hand) in Flat Black finish and lemme begin by saying that I totally love it! I play rock/pop covers and the use of fretless in a rock context gives me a different approach to things that I’m sure fretted bassists don’t have. It’s my only bass, by the way.
I’m curious to know why your new GWB1005 series isn’t offered in black or the corresponding fretted versions. For the former, is it due to the thicker finish’s effect on tone? And for the latter, is it just due to demand and supply?
Thank you for your time!
Sincerely,
Yong Xi
Hey Yong Xi,
Good to hear that the bass is working for you in those diverse situations. The Flat Black finish is on the GWB35 – so that’s probably what you have. The GWB35 is made with a basswood body. Basswood doesn’t have much of a grain to look at so a clear or stained finish just doesn’t work. It’s true that painting a GWB1005 would require extra sealers and finish that would compress the tone quite a bit. But, I can special order you a fretted version of the
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GWB1005 (only available through me) . Send me another email and I can give you the details.
Hey Willis,
What is the decision process for using extensions like a 9th, #11, or a 13th instead of a regular 7th chord? Is there voice leading involved or is it more a matter of a “denser” chord? I know “because It sounds good” is a legit answer but I was hoping for some insight on the subject of using chord extensions.
Thanks,
Kevin
Hey Kevin,
On a regular, functioning (means it’s part of chords that are in the same key) 7th chord, the decision process goes something like this:
Do I want to keep my job and play with this band again?
If yes, go on to next question, if no, then play whatever you want.
Are there “style” constraints that, if ignored, would get me fired (or at least not called for the next gig)?
If yes, then go on to the next question, if no, then play whatever you want.
Does the context of this song allow me to be creative with my note choices while still fulfilling my role in the group?
If yes go on to the next question, if no, then in the famous words of Ron Carter “just play the letters, not the numbers”.
If you’ve got this far, then the answer depends on your role: soloing or reinforcing the harmony.
In either case, the natural 9 and 13 are safe bets to work while still allowing you some degree of creativity in soloing or a support role.
The #11 you mentioned is not diatonic and should be reserved for soloing – It’s often necessary in soloing to use non diatonic chord tones to create interest and tension. The natural 11 is an obvious bad choice because if its conflict with the major 3rd sounding an interval of a minor ninth below. All circumstances require an understanding of voice leading since often your extensions need to be resolved by your successive note choices. Some situations even allow you to alter the 7th chord’s extension (b9, #9, #5, etc) and so you have to be even more conscious of voice leading and how your extensions should resolve.
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Hi Gary,
Im preparing for an admission test to attend a jazz course at university here in lisbon (Portugal) and i met a teacher who works there… at a gig and he told me that they really value the ability to effectively walk on jazz changes, thats a big one for them… ..the thing is its really to difficult to emulate the traditional walking on the electric bass …i got your book fingerboard harmony and im a huge fan of your work on Allan Holdsworth “None too Soon”, can you give some info on how to become a little more efficient on playing walking bass on electric ?
Thank you
Sérgio
Hey Sérgio,
Eventually, the book will give you a global approach to harmony that will let you create really smooth, efficient walking bass lines (as well as smooth solo lines, fills, etc). Remember that the “feel” that you’re trying to create has very little do to with the physicality of the acoustic vibrations of a acoustic bass (big wooden box). Upright players in a jazz setting actually have it easier (harmonically) since the pitches are less discernible and the notes decay rapidly. Effectively walking over jazz changes involves a few different skills that you may not be able to develop in a short period of time. First, you need to be able to analyze the harmony immediately. Once you’re able to diagnose the different kinds of chord sequences and key changes then it makes it easier to connect your lines to become more efficient. Having a subconscious vocabulary for what happens in a given key and putting your hand in the best position to play in that key is another goal of the book that, of course, takes time. Another thing that really helps is memorization. The quicker you are at memorizing and not having your eyes glued to the paper, the more you’ll be able to listen and interact musically with the band. Other things like having a good sense of time, tone, form (the structure of the song) and style are also very important but are still difficult to improve rapidly.
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Hello Gary!
Hope all is well with you. 9 months left on my course and I’m out there into the big bad world of music. I’m pushing real hard to develop your technique properly, and I know you say about buzz with left hand muting. If for example you were to play the first 7 notes of teen town, how would you personally go about muting the strings once you’d played them? I’ve tried slowing it right down and using my middle finger to dampen both the A and G when I do the octaves and can’t get the speed required from the damping finger.
Would be great if you can point out anything I might have missed, trying to keep my playing free of left hand buzz and darn open strings ringing as I’m playing a fretted 6.
The books are great by the way, fingerboard harmony and 101 bass tips so far. I’m hoping Santa will bring me some more! =P
Thanks
Joe
Hey Joe,
One of the ways to see if the right hand damping is working is to do what you’re talking about: slowly play every note of a phrase short and damped with the right hand. In this case I would play all 3 of the low C’s with the first finger and the upper descending C, Bb & A all with the 3rd – each finger dampens its own note. The last g could be played by the first or 2nd finger. BTW, this is starting with the C on the E string and avoiding the open G.
Best of luck with Santa and graduating to the big bad world.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
Check out our top 10 favorite basses on Instagram this week…
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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
