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Applied Techniques With Igor Saavedra: How to Approach the Teaching/Learning Process on the Electric Bass
Meet Igor Saavedra
One of the most complex things to decide in relation with this topic is to decide whether the bass is mainly a rhythmic or harmonic instrument. This is an absolutely crucial matter for a bass teacher in order to clarify how he is going to approach the teaching/learning process of the instrument with his students. It would not make sense if the teacher thinks that the bass is let’s say “white”, and he teaches everything about it as if it were “black”, if you know what I mean.
Historically speaking, when Paul Tutmarc invented the Electric Bass around 1934 (some say it was Les Paul, but this would be matter for a different article), he created “the thing” in order to solve some of the problems that were inherent to the Double Bass, for example, its lack of portability, and the size/volume ratio. This is how the electric bass started to gain its terrain in the Double Bassists field. Remember, the Double Bass originated in the classical field, and this means that its concept, or its “reason to be” mainly centered on the harmonic world instead of the rhythmic world. Its main role was to collaborate with the roots for the myriad of chords that a classical piece can contain. Of course this started to change from the beginning of the 20th century when Jazz appeared strongly on the scene, but this change of concept was not completely developed. As I see it, and this is only my humble opinion, that situation led us to two main streams for an assumption of what the instrument was about. On one side, the Old School that thought (and still does) that the Electric Bass is primarily an harmonic instrument, and on the other side, the New School that has no doubt that the Electric Bass is mainly a rhythmic instrument by definition, that can also play cool notes (if the player allows this to happen).
When I arrived in the States in 1995, I was hired as the bass professor for the California Music Studio of Los Angeles for more than 4 years. The first thing that caught my attention was realizing my approach to the teaching/learning process of the instrument was “not” wrong, as many people from my small Latin-American country (Chile) felt. (One of the reasons I left).
From day one, (1988) I assumed that the Electric Bass was a rhythmic instrument in the first place, and that I could do whatever I wanted with it, the only condition being not “stammering” with my rhythm. Said another way, the point was not to loose the groove, no matter what. This was a concept everybody in my country thought was a bit crazy, but getting to know the right people in the US reaffirmed my thoughts and my beliefs.
I always tell this short story to my personal students, generally in the first class, and I do the same on my clinics.
Imagine two different bass players that go to an audition to get in a band. The first one has a $10.000 14 string bass, amazing technique (he even uses his left hand “pinky”), monster slap chops, ultra speed, stunning tapping, this guy in fact knows all the harmony, scales and chords that a human being could know… I forgot to say that he also is a master sight reader and that he has perfect pitch. This first guy has only a “tiny little” problem, because, well, nobody’s perfect, he has no groove at all, and by that I mean that he can’t keep up with the tempo, or create a foundation for the band.
On the other hand the second bass player has a $200 dollar bass with only two strings left (E and A), and he had an accident when he was a kid and sadly he has only one finger on each hand. Besides that, this guy doesn’t know really any music theory or chords or scales, in fact he doesn’t know the name of any of the notes on the instrument, and of course he can’t read music. To make things worse, this guy has a poor musical ear. But this second guy has one only ability and that is his amazing groove and impressive sense of time keeping and rhythmic awareness. The only thing you have to do is to tell him the root and the “available notes” he has to press with his sole left hand finger on the fingerboard and you are all set.
The question that remains is: Which bass player will you choose if this is an absolute emergency.
For me there’s no doubt about the decision, and this will be to choose the second bass player, because even though this example is an exaggeration, I’ve been in circumstances that have got really close to this, and I feel, think and believe that there’s nothing more important than a bass player with a solid groove.
What to do then? How do we begin teaching the instrument?
The answer is quite simple: Start with a focus on the rhythm, and forget about notes, scales, chords, key signatures, advanced techniques, speed, super expensive and multi string basses and everything else. Make the student understand and experience what time and feel are, so he won’t confuse it with tempo, or the beat. Teach him how he can enjoy subdividing the time and getting the special and specific feel of each subdivision. Help him with his muscular and mental coordination in order to develop a sense of groove, and to put his life and soul into this specific issue. In the beginning, keep the technical and harmonic information at a minimum, and focus almost 100% on the rhythm. Whatever time it takes, it will be completely worth it, trust me on that.
When I got back to Latin-America in 2000, not much had changed regarding this matter. The Electric Bass was still viewed as a harmonic instrument in the first place, like many people in the US (old school mainly) still do. It has been a struggle to convince people about this concept, in fact I’ve been writing a series of three bass books, and it’s no coincidence I started by naming the first one “Applied Rhythm for the Electric Bass Vol. I” (it’s only in Spanish for now, and was released in 2008). The following books related to technique and harmony, and will be released in 2010 and 2011. This is my way to formalize my thoughts about how I see the instrument.
A good question that surfaces is: Are there any great bass players out there that think along the same lines as myself? Well, a couple months ago a student lent me a Victor Wooten clinic from 2008 that focuses on groove that is called Groove Workshop. The only thing that I’m going to say about it is that even though Victor is not the same style of player as myself, I was very moved when I saw it, because I felt that this video validated the approach I’ve been following for the last 20 years. Victor is an amazing bassist, and also a great teacher, and after watching this particular video, I felt that I could speak through his words. I recommend this DVD a thousand percent to any bass player who wants to really understand what the Electric Bass is really all about.
Those examples, and the outcome I got after a very deep analysis confirms to me again that the bass is first and foremost “a rhythmic instrument”, and that this should define the concept and execution of a Teaching/Learning approach.
Hope you enjoyed the article, and watch for my next one: “Tips for the Modern Bass player”.
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
