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Slap Basics With Doug Johns: Traveling Bass-ics
Meet Doug Johns
So, I’ve wanted to write this article for quite some time, and no, it doesn’t have anything to do with opening the slap bass vocabulary. But that’s what I love about BMM, freedom to speak about relevant bass stuff from any angle.
Anyhow, I travel a lot as a bass player, and getting my instrument on board an airplane is often a weekly ritual. Although I think I’ve become somewhat skilled on this subject with all the flying I do, feedback is really the main goal of this article. While I’ve got a few tricks that I think you’ll find helpful, I still find out something new every time the subject comes up… and that’s why I’m bringing it up now.
I must start with the premise that, in my experience, most airlines don’t want you to bring an instrument onboard! And the number one obstacle I have is that the airline crew “thinks” it’s too big to fit in an overhead bin. If you’ve ever flown with your instrument or even have just thought about it, you KNOW that’s B.S. Actually, a bass guitar is much smaller than what the majority of passengers carry on board the plane.
And you can’t buy into the rumors that they’ll gladly put your bass in the closet. That works great for going overseas, but on domestic flights, the closet space (if there is any at all) is reserved for first class customers. To be fair, I recently was offered the closet for my bass, although I ended up taking the overhead – but that was a one-in-a-million situation.
Ahhh… the dreaded gate check. If you – and you will – get an airline employee who just insists that there is no way in hell you’re taking your bass on board, they will require you to put a gate check tag on your bag. Be scared, be very scared.
Gate check is simply the act of leaving your priceless instrument in the hands of one of the ramp crew employees waiting for you at the end of the walk to the plane. They then take your instrument outside (come rain, snow or sleet) and stack it on top of the already-packed load under the plane – this makes it easy to pull out for you, and your instrument is returned as soon as you step out of the plane and into the gate ramp.
I’m not a fan of the gate-check, and I generally do what I can to avoid it – even when I am forced to take the gate check tags. Tip: In the picture below, you’ll see how I always have the airline put the gate check tag in the same place on my gig bag so I can hide it between the zippers and zip the tag inside the bag – as soon as the gate crew’s backs are turned. Then, when I get to the bottom of the ramp, it looks as though “I’m cleared” for taking it onboard and no gate check for me!
Musicians want to know that their instruments are safe, and some (like me) need to keep their basses with them. There are probably thousands of times where an instrument was checked in a hard case – maybe even a soft gig bag – and survived the journey in perfect condition; likewise for the gate-check. But since my preference is to keep my axe by my side (or above my head), I’ve got a few theories on what works best.
Let’s step back and consider the psychology of this for a second:
In these times of underwear bombs and flammable shoes, airlines are threatened by anything that doesn’t fit the status quo. They want to see roller boards. Roller boards? What is that, you ask? That’s the standard roller suitcase that you see most people traveling with. Generally, you can fit 4 regular size roller boards in an overhead bin.
With the right gig bag, you can fit your bass, along with 2 roller boards and 3-4 small “squishy” bags around it, in the exact same space. The trick is getting the flight crew to believe it before they see the magic happen. This leads to step 1 of my bass-on-board ritual: carrying the right gig bag.
I’m not going to turn this into a gear shoot-out, and I don’t want to offend any of the manufactures, but there are some bags better suited than others when it comes to carrying your bass on board a plane. I’ve experimented with Undercover, Reunion Blues, Mono and Fodera’s bags – and honestly, I haven’t found any one to be completely perfect for the on-board bass fanatic.
One major thing you must consider with a gig bag is illusion: after all, if the bag looks like it will fit in an overhead, that’s half the battle won. Creating the illusion of a smaller object on your back is crucial. I’ve got every gig bag known to man, and some of them really meet this need well. From sleek design to a more “luggage” look, there are a lot of options when it comes to creating the illusion of a smaller gig bag. And remember, dark colors are slimming!
But in some cases, getting that streamlined look comes at the cost of protection in the event that your bass is gate-checked. I’ve got bags that look very slim and trim, but I cringe at the thought of handing them over to the ramp crew. I am especially wary of construction that is too minimalist or of bags that attempt a one-size-fits all approach, only to leave a bunch of extra space above the neck of the bass.
Like I said, I own a lot of gig bags, and I use them all from time to time. But, as with any good plan, a lot more goes into getting a bass on board than creating the right illusion. Once you’ve chosen your bag, you’ve got to make sure you’ve got somewhere to put it on the plane… and so begins step two: Booking your seats in advance.
Pre-book your seat for rows 25 and back on standard B/737-800/900 planes whenever possible. If you’re in rows 25 and higher, you’ll have full access to tons of bin space. On the other hand, if your seat is in the first 10 rows of the plane, you’ll probably find that precious overhead space hard to come by – and you’ll be more likely to get the dreaded gate check.
Now, if you fly enough and stick to one or two airlines, you can avoid sitting in the back altogether. Gaining (or buying) preferred or elite status with an airline entitles you to early boarding, regardless of your seat assignment. I finally reached this milestone with one airline this year, and now I can sit in the front of the plane and get off quickly at my destination – without sacrificing bin space.
Anyhow, once my flight is booked, I move on to the next step of my flying musician ritual: As soon as I get to my departure gate, I step up to the airline counter and say something nice, have some conversation, with an airline employee. Sounds simple, but kindness is what makes the world go around. Putting some positive vibes in the air and around yourself may not be fail-proof, but it certainly leans the odds just a bit in your favor.
When it comes time to board the plane, DON’T stand up and put your bass on your back! My drummer Chris and myself have experimented with this a lot. Carry your bass vertically, and to the opposing side of the boarding pass check employee. You don’t want to advertise the fact that you have what seems to be a rather large object next to you. A lot of bags have a handle half way up on the neck-end of the bag for carrying vertically – if you’ve got one, using it seems to work well.
And then…. success! You’re on the plane and so is your bass! The ritual doesn’t end here – after all, the plane door is still open, you’re still on the ground, and therefore those gate check tags are still an option for the flight crew. So, I’ll actually stand by the overhead after I put my bass in it and ask the passengers coming down the isle if they need help putting their suitcases overhead. This not only reassures the flight crew that everything is okay, but it also helps me be sure nobody smashes into the side of my bass bag. I’ll actually tell everyone that I’m looking to protect my instrument, and folks almost always reply positively.
Wow – this has been a long article! I want to insist that I am not just ranting and complaining, and I’m not here to endorse one airline or gig bag over another. Instead, I’m hoping this will spur feedback/forums on the subject…. Even though my ideas have come out of a lot of obsessive research and observation, I’m sure we can all learn a trick or two from each other.
Now, get out (in an airplane), and jam with somebody!
Doug
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.
Interview With Barker Bass’s Inventor and Writer Lee Barker
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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
