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Applied Techniques With Igor Saavedra: Tips for the Modern Bass Player – Part One

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Meet Igor Saavedra

After many years of experience, an admitted equal amount of mistakes, countless experiments, and ongoing conclusions, I think I have something to say regarding this matter. There is no better learning device than experience itself, because when you experience something, the odds are you’ll never forget it. In that sense, beware of this article, and don’t believe after reading it that you will be completely prepared for everything that might show up. Experience is your truest guide.

There are tons of tips for me to give you, so this series of articles will be divided into 3 or 4 parts. I choose not to give you all the quote unquote tips at once, because I feel all of them are worthy of some time on your part to process and understand them…hope these make a difference for you.

1) A Stiff bassist is a dead bassist.
Relaxation is the first ingredient to be considered. Don’t even consider picking up your bass if you don’t have the correct mental state. Relax yourself a little bit, both mentally and physically, and then proceed to play.

2) Tuning on stage is a must.
Always tune up your instrument “on stage”; even if you if you just tuned it up backstage…you never know what can happen. Check it out again on stage right before you hit the first note.

3) If you get on stage and you plug in and don’t hear any sound, get right in touch with the problem.
Don’t assume that because you did a great sound check and because you “mentally” checked all the connections and settings of your system right before the drummer counts off the first song, that it means you’re ready to go. At least “hear it” with a very slight volume right after plugging it in on stage—this is the only fool proof check.

4) Your bass can actually kill you.
Never attempt touching a metal speaker connector (connected, with live signal) and your strings or any ground at the same time…it’s highly dangerous, especially if the amplifier is powerful. It’s best to try and use Speakon connectors for all speaker connections. They are completely isolated, and there’s no possibility of touching any metal surface containing that signal. I have real-life experience of this. I came close to death not paying attention to that, and had to cancel a concert. There’s a lot of literature explaining how this can happen, so I’d recommend learning the easy way, rather than the way I did.

5) Don’t over clean your strings.
There are two main reasons for this. In the first place, if you rinse them too often, you will always have a rough string, and the difference can radically affect your performance. The second reason is that many times a cloth that you might use is often dirtier than you may expect, and without you knowing it, you’re possibly adding dust and “undesired grease” to your strings.

6) Two turns is enough.
When it comes to string installation, you want to be careful. When the string reaches the tuner string post, you don’t need more than two turns around it. The reason for this is that you want to keep your bass as much in tune as possible, so the more turns you apply to the strings around the tuner string posts, the more opportunity you give to the string to rotate around the string post and lower its tuning. This can happen because of the playing itself, and also because of temperature and humidity changes. Try this with an “uncut” old E string. Install it without cutting it, and then turn it around the string post as much as possible. You will get around 5 turns on the average if you don’t cut it. Tune it up and then pull it harder and you’ll see how the tuning will lower a lot, sometimes more than a perfect fifth. Then cut it leaving about 4 inches past the center of the tuner string post, install it, and you’ll won’t get more than two turns around it—pull it hard and listen to the difference.

7) Longitudinal turns are undesired.
Continuing with string installation, never allow the string to rotate on its longitudinal axis. When you turn it around the string post, the string will rotate as if you were wringing out a towel. Right before attaching it to the bridge, check that your string is not rotated around this longitudinal axis, because it will affect its sound, and will have a bigger tendency to brake down by the non harmonic tension you are applying to it. It’s the same principle for high current electric cable installations on street poles, where the technicians have to leave the correct catenaries and don’t allow the cables to be rotated on their longitudinal axes.

8) The Strap, what an important article.
I recommend that you use a wide strap, as wide as you can. The reason is simple. With a higher contact surface, the weight distributes itself much better and doesn’t rest on a specific point which can cause pain in your shoulder, and also in your back.

9) More about Straps.
Many of you might have those types of adjustable straps that are really in my opinion the worst thing you can buy for your bass. The problem with those straps is as you are using them, they start to extend their length. With these straps, in general terms, two inches of difference is something that you can normally expect after playing live and moving and jumping around. Measure the exact strap length you need, and cut a piece of leather 4 inches longer than this measurement. Dig the holes, and install your strap locks 2 inches away of each extreme, and you are all set. I’d highly recommend this.

Finally, don’t even think about buying those cushioned elastic straps that can make the bass bounce like a basketball. There’s nothing worse for your performance and for your shoulders and back than those straps.

10) Watch your cord onstage…
Always pass your cable through the space between the strap and the bottom of the bass body and then plug it in. When I started playing, I always said “it’s not necessary, it won’t happen to me”. But of course one day in a big concert where I was playing in front of 20.000 people, I stepped on the cable and violently unplugged my bass, and the audience heard the biggest noise they’ve heard in all their lives. That was really embarrassing, and I should have known better. Don’t let this happen to you.

That’s all for now—see you on the next: “Tips for the Modern Bass Player—Part Two”.

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Behind the Strings: D’Addario’s Story Comes to Life in “Jim’s Corner” YouTube Series

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Behind the Strings: D'Addario's Story Comes to Life in "Jim's Corner" YouTube Series

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

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Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp

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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

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Bass Videos

Gear News: Spector Launches Euro CST and Euro LX Basses

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Gear News: Spector Launches Euro CST and Euro LX Basses

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.

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Luthier Spotlight: Garry Beers, GGB Basses

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Luthier Spotlight - Garry Beers, GGB Basses

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

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Gear Reviews

Gear Review: Joyo Monomyth – A Versatile Modern Bass Preamp

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Gear Revieww: Joyo Monomyth - A Versatile Modern Bass Preamp

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

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