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Applied Techniques With Igor Saavedra: Tips for the Modern Bass Player – Part Three
Meet Igor Saavedra –
After many years of experience, after many mistakes, after many experiments, and finally after many conclusions, I think I have something to say regarding this matter. There’s no better master than experience itself, because when you experience something is more likely that you’ll never forget it. So beware of this article, and don’t think because you read it you will be completely prepared for everything that might come because experience itself will be the only one that will really teach you.
There are tons of tips for me to give you, so this series of articles will be divided in 3 or 4 parts at least. I don’t want to give you all the tips at once because I think it’ll be much better for you if I give you enough time to think and to process each of them. Well, let’s go then with this third part.
Traveling by Plane with Your Bass:
Tip #1 – First of all when you purchase your tickets, always try to choose the very last row of seat so to get into the plane on the first call. That way you’ll have more space availability to keep your bass. Always bring your bass on a gig bag and always bring it with you inside the cabin, NEVER send it with the baggage. To make this possible, don’t do the check-in of your baggage with your instrument where the airline personnel can see it. Try to go to the airport with some friends that will wait out of the line with your bass. After you do the check-in, the airline personnel will ask you if that’s all, and the only thing you have to say is YES. Airline check-in personnel are much more attached to the rules and they won’t consider at all the fact that you love your instrument and that you care a lot for it, what they will say is that you must send it with the rest of the baggage without even caring if it’s in a gig bag. That will mean it will not even survive the first flight.
Tip #2 – Once you pass the check in, the rest of the way to the airplane gets easier. Remember NOT TO BRING ANY OTHER BAGGAGE WITH YOU ON THE PLANE, and once you are on the line to get into the plane don’t grab your bass with your hands, just hang it in your shoulder instead so your body will cover it. This will help it look like a carryon; it’s just a psychological thing, the personnel is going to see your bass all the time, but they are not going to process it as such as they are too busy for that. After 20 years I have never had a problem traveling with my bass as carryon luggage, but many of my colleagues have. The advice I am giving you is exactly what I tell them. Finally remember, if you are carrying a hard shell case there is no way for you and your bass to travel together on the cabin.
More about connectors:
This tip is really simple and effective. When it comes to your own setup, always try to have connectors made by the same manufacturer. Believe it or not, there are slight differences of diameter between brands, so sometimes for example a male connector from brand ‘A’ plugged into a female connector from brand ‘B’ can feel loose and eventually FALL!! This happened to me once. You can have the opposite problem too, and sometimes the connectors get stuck. The perfect match is trying always to use the same brand of connectors.
If you don’t know the brand of the female connector of your bass, which is the hardest to identify, I suggest bringing your own bass to the store and plug in the cable before paying. You can have a big surprise with that. Eventually, despite the brand you prefer, you’ll choose the one that fits better.
There’s no Specific Gauge that correlates a string with a note:
There’s a strong myth about this, so many people when they see a .100 string they think immediately that this is the “E string Gauge”. I will repeat the title of this tip “There’s no Specific Gauge that correlates a string with a note”. What you have instead are desirable tensions for any of the strings. That’s the reason why you can choose within a wide range of gauges for any specific note of an open string. For example, you can place a .120 string gauge on the E string position and subsequently tune it as an E. You’ll have a perfect E tuning, but you’ll also have a “Super Stiff String” with a lot of attack and transient. This string will also help the bass neck to concave a lot. If you place a .080 string (Usually an A string) on the E string position you’ll have the opposite situation, that’s to say, a very loose string with less attack and a lower transient. Also, this string will help the bass neck to go convex.
String diameter myth:
Continuing with some myths on strings, there’s a tendency to think that a very wide and “Fat” looking string might imply a “super fat sound”. I think that one of the reasons for this way of thinking is that people fall into a “Pseudo Synesthesia” and makes an unconscious relation between the fatness of the string appearance and the sound that might come from it. This is absolutely wrong!!
I will sum up this tip as follows:
– A wide gauge string is a stiff string, a stiff string oscillates less. The less the oscillation the less bass frequencies associated. What a wide gauge string really has is a lot of definition and attack (transient) on the low notes that produces. Also, with this type of string there will be less “metal highs” due to the fact that a stiff string will have a tendency to hit the frets in a lesser degree due to its shorter and smaller oscillation.
– A thin gauge string is a loose string, a loose string oscillates more. The more the oscillation the more bass frequencies associated. A thin gauge string will have less definition and less attack (transient). Also, there will be more “metal highs” due to the fact that a loose string will have a tendency to hit the frets more because of its larger oscillation.
Personally I use light gauges for the higher strings on my 8-string bass without getting into a “Guitar Like” sound (F .020 – C .025 – G .035). For the lower strings I use ultra light string gauges (E .080 – B .100 – F# .125). I love the bottom end of the thin lower strings and I compensate the lack of attack with my finger touch. Eventually, it will depend on the taste.
The string gauge is not the only way to vary the tension of a string:
The scale length also affects the tension. The standard scale set by Leo Fender is as you know 34 inches. A 34 inches scale bass loaded with a .045 G string is the most standard situation you can get. Keeping the same string gauge and using a bass with a longer scale will anyway result in a stiffer string. Obviously, decreasing the scale will result in a looser string.
I always tell my students that if they like to play their bass with the strings tuned one full step lower but they don’t want that buzzy Korn style sound to appear, to just use wider gauge strings or get a 35+ scale instrument. I tell them that, so this way the notes will not move from the spaces where they usually are and all the access to information will keep simple and easy.
String height:
There’s a lot of information about this circulating on the web. My recommendation comes from my own experience. And it’s simple and objective.
– Not less than 1/32nd of an inch between the string and the 1st fret.
– Not less than 1/16th of an inch between the string and the 12th fret.
These minimums are taking the G string as a basis. Depending on the string, there will be small differences that will make you slightly increase the clearance when we go into the lower strings, and that can eventually make you slightly decrease that clearance for a C string on a 6 string bass or an F string on a 7 string bass. If you have string buzzing at this minimum clearances, check the action of the neck, if after checking that the buzzing remains you will have to check the frets and file the uneven ones. A good way to measure this clearance (this is what I do) is to buy a Wire Feeler Gauge… that’s really a perfect way to check!!
Bass action:
I don’t recommend setting the bass neck with a slight concavity as 99% of the people do. The people who usually do this say that this is to compensate for the “Natural bending of the string produced by its own weight”. In Engineering this form assumed by the “cable” is called The Catenary Curve.
My argument for this is really simple, and states that when we make all the adjustments in our instrument and we check for any string buzzing, we usually do this on a workstation or a regular table with the instrument and the strings facing up. On that position it seems obvious that all the weight of the strings will be transferred towards the neck, and the buzzing will start at a higher action of the bass. We don’t play like that… we play with our bass with the strings facing front, so the Catenary curve will be facing the floor. That’s why I set my bass with the neck absolutely straight, so it feels just great because the strings are really close to the neck in every place, they don’t buzz more than what I need them to buzz (a little buzzing is cool), and it has worked just perfect to me for more than 20 years.
Regarding string gauges, the Nut is more important than what you think:
We the musicians are always testing different string gauges, but when we do that, we usually don’t really care too much about what happens to the Nut with those tests as we should.
If we install wider strings, we have to verify if those strings are actually fitting completely on the notches. If they don’t fit properly they can even “jump” out of the Nut when we are playing because they are not reaching the very bottom of the Nut notches and that will mean that more than half of the string diameter will not be “inside” the notch. Sometimes this problem can’t be seen easily, and the Nut can be pressing the string on the sides although you can see that the string is fitting completely and reaching the bottom of the notch, this can affect the sound. On the other hand, when you place a string that is thinner than the Nut notch, it will have the tendency to move inside the notch affecting the sound and the tuning.
Never forget to bring spare strings with your gear when you go to a gig:
This might look as something obvious, but it’s not. Make a search and you will get a surprise from that, because many people really don’t care and trust their luck. This issue is not that simple anyway. First of all just having old string spares is not the idea. This will depend on the use of the strings you have already installed in your instrument.
So if you are playing with strings that are kind of old and you cut one, and you place a new string instead, it will be something very annoying in terms of sound and feel. If you are using new strings and for some strange reason, like your “super heavy touch” or an excess of adrenalin, you cut a string and you place your old spare instead, you’ll save the situation, but the sound will be annoying either way. I suggest having new strings, half used strings and old strings as spares so to be able to choose the proper one to change. Get more high strings spares like C’s and G’s because those are the ones that get cut more often, and less of the lower strings like B’s and E’s.
Another tip is to have your strings handy and “pre cutted” to the proper length so to save time if this happens to you in a live situation.
I rarely cut a string because I prefer to play with a soft touch, but sometimes strings come with some defects and you can have a big surprise even with an E string.
This is for now my friends. I see you on the next: “Tips for the Modern Bass Player Part Four”, which will be the last one of this saga.
Igor Saavedra.
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
