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Speed… an End or a Mean? by Igor Saavedra
Meet Igor Saavedra –
It’s incredibly interesting how two persons who are studying and putting into practice the same topics, at the same time, might be experiencing something that is completely different.
Musicians and bassists that have a tendency to play faster than the average or faster than most of their colleagues have frequently been criticized. One of the reasons for this is that these “fast runs,” most of the time, have the tendency to sound out of musical context and can be technically deficient… in other words, the musicians that have this tendency are usually trying to say more than what they are able to say properly. But watch out, because this is not always the case!
I think that this expressive manifestation (playing fast), should not be discussed lightly, but rather should be subject to at least one simple, accurate and objective analysis. For me, the first thing is to be able to clearly differentiate the two kinds of subjects that are often interested in playing fast. In this article I’m proposing two classifications as follows: The “Pure Sprinter” and the “Fast Musician”.
1 – The Pure Sprinter
This is the one who likes speed “per se”, that means, this guy doesn’t really care too much if he gets this adrenalin rush from speeding on a bike, car, skateboard, plane, playing on his PSP, or who knows… maybe playing a musical instrument.
In my opinion there are two types of Pure Sprinters who play music.
a) The Self Assumed Pure Sprinter:
This guy enjoys the vertigo of speed, but he understands that this fact doesn’t necessarily mean he’s a good musician; He really doesn’t care too much about music, he enjoys the speed experience and that is it. He might be also pursuing some commercial purposes… remember the rock bands of the 80’s?
b) The Self Fooled Pure Sprinter:
This is the one who doesn’t necessarily enjoy too much the vertigo of playing music fast, though he swears that this fact in itself transforms him, as if by magic, into a superlative musician. He thinks that his musicianship is directionally proportional to the speed he is able to achieve. This is the worse situation in my opinion, because this guy thinks that he is a real musician, but he is not.
2 – The Fast Musician
This is the one who likes music in the first place, indistinctly from the way he chooses to express it. Speed is just one of these ways, so for him speed is a mean to enhance the musical discourse, but will never be an end to itself.
In my opinion there are also two types of Fast Musicians.
a) The Decontextualized Fast Musician:
This is the one who, even though will never put the speed as an end to itself, on the other hand will not hesitate to push the throttle if his guts ask him for that. He will not worry too much if this action will be suitable for the musical context or not. In other words, this guy likes to play music “fast”.
b) The Contextualized Fast Musician:
This is the one who, apart from the fact of being able to understand the speed as a mean, while having the technical ability and the necessary knowledge, also knows when is the proper moment to play fast, always putting the needs of the musical context over his personal needs.
I hope these lines will serve for you to recognize which of these four guys you are listening to in any moment, and with just a little attention it will be crystal clear after a couple of minutes. Needless to say, they all have the merit of at least having spent many hours and years developing a skill, but this ability will have many nuances in terms of real value and consistency.
In my opinion, the most significant and prominent of all these subjects will always be “The Contextualized Fast Musician”, because he has the necessary characteristics to be able to locate speed at the proper place, just as a mean, for which he must have the necessary abilities if the situation and the musical context requires to deliver. This “Contextualized Fast Musician” eventually earns his right to get rid of this denomination, and be called simply, “The Complete Musician” (With the understanding that he is also meeting all the other features required).
There is nothing wrong with developing speed skills in music, the problem arises when it aims to be an end in itself and not a mean that will further enable the performer to play music fast without any problem if he wants, because his physical speed limits (muscular and neuronal) and his musical knowledge are far above what is required.
So what for?
I think that I’ve expressed my opinion very clearly on this article putting the speed as a mean and not as an end, but there’s a little exception to this “rule.” What’s the point in playing fast? Well, speed is a part of life as slowness is… life is like Ying and Yang and all the opposites are always communicating and harmonizing, and obviously both are always necessary, so that means playing fast is also necessary.
Playing slow ballads is cool and I love it, but for some reason people assume that a musician that has the tendency to play slow or mid-speed music has to be more “musical” than a musician that has the tendency to play fast. In my opinion, this is just a construction made up by the sum of opinions of many people through the years that have not had the luck of having heard good “fast” music or musicians, or maybe by frustrated musicians that have not even being able to achieve a valid aspect of the music spectrum which is to play fast, so to be able to transmit effectively human feelings and experiences like anxiety, hesitation, dizziness and many more.
As I said, a Complete Musician also has to be able to transmit this feelings effectively, as long as they are able to achieve a fast harmonic mental process and obviously to achieve the technique needed to transmit those ideas on the instrument.
All of us know that being able to play slow eventually helps to be able to play fast, but you don’t have to forget that being able to play fast also helps to play slow. How is that?
Let’s say the legal limit on the highway is 90 miles per hour. A good example is the feeling you get while driving a Ferrari Enzo at 90 miles per hour (The car is capable of going at 220 miles per hour). Compare that feeling to the one you will get driving a Ford Escort (nothing against that car) at the same 90 miles per hour. (This car is able to go at a maximum speed of 110 miles per hour)
Suppose both situations are within the legal speed limit… so both situations are “legal”, so nobody is going faster than he should. While you are driving the Ferrari your maximum speed is way above so the car is completely “relaxed” and is not being forced at all in any way; Needless to say that what is happening to the Ford Escort is quite the opposite.
We might choose to try and achieve that Ferrari feeling while also being a respectful driver, driving at 45 miles an hour when we are on the city, at 90 miles per hour when we are on the Highway, and if we are in Germany driving at the Autobahn where there’s no speed limit we will just love to drive whatever speed we want and enjoy the ride. With this I’m trying to express that we should always be considering the musical context we are in, so to be able to decide if we are going to play fast or not.
For the musician, the audience is able to feel very easily if you are close to burning your engine, because your face and your gestures, and mostly the music you are playing will always show what’s happening with you. We don’t want to transmit uncomfortableness to our audience, so if we are going to have to play fast we want them to feel that adrenalin rush without suffering. If we want them to experience pain, suffering or something like that, we must use a “voluntary” musical tool.
When studying music I always tried to practice taking into consideration that I wanted to be “musical” in the first place. In terms of technique I wanted to achieve the maximum efficiency and the maximum relaxation possible also while trying to get the best sound I could… that was my trip. What happened eventually was that without even noticing I was able to play sixteenth note lines over 300 bpm on my bass. I have never played at that speed in any musical context because I haven’t found the musical reasons to do that, but I can tell you that just knowing and “feeling” the potentially achievable speed has helped me to play at the usual fast speeds without suffering at all (physically and emotionally), and I think that all this happens for the reasons I’ve mentioned throughout this article.
Finally, is up to you… all I’ve said here is just my opinion about “The speed issue in music”, and is based on my personal experience. I suggested taking the speed as a mean and not as an end, but I’ve also mentioned what I consider just the only case in which speed might be and end in itself, but always relating it to the musical context.
Let me know what you think!
See you guys on my next article…
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
