Latest
How to Study… What to Study?
That’s a very important question don’t you think so? Well, I think the same, so in this month’s article I will mention very briefly the subjects that I consider the most important for a bassist to learn. Obviously the intention of this article is just to serve as a guide for your study and not to be the subject of study itself, because for something like that we’d need about ten thousand articles more….
Rhythm
In my opinion this is the essential subject for a bassist, the first one to address and the first one to care about. Here are my suggestions:
1) First of all understand the most important concepts like Rhythm, Beat, Time, Tempo, Time or Meter Signature, Measure, etc.
2) Then it‘s important to start developing the sensibility for being able to keep a steady speed with the beat. This is the same as when a person starts learning to drive a car. At the beginning when you are trying to keep a straight line, once the car starts slightly to move to the left you won’t notice that immediately, and when you notice that it will be usually too late, so you’ll have the tendency to over-correct the steering wheel to the right and eventually your “straight line” will look like a “snake”.
Practicing hard with a metronome will help you out with this task like no other device or weird way of practicing will, and this is because this device will help you to develop your internal sense of pulse which is controlled by your nervous system that in charge to develop a so called “Micro Circadian Sense of Time” within your body.
3) Learn to subdivide a beat. That means subdividing it in 2, 3, 4, 5, 6, 7 etc. parts and make connections (slurs or dots) within each of those parts. I suggest starting to manage the subdivisions of 2 and 4 fractions of a beat and then continue with the other subdivisions to eventually be able to play Triplets, Quintuplets, Sextuplets and Septuplets too. Learn then how to subdivide more than one beat, like 2 beats subdivided in 3 parts etc. The limit is the sky here.
4) Study the different time signatures by learning how to build “groups of beats” separated by a strong accent, obtaining on this process the different “Meters”. That means you must be able to understand and feel the sensation of 2, 3, 4, 5, 6, 7 etc. groups of beats by accentuating on the very first beat of each group that have a pair number of beats and also (but softer) over the beat that’s right in the middle.
On the groups that have an odd number of beats (apart from accentuating strongly on the first beat) you’ll need to get use to accent (softer) over the beats that are right on the side of the “center” of that group of beats (measure).
5) Get used to recognizing the different rhythmic figures and get use to their different time value depending on the time signature gradually increasing your reading speed.
Melody
1) Study deeply the main concepts involved within this subject, like Intervals, Key Signatures, Scales, Modes, etc.
2) You have to go through a profound study of the main scales we use to play in occidental music. I suggest putting the most of your energy on studying The Major Scale, The Melodic Minor Scale, The Harmonic Minor Scale and The Pentatonic Scale, each of them with all their respective modes.
3) Practice recognizing “by ear” all the possible intervals, and also (if you don’t have an absolute pitch) try to get use to singing a C note (or any other note) whenever you want to use it as a reference to be able to get any of the other notes “by the interval”.
3) Learn to sing any scale and interval you play. You must develop musicality in the first place… please never forget that.
4) Get familiar with terms like Inversions, Alterations, Extensions, Triadic Chromatic Approach, Displaced permutations, etc.
5) Get used to recognizing the notes on the staff and on the fretboard gradually increasing your reading speed.
Harmony
1) The intervals are the main topic to manage on this subject too, so when you study them never forget that this will help both your melodic and harmonic knowledge and skills.
2) Study all the chord species (Major, minor, diminished, etc.), all the extensions, all the Slashed Chords and Polychords. Obviously you must learn to identify and to write the proper notation for every chord.
3) Try to play all that chords on your bass identifying the different voices, and trying to sing them. The vast majority of the chords can be played on a 4-string bass.
4) Study the relation of all the different chords with each of the modal scales.
5) Understand the progressions and the many ways to connect a chord with another chord. Get familiar with terms like Secondary Dominants, Substitute Dominants, Tritones, Extended Dominants, Secondary Relative Minor Substitutes, etc…
Technique
(Assuming you are a right handed person)
1) Start to build your technique from the right hand to the left and not the opposite.
2) The open strings are just enough to build a good right hand pizzicato technique. In relation with that, please always consider not repeating the fingers, and sweeping every time you can, don’t hit the strings just push them, always look for the minimum movement (the smallest possible) so helping you out with increasing your speed, but never compromise the sound, prefer the floating thumb technique, and finally avoid bending your wrist as much as you can.
3) Diversify your technique study and also practice slapping, palm muting, harmonics, and the different kinds of tapping techniques, but always take into consideration what technique you’ll be using the most depending on the music style you wish to play. After assessing that put the main energy on that specific technique. What I’m trying to say is that it is not necessary to spend crazy amounts of time and energy on a technique you will never or almost never play, affecting with that the practice time of the techniques you will be using a lot.
4) Consider always your anatomical characteristics before “buying” anything you read (including this article), because something that can be proper for person A won’t be proper for person B… please never forget that. There are concepts that are applicable to everyone though.
5) Regarding the left hand, never forget the Lower Pressure Point, keep your elbow close to your waist and escape as far as you can from those teachers that want you to apply “Upright Bass Left Hand Techniques” to the Electric bass.
6) Finally… relaxation is the “Holly Grail” of Technique… if you don’t start by controlling this aspect.., all the other aspects will be completely useless.
Integrating and Applying
Once you feel you can manage all this information at a certain level that you feel confident with, you must start integrating all these subjects and focusing on other topics that are just as important as the main subjects.
Focus on mastering topics like Dynamics, Agogics, Improvisational Resources and Concepts like Q&A, Chordal improvisation, Melodic Improvisation, etc… communicate with the musicians of the band while you are playing, develop creativeness through the constant singing of original melodies (doesn’t matter if it’s while you are in the shower), always practice different rhythms tapping with your feet and hands, (it doesn’t matter if it’s on the surface of a table, over your thighs or wherever). You really don’t need your bass all the time to be able to develop musical skills… don’t forget that!
See you in my next article my friends… and don’t miss the great articles of my colleagues too!!!
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…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @mikelullcustomguitars @maruszczyk_instruments @foderaguitars @marleaux_bassguitars @meridian_guitars @dmarkguitars @benevolent_basses @sandbergguitars @bassworkshopau @glguitars
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
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 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
