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Think When You Study, Feel When You Play by Igor Saavedra
Think When You Study, Feel When You Play by Igor Saavedra… In my opinion, the topic about the proper state of mind to develop and to achieve when we play is such an important thing to discuss. In this article I will try to explore this matter based mostly on my personal experience as well as what I’ve studied in some texts.
I think that the title of this article somehow says it all… In fact it reflects my personal opinion regarding this matter.
First of all, music is a language and we have to treat it as such. In accordance to this I will present a rhetorical question to begin:
When you are having a conversation with somebody about a specific topic, what do you think about? Are you thinking about articles, nouns, adjectives, pronouns, where are your tongue and lips located, when you have to swallow your saliva and when you have to breath so not choking while you speak, etc., or are you are just “TALKING”?
What we have to care about when we’re having a conversation (probably the most important and the only thing that should matter when we do it) is “WHAT WE WANT TO SAY OR WHAT WE NEED TO ANSWER”. That means if we are talking about the rising price of oil and why this is happening, what we are really doing is only focusing on that idea… the same thing happens when we write.
If it happens that we have to speak or write in a non-native language, like me here writing in English for you, we’ll probably have to think on the specific grammar and also make some conscious efforts and physical adjustments so being able to pronounce and express ourselves in a better way. The reason for that is because this foreign language is generally not fully acquired yet for most of the people, and the more we study and we practice it, the more automatized and “natural” it will gradually get.
Bottom line, we have to care about “saying” instead of caring about “speaking” or “talking”… The same happens with music!
When it comes to music, like in every aspect of human knowledge, there are two major mainstreams in relation to this…
The first point of view, mostly sustained by classically trained musicians, who do not necessarily develop themselves within this musical context (some exceptions apply), propose that once this musicians are on stage they must be fully conscious of every note they play so to be able to apply all they have learned proficiently and logically. When it comes to the Classical Music context I somehow agree with this position, because Classical Music has the tendency to assign the concept of “Creativeness” mostly to the compositional process (some exceptions apply)… and when it comes to “Playing the instrument”, Classical Music has the tendency to focus their attention on Virtuosism and Technical abilities (some exceptions apply) and also the concept of “Interpretation”, which is a very complex issue to discuss that will provide enough material for a fully new article! But what I’d like to say anyway is that in my opinion the concept of “Interpretation” on the Classical Music context has not much relation with the type of creativeness we talk about in Popular Music.
The second point of view is mostly sustained by popular musicians and quite often by Jazz oriented musicians (obviously some exceptions apply too) and I have to admit that this is the point of view that makes complete sense to me, mostly because of the kind of music I play and the kind of audience I usually play for… so I want to explain its fundamentals.
Even though “music is music no matter where”, I think we can agree with the fact that not every kind of music has to be addressed in the same manner. For example Popular Music generally asks for quite different aptitudes and characteristics from the musician while they are on stage compared with the Classical Musician, so the educational process has to be addressed quite differently too.
Popular Music bring us musicians with a much higher dose of freedom, in the sense that perfection is understood in a different way as compared to Classical Music… and that’s the reason why a singer “is allowed” to sing (as long as the singer does it intentionally), a little bit out of tune or to add some “roughness” and “dirtiness” instead of always singing with the pure and clean voice. Obviously, mastering this skill requires an enormous amount of technical abilities too. Popular Music audiences allow us to take more risks and also to somehow “make some little mistakes”… and generally forgive us if it appears evident that those small mistakes are coming not from unprofessionalism or laziness but from being fearless about taking risks and trying to go over our limits as musicians and expand the frontiers of our interpretation… and also will forgive us if we develop and show the ability to overcome those mistakes in an elegant and creative form.
A good example that I can provide is a Soccer Player… People usually love when great players, which with no intention of calling the attention for themselves, are always willing to take risks, (sometimes with the probability of hurting themselves) so to surprise and pass the defense of the other team and being able to score in benefit of their team… and also why not say it… to make the people who paid their tickets feel a little happier and move them out of their seats!
Within the context of Popular Music, Instrumental Music, where improvisation has a lot to do with it, is the best example to explain what I wanted to say when I wrote the title of this article.
The best Soccer players in history have lost penalty shots at the most important Championship Penalty Shoot-Outs…. Why?
As many of you know, I studied Physical Education before knowing that the bass existed, and that helped me a lot for many things related to music. Studies have been made to understand why talented Football players, the most talented in Football’s history as I said, lost some crucial penalty shots on Penalty Shoot-Outs that in other circumstances they would have never lost.
The results of those studies are outstanding, and they concluded that the crucial mistake was really made by the coaches when they tried to make these sport geniuses THINK… How?
Well, in the vast majority of the situations the coaches told these players “what to do” and “why to do it” right before shooting without training them before about that specific instruction during the previous week (which wouldn’t have made too much difference really). They said to them: “Listen, this goalkeeper is too tall and he’s not very good at stopping balls that go really close to the grass. Also studies have shown that he’s less effective when jumping to his left… so shoot a very low ball to his left.”
Big mistake!
When a really skilled Soccer player, a being that started kicking a ball when he was 2 years old, a being who went to the Soccer Academy when he was 4 years old and practiced, learned and automatized at the highest possible level everything he needed to know and to achieve for more than 10 years, and then started a professional career at 16 continuing to mature everything he learned and has been a professional for another 10 years or more… “The last thing you have to do is to tell him what to do in a circumstance like that where being intuitive and creative is what really matters.”
It really doesn’t matter what age you started to play music… but if you really did your homework, that means thinking and analyzing everything to the minimum detail when you were studying and practicing hard and proficiently for years and years and continue doing so, the last thing you need to do when playing and mostly improvising, is to THINK! The cerebellum is the brain structure that will address “thinking” here… in fact the cerebellum is also named in medicine as “The Little Brain”, and when it comes to creative behavior it will be the part who will take every decision better than your cortex and your consciousness ever will… but I repeat, this only works when you have done all your previous homework for years and years. So it’s a good moment to repeat the title of this article….
Think when you study… feel when you play…
It’s hard to define what it means to “feel” in this context… but in the first place I can certainly assure you that that means, “Not thinking consciously”. “Feeling” in this context means “Connecting with your feelings”, and also very importantly with “What you want to say” and also with “What you want to express” rather than thinking in Chords, Scales, Substitutions, Intervals, Techniques, Hand & Finger Positioning, Rhythmic Figures, etc.
If you start thinking while you play or improvise two things will happen. The first is that you should take into consideration that 99% of the players who have the tendency to do that also have the tendency to sound schematic and stiff while they’re playing and mostly when they’re soloing, are not really fluent, (rare exceptions apply). The second thing that will happen is that you are probably going to make a mistake exactly in the moment you stop feeling and connecting (metaphorically speaking) with the “Subject you were talking about” and tried to think on the parts and components that this subject was made of, and even worse, when you started to think on how to say what you were saying…
Once again, on stage do not try to speak, do not try to talk, just SAY!
See you on the next month’s article my friends!
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
