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Brian Ritchie on “Please Do Not Go” by Jimi Durso

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Brian Ritchie on “Please Do Not Go” by Jimi Durso…  Click to download Brian Ritchie on “Please Do Not Go”

A too often overlooked bassist, Brian Ritchie did same brilliant work with the Violent Femmes, had a signature style and sound, and was one of the first people I know of to do it on the acoustic bass guitar. “Please Do Not Go”, from the Violent Femmes debut album, feature Ritchie with an 8 bar unaccompanied solo in the middle (measures 28-35).

The song is basically a three chord reggae using the I, IV and V chords in G. The progression is a full bar of G and then a half bar each of C and D. Since no one is backing up Ritchie, this gives him both the responsibility of delineating the chords in his solo line, and the freedom to deviate from it without concern for clashing. Ritchie does both Brian Ritchie – masterfully. The first two bar phrase (measures 28 and 29) he puts the root notes on the strong beats, and does so in the low range (the low G that kicks off bar 28 as well as the C on beat one of the next measure and the D that anticipates beat three). We also hear an emphasis on chord tones: measure 28 is almost exclusively notes from the G7 chord, and in measure 29 we hear C and E (the third of C) on strong beats and D on the strong beats in the second half (as well as a low A to make the D sound clearer).

For the next two measures, Ritchie starts out expanding on the idea he set up, playing almost the same line for the G chord (including the hip trill from the major to minor third, which foreshadows the G minor sound to come), and even starts out the next measure with a C major triad. But when the D chord comes up, Ritchie deviates radically from that sound. He does play a low D, and even does so on some stronger beats (the “four” and the “and of two”), but the other notes, G and Bb, spell out a G minor triad, juxtaposing a bluesy sound.

Toward the end of the measure he starts a G mixolydian scale that he continues into bar 32. He doesn’t play the third of the G chord until the end of this measure, and even then it’s a scalar passing tone to the root of the C chord in the next bar. So he doesn’t necessarily take our ear away from the blues he injected before.

And in bar 33, after revisiting the C major lick from measure 29, he again plays G minor where the D chord should be. A fascinating aspect of this measure: he combines the ideas from measure 29 and 31, so that for the listener it’s at that same time familiar and novel. A very clever way of developing a statement.

For the final two bars, he goes back to G, but goes up from a high G (Notice how for the first two measure of G major, he emphasized the low G, but for the second two, he uses the high G. Also very clever.) Then another variation on the C major lick, and for D this time he just pounds out the root note. This not only brings us back to hearing it as the V chord (after all that G minor stuff he did with this chord before) but also creates a sense of finality to his solo (making it clear to the rest of the band that it’s time to come in with the pre-chorus).

Twang!

www.JimiDurso.com

www.CoincidenceMachine.net

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @meridian_guitars @adamovicbasses @anacondabasses @mgbassguitars @xylembassguitar @officialspector @edwinpaanakker @alesvychodilbasses @boyarskycg @dmarkguitars

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Bass Videos

Interview With By the Thousands Bassist Adam Sullivan

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Interview With By the Thousands Bassist Adam Sullivan

Bassist Adam Sullivan…

Hailing from Minnesota since 2012, By the Thousands has produced some serious Technical Metal/Deathcore music. Following their recent EP “The Decent”s release, I have the great opportunity to chat with bassist Adam Sullivan.

Join me as we hear about Adam’s musical Journey, his Influences, how he gets his sound, and the band’s plans for the future

Photo, Laura Baker

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Bass CDs

Album Review: Mark Egan, Cross Currents

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Album Review: Mark Egan, Cross Currents

Mark Egan, Cross Currents…

It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.

This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.

This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.

I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.

This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.

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Gear Reviews

Review: Joyo Tidal Wave Preamp

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Review: Joyo Tidal Wave Preamp

Joyo Tidal Wave Preamp: A Tribute to 90’s Iconic Sounds

Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinion or the content of our review. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.

In the realm of bass preamp/DI pedals, capturing the essence of iconic tones from the 90s can often feel like an elusive pursuit. However, the Joyo Tidal Wave Preamp emerges as a great option for bass players seeking to replicate the signature sounds of that era, particularly the revered tech21 SansAmp. With its robust feature set and compact design, the Tidal Wave offers a faithful homage to classic rock tones and low-gain distortions, all while providing modern conveniences for today’s bassist. Let’s delve into why the Joyo Tidal Wave stands out as a versatile and budget-friendly tool for both stage and studio.

Specs:

Measuring at 130 * 110 * 50 mm and weighing 442g, the Joyo Tidal Wave strikes a balance between portability and durability, making it ideal for gigging musicians and studio enthusiasts alike. With a power consumption of just 100 mA and a working voltage of DC 9V, the Tidal Wave ensures reliable performance in a variety of settings.

Controls:

At the heart of the Tidal Wave’s versatility lies its comprehensive control set, allowing bass players to sculpt their tone with precision. Key features include:

– Level: Sets the overall output volume of the pedal.

– Blend: Blends the dry signal with the cab-emulated signal, offering seamless integration of the pedal into any setup.

– Presence: Controls the dynamics of the high upper-mids, crucial for shaping drive tones.

– Drive: Introduces low-gain distortions and classic rock sounds into the clean tone.

– Treble, Middle, and Bass: Provides a 3-band EQ with frequency selectors for bass (40Hz – 80Hz) and mids (500Hz – 1KHz), offering ample control over tonal shaping.

– Middle Shift and Bass Shift: Allows for further fine-tuning of midrange and bass frequencies.

– Ground Lift: Helps eliminate ground loop noise in certain setups.

– DI Attenuation Switch: Adjusts the level of the DI output signal.

– LED Light Switch Control: Allows users to customize the ambient lighting of the pedal.

Performance:

True to its inspiration, the Joyo Tidal Wave excels in delivering classic rock tones and low-gain distortions reminiscent of the tech21 SansAmp. Whether you’re seeking gritty overdriven sounds or pristine clean tones, the Tidal Wave offers unparalleled flexibility and sonic versatility. The inclusion of a headphone out, XLR DI out with cab simulation, and throughout for the original bass sound make the Tidal Wave a versatile tool for both stage and studio applications. From practicing silently with headphones to crafting quality recordings in an ampless setup, the Tidal Wave delivers on all fronts with clarity, definition, and unmistakable character.

Pros:

The Tidal Wave boasts an array of advantages that set it apart from its direct competitors:

– Headphone Out: Transforms the pedal into a convenient practice tool.

– Size and Weight: Compact and lightweight design for easy transportation and setup.

– Rugged Construction: Durable build quality ensures longevity and reliability.

– DI and CabSim: Offers professional-grade direct recording capabilities with authentic cab simulation.

– Familiar Tones: Faithfully replicates the classic rock sounds of the tech21 SansAmp.

Cons:

While the Tidal Wave excels in many aspects, it does have a few drawbacks:

– Plastic Knobs: Knobs may feel less premium compared to pedals with metal controls.

– Cab Simulation Only on XLR Output: Limited cab simulation functionality may require additional routing for certain setups.

Conclusion:

In conclusion, the Joyo Tidal Wave Preamp stands as a testament to the enduring legacy of classic rock tones from the 90s. With its faithful homage to the tech21 SansAmp, comprehensive control set, and modern conveniences like headphone out and XLR DI with cab simulation, the Tidal Wave offers bassists a versatile  tool for sculpting their sound with precision and finesse. Whether you’re seeking to replicate iconic tones from the past or forge new sonic territories, the Joyo Tidal Wave Preamp is sure to inspire creativity and elevate your playing to new heights.

Available online at Amazon.com

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @cb_basses @alesvychodilbasses @odiengcustom @ramabass.ok @mauriziouberbasses @mgbassguitars @capursoguitars @thebassplace @adamovicbasses @ishguitars

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