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ARTISTS, PERSONS, STARS, COMETS AND ASTEROIDS…. by Igor Saavedra
When I was young, my Science teacher at school taught me that there’s no difference between a Star and a Person, that both are made exactly the same, that both share the same particles with no exception. Well, obviously he didn’t know anything about the music business, and mostly he didn’t know that in the future I would become a professional musician that would learn on the road that a “Person” and a “Star” are probably the most different concepts ever to imagine. I’m still recovering from the highly toxic stellar radiation emitted by another of the many music business activities that I paradoxically love to attend many times every year, and I think I have a couple more weeks to go so I can recover completely (smile).
The universe is fascinating, but is quite dangerous, as we all know. Stars everywhere… growing and intending to swallow their neighbors till they violently collapse and die… the already mentioned radiation… the comets and the asteroids that only know about speed, speed and more speed… well you know what I mean.
There are no ideal situations in life, and the trick is being able to see goodness, beauty and beneficial things everywhere, even where they are hard to find. Every music activity is always deeply related with business nowadays, so actually you see the brands cooperating with musicians and musicians cooperating with the brands. Brands make really enormous efforts to be able to show their products to their future customers. I really admire those courageous businessmen that try to sell musical instruments, amplifiers and every product related with music, considering that they will probably make more money selling fried potatoes, and I’m not kidding.
Getting into the musical business is an incredible adventure where those businessmen, who generally love music and have great respect for artists, have to deal with an enormous amount of variables. They are usually able to deal very effectively with all the commercial aspects, but at the same time they have to deal with a very special subject that is very abundant on this context, for whom they have to become experts in Astronomy and Quantum Physics, because many times they will have to make use of their enormous astronomic expertise and their skills to be able to “Deal with the Stars”.
What is “A Star” in this context and how do we define it?
In my humble opinion, “A Star” is a bipedal organism that is absolutely self-conscious, and at the same time “somehow knows” that the universe rotates around it, in fact most of the time the “Stars” don’t even realize that they see their very own existence this way, but always act accordingly to this precept.
Specifically, “Music Stars” “Somehow know” that they are really special; they think for example that you can’t compare them to a “normal” guy that works in a bank, or the guy at the gas station, or really anybody. They wouldn’t be able to “sacrifice” a little scratch on their fingers to help or collaborate with a friend that’s cutting some roses on the garden or fixing the roof at the house, because “that was not meant for them”, maybe an engineer, a doctor or a businessman can do that, but not them.
A Music Star talks “all the day” & “everyday” about music and usually (not always) knows nothing or little about the rest of the things in life, which by the way is the 99.9% of life.
In order to become a real artist, but I mean “A real artist” like Michelangelo for example, you can’t just focus on the very art you develop, you must be able to put it in “The Center” of everything you do, which is something absolutely different, and once you achieved placing it right there, acting as a point of gravity for all the activities of your life, then you have to nurture that Art, you have to feed it… How? Well… with the 99.9% that surrounds it. And if you don’t care about that 99.9%, what happens then?
Several years ago I wrote a short reflection regarding this matter that I’ll intend to translate effectively for you.
If life would be just about music, what are we going to sing, play and compose about?
Regarding comets and asteroids…
“Music Stars”, especially when it comes to instrumental, contemporary jazz and fusion music where they can choose whether to play fast or not, usually have the desperate tendency to mutate from the state of “Stars” to the state of comets or asteroids, that means allowing high speeds to become the most relevant issue for them, so relevant and important that, once again, they don’t even realize how this craziness destroys any beauty on their musical speech. When they play like that, many times without even noticing it, they are literally collapsing every aesthetic statement that humanity has been building for millenniums.
Not everything has to be fast…
Getting deeper about the “Speed” issue, here comes a nice paradox. Because I’ve been dedicating a big part of my musical studies and developments to create and develop a bass-finger technique so efficient that “Unintentionally” allows the musician to play at incredible speeds, but the most important aspect being that it requires no effort. It’s very important to add this comment on this context, because the guys that complain all day about those musicians that only know about playing fast are usually very handicapped themselves on that specific matter, so they just don’t become credible for anybody. We all know those guys, well, that’s not my case…
With this comment I’m not even getting close to proposing that I’m a good player, so please don’t misunderstand me, speed is a quantifiable variable. I said one time that the Vectorial Synthesis Technique is a finger pizzicato technique that allows me to move across the fingerboard in a solo situation playing clean sixteen notes at speeds close to 300 bpm. The reason you don’t see me showing this “achievements” on YouTube is exactly the one for writing this article. And I repeat, that doesn’t make me better than any other fellow musician; my statement is heading to a complete different direction over here (smile). In fact, if I would not take control of this variable (as I think I’ve done already) the overuse of that ability would have had the power to transform me into the worst bass player on the planet.
So when to play fast then?
Easy, when the situation requires it… and that’s not very often really. You have mainly two forms to increase the amount of energy on a musical statement, “Speed and Dynamics”… and your common sense. Musical criteria and aesthetical notion will define when and how much. By the way, studying a little bit about Aesthetics Theory won’t hurt you at all (smile).
I admit that sometimes I get into speed craziness depending on the solo and the situation, but it’s enough with just a couple of seconds of that orgasmic explosion and that’s it… What’s the need to keep playing like that for an entire concert? I can just say that when it comes to Aesthetics Theory, that’s a real good example for the concept of ugliness. I admit that sometimes I have had the temptation to respond to the zillion notes some colleagues throw on my face on many situations, but 90% of the times I avoid it, I just want to be a good artist, try that at home folks, is much healthier.
Having talked a little bit about comets and asteroids, let’s get back to the Stars!
I have to admit (and you can quote me on this), that “I feel absolutely uncomfortable even if I get a little bit close to a Star”, I start sweating and my muscles turn stiff immediately, it might be the radiation I think, but when they start talking, wooooww, that’s another thing, that’s the moment when my worst nightmares come true.
Generally Stars are absolute beings, to start “They are the bests”, and if for some miracle they think they’re too tired of being the best for so many years, they have the power to decide who the best is now. On my last tour I was introduced to the “10 best guitar players in the world”, “10 best bass players in the world”, and “10 best drummers in the world”, can that be possible?? If my little knowledge about logic doesn’t lie to me, this is an impossible statement…
Closing words…
There’s people in this world that enjoy behaving as “Stars”, they just love it and think that this is perfectly ok because they are so special that they just deserve so everything is fine and cool….
The only thing I can say regarding that, and is just my opinion, is that “Stars” are handicapped people that have lost any contact with reality, delirious beings; toxic organisms that feel they are bigger than the very art they dedicate their lives to, poisonous organisms that have the power to easily spread their venom, which consists on a radioactive toxin that make people start thinking and feeling as “Stars” too.
Keep at a healthy distance from them and focus on really important things… help a friend to cut the roses from his garden or fix his roof, and if the price for that is taking the risk of harming or twisting a finger, believe me it’s completely worth it because life is something you have to fully experiment with… all the goodness and the badness, so then you can have something to say and to express in your music! It’s not the first time I have said this, I know, but here I go again… “Before trying to be a great musician and a complete artist, start trying to become a complete and ethical person…”
See you on the next…
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
