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From Amateur to Pro: A Discussion with Steve Lawson by John Kuhlman
Photo: Steve Brown / stevebrownphoto.co.uk
The fourth featured artist in this series, “From Amateur to Pro” is solo bassist, looper, improvisor and self-described sound-scapist, Steve Lawson. Primarily known for his solo and duet works on his Pillow Mountain label, he has also toured with groups supporting Level 42 and 21st Century Schizoid Band as a solo artist. He has also shared the stage with other solo artists like Michael Manring and as a duo with the vocalist Lobelia.
Lawson also manages and teaches a master class series in Birmingham, UK, known as Beyond Bass Camp. The camp is an intensive one-day workshop for bass player who want to explore the technical, theoretical and mechanical aspects of making music with a bass.
Bass Musician Magazine: Based on your experience as a working musician, what are the one or two musical skills that you consistently see are lacking in bassists trying to make the transition from playing at home to gigging for pay?
Steve Lawson: I think “trying to make the transition” is perhaps the biggest mistake. Making money from music — the notion of a career in anything is becoming increasingly tenuous — happens because people want to listen to you and are willing to pay money. They are paying that money either to you, or for something else you’re attracting them to where you are being paid to be the bait. For example, if you are playing in a pub, you are the bait for beer.
The skills required to do that are the same as those needed to make meaningful music anywhere else. Specifically, the skills to know what’s required for the music to sound as good as you can make it, and to develop the physical ability to make that happen.
I guess the main thing that people get wrong in relation to it being professional is they get hung up on money and not on respecting music enough to play it with people who care as much about playing great music as you do. So anything that gets in the way of that is a bad thing, whether it’s punctuality or an inappropriate bass tone, getting drunk on the gig, or not being able to work with the drummer to make whatever groove the song requires happen in the best possible way. Whether it’s you or the other guys you’re working with that make those mistakes, it’ll be costly to any future ambitions you might have of working to a high standard…paid or not.
Most of the people I know who play music professionally do so because they were already playing to a very high standard of skill and attentiveness before they started getting paid for it. Do it because the music matters more than the money. If you happen to find that you’re making enough from music to slow down on the day gig, brilliant. But it’s worth remembering that if what you really want to do is play your own music, playing in a wedding band is a day gig.
Photo: Steve Brown / stevebrownphoto.co.uk
BMM: Following that theme, what about personal or business skills that bassists should have, but many don’t bother developing?
Lawson: Personal skills are such a huge area, and are more about being fully human than anything specifically professional. We all like being around people who are nice, keen, excited about music, who know when not to talk, who do their job with a degree of humility, who want the best for everyone involved in whichever one of life’s great projects we happen to be engaged in. No one wants to hang out with someone who thinks they’re a rock star, whether or not they are actually a rock star or a van driver. Either way, being nice is as important as being a musical badass.
Most of the bass skills required for the majority of music gigs that end up with you getting paid are simple, repetitive and focused. They’re the things that make everyone else sound great. If that’s at odds with your personality, it might be worth sticking with the over the top originals band and enjoying whatever non-musical stuff you fill your time without outside of the two hours of bass-shredding on stage each weekend!
BMM: When it comes to gigs, there seem to be two schools of thought: Take every gig you can to build your experience and network; or be very selective and cultivate your music credentials and reputation. What are your thoughts on building a successful gigging resume?
Lawson: I don’t think there’s a right or wrong answer here. I think the key is to act deliberately, with an outcome in mind. Too many people’s musical part seems to be defined by desperation, but with very little idea of what the outcome of that desperation is supposed to be. So they chase whatever vision of success has most recently and forcefully been impressed upon them. Instead, if we think about what we’re interested in, about what kind of music making is important to us, then we can pursue that.
I think taking new gigs is a really good learning path. Every new gig with good musicians is worth roughly 10 lessons of learning if you do it right: new material, new people, new environment, new styles, and new challenges. Wonderful.
But the preparation for gigs playing music that you have no interest in or attachment to can sometimes act as a huge distraction from the music you feel called to make. So a balance needs to be struck between the value of learning and the dangers of distraction.
BMM: Based on your experience as a solo artist, what are some of the challenges facing the soloist vs the band member or studio musician and is there a particular skill set that you were surprised was required of you?
Lawson: As a solo artist you’re in charge of everything. You own the success. You own the failure. You’re the draw at the show, the name on the poster, the entertainer, the between-song talker. Most of the time you’re also the sound guy, roadie and manager. That’s a lot of responsibility to carry!
It’s both lonely and liberating. You have no one to fall out with musically, but also no one on stage to bounce ideas off of defer to when you run out of inspiration. So it’s a particular kind of enterprise with a unique set of musical and organizational challenges. It’s less of a party, generally, but the connections you can make are deeper because your music is you. There’s no aggregate message from the combined personalities in the band. It’s just you and the audience, and your music is doing the talking. That’s a massive privilege but also a responsibility. You either relish it or you don’t do it!
The skills I struggle with more than any are organizational. Whether its booking shows, following up on logistical stuff, or chasing contacts. I’m terrible at that stuff, and sometimes wish I could afford to have someone else help me with it. But if I did, I’d probably end up telling them what I wanted them to do, which wouldn’t be any fun for them. So perhaps I need a co-worker that I can split tasks with!
BMM: With your experience leading Beyond Bass Camp, let’s ratchet that experience up a bit, cross mediums and several million light years and put you in the role of Yoda teaching a young Luke Skywalker the way of the bass and what it takes to survive as a gigging musician. What would you teach him?
Lawson: I’d tell him that surviving as a gigging musician was overrated as a pursuit in its own right. I’d tell him that being fully human, doing a good job, and making art that represents you well in the world are all deeply valuable pursuits with lessons attached, whether your succeed or fail in economic terms.
I’d suggest that sustainability is to be found in playing deliberately, spending as little money as possible, (though that may still require you to spend more on a bass than you would on a car) surrounding yourself with people who are open to the possibility that art is more important than commerce, and that money is just a pragmatic part of being able to do the things we love. It’s not an end in itself or a measure of anything meaningful.
It may be that failure as a gigging musician, in whatever terms you approach it at the start of your journey, may end up being success on a deeper more meaningful level. I’d share my own story of having my solo career quite effectively kill my session career, but open me up to a whole other way of thinking about and playing music that, while never making me rich, has put me in a pretty unique place in the musical landscape. And that is worth a thousand times more than a whole load of pro gigs as a sideman.
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
