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Circumstances by Jimi Durso
I recently read an interview with the trumpeter Paolo Fresu, and he talked about how he got into using electronics, saying “I started using electronics just to preserve the sound quality when I changed to Harmon mute on stage, because the sound engineers knew nothing.” This made me think about how much of our musical style may come from our circumstance, in the same way that our mannerisms often originate in our environment. However, in both cases we can still observe and make decisions about if and how we want to continue expressing these idiosyncrasies.
To give one example: when I was starting out I had the privilege of playing with some terrible drummers. They played with sloppy time and the fills were highly inaccurate. To compensate, I played in a very aggressive manner, laying the time down in a way that allowed no dissent (as I once heard bassist Ray Williams put it “You’re with me or you’re wrong.”) I would play hard, and with very little space (as rests or held notes in my bassline would just provide an opportunity for the drummer to rush, or drag, or drop a beat.) As time went on I increasingly found myself in situations with drummers who were much solider, so I made the decision to meet them halfway on the subject of time (a decision made easy by the fact that my insistent stance typically did the groove more harm than good). But I kept the style of playing forcefully, but had to find a way to do it in a manner that didn’t piss of other members of the rhythm section.
Often our circumstances comingle with our preferences to create our sound. To give you another personal example: I’ve always loved the kinds of guitarists who use a variety of timbres (Bill Frisell and Adrian Belew are two of my favourites), but I seem to end up in ensembles with guitarists who just use one sound (two at most), or with keyboardists who leave their keyboard on the acoustic piano setting. So to create more sonic variety, I made the decision to experiment with different sounds, both electronic ones such as delays, wah-wahs, octave dividers and such, as well as natural ones like harmonics and slapping. This is what prompted to me to work so much on my arco playing: it provided another sound.
Lately, I’ve been performing a lot in duo situations, often with a guitarist, though my group Coincidence Machine pairs me with a drummer. This has caused me to explore ways to play bass in a way that can fill more space. Things like tapping chords with my right hand, plucking with thumb and fingers like a classical guitarist, and even using loop pedals, all to make the bass sound like more than one instrument. I’m certain these experiments will become part of “me” and find their way into situations when I’m in larger ensembles.
So here are some things you can do to apply this: in any musical situation in which you find yourself, ask “What do these conditions require of me?” The me part is very important here. Don’t just think “I’m playing punk so I’m supposed to play eighth notes on the roots.” Think more “What does this punk song require of me?” Does it need more motion from you? Or less? (Mike Dirnt of Green Day is a great example. Notice how sometimes he plays lines with a lot activity but other times he just hangs on the root note).
Try to think of what you specifically can provide to the musical landscape (or perhaps “soundscape” is a better term, if Robert Fripp hasn’t copyrighted it). Do you tend to like to play very melodically? Maybe you should insert some sort of bass hook. Do you like the sound of inversions? Or maybe there’s a hole that you feel the need to insert a sort of Geddy Lee/Mike Watt/John Entwistle style fill into. Or maybe you’ve got a highly syncopated personality, and you feel right playing just a few notes that are strategically placed.
The important part is to think what you (specifically you) would like to hear from this song (or group, or section of the performance) if you (again, specifically you) were listening. This is the point at which you as a personality meet the musical situation. This is a great place to discover your musical voice.
Twang!
Bass Videos
Interview With K3 Sisters Band
K3 Sisters Band Interview…
It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.
Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music, music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.
Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.
Here is the K3 Sisters Band!
Photo, Bruce Ray Productions
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Bass Player Health
What is a Pinched Nerve? with Dr. Randy Kertz
What is a Pinched Nerve?
In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.
Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!
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Gear News
New Gear: Ashdown ORIGINAL-EVO-C112T-300
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.
Product Specification-
Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg
For more info please visit www.ashdownmusic.com
Gear News
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…
The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.
This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.
The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.
It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.
Anticipated Availability: May/June 2024
For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/
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