Latest
Bass Musician Magazine’s Year of the Luthier – Anthony Olinger
Bass Musician Magazine’s Year of the Luthier – Anthony Olinger…
How did you get your start in music?
I didn’t pick up a bass guitar until my first year in college, 2003. I had just discovered Primus early in the school year and was surprised by how much the tone of a bass, especially in Les Claypool’s hands, appealed to my ear. Six months later I bought my first bass: a five-string Peavy, the Cirrus model (I think). I started practicing every night, despite my lack of an amplifier (I finally bought one after a few months) and steadily got more interested in becoming a musician.
Are you still an active player?
I’m very much still an active player. I love playing the bass; I’d probably be a professional bassist if I wasn’t a luthier, and I have pipe dreams of being the first “virtuoso builder.” I’ve been listening to Animals as Leaders a lot lately, trying to incorporate a little bit of their flavor into my playing style. I also just discovered Polyphia and have been revisiting Yes and Graham Central Station lately.
As a luthier I think it’s very advantageous to constantly play the instrument you build. I’m always trying to diversify my playing experience and gain a wider perspective as a player. In this way I can better understand the pros and cons of the design elements of the bass guitar.
How did you get started as a Luthier? When did you build your first bass?
I built my first bass in 2006, during my last semester in college. At the time, learning to play “John the Fisherman” was proving difficult with my 35” five-string and mere-mortal-size hands. I knew about short scale basses by then and thought a shorter/narrower neck would better fit my style and physique. I searched for a new instrument but couldn’t find a 32” bass in my college student price range, so I thought I’d build one instead. I worked on the bass in my kitchen and occasionally in a shop above a bar in “Old Town” Fort Collins. I completed the bass about two weeks before I graduated, and even managed to get an elective credit for the work. I had my zoology degree in one hand and the bass I built in the other, and began to realize my true calling.
I’ve always daydreamed about combining my zoology and lutherie skills to design bass strings made with spider silks (the topic of my Honors Thesis). I’ve also yet to train my ant farm to perfectly carve out my neck pockets, but some day…
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
I am “self-taught,” though I’ve gotten so many tips directly or indirectly from so many different people that you could hardly call it that. On a very limited basis, you could have called Greg Sapp of Sapp Violins my mentor at one time. The short amount of time I’ve been able to spend around Greg vastly increased my potential. Beyond that, it’s my drive to continually surpass myself that pushes me to new levels. I try to learn and improve every day I’m in the shop.
How do you select the woods you choose to build with?
Every instrument I build is fully custom, so the woods I choose depend, in part, on each owner’s preferences. I usually consult extensively with someone before designing their bass. We’ll discuss their musical tastes, sound preferences, pros and cons of their current instrument(s), their ideal instrument, etc., then combine that with my experience and expertise to create their personalized bass. I keep all this in mind as I select wood.
For necks and fingerboards I only use quatersawn wood that is, at minimum, three years old after being fully dried. During this time the wood must prove to be very stable, “moving” very little, if at all. Occasionally I’ll use “younger” wood for bodies and accent woods if an owner wants a wood I don’t have on hand, assuming the wood is still well dried and seasoned. The older the wood the better though, so I try to use wood that’s at least five years old whenever possible. I am always on the lookout for really old wood; I’ve been able to get my hands on some 100 year old wood that has been really great for instruments.
I try to make my basses as lightweight as possible, so light body woods are sometimes preferable to heavy ones. The sound the customer wants from the instrument can be a deciding factor in wood selection as well, and I always try to use woods that contribute to the overall tone of the bass.
Finally, I try to avoid woods that are on the CITES List (Convention on International Trade in Endangered species), especially if they’re for a bass that will be shipped internationally. Currently, cocobolo and Madagascar ebonies are on the CITES list in their raw forms, among a few other woods occasionally used in guitar building. You can see the full list of species here: https://cites.org/eng/app/appendices.php.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
Similar to wood selection, I usually select pickups and electronics based on a synthesis of the owner’s preferences and my expertise. Owners of my basses have asked for a wide variety of electronics, so I’ve used many brands including EMG, Villex, Nordstrand, Seymour Duncan, Delano, Mike Pope, Aguilar and more. I’m partial to Bartolini, GraphTech and Audere at the moment.
After playing the second bass I ever built for ten years, I’m finally building myself a new four-string that will have Bartolinis with GraphTech’s “Ghost” piezo pickups and “Hexpander” so I can play the bass through a guitar synth.
Who were some of the first well-known musicians who started playing your basses?
Jauqo III-X, Mark Smith of Brooklyn and Pete Hewitt of the band Winterfire are probably the most widely known musicians playing my basses.
How do you develop a signature or custom bass for an artist?
Because all my basses are fully custom, building a signature bass for an artist is very similar to building a bass for any of my customers. Anyone that orders a Xylem bass is essentially getting their very own signature instrument. With all of my customers, I’ll spend many hours discussing their preferences, style and physique. After our discussions I’ll send them a full-scale drawing then re-work it (if necessary) until they think it’s perfect. I’ll also send the artist/customer pictures of the build once every week or two as it progresses. If the artist notices or thinks of something they want to change during the building process I’ll make the change(s), if possible. Sometimes I actually spend more time with the people who aren’t endorsing artists because they are still discovering their musical voice and would like more guidance.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
Almost every Xylem bass is fairly unique in and of itself since it was designed by myself and its owner with few restrictions. I am also very proud of the attention to detail and ergonomics of my instruments. I try to design and build every bass to be very comfortable, easy to play, able to withstand heavy use and easy to maintain. No instrument leaves my shop unless it balances perfectly in standing and sitting positions. Often one of the first things someone says when picking up a Xylem instrument is “wow, this is light!” I’m trying to make “ghost basses:” instruments that feel so natural in your hands it’s like they’re not even there.
Which one of the basses that you build is your favorite one?
The new bass I’m building for myself at the moment will be my favorite, though it’s not finished yet. My favorite completed bass would be the “Calliope” six-string fretless bass I built last year. It was so light and comfortable that I barely noticed I was playing a six-string (I normally play a four-string) and every sound that bass made was just so appealing to my ear. It lives with its owner now, but I really miss playing it. Maybe in another ten years I’ll make another bass like it for myself.
Can you give us a word of advice to young Luthiers who are just starting out?
Constantly strive to learn and try new things, whether it be tools, building methods, gear or designs. Try to work just outside of your comfort zone as much as possible, challenging yourself often; this is the key to continual growth and improvement. If you’re going into business for yourself, you must put the same dedication into your marketing, advertising, salesmanship and customer service as you do into your bass building. The boring aspects of your business are just as important as the fun/motivating aspects, if not more so.
What advice would you give a young musician trying to find his perfect bass?
You have to find out what “perfect” means to you before you even start your search. A good way to begin is by learning as much as you can about the bass as an instrument. Research the sounds and features of different basses, the different playing styles, and explore a wide variety of artists. Teach yourself how to set up and maintain your own bass. Experiment with the height of the string action so you can hear how much it can change your tone. Get a “beater” bass or two from a pawn shop and change their setups, pickups, bridges, etc. There is a huge variety of basses in the world today, try as many as you can in combination with different strings, amps and pedals. As you explore, pay extra attention to scale lengths, neck dimensions, pickup placement and the overall feel of different basses.
When you’ve done a bit of the above you’ll have a much better idea of what your perfect bass might be. You are the only one who knows the kind of bassist you want to be; you must ultimately decide on the perfect bass for yourself.
What is biggest success for you and for your company?
My biggest success has been running Xylem Basses & Guitars full-time since 2008. My second biggest success is that I’m backed up with orders until about March of 2019. I can proudly say that I’ve more or less achieved my dream job.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
I am currently developing a “semi-custom” standard model Xylem bass or two. The new model(s) will encapsulate some features of my custom models, including balance, low weight, ergonomics and ease of playability, yet with a lower price point. I’ll build a few prototypes during the next two years and will probably release the first official model in 2019 or 2020.
What are your future plans?
I plan to continually develop new basses and push the envelope of bass design. If I’m lucky I might stumble on a way to revolutionize the electric bass someday. I’d also like to spend more time developing resources on my website for bassists and guitarists. I’ve learned many things as a luthier that have improved my bass playing, and I’d like to offer that knowledge to the musicians of the world.
Is there anything else you would like to share that we have not included?
Xylem basses are also available at Chicago Music Exchange. They are currently sold out, but there should be a new Xylem bass or two arriving near the end of this year. Oh, and check out the new album from Diabolical Sound Platoon, Bring the Catastrophe.
Visit Online:
- www.xylembassguitar.com
- www.facebook.com/xylembassguitar
- twitter.com/xylembassguitar
- www.youtube.com/user/xylembassguitar
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
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @jermsbass @ramabass.ok @adamovicbasses @mgbassguitars @marleaux_bassguitars @overwaterbasses @mauriziouberbasses @elrickbasses @zemaitisguitars @sandbergguitars
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
