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Bass Musician Magazine’s Year of the Luthier – Pat Campolattano, Designer / Luthier at Yamaha
Bass Musician Magazine’s Year of the Luthier – Pat Campolattano, Designer / Luthier at Yamaha…
How did you get your start in music?
One of my earliest memories is getting my first instrument from my Dad. It was a baritone ukulele that he brought home hidden in a black trash bag. I could see my dad walking around the corner into the garage holding the neck through the bag, and when he pulled it out of the bag my eyes lit up like a slot machine. I banged around on it as a kid and it was a great way for me to show off and goof around. I did not take it seriously at the time, but I had a lot of fun, and my parents always encouraged me to learn to play an instrument.
Fast forward to the end of 8th grade. When a friend of mine got a guitar I thought it was the coolest thing ever, and I wanted to join the club, so I asked for a guitar as my graduation gift from middle school. My mother said I would only get a guitar if I took lessons – she wanted me to take it seriously – so I agreed and was taken to our local music shop called Banko’s. It’s one of those shops that is a dying breed. I love it, and consider it to be the “dive bar” of local independent music shops. My mom of course asked for the cheapest guitar in stock, in case I lost interest, so I got my knock-off guitar and a little amp, and that was the end my friend. Bent on proving my folks wrong, I started my first lesson the next day. My teacher Eric Breymeier was a Berklee grad, and he got me hooked. By the end of Freshman year of high school, I was dead set that I wanted to study music in college.
My parents agreed that I should keep playing, but still study hard, in case it didn’t work out. I was determined. I played through high school with friends at parties and in our basements, like everyone else. Also, my grandfather played mandolin and guitar a bit, so we would noodle some tunes together, and he taught me how to maintain the instrument. I participated in a few Berklee summer guitar programs, and I knew that was where I wanted to be, so I continued taking lessons every week until I was accepted. I eventually got my degree from Berklee as a Guitar Performance major.
Abe Laboriel TRBX
Are you still an active player?
I still play and practice every day, but I have dedicated myself to being a Luthier. I save all my ideas and riffs for projects, and hope to work on them in the future. I jam with friends and play every day at work, which is pretty satisfying. The reason I got into this business was for my love of playing, so I will never give it up. Currently I am just focused on trying to be a master in one thing, instead of a jack of all trades.
BB3000-TK
How did you get started as a Luthier? Who would you consider a Mentor?
As a kid, I knew my grandfather had made some instruments, and we had a guitar of his in the house, but I didn’t pay much mention to it. We ended up spending a lot of time together throughout my childhood and he became my greatest mentor. He was a machinist and gunsmith by trade and had a workshop in his home. With a milling machine, lathe and every tool and cool contraption imaginable, I would sit and watch him work all day in the summers. He gave me my first pocket knife and showed me how to whittle, and while he worked I would tinker on my own little project next to him. At about 12, He let me use the Bridgeport and help out a bit. I eventually learned how to carve stocks, mill metals and do some oil finishing. I didn’t realize at the time the importance of what I was learning – I just enjoyed hanging out. In the process, he taught me most of the essential skills I use today. It was after watching him that I knew I wanted to carry on the tradition of working with my hands. I believe musical instruments are a peaceful avenue and also something that he loved.
After I graduated Berklee, I knew that I wanted to make guitars and work on gear. I was one of the bigger gear nerds at school, so I did setups and fixed some instruments for classmates and teachers throughout my time there. It was a passion of mine, just as much as the playing was. I was determined to learn how to play to my best ability, but I also wanted to know how to make a guitar and learn about how it ticks as well. So I moved from Boston to Los Angeles to take the Guitar Craft course from Musicians Institute. I needed to prove to myself that I knew what I was doing, and the course was a way to confirm that I had absorbed everything my grandfather taught me during my childhood.
Two weeks after leaving Musicians Institute, I got my chance to stretch out my wings working with two other guitar companies before finding my way to Yamaha in 2013.
I have great respect for all of the luthiers who preceded me at Yamaha, and consider them all mentors by virtue of exposure to some of their instruments in the shop, and upholding them as standards to maintain. I have learned a lot from each one of their works, and am honored to be working at the Yamaha Custom Shop in Burbank. My position as designer/luthier allows me to interact directly with artists, dealers, consumers, experts and the R&D and Marketing teams both in Japan and the U.S.
How do you select the woods you choose to build with?
I strive to pick the best materials available for what I think will best suit the build. I always try to understand the sound in the artist’s head, and deliver that. I have used a wide range of materials, and aim for what I consider to be complimentary pieces. Each operation throughout the build uses a different formula, and each construction technique determines the sound produced. For instance, quarter sawn necks sound different than flat sawn, so if I were building a vintage inspired instrument I might choose flat sawn. If I’m trying to get the instrument to balance a certain way, I might pick a lightweight neck block and make the body a bit deeper so it fits the player better in a standing position.
I also like to calculate the total volume of each piece for accurate weight prediction and to ensure well informed choices. Like most, I try to use the most beautiful grained woods that are properly cured and stored correctly, but I am also a fan of the ugly wood theory. When pieces are mineral streaked, or have funky knots, (AKA getting Relic’d by nature) it adds character and some genuinely wonderful tonalities. It’s all about how you complete the craft. The wood is one element of this massive equation, and I don’t think we should waste pieces because they don’t meet the coffee table standard. Sometimes I want an instrument to reflect the raw feelings of the genre of music it will be used to play, so the wood is chosen specifically for that.
TRBX6 – John Patitucci
How about pickups? What pickups did you use in the past? What electronics do you use right now?
Most of the pickups and preamps I use are requested by the artist. Everyone has a preference they are comfortable with, and it is my job to make sure that the instrument is tailored exactly to that. My predecessors here at the custom shop and coworkers in Japan have developed some amazing pickups and preamps that can be heard on countless records all around the globe, and our artists ask for those pickups and preamps regularly. Much of what we use here is identical to what you would find in stock BB/TRB/TRBX/Signature basses.
Occasionally our artists have pickup endorsements, so we work together with the manufacturer to find the right pickup and preamp that will work to suit their needs. I have had great success with pickups from Aguilar, Nordstrand, Lollar, and McNelly, but different projects call for different pickups. We have great relationships with a lot of these other pickup and preamp companies, and we really love working together with them on projects for our artists. Every company has its own unique character built into its products, and all of these folks are making excellent gear. Adding that character to some of the basses I have made has only been positive in my eyes.
Who were some of the first well-known musicians who started playing your basses?
Let’s just say that I have been given the incredible, once in a lifetime opportunity to build custom instruments for what I would say are the some of the best bass players in the world. Yamaha’s bass guitar roster is the who’s who of the bass community.
How do you develop a signature or custom bass for an artist?
Everything I make at Yamaha is either a custom instrument for an artist or a production prototype. My first step is to spec it out as much as I can. I always begin crafting an instrument with the approach that I need to hear the sound as the artist wants to hear it. I drill down on the features they like and the look they desire, but then I work with them to make an instrument that will both look and sound great. We go through every slight detail, then I create 2D and 3D drawings/renderings to make sure that the artist agrees with the direction the instrument build is taking. Some players have very specific preferences, so it’s straightforward, but some are very open to suggestions and experimenting with new technology and techniques.
It helps for me to listen to their music in order to get a sense of their sound, as well as pay attention to playing and performing styles. Often times I make two or three instruments with slight variations so they have options, and we work together to adjust every last detail in the refinement process until the artist has an instrument that is a perfect fit. We will swap pickups, preamps, bodies, necks, hardware and even minute cosmetic details until they are completely satisfied.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
I work alone here in the U.S. custom shop. I don’t have an assistant or anyone who makes guitars or basses alongside me, so completing every process from start to finish is a point of pride for me. I make every piece of the instrument that I can, and strive to make a custom build with each individual player’s needs in mind. I do the initial blueprints, design CAD models, program our small CNC, spray finishes, press in every fret and do the final assembly. Really, the only thing I don’t do is chop down the tree.
As far as features go, I think what most players really dig about my builds are the rolled edges of the fretboards, and my fretwork with round ends and hidden fret tangs. My goal is to make new instruments feel as though they have been molded to fit each player. Nothing you touch should have a sharp edge – it should feel comfortable and played in.
Which one of the basses that you built is your favorite one?
The 6 string semi hollow bass I made for John Patitucci probably tops it for me. Both Yamaha and John put their trust in me for that project, and I am eternally grateful to them for the opportunity.
That bass was the first I had ever made for John, and was also the first instrument of mine that made it to the cover of a magazine and an album cover. It has a special character to me, and to hear John play it is unlike any other experience I’ve had.
You can see and listen to the bass on John’s latest album, Brooklyn.
Can you give us a word of advice to young Luthiers who are just starting out?
Commit yourself to working diligently, don’t rush and respect your work. I dedicated my life to this craft, and wish for others to be passionate about it as well. It is hard work, but there’s an amazing reward if done right.
BESJP
What advice would you give a young musician trying to find their perfect bass?
Finding your own sound is crucial. I spent many years playing and chasing down the perfect tone. I wanted to have every sound in my arsenal and every piece of gear, but I later realized the importance in defining a sound for myself. After spending years searching for the perfect instrument, I came to understand that there is no such thing as perfect. Having a great bass that plays well only takes you so far. Lower action will be easier to play, but the bass itself will not make you a better musician. I feel the most effective advice is to set aside more practice time and to bond with whatever instrument you presently have. Realizing who you are as a player, and sticking with it so you can focus more on improving your technique will help you grow. When it comes down to making music, nothing sounds better than being well versed.
The best example I can give is this: I can make Billy Sheehan the bass of his dreams and test it through his whole rig to ensure it sounds to spec, but I sound nothing like Billy. Once it’s in his hands, that is when the real sound comes to life. His dedication to playing is what makes his bass sound perfect!
What is the biggest success for you and for your company?
Yamaha just celebrated 129 years of making world class musical instruments and this year is the 50th anniversary of Yamaha Guitars in America, which is a huge accomplishment. I think Yamaha should also be proud that they are in everyone’s consciousness in the music industry. So many players love their Yamaha instruments, and I personally think that it is admirable to bring music into so many people’s lives in the way that the company has, and continues to do so.
Being a part of the Yamaha family, and having the opportunity to create instruments for artists is a success to me.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
Yes, there are many exciting things on the horizon. Yamaha is forever growing and improving, and we have some clever stuff in the works, but my lips are sealed.
You can learn more about Yamaha basses at: http://usa.yamaha.com
What are your future plans?
I would like to write a column for a magazine or perhaps teach a class. I always wanted to write more about crafting instruments and to shine a spotlight on the community of craftspeople who really bring this art form to increasingly greater heights. Beyond that, I will continue to put my all into my work and improve on my crafting skills. I will be making guitars until I can no longer stand, and strive to do a better job with each successive instrument.
Is there anything else you would like to share that we have not included?
Yes. Support your local music store and your local music community. Without that, I probably would not have gotten so involved in music. Go to shows, and support your local musicians. To you it may not seem like much to see a band play at a bar, but to them it means the world, and in turn you help grow the next generation of talent that can turn around our industry.
Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away
Gear News
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Esopus Guitars Launches New Acoustic/Electric Bass…
Esopus Guitars is proud to announce the new “Tailwater” bass guitar, from legendary bass luthier Stuart Spector. This 32” scale bass is handcrafted by Stuart using the only finest woods and components at the Esopus Guitar workshop located near Woodstock NY in the Catskill Mountains.
From its fully carved spruce top (the top is carved on both its exterior and interior surfaces) with a thumb rest that is elegantly carved into the top, to its custom-made Fishman piezo pickup and super hard Carnauba wax finish, every detail of the Tailwater is part of creating the ultimate playing experience.
The Tailwater bass features a fully chambered spruce over alder body (15.5″ lower body bout width, 2.25″ body thickness measuring from the peak of the carved top) that delivers a super comfortable tonal tool for all your low-end needs.
Each Tailwater bass is hand-signed and numbered on the back of the peghead by Stuart Spector. A very limited number of Tailwater basses are handcrafted each year at the Esopus workshop.
“I am proud to present the Tailwater bass, a bass that I have spent the last three years perfecting. The Tailwater is a culmination of all of my 45 years of experience, knowledge, and passion for bass guitar crafting. I am so eager to hear what fellow musicians create with this exciting new instrument.” -Stuart Spector
Direct Pricing : $4995.00 plus options.
For more information about Esopus Guitars and Stuart Spector’s handcrafted instruments, visit www.EsopusGuitars.com.
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
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