Connect with us

Latest

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson

Published

on

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-1

Interview with Luthier Cleve Johnson, LedBelli Bass Guitars –

How did you get your start in music?

I began playing music in grade school with the band! As a teenager in high school, I picked up the guitar. Later on, in my 30’s, I imagined myself becoming a successful fingerstyle acoustic guitarist along the lines of Don Ross or Chris Proctor. Then one day about 15 years ago a friend of mine was short-handed for a gig and needed a bass player. He asked me if I could fill in and I thought, “Sure, why not?” So, the first time I ever played bass was live in in front of an audience! And just like that, I was hooked. Quite by accident I discovered that I had a rhythmic sense that suited bass guitar, and I was hooked on bass from that day forward!

Are you still an active player?

Yes, I have a blues/blues rock band called BlackWater. It’s a power trio with a female vocalist up front, and we gig when we can! And yah, I play one of my own!

How did you get started as a Luthier? When did you build your first bass?

I built my first bass in 2008. At that time I owned a German made Humanbase – it was a 6-string fretless, neck-thru design. For many months I’d had my eye on a Ritter bass that I wanted to buy, but I could not afford it. I had a woodshop and for most of my adult life I had built many furniture projects. Since I had owned a number of very high-quality acoustic guitars during my life, I knew instinctively what a good stringed instrument should have – I knew what needed to be there. In the springtime of 2008 I had a knee surgery that kept me off work for 3 or 4 months, so I decided that I would spend my time off from work building a bass guitar!

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-10

When I started that first bass I never intended to build more than one bass. I never started building that bass with the intention of becoming a “Luthier”. The first bass was a neck-thru bass, and I knew there was no margin for error – I knew that if I made one mistake, the whole thing would be ruined. I actually never expected to finish it, thinking that somewhere along the way I would blow it. But things turned out, and the result went way beyond my own, or anyone else’s expectations. Pretty soon, somebody said, “You should build another one of these.”

So, in 2009 I attempted 3 more basses, two of which I felt were sub-standard and I destroyed them (I was trying new things). The remaining bass from ’09 is still being played today – on permanent loan to a young jazz bassist in Seattle named Juan Hernandez. That bass is a semi-hollow body, single-cutaway fretless bass that I still offer to clients today – the Jonah HSC model.

Then in 2010 I met Mick Vaughn, the bassist for Tim Reynolds & TR3. (Tim is the lead guitarist for The Dave Matthews Band who also has his own band that tours when he is free from DMB.) Mick played my very first bass for a sound check and he liked it well enough that, to my surprise, he wanted one of his own! So, in the spring of 2010 I began work from scratch on a brand-new design. Mick wanted his bass in time for the Mile High Music Festival in Denver CO in August of 2010. I literally finished the bass two days before we had to leave for Denver! I’m still blown away that the first time that bass was played was at a major music festival in front of 9,000 people, being only my 5th build! This new design for Mick became what today is known as my “Noah” model.

So, within a few weeks after the festival, I had a half-dozen “orders” that I never expected. I suddenly found myself in the role of a bass Luthier, and I was in over my head – I was freaking out!

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-9

How did you come up with the name, “LedBelli”?

I get asked that a lot! It started out as a sarcastic joke between friends! In 2009 a buddy came over to the shop to see what I was up to, and he began to pester me, “What are you gonna call them?! You gotta have a name!”, and I kept blowing it off. But he wouldn’t let it die! At the time I was listening to a lot of Lead Belly blues in the shop, and so just on impulse to get my friend to shut up I said, “I don’t know, I’ll just call them Lead Belly Basses or something!” He promised me that he was going to hold me to that and sure enough, the following year when things broke loose he was right there holding my feet to the fire! What are friends for?! Lol. So, I changed the spelling around and went with it! Later on, I considered changing the name to something more serious, but it was too late – LedBelli had already established an identity! Now, I’m kind of glad it went the way it did!

How did you learn the art of woodworking/Luthier? Who would you consider a Mentor? 

I learned woodworking in high school shop class, and those skills never left me. I built furniture off and on all of my adult life. But as a bass Luthier, I am almost completely self-taught – again, I knew from being a musician what needed to be there and then devised my own methods of getting there!

I can add that here where I live there is an accomplished acoustic guitar Luthier, Duane Noble, who taught me the basics of finishing with nitro-cellulous lacquer and some basics about fingerboard radiusing and fret-work. But even he will admit that he was not of much help beyond those initial basics! I pretty much winged it from there!

Since my finishes have become something of a hallmark for my work, Duane was very helpful in that area. However, the way I achieve my finishes today is completely different from how Duane taught me to do it in 2008! Otherwise, everything else I have learned by trial, and a lot of error!

I’m very observant – I never pick up an instrument without looking closely to see how they did what they did, and then I try to think of how I would do it. It’s a systemic learning process that never ends.

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-13

How do you select the woods you choose to build with?

From the beginning I’ve kept my wood choices well within the boundaries of what’s traditionally acceptable. What I do differently is that I look for the most amazing woods I can find within those boundaries. I want wood that makes people say, “Wow”!

I’m pretty picky about the wood I use. I have a handful of Northwest suppliers I frequent and I am always looking for the most exotic figured domestic hardwood I can find. I focus on Ash, Maple, Alder, and Walnut for the bodies, while my necks are made mostly from Maple and lately, Wenge. My fingerboard choices are Ebony, Rosewood, Maple, Ziricote, and Cocobolo.

How about pickups? What pickups did you use in the past? What electronics do you use right now? 

In the beginning I used Delano Pickups and preamps almost exclusively, unless a client wanted something else. Contrary to what many of my critics think, my earliest work was modeled around the Humanbase that I owned. My Humanbase had Delano electronics onboard and I liked it, so I went with that. Delano and I eventually developed a great relationship, and I would still recommend them to anyone who seeks top-notch quality and a modern-esque tone.

However, in 2011 I learned of Carey Nordstrand’s work, and I contacted his company about making me a custom wound set of MM- humbucker’s for “The Rainbow Bass” (pictured) that made its debut at The Gorge Amphitheater during the Dave Matthews Band “Caravan” Concert in 2011. From day 1, Nordstrand gave me the kind of attention normally reserved for dignitaries, and that marked the beginning of what has now become a very fruitful relationship! I can honestly say that I have become good friends with Carey and several of his employees as they have taken me under their wing and produced for me everything that I’ve ever asked of them! Nordstand does not care how small I am . . . they treat me like I’m the only builder alive! So, since 2013 I have used Nordstrand Pickups and Electronics exclusively. The only time I don’t use Nordstrand is when a client specifically asks for something else! Most clients don’t!

Who were some of the first well-known musicians who started playing your basses? 

Mick Vaughn, of Tim Reynolds & TR3, although Mick would dispute the “well known” label. Mick is a musician’s musician, and he is known and loved inside the industry! He’s also one of the most genuine people you will ever meet, and I think he would be a great bassist to feature in Bass Musician Magazine!

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-15

How do you develop a custom bass for a client?

I listen -closely- to them. With some clients, I’ve spent hours on the phone hammering out the details of what they want! Other clients may simply say, “Make it like that one!” Regardless, I try to listen to what my client is trying to say, and then I work to meet that expectation.

But in all cases, I try to keep what my client is looking for within the boundaries of what I offer. I have 6 different design motifs that I stick to and they are proven. Within the framework of one of those motifs the client and I work together to make it happen!

What are a few things that you are proud of about your instruments or that you would consider unique about your instruments?

Well, that’s a hard question for me to answer!

I guess that the over-riding thing that comes to mind is that my work is completely hand-crafted using only hand tools and basic shop equipment. My shop is very small! I do not use any CNC or CAD in my work. There is no automation. When I work, I sweat . . . sometimes, a lot! I don’t criticize those who use CNC or automation, and I understand their production advantages, but it’s just not what I’m about. I guess you could say that I’m kicking it “old-school”.

My over-riding desire is that I want the instrument that I deliver to a client to be as pure an expression of my art as I can give to a new owner. I take a lot of pride in being able to handcraft an instrument that makes people go, “WOW!” when they open the case. I don’t see my work ever being mass-produced – frankly, I don’t think it can be. I have never built any two instruments exactly alike, and I sincerely doubt that I ever will.

Which one of the basses that you build is your favorite one?

That’s like asking me which of my children is my favorite! I don’t have a favorite one, but there are a few that stand out – the very first Noah that Mick Vaughn owns is special, if only because it was the bass that sent me down this road that I’m on. The Rainbow Bass (a Noah model) was a game-changer for where I was at in 2011. In 2015 I introduced a new model, the Blackbird, that was an instant hit and that I plan on doing a lot more of. Also, my Jonah SSC model is pretty radical with its ultra-thin body.

I can’t pick just one!

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-2

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-3

Can you give us a word of advice to young Luthiers who are just starting out?

Definitely. Remember two things:

First, stay away from uninformed (or under-informed) critics of what you are trying to achieve in your work. Stay true to your own vision for where you want to be. If you are paying close attention, this craft is self-correcting. If you make a mis-step, you will soon know it. Follow your muse . . .

I have a saying: “Those who can, do. Those who can’t – criticize those who are doing it.” The majority of the people who will criticize you have utterly no idea what they are talking about. Ignore them. My art has flourished since I stopped worrying about the opinions of the uninformed.

Secondly, find one or two people who can give you the moral support and wisdom that you need to excel. They don’t necessarily have to be Luthiers. They just need to be people who are further down the road of achievement than you are! Find one or two successful people who are able to cheer you up and give you wisdom when you’re having a bad day! For me, Carey Nordstrand, Tom Bowlus, and a Seattle area artist and good friend, Aaron McCrae, have provided that support exactly when I needed it. On two or three occasions, I was ready to quit this gig! Each of them gave me the perspective that I needed to keep going!

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-5

What advice would you give a young musician trying to find his perfect bass?

I would tell a young musician this: find the best bass you can get for $500.00 or less, take it to a professional who can set it up well, and then learn to play it and THEN learn to play it some more! Focus on becoming the best musician you can be! As you become a better musician, you will slowly realize what you want in YOUR instrument. But don’t go chasing the ultimate bass guitar thinking that it will suddenly make you proficient in areas where you’re not. A bad musician with a $10,000.00 bass guitar is still a bad musician! There is only one way to get better: hard work and practice. (That’s also true in becoming a Luthier!)

What is your biggest success for you and for your company?

This spring I had a very expensive bass come through my shop from a well-known builder whom I’ve admired for a very long time. Anyone who is a bassist would immediately recognize the name. For the first time, I was able to directly compare my work to his work. In that comparison, I suddenly had a revelation: somehow I had unexpectedly crawled my way onto the same playing field of artisanship, tone, and playability as his work. I never saw this coming . . .

That moment of realization changed everything. Up until then I kind of had a Luthier’s inferiority, or underdog, complex. I always figured that my work was, at best, journeyman level. But on that day I realized that I’m making something special. Realizing this has changed everything about how I now approach my work.

Bass Musician Magazine’s Year of the Luthier – Cleve Johnson-7

Are you preparing something new, some new model or new design?

Yes, this summer I am introducing a new model, the Majestic, that will be my “flagship” model. It is a 27 fret neck-thru design with a Wenge neck and Ebony fingerboard. Going forward, those will be the defining features of the Majestic, while I will vary the body top and wings. It’s going to be killer, and a lot of folks are already lining up for it! I’m excited to see how it turns out!

What are your future plans?

Plans?! I never planned on being here to start with! But I love what I’ve stumbled on to here, and I plan to keep working hard to make my instruments something desirable for any musician to own. I plan to do whatever I need to do that makes owning a LedBelli Bass Guitar something special. If my clients fall in love with their new bass, then I’m the happiest of all.

Is there anything else you would like to share that we have not included?

I love my dog!

Visit online at:

 

Latest

This Week’s Top 10 Basses on Instagram

Published

on

TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @zonguitars @shukerbassguitars @bite.guitars @adamovicbasses @mayonesguitars @bassbros.uk @capursoguitars @overwaterbasses @saitiasguitars @ramabass.ok

View More Bass Gear News

Continue Reading

Gear News

New Gear: Elrick Bass Guitars Headless Series

Published

on

New Gear: Elrick Bass Guitars Headless Series

New from Elrick Bass Guitars, Headless Series added to Custom Lineup…

Elrick Bass Guitars is excited to announce the addition of a headless option on hand-carved series bass guitars. Initially previewed on the 2023 Gold Series SLC MkII bass of prolific solo bass practitioner and educator Steve Lawson, a headless bass option is now available to all. According the Elrick, “The excitement surrounding Steve’s MkII SLC bass at 2024 NAMM confirmed that the time is right to add a headless option to our extensive range of custom options.” To date, Elrick instruments have only been offered with traditional headstock construction but, in response to market demand, custom features will now include a headless option in 4-, 5- and 6-string models.

Headless bass guitars share these features with the traditional headstock series:

24 frets + zero fret
exotic wood top
hand-rubbed oil finish
2-way adjustable truss rod
custom Bartolini pickups
custom Bartolini 3-band preamp
fully shielded control cavity
Hipshot bridge
Dunlop Straploks
Elrick Fundamental strings

The headless option can now be selected when submitting custom order requests via the form on elrick.com, contacting the Elrick Sales Office directly, or working with your favorite Elrick dealer.

Continue Reading

Gear News

Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

Published

on

Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)…

Flemish Master Pieter Bruegel the Elder probably had many things in mind when painting his Hunters in the Snow in oil on oak wood in 1565. This masterpiece tells plenty of little stories about winterly pastimes and precarious livelihoods in the Early Modern Age. What Bruegel presumably did not have in mind was that this painting would, several centuries later, become one of the most popular ones in fine arts globally, displayed in a permanent exhibition at Kunsthistorisches Museum (Museum of Fine Arts) Vienna. The painting’s popularity was lately taken to a different level as it was replicated by hand to design an exclusive BITE bass.

An international art collector and bass player who regularly visits Vienna to immerse himself in the wonderworld of Kunsthistorisches’ Bruegel Hall asked BITE to replicate the painting on a bass body. BITE Guitars, an Austrian premium manufacturer exporting most of their basses to the US, has become renowned for colorful artwork basses, offering a range of manual and digital techniques. The firm’s art director Peter, a trained scenic painter of Oscar and Palme d’Or rank, specializes in photo-realistic reproductions. He also painted the bass for Robbie Williams’ 2023 world tour by faithfully replicating Robbie’s own stage design onto the tour bass.

Peter copied the Bruegel motif onto the bass body in minute detail, little twigs even by one-hair-brush. Positioning the rectangular image section on the body shape proved to be a special challege that he met by repositioning little elements, a bird here, a horse and cart there.

It all came together in a memorable video shooting in front of the original painting in the Museum’s Bruegel Hall: venerable fine arts, premium handicraft and groovy jazz tunes.

View video at the museum: www.youtube.com/shorts/2evdqfR6gUE

What’s the conclusion of BITE’s client, our Vienna, art and bass lover? “It’s a magical bass! When I touch the strings, I feel warm inside.”

Specs highlights:
Bass model: BITE Evening Star, the proprietary BITE premium model with inward curved horns
Pickups: 2 x BITE 1000 millivolt passive split-coils (PP)
Neck: roasted maple neck and roasted flamed maple fretboard

Price tag incl. insured door-to-door express shipping:
New York: 4726 USD
London: 3645 GBP
Berlin: 4965 EUR

Full specs available at bite.guitars/old-master-bass/

Bruegel Hall at Kunsthistorisches Museum Vienna: 
khm.at/en/visit/collections/picture-gallery/the-best-of-bruegel-only-in-vienna/

Continue Reading

Bass Videos

Interview With Bassist Ciara Moser

Published

on

Interview With Bassist Ciara Moser

Bassist Ciara Moser…

Ciara and I sat down for this interview a few months after the launch of her debut album, “Blind. So what?”

Blind since birth, she is a powerhouse of talent; she is not only a professional bassist, but also composes music, and is a producer and educator. I am just blown away by her talent and perseverance.

Join me as we hear about Ciara’s musical journey, the details of her album, how she gets her sound, and her plans for the future.

Visit online:

www.ciara-moser.com 
IG @ moserciara
FB @ ciara.moser

Photos by Manuela Haeussler

Continue Reading

Gear News

New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

Published

on

New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar…

Black Ice Enterprises introduces Black Ice Boost and Black Ice Distort, small, battery-free devices that can be easily installed in a bass or guitar.

Black Ice Boost offers two selectable stages of up to 7 dB of boost, broadly concentrated in the midrange frequencies to add humbucker-like qualities to Strat®, Tele® and other types of single-coil pickups. Black Ice Distort is an overdrive module that can be configured to offer anything from slight overdrive to distortion. Both models are compatible with all passive guitar pickups and electronics (they’re not compatible with battery-powered active pickups).

Black Ice Boost (SRP: $119.95; MAP, $79.95) can be installed using several wiring options, including a simple “stealth” install that utilizes a single push-pull pot, and a dual-switch option that allows users to select between two different levels of boost. For those using the boost along with Black Ice Distort, a second push-pull pot or switch can be used to select a clean or distorted boost.

The Black Ice Boost module is approximately 2/3 the size of a 9-volt battery, and can be easily installed in most instruments with no routing or permanent modifications required. The tone of the instrument remains completely unaffected when the boost is bypassed.

In addition to use with popular single-coil pickups, Black Ice Boost can also be used with other pickup types. Use it to fatten up a P-90 style pickup, or add girth to a low-wind humbucker. Jazz Bass® players can use the additional midrange content provided by Black Ice Boost to produce a sound that’s reminiscent of a P-Bass® or soapbar-type pickup. Black Ice Boost is not recommended for use with high-output humbuckers and other dark-sounding pickups.

Black Ice Distort (SRP: $27.95; MAP, $21.95) is an overdrive module that can be configured for just a touch of grit, or a more aggressive grind, all the way to a 1960’s-flavored fuzz. While its battery-free circuit will never replace the more refined sound of a well-designed pedal, it provides handy, there-when-you-need-it access to a variety of fun old-school flavors, and is a great way to add additional textures to an already overdriven amp or pedal. Bass players will especially dig its raw dirty grind.

Like Black Ice Boost, the sugar-cube-sized Black Ice Distort provides a lifetime of tone with no maintenance or power source required. A variety of wiring options are included that let you activate the Distort via a switch or push-pull pot, or by easily converting your guitar’s tone control into a control for the Black Ice Distort circuit. It can be used in conjunction with the Black Ice Boost for a wide variety of useful tones.

Black Ice Boost and Black Ice Distort are now shipping.

Visit online at www.blackiceoverdrive.com

Continue Reading

SUBSCRIBE NOW

Facebook

Trending