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Bass Musician Magazine’s Year of the Luthier – Michael Pedulla
How did you get your start in music?
I inherited a violin when I was about 13 and that got me started. I attended a music college and violin was my major instrument, so I have a classical background. I did not pick up a guitar until I was in college.
Are you still an active player?
I no longer seem to have the time it takes to maintain any serious level.
How did you get started as a Luthier?
I first began while in college, we had an open end assignment in one of my ethnic music classes, I chose to build an Ud. I had picked up playing some banjo as well as guitar and the Ud was so much fun to make that I made myself a banjo next, then a dulcimer while still in school. Had a blast.
When did you build your first bass?
I began building instruments professionally in 1975 and my first bass was made in 1976.
How did you learn the art of woodworking/Luthier?
I always loved making things, somehow wood was always the attraction. I began helping my Dad with some projects when I was five. Although he was not a professional woodworker, he taught me many basic skills and, most importantly, to do it right or not at all (he was an Air Force pilot). I did not get in to working with instruments until much later. I learned design form doing repair work and the woodworking skills came with experience and always trying new things. I always had a love for engineering, physics, music and wood, so I put them all together and went after it. I did have formal training in classical music and violin but I never did have have any formal training in woodworking, I learned on my own.
Who would you consider a Mentor?
There is no single mentor, I had none in my profession. The tools I had to put the bass thing together came from my folks and inspiration from a vast array of people that chose to do something in their life with purpose, regardless of their profession. I did catch some breaks, I did have some help, no one accomplishes much without either. And I accepted failures, learned from them, and went back to it.
How do you select the woods you choose to build with?
At first it was all trial and error, the only way I could ever tell what would work and what wouldn’t was to try it. Currently, I choose my woods from what I’ve learned by building basses over the past four decades . They are different for each of the bass models I make now. They are chosen primarily for sound and looks. Within each type of wood there are many different factors: flat sawn, quartersawn, difference in density, color, figure etc. Unlike other materials, every piece of wood is different and must be treated as such.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
My first electric guitars and basses had DiMarzio pickups, back in 1976. By chance I went to my first NAMM show in Chicago in 1978 and my booth was adjacent to “High A” pickups, Bartolini. Pat and Bill Bartolini showed me the ropes of doing a NAMM show, they gave me a few sets of pickups to try, and I have been using Bartolini ever since. Over the years, Bill designed our proprietary pickups and electronics, tweaking them to the sound I wanted for each new model. I use them exclusively, they are part of what provides the sound of each Pedulla bass.
Who were some of the first well-known musicians who started playing your basses?
I worked with a number of great bassists during the mid to late 1970’s. Mark Egan and Tim Landers were the first, and both still play Pedulla basses. Mark was playing with Pat Matheny, Tim was with Al DiMeola. There were new demands being made in the role of the bass, and they were each looking for a new tool to meet those demands. We became good friends and have worked together to this day.
How do you develop a signature or custom bass for an artist?
I don’t do custom basses. The problem with “custom” basses is that some people’s ideas of what they want just won’t work as well as they think. I’ve spent a lifetime putting together basses in various combinations of woods, electronics, designs, hardware, and I pretty much know what won’t work well together. It’s so much more than the components, it’s all about how you combine them. Like the million things that go in to an ecosystem that allows it to work, take a seemingly insignificant part out of it and it dies. Perhaps not on the same scale, but that is how it works for me. The only “Signature” bass I have done is the Mark Egan Signature, most recently a 40th Anniversary Edition.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
I consider the whole, and they are unique. The appearance and feel are unique and the sounds are signature and always will work because it is the heart of working bass. I build only my own bass designs.
Which one of the basses that you build is your favorite one?
They all are.
Can you give us a word of advice to young Luthiers who are just starting out?
It’s harder than it may seem and in addition to being able to build truly useful and quality instruments, you’ll also need to know how to run a business and deal with the unexpected if you’re looking to make a living at it.
What advice would you give a young musician trying to find his perfect bass?
Don’t pay attention to the “flavor of the month” or the latest “fad” and don’t judge an instrument on looks alone. The only way to find the right bass for you is to try them. You may want to pay attention to what works for other bassists but not necessarily who endorses what because some companies give away instruments or pay for endorsements; The endorser may not have actually liked the bass enough to pay for it. We’ve never paid anyone to play a Pedulla bass and don’t give away basses… Pedulla Artists have all wanted their Pedulla basses enough to pay for them.
What is biggest success for you and for your company?
Working on year 41 and the basses are better than ever!
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
Yes. I am always working on something new, sometimes it takes years to go from thought to execution because I’m so busy filling bass orders, but it’s always there. I’m also constantly improving on current models in subtle ways, like improved electronics and more lustrous finishes.
What are your future plans?
I’m in my 60s and have been doing this full-time (often more than full time) for 41 years. Although I still love what I do, I may consider “semi-retirement” soon. Owning your own business is really a 24/7 job and I’d like to make more time for other things I enjoy doing. My schedule has been booked at least 3 months out with bass orders and if I “semi-retire”, that wait time for new basses may become longer.
Is there anything else you would like to share that we have not included?
I’d like to thank all of our customers, especially those who have been avid supporters and have provided great reviews, comments, social media posts, etc. All of those Pedulla bass (& Pedulla Bass Strings) buyers and supporters that have spread the word about the quality of our products and our dedication to what we do have contributed greatly to our longevity. We appreciate them very much – and appreciate you providing this opportunity to thank them!
Visit online:
www.facebook.com/PedullaBassGuitars
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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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Interview With Bassist Edmond Gilmore
Have Fret Sprout? Sharp Fret Management… a How-To Video
This Week’s Top 10 Basses on Instagram
Tour Touch Base (Bass) with Ian Allison
Interview With Audic Empire Bassist James Tobias
New Album: Avery Sharpe, I Am My Neighbors Keeper
