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Worship Bass: Hey, New Kid! by Steve Gregory

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Worship Bass - Hey, New Kid! by Steve Gregory

Greetings to all of you worship low-enders out there – it has been a while since my last worship bass column! I have been involved in a number of great things that have kept me away, but I am happy to be back. I hope your bass blessings have been plentiful since my last writing.

One major shift in my personal worship bass life has been leaving one church ministry to join another. No juicy, tabloid-worthy upheaval at play; rather, I felt a calling to move to the new opportunity when it arose. I’ll take advantage of this space for one short moment to offer my heartfelt thanks and appreciation to Highlands Fellowship for allowing me to grow as a worship musician and for putting up with my band-leading shenanigans during my tenure there. To Blue Ridge Church, thank you for your warm welcome and I’m humbled to be a part of your team!

This change has had me thinking, from a very personal point of view, of what it takes to successfully integrate into a worship team as a bassist. Interestingly, I was often asked for advice along these lines when I served as a bandleader. I now have to, as the saying goes, “eat my own dog food”! Informed from both points of view, here are some quick tips for being successful as the “new kid” on a worship team.

Foundation first

The number one job of a successful worship bassist is to support the worship leader and back the team. When in doubt, playing strong, solid, foundational parts that support others will always win the day. It is crucial that you enable worship by making the music feel good to the others on the team. This is a big shift for many bassists, who believe that they should “play to” the congregation. Make the worship team feel solid first and then you can enjoy the worship with on the congregation.

Be prepared

This should be obvious, but I’ve met many who insist on “winging it”, for one reason or another. Carve out time prior to rehearsal and/or worship to learn the music and your parts. Listening to the songs on the drive to rehearsal and hastily jotting down notes on a fast food restaurant napkin doesn’t cut it. (Not that I’ve ever done that, of course, but I know a guy…) I’ve never found that over-preparation is a problem, while the opposite leads to uncomfortable rehearsals and ultimately, short tenures with worship teams.

Every Song Is A New Song

This advice goes along with being prepared: don’t make assumptions about song arrangements. Let’s say you see a song on the set for the week that you’ve played approximately 7,391 times. While you may feel like you know it inside and out, there is a good chance that you’ve assimilated changes and tweaks over time that may or may not fit in your new setting. Revisit the original source material, along with any notes that are given to you, and ensure that you’re on the same page with your new team. By the way, this is good advice for those established and playing with a team weekly: don’t make assumptions and check out the tracks, notes, and charts give to you, to avoid being surprised.

Bass player: no. Bass musician: yes!

“Bass musician” is not just the title of this excellent publication, but is the highest version of being a “bass player”. Bass players play notes without thought; bass musicians think about the notes, rhythm, dynamics, song parts, interaction with other musicians, and more. Aspire to bring your best musicality to the worship. There should be a reason for every note you play and a defined way in which you play it.

Flexibility makes friends

The worship leader needs a whole note instead of four quarters in the first bar of the verse? Great. You are asked to be softer during the bridge? Great. The bandleader wants you to not double the lick with the guitarist, even though you spent a lot of time learning the part? Great.

I’m not suggesting that you become a mindless robot (very much the opposite!); however, if you are able to musically make changes that are asked of you, make the changes. In my experience, being flexible keeps the worship strong and the team happy. By the way: if you choose to follow the advice above to be prepared and play musically, your playing is often accepted as you first present it.

Your cool ideas may be cool…someday

But, you have a great idea! Like, really great! Substituting a C-7 in the second bar is sweet, sweet magic and you are positive that it is an earth-moving change. It may be, but some ideas are better to save, initially. Learn the team’s arrangement, as it is, then decide if your suggestion is still valid. If the idea is still rock-solid, there is almost always a preferred method of sharing ideas. Find out what that method is and then wait until an appropriate time to suggest the idea to the worship leader or bandleader…and then be cool if they want to keep it their way.

Don’t be a sound engineer’s nightmare

Here’s a free tip on how to ruin your day: make your sound engineer unhappy. Know ahead of time what your signal chain needs to be and how to get good, solid sound. If you are using the church’s equipment, come early to set it up. If you’re expected to use their gear, don’t demand that you be allowed to bring 22,000 pieces of equipment of your own because “you have to have your sound”. If you do need to bring your gear, make sure it works and that you can get a solid sound, easily.

Find the groove

The last hint is a bit subjective, but in my experience, I have found that every team has their own groove. Often it’s not a simple overarching theme like, “play everything a touch behind the beat”. Usually, it is a sense of how the team interprets different feels, tempos, and time signatures. Working to discover the “breathing pattern” of a team is challenging, but is well worth the work.

I hope these suggestions help anyone who is trying to join a team or, like me, is integrating into a new team. Further, these tips are good to review for those who have been playing in the same setting for years. Change is difficult, but change can lead to amazing things – just remember that it takes effort from you!

 

 

Bass Videos

Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning

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Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning

Ibanez & Graph Tech Launch Revolutionary Multi-Scale Bass with Cutting-Edge Tuning Technology.

Ibanez Bass, renowned for pushing the boundaries of innovation in the music industry, is proud to announce an exciting collaboration with Graph Tech Guitar Labs, pioneers in instrument technology. Together, they introduce the revolutionary SRMS725 5-string Multi-scale Electric Bass and SRMS720 4-string Multi-scale Electric Bass featuring Graph Tech’s cutting-edge Ratio® Machine Heads.

The SRMS725 & SRMS720, part of the esteemed Bass Workshop series, represent a fusion of unparalleled craftsmanship and state-of-the-art engineering. Boasting a mesmerizing Blue Chameleon finish, this instrument embodies elegance and performance.

At the heart of this collaboration lies Graph Tech’s Ratio Machine Heads – a game-changer in the world of bass tuning. Unlike traditional machine heads, (which use a single gear ratio for all strings, such as 20:1) Ratio® Machine Heads employ a calibrated gear ratio for each string position. Why? Every string reacts differently to tuning adjustments, making the Low E or B on a bass hard to dial in the tuning because they are so sensitive to any adjustment. Fine-tuning where you need it. With every string having the same feel and response, players experience unparalleled control over their instrument’s tuning, resulting in a predictable, precise tuning experience with the musician in total control. 1 turn = 1 tone on every string. This same feel and response carries over to ratio-equipped electric and acoustic guitars.

We found RATIO® machine heads to be extraordinarily accurate, and we were particularly impressed with how easy drop tuning is with them, especially when dropping to D on the fourth string and to A on the fifth.,” says Ibanez. “This characteristic makes RATIO® tuners incredibly well suited for hard rock and other heavier sounds, so we thought they’d be a perfect match for our SRMS720 and SRMS725 basses. We’re also aware that Graph Tech is entirely committed to continuous product innovation, which fully aligns with our philosophy at Ibanez. .”

Innovation has always been at the core of Graph Tech’s philosophy,” says Dave Dunwoodie, President at Graph Tech Guitar Labs. “With Ratio® Machine Heads, we’ve reimagined the tuning experience, providing musicians with a tool that enhances their creativity and expression. Teaming up with Ibanez to bring this technology to the SRMS725 & SRMS720 represents a milestone in our journey to redefine industry standards.

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Features

Bergantino Welcomes Michael Byrnes to Their Family of Artists

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Bergantino Welcomes Michael Byrnes to Their Family of Artists

Interview and photo courtesy of Holly Bergantino of Bergantino Audio Systems

With an expansive live show and touring, Mt. Joy bassist Michael Byrnes shares his experiences with the joyful, high-energy band!

Michael Byrnes has kept quite a busy touring schedule for the past few years with his band, Mt. Joy. With a philosophy of trial and error, he’s developed quite the routines for touring, learning musical instruments, and finding the right sound. While on the road, we were fortunate to have him share his thoughts on his music, history, and path as a musician/composer. 

Let’s start from the very beginning, like all good stories. What first drew
you to music as well as the bass? 

My parents required my sister and I to play an instrument.  I started on piano and really didn’t like it so when I wanted to quit my parents made me switch to another instrument and I chose drums.  Then as I got older and started forming bands there were never any bass players.  When I turned 17 I bought a bass and started getting lessons.  I think with drums I loved music and I loved the idea of playing music but when I started playing bass I really got lost in it.  I was completely hooked.

Can you tell us where you learned about music, singing, and composing?

A bit from teachers and school but honestly I learned the most from just going out and trying it.  I still feel like most of the time I don’t know what I am doing but I do know that if I try things I will learn.  

What other instruments do you play?

A bit of drums but that’s it.  For composing I play a lot of things but I fake it till I make and what I can’t fake I will ask a friend! 

I know you are also a composer for film and video. Can you share more
about this with us?

Pretty new to it at the moment.  It is weirdly similar to the role of a bass player in the band.  You are using music to emphasize and lift up the storyline.  Which I feel I do with the bass in a band setting.  Kind of putting my efforts into lifting the song and the other musicians on it.

Everybody loves talking about gear. How do you achieve your “fat” sound?

I just tinker till it’s fat lol.  Right now solid-state amps have been helping me get there a little quicker than tube amps.  That’s why I have been using the Bergantino Forté HP2 –  Otherwise I have to say the cliche because it is true…. It’s in the hands.  

Describe your playing style(s), tone, strengths and/or areas that you’d like
to explore on the bass.

I like to think of myself as a pretty catchy bass player.  I need to ask my bandmates to confirm!  But I think when improvising and writing bass parts I always am trying to sneak little earworms into the music.   I want to explore 5-string more!

Who are your influences?

I can’t not mention James Jamerson.  Where would any of us be if it wasn’t for him?  A lesser-known bassist who had a huge effect on me is Ben Kenney.  He is the second bassist in the band Incubus and his playing on the Crow Left the Murder album completely opened me up to the type of bass playing I aspire towards.  When I first started playing I was really just listening to a lot of virtuosic bassists.  I was loving that but I couldn’t see myself realistically playing like that.  It wasn’t from a place of self-doubt I just deep down knew that wasn’t me.  Ben has no problem shredding but I was struck by how much he would influence the song through smaller movements and reharmonizing underneath the band.  His playing isn’t really in your face but from within the music, he could move mountains.   That’s how I want to play.    

What was the first bass you had? Do you still have it?

A MIM Fender Jazz and I do still have it.  It’s in my studio as we speak.  I rarely use it these days but I would never get rid of it.  


(Every bass player’s favorite part of an interview and a read!) Tell us about
your favorite bass or basses. 🙂

I guess I would need to say that MIM Jazz bass even though I don’t play it much.  I feel connected to that one.  Otherwise, I have been playing lots of great amazing basses through the years.  I have a Serek that I always have with me on the road (shout out Jake).   Also have a 70’s Mustang that 8 times out of 10 times is what I use on recordings.  Otherwise, I am always switching it up.  I find that after a while the road I just cycle basses in and out.  Even if I cycle out a P bass for another P bass.  

What led you to Bergantino Audio Systems?

My friend and former roommate Edison is a monster bassist and he would gig with a cab of yours all the time years ago.  Then when I was shopping for a solid state amp the Bergantino Forté HP2 kept popping up.  Then I saw Justin Meldal Johnsen using it on tour with St. Vincent and I thought alright I’ll give it a try!

Can you share a little bit with us about your experience with the Bergantino
forte HP amplifier? I know you had this out on tour in 2023 and I am pretty
certain the forte HP has been to more countries than I have.

It has been great!   I had been touring with a 70’s SVT which was great but from room to room, it was a little inconsistent.  I really was picky with the type of power that we had on stage.  After a while, I thought maybe it is time to just retire this to the studio.  So I got that Forte because I had heard that it isn’t too far of a leap from a tube amp tone-wise.  Plus I knew our crew would be much happier loading a small solid state amp over against the 60 lbs of SVT.  It has sounded great and has really remained pretty much the same from night to night.  Sometimes I catch myself hitting the bright switch depending on the room and occasionally I will use the drive on it.

You have recently added the new Berg NXT410-C speaker cabinet to your
arsenal. Thoughts so far?

It has sounded great in the studio.  I haven’t gotten a chance to take it on the road with us but I am excited to put it through the paces!

You have been touring like a madman all over the world for the past few
years. Any touring advice for other musicians/bass players? And can I go to Dublin, Ireland with you all??

Exercise!  That’s probably the number one thing I can say.  Exercise is what keeps me sane on the road and helps me regulate the ups and downs of it.  Please come to Dublin! I can put you on the guest list! 

It’s a cool story on how the Mt. Joy band has grown so quickly! Tell us
more about Mt. Joy, how it started, where the name comes from, who the
members are and a little bit about this great group?

Our singer and guitarist knew each other in high school and have made music together off and on since.  Once they both found themselves living in LA they decided to record a couple songs and put out a Craigslist ad looking for a bassist.  At the time I had just moved to LA and was looking for anyone to play with.  We linked up and we recorded what would become the first Mt. Joy songs in my house with my friend Caleb producing.  Caleb has since produced our third album and is working on our fourth with us now. Once those songs came out we needed to form a full band to be able to do live shows.  I knew our drummer from gigging around LA and a mutual friend of all of us recommended Jackie.  From then on we’ve been on the road and in the studio.  Even through Covid.

Describe the music style of Mt. Joy for me.

Folk Rock with Jam influences

What are your favorite songs to perform?

Always changing but right now it is ‘Let Loose’

What else do you love to do besides bass?

Exercise!

I always throw in a question about food. What is your favorite food?

I love a good chocolate croissant.

Follow Michael Byrnes:
Instagram: @mikeyblaster

Follow Mt. Joy Band:
Instagram: https://www.instagram.com/mtjoyband
Facebook: https://www.facebook.com/mtjoyband

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Bass CDs

Album: John Entwistle, Rarities Oxhumed – Volume Two

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Album- John Entwistle, Rarities Oxhumed - Volume Two

Album: John Entwistle, Rarities Oxhumed – Volume Two

Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.

Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”

Listen to “Had Enough” here: push.fm/ps/hadenough

Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.

For more information, visit online at dekoentertainment.com/john-entwistle

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Bass Videos

Artist Update With Mark Egan, Cross Currents

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Artist Update With Mark Egan, Cross Currents

I am sure many of you are very familiar with Mark Egan as we have been following him and his music for many years now. The last time we chatted was in 2020.

Mark teamed up with drummer Shawn Pelton and guitarist Shane Theriot to produce a new album, “Cross Currents” released on March 8th, 2024. I have been listening to this album in its entirety and it is simply superb (See my review).

Now, I am excited to hear about this project from Mark himself and share this conversation with our bass community in Bass Musician Magazine.

Photo courtesy of Mark Egan

Visit Online:

markegan.com
markegan.bandcamp.com
Apple Music
Amazon Music

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Bass Videos

Review: Minuendo Lossless Earplugs Live 17dB

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Review: Minuendo Lossless Earplugs Live 17dB

Minuendo Lossless Earplugs Live 17dB…

Minuendo Lossless Earplugs Live 17dB – Hearing protection has always been front and center on my mind because I love music so much, I cannot imagine my life if I were unable to hear.

You might remember back in 2021, we had a good look at the Minuendo Lossless Earplugs featuring adjustable protection. This system has a lot of very good features but there was always the question of how much sound attenuation to choose.

Now, the great folks at Minuendo have come up with a new version of their earplugs that has a set 17dB noise reduction. You still get a lot of the great features of the adjustables but you just don’t have to think about the specific sound level. In addition, this new version of earplugs comes at a very attractive price point.

For more information, visit online at Minuendo.com

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