Latest
Luthier Spotlight: Bjoern Kroeplin, Plankton Basses
Meet Bjoern Kroeplin, Luthier and owner of Plankton Basses…
In this issue, I have the honor of interviewing Bjoern Kroeplin, Luthier and owner of Plankton Basses.
How did you find your way into music?
I am now 53 years old and come from a musical family. Even as a child I regularly received promo singles from our neighbor who worked at the WDR Radio in Cologne.
I first played the piano and then joined my first band when I was about 15. There I played percussion until the bandleader got a gig in our school. We didn’t have a bass player, so I agreed to learn bass and within a month, bought one in Lübeck and quickly taught myself everything I needed to cut a good figure in front of the 400 people in the school’s sports hall.
Later in the 80s, I discovered Stanley Clarke, Mark King, Marcus Miller, and Defunkt with Kim Clarke. But my favorite bassist is Hellmut Hattler with his virtuoso plectrum bass playing. This is not least because he has bequeathed me his two Glockenklang Boxes, with which I can put all basses through their paces after completion.
I am also self-taught and have always taught myself how to play instruments, including the entrance examination for bass studies in Cologne. I also had piano lessons as a child. What I could advise today would be in any situation: listen, listen carefully, and stay on the ball.
Are you still an active player?
I have a small studio and compose mostly with the bass and then play all the other instruments – visit TRICKYPONY. I am booked as a session bassist here in northern Germany for funk, rock, and jazz.
Tell us about building your first bass…
I’ve had many a bass, but I didn’t like any of them particularly in terms of sound and certainly not in the classical form. So after a long accident with a fractured heel, where I couldn’t walk for a long time, I decided to build my first fine bass at home on a barstool. I bought all parts and tools on the internet and they were delivered to my door.
That must have been about 10 years ago. The result was absolutely sensational in terms of sound and appearance.
This was followed by an electric double bass similar to the one made by the well-known electric double bass player Eberhardt Weber with the Jan Garbarek Group. Here I chose practically only the middle section in the extension of the neck but without the charming, massive, sweeping curves of a babushka like in the Kate Bush video.
The body is made of maple with a neck that you can unscrew. This way you can transport the huge device relatively easily. It sounds like a classic double bass, so everything as it should be.
How did you learn the art of woodworking/Luthier? Who would you consider as a mentor?
Wood is a fantastic material to create sculptural objects. My talent and pleasure has always been design, so it is always easy for me to realise my initially fictitious idea. As a mentor I have the philosophy of Bauhaus and Luigi Colani in mind. The European Nordic designers have created great stylish unique pieces. But also always a bit ahead of the times, such as the case of the Braun Phonosuper SK 4, the Snow White coffin, which was sensational for its time. It was designed by Hans Gugelot and Dieter Rams in 1952, when there was only phono furniture available worldwide. Carl Thompson in New York was the closest to the signature of the new design for basses that I like. How do you choose the woods you want to build with?
I have tried out many things! Just drop different pieces of different woods from a height of one meter onto the floor. Then you will get a first impression of what it means to perceive differences in the wood.
The topic of wood selection resembles a myth deliberately created by the producers called: Tonewood. I can immediately think of the following amusing anecdote that explains a lot; I quote and it was like this: “Taylor builds good guitars because we know how to do it. And to prove it, we built an acoustic guitar out of an old, rotten pallet from the rubbish. The top was made from a wasteboard whose wood type could not be determined. It was glued so artfully from 6 boards that you can hardly see it, and the nail holes … were highlighted with inserted aluminum discs. This Pallet-Guitar was a most acclaimed guitar of the Winter NAMM Show”. Taylor, ISBN 3-932275-80-2.
Let’s talk about pickups…
I have tried American pickups, like the ones in the Fender basses. I have found a great liking for the Bartolini PU’s and have used them. Currently, I work mainly with the DELANO PU’S and the NOLL Electroniks from Germany. I have no comparable electrical solutions at hand. Alembic and Bartolini would be in the USA the closest to my sound ideas; an extremely broad frequency spectrum.
Who were some of the first known musicians who started to play your basses?
None yet, because my basses have only now seen the light. I studied electric bass in Cologne in the 90s and recorded everything on my website myself. You can play the classical styles of your idol with your instrument. However, an instrument would be great, with which modern creative young musicians can start to develop their own sound and their own “handwriting”. I build such basses for you at the Baltic Sea with PLANKTON BASSES, Germany and combine tradition with modernity.
How do you develop a signature or custom bass for an artist?
By having a clear idea of the sound you want to achieve. Then you look inside yourself and think about the materials you want to use to achieve the desired result. I have another company that designs and produces floating pods and rooms. In all my design and creation work I always start by looking at the state of the art and with this knowledge I put myself into my floating tank. There I let the ideas flow and usually quickly arrive at a great experience and start.
What are some things that you are proud of that you would consider unique in your instruments?
In one sentence: The joy of playing… every time I think of something new. The bass himself composes here, just let it out I think every time.
Perhaps in all modesty, the first bass I designed myself was better than any other I have ever held in my hands. Maybe it’s because I’m very open to art, beautiful things, feminine curves and culture. Therefore I know no limits to allow ideas.
Which of the basses you build is your favourite?
Always the one that is still in my head and wants to be built AND then exceeds my own expectations.
Can you give us some advice to young luthiers who are just starting out?
Yes, of course. You have to make it clear to yourself what you want. If you are looking for large quantities, the only thing you have left is industrial production. You will soon notice that you have produced dozens of soulless things that somehow produce sounds. But if you play a precisely handmade instrument, you will soon notice the difference. You feel the love of detail that has been invested. That is the dilemma because every beginner would need a good instrument from the beginning so that the joy of practicing is maintained.
We must not confuse acoustic instrument making with electric instrument making. Physics has its natural limits. Copying a Stradivarius wood by means of artificial aging is quite possible today. In guitar building, it is the symbiosis of the individual components that has a decisive influence on the sound. Generally 50% electric, plus 50% wood selection including all other hardware and construction.
Often underestimated, half of this is the neck construction that gives the sound. That is my opinion, but here everyone has his own philosophy and that is good.
What advice would you give to a young musician trying to find his perfect bass?
The perfect bass does not exist. There is the perfect bass, the perfect instrument just for the musician and his or her individual ideas. There is definitely no such thing as the legendary wollmilchsau.
What is the greatest success for you and your company?
The joy. The joy of the ability to diligently create a finely crafted instrument from the talent of a log.
Are you preparing something new?
Yes, I have only just begun to put all my passion for music into my Bass Boutique Plankton Basses.
Next up is a project with a special material mix. For example, underwater woods from the jungle of the Panama Canal will be used. These timbers were cleared with the permission to widen the channel’s shipping channel for larger container ships. So a diver has to saw off the tree underwater next to alligators using a high-pressure saw. The wood is of a Fanta-layered texture with very high density. I use this in thin strips in the bass necks. An absolute novelty in terms of attack and sustain.
I would also like to contribute to the discussion about carbon in instrument making with one sentence: Carbon fibre is a natural product like wood, but many years older than wood and therefore a fantastic component for my instruments. You will be the first to hear about everything new from me.
What are your future plans?
I would like to find a balance, to introduce my instruments to many musicians, to build up a reasonable distribution network and at the same time keep enough time to experiment creatively for the good cause. The design is almost a pretty dress by itself, but it’s the ingredients that count. I would be delighted if there were a demand in the USA, the country of origin of the electric guitar, for people who want to go my way.
What else would you like to share…
Do not emulate others, find your own style. Stay curious and above all healthy. We can end the interview with Victor Wooten’s sentence: Factor number one for your good tone is always your own fingers first.
Visit online at plankton-basses.com
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