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R.I.P. Bill Conklin, Conklin Guitars and Basses
Updated: Oct 29, 2021 – It is with a heavy heart that we share the passing of Bill Conklin, beloved Luthier and industry friend to many… may you rest in peace.
Interview: Bass Musician Magazine’s Year of the Luthier – Bill Conklin, Conklin Guitars and Basses
Meet Bill Conklin of Conklin Guitars
How did you get your start in music?
My interest in music started at a very young age and was influenced by my parent’s listening preferences, my older brother’s record collection and eventually my friends who convinced me to be the bass player in the band they were forming when we were all in the range of 10 to 12 years old. My first bass was a Kay that I played through a tweed guitar amp from a company called Earth.
Are you still an active player?
I have played on and off throughout my life, performing in cover bands and original bands, most recently with my business partner Mike Apperson, covering modern rock and progressive material. I have always enjoyed writing lyrics and playing but never took it too seriously or pursued it on a professional level. One of the goals on my bucket list is to record a CD of 10 to 12 songs of my own original music and lyrics; not to necessarily sell or profit from, just to enjoy and say, “Yeah I did that”.
How did you get started as a Luthier? When did you build your first bass?
At the same time my love of music was brewing within me at an early age, so too was a love of art and design. Naturally as I entered my teen years I began to merge the two mediums and quickly filled my sketchpads with drawings of wild looking guitars. It was just about that time (1977-80) I started seeing ads for Ibanez, Dean and Hondo that featured uniquely shaped guitars and then it hit me that I could possibly turn this passion into a career.
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
Without any woodworking experience, no family members involved in manufacturing and no one to mentor me in my small Midwest resort community, I did the only thing I could at the time and built my first guitar in high school woodshop my senior year 1981. I had designed a machine gun shaped guitar and thought it lent itself perfectly to my rock-n-roll mindset. The guitar turned out so well that I ended up playing it in my first semi-professional band after graduating from high school.
How do you select the woods you choose to build with?
We have a few favorites that we like to work with such as Maple and Purpleheart for our multi-laminate necks, but when it comes right down to it the customer is free to choose their own woods. Of course if they don’t have a preference or if they are unsure about a certain application we are happy to make suggestions or recommendations.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
Just as with the woods, we encourage the customer to select their favorite pickups and electronics. On occasion they may request certain components that don’t necessarily work together as well as they should so we will suggest alternatives that we know from experience will perform as expected.
We have been offering Bartolini and EMG since our start in 1984 and more recently have been doing quite a bit with Delano, mainly because they have been so willing to make custom pickups for our extended range basses, not to mention that they sound incredible. We have also been recommending Lundgren pickups from Sweden to our 4 and 5 string bass customers and are extremely happy with them. We were the first dealer for Lundgren pickups in the USA and have them available on our website for anyone wanting to do upgrades on any brand of bass.
Who were some of the first well-known musicians who started playing your basses?
Our association with Bill Dickens has been pretty renowned. We have been working with him since 1998 and his signature model 7-string bass has been a key fixture in the popularization of extended range bass. In addition to the BD-7 we also built several custom ERB’s for Billy including the world’s first 9-string bass tuned from low F# to high Bb. (View Bill Dickens ERB Legend Interview in Bass Musician Magazine in the December 2016 Issue)
It was a great pleasure and a real honor to work with the incredible groove legend Rocco Prestia for so many years. It’s hard to describe the feeling of seeing your unique instrument in the hands of such a stellar talent as he performs his unique style for fans all over the world. (View Rocco Prestia Cover Interview in Bass Musician Magazine in the February 2015 Issue)
How do you develop a signature or custom bass for an artist?
It all starts with the artist. It is virtually the same thing we do for any player wanting a one-of-a-kind custom instrument. They have an idea, or often times several ideas that they want to incorporate into a bass. It could be something as simple as a tone that they are after; maybe it’s an aesthetic or a certain feel, some specific woods, hardware or electronics or possibly a combination of all these things. We have them make a wish list of desired specs for their dream bass and then we discuss it with them, make recommendations, offer suggestions, and answer questions until they are completely comfortable with their choices. Once the work order is in and the build is on we develop 3-D drawings that are emailed to the customer for approval. If everything looks good, it’s off to the woodshop and we start making sawdust.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
When I first started the company I had several unique and/or innovative ideas on how I felt guitars and basses could be improved, simplified or otherwise given a ‘Conklin’ twist. One of the first things I designed was a bolt-on heel that was completely carved and molded right into the neck. There are quite a few manufacturers nowadays that bevel or carve their neck heel in some fashion in an effort to make it more comfortable, but as far as I am aware, Conklin was the first to do this and still one of the only companies to really blend the two pieces, almost like a neck-through-body.
I also thought it would be a good idea to place the position marker dots on the very edge of the fretboard. During installation they actually hang over just a bit so that when they are sanded flush you get a top dot and side dot all in one…we call them “off-sides dots”.
Another thing we started doing right from the start was leaving the covers off of the truss rod slot and the tremolo spring area on our guitars, an idea that is now quite common.
Finally, we developed an entirely new approach to making exotic wood tops, fingerboards and headstock caps. Instead of the traditional bookmatch we joined several contrasting species of gorgeous woods into a twisting, wavy, flowing organic graphic that we call “Melted Tops”. Of course we don’t do these on all of our instruments; they are reserved for those customers wanting something extremely exclusive and extra special.
Which one of the basses that you build is your favorite one?
Right now I am really jazzed about our Sidewinder 4 and 5-string Classic models; they incorporate retro era styling with modern refinements.
Can you give us a word of advice to young Luthiers who are just starting out?
This may not be the most pc thing to say, but quite honestly you might want to plan on working for one of the established companies because this has become one of the most competitive markets on the planet. When I started Conklin back in ’84 you could count the number of custom shops on one hand. Now I’m not sure you could not count all the custom builders. This type of work is like music itself; it gets into your skin and it is extremely fulfilling. I totally understand why so many people aspire to do it. Just give it some serious consideration.
What advice would you give a young musician trying to find his perfect bass?
Email us your wish list…lol!
What is biggest success for you and for your company?
It kind of relates back to your earlier question; I had a dream about building guitars and basses back in the early1980’s; back when it was unheard of for a kid in Missouri with no previous experience and no recognized name to start a custom shop and think anyone would buy one of my instruments, sight unseen and un-played. Keep in mind that this was several years before the Internet. But with undying determination, passion and spirit I did just that and 32 years later here I am… not necessarily living the dream, but living MY dream.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
We are… several new models and designs actually. Starting with a new website in 2017, we are planning to release our Classics and Cutting Edge series, which will include the retro-inspired pieces I mentioned earlier along with some state-of-the-art models like our Wiggle Stick, which is a headless multi-scale 5-string and our Funky 5; a highly carved, fine-tuned little funk machine.
What are your future plans?
Funny you should ask. For almost as long as I have been designing and building innovative instruments, I have also been designing and planning to someday build innovative and unique furniture, accent pieces, jewelry and guitar related accessories. I had made up my mind that I wanted to get this new venture rolling by the time I turned 50. Now, at 53, I just recently have begun creating some prototypes of what I hope will eventually become an entire line of my ”other” ideas. Look for these products to begin showing up on our website in the next year or so and our name to change from Conklin Guitars and Basses to Conklin Custom Shop.
Is there anything else you would like to share that we have not included?
Yes please… I want to say thank you to all of our loyal fans, friends and customers that have put their trust and confidence in us over these past 32 years, and given us the opportunity to make a living making guitars. We hope you’ll stick with us for the next 32 years. Also, I can’t heap enough praise on those gentlemen that have literally stood beside me and believed in me these past three decades. From the early years with Brent Frazier, Jim Cox and Brad Bembry through the 90’s with Phil Goschy and finally these past 16 years with Mike Apperson. Without each of them being in the right place at the right time with such incredible dedication and work ethic for this brand, none of this would have been possible.
Visit online at conklinguitars.com
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
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 Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
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Future Impact V4 Guitar & Bass Synth Now Available in the U.S….
The Future Impact V4 is an incredibly versatile pedal with an exceptionally wide range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can also drive external synthesizer gear via the optional CV/Gate. As such, it can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Check out this short video with new sounds:
The Future Impact V4 has a completely new hardware platform with numerous enhancements, some of which are:
– 32-bit ultra-low-noise analog-to-digital and digital-to-analog converters
– New app-based software architecture
– Vastly advanced pitch tracking based on 30+ years of experience
– Hard Sync between oscillators to open new sonic worlds
– On-pedal edits that can be saved into program memories
– Total compatibility with all previous Deep Impact and Future Impact patches
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
For more information, visit online at pandamidi.com/bass-guitar-synth
Exclusive U.S. distribution by Tech 21 USA, Inc