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Bass Musician Magazine’s Year of the Luthier – Anthony Olinger
Bass Musician Magazine’s Year of the Luthier – Anthony Olinger…
How did you get your start in music?
I didn’t pick up a bass guitar until my first year in college, 2003. I had just discovered Primus early in the school year and was surprised by how much the tone of a bass, especially in Les Claypool’s hands, appealed to my ear. Six months later I bought my first bass: a five-string Peavy, the Cirrus model (I think). I started practicing every night, despite my lack of an amplifier (I finally bought one after a few months) and steadily got more interested in becoming a musician.
Are you still an active player?
I’m very much still an active player. I love playing the bass; I’d probably be a professional bassist if I wasn’t a luthier, and I have pipe dreams of being the first “virtuoso builder.” I’ve been listening to Animals as Leaders a lot lately, trying to incorporate a little bit of their flavor into my playing style. I also just discovered Polyphia and have been revisiting Yes and Graham Central Station lately.
As a luthier I think it’s very advantageous to constantly play the instrument you build. I’m always trying to diversify my playing experience and gain a wider perspective as a player. In this way I can better understand the pros and cons of the design elements of the bass guitar.
How did you get started as a Luthier? When did you build your first bass?
I built my first bass in 2006, during my last semester in college. At the time, learning to play “John the Fisherman” was proving difficult with my 35” five-string and mere-mortal-size hands. I knew about short scale basses by then and thought a shorter/narrower neck would better fit my style and physique. I searched for a new instrument but couldn’t find a 32” bass in my college student price range, so I thought I’d build one instead. I worked on the bass in my kitchen and occasionally in a shop above a bar in “Old Town” Fort Collins. I completed the bass about two weeks before I graduated, and even managed to get an elective credit for the work. I had my zoology degree in one hand and the bass I built in the other, and began to realize my true calling.
I’ve always daydreamed about combining my zoology and lutherie skills to design bass strings made with spider silks (the topic of my Honors Thesis). I’ve also yet to train my ant farm to perfectly carve out my neck pockets, but some day…
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
I am “self-taught,” though I’ve gotten so many tips directly or indirectly from so many different people that you could hardly call it that. On a very limited basis, you could have called Greg Sapp of Sapp Violins my mentor at one time. The short amount of time I’ve been able to spend around Greg vastly increased my potential. Beyond that, it’s my drive to continually surpass myself that pushes me to new levels. I try to learn and improve every day I’m in the shop.
How do you select the woods you choose to build with?
Every instrument I build is fully custom, so the woods I choose depend, in part, on each owner’s preferences. I usually consult extensively with someone before designing their bass. We’ll discuss their musical tastes, sound preferences, pros and cons of their current instrument(s), their ideal instrument, etc., then combine that with my experience and expertise to create their personalized bass. I keep all this in mind as I select wood.
For necks and fingerboards I only use quatersawn wood that is, at minimum, three years old after being fully dried. During this time the wood must prove to be very stable, “moving” very little, if at all. Occasionally I’ll use “younger” wood for bodies and accent woods if an owner wants a wood I don’t have on hand, assuming the wood is still well dried and seasoned. The older the wood the better though, so I try to use wood that’s at least five years old whenever possible. I am always on the lookout for really old wood; I’ve been able to get my hands on some 100 year old wood that has been really great for instruments.
I try to make my basses as lightweight as possible, so light body woods are sometimes preferable to heavy ones. The sound the customer wants from the instrument can be a deciding factor in wood selection as well, and I always try to use woods that contribute to the overall tone of the bass.
Finally, I try to avoid woods that are on the CITES List (Convention on International Trade in Endangered species), especially if they’re for a bass that will be shipped internationally. Currently, cocobolo and Madagascar ebonies are on the CITES list in their raw forms, among a few other woods occasionally used in guitar building. You can see the full list of species here: https://cites.org/eng/app/appendices.php.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
Similar to wood selection, I usually select pickups and electronics based on a synthesis of the owner’s preferences and my expertise. Owners of my basses have asked for a wide variety of electronics, so I’ve used many brands including EMG, Villex, Nordstrand, Seymour Duncan, Delano, Mike Pope, Aguilar and more. I’m partial to Bartolini, GraphTech and Audere at the moment.
After playing the second bass I ever built for ten years, I’m finally building myself a new four-string that will have Bartolinis with GraphTech’s “Ghost” piezo pickups and “Hexpander” so I can play the bass through a guitar synth.
Who were some of the first well-known musicians who started playing your basses?
Jauqo III-X, Mark Smith of Brooklyn and Pete Hewitt of the band Winterfire are probably the most widely known musicians playing my basses.
How do you develop a signature or custom bass for an artist?
Because all my basses are fully custom, building a signature bass for an artist is very similar to building a bass for any of my customers. Anyone that orders a Xylem bass is essentially getting their very own signature instrument. With all of my customers, I’ll spend many hours discussing their preferences, style and physique. After our discussions I’ll send them a full-scale drawing then re-work it (if necessary) until they think it’s perfect. I’ll also send the artist/customer pictures of the build once every week or two as it progresses. If the artist notices or thinks of something they want to change during the building process I’ll make the change(s), if possible. Sometimes I actually spend more time with the people who aren’t endorsing artists because they are still discovering their musical voice and would like more guidance.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
Almost every Xylem bass is fairly unique in and of itself since it was designed by myself and its owner with few restrictions. I am also very proud of the attention to detail and ergonomics of my instruments. I try to design and build every bass to be very comfortable, easy to play, able to withstand heavy use and easy to maintain. No instrument leaves my shop unless it balances perfectly in standing and sitting positions. Often one of the first things someone says when picking up a Xylem instrument is “wow, this is light!” I’m trying to make “ghost basses:” instruments that feel so natural in your hands it’s like they’re not even there.
Which one of the basses that you build is your favorite one?
The new bass I’m building for myself at the moment will be my favorite, though it’s not finished yet. My favorite completed bass would be the “Calliope” six-string fretless bass I built last year. It was so light and comfortable that I barely noticed I was playing a six-string (I normally play a four-string) and every sound that bass made was just so appealing to my ear. It lives with its owner now, but I really miss playing it. Maybe in another ten years I’ll make another bass like it for myself.
Can you give us a word of advice to young Luthiers who are just starting out?
Constantly strive to learn and try new things, whether it be tools, building methods, gear or designs. Try to work just outside of your comfort zone as much as possible, challenging yourself often; this is the key to continual growth and improvement. If you’re going into business for yourself, you must put the same dedication into your marketing, advertising, salesmanship and customer service as you do into your bass building. The boring aspects of your business are just as important as the fun/motivating aspects, if not more so.
What advice would you give a young musician trying to find his perfect bass?
You have to find out what “perfect” means to you before you even start your search. A good way to begin is by learning as much as you can about the bass as an instrument. Research the sounds and features of different basses, the different playing styles, and explore a wide variety of artists. Teach yourself how to set up and maintain your own bass. Experiment with the height of the string action so you can hear how much it can change your tone. Get a “beater” bass or two from a pawn shop and change their setups, pickups, bridges, etc. There is a huge variety of basses in the world today, try as many as you can in combination with different strings, amps and pedals. As you explore, pay extra attention to scale lengths, neck dimensions, pickup placement and the overall feel of different basses.
When you’ve done a bit of the above you’ll have a much better idea of what your perfect bass might be. You are the only one who knows the kind of bassist you want to be; you must ultimately decide on the perfect bass for yourself.
What is biggest success for you and for your company?
My biggest success has been running Xylem Basses & Guitars full-time since 2008. My second biggest success is that I’m backed up with orders until about March of 2019. I can proudly say that I’ve more or less achieved my dream job.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
I am currently developing a “semi-custom” standard model Xylem bass or two. The new model(s) will encapsulate some features of my custom models, including balance, low weight, ergonomics and ease of playability, yet with a lower price point. I’ll build a few prototypes during the next two years and will probably release the first official model in 2019 or 2020.
What are your future plans?
I plan to continually develop new basses and push the envelope of bass design. If I’m lucky I might stumble on a way to revolutionize the electric bass someday. I’d also like to spend more time developing resources on my website for bassists and guitarists. I’ve learned many things as a luthier that have improved my bass playing, and I’d like to offer that knowledge to the musicians of the world.
Is there anything else you would like to share that we have not included?
Xylem basses are also available at Chicago Music Exchange. They are currently sold out, but there should be a new Xylem bass or two arriving near the end of this year. Oh, and check out the new album from Diabolical Sound Platoon, Bring the Catastrophe.
Visit Online:
- www.xylembassguitar.com
- www.facebook.com/xylembassguitar
- twitter.com/xylembassguitar
- www.youtube.com/user/xylembassguitar
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
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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Luthier Spotlight: Garry Beers, GGB Basses
