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Bass Musician Magazine’s Year of the Luthier – Xavier Lorita
Bass Musician Magazine’s Year of the Luthier – Xavier Lorita…
How did you get your start in music?
I started to play the classic guitar at the age of 13 when I was at the school. My cousin who at that time played the electric guitar, taught me to play with an old classical guitar. It was a very fun time because everything I learned from music was completely self-taught and thus each chord or melody I learned was an exciting experience for me.
Are you still an active player?
Unfortunately no longer. I was active years ago when I started experimenting with repairing instruments but being focused 100% to building electric basses I set aside my role as musician. I cross the line between musician and Luthier because it was more exciting to build my own bass guitar.
How did you get started as a Luthier? When did you build your first bass?
I started thanks to my cousin Michael. A few years after starting to play classical guitar with him we realized it was better for playing songs together that I play the bass. Shortly my cousin, frustrated for not finding a good guitar or bass, decided to build it for himself and I helped him in the project. It was 1992 and I was 16 years old and was so thrilled by a completely unknown thing.
With my cousin and little information we completed a fretless 5-string electric bass made entirely of Beachwood. It sounded very well and that encouraged me to modify my first bass guitar, a copy of a Tune bass, very fashionable at that time.
After about 3 years of testing with that Tune bass, in 1995 I decided to buy some tools and start my first 4-string Alembic bass, because Mark King was my idol in those years. I was obsessed with playing and having the same bass like Mark, and so I started to work with a piece of paper and a pencil drawing and eventually built my first handmade bass in my parents’ house.
Every evening after leaving the high school I came home and I started working on my bass. But just before finishing the project I saw that I needed help from a professional to cut the pickup cavities… that is when I met Jerzy Drozd.
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
My cousin Michael and Jerzy Drozd both are Mentors for me. The first awakened in me the passion to build basses and the second gave the professional touch.
In 1998 I went to Jerzy’s workshop and he helped me with routing pickup cavities for my first bass. After seeing my first project I returned home thinking that someday I could build basses as beautiful as Jerzy’s basses. My surprise was that a year after Jerzy phoned me and offered a job as an apprentice due to a vacancy. It was 1999 and I can say that there began my career as a professional Luthier. From 1999 to 2012 I worked at Jerzy Drozd starting as an apprentice and becoming a professional Luthier in all aspects.
How do you select the woods you choose to build with?
We only select the best wood available from our suppliers. Although we usually work with wood from different sources and European woods such as alder, sycamore, walnut or olive, they are very present in our instruments. For each customer we select the most suitable woods according to sound, tone and weight, without sacrificing aesthetics. So every bass is unique and special and we prefer not to have a large wood stock in our workshop. Just what we need to work at that time.
Wood selection is an art but responds to different criteria: moisture, hardness, figure and density. We seek the most stable dry pieces for necks and if is possible we look for quarter-sawn cuts, but with our 3 piece necks this is not essential. For the bodies we seek a good figure and especially low weight and good tonal qualities. And for tops everything is possible.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
In the past I worked with Bartolini pickups and EMG but with the experience with Jerzy I decided to apply my knowledge to improve some designs that I had in mind. That is why I now use my own split-coil hum-cancelling pickups with wooden covers.
The whole process from winding the coils to make the covers and final assembly is done in the workshop. This allows us to control the quality of the whole process step by step. For our economical models we work together with Delano pickups and also with Aguilar amplification under request.
For electronics we work with Glockenklang 2 and 3 band preamps. They sound amazing with our custom split-coil pickups.
Who were some of the first well-known musicians who started playing your basses?
Marcos Miranda, Miki Santamaria, Andres Rotmistrovsky, Fernando Lamadrid, Juan Antonio Guerra and Carlos Sanchez are some of our endorsers. All of them well-known bass players in Spain and Europe. Carlos and Andres are our most international artists.
How do you develop a signature or custom bass for an artist?
The most important thing is to investigate what kind of instruments the customers have and what kind of music they play. Listening to the customer is the key because it gives us some clues about that sound our customers are looking for.
This is not about making a copy of an instrument that the customer already has. It’s just about getting a little references to start with the overall design and the mixes of woods and electronics. Although often the customer is looking for something completely different and in this case we simply listen to what they have in mind. All that process is the same whether it is a new design for an artist or a model for a customer. In our company we make no difference because for us, all people are equally important.
After gathering all the information, we do the design on the computer and after the approval of the client, we start cutting templates that help us to cut the instrument itself. Not using CNC machines means that we have a lot of templates due to all the modifications requested by our customers.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
I’m very happy overall with the design and ergonomics. This is key for me because on my previous stage with Jerzy the design and attention to small details were very important and I know that’s the way to success. There are still many things to improve every day to make the perfect bass guitar, and this forces us to use the best wood and hardware to get that dream sound for our customers.
I think the sound and tone is what differentiates our instruments as well as a certain “style” or ” aesthetics” in small details, such as wooden bridges and tail pieces or pickups wooden covers or headstock. These details create a different look. But above all a direct and friendly relationship with all of our customers; we don’t have customers, we have a family.
Which one of the basses that you build is your favorite one?
My favorite bass is Andres Rotmistrovsky’s bass. This was an amazing challenge to build a hollow-body bass for him because this was my first hollow body bass design after leaving Jerzy’s workshop. With these kind of basses you never know how things are going to finish. Too many options to be considered and the result is not always good enough.
But in this case all the long working nights were worth it because Andres is delighted with his instrument.
Can you give us a word of advice to young Luthiers who are just starting out?
What I would say to young Luthiers is: put all the passion in what you do because without passion nothing is possible. A lot of work, passion, effort and sacrifice are necessary and at the end it is all worth it and takes you to success if you work well.
What advice would you give a young musician trying to find his perfect bass?
My advice is, don’t look for the perfect bass because it doesn’t exist. There is a bass that best suits your sound and comfort needs, but people always try to find a bass that fits all styles in one and that doesn’t exist. So, do not waste much energy on finding the perfect bass. With time and experience they will see that it is necessary to have two or three different instruments in sound and design to get all that they want.
What is biggest success for you and for your company?
The greatest success for me is to wake up every morning and work in what I love freely. The fact of being close to the people and capture their concerns, their desires and dreams and turning them into an instrument and at the end of the process see the happiness in her faces is a full success for me… as simple as that.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
We’re always working in something new or thinking in how to improve the current models. Now we have some special projects in mind such as a new bolt-on singlecut model and a new Baby bass for 2017. And of course a second hollow-body bass for Andres Rotmistrovsky.
What are your future plans?
We’re working with our endorsers, especially with Marcos Miranda, to offer a future Bass camp in the near future that mixes nature, music clinics and bass guitar building construction clinics.
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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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