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Bass Musician Magazine’s Year of the Luthier – Cleve Johnson
Interview with Luthier Cleve Johnson, LedBelli Bass Guitars –
How did you get your start in music?
I began playing music in grade school with the band! As a teenager in high school, I picked up the guitar. Later on, in my 30’s, I imagined myself becoming a successful fingerstyle acoustic guitarist along the lines of Don Ross or Chris Proctor. Then one day about 15 years ago a friend of mine was short-handed for a gig and needed a bass player. He asked me if I could fill in and I thought, “Sure, why not?” So, the first time I ever played bass was live in in front of an audience! And just like that, I was hooked. Quite by accident I discovered that I had a rhythmic sense that suited bass guitar, and I was hooked on bass from that day forward!
Are you still an active player?
Yes, I have a blues/blues rock band called BlackWater. It’s a power trio with a female vocalist up front, and we gig when we can! And yah, I play one of my own!
How did you get started as a Luthier? When did you build your first bass?
I built my first bass in 2008. At that time I owned a German made Humanbase – it was a 6-string fretless, neck-thru design. For many months I’d had my eye on a Ritter bass that I wanted to buy, but I could not afford it. I had a woodshop and for most of my adult life I had built many furniture projects. Since I had owned a number of very high-quality acoustic guitars during my life, I knew instinctively what a good stringed instrument should have – I knew what needed to be there. In the springtime of 2008 I had a knee surgery that kept me off work for 3 or 4 months, so I decided that I would spend my time off from work building a bass guitar!
When I started that first bass I never intended to build more than one bass. I never started building that bass with the intention of becoming a “Luthier”. The first bass was a neck-thru bass, and I knew there was no margin for error – I knew that if I made one mistake, the whole thing would be ruined. I actually never expected to finish it, thinking that somewhere along the way I would blow it. But things turned out, and the result went way beyond my own, or anyone else’s expectations. Pretty soon, somebody said, “You should build another one of these.”
So, in 2009 I attempted 3 more basses, two of which I felt were sub-standard and I destroyed them (I was trying new things). The remaining bass from ’09 is still being played today – on permanent loan to a young jazz bassist in Seattle named Juan Hernandez. That bass is a semi-hollow body, single-cutaway fretless bass that I still offer to clients today – the Jonah HSC model.
Then in 2010 I met Mick Vaughn, the bassist for Tim Reynolds & TR3. (Tim is the lead guitarist for The Dave Matthews Band who also has his own band that tours when he is free from DMB.) Mick played my very first bass for a sound check and he liked it well enough that, to my surprise, he wanted one of his own! So, in the spring of 2010 I began work from scratch on a brand-new design. Mick wanted his bass in time for the Mile High Music Festival in Denver CO in August of 2010. I literally finished the bass two days before we had to leave for Denver! I’m still blown away that the first time that bass was played was at a major music festival in front of 9,000 people, being only my 5th build! This new design for Mick became what today is known as my “Noah” model.
So, within a few weeks after the festival, I had a half-dozen “orders” that I never expected. I suddenly found myself in the role of a bass Luthier, and I was in over my head – I was freaking out!
How did you come up with the name, “LedBelli”?
I get asked that a lot! It started out as a sarcastic joke between friends! In 2009 a buddy came over to the shop to see what I was up to, and he began to pester me, “What are you gonna call them?! You gotta have a name!”, and I kept blowing it off. But he wouldn’t let it die! At the time I was listening to a lot of Lead Belly blues in the shop, and so just on impulse to get my friend to shut up I said, “I don’t know, I’ll just call them Lead Belly Basses or something!” He promised me that he was going to hold me to that and sure enough, the following year when things broke loose he was right there holding my feet to the fire! What are friends for?! Lol. So, I changed the spelling around and went with it! Later on, I considered changing the name to something more serious, but it was too late – LedBelli had already established an identity! Now, I’m kind of glad it went the way it did!
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
I learned woodworking in high school shop class, and those skills never left me. I built furniture off and on all of my adult life. But as a bass Luthier, I am almost completely self-taught – again, I knew from being a musician what needed to be there and then devised my own methods of getting there!
I can add that here where I live there is an accomplished acoustic guitar Luthier, Duane Noble, who taught me the basics of finishing with nitro-cellulous lacquer and some basics about fingerboard radiusing and fret-work. But even he will admit that he was not of much help beyond those initial basics! I pretty much winged it from there!
Since my finishes have become something of a hallmark for my work, Duane was very helpful in that area. However, the way I achieve my finishes today is completely different from how Duane taught me to do it in 2008! Otherwise, everything else I have learned by trial, and a lot of error!
I’m very observant – I never pick up an instrument without looking closely to see how they did what they did, and then I try to think of how I would do it. It’s a systemic learning process that never ends.
How do you select the woods you choose to build with?
From the beginning I’ve kept my wood choices well within the boundaries of what’s traditionally acceptable. What I do differently is that I look for the most amazing woods I can find within those boundaries. I want wood that makes people say, “Wow”!
I’m pretty picky about the wood I use. I have a handful of Northwest suppliers I frequent and I am always looking for the most exotic figured domestic hardwood I can find. I focus on Ash, Maple, Alder, and Walnut for the bodies, while my necks are made mostly from Maple and lately, Wenge. My fingerboard choices are Ebony, Rosewood, Maple, Ziricote, and Cocobolo.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
In the beginning I used Delano Pickups and preamps almost exclusively, unless a client wanted something else. Contrary to what many of my critics think, my earliest work was modeled around the Humanbase that I owned. My Humanbase had Delano electronics onboard and I liked it, so I went with that. Delano and I eventually developed a great relationship, and I would still recommend them to anyone who seeks top-notch quality and a modern-esque tone.
However, in 2011 I learned of Carey Nordstrand’s work, and I contacted his company about making me a custom wound set of MM- humbucker’s for “The Rainbow Bass” (pictured) that made its debut at The Gorge Amphitheater during the Dave Matthews Band “Caravan” Concert in 2011. From day 1, Nordstrand gave me the kind of attention normally reserved for dignitaries, and that marked the beginning of what has now become a very fruitful relationship! I can honestly say that I have become good friends with Carey and several of his employees as they have taken me under their wing and produced for me everything that I’ve ever asked of them! Nordstand does not care how small I am . . . they treat me like I’m the only builder alive! So, since 2013 I have used Nordstrand Pickups and Electronics exclusively. The only time I don’t use Nordstrand is when a client specifically asks for something else! Most clients don’t!
Who were some of the first well-known musicians who started playing your basses?
Mick Vaughn, of Tim Reynolds & TR3, although Mick would dispute the “well known” label. Mick is a musician’s musician, and he is known and loved inside the industry! He’s also one of the most genuine people you will ever meet, and I think he would be a great bassist to feature in Bass Musician Magazine!
How do you develop a custom bass for a client?
I listen -closely- to them. With some clients, I’ve spent hours on the phone hammering out the details of what they want! Other clients may simply say, “Make it like that one!” Regardless, I try to listen to what my client is trying to say, and then I work to meet that expectation.
But in all cases, I try to keep what my client is looking for within the boundaries of what I offer. I have 6 different design motifs that I stick to and they are proven. Within the framework of one of those motifs the client and I work together to make it happen!
What are a few things that you are proud of about your instruments or that you would consider unique about your instruments?
Well, that’s a hard question for me to answer!
I guess that the over-riding thing that comes to mind is that my work is completely hand-crafted using only hand tools and basic shop equipment. My shop is very small! I do not use any CNC or CAD in my work. There is no automation. When I work, I sweat . . . sometimes, a lot! I don’t criticize those who use CNC or automation, and I understand their production advantages, but it’s just not what I’m about. I guess you could say that I’m kicking it “old-school”.
My over-riding desire is that I want the instrument that I deliver to a client to be as pure an expression of my art as I can give to a new owner. I take a lot of pride in being able to handcraft an instrument that makes people go, “WOW!” when they open the case. I don’t see my work ever being mass-produced – frankly, I don’t think it can be. I have never built any two instruments exactly alike, and I sincerely doubt that I ever will.
Which one of the basses that you build is your favorite one?
That’s like asking me which of my children is my favorite! I don’t have a favorite one, but there are a few that stand out – the very first Noah that Mick Vaughn owns is special, if only because it was the bass that sent me down this road that I’m on. The Rainbow Bass (a Noah model) was a game-changer for where I was at in 2011. In 2015 I introduced a new model, the Blackbird, that was an instant hit and that I plan on doing a lot more of. Also, my Jonah SSC model is pretty radical with its ultra-thin body.
I can’t pick just one!
Can you give us a word of advice to young Luthiers who are just starting out?
Definitely. Remember two things:
First, stay away from uninformed (or under-informed) critics of what you are trying to achieve in your work. Stay true to your own vision for where you want to be. If you are paying close attention, this craft is self-correcting. If you make a mis-step, you will soon know it. Follow your muse . . .
I have a saying: “Those who can, do. Those who can’t – criticize those who are doing it.” The majority of the people who will criticize you have utterly no idea what they are talking about. Ignore them. My art has flourished since I stopped worrying about the opinions of the uninformed.
Secondly, find one or two people who can give you the moral support and wisdom that you need to excel. They don’t necessarily have to be Luthiers. They just need to be people who are further down the road of achievement than you are! Find one or two successful people who are able to cheer you up and give you wisdom when you’re having a bad day! For me, Carey Nordstrand, Tom Bowlus, and a Seattle area artist and good friend, Aaron McCrae, have provided that support exactly when I needed it. On two or three occasions, I was ready to quit this gig! Each of them gave me the perspective that I needed to keep going!
What advice would you give a young musician trying to find his perfect bass?
I would tell a young musician this: find the best bass you can get for $500.00 or less, take it to a professional who can set it up well, and then learn to play it and THEN learn to play it some more! Focus on becoming the best musician you can be! As you become a better musician, you will slowly realize what you want in YOUR instrument. But don’t go chasing the ultimate bass guitar thinking that it will suddenly make you proficient in areas where you’re not. A bad musician with a $10,000.00 bass guitar is still a bad musician! There is only one way to get better: hard work and practice. (That’s also true in becoming a Luthier!)
What is your biggest success for you and for your company?
This spring I had a very expensive bass come through my shop from a well-known builder whom I’ve admired for a very long time. Anyone who is a bassist would immediately recognize the name. For the first time, I was able to directly compare my work to his work. In that comparison, I suddenly had a revelation: somehow I had unexpectedly crawled my way onto the same playing field of artisanship, tone, and playability as his work. I never saw this coming . . .
That moment of realization changed everything. Up until then I kind of had a Luthier’s inferiority, or underdog, complex. I always figured that my work was, at best, journeyman level. But on that day I realized that I’m making something special. Realizing this has changed everything about how I now approach my work.
Are you preparing something new, some new model or new design?
Yes, this summer I am introducing a new model, the Majestic, that will be my “flagship” model. It is a 27 fret neck-thru design with a Wenge neck and Ebony fingerboard. Going forward, those will be the defining features of the Majestic, while I will vary the body top and wings. It’s going to be killer, and a lot of folks are already lining up for it! I’m excited to see how it turns out!
What are your future plans?
Plans?! I never planned on being here to start with! But I love what I’ve stumbled on to here, and I plan to keep working hard to make my instruments something desirable for any musician to own. I plan to do whatever I need to do that makes owning a LedBelli Bass Guitar something special. If my clients fall in love with their new bass, then I’m the happiest of all.
Is there anything else you would like to share that we have not included?
I love my dog!
Visit online at:
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
Check out our top 10 favorite basses on Instagram this week…
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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
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
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July 15 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Gear Review: Joyo Monomyth – A Versatile Modern Bass Preamp
Luthier Spotlight: Garry Beers, GGB Basses
