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Bass Musician Magazine’s Year of the Luthier – Stephen McSwain
Interview with Luthier Stephen McSwain, McSwain Guitars –
How did you get your start in music?
I actually got started in music very early. My family is a very musical bunch and we were always singing together. I was in the church choir as a kid, then on to the high school chorus, where I was introduced to classical music. I was a 1st tenor and was fortunate enough to travel to Vienna Austria to perform. After borrowing other friends’ guitars and teaching myself a couple chords, I finally got my very first guitar of my own…. a 1943 Martin 00-18 that my uncle had bought after he got out of the Navy. It needed some repairs, so my dad bought it off of his brother and had it repaired for me as a Christmas gift. That was the moment of no return! HAHA!! I burned through two Walkman tape players to learn some Zeppelin and Boston tunes and never looked back. I continued to play in bands through college and afterwards.
Are you still an active player?
I still play guitar every day and once in a while will get up and sing a couple of cover tunes whenever the chance arises, but I’m so busy with the guitar business and being a dad and husband that there’s no time to actively play in a band.
How did you get started as a Luthier? When did you build your first bass?
Right after I finished college, I moved back to my hometown (Gastonia, NC) to start work as a medical supply salesman. I lived at my parents’ house for a couple of months until I found a place. In addition to my family being very musical, they were also very artistic, so I was incredibly fortunate to get the best of the musical world and the art world as a kid. While I was there, I pulled out all of my old carving tools (Dremels, exacto knives, etc..) and bought an aftermarket Strat-style body. I carved a bunch of faces and vines into the guitar and sent it to Steve Vai. One of my best buddies from college (we played in the same band together) had gotten Steve’s number. I called Steve Vai and sent him the guitar. He called back a couple of weeks later and said he loved it; it’s still on his website today.
Carving Style
After this 1st guitar, I started buying boards of mahogany and cutting the bodies myself. I went to every show that came through Charlotte, NC and would try to sell my guitars to anyone that would give me a minute. I met the guys in Alice in Chains and sold them two guitars. Once I had a couple of known bands under my belt, it got easier to get in front of other known bands.
I built my first bass around 1994 for Bobby Sheehan of Blues Traveler. It had their signature Black Cat and other animals carved into the top. I also built a P-Bass sized GUITAR for Chan Kinchla with the Blues Traveler Black Cat too.
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
I basically taught myself to build guitars and basses by taking other guitars apart and putting them back together. I bought a couple of books and learned guitar electronics too. George Amicay, an incredible artist who used to work for Fender Custom Shop, was a big influence for me. He encouraged me to really go for it and start focusing on guitar building full-time. Also, I give HUGE credit to my parents for giving me the opportunity to explore music and art. Without them… I probably would have never even known where to begin.
How do you select the woods you choose to build with?
I always look for interesting grain patterns. I don’t always go for the super straight grain woods. I like unique characteristics in the woods I choose. I also like to use repurposed woods when I can. I feel like giving a piece of wood a second life imparts good energy into the guitar or bass.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
I have used a lot of different pickups in the guitars and basses. I started out using Seymour Duncan and DiMarzio. Now I am using Arcane. Rob Timmons tweaks his Triple Clone humbuckers for me and they are incredible.
Who were some of the first well-known musicians who started playing your basses?
I’ve built instruments for Slash, Stev Vai, George Lynch, Jared Leto, Duff McKagan, Steve Jones, Been Moody, Tommy Lee, John 5, Vernon Reid, Chan Kinchla and Bobby Sheehan of Blues Traveler, Ben Moody of Evanescence and We Are the Fallen… and many more.
How do you develop a signature or custom bass for an artist?
The bass I built for Bobby Sheehan was a one-of-a-kind bass.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
I build each guitar and bass one-at-a-time which makes each one unique unto itself. I use a lot of metal tops on my instruments, that gives the tone a really cool top end. Combined with the warmth of the wood, the metal gives a really nice sustain and brightness.
Which one of the basses that you build is your favorite one?
I built a metal top bass with .357 bullet shells around the perimeter. It has a hot rod metal flake finish on the back that is burned and completely distressed. It looks really cool and plays great!!!
Can you give us a word of advice to young Luthiers who are just starting out?
YES!! KEEP AT IT!!!! It takes a lot of time and patience to get to where you want to be. One crucial piece of advice that I tell young Luthiers starting out… create your own shape body and headstock!!! Most builders (including myself) start out by building a Strat or Tele clone and get stuck there.
What advice would you give a young musician trying to find his perfect bass?
Play as many guitars or basses as you can before you buy! Don’t necessarily follow trends or play what your favorite Rockstar plays. When you pick up that “special” guitar or bass… you’ll know. It’ll speak to you.
What is biggest success for you and for your company?
For me personally… the biggest success was getting my work in the hands of some of the biggest players on the planet. These guys have all bought my guitars. That instilled an incredible amount of confidence in me to keep going.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
I am always designing new concepts. At the moment, we are building a completely new website and doing a social media push to get out in front of as many people as we can. The new models will be featured on the website www.mcswainguitars.com and can be bought direct or through select dealers. We are also going to be offering a brand new line of KILLER basses.
What are your future plans?
I will keep building for the rest of my life. I always “jokingly” say that I retired in 1996 when I quit the suit and tie job to start building guitars/basses full-time!!! I’m one of the lucky ones that GETS to go to “work” everyday doing what I absolutely love.
Is there anything else you would like to share that we have not included?
If you are starting out as a builder… Be honest, be humble and maintain your integrity. There are a million ways to cut corners… make sure that you don’t compromise quality!
Visit Online:
- www.mcswainguitars.com
- www.twitter.com/mcswainguitars
- www.facebook.com/mcswainguitars
- www.instagram.com/mcswaincustomguitars
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
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Gear Review: Joyo Monomyth – A Versatile Modern Bass Preamp
Luthier Spotlight: Garry Beers, GGB Basses
