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Bass Musician Magazine’s Year of the Luthier – Marco Cortes, Marco Bass Guitars
Meet Marco Cortes of Marco Bass Guitars…
How did you get your start in music?
I started to take acoustic guitar lessons when I was 16 but after a year or smy church needed a bass player and I switched instruments from guitar to bass.
Are you still an active player?
Yes, I continue to play bass. It’s for sure one of my passions, and especially with my type of work. I play it every day, one way or another.
How did you get started as a Luthier? When did you build your first bass?
When I started to play bass, I didn’t have money to buy a good one. I was about 17 when I decided to build a bass for myself..
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
I pretty much learned by myself. I went through several magazines, books and had to do a lot of trials and errors. In Brazil, at that time, the resources were very scarce. It was very difficult to buy tools, and I had to rely on some woodworking shops for the initial cuts. I had to do a lot of the work manually, with very few tools, which also forced me to learn how to make my own tools and develop the whole process literally from scratch. At some point, I was making everything – not only the woodworking part, but also the hardware – tuners, bridges – and that’s how I started to make my own pickups too.
How do you select the woods you choose to build with?
Usually, I select the wood by weight, species and sound. I buy it already pre-dried and finalize the drying process in my shop, kind of seasoning the wood for my specs. But I have fun in doing so. I live in an area that has beautiful types of wood, and every time I go to the suppliers, I select them personally, already envisioning the next instrument.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
I make my own pickups, which helps me, since I can play with them and have a greater variety of tones.
I have used all kinds of brands in the past – EMG, Bartolini, DiMarzio, but since it was too expensive and very difficult to buy them in Brazil, when I started making basses, I had to learn to develop and make my own pickups. I guess that the difficulties at the beginning of my career forced me to learn all kinds of trades in this profession, including making pickups.
Regarding the preamps, I have also used most of the ones in the market, but recently I have been using more Noll Preamp because they are very clean, not very voiced. Because I use my own pickups, I can develop my own tones for the basses. I don’t want an overly voiced preamp as to not clash with the unique sound of my pickups, but, I am always trying out different preamps.
Who were some of the first well-known musicians who started playing your basses?
The very first one was Nico Assuncao, one of the greatest bassist in Brazil, a true legend, and Claudio Beltrami, also in Brazil.
Here in the America, one of the very first ones was Abraham Laboriel.
I’m very blessed to have a great variety of talented musicians that play with my basses, like Matt Kirkwood, Chuck Jacobs, Dwayne Mono Neon, Ariel Garcia, Chris Mercedes, Todde Funk, Nick G, Pepe Bao, Claus Nauer Reher-Langberg, Caleb Gonzales, etc., just to name a few. There are so many good players and I truly appreciate all of them for their artistry.
How do you develop a signature or custom bass for an artist?
First of all, I listen to the artist; he or she needs to be the first one to be in love with the bass, otherwise, they won’t play it. So, I try to get all the details, tones, preferences, etc., and from there, we go together in this building process, which is a partnership.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
One thing that always concerns me the most is the action – and my basses have a really good action, but also my pickups – they are pretty unique.
Which one of the basses that you build is your favorite one?
I think my favorite one is usually the most recent I build.
But, there is a specific model, called VD (Victory Day), which is a model that I’ve put my heart and soul on it, meaning that it incorporates the best of the best that I have learned about the art of building basses all these years… all the aspects of the best characteristics from wood selection to the architecture of the construction of the blanks, how to position them with the right combination of each wood, to get the best reverberation, the best sound. Every single detail was meticulously thought through. I don’t even build them commercially, because they require a lot time and effort. I just use them to exercise and improve my techniques, and what I learn from these models, I apply in my other models, that are more commercial.
Can you give us a word of advice to young Luthiers who are just starting out?
Yes, my advice is don’t build instruments for your own taste, but listen to the musicians and what they want. However, take some time to develop your own style, exercising your creativity.
What advice would you give a young musician trying to find his perfect bass?
First of all, you need to find a bass that will be an extension of your voice as an artist. Sometimes, people go just for the looks, the visual, but you need to feel the instrument, if the action is good, if it feels comfortable and can help you to become a better artist too.
What is biggest success for you and for your company?
My biggest success is building basses that everyone else in the entire world are building, which are the classic J and P basses models. Those are my forte. They are very successful and everyone that buys one of these bases, they always come back to buy a second or third bass.
Are you preparing something new, some new model or new design?
I am always trying something new. I have that “craving” not only for continuing to improve my work, but also to continue to be creative. Right now, I am doing some basses, which are a variation of the J Bass model. I am also going back to making my own designs as well and I’m in the process of developing some signature basses for some musicians. I have an extensive line of instruments with single cuts and high-end models, however the market requires the more affordable ones.
What are your future plans?
I just want to continue to establish what I have already been doing but also having my instruments in the hands of more musicians. I also want to move forward with my line of electric guitars.
Is there anything else you would like to share?
Just to thank all the musicians for all the support. I couldn’t do anything without them. In this journey of making basses, I am blessed for having made great friends. Most of my clients become friends and some I can even call part of my family too. It has been a great and rewarding ride. I enjoy what I do, but especially for being able to hang out and chat with great people from all over the world. I love what I do!
Visit online at marcobassguitars.com
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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