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R.I.P. Bill Conklin, Conklin Guitars and Basses
Updated: Oct 29, 2021 – It is with a heavy heart that we share the passing of Bill Conklin, beloved Luthier and industry friend to many… may you rest in peace.
Interview: Bass Musician Magazine’s Year of the Luthier – Bill Conklin, Conklin Guitars and Basses
Meet Bill Conklin of Conklin Guitars
How did you get your start in music?
My interest in music started at a very young age and was influenced by my parent’s listening preferences, my older brother’s record collection and eventually my friends who convinced me to be the bass player in the band they were forming when we were all in the range of 10 to 12 years old. My first bass was a Kay that I played through a tweed guitar amp from a company called Earth.
Are you still an active player?
I have played on and off throughout my life, performing in cover bands and original bands, most recently with my business partner Mike Apperson, covering modern rock and progressive material. I have always enjoyed writing lyrics and playing but never took it too seriously or pursued it on a professional level. One of the goals on my bucket list is to record a CD of 10 to 12 songs of my own original music and lyrics; not to necessarily sell or profit from, just to enjoy and say, “Yeah I did that”.
How did you get started as a Luthier? When did you build your first bass?
At the same time my love of music was brewing within me at an early age, so too was a love of art and design. Naturally as I entered my teen years I began to merge the two mediums and quickly filled my sketchpads with drawings of wild looking guitars. It was just about that time (1977-80) I started seeing ads for Ibanez, Dean and Hondo that featured uniquely shaped guitars and then it hit me that I could possibly turn this passion into a career.
How did you learn the art of woodworking/Luthier? Who would you consider a Mentor?
Without any woodworking experience, no family members involved in manufacturing and no one to mentor me in my small Midwest resort community, I did the only thing I could at the time and built my first guitar in high school woodshop my senior year 1981. I had designed a machine gun shaped guitar and thought it lent itself perfectly to my rock-n-roll mindset. The guitar turned out so well that I ended up playing it in my first semi-professional band after graduating from high school.
How do you select the woods you choose to build with?
We have a few favorites that we like to work with such as Maple and Purpleheart for our multi-laminate necks, but when it comes right down to it the customer is free to choose their own woods. Of course if they don’t have a preference or if they are unsure about a certain application we are happy to make suggestions or recommendations.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
Just as with the woods, we encourage the customer to select their favorite pickups and electronics. On occasion they may request certain components that don’t necessarily work together as well as they should so we will suggest alternatives that we know from experience will perform as expected.
We have been offering Bartolini and EMG since our start in 1984 and more recently have been doing quite a bit with Delano, mainly because they have been so willing to make custom pickups for our extended range basses, not to mention that they sound incredible. We have also been recommending Lundgren pickups from Sweden to our 4 and 5 string bass customers and are extremely happy with them. We were the first dealer for Lundgren pickups in the USA and have them available on our website for anyone wanting to do upgrades on any brand of bass.
Who were some of the first well-known musicians who started playing your basses?
Our association with Bill Dickens has been pretty renowned. We have been working with him since 1998 and his signature model 7-string bass has been a key fixture in the popularization of extended range bass. In addition to the BD-7 we also built several custom ERB’s for Billy including the world’s first 9-string bass tuned from low F# to high Bb. (View Bill Dickens ERB Legend Interview in Bass Musician Magazine in the December 2016 Issue)
It was a great pleasure and a real honor to work with the incredible groove legend Rocco Prestia for so many years. It’s hard to describe the feeling of seeing your unique instrument in the hands of such a stellar talent as he performs his unique style for fans all over the world. (View Rocco Prestia Cover Interview in Bass Musician Magazine in the February 2015 Issue)
How do you develop a signature or custom bass for an artist?
It all starts with the artist. It is virtually the same thing we do for any player wanting a one-of-a-kind custom instrument. They have an idea, or often times several ideas that they want to incorporate into a bass. It could be something as simple as a tone that they are after; maybe it’s an aesthetic or a certain feel, some specific woods, hardware or electronics or possibly a combination of all these things. We have them make a wish list of desired specs for their dream bass and then we discuss it with them, make recommendations, offer suggestions, and answer questions until they are completely comfortable with their choices. Once the work order is in and the build is on we develop 3-D drawings that are emailed to the customer for approval. If everything looks good, it’s off to the woodshop and we start making sawdust.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
When I first started the company I had several unique and/or innovative ideas on how I felt guitars and basses could be improved, simplified or otherwise given a ‘Conklin’ twist. One of the first things I designed was a bolt-on heel that was completely carved and molded right into the neck. There are quite a few manufacturers nowadays that bevel or carve their neck heel in some fashion in an effort to make it more comfortable, but as far as I am aware, Conklin was the first to do this and still one of the only companies to really blend the two pieces, almost like a neck-through-body.
I also thought it would be a good idea to place the position marker dots on the very edge of the fretboard. During installation they actually hang over just a bit so that when they are sanded flush you get a top dot and side dot all in one…we call them “off-sides dots”.
Another thing we started doing right from the start was leaving the covers off of the truss rod slot and the tremolo spring area on our guitars, an idea that is now quite common.
Finally, we developed an entirely new approach to making exotic wood tops, fingerboards and headstock caps. Instead of the traditional bookmatch we joined several contrasting species of gorgeous woods into a twisting, wavy, flowing organic graphic that we call “Melted Tops”. Of course we don’t do these on all of our instruments; they are reserved for those customers wanting something extremely exclusive and extra special.
Which one of the basses that you build is your favorite one?
Right now I am really jazzed about our Sidewinder 4 and 5-string Classic models; they incorporate retro era styling with modern refinements.
Can you give us a word of advice to young Luthiers who are just starting out?
This may not be the most pc thing to say, but quite honestly you might want to plan on working for one of the established companies because this has become one of the most competitive markets on the planet. When I started Conklin back in ’84 you could count the number of custom shops on one hand. Now I’m not sure you could not count all the custom builders. This type of work is like music itself; it gets into your skin and it is extremely fulfilling. I totally understand why so many people aspire to do it. Just give it some serious consideration.
What advice would you give a young musician trying to find his perfect bass?
Email us your wish list…lol!
What is biggest success for you and for your company?
It kind of relates back to your earlier question; I had a dream about building guitars and basses back in the early1980’s; back when it was unheard of for a kid in Missouri with no previous experience and no recognized name to start a custom shop and think anyone would buy one of my instruments, sight unseen and un-played. Keep in mind that this was several years before the Internet. But with undying determination, passion and spirit I did just that and 32 years later here I am… not necessarily living the dream, but living MY dream.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc.
We are… several new models and designs actually. Starting with a new website in 2017, we are planning to release our Classics and Cutting Edge series, which will include the retro-inspired pieces I mentioned earlier along with some state-of-the-art models like our Wiggle Stick, which is a headless multi-scale 5-string and our Funky 5; a highly carved, fine-tuned little funk machine.
What are your future plans?
Funny you should ask. For almost as long as I have been designing and building innovative instruments, I have also been designing and planning to someday build innovative and unique furniture, accent pieces, jewelry and guitar related accessories. I had made up my mind that I wanted to get this new venture rolling by the time I turned 50. Now, at 53, I just recently have begun creating some prototypes of what I hope will eventually become an entire line of my ”other” ideas. Look for these products to begin showing up on our website in the next year or so and our name to change from Conklin Guitars and Basses to Conklin Custom Shop.
Is there anything else you would like to share that we have not included?
Yes please… I want to say thank you to all of our loyal fans, friends and customers that have put their trust and confidence in us over these past 32 years, and given us the opportunity to make a living making guitars. We hope you’ll stick with us for the next 32 years. Also, I can’t heap enough praise on those gentlemen that have literally stood beside me and believed in me these past three decades. From the early years with Brent Frazier, Jim Cox and Brad Bembry through the 90’s with Phil Goschy and finally these past 16 years with Mike Apperson. Without each of them being in the right place at the right time with such incredible dedication and work ethic for this brand, none of this would have been possible.
Visit online at conklinguitars.com
Bass Videos
Interview With Bassist Erick “Jesus” Coomes
Bassist Erick “Jesus” Coomes…
It is always great to meet a super busy bassist who simply exudes a love for music and his instrument. Erick “Jesus” Coomes fits this description exactly. Hailing from Southern California, “Jesus” co-founded and plays bass for Lettuce and has found his groove playing with numerous other musicians.
Join us as we hear of his musical journey, how he gets his sound, his ongoing projects, and his plans for the future.
Photo, Bob Forte
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Visit Online
www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk
Bass Videos
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
“These stories from the front are with real-life, day-to-day musicians who deal with work life and gigging and how they make it work out. Each month, topics may include… the kind of gigs you get, the money, dealing with less-than-ideal rooms, as well as the gear you need to get the job done… and the list goes on from there.” – Steve the Bass Guy and Shawn Cav
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
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Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away