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Ask Willis: Willis Takes on Your Questions
Meet Willis –
Hey Willis,
I was in Vitoria and I saw your shows with Triphasic. Congratulations . I was surprised by your show and music.
I’d like to ask about which program you use for video editing and the show live.
And for your Triphasic logo screensaver ?
I have a macbook pro 13′.
Thanks a lot
See you soon,
Manel
Thanks Manel,
I use Final Cut Pro for editing and Arkaos Grand VJ on stage. (I use a MacBook Pro 15″) The lettered logo is from the Shaman CD artwork illustrated by Oriol Malet
http://www.oriolmalet.com/portfolio
The blue background is from a pack of video loops from jumpeyecomponents.com. The triangle shape is a simple mask from a black and white jpeg and composited as a “difference” layer. It’s continuously looped throughout the whole show on an iPod Touch and I switch to it as necessary with the Roland/Edirol V-8 video mixer.
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Hey Willis,
First of all, let me say, that I’m a great fan of your playing. you’re certainly my biggest influence when it comes to fretless bass and I appreciate your very profound approach to the bass. I’ve got the GWB1 model and lately one of the neck screws seem to have worn out the corresponding hole in the neck. It ighten it for as long as I can and it won’t go tighter. Now i’m afraid that the bass hast lost stability/tone/sustain and I have since not assembled the bass again. What would you recommend I should do?
Furthermore, the neck pocket on the GWB1 seems pretty loose. On both sides of the neck joint, there’s a slight space between body and neck. I’d like to hear your point of view on bolt-on necks here because I heard that it doesn’t matter if the neck joint fit is tight. The more important thing is, however, that the surface of the neck joint that touches the heel of the neck has to be very tight because that’s where the vibrations are being transmitted.
Would you say that is correct?
greetings from germany,
Flo
So has it definitely lost sustain or do you just suspect it? Anyway, the first thing to do is fix the screw hole. Take a toothpick and trim a centimeter or so off of it and place it in the hole. Mark the length and trim it so it sits in the hole but doesn’t stick out. You could probably insert a 2nd piece as well. This should fix the stripped wood and get the screw to working again.
For the neck joint itself, I haven’t had the opportunity to experiment a lot. However, with Ibanez, we did try a prototype with a glue-in neck. Everything else about the bass was the same. When I first listened to it I though the pickup was defective or something because the output was about half. It turns out that the bolt-on neck joint is kind of a “black box” of technology that nobody has been able to definitively figure out. Still, something about having a less-than-perfect contact between the neck and the body gives it the ability to resonate the way we want it to.
It also makes sense that it’s more important that the back of the neck makes good contact with the neck pocket. And that the sides are likely not as important.
Let me know if fixing the screw hole makes a difference in sustain or (acoustic) output.
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Hey Willis
I’m trying to learn Say Never from Actual fiction and transcribe your solos.
And i just wondered how you think when you improvise over the Eb69 and the Db69 part of the progression.
Håkon.
Hey Håkon,
It’s a fairly simple progression (for the readers: all 69 chords |: Bb C | D Bb| //// |Bb C |D Bb| //// |Bb C |D Bb |Eb Db| Bb //// :|)
Since the chords keep moving – getting your ideas out of one particular sound helps. For the Eb and Db part there are a couple of things that work. Bb minor (dorian) will be correct with both chords, although you probably are aware of my aversion to thinking about scales. Another thing that works is Cmi pentatonic – works naturally for Eb and give you a #11 over the Db. I try to approach improvisation like a language so I usually do better the less I think. To speak a language fluently means you have to think about it so much that it becomes subconscious – but that’s an answer for another question.
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Why does your signature bass have a string spacing of 16.5mm? I had your signature bass (older one, made in Korea), what a great bass!!
David
Hey David,
I think it was for the production year of 2004 that the bass was manufactured in Korea and the basses from that run were outfitted with a different bridge that had the slightly smaller string spacing. ‘Turns out I preferred the 16.5 and we switched back to that when production returned to be hand crafted Japan.
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Hey Willis,
I have had the GWB1 for nearly a year (got it second hand) in Flat Black finish and lemme begin by saying that I totally love it! I play rock/pop covers and the use of fretless in a rock context gives me a different approach to things that I’m sure fretted bassists don’t have. It’s my only bass, by the way.
I’m curious to know why your new GWB1005 series isn’t offered in black or the corresponding fretted versions. For the former, is it due to the thicker finish’s effect on tone? And for the latter, is it just due to demand and supply?
Thank you for your time!
Sincerely,
Yong Xi
Hey Yong Xi,
Good to hear that the bass is working for you in those diverse situations. The Flat Black finish is on the GWB35 – so that’s probably what you have. The GWB35 is made with a basswood body. Basswood doesn’t have much of a grain to look at so a clear or stained finish just doesn’t work. It’s true that painting a GWB1005 would require extra sealers and finish that would compress the tone quite a bit. But, I can special order you a fretted version of the
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GWB1005 (only available through me) . Send me another email and I can give you the details.
Hey Willis,
What is the decision process for using extensions like a 9th, #11, or a 13th instead of a regular 7th chord? Is there voice leading involved or is it more a matter of a “denser” chord? I know “because It sounds good” is a legit answer but I was hoping for some insight on the subject of using chord extensions.
Thanks,
Kevin
Hey Kevin,
On a regular, functioning (means it’s part of chords that are in the same key) 7th chord, the decision process goes something like this:
Do I want to keep my job and play with this band again?
If yes, go on to next question, if no, then play whatever you want.
Are there “style” constraints that, if ignored, would get me fired (or at least not called for the next gig)?
If yes, then go on to the next question, if no, then play whatever you want.
Does the context of this song allow me to be creative with my note choices while still fulfilling my role in the group?
If yes go on to the next question, if no, then in the famous words of Ron Carter “just play the letters, not the numbers”.
If you’ve got this far, then the answer depends on your role: soloing or reinforcing the harmony.
In either case, the natural 9 and 13 are safe bets to work while still allowing you some degree of creativity in soloing or a support role.
The #11 you mentioned is not diatonic and should be reserved for soloing – It’s often necessary in soloing to use non diatonic chord tones to create interest and tension. The natural 11 is an obvious bad choice because if its conflict with the major 3rd sounding an interval of a minor ninth below. All circumstances require an understanding of voice leading since often your extensions need to be resolved by your successive note choices. Some situations even allow you to alter the 7th chord’s extension (b9, #9, #5, etc) and so you have to be even more conscious of voice leading and how your extensions should resolve.
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Hi Gary,
Im preparing for an admission test to attend a jazz course at university here in lisbon (Portugal) and i met a teacher who works there… at a gig and he told me that they really value the ability to effectively walk on jazz changes, thats a big one for them… ..the thing is its really to difficult to emulate the traditional walking on the electric bass …i got your book fingerboard harmony and im a huge fan of your work on Allan Holdsworth “None too Soon”, can you give some info on how to become a little more efficient on playing walking bass on electric ?
Thank you
Sérgio
Hey Sérgio,
Eventually, the book will give you a global approach to harmony that will let you create really smooth, efficient walking bass lines (as well as smooth solo lines, fills, etc). Remember that the “feel” that you’re trying to create has very little do to with the physicality of the acoustic vibrations of a acoustic bass (big wooden box). Upright players in a jazz setting actually have it easier (harmonically) since the pitches are less discernible and the notes decay rapidly. Effectively walking over jazz changes involves a few different skills that you may not be able to develop in a short period of time. First, you need to be able to analyze the harmony immediately. Once you’re able to diagnose the different kinds of chord sequences and key changes then it makes it easier to connect your lines to become more efficient. Having a subconscious vocabulary for what happens in a given key and putting your hand in the best position to play in that key is another goal of the book that, of course, takes time. Another thing that really helps is memorization. The quicker you are at memorizing and not having your eyes glued to the paper, the more you’ll be able to listen and interact musically with the band. Other things like having a good sense of time, tone, form (the structure of the song) and style are also very important but are still difficult to improve rapidly.
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Hello Gary!
Hope all is well with you. 9 months left on my course and I’m out there into the big bad world of music. I’m pushing real hard to develop your technique properly, and I know you say about buzz with left hand muting. If for example you were to play the first 7 notes of teen town, how would you personally go about muting the strings once you’d played them? I’ve tried slowing it right down and using my middle finger to dampen both the A and G when I do the octaves and can’t get the speed required from the damping finger.
Would be great if you can point out anything I might have missed, trying to keep my playing free of left hand buzz and darn open strings ringing as I’m playing a fretted 6.
The books are great by the way, fingerboard harmony and 101 bass tips so far. I’m hoping Santa will bring me some more! =P
Thanks
Joe
Hey Joe,
One of the ways to see if the right hand damping is working is to do what you’re talking about: slowly play every note of a phrase short and damped with the right hand. In this case I would play all 3 of the low C’s with the first finger and the upper descending C, Bb & A all with the 3rd – each finger dampens its own note. The last g could be played by the first or 2nd finger. BTW, this is starting with the C on the E string and avoiding the open G.
Best of luck with Santa and graduating to the big bad world.
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
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
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
