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Luthier Spotlight: Bjoern Kroeplin, Plankton Basses
Meet Bjoern Kroeplin, Luthier and owner of Plankton Basses…
In this issue, I have the honor of interviewing Bjoern Kroeplin, Luthier and owner of Plankton Basses.
How did you find your way into music?
I am now 53 years old and come from a musical family. Even as a child I regularly received promo singles from our neighbor who worked at the WDR Radio in Cologne.
I first played the piano and then joined my first band when I was about 15. There I played percussion until the bandleader got a gig in our school. We didn’t have a bass player, so I agreed to learn bass and within a month, bought one in Lübeck and quickly taught myself everything I needed to cut a good figure in front of the 400 people in the school’s sports hall.
Later in the 80s, I discovered Stanley Clarke, Mark King, Marcus Miller, and Defunkt with Kim Clarke. But my favorite bassist is Hellmut Hattler with his virtuoso plectrum bass playing. This is not least because he has bequeathed me his two Glockenklang Boxes, with which I can put all basses through their paces after completion.
I am also self-taught and have always taught myself how to play instruments, including the entrance examination for bass studies in Cologne. I also had piano lessons as a child. What I could advise today would be in any situation: listen, listen carefully, and stay on the ball.
Are you still an active player?
I have a small studio and compose mostly with the bass and then play all the other instruments – visit TRICKYPONY. I am booked as a session bassist here in northern Germany for funk, rock, and jazz.
Tell us about building your first bass…
I’ve had many a bass, but I didn’t like any of them particularly in terms of sound and certainly not in the classical form. So after a long accident with a fractured heel, where I couldn’t walk for a long time, I decided to build my first fine bass at home on a barstool. I bought all parts and tools on the internet and they were delivered to my door.
That must have been about 10 years ago. The result was absolutely sensational in terms of sound and appearance.
This was followed by an electric double bass similar to the one made by the well-known electric double bass player Eberhardt Weber with the Jan Garbarek Group. Here I chose practically only the middle section in the extension of the neck but without the charming, massive, sweeping curves of a babushka like in the Kate Bush video.
The body is made of maple with a neck that you can unscrew. This way you can transport the huge device relatively easily. It sounds like a classic double bass, so everything as it should be.
How did you learn the art of woodworking/Luthier? Who would you consider as a mentor?
Wood is a fantastic material to create sculptural objects. My talent and pleasure has always been design, so it is always easy for me to realise my initially fictitious idea. As a mentor I have the philosophy of Bauhaus and Luigi Colani in mind. The European Nordic designers have created great stylish unique pieces. But also always a bit ahead of the times, such as the case of the Braun Phonosuper SK 4, the Snow White coffin, which was sensational for its time. It was designed by Hans Gugelot and Dieter Rams in 1952, when there was only phono furniture available worldwide. Carl Thompson in New York was the closest to the signature of the new design for basses that I like. How do you choose the woods you want to build with?
I have tried out many things! Just drop different pieces of different woods from a height of one meter onto the floor. Then you will get a first impression of what it means to perceive differences in the wood.
The topic of wood selection resembles a myth deliberately created by the producers called: Tonewood. I can immediately think of the following amusing anecdote that explains a lot; I quote and it was like this: “Taylor builds good guitars because we know how to do it. And to prove it, we built an acoustic guitar out of an old, rotten pallet from the rubbish. The top was made from a wasteboard whose wood type could not be determined. It was glued so artfully from 6 boards that you can hardly see it, and the nail holes … were highlighted with inserted aluminum discs. This Pallet-Guitar was a most acclaimed guitar of the Winter NAMM Show”. Taylor, ISBN 3-932275-80-2.
Let’s talk about pickups…
I have tried American pickups, like the ones in the Fender basses. I have found a great liking for the Bartolini PU’s and have used them. Currently, I work mainly with the DELANO PU’S and the NOLL Electroniks from Germany. I have no comparable electrical solutions at hand. Alembic and Bartolini would be in the USA the closest to my sound ideas; an extremely broad frequency spectrum.
Who were some of the first known musicians who started to play your basses?
None yet, because my basses have only now seen the light. I studied electric bass in Cologne in the 90s and recorded everything on my website myself. You can play the classical styles of your idol with your instrument. However, an instrument would be great, with which modern creative young musicians can start to develop their own sound and their own “handwriting”. I build such basses for you at the Baltic Sea with PLANKTON BASSES, Germany and combine tradition with modernity.
How do you develop a signature or custom bass for an artist?
By having a clear idea of the sound you want to achieve. Then you look inside yourself and think about the materials you want to use to achieve the desired result. I have another company that designs and produces floating pods and rooms. In all my design and creation work I always start by looking at the state of the art and with this knowledge I put myself into my floating tank. There I let the ideas flow and usually quickly arrive at a great experience and start.
What are some things that you are proud of that you would consider unique in your instruments?
In one sentence: The joy of playing… every time I think of something new. The bass himself composes here, just let it out I think every time.
Perhaps in all modesty, the first bass I designed myself was better than any other I have ever held in my hands. Maybe it’s because I’m very open to art, beautiful things, feminine curves and culture. Therefore I know no limits to allow ideas.
Which of the basses you build is your favourite?
Always the one that is still in my head and wants to be built AND then exceeds my own expectations.
Can you give us some advice to young luthiers who are just starting out?
Yes, of course. You have to make it clear to yourself what you want. If you are looking for large quantities, the only thing you have left is industrial production. You will soon notice that you have produced dozens of soulless things that somehow produce sounds. But if you play a precisely handmade instrument, you will soon notice the difference. You feel the love of detail that has been invested. That is the dilemma because every beginner would need a good instrument from the beginning so that the joy of practicing is maintained.
We must not confuse acoustic instrument making with electric instrument making. Physics has its natural limits. Copying a Stradivarius wood by means of artificial aging is quite possible today. In guitar building, it is the symbiosis of the individual components that has a decisive influence on the sound. Generally 50% electric, plus 50% wood selection including all other hardware and construction.
Often underestimated, half of this is the neck construction that gives the sound. That is my opinion, but here everyone has his own philosophy and that is good.
What advice would you give to a young musician trying to find his perfect bass?
The perfect bass does not exist. There is the perfect bass, the perfect instrument just for the musician and his or her individual ideas. There is definitely no such thing as the legendary wollmilchsau.
What is the greatest success for you and your company?
The joy. The joy of the ability to diligently create a finely crafted instrument from the talent of a log.
Are you preparing something new?
Yes, I have only just begun to put all my passion for music into my Bass Boutique Plankton Basses.
Next up is a project with a special material mix. For example, underwater woods from the jungle of the Panama Canal will be used. These timbers were cleared with the permission to widen the channel’s shipping channel for larger container ships. So a diver has to saw off the tree underwater next to alligators using a high-pressure saw. The wood is of a Fanta-layered texture with very high density. I use this in thin strips in the bass necks. An absolute novelty in terms of attack and sustain.
I would also like to contribute to the discussion about carbon in instrument making with one sentence: Carbon fibre is a natural product like wood, but many years older than wood and therefore a fantastic component for my instruments. You will be the first to hear about everything new from me.
What are your future plans?
I would like to find a balance, to introduce my instruments to many musicians, to build up a reasonable distribution network and at the same time keep enough time to experiment creatively for the good cause. The design is almost a pretty dress by itself, but it’s the ingredients that count. I would be delighted if there were a demand in the USA, the country of origin of the electric guitar, for people who want to go my way.
What else would you like to share…
Do not emulate others, find your own style. Stay curious and above all healthy. We can end the interview with Victor Wooten’s sentence: Factor number one for your good tone is always your own fingers first.
Visit online at plankton-basses.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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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