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Speed… an End or a Mean? by Igor Saavedra
Meet Igor Saavedra –
It’s incredibly interesting how two persons who are studying and putting into practice the same topics, at the same time, might be experiencing something that is completely different.
Musicians and bassists that have a tendency to play faster than the average or faster than most of their colleagues have frequently been criticized. One of the reasons for this is that these “fast runs,” most of the time, have the tendency to sound out of musical context and can be technically deficient… in other words, the musicians that have this tendency are usually trying to say more than what they are able to say properly. But watch out, because this is not always the case!
I think that this expressive manifestation (playing fast), should not be discussed lightly, but rather should be subject to at least one simple, accurate and objective analysis. For me, the first thing is to be able to clearly differentiate the two kinds of subjects that are often interested in playing fast. In this article I’m proposing two classifications as follows: The “Pure Sprinter” and the “Fast Musician”.
1 – The Pure Sprinter
This is the one who likes speed “per se”, that means, this guy doesn’t really care too much if he gets this adrenalin rush from speeding on a bike, car, skateboard, plane, playing on his PSP, or who knows… maybe playing a musical instrument.
In my opinion there are two types of Pure Sprinters who play music.
a) The Self Assumed Pure Sprinter:
This guy enjoys the vertigo of speed, but he understands that this fact doesn’t necessarily mean he’s a good musician; He really doesn’t care too much about music, he enjoys the speed experience and that is it. He might be also pursuing some commercial purposes… remember the rock bands of the 80’s?
b) The Self Fooled Pure Sprinter:
This is the one who doesn’t necessarily enjoy too much the vertigo of playing music fast, though he swears that this fact in itself transforms him, as if by magic, into a superlative musician. He thinks that his musicianship is directionally proportional to the speed he is able to achieve. This is the worse situation in my opinion, because this guy thinks that he is a real musician, but he is not.
2 – The Fast Musician
This is the one who likes music in the first place, indistinctly from the way he chooses to express it. Speed is just one of these ways, so for him speed is a mean to enhance the musical discourse, but will never be an end to itself.
In my opinion there are also two types of Fast Musicians.
a) The Decontextualized Fast Musician:
This is the one who, even though will never put the speed as an end to itself, on the other hand will not hesitate to push the throttle if his guts ask him for that. He will not worry too much if this action will be suitable for the musical context or not. In other words, this guy likes to play music “fast”.
b) The Contextualized Fast Musician:
This is the one who, apart from the fact of being able to understand the speed as a mean, while having the technical ability and the necessary knowledge, also knows when is the proper moment to play fast, always putting the needs of the musical context over his personal needs.
I hope these lines will serve for you to recognize which of these four guys you are listening to in any moment, and with just a little attention it will be crystal clear after a couple of minutes. Needless to say, they all have the merit of at least having spent many hours and years developing a skill, but this ability will have many nuances in terms of real value and consistency.
In my opinion, the most significant and prominent of all these subjects will always be “The Contextualized Fast Musician”, because he has the necessary characteristics to be able to locate speed at the proper place, just as a mean, for which he must have the necessary abilities if the situation and the musical context requires to deliver. This “Contextualized Fast Musician” eventually earns his right to get rid of this denomination, and be called simply, “The Complete Musician” (With the understanding that he is also meeting all the other features required).
There is nothing wrong with developing speed skills in music, the problem arises when it aims to be an end in itself and not a mean that will further enable the performer to play music fast without any problem if he wants, because his physical speed limits (muscular and neuronal) and his musical knowledge are far above what is required.
So what for?
I think that I’ve expressed my opinion very clearly on this article putting the speed as a mean and not as an end, but there’s a little exception to this “rule.” What’s the point in playing fast? Well, speed is a part of life as slowness is… life is like Ying and Yang and all the opposites are always communicating and harmonizing, and obviously both are always necessary, so that means playing fast is also necessary.
Playing slow ballads is cool and I love it, but for some reason people assume that a musician that has the tendency to play slow or mid-speed music has to be more “musical” than a musician that has the tendency to play fast. In my opinion, this is just a construction made up by the sum of opinions of many people through the years that have not had the luck of having heard good “fast” music or musicians, or maybe by frustrated musicians that have not even being able to achieve a valid aspect of the music spectrum which is to play fast, so to be able to transmit effectively human feelings and experiences like anxiety, hesitation, dizziness and many more.
As I said, a Complete Musician also has to be able to transmit this feelings effectively, as long as they are able to achieve a fast harmonic mental process and obviously to achieve the technique needed to transmit those ideas on the instrument.
All of us know that being able to play slow eventually helps to be able to play fast, but you don’t have to forget that being able to play fast also helps to play slow. How is that?
Let’s say the legal limit on the highway is 90 miles per hour. A good example is the feeling you get while driving a Ferrari Enzo at 90 miles per hour (The car is capable of going at 220 miles per hour). Compare that feeling to the one you will get driving a Ford Escort (nothing against that car) at the same 90 miles per hour. (This car is able to go at a maximum speed of 110 miles per hour)
Suppose both situations are within the legal speed limit… so both situations are “legal”, so nobody is going faster than he should. While you are driving the Ferrari your maximum speed is way above so the car is completely “relaxed” and is not being forced at all in any way; Needless to say that what is happening to the Ford Escort is quite the opposite.
We might choose to try and achieve that Ferrari feeling while also being a respectful driver, driving at 45 miles an hour when we are on the city, at 90 miles per hour when we are on the Highway, and if we are in Germany driving at the Autobahn where there’s no speed limit we will just love to drive whatever speed we want and enjoy the ride. With this I’m trying to express that we should always be considering the musical context we are in, so to be able to decide if we are going to play fast or not.
For the musician, the audience is able to feel very easily if you are close to burning your engine, because your face and your gestures, and mostly the music you are playing will always show what’s happening with you. We don’t want to transmit uncomfortableness to our audience, so if we are going to have to play fast we want them to feel that adrenalin rush without suffering. If we want them to experience pain, suffering or something like that, we must use a “voluntary” musical tool.
When studying music I always tried to practice taking into consideration that I wanted to be “musical” in the first place. In terms of technique I wanted to achieve the maximum efficiency and the maximum relaxation possible also while trying to get the best sound I could… that was my trip. What happened eventually was that without even noticing I was able to play sixteenth note lines over 300 bpm on my bass. I have never played at that speed in any musical context because I haven’t found the musical reasons to do that, but I can tell you that just knowing and “feeling” the potentially achievable speed has helped me to play at the usual fast speeds without suffering at all (physically and emotionally), and I think that all this happens for the reasons I’ve mentioned throughout this article.
Finally, is up to you… all I’ve said here is just my opinion about “The speed issue in music”, and is based on my personal experience. I suggested taking the speed as a mean and not as an end, but I’ve also mentioned what I consider just the only case in which speed might be and end in itself, but always relating it to the musical context.
Let me know what you think!
See you guys on my next article…
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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