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When Elvis Goes One Way by Steve Gregory
Meet Steve Gregory –
The other day, I heard a recording of an Elvis performance that went horribly, horribly wrong. The band went one direction, “the King” went another, and chaos ensued. The struggle to get everyone on the same page continued for almost a minute before the implosion was complete and the show ground to an abrupt halt. Listening with “sympathetic musician ears”, I couldn’t help but cringe as I sensed the “what do we do now?” feeling. I suspect we have all had situations that range from hitting a wrong note, to going to a wrong song section, to things just going plain wrong.
As worship bassists, we are most certainly not immune to things going awry, whether it is something we play on our instrument or something that affects us in the group dynamic. To add weight to the situation, worship bassists provide the foundation upon which the worship setting – the worship setting many in our congregations and worship teams rely upon – is developed. To be a successful worship bassist, it is necessary to think about our responsibilities and how we can best uphold those responsibilities when things don’t go as planned. Here are a few thoughts on defending against problems before they occur, gracefully getting out of bad situations when they do happen, and learning from our experiences:
1. Preparation is the very best defense against things going wrong in worship.
This may seem obvious, but preparation is critical. First, if we don’t know our bass parts, and I mean really know our parts, we really shouldn’t be surprised when things go wrong. Spend time with your music before you stand in front of the church! Practice your music at home, rehearse your music at rehearsals, and perform the music in worship. These three steps are all separate and are not interchangeable. Trying to “get” the music once you are performing in worship is a recipe for disaster.
Second, we are bass musicians, not just bass players. That means that we should also know details about each piece of music, such as:
- The chords of the song, not just the bass line.
- Other musicians’ parts of the song.
- Whether there is a loop or a track that controls lighting, etc.
- Any potential “gotchas” that need special attention.
- The lyrics to the song.
- The “landmarks” in the song – whether in our part, others’ parts, or in the song as a whole.
At first glance, it may seem that preparation is only useful for stopping problems from happening in the first place. While proper preparation does prevent many problems, it is also important for getting us out of difficult situations when they do arise, as we’ll talk about below.
2. Playing a wrong note isn’t great, but making a wrong note into a bigger problem than it needs to be is much worse.
Let’s consider a song that has a tempo of 120 BPM. At that tempo, a quarter note will sound for ½ of a second. This is not a long time in the ear of a listener; however, if we take that ½ of a second and prolong it by not correcting ourselves or playing other wrong notes because of panic, then we have a big problem. Your audience most likely won’t pay much attention to a ½ second oddity, but may be distracted by subsequent fumbling.
When you do hit a note other than the one you mean to play, quick decision making is the key. If you can move on, by all means – move on. For example, in a measure of eighth notes on A, if you hit the first note as a G#, fix it on the second eighth note and leave the errant note behind. If you hit a note that is more exposed, immediately decide on a fix and go for it. This depends largely on context, but you may need to move immediately to the right note or develop a line that passes to the right note. This is where preparation comes in – knowing chord structures, song form, and other instruments’ parts is critical. Combine your musical understanding of the song with the desire to keep the flow of worship undisrupted and you will make sound decisions.
3. When you are at the bridge, the vocalist is at the chorus, and nobody knows where the saxophonist is, you have some decisions to make.
Any time you find yourself in a “where in the world are we?” situation, your ear is your friend, panic is not. Similar to the situation above, you must apply your musicianship and the goal of providing uninterrupted worship together to find your way out of a difficult situation.
There are a few situations in which the band dynamic becomes unstable that we should consider:
- You lose your place: be calm and aware. Open your ears and play simply as you find your center, using your ear training to find chord roots and the basic bass line. Work to find your place by listening for any landmarks (you mapped these out in preparation, right?). Remember to stay in rhythm, rather than flailing wildly in a note search – panic is a groove-robber! Rely on your skills, remain calm, and you will fall back into place.
- One other person in the group loses their place: be a leader and help the other person find their way. If you have a landmark that will help them, put a bit of extra emphasis on it. If simplifying your line for a few bars will pull them back in, do it. Decide how you can continue worship and help your brother or sister at the same time!
- There’s more than one person lost: be a worship bass musician. If you can lead, as with the example where one person is lost, step forward and lead. Understand your situation and be the center and foundation. Dropping to a pedal line to outline the section might be the perfect thing to bring people home. Emphasize your landmarks and keep the groove going.
If someone else takes the clear lead, be willing to follow and support. For example, the worship leader may define the section they want everyone to play. In this case, gracefully move to the new section, keep your ears open, and keep worship flowing.
A quick note about this situation: if you have prepared, know the song inside and out, know the form, and know without a doubt that you should be on section X, but the worship leader or another musician takes the group to section Y, your job is not to be right, it’s to provide worship. An immature worship bass musician needs their ego stroked by being right, a mature worship bass musician knows that the priority is worship, above all else.
4. Post-game review isn’t just for sports locker rooms.
I believe that one of the greatest teachers is a recording of your playing, listened to with a critical ear. When you listen, be willing to be open and honest about your successes and your mistakes. In either situation, ask yourself why they happened and how you can either repeat them (successes) or fix them (mistakes). If you are willing to be really honest about what you hear on the playback, your playing will experience exponential growth when you implement changes based on your observations.
Most of the time, our worship playing isn’t going to be plagued by problems and challenges. Many times we prepare, rehearse, and worship without experiencing difficulty. However, problems can and will arise; when they do, the worship bass musician has a responsibility to be prepared to deal with the situation and to keep worship going!
I would to love to hear your thoughts in the comments below: what situations have your found yourself in? How did you remedy them? What have you learned from the experiences?
Until next time, I hope that your bass playing is blessed and that you can bless others through your bass playing!
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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