Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
ESSENTIAL PRS, STONEFIELD, BREEDLOVE, PEAVEY AND AGUILAR BASS GEAR ON TEST!
Issue 130 May 2016
h i n d
Alex Venturella, Slipknot | Jeff Ament, Pearl Jam | Harley Flanagan, Cro-Mags | Jerry Scheff, Elvis Presley | Horse Latitudes | Darkglass | Jonathan Noyce | Chuck Garric, Alice Cooper | Chris Flint, Bloody Heels | Chris Beattie, Hatebreed | PRS Gary Grainger 4 & 5 | Stonefield 5 | Breedlove Solo acoustic | Peavey Minimega & Minimax heads | Aguilar SL410X cab
Be the
M a s k JEFF AMENT
PEARL JAM
HARLEY FLANAGAN
Slipknots CRO-MAGS
A l e x V- M a n JERRY SCHEFF
Venturella he ELVIS PRESLEY
on joining t nd HORSE LATITUDES
maddest ba DARKGLASS
fo all time! JONATHAN NOYCE
CHUCK GARRIC
ALICE COOPER
CHRIS FLINT
BLOODY HEELS
CHRIS BEATTIE
HATEBREED
www.bassguitarmagazine.com UK 4.75 Issue 130 May 2016
30
H
eavy metal just
aint what it
used to be that
is to say tinny,
52
Stonefield
silly and preoccupied
rather too much 1-5S
with loincloths. No, Slimline
your modern metal
is a serious form of
musical expression,
and it doesnt get
more serious than
Slipknot, masked
harbingers of doom
from Iowa whose
new bass player Alex
EDITOR Joel McIver,
joel@blazepublishing.co.uk V-Man Venturella
SUB-EDITORS Kate Puttick, Nick Robbins gets his first solo
TECHNICAL CONSULTANT Stuart Clayton magazine cover this
CONTRIBUTORS Angus Batey, Bob
Battersby, Duff Battye, Andy Baxter, Nick month. If you thought playing fiendishly twisty pick lines in front of
Beggs, Jeff Berlin, Jamie Blaine, Silvia Bluejay, stadiums packed with shrieking crowds was tough, try doing it wearing
Mike Brooks, Joe Burcaw, Dave Clarke, Stuart
Clayton, Ben Cooper, Joe Daly, Hywel Davies, a mask that barely reveals your eyes. Somehow, Alex manages to deliver
Jon DAuria, Daryl Easlea, David Etheridge, Mike the goods on his Status Graphite bass, night after night: read and learn.
Flynn, Paul Geary, Ian Glasper, Joel Graham, Ruth
Goller, Spencer Grady, Paolo Gregoletto, Hugh
Elsewhere in this frankly killer issue of BGM we meet a record number
Gulland, Chris Hanby, Andy Hughes, Ken Hunt, of bass players, from Jeff Ament of Pearl Jam and Chuck Garric of
Kevin Johnson, Steve Lawson, Phil Mann, Lee
Marlow, George Martin, Michael McKeegan,
Alice Cooper to Jerry Scheff of up-and-coming rocknroll hopeful Elvis
Stewart McKinsey, Greg Moffitt, Chris Mugan, Presley and beyond. We turn our attention to a range of new and
Douglas Mullen, Ellen O'Reilly, Franc OShea, exciting bass gear from PRS, Stonefield, Breedlove, Peavey and Aguilar,
Harry Paterson, Raz Rauf, Alison Richter,
Steven Rosen, Kevin Sanders, Amit Sharma, meet a host of new bass players in Bassically Speaking, debut a new
Joe Shooman, Rob Statham, Scott Surine, Luthier column from Eve Guitars head honcho Douglas Mullen and
Jon Thorne, Freddy Villano, Ray Walker, Alex
take a look at life in the bass trenches with our acclaimed Front Line
56
Webster, Sam Wise
ADVERTISING SALES Guy Meredith section. And thats before we even get to the tuition section, a world-
GRAPHIC DESIGN Steve Dawson beating eight-lesson virtual school of bass that has just one aim: to make
COVER PHOTOGRAPH Tina K
STUDIO PHOTOGRAPHY Eckie
you the bass player youve always wanted to be. Get to it, and well see Breedlove
you in June!
OPERATIONS DIRECTOR James Folkard
ASSISTANT PUBLISHER Ruth Burgess Joel McIver, editor
Solo Acoustic
PUBLISHER Wes Stanton
SUBSCRIPTIONS 01926 339808,
Gear
subs@blazepublishing.co.uk
SUBSCRIPTION RATE UK 69
For all subscription offers and overseas
prices visit www.bassguitarmagazine.com
or call 01926 339808
52Stonefield 5
publication and its contents be sold, loaned
out or used by way of trade, or stored or
transmitted as an electronic file without the Mike Brooks road-tests a
publishers prior written approval.
DISCLAIMER
technological wonder, all the way
While Blaze Publishing Ltd prides itself on from New Zealand
the quality of the information its publications
provide, the company reserves the right not
48PRS 64
Bass Guitar Magazine is proud to
support the Music Industries Association.
Aguilar SL410X cab
...before plugging
into Aguilars latest
28
Jeff Ament, Tuition
Pearl Jam
70 Frontline
Four pro bassists offer
you their collective wisdom.
Get smart here
BEGINNER
30 72 Ellen OReilly
Beginners guide Ellen
tangles with the triads. Yikes
Harley Flanagan,
Cro-Mags 74 Paul Geary
Our boy Geary shakes his
rear end, Latino style
78 Rob Statham
Alternating fingers with
bass warlock Statham
ADVANCED
80Franc OShea
Building melodic music
Chuck Garric,
Alice Cooper 84Philip Mann
Divisions and subdivisions,
explored by the fearless Mann
86David Etheridge
Bassists 38 Doug Castro, Darkglass Electronics
Doug announces his long-awaited bass head!
Continued soloing
studies on double bass with
Maestro Etheridge
36Horse Latitudes
Two bassists, one band...
why the long face?
32
Jerry Scheff, Elvis Presley DETAILS PAGE 82
DOWN
News and views
from the bass world,
collated by BGMs
team of intrepid
newshounds
DaRK MatteR
A band called D.A.R.K. has caught our attention. Why should you Order, came and went back in the mid-noughties without doing
care? Because the bass player is none other than Andy Rourke, much, which makes it double ace that the great man is back and in
sometime Smiths bass player and a man whose massive talents have bass business.
been languishing in relative obscurity for far too long. The Freebass D.A.R.K., it says here, is an unlikely collaboration between Dolores
project, a three-bassist band in which Rourke joined Gary Mani ORiordan, Andy Rourke and Ol Koretsky. Dolores, known famously
Mounfield of the Stone Roses/Primal Scream and Peter Hook of New as the singer of the Cranberries, has sold over 40 million albums and
also worked with the likes of Angelo Badalamenti and Jah
Wobble. Andy Rourke is best known as the inimitable bass
player in one of the most important British bands ever, the
Smiths; he has also worked with the Pretenders, Ian Brown,
Sinead OConnor and Badly Drawn Boy. The third and final
member is Ol Koretsky, a little known songwriter, producer
and DJ based in New York.
So thats the PR blurb the question is, whats the music
like? Well, that question will be answered on May 27 when
the Cooking Vinyl label releases Science Agrees, the bands
debut album. The band will also be touring Europe, with a
date at Londons Bush Hall on May 18. Well be interviewing
Rourke around that time, so keep your eyes peeled, and in
the meantime check out This Charming Man one more time
on Youtube, theres bound to be an isolated bass track on
there somewhere.
Info: www.darkofficial.co.uk
Pole Dancing
Primus bassist Les Claypool has formed a new band with Sean Son of John Lennon, calling
it the Claypool Lennon Delirium and recording a debut album called Monolith Of Phobos. To be
released on 3 June via ATO Records, the album takes listeners on a stimulating psychedelic
journey through the cosmos says the press release, and based on the two protagonists previous
work wed say thats likely to be a fair assessment. Sean is a musical mutant after my own heart,
says Claypool. He definitely reflects his genetics, not just the sensibilities of his dad but also the
abstract perspective and unique approach of his mother. It makes for a glorious freak stew.
Info: http://theclaypoollennondelirium.com
Lemmy Remembered
A statue of the late Motrhead frontman and
perhaps the greatest heavy rock bass player
who ever lived Ian Lemmy Kilmister is set to
be erected at his local boozer, the Rainbow
Bar & Grill in Los Angeles, after a fan
petition and crowdfunding campaign.
The artist, Travis Moore, is creating
the memorial for the cost of the
materials only. Itll take six months
to build and will stand six feet tall,
facial moles and all. Whether a
Rickenbacker 4001 will be part of
it was unconfirmed at press time.
Damn, we miss him.
Blue Notes
Aguilar has announced a limited edition
run of Blue Bossa SL112 cabinets, set for
arrival in the UK as we speak via their
exclusive UK distributors Barnes & Mullins.
As youll know if youve skipped ahead and
read our review of the SL112 cab elsewhere
in this issue, this nifty 250-watt unit is
lightweight (25 lbs, or 11.34kg) and features
a 12 neodymium driver, with a custom-
designed crossover and phenolic tweeter
with variable level control and frequency
response ranging from 37Hz to 16kHz. The
Blue Bossa variant comes in a blue finish
and has a Limited Edition 2016 label on it
to prove its elite status. Barnes & Mullins
tells us, The Blue Bossa received huge
interest when previewed at the London Bass
Guitar Show at the beginning of March,
with retailers and customers particularly
excited by its alternative colour scheme and
now-famous lightweight construction. Grab
one for 860 before everyone else does.
Info: www.bandm.co.uk
REVOLVER
Every month w
e tell you the bass-line we cant stop listening to
THIS MONTH: Air (aka Air On The G String) from Suite No. 3 In D (circa 1730)
K telling
Danish amp-makers TC Electronic have announced the new K-115 cabinet range as the newest addition to the K series. It features a 15 custom-made
driver, 400 watts of powerhandling and dual 8-Ohm Speakon connectors. Fun fact: when BGM visited TC back in 2014, they gave us a sneak peek of
the then-in-development K cabs, swearing us to secrecy. We must have looked more trustworthy than usual.
Info: www.tcelectronic.com/k-115
BAYWATCH
Every month, keen bass-
spotter Ray Walker brings us
an online bargain.
This Month:
Spector Rebop 4 MM, 795
http://tinyurl.com/zxe4zcj
Stuart James
Dan Clanko Clark, Rebecca Downes
My bass style is no frills and in the pocket, with occasional flashes of,
er other stuff. I used to play five-string basses almost exclusively:
I was playing a lot of rock and convinced myself I needed the extra
range for more power and grunt. But then I worked with a producer
who hated fives and claimed they werent bassy enough, which at the
time I thought was one of the most bonkers things Id ever heard. I
mean, by their very definition theyre more bassy, arent they? They
GEAR go lower, so they must be but the more I thought about it, the more it
Basses Unknown German/Bohemian started to make sense: from a producers point of view, all a five-string
Rubner-esque upright, circa 1930 really does is swallow up headroom. Depending on how much you use
Effects None the low B-string in a track, youll end up being mixed out for the sake
Amps Markbass Mini CMD 121P
of a few notes, the fundamentals of which cant even be reproduced
GEAR
Basses Fender Telecaster, Gibson Grabber
Effects Boss ODB-3
Amps Peavey VB2 valve head, 8x10 or 2x15 cabs
GEAR
Basses Cort EVL Z6B, Cort GB5
Effects SansAmp Bass Driver
Amps Ampeg SVT Classic with an 8x10 Ampeg cabinet, Ashdown ABM 500 with 4x10 and 1x15 cabinets
bIll banWell,
KeLIs, the hoosIeRs, Ragnbone Man
As a session bassist I tend to mould my playing style to the band or artist
that Im involved with at the time, as different genres call for different
approaches. I like to keep it sounding solid but thoughtful as well. My
personal playing is very much inuenced by funk grooves and jazz fusion.
I mainly play five-string basses: I love the sound of the B-string. Theres
something about the lower octave which, when used in the right places,
has a huge impact. The four-string comes out now and then on certain
gigs. I tend to use slap only on bass solo occasions, it just sounds cool and is
always impressive to your average audience.
I was hugely inspired by Victor Wooten as a teenager, so practised
the hell out of his chops and technique for a good few years. I believe the
secret to being a great bass player is understanding groove and pocket,
staying inspired, putting the practice hours in and keeping your mind
open to a wide range of music genres. My first bass was a four-string
P-Bass copy, a beginner bass package that came with a practice amp, lead GeaR
and strap: it was a good bass to learn on and certainly did the job. My Bass Warwick streamer stage I, Warwick cV streamer
favourite bass to date has to be my custom Warwick Streamer Stage I, it eFFecTs Boss Oc-2, MXR Bass Overdrive
aMps Warwick LWa 1000, 4x10, 1x15, 2x8 cabs
plays and sounds incredible.
My bass heroes are Victor Wooten, Jaco Pastorius, Marcus Miller,
Hadrien Feraud and Tom Kennedy along with session greats such as stuff at the time. If I could achieve the bass tone of any album released it
Nathan East, Pino Palladino, James Jamerson and Jimmy Johnson. Its would have to be Erykah Badus Live album: the tone that Hubert Eaves
really tough to say who the greatest bass player in the world is: there have IV has is so smooth and chunky. Its also very high up in the mix, which is
been so many inuential players. Id say Jaco Pastorius definitely has to be a rare treat.
one of them, his playing was incredible and no one was doing any of that http://www.instagram.com/billbass88
W
elcome, readers, to my new regular column. I
intend to focus on the theory, design and craft
of bass construction, and everything else in
between. There are literally dozens of ways to
build and construct musical instruments, and there is
simply not enough room to cover the entirety of all the
methods in this column, so Id like to concentrate on how
we do it at Eve Guitars, and hopefully to be informative about the
practice of bass building.
Ive been building bass guitars for over 25 years, and intend to use
this space to share a few observations and tips that Ive discovered
over the years. This will take shape by following an Eve build from
start to finish, by inspecting each and every element and including
www.evebass.com
Rockschool
Joe Hubbard examines blues and pentatonic workouts for bass
W
elcome back! There are two main approaches to improvising The second approach is based on playing over a set of chord changes
over a set of chord changes. One of these, harmonic specificity, in relation to the tonic of the key area. This concept lends itself to
means playing on the chords in question, paying close attention applying pentatonic and blues scale ideas.
to resolving on chord tones and the tensions of the specific chords Experienced improvisers will be able to move in and out of these
you are playing on while employing embellishments such as chromatic two principles dynamically in order to enhance the shape and contour
approach notes, diatonic approach notes and scalar passing tones. of their improvisation.
THE MU BASSCHAT
The MU and Basschat
A
nd so the most successful London Bass Guitar
I
ts a long-running joke that our industry has too many acronyms and Show ever is over for another
no one knows what they do. Near the top of the list, up there with PRS, year, and Im already counting
ASCAP, PPL and BMI, is MCPS. MCPS provides 140 million worth of down to next years. You see,
income to songwriters, composers and publishers each year. It has well Im something of a veteran of music
over 26,000 members, and has been around since 1911. shows. Long before the existence of
But what does MCPS actually do? MCPS stands for Mechanical Basschat and my involvement as its
Copyright Protection Society. It distributes mechanical royalties, which representative, and indeed long before Bass
are paid to songwriters, composers and publishers when copies have been Guitar Magazine itself began publication,
made of pieces of music they have contributed to. Those copies can be I started attending what was originally
a CD sale, synchronisation into a TV programme, a DVD or a download called the London Music Show in 1994,
from a website such as iTunes. held in Wembley.
Streaming services make various copies in the process of music being For me, the attraction of highly desirable
played via their platforms. Acts of copying include when a track is music gear, coupled with the opportunity to see
buffered on the internet or sent via satellite, or if someone saves a stream performances and masterclasses by many British and international
to their laptop for offline playback. stars, makes the LBGS irresistible. Ihave always particularly loved
All of this applies regardless of who is singing your song if someone the masterclasses: they allow us to gain insights into the star players
else sings it and makes a copy, thats another act of copying. To make skills, ask them questions, shake their hand and catch a glimpse
a copy of a song, whoever wants to make the copy needs to buy a of them as human beings not to mention take selfies with them!
mechanical licence. That money is paid back to MCPS members, whether Also, by watching them play and being exposed to their infectious
through publishers or directly to songwriters/composers themselves. enthusiasm, we may become inspired to try styles, instruments or
Individual royalties can be really small, making them expensive for a accessories that are new to us, or listen to kinds of music we may not
publisher to collect. MCPS traces and collects all the tiny sums of money have considered before.
Since becoming a member of the Basschat community, I have loved
COPYRIGHT PROTECTION SOCIETY. gear manufacturers booth. Its always good to put faces to screen
names; after meeting a Basschatter in the flesh, talking, laughing, or
IT DISTRIBUTES MECHANICAL
arguing with them online feels much more real. Also, many of the
exhibitors themselves are Basschatters, and usually regular posters,
so the show allows us to see them in person, ask a myriad of geeky
ROYALTIES, WHICH ARE PAID TO questions, watch demos, and be tempted to place an order (or three).
Basschat had a small official presence at the 2013 and 2014 shows.
SONGWRITERS, COMPOSERS AND On those occasions we were sharing some exhibiting space with Bass
Gear, the shop in Twyford, and created a Basschat Corner with some
BEEN MADE OF PIECES OF MUSIC 2013 show also hosted the London leg of our Basschat Charity Relay;
our travelling bass, the BC Baton, was taken to the show by owner and
THEY HAVE CONTRIBUTED TO relay creator James Ryan for Basschatters to collect, play in public, and
pass on to others in town and in the rest of the country, raising money
for Cancer Research UK in the process.
In the years when no Basschat Corner had been organised, Ive
enjoyed being the forums roaming representative at the show. This
on publishers and songwriters behalves. It might sound like a small year I was lucky enough to also be working for BGM, so I was proudly
and trivial job, but those small payments add up to give MCPS that 140 wearing two hats in fact, two lanyards: the magazines press pass
million turnover. and Basschats exclusive lanyard with the black and orange logo.
For songwriters who dont have publishers, MCPS licenses its Many Basschatters write their online monikers and real names on
members repertoire in one go via negotiated agreements with the record the lanyard, then play spot-the-fellow-wearer. They could be seen
industry, digital services and broadcasters. You can join directly for 50. everywhere: queueing for performances and masterclasses, ogling gear,
We can offer advice if youre trying to decide between direct membership chatting with exhibitors at the stands. Having said that, we also have
or working through a publisher. incognito Basschatters, who attend bass shows but want to be still
If youre thinking about it, or have questions about any other aspect shrouded in mystery when posting on the forum. Yes, we think theyre
of your career (including those pesky acronyms), get in touch with your being unnecessarily shy, but we still appreciate their involvement!
Musicians Union Regional Office via theMU.org/contact. www.basschat.co.uk
The Man
In The
Mask
In his first ever solo magazine cover, Alex V-Man Venturella tells Joel McIver the unlikely tale of how
he came to join one of the worlds biggest metal bands...
Photography by Tina K
O
n paper, Slipknot should member, drummer Joey Jordison, also How did you come to join Slipknot, Alex?
never have made it big. left the band, in circumstances yet to be Its a funny one! I was teching with Mastodon
Their music is too explained. In this period when the nine in 2014 and wed just got back from Australia,
aggressive for members were reduced to seven, Slipknot where we were doing the Soundwave festival.
mainstream acceptance, were between albums, and a new rhythm I was staying with [Mastodon singer and
their singers vocals are section had to be recruited before a new one former BGM cover star] Troy Sanders brother
often bestial and their could be recorded. Darren Sanders in Atlanta, which was a party
image is enough to make most over-40s fill Enter Alex Venturella, who alongside house with people coming and going. One
their drawers. And yet theyve been selling out new drummer Jay Weinberg, son of Bruce night, Darrens girlfriend got a call at one in
arenas since 2002, when their second album Springsteen drummer Max Weinberg was the morning from [Slipknot guitarist] Jim Root.
Iowa was a worldwide hit. recruited into the band in 2014. At first his I knew Jim because I toured with Slipknot
You couldnt make the Slipknot story up, but identity was concealed behind the mask in 2008, teching with Coheed & Cambria. So
essentially it runs as follows. Nine musicians that he wears, like his eight bandmates: but she passed me the phone and he said, Do you
from Des Moines, Iowa, coalesced into a highly that didnt last long: a bunch of distinctive know any bass players? I asked if it was for
dysfunctional band after several years of tattoos on his hands gave the game away. Stone Sour and he said, No the other band
faffing about in 1999, when they signed to the A well-received comeback album was then and I instantly said Ill do it! I gave him this
premium heavy metal label Roadrunner and released in 2014 as a tribute to Gray, titled whole drunken spiel about Ill give you some
released a self-titled album. For a couple of .5; The Gray Chapter. slap bass if you need it! and we were having a
years they rode the nu-metal wave, building As Alex revealed to us before appearing laugh. Then he said Seriously, do you actually
a fanbase who enjoyed their curious blend of at the Status Graphite booth at the London want to do this? and I said Yes, Id really love
death metal, samples and enraged lyrics, before Bass Guitar Show back in March, hes been to do it.
streamlining their sound a bit, dropping the working in the music industry for years and
nu from their metal and getting huge. Two although that meant that his identity couldnt What happened then?
of them play in Stone Sour, a stadium-rock act be hidden for long, it also means that hes Four days later the manager called me and
also from Iowa. mentally equipped to handle what is known told me to learn six songs. I thought, Fuck that,
In 2010 Slipknot were rocked by tragedy as one of the toughest gigs in metal. Reckon Ill learn more than that and sat down on the
when their bassist Paul Gray, one of their you could play in that mask and boiler suit couch and watched all of Pauls old videos and
founder members, succumbed to a heroin under boiling stage lights every night? No, us DVDs, and crammed in as much knowledge as
overdose. Three years later, another founder neither. Read on... I could. Some people think its well easy to play
What kind of reception did you get from Was this a stressful situation?
Slipknot themselves when you first joined After the studio audition, we were in a nice
the band? big mansion up in the Hollywood Hills, so it
They flew me out to Sunset Sound studio in wasnt pressured. Everyone was chilled out
Los Angeles. They had a rig set up for me, but I and relaxed. It wasnt like playing classical
said I didnt really like it and asked if we could guitar in front of 200 people in an exhibition
change some things around, which I did. I had hall, as I did when I was a teenager. I hated
Troy Sanders Zon bass with me and, being a playing in front of people at those times, so
tech, Id set it up myself to play as nicely as I I was in my comfort zone this time. I knew
could. I said, Right, lets go! I could do it, and I was confident in myself. I
suggested trying a few things out, and getting
Who else was there? in the gear that I wanted to use, and finally
All the other eight were there. They said, Go they sat me down and told me that I was
on then, knock it out and so I did, doing what going to play on .5: The Gray Chapter. In total,
James had told me to do and downpicking I played on eight songs, and Jim and Mick
everything as tightly as I could. They all went [Thomson, guitarist] did the rest.
curtain came up at the All I was ever focused on was building my rig
and making sure that my bass sounded good. I
never thought about stage nerves, or anything
first Knotfest that I had a like that: I only focused on playing and
sounding right. It wasnt until the curtain came
moment when I
up at the first Knotfest that I had a moment
when I realised Whoa! Ive got a mask on!
"
headbanging and picking. My thumb used to
W
discusses the tricky task of taking eight basses on tour
ere all in different bands in
RNDM, so theres a little bit
of planning going on
whenever we release an
album. We started this new
record, Ghost Riding, about a
year ago: it took us seven or
before going back as a three-piece band and
playing over the top of those arrangements. Id
never made a record like that, and it was fun.
Orange is still the colour we use for the bands
image and the stage set: we thought about
changing the colour, but everyone still liked the
orange and wed collected a lot of stuff in that
That said, every time I do a project I bring a
couple of other basses with me, that I havent
played in a while, and a couple of those ended up
on the new record. Theres an old Fender P-Bass
on a couple of things, and a Wal and a 12-string
on a couple of other sections.
In my live set-up I have a Swollen Pickle, a
eight months to do in a couple of different colour, so we thought we might as well continue Strymon Flint reverb with cool slapback, and
sessions. We mixed it three times, adding and to use it. Were taking out almost all Orange amps a Boss octave pedal which is great for making
taking away things each time so it took a lot this time, which we tried to get going on the first that 12-string sound live, as Im not taking the
longer to do than the first record, Acts, which record, but failed to for some reason: we just 12-string bass out with me. Were carrying all of
came out in 2012. That was cool, though, because didnt get it organised. Orange has been super- our stuff on the plane, which makes taking more
we wanted to approach it a lot differently. gracious to us, giving us a bunch of gear to play than two basses out difficult. Were on a budget:
The great thing about making this record was on the tour: its a match made in heaven. The one the first record and tour we did was a little higher
that our guitarist Joe Arthur and I had a back- Im using is a 200W head. Before that I was using than where we should have been, and we lost a
and-forth discussion about the spirit records that Fenders with orange tolex, and Ampeg cabs, also bit of money, so were stripping it back a bit this
we leaned into for the new songs: we talked about covered in orange. time. The production will be more intensive live
the first couple of David Sylvian solo albums, and For basses, I use my Mike Lull signature series. this time though.
some of the weirder Bowie stuff and Peter Gabriel I almost never play anything else. They always Im really missing the 12-string, I must say.
and Bauhaus and Talk Talk. Basically, songs that sound great and theres no dead spots in any of It was originally a Hamer backup that I had. I
had space. So the new record started that way, the necks. Sometimes Ill play one of my older wasnt happy with the body, though, and it was
but then our instincts took over and we made it Lulls and Ill notice that a particular section of the a neck-through design, so Mike Lull chopped out
all different. It started with a drum machine and neck plays really great, or the pickups are cool- the neck and kept the hardware and used one of
keyboards and us crafting simple arrangements, sounding: Ive got very fond of the Lulls. his bodies in my kinda Thunderbird design.
ing Over the course of Pearl Jams career, Ive ranged from going super crazy
with the rack and switching between amps, and being an absolute nightmare
for my tech, to simplifying it down to two amps which are on all the time. I
used Dug Pinnicks signature head, the Tech 21 Ultra Bass 1000, when we
were down in South America, which was great. It does what my Pearce amps
have done for years, and its a bit more flexible and louder.
Simplicity is really important for me nowadays, especially by the time
the bass sound gets through the PA to the people. Sometimes youre playing
through too many pedals and the low end goes away, and its a nightmare for
the sound guy. Only a couple of pedals work for me, really.
In Pearl Jam I have eight basses out on tour. We have songs that are tuned
down to D, Eb, E, then theres fretless... and we change the setlist before the
show, or even during the show, so the techs dont have time to tune a bass
they need one right there off the shelf.
Pearl Jams producer Brendan OBrien is a phenomenal bass player. We
butt heads sometimes, because he has a specific way that he hears bass: he
really likes to hear a P-Bass or a Thunderbird through an Ampeg SVT. Thats
what he likes. Ill put on a new bass and hell say, Hey, what just changed?
and Ill tell him Im playing a fretless on this one, sorry. I know youre not
really fond of them!
But he always has great ideas: he comes from a prog and pop background.
Nick Lowe is probably the beginning and end of where he wants bass to
be super-interesting playing and all the right passing notes. I broke out of
that this time, because we didnt use Brendan on the new RNDM album! I
channelled different bass players, like Tony Levin and Willie Weeks and the
bassist from the Meters. I love those guys, and hopefully youll hear their
influences when you hear our new record.
FULL MAG
US hardcore punk legend Harley
Flanagan looks back with Ian Glasper
F
ans of hardcore punk music,
in particular the especially
virulent strain hailing from
NYC, will know and love
the Cro-Mags, whose 1986
debut album, The Age Of
Quarrel, was not only an
instant classic of the genre, but an aptly-titled
release given the bitter feuding that went down
between the band members since [Google it, it
makes entertaining reading]. Were not here to
rake over old ashes, though, but rather to
celebrate the new album, and often overlooked
bass guitar brilliance, of original Cro-Mag
Harley Flanagan.
I joined the Stimulators on drums in 1979,
and werecorded two 45s, recalls Harley, of how
his musical journey began. They were a pretty
important band on the scene in the late 70s, and
although they were a punk band, they were one
of the foundational bands of what would become
New York hardcore. By 1980 I started learning
bass on the side, and when I recorded my first
solo recordings with me on bass, guitar, drums As well as Darryl from Bad Brains (He was like I loved Cliff Burtons playing. There was a local
and vocals in 1982-83, I really made the switch my big brother growing up), Flanagan professes guy, Hayward Peele, who was real nasty: sadly, he
to bass. At the timethe only two bassists who his biggest influences on the bass to be Geezer was killed in a home invasion back in the late 90s.
gave me any guidance were Anne Gustavson, the Butler and Lemmy. I learned tons of Motrhead And of course I love my friends Flea and Robert
bassist for the Stimulators, and one of my biggest when I first started getting serious about bass, Trujillo, and there arealways new amazing
influences, Darryl Jenifer of Bad Brains. he says. I learned the Ace Of Spades album back bassists coming up: I really like Tal Wilkenfeld, I
I love both the bass and the drums. It makes to front. I loved Lemmys rhythm and attack: it think shes awesome. I love seeing new talent.
me nuts because when I play drums I hear what I was so locked in with the kick and snare and One listen to I Come In Peace from Harleys
would be playing on bass in my head, and when I all those power chords, I loved it. When we new album, Cro-Mags, and you have to agree that
play bass I hear what I would be doing on drums toured with them on Orgasmatron, forget about he has one of the most violent, explosive styles of
in my head. So Im always itching to play the it. I watched every set they played and every playing bass ever committed to tape.
other instrument, but it depends on the mood Im soundcheck. My ears are still ringing from that I was a drummer for a lot of years before I
in and the moment; I just like to play. shit all these years later. started playing bass, so Im inherently rhythm
Flanagan began on a Guild Starfire, but readers Sabbath was another band I tried to learn as conscious, he reckons. I dont just play a bass
will be intrigued to learn that his next bass much as I could from. I borrowed and stole so part, Im very percussive. And I listen to a lot of
originally belonged to Jaco Pastorius. It was an many runs from Geezer and so many drum fills different stuff. I think most hardcore bassists are
Ibanez Musician, he recalls, but Jaco had messed from Bill Ward: they were two of my biggest playing with a limited tool set and are kinda one-
with the built-in preamp and totally fucked it up, influences as far as rhythm sections go in rock. dimensional. I dont think Im so great, I just think
so it had to be fixed. I never saw pictures of him Of course, there is Rainy from Discharge who is Im a little more musical and rhythmic than your
playing it, but the story is that he got it in Japan a monster: I love his playing, and Cronos from average hardcore or metal guy.
from Ibanez: their people showed up at a gig and Venom, who I think is so sadly underrated. Hes All I know is, all the players I have played with
gave it to him. He traded it to a friend of mine on a good player and has written some really heavy over the years, who I respect, and some of the
the Lower East Side for an eight-ball [an eighth of riffs and great songs. I love the way he slides, its players I look up to, give me props so I guess I
an ounce] of coke, and I bought it off him for like so rhythmic; he has a definite style all his own. I must be okay or kinda good. But I know Im not
100 bucks: I played it on the Age Of Quarrel record. used to practise their songs too. one of the great ones I just do my thing and have
I used to run into Jaco in the neighbourhood from But there are many others that blew my fun doing it.
time to time; I have some great but kind of tragic mind. There are people I borrowed little things
Jaco stories. Theyre all in my book, which will from but could never dream of trying to emulate, Cro-Mags is out now on 171-A Records.
be out this spring. people like Jaco, Stanley Clarke and many others. Info: www.harleyflanagan.com
a r
a r
Jerry Scheff
CC sss
magine a career spanning left, and Mingus handed him a card and said to
I
six decades taking in tell me to call him if I ever got to New York. It
jazz, segregated blues was four more years before I made it to NYC
clubs, rock innovators, full and I had lost the card by then.
Vegas shows and In the mid-1950s, electric bassists were thin
encounters with chain- on the ground, meaning there was room for a
wielding punk rockers. The young greenhorn to develop. Ever the student
amazing individual who can lay claim to this CV of his new instrument, Jerry explains how
nnee
is Jerry Scheff, whose bass work is as varied and sitting in with bands refined his style. Most
innovative as his career has been colourful. electric bass players have developed their parts
Now living in Scotland, Jerry tells BGM that as an adjunct to the kick drum, thinking that
bass wasnt his first instrument by any means locking with the kick drum should be their goal
My older brother Bill played trombone in the above all else, he explains. When I started
school marching band, Jerry explains. At about playing jazz, the kick drum was mainly used to
eight years old, I told my mother that I wanted accent and punctuate. I learned early on that
to play in a band as well. I didnt know very musicians can absorb many things at once:
much about instruments. To me, bigger was you may have one feel of the melody and the
louder, and loud had always gotten me attention distinct feel of the person or persons playing or
one way or another, so I was thrilled with singing it.
the tuba. Then theres the feel of the rhythm
The next step was learning the bass violin instruments, or as we called it then, comping
in seventh grade, and in junior high school the instruments, such as piano or guitar. Or maybe
future bass player was exposed to many kinds of background horns playing counter rhythms.
music. My uncle Dean Miller was bandleader All these different grooves were going on
Glen Millers brother, so my mother was exposed simultaneously, with every player playing his
to big band music in her youth: we always had or her version of what the feel should be. It was
a record player, lots of records and an upright by trial and error that I learned where the bass
piano. At that same time Bill was completely part should lie in the midst.
smitten by boogie-woogie, rhythm and blues, Rather than one central groove for the whole
and black music in general. This was the mid- band, he realised that everyones individual
50s, and at age 13 I was already reading music grooves were changing, depending on who was
and being exposed to many kinds of music. playing, the overall feel, intensity and song as a
Later, Jerrys supportive mother took him whole. To sum up, only marching bands lock.
to experience sessions in jazz clubs near their Concentrating on locking interrupts the little
home in Sacramento, where he saw the likes voice within. I always looked for agreement.
of Lionel Hampton, whose bassist Monk Agreement is where the magic happens.
Montgomery was playing a Fender. This gives a freedom, he explains, that more
I thought the whole show was wonderful than suits his own style of playing. What it all
and I liked the bass sound, but I was too green boils down to is learning to place the bass part
to really understand that he was blazing a on top, below, in the middle, or anywhere in
new bass-playing trail, says Scheff. Soon after, between, wherever and whenever it is needed
another trip to see Norman Granzs Jazz at the to make the song work. That has always been
Philharmonic revealed Ray Brown as the first my philosophy about playing music. No one is
true bass hero he would have. right for everything. I have been wrong many
All of the bass players I admired early on times. I could have made a lot more money if Id
were jazz and bebop string bass players. Charlie tried to please everyone, but I stuck to my guns.
Mingus just killed me. I got to sit in with his No regrets.
band at Jimbos Bop City in San Francisco in Technique-wise, I have always heard a little
about 1956-57. The house piano player, Flip voice inside telling me where to go, and what
Nuez, and the other house band musicians to do. I have always been a player that played
persuaded Mingus to let the skinny white boy off the top of my head. Sometimes I bit off more
get up and play a few songs. than I could chew and had to fake it for a few
I never got to actually meet Mingus he bars, but I found that the only way to advance
left before I finished sitting in but a drummer was to push myself to the limit. It has never
friend of mine was talking to Mingus before he been easy for me to give up, so no matter how
GLASS FULL
Doug Castro of Darkglass Electronics drops in to
discuss his eagerly awaited new bass amp
O
ur biggest announcement
this year is the first
Darkglass bass amplifier,
which weve been working
on for the last year. Its the
Microtubes 700, and
consists basically of the
best preamp weve ever made, with a 700W
power amp. Its a Class D unit, so its very compact
and light, and it has a fully functioning clean
channel, which has turned out very nicely. I was
surprised at how well it turned out, actually!
The Microtubes 700 has a lot of headroom,
with a four-band EQ, the ability to dial in
any character you want and of course it
includes our overdrives, which is what
were famous for. Those are interesting,
because weve included both the Vintage
and the B3K in it. Those are footswitch-
able, which will be useful for playing
live because you can switch overdrives
on the fly. It will cost around 850
including VAT in the UK.
Releasing a bass amp was a good
decision for us for many reasons.
No one else is doing an amp
like this one. You can get some
very natural crunch tones that
no other Class D amp offers.
Theyre clean and transparent,
which is good. Ive always been
excited about doing things that
are different.
Weve had lots of good luck
in Darkglass, but weve also tried
our best to grow the company in
the right way. Im a metal guy, so the
pedals I design have resonated with a lot of
heavy metal bassists because were after the
same thing. The reason I started the company
in the first place was because I had a certain
Ecki
W
new album, Beasto from a SansAmp, and some plug-ins that the to replicate the main parts for the fans, but
Blanco, finalised and producer had: mostly, it was just the dry bass if theres room for a fill or a bass run when
its all coming together. tone. We used a Kemper on a track or two as youre running into the chorus, thats when
I cant wait to release well, which was real responsive. you can take the liberty and you can be
this sucker! We laid Live with Alice Cooper, I use Ashdown yourself. Im very much a product of 1970s
the bass parts down last. cabinets, which I love. They have a great, bass playing, its what I was raised on but
I love doing that: we had a really good vintage bass tone and subharmonic after 14 years in Alices band, there have
foundation down for what we been several different other
A LITTLE DIFFERENT
that its the glue: you dont bands that had some of the best
need to glue two pieces of wood musicians in the world. I was
together with too much of it just speaking to Roger Glover,
or itll spill all down the side another great bass player that
and it looks crappy. To continue the analogy, control. The bass is a different instrument Ronnie worked with, alongside Geezer Butler,
you end up wiping the glue off there and it depending on which band Im with, in terms Bob Daisley and Jimmy Bain. And then
doesnt look right. With the right amount of of character: Alice has three guitar players there was me! It was really exciting to be
glue, nothing seeps through the edges and weaving in and out, and when that happens on that list of bassists whose playing was so
everything is held together naturally. Ive the bass becomes more of a frequency than important to me and whose playing had been
always been a less-is-more guy with the bass. an instrument that you really hear. The so instrumental to the bands they were in.
I always go to my 1973 Fender Precision. challenge is to find a tone that works with all Ronnie and I hit it off immediately when we
Its been on several Alice Cooper records of their volume and distortion, and when its met and we became good friends: I wrote a song
and on stage with us too. I used a BAE Audio time for the bass to pop, it has to be there. with him called Death By Love on Masters Of
1073 preamp which was nice and warm, The thing I loved about Alice and a lot The Moon, the last recorded Dio album. I have so
and we re-amped it through an Ampeg of other bands in the 70s was that each many great memories of working with that guy,
SVT to get some of those high mids to pop time they played something it was a little and hes very sorely missed.
through, because I was playing with a pick. different. Their songs often had a different
That bass seemed to fit every application. I ending or a different middle section or Info: www.beastoblanco.com
B
Lately Ive been working in Paris with Mylene
ack in 2002, todays meeting him. He very kindly put me up for some Farmer on her recent album, Interstellaires. To
interviewee, Jonathan things and then I started working with producers, be concise, shes the French Madonna, and a
Noyce, had a monthly BGM which snowballed quickly into working with friend of Archive shes been trying to poach me
column on bass, the music big acts. The first big thing I had up my sleeve for a little while now. Im also now a producer,
business and life in general was working with Take That on their Everything courtesy of Mike Marlin, whose The Secret Of My
and they were a good read, Changes album. Not long after that I met Martin Success album I produced and played a variety of
he recalls: I hadnt written Barre [Jethro Tull guitarist] and then the whole instruments on. Its out on 6 May think Leonard
for a magazine before. Writing in that capacity Tull thing started. So in 1995, aged 23, I was in Cohen, via Beck and Boards Of Canada.
was interesting to me, but its all down to the Jethro Tull. It was a full-time job: a fantastic Ive also done a couple of film soundtracks,
editing. My partner is a fantastic editor and would opportunity, and it has served me well in my life firstly The Man From U.N.C.L.E., with composer
go through my text and say This doesnt make any on many different levels. After that I did some Daniel Pemberton, plus Man Down with Clint
sense. What are you trying to say? I really enjoyed stuff with Gary Moore, and then Archive called. Mansell. Ive worked with Daniel several times.
doing the column, because basically Adrian The bass role in Archive is all about keeping He must like my textural approach to playing bass.
Ashton [BGMs founder editor] gave me carte a lid on it: theres a fine line between playing Or maybe its some kind of running joke?
blanche. I could discuss more obscure things that out and not overplaying. Though the goalposts Ive been working on and off with Pentangle
bassists might not often think about. are different, theyre good because it gives you a with Jacqui McShee for a few years. This year
Noyce attended the Royal Academy of Music framework to work in. Im playing a bunch of gigs with them, which I
in the early 90s but from the off, he was dipping Care to divulge the contents of the bass enjoy a great deal. Tom Chaplin from Keane is
his toes into extracurricular activities: 1990 was arsenal? Ive got it down to three basses for live launching his solo career and Ive been involved
an exciting time, and it wasnt just about John work, he explains. I have a 60s Precision, which in his band. So far, weve done a few low-key gigs,
Coltrane, it was also about Public Enemy and stays at home, for recording purposes, but Fender but this will change as hes currently recording a
Parliament and AC/DC. There was a bunch of us have Masterbuilt me a replica. I have a five-string new album. Archive is ongoing and unstoppable.
that got on really well, and we had a great rhythm Yamaha BB2025 too: the old BB basses are what We have a new album in the can to be released
section so we decided to punt ourselves around I started out on originally, and are still what I use. later this year. I also do occasional gigs with my
and do things. I also use a semi-hollow Epiphone Rivoli bass. In friend Martin Barre, for the sake of great times
The first proper opportunities I had came the studio, weve used a Hfner on a few things and old friendships.
through Mark Smith, the Waterboys bassist. and Im now a Hfner endorsee. I have a Club
Mark was basically my mentor: it was brilliant bass in my live rig and a Violin bass in the studio Info: www.archiveofficial.com
n a rather unexpected
I
twist, glam metal is taking
over the Baltic state of
Latvia. As readers of a
certain age will recall, this
tongue-in-cheek brand of
heavy rock dominated the
airwaves from the early 80s up until the early
90s. MTV showed us bands like Mtley Cre and
Poison strutting up and down LAs Sunset Strip
clad in spandex, taking the sex, drugs and
rocknroll lifestyle to its logical conclusion.
Meanwhile, in complete contrast, Latvia was
in the firm grip of the Soviet Union, where rock
music was heavily censored and controlled.
Culturally and geographically, these worlds
could not have been further apart. However, 25
years after gaining their independence from the
USSR, it would seem that the Latvian people are
ready to fight for their right to party.
Spearheading this movement are rowdy
rockers Bloody Heels, a four-piece that are
determined to have their voices heard, so
much so that they put BGM on a plane to Riga,
where we paid bassist and band co-founder
Chris Flint a visit.
One of the first things I remember from
when I was a kid, recalls Flint, was watching
Guns N Roses on TV. I think it was the Freddie
Pic by muxfoto.com
Mercury Tribute Concert at Wembley in the
early 90s. After I saw those guys on stage, all I
ever wanted to be was a rock star.
I decided to play bass because I saw how
awesome Duff McKagan of GNR looked on
stage: hes one of my biggest influences. When
youre a kid you dont really appreciate who a I DECIDED TO PLAY BASS BECAUSE I SAW HOW
bass player is or what they do, but Duff helped
me understand that role, showing me that bass
players could be the coolest guys in the band.
AWESOME DUFF MCKAGAN OF GNR LOOKED ON STAGE
After I saw him play I thought to myself, Man, I
really want to be a bass player when I was in music school, one of the big things we had to start taking it seriously. We had guys
Does Flint recall when he started playing they taught us was to never play anything on come and go, but then Harry [Rivers, guitar] and
bass? My older brother played bass: he was into the day of a show or a performance. That kind Vicky [White, vocals] came in and everything
hardcore and really heavy music at the time. of stuck with me. Ill play for the soundcheck, just clicked. It just happened, I cant describe it.
I would go to watch his band rehearse, and I but you wont find me practising backstage. You We like to keep it simple: our goal is to
remember they were so fucking loud, I didnt have to get ready for a concert days before, or always play for the audience. The same goes
really like it. My ears were bleeding after every even weeks or months, depending on how big with my bass playing. You dont have to be
practice. Eventually I inherited a bass from him, it the show is. When youre constantly practising playing technical stuff all the time; I notice that
was a five-string Warwick Rockbass with a maple you need an escape, and to be somewhere else with a lot of bands at the moment. I enjoy bands
neck and 24 frets. I thought it was awesome. I in your mind. It helps me to relax before I go out like Dream Theater but I wouldnt want to play
didnt really use the B string too much, because and play, so I dont have a strict routine: maybe a like that. We write music for our friends, our
the music we play doesnt go that low. few scales, but thats about it. fans, everyone not just for us. We play for the
These days I play a Schecter Diamond-J With an undeniable passion for all things song and thats what people want. For example,
four-string, Flint continues. Its really good hair and metal, Flint co-founded the band with if you look at Nikki Sixx of Mtley Cre, not
for playing jazz, but I also found it great for our drummer Gus Hawk back in 2011. At first all only is he a great bass player but hes also a great
kind of metal. Im using it on the album were my friends told me You cant possibly make it entertainer, and he makes that connection with
currently recording. But if it was up to me, happen out here in Latvia. You wont ever find the audience.
and I had a million euros to choose any bass I guys who listen to glam metal, let alone form a Having already recorded a debut EP, Summer
wanted, I would choose a Hamer Scarab. Its not band with you. It was all I ever wanted to do in Nights, back in 2014 and with an album in the
a very popular or well-known company but I life, though, and I wasnt going to let that stop me. works, Bloody Heels have the rest of the world
love that bass. I think its to do with that Rick Then I found Gus and we started talking in their sights. It would be awesome to get to
Savage influence: I love anything to do with about this type of music, he says. He was a big Wembley or Donington, but I think playing LA
Def Leppard. fan of the Doors and Led Zeppelin, but then I would be a dream come true, especially because
Psychology plays a key role in Flints pre- played him some Whitesnake and Def Leppard thats where glam all started, says Flint. A man
show routine. Asked how he prepares to go on and he really liked it. We started playing when can dream, cant he? Watch this space.
stage, he tells us: Ill usually play bass at home we were still teenagers; at the time we were just
before a show to warm up. Its weird actually: having fun and drinking beers, but after a while Info: www.facebook.com/bloodyheelsband
W
gear, Im like a the best thing Ive ever owned. Jacksons are pretty much like the one on
NASCAR driver I Ive been playing bass for 25 years. I that Ibanez. I was pretty much into metal
have a whole list of had a buddy in high school who played a bass players Steve Harris, Lemmy and
endorsements! I have whole bunch of instruments, and I was those guys. I heard Cliff Burton play and
several signature hanging with him one day and picked up I was totally blown away. I have always
Jacksons: my go-to a bass he had and just started playing it. liked bass players who make their bands
bass is a black one that Ive had for a I started jamming with other guys and sound better.
couple of years, and were releasing a progressively got better over the years. Were about to be extremely busy! Our
new white one with white binding. Ive Its one of those things where you really new album is coming out and then were
been with them for 15 years: their A&R have to practise: I remember as a kid out on tour. Well be hitting festivals in
over there is really awesome. Its hard to playing bass all day! Its definitely all Europe and then we have a full US tour
find good people to work with in the about dedication. before we come back to Europe and start
music industry, but hes great he really I like to write songs on bass, usually running around there again. Its been
tells it like it is. with a distorted bass sound because I three years since our last album: weve
I also endorse DR Strings, SansAmp, like to have that tone in there. Then Ill played every part of the world since
Peterson tuners, Dunlop picks and add stuff on guitars and demo them and then, and I cant wait to play the new
Ampeg of course. Ive tried a whole range our singer Jamey Jasta will add his ideas. songs for you guys.
of SansAmps over the years and I always Less is more when it comes to bass: I
come back to the box. Its incredibly always try not to overplay. Hatebreeds new album The Concrete Confessional
durable. We always joke that your My first bass was an Ibanez that I is out on May 13 on Nuclear Blast Entertainment.
entire backline could go down and that bought after I won $2,000 on a lottery Info: www.hatebreed.com
B
ehold our world-beating bass gear review section, where we bring you the crop of each
months new, interesting or otherwise relevant bass guitars, bass amplifiers, bass speakers
GEAR
and bass effects. Occasionally well review a guitar effect if its particularly useful for
bassists, and well test recording equipment and general accessories every now and then as
well, but generally speaking, this zone is for bass-specific gear.
We take the ratings that we give each item very seriously. BGM is the only print magazine
devoted to bass in this country, and we have readers from all over the world, so were
responsible about our conclusions. If a product is worth your investigation, well say so; if
its flawed in some way, we wont hold back from making that clear. Were not beholden
to advertisers in any way and our conclusions are entirely independent of the views of
manufacturers, musicians and distributors.
When you read about a bass-related product here, you know youre getting a sensible,
balanced review from an experienced bass tester. Value for money is at the top of our agenda in
these cash-strapped times, but on the other hand, we believe in paying for quality.
Right, thats enough from me. Remember, this is just about the only place that its good to
have GAS!*
Joel McIver, editor
52 56
Stonefield Breedlove
1-5S Slimline Solo Acoustic
48
PRS
Gary Grainger 4 & 5
60 64
Peavey Aguilar
MiniMax & MiniMega SL 410X
W
ay back in the annals of history (BGM 127), we reviewed the PRS
Kestrel and Kingfisher two sub-1000 passive models with oodles
of charm, but slightly limited tonal palettes. What does an extra
two grand afford you from PRS? Well, nows the time to find out,
as esteemed PRS luthier Gary Grainger has brought the know-how from
his time creating Private Stock bass models to bear on these eponymous
production four- and five-strings.
Build Quality
For this section lets discuss both basses together, since the construction and
finish on both are exemplary. The eye is immediately drawn to the carved
and exquisitely figured maple top sporting a 10-top flame finish: a tobacco
sunburst effect on the five-string and jade green on the four. The finishes,
offset by delicate maple binding, are a rich and layered joy on both.
The body shape, which seems to be based on the companys 513 series
of electric guitars, features a cutaway on the upper bout, and much deeper,
scalloped cutaway on the lower one, affording access right up to the 24th
fret on the higher strings. The mahogany body on both basses is surprisingly
light, and the contouring, which loops around the bridge and sweeps
underneath the volume and EQ pots, is an aesthetic joy.
Flip things over and youll discover the two 9v batteries that power the
18v active preamp housed securely on the back. The plastic covers sit flush
and operate as well as you would expect a battery holder to on a 3000 bass.
Much like a cupholder on a Bugatti Veyron, a smoothly operating battery
compartment that allows for a quick change over and isnt going to pop open
during a gig wont grab any headlines, but were glad its there and that it
works properly.
TECHNICAL SPECIFICATION
PRS Gary Grainger 4 and 5
(in brackets where different)
Price | 3079 (3135)
Body | Mahogany with carved figured maple top
Frets | 24
Scale length | 34
Neck Maple
Fretboard | Rosewood (maple)
Bridge | PRS four-string bridge
(PRS five-string bridge)
Tuners | PRS
Hardware | Nickel
Electronics | Active three-band EQ
Pickups | GG 4 Treble/ GG 4 Bass (GG 5 Treble/
GG 5 Bass)
Controls | Volume x2, Low, Mid, Treble
WHAT WE THINK
Plus | Huge range of tones, staggering build
quality and those necks
Minus | Looks wont be for everyone. More
customisation offered at similar price from
other brands
Overall | We still cant think of a better
description than tone monster
BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE
Both necks are maple with a satin finish: youll find a matching maple
fretboard on the five and a rosewood board on the four (though both options
are available on either model). At this point youve already made your mind
up about the bird inlays. Im never going to be their biggest fan, but golly if
they dont just absolutely pop out of that maple board.
We found it interesting that the headstock contains Gary Graingers
signature and his initials on the truss rod cover, but no mention of PRS. Yet,
thanks to the bird inlay, the distinctive finishes and jagged headstock these
are definitively PRS basses. Not a bad situation to be in when you dont even
have to put the company name on the product to get it recognised.
The five control pots turn smoothly, with the three EQ controls offering a
centre detente. How this isnt standard on all EQ controls were still not sure,
but it allows you to recall specific settings with ease and set the whole thing
flat in an instant. The pickup volume controls also lift up and click back down
positively... and well come to why that is later.
PRS has decked both bassess out in its own hardware and there are no
complaints here about how well it all works. There are some quite chunky
tuning buttons at the top end a two-by-two configuration on the four string
and a three-by-two on the five and a vintage-looking brass saddled bridge
at the other. Perhaps the look of the bridge is slightly out of the touch with
the more modern design of the rest of the bass all pointy headstocks and
sweeping curves but its a case of function over form here.
Conclusion
Just because these models now fall under PRSs core range and out of the
Private Stock-only territory, doesnt mean that the price isnt going get
your wallet quaking. At 3079 for the four-string version and 3135 for
the five, were straying into the price bracket of custom built basses. But,
for your money, you are getting an American-built PRS, a company whose
standing in the bass community we predict will only rocket as long as
they keep producing basses of this quality. The modern look might not be
for everyone, but we cant imagine too many people will struggle to find
something to love in the tone department. With the versatility of the active
circuitry and the quality of the build, these two basses might be, dare we
say it, a bit of a bargain.
S
tonefield instruments are the brainchild of Tomm Stanley and
are handcrafted in New Zealand using many indigenous timbers
of the region and some interesting design concepts. One look at
these basses and your attention is instantly drawn to the fact
that Stanley has developed a radically different take on the well-worn
features we have come to expect on an electric bass guitar. Lets see
how it translates to everyday use.
Build Quality
If you like the look and feel of an organically timber-laden instrument,
dont be surprised if you fall head over heels for this bass. Picking the
bass up, youre struck by the care and attention to detail that Stanley
has instilled into this instrument. The body shape looks familiarly
curvaceous, but any similarities stop there. The natural colouring
and figuring of the timbers gives the bass an earthy, rustic look,
accentuated by the multi-laminated through-neck core which is made
up of aircraft-grade laminates to give the bass rigidity and strength.
Although the body is deep, it balances extremely well due to the
headstock design, the lack of conventional machine heads and the
use of stainless steel, anodised aluminium and brass in the hardware
and bridge system, designed and trademarked by Stanley himself. The
metals in the design have been chosen so that no rusting will occur
over the life of the instrument, as well as to limit any excess weight.
TECHNICAL SPECIFICATION
Price | 3245
Made In | New Zealand
Colour | Natural
Body | Salusalu with Australian blackwood
Neck | Mairi and aircraft-grade laminates; joint
full through-body neck and core
Nut Width | 50mm
Fingerboard | Solomon Island ebony
Frets | 24
Pickups | Non-specific humbucker
Electronics | Passive
Controls | Volume, passive bass roll-off,
passive treble roll-off, midrange setting (10
options with push/pull and bypass)
Hardware | Stainless steel Tomm Stanley
Tuning System, black mairi bridge
Weight | 4.1 kg
Case/gig bag included | Yes, lite-flite case
and extra strings
Left-hand option available | Yes
WHAT WE THINK
Plus | A decidedly different bass with a big
sound and a solid five-string performance
Minus | A hefty price tag and non-standard
visuals from a relatively unknown name
Overall | For the sound quality, design ingenuity
and Stanleys passion for his craft, this bass will
turn your head. It deserves recognition
BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE
The bridge works effortlessly, with very little resistance as the string is
tightened: the tuning stability is impressive.
The south-pointing jack socket is an interesting choice: perhaps an
angled jack plug would be beneficial. The controls for volume, bass
roll-off and treble roll-off are located on the lower half of the body,
while the all-important midrange settings are accessed, along with a
bypass (silent) setting, through the control on the upper bout. A real
mixture of tones is accessible using this control, with 10 available
settings five via the pushed control, five via the pulled control.
The carved Stonefield logo on the front is replicated on the back
along with the upper strap button on the rear of the top horn.
Individual cavity plates exist for each control pot and the subtle
burst colouring on the through-neck adds a touch of class, as does
the zebrano and Australian blackwood binding to the edge of the
fingerboard and the ebony bridge and nut. The neck profile is full, but
the nut width keeps the dimensions in check and although the neck
depth may not appeal to those of a Jazz persuasion, itll suit those who
prefer a neck they can dig into. The set-up is excellent, with a slinky
action, and the water-based lacquers applied to the neck give it a sleek
feel: the body, on the other hand, has had two coats of Danish oil and a
single coat of teak oil applied to it.
Conclusion
A state of the art custom lite-flite case is included in the price (valued
at $350) and should you wish to opt for a titanium bridge unit, for an
additional cost of $250 you can shave 28g of weight from the bass per
string which is worth noting if you suffer from back or shoulder
pain. Instruments bought from the Stonefield website in the Off The
Shelf section of the store will receive an additional 5 per cent discount
until the end of July 2016.
As a new company with a new product, this bass certainly grabs the
attention and judging by the numbers visiting the Stonefield stand
at the recent LBGS, Stanley may well be onto something. The question
is whether this bass, and its brothers and sisters, have enough about
them to set them apart from more established names in the 3000
bracket. Only time will tell, but early signs are promising indeed.
S
ome bass players will never quite acquire the taste for an acoustic
bass guitar, no matter how much we rave in these pages about the
subtle joys of these instruments. Itll feed back! they complain.
You cant hear it! they whine. Youll smack it on the drummers
ride cymbal and break it! they gibber. Never mind. Lets have a gander
at this rather splendid-looking Breedlove.
Build Quality
Youll have your own opinion about the looks of the Solo, but we love
it right out of the box. Although that neck looks fearsomely long on
first examination, leading the dread words neck dive to rise unbidden
to the surface of your mind, you cant help but admire its swan-like
elegance. Stick it on your lap and have a poke around.
The 23-fret neck yes, 23, for some arcane reason offers you 16
accessible frets and seven more that are sort-of-playable, thanks to the
cutaway. Theres a soundhole on the top side, next to the electronics
TECHNICAL SPECIFICATION
Made In | USA
Price | 859
Body | Solid cedar top, mahogany back and
sides
Neck | Mahogany
Fretboard | Rosewood, 23 frets, 34 scale
Nut Width | 1 11/16
Hardware | Chrome
Pickup | LR Baggs Stage Pro
Controls | LR Baggs 3-band EQ, tuner,
presence, battery LED
Bridge | Pinless original
Case/gigbag included? | Deluxe gigbag
WHAT WE THINK
Plus | Splendid build quality
Minus | Much cheaper acoustic basses exist
that are almost as good
Overall | A lovely bass, for sure, but shop
around and you may pay less
BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE
Assuming youve found one, perhaps via the gift of a Val Doonican- Slapping and tapping are both doable on the Solo, although the
style bar stool, make sure that you take some time to play the Solo instruments strengths are obviously elsewhere: the neck and action
unplugged. Volume levels are low, by definition, but theres certainly are set up for supportive lines rather than showing off. Sustain is
enough poke there for any campfire or (very) small room scenario average for an acoustic instrument, so if youre looking for a rock or
you might reasonably find yourself in. Without the benefit of funk instrument, look elsewhere... not that you needed us to tell
electric power, the tone range is also a bit compressed, so dont expect you that.
significant highs or lows, especially given the flatwound strings which
this bass is sporting on arrival. If you find yourself in this particular
situation, just go ahead and whip off the upper soundhole cover for Conclusion
extra decibels and top end. This is a lovely bass, and we dont really have anything negative to say
Then put it back on, because were about to plug in and we want to about it. Like all acoustic bass guitars, it doesnt have the playability of
avoid feedback, which can be the curse of the acoustic bass when any an electric, but it scores highly on a particular tone and function and
cabinet is pushing air towards it. A rich range of tones are instantly comes with the obvious bonus of not needing an amp. However, 859
available thanks to the LR Baggs pickup and electronics, accessed via is a lot of money for an acoustic bass these days: were reminded of
the nifty control panel and its three-band EQ. Sure, you wont get ear- the surprisingly excellent Vintage VCB430, reviewed in BGM 122 and
bleeding highs or elephantine lows, but thats because its an acoustic. costing only 239. Of course that bass doesnt have the components,
Try playing with a pick if youre looking for that extra cut, especially the engineering, the USA build or the general quality of the Solo,
as theres no thumb rest for fingerstyle an omission which we find but it plays almost as well for less than a third of the price. Against
can be common to many acoustic basses, and which will be our first competition like that, this bass and its similarly priced brethren are
priority, come the revolution. going to have a fight on their hands.
p
Weight | 4.08 kg
eavey amps have a reputation for getting the job done while keeping the cost within budget of most bass
whaT we Think players. These two new bass heads continue in that tradition, with a long features list on both amps and
Plus | More features than you can shake a stick highly attractive RRPs. Lets wheel out a Peavey Headliner 410 cabinet, plug in and play!
at, immensely powerful and it wont
break the bank
Minus | Slightly over-complicated front end
Overall | A versatile amp at a very
Build Quality
Both amps are heavily feature-laden, so refer to the specification boxes for the full listing. Right from the
attractive price
off, both units exhibit great build quality, a Peavey trademark. The controls and buttons are solidly fitted and
bgm raTing turn smoothly: accessing any of the features is simple. The selector buttons give enough tonal options to suit
all playing styles and the inbuilt tuner is extremely simple to use.
BUILD QUaLITY
SOUND QUaLITY The MiniMax is the cheaper of the two amps, but comes with enough tonal shaping controls and features
VaLUe to make it worth considering if you want a simply laid-out, no-nonsense amp. It has all the features you
would need in a live situation and enough power, at 500 watts, to shake any stage.
The MiniMega is a different beast, boasting a stomach-shaking 1000 watts output and so many buttons,
Technical specificaTion
controls and features that working out your sound may require some experimentation. The buttons are
Peavey MiniMax
quite firm maybe a little too firm, as I had to check on several occasions whether the button I had pressed
Price | 365
had been activated. With so much going on, the controls and features are usefully backlit: the user can Made in | China
change the colour scheme of the lighting to suit their mood, the stage lighting or the colour of their Power | 1000 watts (PEAK), 500 watts (RMS) @ 4
lucky trousers! Ohms, 300 watts (RMS) @ 8 Ohms
Both amps are equally at home onstage as they are in a home or rehearsal setting: both come with all the Features | 1/4-inch jack active/passive
inputs and outputs youd expect from a small portable amp, such as headphone outputs and auxiliary inputs inputs, Gain, Bass, Middle, Treble, Volume,
TT boost, Punch, Mid Shift, Bright, Psycho
so you can attach external music sources. The MiniMega also has a MIDI capacity for switching features
Acoustics Technology, Tune/Mute, Chromatic
in and out, although the footswitch has to be bought separately: both amps come with carry bags for easy tuner, Auxiliary input, headphones output, DDT
transportation and protection. indicator, SpeakON output sockets (1/4-inch
jack capability), FX loop (Send & Return -inch
sockets), Pre/Post DI, balanced XLR DI output,
Sounds and Playability ground/lift
Dimensions | 85mm (H) x 275mm (W) x
The MiniMax is such an intuitive amp that it is quite difficult to fault it: plug in, set a flat EQ, turn up and
210mm (D)
work from there. With a 15dB boost and cut available across the EQ, theres plenty of room for tone-shaping. Weight | 2.54 kg
The controls are responsive and will give you everything you require most of the time, but if you need a
little extra, the selector switches are game-changers. I found myself picking out certain features that suited whaT we Think
specific playing styles or instruments: for example, the Punch option gave passive basses extra body and Plus | Well featured, well priced and simple to
definition, while the Mid Shift button smoothes out some of the inherent clank of a Precision bass. use with plenty of power on tap
Minus | None
Overall | A great little amp for the price: simple
to use with a big sound
i loVe The simpliciTy of The minimaX, a Truly plug and BUILD QUaLITY
bgm raTing
play amp, while The minimega is a bass boffins dream SOUND QUaLITY
VaLUe
The real ace in the pack is the Psycho Acoustics feature. This makes you
think that youre hearing increased bottom end by generating harmonics
around your low notes
The real ace in the pack is the Psycho Acoustics feature. This makes pants: its as though the sound has broadened, with more power across
you think that youre hearing increased bottom end by generating the whole frequency range of your signal, without necessarily making
harmonics around your low notes. In fact, no extra bass load is being the amp or cabinets work harder. Again, some time spent getting used
sent to the speakers. Very clever. to this feature, how it affects your sound and how it can best be used
As for the MiniMega, its hard to know where to start. To use all the will be time well spent.
features in a live setting, youll need the footswitch, unless you use an
effect or feature for a whole track and have time to press the buttons
between songs. Focus has been put on the mid EQ, a quasi-parametric Conclusion
equaliser, with frequency selection and boost controls for 200-800Hz Im very impressed by both amps, I love the simplicity of the MiniMax,
on the Lo Mid control and 800Hz-3.2kHz on the Hi Mid control. The a truly plug and play amp, while the MiniMega is a bass boffins
Narrow Q presets narrow the bandwidth of the filter in each range, so dream. At these prices, they should definitely be on your shopping list
some experimentation is called for there. if youre looking at changing your amp, or if you need a lightweight
In terms of power, this amp lacks nothing, it really is a beast. amp to carry with you as an alternative to a bigger rig. Go and try
Peaveys Kosmos system essentially gives your bass signal a kick in the them you wont be disappointed.
T
he SL range of cabinets from Aguilar once boasted a 4x10 cabinet, but when the price of Neo speakers
TECHNICAL SPECIFICATION rocketed some years ago, and the sonic, design and physical constraints that come with working with those
drivers proved difcult to accommodate, the cabinet was dropped. However, where theres a will, theres a
Price | 1585 way, and the Aguilar team over in New York has now unveiled its latest cabinet to sit alongside the highly
Made in | USA successful SL 112 cabs.
Power | 800W RMS
Impedance | 4 or 8 Ohms
Frequency Response | 44Hz-16kHz
Speakers | 4 x 10 cast frame woofer speakers Build Quality
and phenolic tweeter with integral phase plug The SL 410X picks up where the SL 112 rst blazed the trail and naturally, the familiar design livery is the
and variable control same. Taking the cabinet out of its packaging, youre instantly aware of its relatively light, 22 kilo weight, but
Dimensions | 604mm (H) x 560mm (W) x be aware that the cuboid dimensions and the height of the cab mean you are still advised to carry it using both
395mm (D) recessed handles. A one-arm lift is possible, but think of your back and shoulders and spread the lift.
Connections | One SpeakON socket, two
The cab has been constructed with 12mm lite plywood, and the tough black vinyl covering should be rugged
jack sockets
Weight | 22.22kg enough to withstand the rigours of road life alongside a gigging musician. The mesh material speaker covering,
white piping, metal protective corners and logo placement give the cab a certain understated renement.
WHAT WE THINK Rubber feet have been tted to the underside and stop the cab from shifting due to vibration: a box of castors
Plus | Lightweight portability, great power are included in the shipping package if you wish to t wheels for easier transportation.
handling and a pleasing tonal display Able to handle up to 800 watts of output, the four 10 woofers have been tailored to Aguilars preferences
Minus | The price is on the hefty side but you with the low end designed to work with the endemic midrange of Neo speakers. Seven-ounce neo magnets
get what you pay for
have been used while the phenolic tweeter has an integral phase plug to extend high frequency response.
Overall | A worthy addition to the Aguilar range
and a sure-fire winner for those who like the As with the SL 112, the crossover has been custom designed to suit this cabinets inherent characteristics,
sound of 10 cones permitting a frequency response of between 44Hz and 16kHz. A quick peek around the back shows a variable
control for the tweeters performance and effect on the sound, one Neutrik SpeakON socket and a pair of
BGM RATING jack sockets.
BUILD QUaLITY Two rear ports have also been incorporated to improve the bass response and to smooth out the overall sonic
SOUND QUaLITY
display offered by this cabinet. With 10 cones and a tweeter, the rear porting adds some solidity to the low end
VaLUe
and midrange.
QUALITY CAB, VOICED and the bass end sounds tight and powerful, almost as though it straddles older vintage tonality with modern
technology and design processes.
PERFECTLY WITH Without the tweeter in use, slapped passages have body, but lack glassy nesse: ngerstyle and pick playing
also lacks that top end sizzle. I appreciate why some players choose to turn off the tweeter in a cab, but if you
AN IMPRESSIVE
bring it into play here, the voicing of the cab opens up as though its saying I can do all of this and now I
can do all of this as well! The percussiveness it adds is very impressive without sounding brittle or clinical, and
it also adds some projection when using two different ve-string basses.
SONIC DISPLAY Power handling is impressive: I couldnt detect any issues as I pushed the volume of the amp. The
fundamentals remained clear and powerful, with the intrinsic smoothness always remaining apparent.
PORTABILITY The cab comes with a three-year limited warranty, and padded covers are available, sold separately. Im in no
doubt that this is to be an immense success for Aguilar.
TUITION
experience in gigging, studio and television work.
www.lowendlady.com
W
Stuart Clayton is a professional bassist and writer with
elcome to our redesigned tuition section, in which Bass Guitar
over 20 years of experience in the industry. He runs the
Magazine collates the wit and wisdom of the crme de la crme of bass department at BIMM Bristol and Bassline Publishing,
the electric and upright bass world. Were fortunate enough to have which has published a range of tuition and tab books.
some serious talent on the team, from world-class music educators www.stuartclayton.com www.basslinepublishing.com
to experienced touring musicians, who between them have laid down StuARt CLAYton INTERMEDIATE THEORY 76
the low notes in every studio, club and arena in the civilised world. Note
that weve divided the columns according to Beginner, Intermediate and
Advanced level for easy reference. Whether youre looking to improve Rob Statham has amassed over 25 years as a
professional freelance bass player. He has played in a
your playing technique, expand your awareness of theory, set up your rig
wide range of musical settings, including jazz, blues,
to sound like your particular bass hero or simply get on a bus and tour, we prog and classical, and he has taught for the past three
provide the answers you need here. What are you waiting for? Dive in... years at BIMM London.
Joel McIver, editor
Rob StAtHAm INTERMEDIATE TECHNIQUES 78
Mike has written for BGM since 2004 and has beena
bassistsince 1987, clocking up over 3000 gigs around
the worldin the process. He has played for and worked
withthe likes of Bonnie Tyler and Toyah Willcox, and has
a bass collection to rival a small shop.
Notes shown in brackets indicate that a note has been tied over from a previous bar.
Playing Techniques
Slap and Pop Technique Advanced slap Technique Plectrum Technique Tapping Techniques
Notes slapped with the thumb are Fretting hand slaps are marked Where necessary, down and Fretting hand taps are shown with
marked with a t, notes popped lh and double thumbing upstrokes with the pick will a + in a circle. Picking hand taps are
with the fingers marked with a p upstrokes are shown with an be shown using these symbols shown with +. Specific fingers will
upward pointing arrow (down-up-down-up) be shown with numbers if necessary
Fretting Techniques
front line
The Metalhead
Pa o l o G r e g o l e t t o
Want to make it as a professional bassist? Listen up with a little late-night booze and some vitamin supplements. We
arent stir-crazy yet, but I think when we get through this next jaunt
as BGMs world-class bass team reports back from straight across the tundra of Canada we will be ready to get home.
This entire tour has been geared to work around the active rock
the tourbus radio format in the US, an entirely different beast than that used
for rock radio
anywhere else.
Its very political
The Jazz Bassist and it has taken
a lot of time and
Ruth Goller
teamwork with
Jazz warrior Ruth relaxes after a stint on the road our label and
management
Recently I had a listen to a record that greatly inspired me when I to get spins and
was younger: Brad Mehldaus Art Of The Trio Volume 4. This is a live station adds for
recording from the famous New York jazz club, the Village Vanguard. The our latest single,
record is from the late 90s and features Mehldaus trio of Larry Grenadier Until The World
on double bass Goes Cold.
and Jorge Rossy We werent
on drums, with exactly sure
the trio playing how this tour
arrangements of would pan
standards. Whats out, but we
really special about were ready for
this recording is the anything to
fluency with which help develop
all three players this single and
play in odd time the album in
signatures. this rock radio Scott Uchida
Therapy?s Mike ponders active versus passive Dont fret, or at least dont fret badly, says McKinsey
I recently took charge of a new bass kitted out with passive pickups Now that weve examined some consistency in terms of attack, lets
and, having mostly used active basses previously, it was quite a shift focus to the fretting hand. Ive written a lot about manipulating
revelation. As soon as I plugged it in I heard a certain character that a string to get the effect you want, so heres where we start getting
I hadnt heard in a while with the active basses. So much so, that as into the minutiae of technique. For most of us, the fretting hand is
an experiment I redid a bass part on a new demo and compared it there to do no more than make sure the string is stopped at a certain
with a previous version done on an active bass. The difference was point, but if you want to develop as a player and if mastery of the
considerable: the passive bass with flat EQ sat brilliantly between the instrument is something you make a priority you need to realise
guitar and drum machine parts. I know this is an age-old conundrum that great musicians are not only dedicated and disciplined, they are
usually more than a little obsessive. While that behaviour is to be
www-ashleybird-com
avoided in most aspects of life, when approaching your art it can be
a useful trait. Your fretting hand serves more roles than you may
initially consider. In addition to holding down the string while the
note sounds, it is central to your muting technique, essential to your
expressiveness and most likely an unconscious part of your rhythmic
arsenal. Bearing that in mind, how do you enhance these skills?
In all seriousness I would suggest you listen to classical musicians,
particularly cellists and nylon string guitarists. Start paying attention
to how they manipulate the strings to create different effects. Any
serious player of a fretless instrument understands that the fingers
that stop the string are responsible for so much. These artists can also
open you to legato playing, something we electric bassists often take
for granted. Play more on the tip of your finger, then use more of the
meat there, and hear the differences. Feel how lightening your touch
affects the blossom and decay of notes, and how that can open you to
new timbres. Listen to the entire envelope of a note and how you can
change it simply with your fretting hand. Find the limits of definition
and softness in a note and just how much your fretting hand has an
impact there. You may also want to listen to saxophone or trumpet
solos, particularly in the realm of jazz, to further develop dynamics
and expression. This should be something you revisit often, if you truly
want to grow and flourish.
www.facebook.com + search Stewart McKinsey
H
i low-enders, I hope youve all been running over your pentatonics. This month we are taking a look at
the simplest form of chords, which are known as triads. Now a triad is when you play a root, third and a
fifth in succession: these intervals together form this chord.
There are different kinds of triads, as follows:
These variations of intervals are what create these triads, but you can play them in different ways. For example, if
you play a triad from the root, this is called root position. You can play the notes of the triads in different orders,
ELLEN OREILLY known as inversions. So, if you play starting from the root, its known as the root position; if you play starting
from the third, its the first inversion; and if you start from the fifth, then its the second inversion.
EXAMPLE 1
This starts with two bars of C. The rst note is a dotted crotchet: remember to let this ring for three eighth notes.
It is played on the third fret of the A string. Next is an eighth note, played on the same string at the third fret. This is
a crucial note to keep the groove and pulse consistent. We then stretch across to play the perfect 5th on the fth fret
of the D string; this note is another dotted crotchet played on G. You can use either your little nger or third nger
of your fretting hand to play this note. Keep a steady pulse throughout and set your metronome or drum machine
PAuL GEARY to 95BPM. After this we nish the bar off with another eighth note on G played at the fth fret of the D string. This
triggers bar two and creates an authentic Latin groove on the bass, using the root and fth intervals of the chord. This
is essentially played as a bossa nova feel.
the mighty geary goes In bar three we change chords to Bb, using the rst fret of the A string to play the note, followed by the same
rhythmic pattern and interval. The perfect 5th is played on the third fret of the D string and is a dotted crotchet on the
latin. alea jacta est... F note. Finally, in bar four we use a G eighth note, played on the third fret of the E string to take the repeat back to C.
examPle 2
t
his month, lets take a look at
Latin music and the function
of the bass within this genre.
Latin music has a broad
spectrum of influences and styles.
It has its roots firmly within Latin
America, and originally this music
was built around various tuned
drums and percussion, and used
as a foundation within the songs.
This is still evident today as many This example uses the same chords but is syncopated with an anticipated groove. We start with a crotchet
songs include this vast array of on C, third fret A string, and then move to the perfect 5th G after an eighth note rest. The G on the fifth
rhythmical backbeat. Melodic fret of the D string is tied over to a crotchet: play the G eighth note and let it ring over to the crotchet. We
instruments including the bass then have another eighth note rest, and the C this time is tied over the bar line to the crotchet, which gives
were added later. a syncopated feel to the line. We then hit a G on the third fret of the E string which is tied to a crotchet,
Were going to take a look and then play a Bb, first fret A string, which again is tied over the bar line. In bar three we follow the same
at two styles this month: bossa sequence and groove on to the F, third fret D string and another Bb which is tied to the bar line. Finally we
nova and samba. Each style has take the low G, third fret E string and play a single G eighth note to take the repeat. Start this one at 80BPM.
a fundamental pulse running You should soon be able to get the feel once youve played it through a couple of times.
through it, called a clave. This
rhythmical pattern is crucial to
lock in with as a bass player. It
examPle 3
is also important to remember
that the bass has more of a
supportive role within the music,
outlining the chord progression
and complementing the extensive
rhythm used.
Were using the same chords and note position, but this time we move to a double eighth note pattern
which is tied over to a crotchet. As you practise this, you should hear that it is the standard root-fifth Latin
progression. As before, all of the notes are tied over within the bar and over the bar line, except for the initial
eighth note on each root and fifth movement of the chord. This gives the whole line a Latin feel. In bar four
watch out for the two eighth notes at the end of the bar played on low C, third fret A string: these notes take
us back to the beginning on the repeat.
Were going to take a look at two styles this month: bossa nova and samba.
Each style has a fundamental pulse running through it, called a clave
Example 4
On the last example we use a
dotted crotchet rhythm to create
the groove. It is similar in feel
to Example 2 with reference to
syncopation however, it has
one key difference. There are no
rests! This gives a forward motion
to the line and creates a seamless
pattern. Try playing this one with
your picking hand close to the
neck. It should create a thick, fat any bossa nova or samba style chord progression. The key difference between the two styles is tempo. Samba is
tone which will sound great with essentially fast bossa nova. This all depends on the actual song youre playing.
latin extra
Here is a chord progression over
which you can practise some of
the examples. Take each example
in turn and play it over the
progression. Use the standard root
and fifth pattern, being careful to
play those tied and dotted notes
with precision. Notice how each
line changes the feel of the music.
This would be a great exercise guitarist: failing that, use software to whack down the chord progression, record a drum loop and away you
to practise with a drummer and go. Until next time, enjoy getting down to some serious Latin vibes.
When you play this mode youll instantly hear that it has a unique sound: its dark, its menacing, its unusual its
basically a great mode for rock and metal!
The Locrian mode is unique among the modes of the major scale in that it works with the half diminished (or
m7b5) chord that is built on the seventh degree of the scale. In example 2 you will see all of the chords that arise
from harmonising the major scale.
example 2
STUART CLAYTON
Commander Clayton
steers the BGM ship into As ever, in order to get a clear idea of how this mode sounds, its a great idea to play it over two octaves. Example
Locrian territory 3 is a fingering for a two octave B Locrian mode.
example 3
W
elcome to the penultimate
instalment in my series of
columns covering the modes
of the major scale. Over the
last 10 issues we have dissected five
of the modes that can be derived
from the major scale: Dorian,
Phrygian, Lydian, Mixolydian and
Aeolian. In this months column we
will begin looking at the final mode,
the Locrian. This is not a mode that Remember that you can get a clearer idea of what makes a mode sound unique by comparing it to either the major
youll use as often as the Dorian or or minor scale that begins on the same note, whichever is more appropriate. Although the Locrian mode works
the Mixolydian, but as with all the with a diminished chord, its easiest to relate it to the natural minor scale. In example 4 you can see a comparison
modes it has a unique sound and of the B natural minor scale and the B Locrian mode. This mode is usually described as being a minor scale with a
is appropriate in certain musical flattened second and fifth.
situations.
AS WITH ALL THE MODES, THE LOCRIAN MODE HAS A UNIQUE SOUND AND IS
APPROPRIATE IN CERTAIN MUSICAL SITUATIONS
tuition
Intermediate Theory
example 5
Lets put the Locrian mode to use
now in some bass-lines.
example 6
Example 6 is another rock/metal
riff. When playing the fill in the
fourth bar, I recommend playing
the B at the ninth fret with the
third finger. The finger-per-fret
method can then be used to play
the remainder of the line.
As we are nearing the end of this Cmaj7 C Ionian We didnt cover this mode as it is simply the major scale
series of columns on the modes,
now would be a good time to Dm7 D Dorian This is a minor mode that has the raised sixth degree as its distinguishing characteristic.
recap on the modes covered so far
and the chords they work with. Em7 E Phrygian Another minor mode, this time notable for its flattened second degree.
Remember that when we talk
about modes, its easiest to relate Fmaj7 F Lydian A major mode, identical to the major scale aside from the sharpened fourth degree.
them back to either the major or
minor scale that begins on the G7 G Mixolydian Another major mode, this time with a flattened seventh degree.
same note. This allows us to clearly
see/hear their distinguishing Am7 A Aeolian This mode is another name for the natural minor scale.
characteristics.
Bm7b5 B Locrian This mode is best compared to the natural minor scale, in which case, its distinguishing
characteristics are the flattened second and fifth scale degrees.
Thats all for this month, folks. Next month we will be concluding this series with a longer study piece that will
allow you to become even better acquainted with the B Locrian mode. Until then
ROB STATHAM
example 1
example 2
example 3
However, if we ensure that the
first note of each group of four
is played with the same finger,
this should help us keep to an
alternating pattern throughout,
whether we are crossing strings
up or down. Try it leading with
the first finger first, each group
of four notes following the
same plucking hand pattern,
and we should end on our
example 4
first finger when we play the
octave note at the end of bar
two. Once comfortable, try it
leading with the second finger
and, as before, finishing on that
finger. You might find yourself
raking inadvertently at first, so,
as before, keep an eye on your
plucking hand, concentrate on
targeting the first note of each directions and a mix of odd and even numbers of notes on each string, the aim being to maintain a strictly
group of four with the same alternating plucking hand approach throughout. The second two bars should start with the same finger
finger, and youll get there. Ive you started the first bar with: use this as a check to make sure you havent inadvertently raked along the
only written out the ascending way and swapped the leading finger. At the end of the four bars, we should be playing the repeat leading
form of the example so have a go with the same finger we started with. As before, once youre comfortable starting with the first finger
at the descending form following and can maintain the alternating pattern throughout, try it the other way around, starting with the
the same approach. second finger.
Finally, for example 4 Ive You can devise similar exercises to challenge yourself in this way: ensure that youre string crossing
written a four bar bass-line from in both directions and mixing odd and even numbers of notes on each string, leading with either finger.
an E minor pentatonic scale with Gradually youll have more plucking hand control, and will be more aware of whether you want to alternate
a lot of string crossing in both or rake, rather than leaving it to chance.
exAmPle 2
FrANC O'SHeA
T
his month we will start to look
at building solo chord/melody
bass pieces not uncommon in
todays bass world. The history of
unaccompanied bass stretches back
to Jaco Pastoriuss classic harmonics
composition Portrait Of Tracy, his
rendition of J.S. Bachs Chromatic
Fantasy and America the Beautiful,
which he re-titled Amerika.
In the 80s, Jeff Berlin broke new
ground with his masterful version
exAmPle 4
of Dixie, a dazzling array of often
contrapuntal melodic, chordal and
bass material, sometimes sounding
like two people playing at once. In the
90s Dominique Di Piazza followed
Berlin not only in style but also as a
member of John McLaughlins Trio,
with his spellbinding Marie, from
McLaughlins Que Alegria album.
Then the floodgates opened and
Victor Wooten and a whole host of in the next chord. This is often stepwise diatonically, or outside of the scale, as when using chromatic tension and
others appeared on the scene. resolution. There is another factor in voice leading, though: keeping the voice exactly the same from one chord
This month lets look at the idea to the next.
of keeping one or more voices Example 1 shows a basic chord sequence in A minor. All the chords are triads and appear in root position.
constant in a sequence. By voice, Nothing wrong with this; in fact it sounds quite distinctive since its components move like big blocks, which
I mean each note of a chord, might be what you want. However, if each of these voices were a real voice, and this was a backing vocal part,
whether sung by a group of singers this configuration might sound too distinctive, as each singer makes large interval leaps, a fact highlighted in bars
(voices), a string quartet or even three to four where each voice moves down by a whopping sixth!
by individual strings on the same Example 2 provides the solution. By using inversions we can create a voice leading part that still retains the
guitar. The term voice leading is original chords' notes but now lead smoothly from one to chord to another. No single voice has to move more than
generally where each voice of a a scale degree up or down, and often one note continues in the same position from one chord to the next. The
chord moves smoothly to a voice result creates parts with much less movement fitting not only for, say, a string quartet or vocal group, but on
Please TICK the appropriate box below Direct Debit Instruction to your Bank or Building Society to pay by Direct Debit
UK: 43.75 Europe: 68.25 Rest of World: 69.75 Service user Number 2 5 4 3 8 9 ref. No. (For official use only)
Please fill in the form and send to: Blaze Publishing Ltd, Lawrence House, Morrell St, Leamington Spa, Warks. CV32 5SZ
YOUR DETAILS Name and full postal address of your Bank or Building Society
Please complete in BLOCK CAPITALS. All information is private and will never be disclosed.
To the manager (Bank Name)
Mr/Mrs/Miss Forename
Surname Address
Address
County Postcode
Postcode
Daytime Phone Mobile
Email Year of Birth Account holder(s) name(s)
CHEQUE/CREDIT CARD
Branch sort code
1 I enclose my cheque for the above amount made payable to Blaze Publishing Ltd Bank/Building Society account No.
2 Please charge my Visa Mastercard Maestro Delta with the above amount (Please no Amex)
INSTrucTIoNS To your BANk or BuIlDINg SocIeTy. Please pay Blaze Publishing ltd Direct Debits from the
account detailed on this instruction, subject to safeguards assured by the Direct Debit guarantee. I understand
Card number Security code START DATE EXPIRY DATE that the instruction may remain with Blaze Publishing ltd and if so, details will be passed electronically to my
Bank or Building Society.
| | | | | | | | | | | | | | | | | | | | | | |
Signature Date
Banks and Building Societies may not accept Direct Debit instructions for some types of account.
SIGNED TODAYS DATE
RETURN TO: BLAZE PUBLISHING LTD Lawrence House, Morrell Street, Leamington Spa, Warwickshire, CV32 5SZ
we can generate our intended 32nd notes: they become straightforward to hear, and most importantly, easy
to understand.
Example 1 introduces a 32nd note rhythm that will be a continued theme throughout this months study.
Addressing the first beat of bar one, count 1 e + a aloud, playing two notes on the e. Initially, this may seem
straightforward, but on closer examination, youll spot that the two featured 32nd notes are in fact plucks
pulled by two different fingers: p1 refers to the index finger, p2 the middle finger.
ExamplE 1
pHil maNN
Divisions and
subdivisions, explored
by the fearless Mann
S
ubdivisions and rhythmic
games are two of my
favourite elements of
vocabulary at advanced ExamplE 2
bass level. However, even the Our second example introduces the rhythm figure we became associated with in example 1. However, on this
mention of words such as occasion our phrase has now been enveloped by other 16th note patterns to bolster the four-bar groove. Watch
demisemiquaver can make some out for the trill featured on the final quaver of bar two and also the delivery of our rhythmic subdivision in bar
bassists feel a little uneasy. My three, where on the third beat we come into contact with some octave patterns.
aim, whether youre a student
or experienced musician, is to
show you that applying rhythmic
subdivisions such as 32nd notes
isnt really that much of a big
deal. Lets look at them together
A demisemiquaver is 1/32nd
of the duration of a whole note,
which is why the subdivision
can also be referred to as a 32nd
note if using US terminology
(the demisemiquaver title is the
one used by us Brits. Pip pip!).
Counting 32nd notes can be a
little tricky as there isnt really a
designated counting methodology
associated with this subdivision.
In my experience, the easiest
way to understand how to
execute 32nd notes actually
starts by playing 16th notes. Try
counting out loud, 1 e + a, 2 e
84
84 BASS Bass
GUITARGuitar
MAGAZINE
Magazine October 2015
Exercise 3
Example 3 continues to develop
the rhythmic themes found in
both of our first two examples.
However, on this occasion, the
double pop demisemiquaver
pattern that weve started to
become acquainted with has
been delivered over three strings.
In order to pluck both fifth and
octave intervals, youre required to
pull both the D string and G string
with adjusted fingers: this can be a
little tricky at first, so ensure you
slow the phrase down and practise
until mastery before moving on to
example 4.
Example 4
The harmonic content found in
the final bar of our penultimate
example is an intriguing one.
Once again, the rhythmic theme
is reminiscent of that seen in
all of our previous examples.
However, on this occasion, instead
of remaining static, the harmonic
content now ascends through
an E minor scale. The first three
bars, once again, encapsulate the
left and right hand slap patterns
encountered in example 3.
Example 5
This months final example
continues to persevere with
the development of the
demisemiquaver rhythm we have
continually seen throughout this
months article. In the following
four bar passage, somewhat
challengingly, we see it executed
using hammer-ons, octaves,
sliding intervals and dead notes, so
try to ensure youre comfortable
with the preceding examples
before attempting this one. Until
next time, practise hard!
EXAMPLE 1
EXAMPLE 2
EXAMPLE 3
DAVID ETHERIDGE
More approaches to
EXAMPLE 4
double bass soloing with
David Etheridge
O
ne of the more worrying
things I see in instructional
books for bass is the EXAMPLE 5
suggestion that when
soloing, you can play a particular
scale over a chord. Well okay,
you can, but are you soloing? No,
youre just playing scales. In fact,
theres a lot of discussion on the
web and on YouTube by various
jazz musos about the modern
approach, which all seems to be
about scales, modes and notes
over creativity. They point out
that the jazz legends of yesteryear
didnt have the educational
resources we have nowadays
(which are fantastic, needless to
say) and that they had to find
their own approach by that most
essential of activities: listening.
Students now, they say, are all
taught the same things the same
way, so theyll all sound the same
until much later on.
Lets look at how we can
correct misconceptions on
soloing. If we take the idea that
you can play a particular scale
over a chord, and take our I-VI-
II-V progression as an example, it
might look like example 1. Boring,
isnt it? Yet Ive heard beginner
086
086 BASS Bass
GUITARGuitar
MAGAZINE
Magazine October 2015
BASS GUITAR
Bass Guitar Magazine OctoberMAGAZINE
2015 087
087
wireless systems. At this years London Bass Guitar Show I was introduced to the Smooth Hound digital wireless
system, which has a fantastically small and neat transmitter part that plugs into the bass and crucially for me,
doesnt have a pack that needs to be clipped onto your strap I almost never play with a strap. The latency
introduced by the Smooth Hound is around 7 to 8ms, which, while detectable if youre being very specific about
it, is more than workable. Its possible to lower the latency further but it introduces artefacts unless youre
in a place with no interference from wifi, radio and so on. The problem with 7ms of latency comes if youre
piling that on top of latency thats already there for example if youre using a laptop that has another five
or so ms, and maybe another wireless system for in-ear monitoring. I was discussing this with a commenter
on Instagram, who was obviously affected by this compound latency issue, and saw an additional 7-8ms as
sufficiently detrimental to his set-up.
One wholly unavoidable thing that introduces latency, that we live with every single day, is distance. The speed
of sound is roughly 1ft every 0.8ms, so being 10ft from your amp introduces 8ms of latency. The thing is, when
the latency matches our visual perception of the space, it doesnt jar in the way that the same amount of latency
would if it were introduced with a speaker much closer to us. More of our old friend, psychoacoustics!
So, if youre thinking of adding anything into your signal chain that introduces latency, have a think about
how it will interact with the other stuff you have. Check latency figures, but more importantly, check the new
STEVE LAWSON gear with your current rig and see if it causes you any problems the speed you play at, and the tolerance of the
environment to minute fluctuations in time placement of notes will both have an effect on what you perceive as
acceptable. While Im using my current live set-up which has no other significant latency-introducing hard- or
The mighty Lawson software, the Smooth Hound is proving popular and making life a whole lot easier.
discusses the
Babbage Engine
F
or many years, Ive avoided
switching from pedals and rack
gear to a laptop because of two
main arguments. The first is
about stability. Ive just never found
a system I trusted enough not to
crap out on me at some point and
when it does, rebooting a laptop
takes a painfully long time to sort
out, as anyone whos ever been
in the audience at a gig where it
happened can attest.
The other reason is latency.
This is the delay introduced
between you playing something
and you hearing that thing.
Digital processing is one of the
main culprits. As computers have
got faster, and processors have
got more powerful, the latency
introduced by a super-fast laptop
has dropped to mostly bearable
levels. Every time you drop the
latency further (by reducing the
size of the buffer, and/or increasing
the sample rate), you sacrifice
stability, but its now possible to
run a top spec laptop system with
around 3 to 5ms of latency, running
all but the heaviest of plug-ins.
But laptops arent the only thing
that introduce latency anything
digital will. Digital effects do this,
although mostly in undetectably
Eckie
Aria UK ........................................................................39
Bass Direct......................................................................9
Eich Amplification.........................................................27
Elixir........................................................................Spons
Musicians Union..........................................................16
Orange Amplification....................................................55
Promenade....................................................................43
Rotosound ......................................................................7
Sadowsky .....................................................................63
Surine Basses...............................................................63
Synergy Distribution.....................................................59
TO ADVERTISE HERE
CONTACT guy on
01926 339 808
guym@blazepublishing.co.uk
This month Brooksy looks back plucking, slapping, rolling fingerstyle, punchy
tone, cutting snaps and pulls and only one
check out the bent harmonics at 104, which
he also employs on the intro to Good Man In
W
Im looking at two compared to Weather Report in some circles, slapped riffs that work really well as exercises
albums that celebrated with the bass playing propelling the band in building slap stamina and consistency of
their 30th anniversaries forward at all times. Eyes Waterfalling is a playing without dropping notes.
last year and marked great example of Marks signature slap tone Something About You put Level 42 firmly
what was to be a pivotal and style, a slap marathon that resurfaced on the map: its tightly sequenced verse
year for Level 42. Back in later in Lessons In Love. line is sparse and tight while the slapped
1986, despite becoming a Follow Me was written as a single for choruses create a killer groove with Phil
hot ticket on the live scene, serious sustained release alongside the album, and eventually Goulds drumming. Lying Still closes the
chart success had effectively eluded the band. appeared as an EP, although it wasnt played album and proved to be the only outing for
As vocalist and bassist Mark King has again live until 2003. Kansas City Milkman, on Marks Kahler tremolo-fitted Zon Legacy: the
remarked since, at that point they had to make the other hand, became a fan favourite, its D track is filled with a great mix of fingerstyle,
a conscious decision either to write albums tuning giving the song a moodiness alongside a slap and harmonics and features some great
that sold adequately or take a real leap of tight fingerstyle line, harmonics, a syncopated lyrics from Boon Gould.
faith and attempt to write an album that instrumental section that kicks in at 331 and The band went on to continued success
contained huge hits. plucked 10th note double stops. A clutch of through the mid to late Eighties, with 1987s
Three shows were recorded for A hits, including The Sun Goes Down and Hot Running In The Family sealing their status as
Physical Presence at Woolwich, Reading and Water, lead into one of Marks best recorded a major act across Europe. These two albums
Chippenham in March and April 1985 to fill solos, with elements of Dune Tune and The show Level 42s transition from jazz funkers
the gap until the next studio album, World Essential from Influences, which in turn leads to a polished pop funk act and remain
Machine, was ready. The album perfectly into a blistering version of Love Games. essential listening to this day.