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NO.1 FOR TUITION BRAND NEW 12-PAGE BASS TUITION SECTION INSIDE!
STEVE PHIL STUART
LAWSON MANN CLAYTON

NEW INTERVIEWS
LOOK! TRACY WORMWORTH
B-52S AND BEYOND
WORLD EXCLUSIVE INTERVIEW JIM LEA, SLADE

STANLEY
GLAM-ROCK SURVIVOR!

MICHAEL RHODES,
JOE BONAMASSA
BLUES BASS MASTER

CLARKE
DARRYL ANDERS,
AGAPÉSOUL
ALL HAIL THE SOUL MAN

THE LEGEND RETURNS


Essential Bass Gear
Reviewed Inside
ANACONDA SCHÖNITZ
IBANEZ DE GIER
EICH

FLATTLEY
CONTENTS
W 48
elcome to the new,
ISSUE 375 NOVEMBER 2018 bigger and better
Bass Player! As the
editor of the UK’s Bass De Gier
Editor Joel McIver
joel.mciver@futurenet.com
Guitar Magazine, it’s an honor
for me to step up and edit BP,
$3360
Managing Editor Jacob Barlow
the world’s first, finest and
Technical Consultant Stuart Clayton
most prestigious publication
Senior Contributing Editor Chris Jisi
Web and Contributing Editor Jon D’Auria
devoted solely to the low end.
Contributing Editors My predecessor Chris Jisi and
Jonathan Herrera, Jim Roberts, Rod C. Taylor his team have done a fantastic job of serving the American
Contributors to this issue Silvia Bluejay, Mike Brooks, bass community and keeping Bass Player at the forefront of
Stuart Clayton, Hywel Davies, Rob Elrick, Daniel Firth, Ruth
Goller, Joe Hubbard, Kevin Johnson, Steve Lawson, Dave Ling, developments in our world, so it’s a pleasure to confirm that
Phil Mann, Michael McKeegan,
Ellen O’Reilly, Kev Sanders, Joe Shooman, Dave Swift, Ray Chris and many of his other writers are remaining on board as
Walker, Ben Whybrow
Graphic Designer Rosie Webber
contributors while we take this magazine to the next stage.
Cover image Raj Naik So is it a case of new editor, new magazine? Far from it. The
Studio Photography core values of Bass Player — laid down by its first editor Jim
Eckie, Olly Curtis and Stephen Kelly Roberts, who is also remaining with us, I’m delighted to say — are
Advertising Sales still key to its ethos. That said, we want to present our readers
US Chief Revenue Officer Luke Edson with as much bang for their buck as possible, so you’ll see several
luke.edson@futurenet.com
innovations in this issue. You’ll still be reading state-of-the-art
Advertising Director Jonathan Brudner
jonathan.brudner@futurenet.com, (917) 281-4721 interviews and gear reviews, but we’re adding a brand-new
Advertising Director Mari Deetz
mari.deetz@futurenet.com, (650) 238-0344
12-page tuition section from three world-class tutors. Between
Advertising Director Jeff Donnenwerth them, Steve Lawson, Phil Mann and Stuart Clayton have spent
jeff.donnenwerth@futurenet.com, (212) 378-0466
the last couple of decades as stars of stage and studio, and they’ve
Advertising Director Jason Perl
jason.perl@futurenet.com, (646) 723-5419 distilled that experience into practical columns at beginner,
Classic Albums
Advertising Director Scott Sciacca
scott.sciacca@futurenet.com, (646) 723-5478
intermediate and advanced level. Warm up your fingers…
As for our interviews this month, it’s a truly stunning 12David Bowie’s
Subscriber Customer Service
To subscribe, change your address, or check on your current account gathering of bass talent and experience. Where better to go incomparable The Rise And Fall Of
status, go to bassplayer.com and click on About Us, email contact@
myfavoritemagazines.com, call 800-234-1831, or write P.O. Box 2029, for advice than the incomparable Stanley Clarke, our cover Ziggy Stardust And The Spiders
Langhorne, PA 19047
star? After close to half a century down at the low end, there’s From Mars slips under Brooksy’s
Archives
This magazine is available for research and retrieval of select archived nothing he hasn’t seen and done — and nothing he can’t nostalgic microscope
articles from leading electronic database and search services,
play. Then we meet Tracy Wormworth, veteran of the B-52s,

Gear
including ProQuest. For microform availability, contact National
Archive Publishing Company, 800-521-0600, or search the Serials in
Microform listings at napubco.com. Back issues are available. For more Sting and NBC’s Rosie O’Donnell Show; Jim Lea of perhaps the
information, contact www.proquest.com
ultimate British glam-rock band, Slade; AgapéSoul maestro
Reprints/Permissions
Bass Player and its content are available for licensing. Contact the Darryl Anders; and the blues legend Michael Rhodes of Joe
International department to discuss partnership opportunities
Ibanez 2017 SRH500-DEF Bass
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All contents © 2018 Future Publishing Limited or published under
license. All rights reserved. No part of this magazine may be used,
stored, transmitted or reproduced in any way without the prior written
Bonamassa’s band. Together, that’s quite a team.
As for bass reviews, we’ll be giving you even more of what 40 Workshop Electro-Acoustic $700
permission of the publisher. Future Publishing Limited (company you already love about Bass Player, from a $300 effects pedal Mike Brooks unplugs — then plugs
number 2008885) is registered in England and Wales. Registered
office: Quay House, The Ambury, Bath BA1 1UA. All information from Flattley, via a sub-$700 Ibanez bass, to a Schönitz Ellipsis in — then considers this electro
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Anaconda Ultra J4E Elite $2470
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Joel McIver, editor 44 Brooks practices hisssss
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We assume all unsolicited material is for publication unless otherwise
48Can the Gibson T-Bird be
stated, and reserve the right to edit, amend, adapt all submissions. bettered? Brooks investigates
Managing Director Julian March
Chief Operations Officer Aaron Asadi Schönitz Ellipsis $5000
Group Content Director Paul Newman
Group Editor-in-Chief, Music Daniel Griffiths
52Unusually shaped, but
very comfortable to play; Hywel
Commercial Finance Director Dan Jotcham
Davies delivers the verdict

Eich Amplification BC112-Pro


56 Combo $1330
Boxing clever with Eich; Mike

Future PLC Quay House, The Ambury, Bath BA1 1UA


Future plc is a public Chief executive Zillah Byng-Thorne
44
Anaconda Ultra
Brooks goes all-in-one

58 Flattley Pedals $300


company quoted on the Non-executive chairman Peter Allen
The new brand on the
J4E Elite $2470
London Stock Exchange Chief financial officer Penny Ladkin-Brand
(symbol: FUTR)
www.futureplc.com Tel +44 (0)1225 442 244 effects block underfoot

006
f/bassplayermag o/BassPlayerNow CONTENTS

Tuition
Frontline
62 Four touring and recording
bassists with decades of shared
experience report back from the
tourbus. Listen and learn!

BEGINNER

36
Michael Rhodes

66 Steve Lawson
Bass… the final frontier.
Begin your journey into a world
of endless sonic possibilities with
peerless voyager Steve Lawson

INTERMEDIATE
Phil Mann
70 Subtle sensei Phil Mann can
make a good bassist great, and a
great bassist legendary. Take your
next step up here

ADVANCED
Getty

Stu Clayton
76
18 24
Do you know no fear? Do
you seek mastery? If you think
you’ve got what it takes, then bass
StanleyTracy colossus Clayton has an advanced
Clarke Wormworth
workout to test your mettle

Bassists 24 Tracy Wormworth


The B-52s bassist on the
Columns
The Woodshed
Stanley Clarke
pleasures of incomprehensible
10
18 The master returns with a new album, The Message, and words of
jazz, as well as exactly what it
feels like to play bass in front of
Ace luthier Rob Elrick on
how scale length should inform
wisdom for us all — as well as a fistful of astounding bass parts, of course. — yikes — Sting your choice of strings
Interview by Joel McIver, musical annotation by Chris Jisi
Jim Lea Power Bass
30The sometime bass maestro 15Stay safe out there with

30
Jim Lea
with glam-rockers Slade looks
back on a unique career.
Interview: Dave Ling
physiotherapist Ben Whybrow

19 Rockschool
Joe Hubbard takes your
Darryl Anders
34Solid soul grooves under
theory to the next level

The Innovators
discussion; Rod C. Taylor puts the
questions 82 Bass Player’s founding
editor Jim Roberts salutes the
Michael Rhodes
36 The master of the blues
great Jeff Kiesel

talks bass sense with Ellen


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007
LOW CREAM RISING
THE
Announced back in the summer, The Music
Of Cream will tour in the USA and UK in
November. This much-heralded supergroup
features the late Jack Bruce’s son Malcolm
Bruce (bass, vocals), Cream drummer
Ginger Baker’s son Kofi Baker (drums)
and Eric Clapton’s nephew Will Johns

DOWN
(guitar, vocals) and will be just the thing for
anyone missing the original, short-lived

David Geraghty
but hugely acclaimed band. Malcolm gave
us an exclusive interview in the run-up to
the tour, telling us: “We’re very excited to certain amount of baggage, even a quest to
be getting out on the road with this project. define boundaries, creative and personal,
We’ll be playing a two-and-a-half-hour to some degree, because of the import of
set consisting of all the best-known Cream our predecessors’ achievements. Some
songs — and Kofi will play an epic drum people change their name and avoid the
solo, as would be expected! We’ll also be association, but for us it’s about embracing
working with video — some Cream footage this aspect of our heritage, facing it head on.
and also home video — and telling a few It is cathartic, transformational, and very
stories.” much a part of the fabric of ourselves. The
He continues: “The most exciting part more I progress with my own writing and
News and views from the bass for us is to be able to improvise and stretch
out the material, so fans should expect us
career, it makes sense to me to honor my
Dad’s achievements as a way to understand
world, collated by BP’’s team of to honor that aspect of the music and the
original band. The songs still have such
my own path as it unfolds. The trick is not
to be consumed by it, but still honor it and
intrepid newshounds a strong relevance and are vibrant with
possibilities, and each show becomes
enjoy the process.”  
As for bass gear, what will he be
its own thing. It’s never going to be the playing? “I’m currently playing a Warwick

BOXING CLEVER
Two new amp systems hit the market
same twice, which is what made Cream’s
approach to their live shows so unique. This
is what we want to honor.”
Jazzman, which I’ve been using for a
while now. It has a beautiful full tone and
perfect intonation. It’s a more traditional
recently, the first from our favourite So what’s the mission behind the band, instrument compared to other Warwick
Great Danes, TC Electronic. Their new we ask? “We’re not simply replicating models, with a more solid feel than, say,
BQ250 and BQ500 bass amps head up a what they did — that would be pointless, a Thumb bass. I’ve also been chatting to
new, BQ-branded head line designed to as they as a band cannot be surpassed,” a consultant at Gibson, so I might play an
be lightweight and affordable while still says Malcolm, accurately. “So we take the EB-3 for some of the show — we’ll see! The
packing serious power. Supplying 250 spirit of their improvisatory approach and purists out there might prefer that, and
($199) and 500 ($249) watts respectively, create something which we feel honors there is such a strong association with my
the units feature a MOSFET preamp, a and respects the music, and this is certainly Dad playing Gibson during his tenure with
custom four-band EQ and a built-in Thrust guided by our collective heritage and Cream that it makes sense. I’ve been using
compressor circuit. Plus a headphone out, intimacy with the originators. It’s all in the a Hartke rig on the road for years now and
Aux in and a balanced DI. moment, so we’re looking forward to taking love their amps. Big thanks to Larry Hartke,
Meanwhile, Boom Bass Cabinets out of that journey with the fans.” who has always been very supportive.”
Virginia, Minnesota have launched the He adds: “It’s a strange situation when The Music Of Cream will be touring the USA until
1x15 BBC Matrix cab, as an alternative to you are the child of an iconic musician 17 November, and the UK from 23 to 26 November.
a larger stack. It comes with two Faital 10” — a blessing and a curse. There can be a Info: www.musicofcream.com
woofers, a Faital 15” woofer and a tweeter
capable of handling 300 watts, plus BBC’s
tilt back front baffle, retractable handle
and recessed corner castors. It’s not light,
weighing in at 56 pounds or 25 kilos, but
it handles up to 2200 watts so it’s built for
BROOKSY ON BASS
Mike Brooks brings us essential advice for bassists: Always be prepared!
seriously heavy duty applications. Wear a If something can go wrong, the chances are that it will — so always be prepared
back brace, or give your roadie a pay rise! for the unexpected to happen. Your equipment and instruments all have the
www.tcelectronic.com ability to trip you up, so I always take two basses with me to every gig. But
www.boombasscabinets.com what if two basses aren’t enough? I was at a pub covers gig, full of people enjoying the show.
Suddenly, the G-string on my bass snagged on a sharp edge on the string saddle and broke. Not
a problem; I simply grabbed my backup. Thirty seconds later, the battery powering the active
circuit of the second bass died, and the bass didn’t have a switchable passive option so I had to
return to the three-stringed bass. Not the end of the world, but very annoying...
Hot Tip! After you experience an instrument failure early in your playing career, that
sinking feeling never leaves you. Taking a second bass should be the norm.

008
BOOKED IN
The prolific American
writer Greg Prato has
announced a new book,
The 100 Greatest Rock
Bassists, and we asked
him to talk us through
it. “While there are a
handful of bassists that even casual
rock listeners could probably list as the
cream of the crop, there are a whole lot of
other talented players that brought their
own unique spin on the instrument but
may not be on the tip of many people’s
tongues. This led to a realization by
yours truly — who would the top 100
rock bassists of all time be, based on a
combination of how original their playing
was, their contribution to the instrument,
and their influence on other players?” To
add to the excitement, he performed 10
exclusive interviews with some of rock’s
top bassists.
In other book news, the UK’s renowned
Rockschool are publishing new Bass
Grade books. The series includes songs
of every genre and from a wide range
of classic and contemporary artists. The
arrangements have been written and
performed by top session musicians and
recorded at Peter Gabriel’s Real World
recording studios. Dire Straits’ bass
player John Illsley is featured on ‘Money
for Nothing’ (Bass Grade 3) and Peter
Gabriel’s guitarist David Rhodes performs
on ‘Sledgehammer’ (Bass Grade 6).
Info: https://bit.ly/2P3BRX5, www.rslawards.com

BASSWATCH
Every month, keen bass-
spotter Ray Walker brings us
an online bargain
Neuser Courage 5 $1,300
https://ebay.to/2v1nevR

This month we have the elegant Neuser


Courage 5. This hand-made Slovakian
beauty consists of a seven-piece maple
thru-neck, bubinga stringers, and an
ebony fingerboard. It comes with a
three-band Bartolini preamp with a
mid-frequency selector switch and NEW!!
Bartolini soapbar pickups. Hardware-
wise, it’s loaded with a recessed Neuser
bridge and Gotoh machine heads. These
boutique basses are renowned for
their comfort and punchy, fat, round
sound; plus sustain can be tweaked for
maximum versatility. These beauties are
no longer made, so don’t come around
very often. You know you want to…

009
the
Woodshed
The long and the short of scale, discussed in depth by top US luthier Rob Elrick

S
ince the advent of the electric Tensions for the same gauge string will thanks to the extreme mass of their bass
bass guitar, instrument scale has often vary from one brand to another, but strings, which help to produce the lowest
distinguished some brands and dictated this comparison shows the progressive nature fundamental frequencies. Without getting
the primary characteristics of others. of tension related to scale. It’s easy to see how too bogged down in the physics of acoustics,
Long, short, medium, and multi-scale, lengthening scale can help compensate for the fundamental is the lowest frequency of a
manufacturers have implemented them all in a ‘floppy’ B-string, as well as how that same harmonic series. The ear identifies this wave
an effort to present instruments with unique string achieves pitch at a much lower tension form as the pitch or note because the lowest
playability and performance characteristics. on shorter scales. perceived partial of a frequency happens to
But how does length of scale influence the The violin family is an excellent example be its loudest. Extending the scale of a bass
performance of a bass guitar? for visualizing the influence of scale. From guitar exploits the same physics that is at
The first extended-range basses were the violin and viola to the cello and bass play in a piano.
accurately described by Anthony Jackson as violin, the lower the frequency range of It should be easy to see how important it is
contrabass guitars. As they began populating a the instrument, the larger its size and to use strings that are manufactured to fit the
the market, pursuit of the best B-string became scale. While the size of the instrument does specific scale of an instrument. Today many
a paramount objective. To complement the correlate to its need for a larger soundbox standard string sets are manufactured in
extended range of five- and six-string bass to amplify the frequencies it produces (the lengths that interchangeably accommodate
guitars, along came extended scale. Most 34” and 35” scales. 36” scale instruments
were 35” scale, fewer 36”, some even offered
fractional scales such as 34.5”. Since the
tension of a string increases when its length is
“pursuit of the best typically require extra-long sets to ensure the
wraps on the bass strings don’t articulate or
taper short of the nut. Medium- and short-
extended, lengthening scale was a logical step
to accommodate the addition of a low B-string.
B-string became a scale sets are required for 32” and 30” scale
basses for the opposite reason, to ensure that
Conversely, shorter scale bass guitars,
which have recently enjoyed a resurgence paramount objective” the fully wrapped segments of their strings
are not too long. Selecting the right strings
in popularity, suffer the opposite problem. for your bass is the key to unlocking your
Too often players jump to the conclusion instrument’s hidden potential.
that shorter scale instruments require a lower the frequency, the longer their waves),
lighter gauge string set. The presumption that their scales are also related to the strings www.elrick.com
shorter scale equals a smaller gauge is false. required to produce those frequencies.
To achieve the best feel, performance, and Another way to think about the effects
tone, selecting the appropriate gauge string of scale is to consider a piano, the frame
for a short-scale bass is as important as it is of which mimics the physical shape of a
for a long- or extra-long-scale instrument. harp in order to accommodate a variety
Mass is a feature of a string’s engineering of string lengths. The lowest frequency
that contributes to its ability to reach pitch at range utilizes strings that are the longest
a determined tension. As scale changes, the and largest in diameter, while the highest
gauge of a string must change in proportion frequency strings are much shorter and
to its length to maintain a consistent tension. of a smaller gauge. Since it’s necessary to
For example, tuned to the same pitch, the same have a string with higher mass to reproduce
gauge string will reach pitch at a lower tension lower frequencies at a playable tension, this
on shorter scale, its tension rising progressively arrangement makes it possible to use strings
as the scale length increases. To illustrate this, that are optimal for producing notes of each
we have measured the tension of an Elrick desired frequency.
stainless steel .105” string: As with the bass violin, the bigger the
piano, the ‘bigger’ its sound. Even among
• 32” 32.3 lbs grand pianos there are a variety of sizes, with
• 33” 33.5 lbs the largest concert grand pianos delivering
• 34” 36.2 lbs the most dynamic performance
• 35” 38.9 lbs in their lowest range. This is

010
November 1971, before Hunky Dory’s release. and features a fine performance on piano
‘Moonage Daydream’ was written by Bowie in by Mick Ronson, a man of many talents and
early 1971 and released as a single in May that the perfect foil for Bowie at this time in his
year by the band Arnold Corns, a short-lived career. ‘Star’ combines several different feels,
Bowie spinoff project, before being revisited rhythms and tempos while ‘Hang On To
for this album. Both Woodmansey and Bolder Yourself’ has an almost punky feel, certainly
cite the track as their favorite on the album, from the bass performance.
as did producer Ken Scott. Bolder’s signature ‘Ziggy Stardust’ itself needs no
ascending and descending grace notes shift introduction. It’s one of Bowie’s signature
between each root note in the verses – and compositions, resplendent with a fine bass
his descending bass-line, in unison with performance from Bolder. It’s played with a
Bowie’s descending backing vocal, creates a pick, with slid notes and constantly moving,
memorable earworm. sometimes tasteful venturing into the upper
The lead single, ‘Starman’ was the last register for good measure. Before the album

Ziggy played guitar, notes Mike song written for the album. It climbed the
charts slowly, but after it was performed
ends on ‘Rock’n’Roll Suicide’, the band rock out
to ‘Suffragette City’, initially only the B-side

Brooks in tribute to a Bowie classic on Top Of The Pops in July 1972 it took off,
taking the album with it. Now everyone
to ‘Starman’, but issued in 1976 to promote the
Changesonebowie compilation.
knew who Bowie and his Ziggy creation It’s easy to wax lyrical about David Bowie
lthough it wasn’t the were, including the more traditional TV and his musical output, despite some of his

A
biggest-selling album of viewers of the day, some of whom were misfires. Still, Ziggy Stardust is a golden nugget
the late David Bowie’s appalled by Bowie’s affectionate embrace of among his catalog, and Bolder’s performance
career, The Rise And Fall Ronson. Such innocent times! reminds us that he was a highly influential
Of Ziggy Stardust And ‘Lady Stardust’ is believed to be about bassist. His later work with Uriah Heep adds
The Spiders From Mars Bowie’s fellow glam-rocker Marc Bolan, to his ongoing legacy. RIP.
is widely considered
the album that thrust him into the public’s
consciousness, broke him in America and
heralded the arrival of a new artistic force on
a global scale. Released in June 1972, Ziggy
Stardust reached number 5 in the UK and a
“Bowie adopted the Ziggy Stardust character and
lowly number 75 in the US, yet it has sold in
excess of 7.5 million copies. Its standing as one
in doing so created the ultimate concept album”
of the most significant rock albums of all time
is assured, sadly even more so since Bowie’s
passing in January 2016.
With his band, the Spiders From Mars
— Mick Ronson (guitar), Trevor Bolder (bass)
and Woody Woodmansey (drums) — Bowie
adopted the Ziggy Stardust character and in
doing so created the ultimate concept album.
That said, many of the songs on the LP were
recorded several months before any such ideas
were even suggested, shortly after Bowie’s
previous album Hunky Dory was finished.
Trevor Bolder, a phenomenally talented
and melodic bassist, could be seen with
Rickenbacker and Fender instruments at
the time — but for this album and its 1973
follow-up Aladdin Sane, he made the most of a
Gibson EB3 bass, either plugged direct or using
Marshall and Ampeg amplification. Judging
from the sound of the bass-lines, flatwound
strings were certainly the order of the day,
most likely courtesy of Rotosound.
The album opener ‘Five Years’ features a
picked bass-line that sits perfectly among the
drums and piano of the verses, with a low-mid
presence that fits the instrumentation of the
track. The song never breaks away from its
mid-tempo rhythm, and Bolder’s performance
reinforces its simplicity, sitting perfectly with
Woodmansey’s bass drum.
‘Soul Love’ features a constantly moving
bass part. Even when playing in the upper
register, Bolder’s bass tone is full, consistent
and smooth. The track was recorded in

012
Gear month
In which three renowned gear
experts nominate their bass, amp,

of the
and effects unit of the month.
Whether new or old, cheap or
expensive, simple or complex, this
gear has earned its place in our
affections through simply being
brilliant...
Bass

L
aunched in 1969 and produced until 1971, the Gibson Les Paul Bass featured low-impedance passive circuitry designed specifically for studio
recording, a mahogany body and a three-piece mahogany set-neck construction. With a 30.5” scale length and 24 frets, this was a bass built for
speed and comfort. The control set featured a phase switch, a three-position tone selector, a pair of volume controls and a master tone control.
Due to a lack of popularity, the bass was withdrawn and redesigned into the popular, and now collectable, Triumph bass. This was superseded
in the mid-70s by the long scale, chambered body and double cutaway Signature model. Reintroduced in the mid-90s and again in the Noughties,
the bass now features a carved top, twin volume and tone controls and a
three-way pickup selector. Doted on by rock and metal players, it offers
a different tone to the ever-popular Thunderbird, and instrument
weights can vary — so try before you buy. As the bass is naturally
raucous and throaty, fingerstyle playing sounds rounded and full,
while pick playing has plenty of punch and attack. Active models do
exist, but with so many variations of the Les Paul out there, do your
research before you start looking.
Mike Brooks

Amp

L
et’s assume for a moment that you want a practice amp — one that you can carry in your gig bag.
You don’t need anything as big as an 8” speaker, and five watts is way too much power for your
needs. Crazy? Not at all. You could just use a headphone amp or even a battery-powered preamp
pedal with a headphone output. But if like me, you like to hear your bass through an actual
speaker rather than your mobile phone’s earbuds, there’s a solution — the Blackstar Bass Fly bass amp.
Despite its microscopic dimensions it’s remarkably well equipped, with a dual clean/gain input, aux
in, EQ, line out for recording and a master volume. There’s even an adjustable compressor and a clever
sub function that adds low end harmonics to the signal, giving at least the impression of a slightly
extended low end. Of course, there’s only so much clean volume a three-watt amp with a 3” speaker
can deliver — and that’s really not very much! But at low levels, the little Bass Fly works brilliantly. I
take one on tour with me; for pre-gig warm-ups it’s perfect, and well worth the $75 ticket price.
Kev Sanders

FX Unit

T
he family tree of distortion pedals looks a whole lot like a wall chart of where dinosaurs came from: A massively diverse, beautiful range of
sounds and approaches to messing up your bass signal, all stemming from a fairly small number of ancestors, modified through a process of
adaptation and natural selection. One of the towering forefathers of the distortion world is the Pro Co Rat. It’s been emulated and copied in so
many ways, and the originals can change hands for silly money. The circuitry and sound have inspired any number of newer models, adding
their own spin on this classic blend of overdrive and distortion, and one of our favorites is the Fuzzrocious Cat Tail.
Taking the circuitry of the Rat as a start point, Fuzzrocious have done what they always do, modifying the basic

“The Cat Tail offers a huge range of overdriven sounds, from subtle break-up to ripped-speaker madness
but it also comes with a couple of mods that make it particularly great for bass”
design for versatility and ruggedness. The Cat Tail offers a huge range of overdriven sounds, from subtle break-up to ripped-
speaker madness, but it also comes with a couple of mods that make it particularly great for bass. The tone filter control
allows you to dial in a particular mid response without losing any low end, and having separate control over how the low
and high frequencies clip is a big help in keep the low end manageable. The range of tones is huge and inspiring. You can
buy it for its great emulation of the Rat sound we associate with players like Krist Novoselic and Justin Chancellor, or use it
to explore other dirty sounds and possible ways to annoy your guitar player. Always a good thing!
Steve Lawson

014
THE LOWDOWN Bass Fitness

POWER BASS
Tension in the traps, relieved by physio 800-545-8813
www.basscentral.com • sales@basscentral.com
and bassist Ben Whybrow From Alembic to Zon
And Everything In Between!

A 700 BASSES, AMPS, AND CABS!


fter a long period of intense
playing, it is not uncommon for
• Alembic • Dingwall • F Bass • Hofner Boogie • Sadowsky
bassists to feel pain or tightness
• Aguilar • DNA • Fender • Ken Smith • MusicMan • TE
in the tissue running from the • Ampeg • Eden • Fodera • Lakland • NS Design • Warwick
neck to the shoulder joint over • Bag End • Eminence •G&L • MTD • Pedulla • Yamaha
the top of the shoulder blade. Most of • Bergantino • EUB’s • Godin • Mesa • Roscoe • Zon
this tissue is made up of the upper For middle traps strength, raise
arms straight out to the side
GREAT PRICES! LESSONS!
and middle parts of the trapezius
muscle. The main role of this muscle
EXPERIENCED STAFF!
group is to elevate the shoulder girdle — for example, in a shrugging BUY/SELL/TRADE • WORLDWIDE SHIPPING
movement — as well as to rotate and slightly move and hold the
shoulder blade when the arm is raised. Like all other muscles, traps
See us on Facebook & Reverb.com
can become tight, stiff and painful when they’re asked to work more
than normal, either in one instance or over a period of time.
For bassists, prolonged playing can often be the source of this. Add
any stress, lack of sleep or underlying weakness, and it is even more
likely to occur. Thankfully, the management of these symptoms is
fairly straightforward and can usually be resolved reasonably quickly.
In the short term, simple solutions like self-massage, pain relief and
heat — or ice if you prefer — can all provide some benefit. To maintain
the flexibility, here is a fairly simple stretch:

• Let the arm on the side you want to stretch hang down
• Using your other arm, gently pull your head towards your
opposite shoulder and look at the opposite leg
• Hold this position for no longer than 30 seconds

While it’s important for your traps to be flexible, it’s even more crucial
that they are strong. The following exercises are ways to strengthen
the upper and mid traps:

• Shrugs: With arms dangling straight by your side, weights in


hand, simply shrug your shoulders up
• Ts, Ys and Ws: Either bent forward or lying on a bench, with
arms dangling straight down and weights in hand, raise your
arms up to make the shape of either a T, Y or W

Two to three times per week, around five sets of eight to 12 repetitions
should help keep your upper and mid traps strong. Increase the weight
as it gets easier. This, plus regularly changing of your playing position,
maintaining neck mobility, getting good-quality sleep and controlling
stress, can help reduce the risk and frequency of trap tightness and pain.
Bear in mind that not every shoulder pain comes from your traps. If
it seems to be related to neck movement rather than shoulder use, or if
you get additional pain or other sensations down the arm, the issue is
more likely to be neck- and nerve-related, which is its own topic that
we will cover in the detail it deserves another time.
If you have persistent upper shoulder girdle pain that is not
improving after a few weeks, seek medical advice.

www.thejudophysio.com
@BWhybrowPhysio
Star Bass
Each month we celebrate the great — and rather less great! — work of an acclaimed bass player.
This month: Lee Sklar
Words: Joe Shooman Image: Getty

eland Bruce Sklar is instantly recognizable — a true benefited from his presence. Sklar also has plenty of TV and movies

L
wizard of the bass guitar — and you’ve heard him under his belt, including the soundtracks to Legally Blonde, Coyote
more often than you think. Over his five-decade Ugly, and The Postman. His famous Frankenstein bass has been used
career, which kicked off with his first major gig on most of his recordings since around 1973; it comprises a Fender
with James Taylor, he’s performed on at least 2,500 Precision body, a Jazz neck with mandolin-wire frets, two sets of
albums by artists ranging from the Bee Gees to P-Bass pickups, and first-generation EMG pickups. Add to that a Badass
Mike Oldfield, Sarah Brightman, to Glen Campbell, II bridge and Bass Xtender tuning keys — a prototype set, no less —
Cliff Richard and Bonnie Raitt. The list goes on; Neils Diamond and and you’ve got an instrument as unique as the player, who has also
Sedaka, the Doors, Donovan, Faith Hill, and Ricky Martin have also included signature Dingwall and Warwick basses among his arsenal.

016
star Bass
Must-Have Album Worthy Contender
Billy Cobham Phil Collins
Spectrum (1973) But Seriously (1989)
S I
pectrum, recorded when Sklar was just 25, is an astonishing t’s all about ‘Another Day In Paradise’ here; Sklar’s fretless-
jazz-fusion album that has lasted the decades. The virtuosity sounding legato phrasing on a fretted instrument shows the
of drummer Cobham is beautifully backed by Sklar and advantage of those unique mandolin frets and a high action.
future Deep Purple guitarist Tommy Bolin on four tracks. The sound is full, with swift higher-register fills in the post-chorus.
‘Quadrant 4’ is the sort of walking jazz bass that you’ll hear Amp-wise, his choice of Euphonic Audio iAmp800 combo, with
accompanying psychedelic Pink Panther car chases; the genius TubeWorks DI, is a studio favorite, keeping things simple with a
of a held-back, syncopated sixteenth at the outset of ‘Taurian Boss OC2 Octave Divider his main FX unit. The sustained root note
Matador’ throws it beautifully off-kilter in an insanely speedy work on ‘That’s Just The Way It Is’ and ‘Colors’ provides an object
run-heavy line. And then there’s ‘Stratus,’ a song that has lesson in stepping aside and letting the song develop, vital to the epic
lasted so well that his part was sampled by Massive Attack for material the erstwhile Genesis drummer croons about on top. As
‘Safe From Harm’ and appeared in Grand Theft Auto I V. Nine ‘Colours’ kicks in, Sklar provides a busy groove, working with and
minutes of busy, pulsating, anchoring bass has never sounded between the simple drum pattern to suitably kinetic effect. Earnest
so fine. Sklar’s fourth contribution is on the soulful ‘Red Baron,’ the album might be, but there’s a reason it sold so many units: Well-
a dramatic and delicious confection with some superior jams constructed songs, delivered by a superb set of musicians. Nathan
between guitar and bass, as well as some extraordinarily fast fills East and Pino Palladino appear on two tracks each, and other guests
up and down the blues scales. include David Crosby, Eric Clapton and Steve Winwood.

Fan Favorite Cool Grooves


Jackson Browne Jacintha
Jackson Browne (1972) Fire & Rain (2018)
B S
rowne’s debut — sometimes misnamed Saturate Before Using — klar’s vibrato-heavy style quickly wears out those mandolin
sees Sklar in a pensive, legato mode that’s beautifully expressed wire frets on old Frankenstein, which needs re-fretting about
with his deep, soft-attack tone on ‘Jamaica Say You Will.’ Sklar once a decade. Not so with his Warwick hollow-body four-
has alway’s said he’s no gear nut, but he does favor GHS Custom Bass string signature bass, which has nickel-silver frets. This beautiful
Super Steels in terms of strings. His work here is finger-picked; Sklar instrument has a main body carved from mahogany, MEC Vintage
has never really used any kind of plectrum during his career. It’s all single-coil pickups, a Warwick two-band preamp, a tigerstripe ebony
about the feeling of the song, the line and the timbre. Sklar had an fingerboard and a flamed maple neck. You can hear this bass on Fire
ingenious answer to ropey producers asking him to change his sound & Rain, jazz singer Jacintha’s tribute album of James Taylor tracks. It’s
without knowing what they actually wanted: A ‘producer switch’ pleasingly symmetrical, given that Taylor gave Sklar his first proper
on his bass. It was a toggle-switch that he could click ‘on and off’ in jobs in the early Seventies; the bassist has appeared on more than
such situations, but which wasn’t wired to anything — the equivalent ten JT LPs since. The bassist is now reinvigorating old favorites using
of the sound desk’s ‘DFA’ button. No such sneakiness needed here; a the decades of experience he’s accrued since he played the originals,
Beatles-y song like ‘Doctor My Eyes’ romps along, for example. A great alongside the likes of compadres Dean Parks and Russ Kunkel. The
debut, with a great band installed for Browne to soar. word ‘iconic’ doesn’t begin to cover it.

Wild Card Avoid At All Costs


Barefoot Servants Giorgio Moroder
2 (2005) Cat People Soundtrack (1982)
T F
o hear the more gnarly side of Sklar’s art, check out ‘Crack The ile this one under ‘What the hell were they all thinking?’ The
Sky’ — his bass has a gritty, overdriven sound that’s miles away people involved — David Bowie, Natassja Kinski, Malcolm
from what you’d expect. It’s tense, bluesy and Led Zep-ish. The McDowell, and Sklar himself — should have been put off by the
absolutely fierce Line 6/Amp Farm Soldano preamp setting drives worst two words in Hollywood: ‘Erotic horror.’ Seemingly not. ‘Cat
the whole thing forward, and when Sklar cuts loose underneath People (Putting Out Fire),’ is one of the few worthwhile moments on
the guitar solo it’s a triumphant, gleeful moment. Cleaner, and more the soundtrack, and had quite an afterlife; Bowie re-did it for Let’s
Stones-y, is ‘Pharaoh’s House,’ on which we reckon the odd two-string Dance the next year and it’s also appeared in Inglorious Basterds and
higher-register chord can be heard during the middle eight. The spirit Atomic Blonde. Elsewhere there’s plenty of Moroder-signature synth
of L7’s ‘Pretend We’re Dead,’ bizarrely, permeates ‘Rude Boy’ showing blobbing underneath a bunch of meandering early-80s electro-
the value of locked-in bass, guitar and drums. There’s loads of room nonsense. We are consoling ourselves by picturing Leland playing
for harmony vocals on top — and a somewhat ill-advised harmonica his parts on the ludicrous (and brilliant) double-neck Eagle bass
solo. As the jumpy, country-rock bass under ‘Take My Breath Away’ that he broke out occasionally during the 70s. Is that him diggling
(not that one) shows, there’s a lot to be said for exuberant rock veering about on ‘Irena’s Theme,’ all toppy interjections and left-hand-rising
off in all sorts of directions under the spell of top class players. chromatic runs? We think so.

017
the lowdown
No Treble and Basschat

no treble basschat Gig setups explored with


Basschat’s Silvia Bluejay

I
f you’re in a gigging band that
sets up and breaks down for itself,
how do you go about it? Basschat
members who are in bar and function
bands, without the luxury of roadies,
have been comparing notes on the forum,
looking for the best solution in terms of
No Treble’s Kevin Johnson reports on speed, functionality and efficiency.
Bands usually have to tackle an obstacle
tributes to the greats course, starting with narrow doorways and/
or steep staircases, while carrying heavy loads and dodging punters.

N
o Treble focused on articles about legends this month, starting Things don’t improve much when we reach the stage — often just a
with a clip of Marcus Miller and Snarky Puppy bassist Michael small, table-free area in a corner. We need to contend with all this,
League giving a talk at the North Sea Jazz Festival. Asked how keep to scheduled start times and avoid mishaps. Who carries what?
to develop a groove, League, although a funky fellow, wisely Who sets up what? In what order? We found that, where each band
deferred to Miller, who humbly offered a bit of advice. member only deals with their own equipment, bassists are often in
‘I have no idea how you do it, but whatever you do, you have to charge of installing the PA desk and speakers and plugging in cables,
commit to it,’ the jazz master shared. From there he let his bass do in addition to setting up their own rig. Surprised?
the talking, laying down a simple groove and talking the crowd Not really! However, maximum efficiency is achieved if the band
through his thought process. League jumped in and they laid on the works as a team, where each individual has clearly assigned tasks
same groove for four minutes, trading fills at the end of each four-bar and follows a tried-and-tested sequence. Before anything happens
section. As always with Miller’s demonstrations, it’s a real masterclass. on stage, a designated person checks out the position of the power
Next we shared a snippet from WWE and rock star Chris Jericho’s sockets, plugs in extension leads as needed, and runs the leads and
Talk Is Jericho podcast with bassist Ron McGovney, the original bassist cables from the PA desk to the approximate position of the backline
in Metallica. The episode had a good chunk on how Cliff Burton components. Most of us think that the latter, though, should stay off
came to the band. McGovney was at a concert in San Francisco with stage for the moment.
guitarist James Hetfield and drummer Lars Ulrich when they first Meanwhile, the drummer assembles their kit, preferably off stage,
saw Burton play. “All of a sudden Cliff starts going into this solo. in preparation for the inevitable squabble about its exact on-stage
And they’re just looking at him and their eyes are wide open,” he placement, and that of the PA speakers. We bassists always seem to
explained. “I kind of knew right at that point: This is the guy that get squeezed into a few square inches of space between the PA and
they’re gonna go after. I can feel it’.’ the cymbals, which are the single biggest cause of trouble (not to
Tension with guitarist Dave Mustaine led McGovney to leave the mention deafness) for us. Meanwhile the guitarist somehow ends up
band and let Burton jump in, but it wasn’t the end of the world for with plenty of space on their side. Hmm…
him — he was more interested in being a motorcycle mechanic than It’s finally time for the backline components to go on stage,
in playing thrash metal. Burton always respected of McGovney’s time unless the band is in the habit of dumping them into place at arrival
in the band, giving him a backstage pass to a concert at the Palladium instead, possibly in order to persuade the drummer to position their
in 1984. All’s well that ends well. kit wisely. It really doesn’t matter, anyway, as the kit will always
Finally, Jeff Berlin spoke about the late, great Jaco Pastorius. He have to be shifted a few inches in a random direction, usually
was inspired after noodling between takes and hitting a chord with five minutes before the start — it’s the law. Then, out come the
harmonics reminiscent of Jaco’s style. ‘I come from an era, and Jaco microphones and pedalboards, which have to be put in place as late
was of an era, where we used our ears to tune our basses. In doing so, as possible, or risk being repeatedly knocked over or stomped on.
Jaco discovered that the harmonic notes we used to tune were actual Not all Basschatters carry their own stage lights, but those who do
musical pitches,’ Berlin said. ‘By figuring out the different harmonics on usually put them in place last, unless they have large stands, in which
the bass neck, he would create chords and put them into compositions.’ case they are best dealt with alongside the PA speakers, or even before
Although it took the bass world by storm, Berlin rarely uses the everything else. Oh damn! We were first meant to install the banners
technique in his playing. ‘I felt it would be harmful to me as a musician and logos on the walls behind the band, right? Most of us own up to
to enter into that area. That’s the genius of this guy — he was so periodically forgetting about them until the end of the setup, and then
original and so brilliant that for the most part I won’t play harmonics.’ having to clamber over cables, drumkit and backline to get them in
Until next time, be yourself! place. Don’t be afraid to join the club if you’ve done that too.

www.notreble.com www.basschat.co.uk

018
THE LOWDOWN Rockschool

Applied Improvisation with

Rockschool
Let’s walk through a minor blues, says the great Joe Hubbard

T
he moment arrives when you are suddenly equipped with chord Notice that I haven’t started the downbeat of every bar on the
knowledge, scales, arpeggios, upper extensions, and chromatic root of the chord. Moving the emphasis away from the root like
approach notes. All your hard work has paid off in the form of an this is a simple way to change the focus of the counter-melody,
arsenal of theories and techniques — but how, you might ask, can without making a radical departure from the notes in the chord
we take all this information and start to apply it to music? you’re playing over. Learn to play this as one constant musical
The answer lies in thinking about your options, and to flow, and listen to the way that the bass-line perfectly outlines the
understand the options that are available to us it’s a good idea chords. Also take note of the harmonic clarity this line provides
to understand melodic variations. Bass-lines provide a counter- when played over the minor blues. Make sure to write down all the
melody to whatever song you’re playing over. To illustrate this, different melodic permutations that are in this étude.
in this lesson we’re going to be applying melodic variations to a In the next lesson we’re going to reverse-engineer this bass-line
minor blues. I’ve written a walking bass-line over a C minor blues, so that you’ll be able to build your own ideas about creating lines
using variations of the melodic phrase ‘root, 2, 3, 5’ against each in this way. Our ultimate goal is to be able to improvise with this
of the chords in the progression. Your homework is to learn this kind of material. As I said, the secret lies in options — and working
line and analyze all the different variations of this melodic phrase. through this process will help you to understand just how many
By thinking about how the phrase is varied, you can gain an options there are. Until next time, practice smart, work hard, and
understanding of the paths available to you when you play. play creatively!

“the secret lies in options — and working through this process will help
you to understand just how many options there are”
example 1

019
“Whether it’s land,
power, money, religion,
we human beings can
sometimes get caught up
in that stuff”
Getty

020
bassists
Stanley Clarke

Messenger Man The mighty Stanley Clarke returns with a new album, The Message, loaded with bass to
die for and a theme that applies to us all. Listen up!
Interview: Joel McIver

here are good bassists, next to a beatboxed salute to the friends who peg. When you pull it, it’s a little looser, and

T
there are great bassists Clarke has lost in recent years, his frequent the sound is a little different. It’s a very cool
— and there’s Stanley collaborator George Duke among them? Let’s bass. Fender is considering the model name
Clarke, veteran of close hear what our man Stan has to say… right now, but we would like the world
to half a century as Strato in there somewhere.
bass player, composer, Congratulations on the new album, Stanley.
bandleader, band- Thanks! The kids did a great job and played What was the philosophy behind the
member and all-round guru to our low- well. It just came together — it’s actually a design?
frequency community and far beyond. Now European record in many ways, because we What I wanted to make clear with Fender
aged 67 and as focused as ever, the four- wrote it and recorded it over there. is that it isn’t a replacement bass; most guys
time-Grammy-winning pioneer is talking to that make basses say ‘Okay, you can take
us today about his new album, The Message, What’s that bass you’re holding on the this bass and get rid of your Warwick or
written and recorded in France and Belgium cover? your Fender or whatever’. This is an actual
with a young band of incredible talent. That’s a sneak preview of a bass that Fender addition, much like a guitar player has a
As with pretty much everything Clarke is going to release. I’ve been playing Alembic Strat and maybe a Les Paul and this and that.
has released since he first came to the all my life, but I’ve also been building With this bass you can play bass-lines and
public’s attention in the early Seventies, basses with a friend of mine in New York it sounds great, or you can really play solos
his new album isn’t just another collection with it.

“you can tell when a guy


of tunes. Appropriately given its title,
The Message is Clarke’s implicit appeal to It sounds like a lot of our readers would
the listener to listen up, wise up, and pay enjoy playing it.
attention to the state of play in today’s
troubled world. Assisted by a stellar cast of comes from guitar world, What’s cool about bass players is that they
come from all different starting points. Some
musos, including beatboxer Doug E. Fresh
and trumpeter Mark Isham as well as the
core band of keyboardists Cameron Graves
because he’s very heavy guys start out on upright bass and move to
electric; others are guitarists, and move to
bass. You can tell when a guy comes from
and Beka Gochiashvili and drummer Mike
Mitchell, Clarke delivers music that spans a
and almost lopsided” guitar world, because he’s very heavy, and
almost lopsided; he can play great solos and
wide range of genres. chords, but when it comes to bass-lines, he’s
If you want synthesizer-heavy space jams weak. Then you have the other type of bass
straight from Clarke’s Return To Forever for quite some time, and we release them players, who are really strong with bass-lines
days, they’re here; solo compositions on from time to time under the company name and what have you, but maybe they didn’t do
electric and acoustic bass abound; and Spellbinder. The new bass looks like a Fender enough homework on the subject of chords
musical virtuosity sits side by side with Stratocaster, so we took it to Fender and they and scales and all that stuff. I think both guys
economical, stripped-down simplicity, just loved it. It has a reverse headstock, like a will enjoy this bass. Personally, I enjoy the
as it should. Where else would you find an Jimi Hendrix bass, which gives the E string a bass universe right now because of all the
arrangement of J.S. Bach’s ‘Cello Suites, No. 1’ longer scale by the time it gets to the tuning different types of players.

021
That’s one of the things I love about your
new album. Whether we’re talking about
tone, sustain or note choices, there are tons of
different kinds of bass on there.
Yeah, yeah! It’s fun for me because the
universe has really expanded and exploded
since the days of the original guys who go all
the way back, like James Jamerson, up through
Jaco Pastorius and myself. I wish Jaco was still
around to check it out, he’d probably really
enjoy it. All the older guys too; Jeff Berlin,
Anthony Jackson, Chuck Rainey, and then
you’ve got the younger guys like Marcus Miller
and Victor Wooten — the turbo bass player!

The man is unstoppable.


I like Victor because he can go on the stage
alone. He’s got a good 35 minutes in him,
without any other accompaniment. If you
go on stage in front of a couple of thousand
people, with just a bass and some higher
techniques, can you do a show? How long will

“The universe has really


expanded and exploded
since the days of the
original bass guys”
you last before people yell you off the stage?
Victor’s got at least 35 minutes. I can do 35 or
40 minutes, but I can pull out both basses, you
know. That’s the test. At that point you have
to have all the skill sets. You’ve got to be able
to play great bass-lines, solo, chords, and be
Getty

able to speak on the mic.

A lot of young players appreciate the Did you use amps in the studio, or go straight to and DR strings, and for acoustic bass I go with
importance of that global approach to bass, the desk? Thomastik, out of Austria.
judging from the bassists we interview. It varies, but on this album I decided it was
You know, there really isn’t a book or a bible best just to go straight in. The song ‘The Are you still using amps for live shows?
that codifies all the various techniques that Message’ has a lot of sustain on it because it’s Yes, I use Ampeg. One of the great things
we do. It would be nice if a kid who was 13 really just solo bass with some synthesizers about that company is that they’re
or 14 years old could pick up a book that has thrown in. For years I’ve been using Fairchild everywhere. We play a lot of small venues
everything — how you slap, how you play limiters, and when I worked with [famed with backline, and everybody has Ampeg. I
chords, how you play ‘Giant Steps,’ how you play Beatles/Bowie producer] Ken Scott on my first like their cabs because they have a warmer,
in a country and western band... just everything three solo records, I used the old Fairchilds fatter sound, and the Alembic bass likes that.
together. That would be really something. going in and coming out. It’s a limiter that
can handle the dynamic range of the electric What else is in the chain?
Let’s talk gear. Has your signature Alembic bass bass, and for some reason, with that limiter I’ve been using EBS pedals for a long time, and
changed much over the years? you don’t hear the dramatic effects that I love them. I think they’re the best. They can
The only thing that the Alembic people did for you hear with some others. Even the plugin fall, or you can step on them; they’re really
me was put a boost there. The bass is pretty version of the Fairchild limiter sounds good, roadworthy and they sound great. These
much standard, but there’s a little switch that so that’s what we used. At the Village, the guys are a real class A company, they’ve been
they put in, real close to the five-pin input. studio I used for the mix, they had some old taking care of me for years. Their Microbass is
It gives it a quick boost of 5dB, I think. Other Fairchild limiters in there. They were pretty the best thing for acoustic bass; it’s the secret
than that, it’s pretty simple. clean, too. For electric bass I use Rotosound of my live acoustic bass sound. It handles

022
bassists Stanley Clarke

“I got rid of a lot of


my electric basses; at
one point I had over 100
of them”
Raj Naik

everything — it’s an EQ, a direct box, a use musicians who read traditional notation, small town all his life. There’s at least 50
preamp. There’s nothing you can’t do with it. as well as musicians who don’t read at all. skirmishes or battles going on all over the
The brilliance depends on the person I’m world; it’s amazing how much violence there
Do you have a lot of bass gear? dealing with. is. Whether it’s land, power, money, religion,
I have bass gear in a storage place, for sure, we human beings can sometimes get caught
but I got rid of a lot of the electric basses; at How did you assemble the songs for the new up in that stuff and forget who we really are.
one point I had over 100 of them. I thought album? Music reminds us who we are. Take three or
‘Why do I need all these? They’re just Usually I’ll just make a demo of the song, with four guys from different demographics, and if
collecting dust’ so I gave some to friends of all the parts, and hand it over to everyone, they’re all fans of Metallica, say, and they go
mine, and got rid of others, and I’m planning or maybe there’ll be a chart and I’ll give that to a Metallica concert and they’ve all got their
to get rid of even more. I also have many, to them. This time, it was really interesting; fists raised in the air, at that moment there’s
many amplification systems, and I don’t know it was the first album I’d been involved with brotherhood between those people. That’s
what to do with that stuff. Warwick sent for a long time, that had my name on the one of the beautiful things about music, and
all these cabinets over, and I was so happy, cover, where I really got into working with it’s a form of love.
because I loved them — but you know what, I the guys. We were in Paris for a week and
travel a lot, so the only chance I ever have to everybody wrote music and recorded it in In what way?
use them is when I’m in Los Angeles. Logic. Later we went over to Brussels in I like the definition of love as degrees of
Belgium and recorded in a studio, so it came affinity, where people get closer. It’s just
You’re extremely prolific. Does songwriting together without a lot of music being written people being together in brotherhood. So
inspiration just flow into you, or is it a craft down on paper. if someone listens to a song on my album
that you work on? and feels a little peace in their heart for that
Well, actually both answers are true. It does So what is the message of The Message? moment, and a little humanity in their world,
flow, and I do have to put it down. Some The message is one that people have been then my job is done. It’ll take a long, long time
guys, like Chick Corea for example, have the trying to disseminate since the beginning to get the job done, but someone might as
ability to write music down on the page as it’s of time. It’s real simple; just a message of well start it!
flowing. For me, there’s a little gap there. Not love. As musicians, we have the luxury
much, but the process of getting it down is a of globetrotting and seeing the planet as The Stanley Clarke Band’s album The Message is out now on Mack
little slower for me. The good thing is that I smaller than a guy would who’s lived in a Avenue. Info: www.stanleyclarke.com.

023
Fretboard Peace and Harmony
Chris Jisi breaks down Stanley Clarke’s chordal composition, ‘The Message’

G
iven the current charged political climate about warm feelings between two people — third; the wide, third-root-fifth voicings in the
and the fact that much of The Message that high affinity, which is love.” first ending (Bb and Bbm); the dense, almost
was written in Paris on a tour delay due Example 1 contains the A- and B-section dissonant fifth-root-#11 shape of the B7#11
to terrorism in Tunisia, Stanley Clarke melodies of the track (Clarke plays the chord in the second ending; the broad A7#9
reports that the record naturally swung repeated A section melody slightly differently, in measure 7 and G13 in bar 9, supported,
towards a message of peace and love. Perhaps not shown here). He uses some interesting respectively, by an open A and a tapped G on
no song crystalizes that as well as the title open chord voicings throughout, enabling the A string; and the final F6/9 chord, utilizing
track, Clarke’s heartfelt chordal ballad, played the listener to imagine what the piece would harmonics for the third, sixth, and ninth.
fingerstyle on his Alembic tenor bass, strung sound like if orchestrated for a symphony. Practice the piece rubato and freely, as Clarke
A-D-G-C, low to high. He says, “I wanted to These include the F-G-E voicing for the played it, and take notice of the direction of
create a solo piece that was beautiful and Fmaj7(add 2) in the first measure; the Bbmaj7 his arpeggios and strums — sometimes low to
loving, not just in the romantic sense, but in bar 3, which employs a D harmonic for the high, sometimes high to low.

Example 1

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bassists
Tracy Wormworth, B-52s

B NotesI
B-52s bassist Tracy Wormworth has built a unique career. Joel McIver salutes her
f you ever get the chance
to sit down and talk bass
with Tracy Wormworth,
I suggest you take it. She
is hilarious, recounting
events from her amazing
What bass gear are you using?
I endorse Aguilar, so I’m using their DB 751
head with my Eden 4x10 SLT cabinets. I take
two basses on the road with me: A 1991 four-
string Sadowsky, who I also endorse, and an
old Japanese Fender Jazz that sounds great but
a bunch. I started on Fender but then went
immediately to Sadowsky and pretty much
stayed there, so I have a five-string Sadowsky,
and a five-string fretless Paul Reed Smith, which
Sting gave me. It was one of his rejects. It was
pretty cool when he did it, and then I realized
career with amused weighs a ton — tough when you have a two- that he just didn’t want it. I was in the right
disbelief and dropping names like there’s no hour gig. I mainly play the Sadowsky because place at the right time, ha ha!
tomorrow. Behind the wit and humor, of course, it’s a lot lighter. It has a great tone which I love,
there is a musician of world-class calibre, as and it’s really simple to EQ everything. One of Are you equally happy with four and five
demonstrated by her resume alongside a long strings?

“we play really hard


list of huge-selling artists. Would you have the It’s really hard to find a five- or six-string bass
courage to play bass in front of Sting? Exactly that has the tone I want to hear. I’m looking for
— us neither. As Wormworth’s regular gig with a warmer, Fender Jazz kind of sound. There’s
the B-52s continues after 27 years and counting,
we sit down with her for a frank look back... and loud on this gig. a Latin bass player in New York named Rubin
Rodriguez, and I love his sound, and he usually

Tracy, do you still enjoy touring after so long?


Definitely. It’s pretty comprehensive with the
It calls for that kind goes after the basses that I would go after.
Whenever I go see him play, I make a note of
whatever he’s playing.
B-52s. We’re really hitting it, like we did back
in the day. Last tour we were flying around
of energy” What are the challenges of the B-52s gig?
or doing long drives on show days, which was There’s a bass synth on some of the songs
interesting. We went out with Culture Club, Roger Sadowsky’s preamps is in it, he refreshed from the last album they did, so I’m playing
who had about three buses out, and we did it it a few months ago. I also endorse Apex strings. along or around those tracks. They run in the
with SUVs and nice spinner vans. We usually background, along with some percussion and
travel, play, get up, drive to the venue, and What other basses have you got? vocals. They’re unforgiving sometimes, because
chill for a few hours before the show. It works I’m not one of those people that goes crazy and if I’m doubling it, the backing tracks’ time is way
pretty well. buys basses everywhere I go, but I do have better than mine, ha ha! I’m one of those less-

027
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bassists
Tracy Wormworth, B-52s

Kate Pierson of the B-52s getting ready to sing as Tracy lays down the groove.
Tracy has been touring with the band on and off since 1990

is-more type of players, and if there’s too much I came up in the fusion era, and there were so sense. I got the chance to be around a lot of great
going on, I don’t want to add to the cacophony, many amazing bass players in New York at that musicians. That helped me a lot in my formative
so to speak. The other challenge is that we time. I saw Jaco Pastorius many times. I love all years. When I started playing, I had no idea
play really hard and loud on this gig. It calls for the famous Latin bass players too, like Bobby how much I sucked, and I didn’t care, ha ha! I
that kind of energy, because all the tunes are Valentin and Bobby Rodriguez who used to had no fear and I had no shame. I wish that was
breakneck speed and it’s party party party! play with Tito Puente. The Cuban bass players something you could retain.
were killing it too, it was ridiculous. Israel
You’re from a musical family — your father ‘Cachao’ Lopez was amazing too How did you get started on bass?
Jimmy Wormworth is a renowned jazz Nowadays people get into bass from When I was a teenager I was dating a guy who
drummer, and your brother James plays in the watching YouTube, so I was really lucky in that was a bass player, and he gave me my first bass,
Conan O’Brien band. Which music influenced a Fender Precision which I still have. I became

“I’d wake up every day


you as a bassist? obsessed with it and played it constantly. I’d
Definitely jazz and fusion. I was into Marcus wake up every day with the bass next to me and
Miller, and Byron Miller who played with George fall asleep at night with it still next to me. I got
Duke. Anthony Jackson was one of my bass gods.
I used to go see him play in clubs, and he had
with the bass next to me kinda crazy with it.

that Ken Smith bass that lit up — I called it the


Christmas tree bass, because it had red and green and fall asleep at night Is it correct that your first success came with
the Waitresses’ single ‘Christmas Wrapping,’
lights on it. I could see the notes he was playing
in my mind’s eye, because they were right in the
centre of the note. His time is amazing.
with it still next to me” released in 1981?
Yes, but that song became popular way after
the band broke up, ha ha! There are five sides

028
bassists
Tracy Wormworth, B-52s

which I didn’t play on because their bassist at to beat’ and I was like ‘Get the hell out of here!’
the time was Dave Hofstra. He wanted to play It was really crazy. After that I played with
experimental jazz, so I became their touring bass Wayne Shorter on two tours in the USA, once
player. It was tough driving around in a van with as a quartet and then as a big band. The second
all the equipment in the back, but it was a great tour was for the High Life album, where the
experience because the music was so fun, and I music was completely otherworldly; I still don’t
couldn’t believe I was getting paid to play bass! understand it because it was so far over my
head. But Wayne is one of my musical gods.
What happened after that? Then I played a lot with Joan Osborne, and
After the Waitresses I played with the R&B then I joined The Rosie O’Donnell Show on NBC.
singer Phyllis Hyman for three or four years, They wanted a bassist who could do upright
and after that I was dating Kenny Kirkland, bass as well as electric, and I told them I’d do
who was Sting’s keyboard player. One time, he it even though I didn’t play upright. Ha ha! I
was recording with Sting in Montserrat and I borrowed an upright, went to the audition and
went down and hung out. Sting asked Kenny luckily they just wanted me to groove on an
‘Can she play?’ and Kenny was like, ‘Yes, she electric. And that’s how I got the gig! And I did
can play!’ So I joined the band, which was a have to play upright once, but fortunately the
larger-than-life experience for me, going from song was in A so it was basically all open strings.
travelling around in a van to flying around in a No bowing. I was so thankful. I really dodged a
private jet and arenas. We toured the world for bullet there. I was on that show for six years.
about 14 months, from late 1987 through ’88.

When did the B-52s come along?


I auditioned for the Bs in 1990. Sara Lee,
“The music
the British bassist, had recorded the Cosmic
Thing album with them, and they had been was completely
touring hard a lot so she wanted to take a
break and they needed a bass player. Another otherworldly; I still
bassist who is a friend of mine, Alison Palmer,
recommended me and I got the gig. I’ve been
with them off and on ever since, as has Sara,
don’t understand it”
with other things happening in between.
Did you ever tell them that you lied your way
Such as? into the audition?
Well, a lot of people don’t know this story! In No. They’ll know now! Ha ha! But I’m sure the
1991 I was working with a friend of mine on bandleader knew I wasn’t a real upright player,
a musical, and I was workshopping it with because we tried things like an electro-acoustic
him in a studio in Philadelphia. In the middle Zon bass. Anyway, there are miking issues
to that story, of course, but I remember we of it I got a call from the front desk, so I went with upright basses, especially on live TV. I got
recorded it in the summertime at Electric down and picked up the phone. The person at a chance to play with a lot of cool people on
Ladyland in New York. Chic was really popular the other end said ‘Hi, I’m with Mick Jagger’s that show, which was awesome. So many great
with ‘Good Times,’ and that’s where the management, and Mick would like to speak musicians came through there.
inspiration for that bass-line came from. I was with you.’ I said ‘What? Okay!’ and made the
so inspired by what Bernard Edwards played. call to Mick, trying not to lose it. He was super- What an amazing career you’ve had. Any
He was iconic. People have trouble playing nice and asked me if I wanted to come down injuries after all these years on bass?
what he played, even now. and audition with the Rolling Stones. It’s been a little strange, but I’m grateful for it.
I do upper-body weight training as often as
How did the Waitresses gig come along? Pretty much the biggest gig in the world at possible, so I’ve never had any shoulder issues
I was playing with neighborhood funk and the time… from playing bass, knock on wood.
fusion bands, and one day a friend of the Yes! Darryl Jones was the guy they wanted, but
Waitresses saw me when I was walking down they were still auditioning other bass players. I What ambitions do you have left to achieve?
the street with my bass. He told me they were was given a list of songs they wanted to do and People ask me who I’d most like to play with,
looking for a bass player, so I called them and I went down to the audition. As I arrived, Garry and I always say that I’ve already played with
went down and auditioned. That’s how it Tallent of the E Street Band was leaving, you Wayne Shorter, and the rest of them — Miles,
started. know — it was that level of audition! I was like Monk, Tito Puente, Shirley Horn — are playing
‘What am I doing here?,’ but I did the audition the big concert hall in the sky!
Do you have happy memories of that band? anyway. I think Charlie Watts really wanted
Well, the Waitresses was my first paying gig. Darryl because he had played with Miles Davis. The B-52s will be touring the USA in the autumn.
They had this song, ‘I Know What Boys Like,’ Word came to afterwards that ‘Tracy is the one Info: www.theb52s.com, @TWormworth

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Jim Lea (left) in full flow alongside Slade frontman Noddy Holder

030
bassists
Jim Lea, Slade

Lucky Jim As the great Jim Lea of Slade returns to the fray with
a new EP, BP secures a rare interview to talk about his
memories of a career as a Brit-rock legend
Interview: Dave Ling

assing him in the street, The result is a six-song EP called Lost

P
you could be forgiven for In Space. With Lea once again performing
failing to recognize Jim all of the instruments, its contents were
Lea, and that’s just the way written before the cancer battle but recorded
he likes it. As the principal afterwards, save for his voice. “I can’t sing
songwriter of Slade, the now, due to the treatment which removes
bassist, violinist, and your testosterone and leaves you permanently
multi-musician was a driving force behind one exhausted,” Jim reveals. “Luckily I had some
of the most successful rock bands of all time. decent vocal takes from years ago.”
Their record of 17 consecutive Top 20 hits and Save for its Electric Light Orchestra-esque
six Number Ones during the 1970s is unlikely title song, Lost In Space is a hard-rocking set
to be surpassed. However, while two members that tips its mirrored top hat back to those
of Slade would have sold their grandmothers

“I just sat around in


for the spotlight — step forward Noddy Holder
and Mr Superyob himself, Dave Hill — by
comparison their rhythm section of Lea and
drummer Don Powell were shrinking violets.
It’s no surprise, then, that Lea maintained the garden and earned
a low profile since Slade’s final dissolution
in 1992, keeping himself busy by studying more money than ever
psychotherapy for 20 years, nursing his father
and an elder brother through dementia and
now looking after a housebound mum, in
before in my life”
addition to beating prostate cancer. Issued in
2007, a solo album, Therapy, saw him sidestep halcyon Slade daze. “I was the writer in that
Slade’s usual dyslexic terrace anthems for more band, and it’s easy for me to write songs that
thoughtful, considered territory, and there sound like Slade,” he states. “But I’ve got more in
were just two professional live appearances, the me than that. I want to talk about other, deeper
most recent being four songs performed last stuff and that’s why I made the Therapy album.
year following a Q&A session in the Midlands. I never stopped writing; you wouldn’t believe
Attended by fans from all over the world, the amount of material I have stockpiled. There
many of whom were reduced to tears by what will definitely be more albums from me.”
they saw and heard, the brief set proved to be a However, Jim is forced to admit that barring
revitalizing experience. a sensational recovery, his days as a live

031
bassists
Jim Lea, Slade

“I never stopped writing;


you wouldn’t believe the
amount of material I have
stockpiled”
performer may now be over and done. “I hope
not,” he comments, sounding surprisingly
chirpy. “My testosterone levels are rising but
I need them to go higher. What I don’t do is
think negatively about it all.”
Looking back, Lea admits to harbouring
regrets over a chain of incidents that began in
1983 when Slade were forced to cancel a US
tour supporting Ozzy Osbourne, sowing the
seeds for an eventual break-up.
“I developed liver disease so we had to come
home,” he relates sadly. “America just didn’t
get Slade, and it didn’t feel that they ever
would, but I wish we’d have finished those
dates with Ozzy — because little did anybody
know that the whole MTV revolution was just
around the corner.”
What happened next was almost comical
— a Californian band called Quiet Riot took a
cover of Slade’s classic 1973 hit ‘Cum On Feel
The Noize’ into America’s Top Five, singer
Kevin DuBrow rudely dismissing Holder as “a
poor man’s Steve Marriott” before their own
house of cards tumbled down. All Slade could
do was count the royalties and rue their bad
luck.
“Quiet Riot’s version was rather cabaret —
and I never, ever dreamed it would be a hit
in the States,” Lea laughs. “I just sat around in
the garden and earned more money than ever
before in my life.”
Lea is no tech-head. Because Slade tended
to use rented or borrowed gear throughout
their heyday years, he has no loyalty towards Jim with band mate Dave Hill back in the glory days of glam

a particular brand, though at first he used


a Gibson EB-0, followed by an exact replica left a band. It didn’t feel like a big deal. My Holder, whose foghorn delivery was so pivotal
made for him by John Birch Guitars after it technique was just to play extremely fast, and to their sound, is now 72 years old and has long
was stolen. He played these through a Laney I played octaves and used distortion to create since abandoned music for a broader-based
bass stack with two 4x12 cabs. Later on, two a style of my own. I was Stanley Clarke before career as an entertainer.
further Vox 2x15 cabs were added. During the Stanley Clarke.” “Some [unpleasant] stuff has gone on
80s, his arsenal was supplemented by a pair Slade’s legendary wall of sound was based between us, though that’s the same with any
of Martin bass bins “for good measure”. His upon him “blocking out the chords” in time band,” Jim reveals. “I never thought that would
violin had its own amp, “a Marshall 100-watt with a four-to-the-floor beat, Powell adding a happen, but it did. And yes, of course Nod’s
8x12 stack for top end.” shuffle on the snare drum. “We found it at the voice would be a problem — I don’t see how he
Oddly, for all of the kudos afforded him as a end of a rehearsal and it served us well down could do it again. That would be like expecting
bassist, Jim simply fell into the role. “I got the the years,” he smiles at the memory. “It’s all Mo Farah to run a marathon at 60. He could
job with The ’N Betweens [who became Slade] about the confidence.” probably finish one, but it would take quite a
because I didn’t play like a bass player,” he So many years later, a reunion of Slade is while!”
admits. “I started out as a guitarist and became most unlikely, it seems. Dave Hill and Don
a bassist through necessity when somebody Powell continue to tour under the name but Lost In Space is out now. Info: www.jimleamusic.com.

032
gear
Basses | Stenback 5, Mike Lull DA5, Elrick Evolution 5, Atelier Z
M265, Serek Sacramento 4, Dunlop Super Bright Nickel 45/125 and
Dunlop flatwound 45/105 strings
Effects | MXR M87 bass comp, M288 bass octave DLX, M82 bass
envelope, M81 bass preamp, MXR IsoBrick
Amps | Jule Monique preamp/M2500, Trickfish 1K and TF112 cabs,
Aguilar DB751 and GS112 cabs

Soulful Conversations Veteran bassist Darryl Anders and his band AgapéSoul return
with a long-awaited second album, Conversations — and we talk the low-end talk...
Interview: Rod C. Taylor

ew people in the bass Guitar Hero and Rock Band games. On top of success of Believe in Love, it’s not surprising that

F
world have as many areas that, for many years he’s been the bass product Anders followed up with a sophomore project.
of influence as Bay Area manager of Dunlop Manufacturing, putting Six years have passed between the two
bassist Darryl Anders. His his vast experience to work in researching and albums, but once you listen to Conversations,
gigging history includes developing a host of amazing bass pedals as well you’ll see it’s been well worth the wait. It’s
work with an impressive as Dunlop’s immensely popular Super Bright already reached number one on the UK Soul
list of artists: Tower bass strings. As such, he’s widely known and charts and continues to accumulate accolades
Of Power, Charlie Peacock, Booker T. Jones, appreciated by players around the world. around the globe. Recently, we got Darryl on
Zigaboo Modeliste, Ledisi, Martin Luther, and Most players would consider that enough the phone to chat about the record, his plans for
Bonnie Hayes, to name just a few. That alone success, but Darryl Anders is not most people. AgapéSoul, and what he’s learned through the
sets him apart from many other players, but Back in 2012, he produced his first neo-soul process of writing and producing his own music.
that’s hardly the extent of his contribution. record, AgapéSoul: Believe in Love, which
The mid-2000s found Anders working with demonstrated his prowess not just as a player, How did your band AgapéSoul come about,
a group of guys who sought to bring music to but as a writer and producer. The album did Darryl?
a new generation via a video game that would well here and in Europe, and the AgapéSoul For a while my friends here in the Bay Area
become a worldwide sensation. That’s right, band played numerous shows in and around were trying to get me to record some of my
Anders laid down many of the bass tracks to the its home base in the Oakland area. Given the own music, and because I was working on the

034
bassistsDarryl Anders

video games, I kind of lived in the studio for five


years, and that gave me the bug to record more.
I thought it would be more fun to do my own
music. I had a bunch of songs I had written a
long time ago, so I put together a band of some
of my favourite musicians to play them. The
first record actually started out as a demo for us
to get gigs, but once I started it, I thought that
with a little more effort I could put together a
complete record, so the demo became a record.

Six years has passed since Believe In Love.


How did that affect how you approached
your second album?
I think the biggest thing that I learned from
the first record is not to be afraid. With the
first record, I didn’t have a lot of confidence in
myself, so I was always getting other people’s
opinions on things. With this record, I had a Darryl with his bandmates in AgapéSoul

“It’s one thing to be Gumbo.’ How did you go about getting that
growl, punch, and deepness all in one tone?
and producer, especially as it concerns this
record. I originally just asked him to provide the

a great player, but I think tone is partially in the hands and


partially in the gear you choose. With this
intro for ‘Conversations,’ but as I was talking to
him about that on the phone, I just felt I should

it’s another thing to record, I wanted more of a midrange punch, so


I used passive basses and pushed everything
through the Jules Amp Monique all-tube
ask him to sing ‘Home,’ which I was thinking
about not including on the album. He said, ‘Send
me the song and I’ll see what I can do.’ He called
write great songs.” preamp. I was very concerned that the bass
operate as a support instrument on the record,
back and said he really loved it and wanted to
take his time delivering on the vocal, and you
supporting the song first, so I was after a tone can see that in the result. I can’t tell you how
clearer vision of what I wanted to do. I wanted that did that first and foremost. My secret important it is to me to have him on my album.
this one to be more muscular, to be more of a weapons were the Monique pre-amp, my
conversation with different musicians. Also, passive Stenback five-string, and my signature You also brought in bassist Oskar Cartaya for
with this record, I didn’t just use my own Mike Lull DA5 in passive mode. the string arrangement and performance on
songs. The first song we recorded was by the the same track. What was it like working with
singer in my band, Zoe Ellis. I’ve always liked Tommy Sims appears on two tracks, providing a fellow bassist in that way?
her songwriting, and that kind of shaped the a cool vocal intro to the title track and laying Oskar and I have been friends for a long time.
direction of the sound of the project. down a smooth lead vocal on ‘Home.’ What’s He was in Oakland for a show, and I played him
his connection to your music and this album? a rough mix of the tune while we were hanging
You have a distinct, funky, deep tone, which I’m a huge fan of Tommy’s work as a songwriter out. He said, ‘D, you should let me put strings on
you catch right away on the opening track, and producer. His Peace And Love album (2000) is this.’ I told him, ‘Man, I’m tired and out of money,’
‘Kite,’ and it’s also on full display in ‘Fruitvale the blueprint for what I’ve done as a songwriter but he insisted that I send it to him, so I did. He
sat with it for a couple of days then emailed it
back to me and that’s what you hear.

What advice would you give other bassists


looking to engage in the process of writing and
producing?
Pay attention to everything around you —
songs you like, styles you like. Pay attention
to tone and to arrangements, and try to find
your musical voice through that. Also, I have
a lot of musical influences, and not all of them
are bass players. In fact, most of my favourite
bass players are also great composers. It’s one
thing to be a great player, but it’s another thing
to write great songs. That’s a big deal to me. So,
look for those kinds of players. In the end, like
we always say, it’s all about the songs.

Conversations is out now.


The organic tone of the passive Stenback bass was the secret sauce on Conversations
Info: www.agapesoul.com.

035
036
bassists
Michael Rhodes, Joe Bonamassa

Open Rhodes
Blues maestro Joe Bonamassa returns with a new album, accompanied by the acclaimed
bassist Michael Rhodes. We meet Michael for the story of the blues
Interview: Ellen O’Reilly

ashville is a city synonymous with blues, country and own way of working. For instance, Dave Stewart of the Eurythmics is the

N
roots music, so it’s no wonder that session bass legend kind of guy who is very in the zone, and works through compositions in a
Michael Rhodes abides there. Having hopscotched very organic way, whereas Brian Wilson has much more specific ideas for
from Louisiana to Austin, Texas, Rhodes moved what he wants, so he tends to have everything worked out in advance.”
to Nashville in the early 1970s. There he built an As the sound of Redemption is predominantly heavy blues, I’m expecting
impressive musical resume, lending his services to some P-Bass action — and Rhodes doesn’t disappoint. In his arsenal of gear
studios throughout the city and playing for such artists he has an American Fender Precision ‘63 reissue, complete with D’Addario
as Dolly Parton, JJ Cale, the Dixie Chicks and Faith Hill. He’s currently flatwounds; a ‘59 custom P-Bass; an American Jazz pimped out with
holding down the low end for blues-rock icon Joe Bonamassa, a position he’s Seymour Duncan Thunderbird pickups and D’Addario roundwounds; and a
held since 2013’s Tour De Force: Live In London album. powerful 1964 Epiphone Embassy Deluxe. These basses are blasted through
“Joe is really great at blending hard rock and blues,” Rhodes enthuses. an Ashdown CTM 300 tube head and a pair of 8x10 Ashdown cabs.
“Every record, he just gets better. The fans will not be disappointed!” Rhodes uses minimal effects when touring with Joe, but he has a few
Bonamassa’s latest studio album, Redemption, is out in September and mainstays that he will be taking on the road. “I use a Dunlop volume pedal,
will be followed by an extensive European tour, including some highly- which is great for volume swells for certain tunes, and I also have a Dunlop
anticipated UK shows, before the band head back to tour the States. bass wah,” he explains. “I’ve got a Sadowsky preamp to even out the outputs
“He’s possibly the hardest-working guy in the world right now — he from the basses, as they’re all a little different, so it’s not about tone there,
never stops,” observes Rhodes, asked what life is like on the tourbus with it’s about volume. It just keeps it all even. I also have a Tech 21 Bass Boost
such a driven artist. “I spend about six months Chorus which I use to imitate a fretless bass

“music is like having a


of every year on the road, it’s a relentless sound, instead of having to lug around a
pace. Sleep is your best friend, so you’ve just fretless for the sake of one song.”
got to try and get some sleep wherever and After listening to Bonamassa’s previous
whenever possible.”
It’s always good to learn road hacks from a conversation, you have to studio albums and Rhodes’ own live work on
the double album British Blues Explosion Live,

listen for the most part”


busy bassist. Rhodes continues: “The trick to I ask who are his personal bass influences are.
getting by on tour is by looking after yourself “It was the pop stuff from the early 60s that I
— your health, your fitness, keeping yourself loved,” he tells us. “I’m not ashamed to say that
occupied — but you’ve also got to get out there and enjoy yourself. The worst I love pop! All the players on those records, guys like Joe Osbourne, Carol
thing you can do is be the guy or gal who spends all day in a hotel room.” Kaye of the Wrecking Crew, Ray Pullman, James Jamerson, Duck Dunn
And when we’re off the road? “My advice for up-and-coming players is and Tommy Cogbill… Tommy was a huge influence on me. Then there’s
to shut up and listen!” he chuckles. “Music is like having a conversation, you also the more well known guys like Paul McCartney, Jack Bruce and Jack
have to listen for the most part. The best session players are the ones who Casady of Jefferson Airplane, who is a powerhouse.”
are good listeners and can take suggestions. You have to leave your ego While listening to the double live album, I can’t help but notice a few
out of it. Do what is asked of you and don’t slow the process down, in other blues standards that were made famous by Led Zeppelin. “That’s another
words make sure that you’re prepared and all your gear is in good order.” guy — John Paul Jones!” says Rhodes. “He was the secret weapon of Led
As Rhodes has played with so many incredible musicians, I ask what Zeppelin, not only as a bass player but as an arranger and overall musician.”
it’s like to work with them in the studio. “The studio is a great equalizer,” In fact, Rhodes’ pocket playing with drummer Anton Fig is reminiscent
he says, “because the artists tend to be on their best behavior. The artist of Jones and the late John Bonham — the perfect blues rhythm section,
ego goes away, because they’re there to work, not goof around. Your job and the kind of backbone guitarists dream of. It’s this kind of solidity that
is to try to figure out how to stay in the game — like, what’s my method of gives an artist wings. With a bassist like Michael Rhodes behind you, you’re
communication here? You’re just feeling out the vibe.” always in safe hands.
Oh, to be a fly on the wall for those studio sessions… Rhodes compares
artists’ creative processes: “You get to see their natural abilities shine Joe Bonamassa’s album Redemption is out on September 21.
through, as well as their work ethic and habits. Each artist has his or her Info: http://jbonamassa.com.

037
gear

Gear
Introduction

B
ehold our world-beating bass gear review We’re not beholden to advertisers in any way
section, where we bring you the crop of and our conclusions are entirely independent
each month’s new, interesting or otherwise of the views of manufacturers, musicians and
relevant bass guitars, bass amplifiers, bass distributors.
speakers and bass effects. Occasionally we’ll When you read about a bass-related product
review a guitar effect if it’s particularly useful for here, you know you’re getting a sensible, balanced
bassists, and we’ll test recording equipment and review from an experienced bass tester. Value for
general accessories every now and then as well, money is at the top of our agenda in these cash-
but generally speaking, this zone is for bass- strapped times, but on the other hand, we believe
specific gear. in paying for quality.
We take the ratings that we give each item very Right, that’s enough from me. Remember, this is
seriously. BP is the biggest print magazine devoted just about the only place that it’s good to
to bass in this country, and we have readers have GAS!*
from all over the world, so we’re responsible Joel McIver, editor

reviews about our conclusions. If a product is worth your


investigation, we’ll say so; if it’s flawed in some
way, we won’t hold back from making that clear.
*GAS = Gear Acquisition Syndrome (a malaise
often suffered by bass players)

$700 40 $2470 44 $3360 48

Ibanez Bass Workshop SRH500-DEF Anaconda Ultra J4E Elite De Gier Lowlander

$5000
52 $1330
56 $300
58

Schönitz Ellipsis Eich BC112-Pro Combo Flattley Bass Effects


039
Ibanez
Bass Workshop SRH500-DEF
An electro-acoustic treasure from the dragon’s trove, or just clever
thinking on Ibanez’s part? Mike Brooks visits the beast’s lair
Professional Music Technology
www.ibanez.com $700

Y
ou may have noticed the number of semi- and electro-acoustic
basses on sale of late. Here at BP HQ, we’ve been relieved by these
modern instruments’ playability and modest dimensions; no
longer are they reliant on unwieldy, deep bodies for resonance and
delivery, as this new Ibanez illustrates. Equipped with an adjustable
piezo system, a chambered body and sleek, slimline dimensions, this
Bass Workshop-branded bass promises much. If acoustic basses have
seemed a little daunting in the past, have no fear — this bass could just
be the ticket if you want to join the unplugged brigade.

Build Quality
Resplendent in a Dragon Eye Burst finish, the SRH500’s mahogany
and spruce body looks typically organic, the F-hole on the upper bout
offering function as well as eye-candy. Its 55mm depth allows the
chambered body to resonate, giving it a woody sustain. The elbow
contour on the upper body edge is comfortable for the player, while
the contoured neck joint improves accessibility to the upper frets

040
gear
Ibanez Bass Workshop SRH500-DEF Price $700

Technical Specification
Price | $700
Made In | Indonesia
Color | Dragon Eye Burst Flat
Body | Mahogany semi-hollow body with spruce top
Neck | Five-piece jatoba and
bubinga neck, 34” scale
Neck Joint | Bolt-on, four-bolt attachment
Nut Width | 38mm
Fingerboard | Panga panga
Frets | 24
Pickups | AeroSilk Piezo system
Electronics | Active, 9-volt
Controls | Volume, tone, individual
piezo gain adjustment
Hardware | Black matte hardware, custom bridge
for AeroSilk piezo system, Ibanez machine heads
Weight | 6 lbs, 4 oz
Case/gig bag included | No
Left-hand option available | No

What We Think
Plus | Low weight, manageable
dimensions, tone range
Minus | Slight headstock bias
Overall | An exceptional way in to
electro-acoustic territory

BP RATING
Build quality
Sound quality
Value

041
gear
Ibanez Bass Workshop SRH500-DEF Price $700

alongside the deep cutaways. There is no contouring to the rear of the


body, but it still sits well against the player’s body.
This easily-managed bass weighs just over six pounds, with a minor
headstock bias that disappears when the instrument is put on a strap.
Both the body and five-piece jatoba and bubinga neck are finished in a
satin polyurethane coating that allows the timbers, and especially their
open grain, to be felt across the whole instrument. The neck profile is
to die for, like many other Ibanez models. You’ll enjoy the 19mm string
spacing, D’Addario flatwound strings and generally excellent setup. A
couple of fret ends were slightly sharp, but not finger-cutting.
The warm timber coloring and tasteful burst finish are complemented
by the black hardware and wooden controls for volume and tone, and
generally there is a simple, unaffected visual aesthetic going on. Sensibly,
the piezo gain pots are accessed from the rear of the instrument with a
medium-sized Phillips screwdriver.

Sounds And Playability


Unlike solid-body instruments, the unplugged sound of an acoustic
instrument is critical. Although its modest dimensions prevent the There’s some silky glassiness on offer, but its core sound is woody and
SRH500 from delivering a booming acoustic performance, it still sounds warm. The gain pots for each string are easily adjusted, but I found I wasn’t
impressive. The bass is naturally very resonant, and the flatwound strings able to assess what adjustments were needed until I was in a live situation.
help to keep its inherent brightness in check. If the tone is still too bright The SRH500’s sound felt strong enough in a quiet room, but certain strings
for your tastes, the tone control can reduce the resonant overtones. needed a push to cope with the sonic onslaught from a band setup.
There’s a touch of fretless ‘mwah’ from this bass, even with its frets
in place, so I’m intrigued to know how this would sound as a fretless;
indeed, a fretless model is available should you prefer that option. Conclusion
Plugged in, there is none of the boominess that can sometimes blight This is an impressive bass from top to bottom. It’s a real joy to play,
piezo-equipped basses, but the signal from the AeroSilk system is still exceptional value for money, and with four-string, five-string, and
strong, bold and powerful, with a smooth midrange, authoritative fretless options, there is something for most players here. I found myself
bottom end and sufficient top-end sizzle. using it for several gigs instead of my regular solid-body basses, such was
Although it’s active, this bass has no real need for multiple EQ options. its tone and general playing performance. Highly recommended.

042
Anaconda
Ultra J4E Elite
The sum of $2500 once bought the bass of your dreams – now it’s merely the starting
point for a custom instrument. But what if you could turn back time, asks Mike Brooks...
Anaconda Basses
www.anacondabasses.co.uk $2470

W
hen a luthier announces a new ‘affordable’ range of
instruments, with specific components and options, you
wonder if they will lack a little of the magic that makes said
luthier’s instruments so special. These were our thoughts
when this bass was presented to us a while back for our appraisal, as
it marked the launch of a new range of instruments for Anaconda
owner Andrew Taylor-Cummings. Of course, $2470 is still a lot of
money – but at a show where instruments costing in excess of $5000
can be found on every corner, we wondered how he’s brought it in on
budget. Read on and find out.

Build Quality
On first viewing, all of the familiar Anaconda hallmarks seem to be
in place: sumptuous timbers, a well-matched pickup and circuitry
package, high-quality hardware and tonal options to satisfy the most
animated control fiddler. The familiar Jazz-inspired offset body
shape uses an alder core, stained poplar veneer and a maple top
with seashell-like figuring. If that’s not enough for you, the roasted
birdseye maple neck and ebony fingerboard will send you overboard.
The neck is tightly connected to the body courtesy of the five-bolt
attachment, while the hand-cut brass nut, Luminlay front and side

044
gear
Anaconda Ultra J4E Elite Price $2470

Technical Specification
Price | $2470
Made In | UK
Color | Natural
Body | Alder with figured maple top and stained
poplar veneer
Neck | One-piece roasted birdseye maple, 34”
scale
Neck Joint | Bolt-on, five-bolt attachment
Nut Width | 39mm
Fingerboard | Ebony
Frets | 21
Pickups | Bartolini BC4CBC humbuckers x 2, with
series/single-coil/parallel switching
Electronics | Active, 9-volt Glockenklang three-
band circuit
Controls | Volume (push/pull for active/passive
operation), tone, middle, bass/treble (stacked),
series/single-coil/parallel selector switch for
each pickup
Hardware | Gold plated hardware, Hipshot
Ultralite machine heads, Hipshot bridge
Weight | 8 lbs, 4 oz
Case/gig bag included | Gigbag or Hiscox
Liteflite case
Left-hand option available | Yes, as a custom
order

What We Think
Plus | Excellent tone range and component quality
Minus | Nothing
Overall | As much of a ‘steal’ as a $2470 bass
can be

BP RATING
Build quality
Sound quality
Value

045
gear
Anaconda Ultra J4E Elite Price $2470

position markers and signature on the rear of the headstock indicate that
corners haven’t been cut, as far as we can see. The setup and finishing
are exemplary, while the Jazz-like neck dimensions and C-shaped profile
are extremely comfortable to get to grips with. With 19mm string spacing
and a pleasant continuity across the whole neck, there is much to enjoy
here. The oil-finished neck and satin polyester body provide an enjoyable
playing experience.
With gold Hipshot hardware throughout, the visuals work well with
the timber coloring, even down to the gold-colored aluminum bolts used
for pickup height adjustments. A simple control layout comprising of
volume, balance, mid, and stacked bass/treble controls are supplemented
with selector switches for series, single-coil, and parallel operation from
each of the Bartolini humbucking pickups. Should you need it, a passive
option can be activated by pulling the volume control.

Sounds And Playability


With a Glockenklang preamp and Bartolini pickups, Andrew has picked
an electronics package that provides definition and articulation with a fair and forthright tone for specific pieces of music. Clearly, this bass has
degree of presence. For those who wonder if there will be enough ‘oomph’ an extensive tonal palette — and although a little experimentation is
on tap, have no fear. This bass is no shrinking violet and its output is required to get used to the tones on offer, once you’ve got your head
mightily impressive. The core tone is naturally solid with a noticeable bark, around how best to use the options at your disposal, I’m sure you’ll agree
and the tonal performance is impressive across the whole neck. that you have a tone monster in your hands. I’m pleased to report that
For those of a slapping persuasion, a percussive thump is easily the passive option is decent too — this is no emergency backup option
obtained with little bother, and if rounded finger-tones or the tight but a fine-sounding passive display that works very well with no drop in
honky tones that keep a band bubbling along are required, you will find output.
those quickly. Both pickups have their tones based on their positioning,
while the EQ options provide clarity in the top end and extra power in Conclusion
The mid-EQ is well voiced and gives your delivery a little extra push. It looks and sounds as if Andrew has potentially hit a winning formula
The selector switches give you some extra options that you may find By restricting the options available to the customer, he may well have
useful. Turning either pickup into a single-coil unit instantly changes the found a useful, mid-budget combination. Sometimes, the custom route
tonal character; if you want those ever-familiar Jazz tones, you know can be overly complicated; after all, there is a reason why some of
what to do. Changing either pickup from series to parallel operation and the best bass sounds come from specific, tried-and-trusted material
vice versa is dramatic but useful, especially if you need a less robust combinations. Very impressive.

046
De Gier
Lowlander
The Thunderbird is a classic design — but not without its faults.
Has Sander de Gier come up with the goods to make T-Bird fans drool? Mike Brooks investigates
De Gier Guitars & Basses
www.degierguitars.com $3360

F
or many players the Gibson Thunderbird, hung low and ready to
rock, is the bass design. Used and abused by an intimidating rollcall
of legendary bassists, it’s an icon in our world — but for all of its
swagger, the design is not without flaws. Broken headstocks, neck
damage, balance problems and playability idiosyncrasies are just some
of the woes that plague the T-Bird faithful, so we were interested to see
what Dutch luthier Sander de Gier had in mind when he announced the
Lowlander model. This is not a copy of the original Gibson but rather
Sander’s reinterpretation, made after studying the measurements and
design of various original models. Has he pulled it off?

Build Quality
The Lowlander opts for Spanish cedar as its body and neck timber,
instead of the more traditional mahogany. This has meant that de
Gier has been able to circumvent the brittle nature of mahogany, as
well as keeping the overall weight of the instrument down — this is
no small thing, considering the weight issues of most Thunderbirds.
The through-neck design uses the cedar timber alongside walnut for a
smoother tone and greater stability in a nine-piece laminate.
Thunderbirds are renowned for their headstock and neck issues,
and de Gier has addressed these areas by incorporating graphite
rods through the neck and headstock for rigidity and reinforcement.
A falute, or neck heel, has been incorporated where the neck and
headstock cross over, adding extra strength at the weakest point to
reduce the chance of snapping. The string tension is also slightly
reduced due to a reduced headstock angle.
The body shape has been maintained, aside from a few cosmetic
changes. Although there is some headstock bias, there are certainly
none of the headstock dive issues that were so evident on the original
instruments. While a variety of colors and finishes are available, our
review example sports the traditional vintage sunburst that works
so well with the dark timber, as well as a white scratchplate, chrome
hardware, a rich rosewood fingerboard and mother of pearl position
markers (white dots have been used on the side of the neck).
The C-shaped neck profile is substantial, but it’s no less playable for

“The bass is loud and in your face


it. Contouring to the body was never a feature of the Thunderbird, and
while Sander has tried to make the bass as playable as possible, certain
aspects such as the elevated mid-body section have been retained. The

— as it should be — but it isn’t


selected hardware maintains the vintage vibe, while Hipshot machine
heads help to reduce the weight at the headstock.

Sounds And Playability so aggressive that it can’t be used


Equipped with a pair of Lollar T-Bird humbuckers, two volume controls
and a tone control, the Lowlander doesn’t have anything complex going for other musical styles too”
048
gear
De Gier Lowlander Price $3360

Technical Specification
Price | $3360
Made In | Netherlands
Color | Vintage sunburst
Body | Spanish cedar
Neck | Nine-piece laminate of walnut and cedar,
34 3/8” scale
Neck Joint | Through-neck
Nut Width | 40mm
Fingerboard | Rosewood
Frets | 20
Pickups | Lollar T-Bird humbuckers x 2
Electronics | Passive
Controls | Volume, volume, tone
Hardware | Chrome hardware, Hipshot Ultralite
machine heads, custom de Gier long travel bridge
Weight | 8 lbs, 4 oz
Case/gig bag included | Hard case
(custom made)
Left-hand option available | Yes, as a
custom order

What We Think
Plus | Balance issues solved;
strength of components
Minus | Visually, not an all-rounder
Overall | A very playable bass with some
impressive passive tones

BP RATING
Build quality
Sound quality
Value

049
gear
De Gier Lowlander Price $3360

on; getting stuck in is very much the name of the game. The difference
in tone between the two pickups is noticeable, but the output signal
is equally strong from either pickup. A warm response is almost
guaranteed from either unit, although the bridge-located pickup has a
certain honk that the neck unit can’t replicate due to its positioning.
The bass is loud and in your face — as it should be — but it isn’t so
aggressive that it can’t be used for other musical styles too. There’s
a strong passive performance across the whole neck, which means
smooth funk tones, thick dub tones and fat old-school slap sounds are
easily achieved alongside the raucous, grinding, rock edginess, which
is especially pronounced if you use a pick.
The bass balances very well, true to de Gier’s mission. Much
of this is down to the location of the rear strap button, which is
sensibly positioned halfway across the rear of the body. This shifts
the instrument’s hanging position to the player’s right, making it
more comfortable to play. This has the added advantage of placing
the player’s left hand in a more regular playing position, therefore
reducing the extended feel to the neck.
Thunderbirds often feel as though you’re fighting against them,
but the Lowlander has a very playable string height and even tension
across the whole neck. With 19mm string spacing, 40mm nut width
and a fine setup, this is an extremely playable instrument.

Conclusion “The Lowlander has succeeded in its


The Lowlander has succeeded in its mission to bring the T-Bird
design up to date; it retains the classic vibe but in a more enjoyable
package that requires far less effort than the original. Only time will
mission to bring the T-Bird design up to
tell if it will appeal enough to those players who’ve got $3360 to shell
out on a bass — but for those of us who hold up the T-Bird as the bass date; it retains the classic vibe but in a
design that outshines all others, it may seem like a wise investment.
A fine revision of the original. more enjoyable package”
050
Schönitz
Ellipsis
Innovative basses are a breath of fresh air — when you
happen to come across one, that is. Hywel Davies gets lucky…
Schönitz Guitars
www.schoenitz-gitarren.de $5000

A
coustic basses are a breed unto themselves, a fact well known to
German luthier Jens Schönitz after 20 or so years of experience
in the field. Having brought some of the most stunning
acoustics to the Bass Guitar Show in London, UK, last March,
he enthusiastically handed over his magnum opus, the Ellipsis, into
the mitts of this reviewer. On unlocking its Fort Knox-like hard case,
we instantly understood the reputation that surrounds Schönitz as a
master craftsman. This was to be a very interesting afternoon indeed.

Build Quality
Handcrafted in Germany, all the materials for the bass are locally
sourced and handpicked by Schönitz himself to ensure the finest
quality. The result is that the Ellipsis has the best of both worlds in
terms of its modern design and a traditional aesthetic. With a solid red
cedar top embraced by olivewood back and sides, the body is a mix of
both style and performance.
One obvious feature catches your eye — the deep cutaway. This
expertly shaped groove has apparently been engineered so that
you can have your cake and eat it too, as the inner bracing structure
within the body has been redesigned to accommodate it. The uniquely
shaped plum wood soundhole is equipped with its own mute and is a
little smaller than usual for a guitar of this size; again, this relates back
to the interior.
The details are all in place. Veneered olivewood is used for the
headstock, equipped with accurate and stable Schaller machine heads.
The set neck joint is firmly lodged within the guitar’s body, making
for a sturdy instrument.

Sounds And Playability


Unplugged, the Ellipsis it isn’t a belter by any stretch of the
imagination, but its volume will be sufficient for a small room. When
you mute the soundhole, you’re insulating all those mids and lows
within the body, allowing the lower frequencies to dominate; you’re
left with a fulfilling, if woolly, tone. Opening it up brings the bass

“Opening it up brings the bass to


to life, of course, and leaving tonal considerations aside, the volume
difference is extraordinary.
It’s outfitted with a passive pickup system, so a wide tone range isn’t

life, of course, and leaving tonal


what we’re expecting; still, if you’re looking to customize your model,
electronics can be added. Fortunately, the neck of the Ellipsis gives
you a helping hand when it comes to tone. Thanks to light maple fret
lines, the standard 34” scale is very manageable. As soon as it’s resting
in your lap, all you’ll be wanting to do is slide around that kingswood considerations aside, the volume
fingerboard for the rest of the day.
difference is extraordinary”
052
gear
Schönitz Ellipsis Price $5000

Technical Specification
Price | $5000
Made In | Germany
Body | Cedar top, olivewood back and sides
Neck | Mahogany, 34” scale, 38mm width at nut
Neck Joint | Set neck
Fingerboard | Kingwood, 24 maple fret lines
Pickups | K&K Sound passive transducer
Electronics | None
Controls | None
Hardware | Schaller tuners
Weight | 6 lbs, 4 oz
Case/gig bag included | Yes
Left-hand option available | Yes

What We Think
Plus | Superbly built, rich tones
Minus | EQ and tuner would be handy
Overall | An acoustic with much to explore

BP RATING
Build quality
Sound quality
Value

053
gear
Schönitz Ellipsis Price $5000

Conclusion
The Ellipsis has an unusual, intricate composition that does “trying to find any negatives with
everything in its power to give you the best possible sound. Other
than the seriously hefty pricetag, which is to be expected on a labor
of love such as this, trying to find any negatives with this bass is a
this bass is a challenge; it sounds
challenge; it sounds sublime and it plays amazingly, and that’s really
all there is to it. If you’re after an acoustic that combines superb sublime and it plays amazingly, and
engineering and an unorthodox look, this beauty has got you covered
and then some. that’s really all there is to it”
054
Eich
BC-112 Pro Combo
Combos are still proving very popular, with many players downsizing their rigs.
This unit from Eich promises a lot of bang for your buck, says Mike Brooks
Eich Amplification
www.eich-amps.com $1330

G
ermany’s Eich Amplification have become more visible in
the past year or so, with their current product range boasting
a fine array of amps, cabinets and combos for most playing
requirements — so where exactly does this relatively costly
combo fit in?

Build Quality
A good-quality combo needs to be transportable and fully featured,
offering plenty of power and providing a full-frequency tone range
without compromising the player’s performance. Loud doesn’t always
mean good, either. Taking these prerequisites into account, the BC-
112 Pro seems on first sight to have the tools for the job. Weighing in
at 32 lbs, the combo is sturdy and ruggedly constructed from poplar
plywood, but is easily transportable, the tough leather handle on the
upper surface making it easy to carry. Covered in black tolex vinyl
and fitted with metal corner protectors and a cloth grille, the design is
simple but effective.

The brushed chrome control panel is well laid out, combining a four-
band EQ and a Taste control for tonal coloration; this ranges from
a low-end growl with top-end attack, to a rich vintage tone with
low-end punch. With various inputs and outputs, the combo can
be extended with the addition of an extra cabinet via the Speakon
connection or the Line Out socket, while headphones and external
audio sources can be attached for private practice. Fitted with a 12”
speaker and an additional 4” tweeter, a good spread of frequencies
should be achievable despite the unit’s relatively petite dimensions.

Sounds
For such a small enclosure, the BC-112 Pro certainly brings the noise.
Even at low volumes with the tone set flat there is no lack of detail;
the bass sounds full, the midrange provides presence, and the top-end
is pronounced. Covering a frequency range from 40 Hz to 19 kHz and
providing an output of 500 watts, the amp’s tone remained intact on
both the passive and active basses we used for this review, setting the

056
gear
Eich Amplification BC-112 Pro Combo Price $1330

Technical Specification
Price | $1330
Made In | Germany
Power | 500 watts RMS
Impedance | 4 ohms
Features | Gain, Taste, lo (+/- 15dB @ 30 Hz),
lo-mid (+/- 12dB @ 250 Hz), hi-mid (+/- 12dB @
800 Hz), hi (+/- 15db @ 8 kHz), master, mute
switch, post EQ switch, ground/lift switch, voltage
selector, internal speaker off switch
Speakers | 12” TE12D ceramic bass speaker,
4” CT1 midrange tweeter
Dimensions | 450mm (H) x 440mm (W) x
350mm (D)
Connections | ¼” jack input, balanced XLR DI
output, Speakon output, 3.5mm auxiliary input,
3.5mm headphone output, ¼” jack send/return
FX loop, ¼” jack Line In input, ¼” jack Line Out
output, ¼” jack tuner output
Weight | 32 lbs

What We Think
Plus | Powerful, good tonal options, portable
Minus | Expensive compared to many
equivalent products
Overall | An impressive display for a combo
of this size

BP RATING
Build quality
Sound quality
Value

“Whether you’re a slapper, a tapper, a pick wielder or a master of


fingerstyle, you’re sure to get good mileage from this feisty little number”
gain sensibly, and pushing the master volume up. When we brought
a five-string into play, the amp rose to the challenge. The low register Conclusion
remained defined without any residual flappiness. This is impressive All in all, this combo is a very impressive unit indeed; all the features
for a single 12” speaker. that you’d want and expect from it are present and correct, and the
Adding EQ to the passive basses and using the Taste control to complete package packs a solid tonal punch. If you want an amp
provide a warmer, tube-like delivery made the added tonality very that has brute force to spare, but which you can feasibly carry with
obvious. Placing the combo on the floor in the corner of a room gives you on a subway while also wrangling your bass, you may have just
it some extra projection, and enhances its low-end performance. If this found a solution. Whether you’re a slapper, a tapper, a pick wielder
isn’t enough and you still need to hear the combo better, you can make or a master of fingerstyle, you’re sure to get good mileage from this
use of the metal rod that comes with the unit. This can be attached to feisty little number, so search one out, plug it in, and see what the
the underside of the combo, which allows it to be tilted backwards. fuss is about.

057
Flattley
Bass Effects
Say hi to a new pedal manufacturer with a range of bass-centric pedals. Let’s get down, says Brooks!
Flattley Guitar Pedals $285 to
www.flattleyguitarpedals.co.uk $300

J
udging from the number of visitors to Flattley Guitar Pedals’ All of the pedals are true bypass, handmade, and come with
stand at the London Bass Guitar Show this year, the Gloucester, a 12-month guarantee. If you’re looking for something with a
UK-based company is going places — and not just because their personalized feel then there are lots of customization options,
pedals look cool; they deliver some seriously impressive sounds including variations on the chassis design and graphics, halo plates
to boot. We took a look at four of Paul Flattley’s most popular pedals, and halo rings for the stomp switches. After this early thumbs-up, we
delivering four of the most widely-used sounds in bassdom. can’t wait to see more of Paul’s creations in the future.
The Filtron envelope filter pedal offers an auto wah-style effect
with high and low settings depending on the definition and tone you
require. With controls for Range, Attack, and Decay, a fine selection of
funky tones can be coaxed from this unit. For those who like a spot of
Technical Specification
bling, this pedal came fitted with a halo light plate that made the base Filtron Filter Sub-Octave Pedal
of the pedal light up when in use. Price | $285 Price | $300
Made in | UK Made in | UK
The Bass Valkyrie is an analog chorus pedal and comes fitted with
Features | Range, Attack, Decay, Hi/Lo toggle switch Features | Mix, Tone, Stabilize switch, Ringer
a flashing LED indicator to show the rate of the chorus effect. The Dimensions | 92mm x 117mm x 63mm switch, Bass Only switch
Blend control allows the player to manipulate the degree of wet and Power | DC 9v power supply Dimensions | 92mm x 117mm x 63mm
dry signal in the bass mix, and the effect itself is smooth and direct Power | DC 9v power supply
Valkyrie Chorus
without being over the top or removing definition from your bass
tone. Meanwhile, the Poison Ivy fuzz pedal offers fuzz tones from
Price | $285
Made in | UK
What We Think
the subtle to the extreme, and everything in between. How you wish Plus | Sturdy, great features, useful lighting options
Features | Depth, Blend, Rate
Minus | Some controls may feel slightly too big for
to drench your tone with fuzz is determined by the Blend control, Dimensions | 92mm x 117mm x 57mm
effective control
and the fuzz tone itself is impressive, whether you play with a pick, Power | DC 9v power supply
Overall | An impressive array of pedals with cool
fingerstyle or slap. Poison Ivy Fuzz sounds. Check them out!
The Sub-Octave pedal received a lot of interest at the show — and Price | $300
rightly so, with its fully-featured control set. Two useful options are the Made in | UK BP Rating
switch for the Sub-Bass signal only, giving you an octave-down bass-line Features | Volume, Attack, Blend, Fuzz Build quality
Dimensions | 92mm x 117mm x 57mm Sound quality
without any of the dry signal, and the Stabilize switch, which improves
Power | DC 9v power supply Value
the tracking for any basses whose signal may cause issues in that area.

058
Making you a better bass player
b a s s W
elcome to our brand-new tuition section, in which Bass Player
brings you the wit and wisdom of the very best teachers from the

tuition
electric bass world. We’re fortunate enough to have some serious
talent on the team, from world-class music educators to experienced
touring musicians, who between them have laid down the low notes
in every studio, club and arena in the civilized world. Note that we’ve
divided the columns according to Beginner, Intermediate and Advanced
level for easy reference. Whether you’re looking to improve your playing
technique, expand your awareness of theory, set up your rig to sound like
your particular bass hero or simply get on a bus and tour, we provide the
answers you need here. What are you waiting for? Dive in...
Joel McIver, editor

Kickstart your journey to the top of the bass Take the bass world by storm with the ultimate Now you’re rolling with theory and techniques, it’s
world here! tuition section time to hit the next level
Steve Lawson is the UK’s most celebrated solo Philip Mann studied at Basstech, completing Stuart Clayton has been a professional musician,
bass guitarist. Across 17 years of touring, and the London College of Music’s bachelor’s degree writer, and transcriber since 2002 and has worked in
42 solo and collaborative albums, he’s built programme in London, UK, secured a master’s almost every conceivable musical situation — function
up a worldwide audience for his looping and degree in performance and receiving a scholarship bands, cruise ship gigs, theatre shows and more. He
processing approach to bass sound. Recent to study under Jeff Berlin at the Players School spent four years recording and touring the world
collaborators include Beardyman, Reeves of Music in Florida. He then established himself with legendary Emerson, Lake & Palmer drummer
Gabrels, Andy Gangadeen, Tanya Donelly, as a busy electric and double bassist. Endorsed by Carl Palmer and has worked for the UK’s Bass Guitar
Divinity Roxx and Jonas Hellborg. He’s been Overwater and Vanderkley, he has appeared in the Magazine since its first issue. Since 2007 Stuart has
teaching bass for over two decades, and lectures West End in London, UK and across Europe. His worked as the Head of the Bass Department at BIMM
at universities and colleges across the globe. performance and session credits include recording at Bristol, UK, where he continues to teach the degree
Victor Wooten once commented, ‘Steve Lawson the legendary Sun Studios in Memphis, and working course. In addition, he has also worked as the Bass
is a brilliant musician. I’ve known about him with Greek fusion guitarist Tolis Zavaliaris and the Guitar Technical Specialist for the Rockschool exam
and listened to him for many years. He may not Big Band Metheny ensemble. He has featured as a board. Stuart now runs Bassline Publishing, which
be one of the most famous bassists – but he is solo demonstration artist at the Bass Guitar Show in publishes transcription books for legendary bassists
definitely one of the most talented.’ Who are we London, UK every year from 2012. Currently, he is a such as Mark King, Marcus Miller, Stuart Hamm,
to argue? member of the visiting faculty at the Players School Bernard Edwards, Stuart Zender and John Entwistle,
www.stevelawson.net of Music and lectures for Scott’s Bass Lessons. as well as an acclaimed range of tuition books.

steve lawson phil mann Stuart Clayton


Beginners 66 Intermediate 70 Advanced 76
060
tuition

bP Notation Legend
Introduction

The following is a guide to the notation symbols and terminology used in Bass Player
The Stave:: Most music written for the bass guitar uses the bass clef. The example to
the right shows the placement of the notes on the stave.

Tablature: This is a graphical representation of the music. Each horizontal line


corresponds with a string on the bass guitar, with the lowest line representing the
lowest pitched string (E). The numbers represent the frets to be played. Numbers
stacked vertically indicate notes that are played together. Where basses with five or
six strings are required, the tablature stave will have five or six lines as necessary.

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

Hammer-On and Pull-Off Slide (Glissando) Trills Vibrato


Hammer-ons and pull-offs are Slides are performed by playing the Trills are performed by rapidly The pitch of the note is altered by
shown with a slur over the notes. first note then sliding the fretting alternating between the two repeatedly bending the string up
Only the first note is plucked by finger up to the second note notes shown using hammer-ons and back with the fretting finger
the picking hand and pull-offs

Playing Harmonics Bending Notes

Natural Harmonics Artificial Harmonics Bend Bend and Release


The note is played as a harmonic Pluck the string while fretting the The note is bent upwards to the The note is bent up to the interval
by lightly touching the string lower note and placing the edge of interval specified: ½ = semitone, indicated then released back to its
above the fret indicated the picking hand thumb an octave full = tone original pitch
higher (the note shown in brackets)

061
front line
the The Metalhead
Daniel Firth

Cradle Of Filth bassist Dan on surviving the road


Earlier this year I went on one of the longest touring stretches of
my career so far. Apart from a couple of days at home in the middle
of it all, spent frantically washing clothes and trying to return some

Want to make it as a professional bassist? Listen up order to my life, I was on the road with Cradle Of Filth for four months
straight. It was a rewarding but sometimes grueling experience, which
as BP's world-class bass team reports back from reminded me of certain lessons I’ve learned as a touring musician, and

the tourbus
The Jazz Bassist
Ruth Goller

Consider your key center, says jazz expert Ruth


I started playing bass
in a punk band when
I was about 18, as
that was the music
I was listening to at
the time. Three years
later I discovered
jazz, as well as a
wider range of music
from around the
globe, which opened
many doors for me.
Playing a lot of jazz at
university and at gigs,

© Leonardo Treviño
I learnt a bit about
harmony, which as
a bass player was an
important discovery
for me. Suddenly
I understood why
certain things sounded good and could recreate them when I wanted to. also brought new ones to light. I’d like to go over some of these, though
Since then, I have mainly played alongside chromatic instruments, it will take more than one column to do so.
which has allowed me a lot of freedom when choosing which bass Firstly, there’s the necessity of looking after your instrument.
notes to play. However, in recent years, I’ve played with quite a few Most players don’t have the benefit of a guitar tech, so it’s good to
instruments that are strongly related to a key-center, or which only use have a basic knowledge of the techniques and tools needed for a
notes from certain pentatonic scales. This can be fun, although playing quick setup on the road. I found this to be absolutely essential when
a whole set with an instrument that only uses a single scale can make traveling between countries with varying climates, as the differences
you feel as if you’re playing similar things all the time, in supportive in temperature and humidity would often have a noticeable effect on
as well as soloing situations. Recently, though, I’ve been working with the action and how the bass played. This sometimes required hasty
a band-mate on something that could be a bit more harmonically truss rod adjustments, and I regularly found myself tweaking the
interesting, although she only has the notes of G major pentatonic on saddle heights and intonation as we traveled from blistering heat to
her instrument. snow so deep it once forced the cancellation of a show. This is all well
The key for me was to really listen to the melody and gradually and good with time in hand, but you won’t always have that luxury,
introduce different bass notes that are not part of G major pentatonic, and that leads me to the value of bringing backups with you on tour.
figuring out which of these add a different harmonic feel without If stage time is moments away and a vital piece of gear has been
obviously trying too hard to do something different. Of course, the dropped down the stairs or simply stopped working, having that spare
remaining notes of G major (or the Lydian mode) are an obvious choice, bass or extra power supply can be the difference between calamity
allowing me to add F# and C#, but a bigger challenge is, for instance, to and mild inconvenience. Once the gig is over, always remember to
add Eb to the equation, making the key-center move. wipe down your instrument. Leaving it overnight may not seem to
You have to be careful about the identity which you want your music make a huge difference at first, but it won’t be long before corrosion
to have when doing this; there is more tension the further you are sets in. Never leave instruments in storage for any length of time
from your initial starting point, in terms of sharp keys or flat keys. The without a good wipe down, and don’t forget to give your strings the
advantage, though, is that you have the power to completely change the same attention too. You’ll find they need to be changed less often, and
harmony of a melody by changing the bass note. Think outside the box! avoiding unnecessary waste on tour is a very good habit to get into!
www.ruthgoller.com www.cradleoffilth.com

062
The Alternative Rocker The TV Star
Michael McKeegan D av e S w i f t

Perseverance is the key, says Therapy? bassist Mike Swifty, the most-watched bassist in the UK, says hello
Welcome to my new column series for Bass Player Magazine! From
now on I’ll be sharing experiences from my 37 years as a professional
bassist — and hopefully helping you to understand how they’ll apply to
your own career. Let’s start with one of the greats...
In 2016 I was called to play double bass with Paul Simon on Jools
Holland’s TV show. The song was ‘Wristband’ from Paul’s then-new
album, Stranger To Stranger. I received the track the day before the
recording, immediately transcribed the bass part note for note, and got
to work learning it. During the first BBC rehearsal, Paul sang it exactly as
the record, but on subsequent run-throughs, he omitted some bars and
added extra ones. Now, the bass-line in the chorus is a two-bar phrase –
which meant that I had to keep skipping bars if I was to remain in sync
with Paul’s vocal. He wasn’t at fault, he was just jamming!
I thought, “This is going to be interesting. I’m about to play an exposed
and prominent bass part which I’ll need to constantly — and randomly
— adapt for one of the most iconic singer-songwriters of our time, and I’ll
be doing it on a live TV show”. No pressure... as expected, Paul ultimately
performed the song differently on the actual show, but as I’d already
played multiple variations, morale and confidence were relatively high! 
Although I hadn’t been certain exactly what Paul was going to do, I felt
capable and confident enough to trust my ears and instinct.
As a professional musician, I believe in doing as much preparation
as possible. I devote a lot of energy to listening to the track many
times, creating transcriptions, and then playing them accurately and
authentically — particularly if the artist I’m working with requires
exactly what’s on the original recording. Do consider applying this level
of preparedness to your own bass playing — it’ll definitely pay off.
Of course, my experience with Paul Simon was a career highlight, but
© www-ashleybird-com

the challenges involved reminded me that no matter how much prep


you do, you still have to remain open-minded, flexible, and adaptable.
It’s also important to have faith in your instincts and capabilities, and to
maintain an acute awareness of everything that’s going on when you
perform. We all get thrown a curve ball now and again!
www.daveswiftbass.com
I’m often asked how our band ‘keeps going’, almost 30 years into
our career. I’d be a liar if I didn’t admit it’s a struggle at times, but one
secret to our longevity is consistency. That's how we continue to make
enjoyable records and deliver tight, high-energy shows. Consistency
starts with your playing, so practice as much as you can at home and
with your band. If you’re not writing songs, then rehearse your set, even
if gigs are scarce. I occasionally Iike to revisit the original studio versions
of songs and re-learn them exactly as they were. You’d be amazed how
much a bass part can drift after you’ve been playing it for 20-odd years!
Next up is equipment. Keep that consistent as well and you’ll be
guaranteed a solid and reliable performance on tour. Once you’ve got a
rig that delivers the sounds you need, stick with it; don’t be tempted by
bright, shiny new gear if you’ve got something that works and sounds
distinctive. You also need to keep the songwriting consistent. Give each
new song the attention it deserves and let it develop naturally over time
– there’s no point in rushing things. If you have a batch of new songs, ask
yourself honestly if they’re good enough to develop further.
As for recording, pay equal attention to every song and explore the
possibilities offered by the studio. An album should be more than three
killer songs surrounded by lame ducks. In the short term you might get
away with it, but to achieve longevity you need to make every song shine.
Most importantly, keep your mindset consistent, especially on tour.
No matter how tired or burnt out by playing certain songs you are,
remember there’s a paying audience who will be hearing them fresh.
If you want to play the long game, this approach will benefit you as an
artist and keep listeners engaged with your projects.
www.therapyquestionmark.co.uk

063
Beginners’
steve lawson
Tutorial
Eminent solo artist and educator Steve Lawson brings us his ace beginners’ section.
Move from open to fretted strings like a boss...

L
et’s jump straight in! What we're aiming significant implications for what else we can do fingers up just enough that it would stop a
for in this debut column is the ability to with that note, so whenever we’re presented sponge ball rolling out of your hand. Keep all
move smoothly between open strings with that option, it’s worth trying both and your muscles relaxed, with as little tension
and fretted strings. You can try this for seeing which one works in context. For now, as possible in your fingers and wrist. Now,
yourself by, for example, moving between the we’ll stick to the E string. Example 1 shows without tensing up, lift your hand — still in that
open E string and the fretted G at the third what it looks like as notation and tab. position — up to the neck of your bass. This is as
fret on the E string. Let’s add another note to Which fingers should we use on our fretting relaxed a position as you can be in. Keep close
our sequence, and try incorporating another hand? Good question! Here we’ll use our to that, and return to it between passages that
finger from our fretting hand. first (index) finger for the G and our fourth require rigorous stretches.
Let's play the open E twice, then the G at the (little) finger for the A. You may have read If you need to move between notes along
third fret twice, then back to E twice and then discussions in this magazine and online the neck, try pivoting on your thumb before
up to the A at the fifth fret on the E string. about using one finger per fret, and there are stretching your fingers out too far. Keep your
This note is the same as the open A string (the times when that is advantageous, but at this thumb in the same place on the back of the
second thickest string), but we’re playing the point, it’s way more important to keep our neck, but move the rest of your hand along so
fretted version on the E this time so we can hand as relaxed as possible to avoid strain. your hand stays as close to this relaxed position
gain more control over what happens to the Here’s the way I ‘reset’ my hand position if as you can.
note. it’s all feeling a bit tense and labored. While So, when playing our E E, G G, E E, A A, our
Whether we choose to play a note as sitting down to play, rest your hand on your thumb shouldn’t have to move, other than to
an open string or a fretted one has some knee, palm facing upwards, and curl your pivot to make it more comfortable to reach the

“If you need to move between notes along the neck, try pivoting on your
thumb before stretching your fingers out too far. Keep your thumb in the
same place on the back of the neck, but move the rest of your hand along
so your hand stays as close to this relaxed position as you can”
example 1

066
Beginners’ Tutorial with Steve Lawson

Try to keep your muscles as relaxed as this

A. Get your hand back in that comfortable, which fingers we’ll use to fret the G and the rears its head. There are two useful solutions to
relaxed position on your knee, bring your hand B, our only fretted notes. Until now we’ve the problem of the E string ringing as we move
up to the neck so your index finger is over the used our index finger on the G, but that means to the A. One is the ‘rest stroke’ as described
G and your thumb behind the neck (still as we’re in the wrong position for the B. So let’s last month: Bringing your picking hand finger
relaxed as possible), and try the sequence again. shift our relaxed hand position a little towards to rest on the E string after it has played the A.
Refer back to last month’s column for how the the headstock, so that our middle finger is The other is shifting our picking hand thumb
alternation of the notes in our picking hand now over the G. That leaves our index finger onto the E string as we move across to the A
works. All good? Great. Let’s try incorporating pretty close to the B on the second fret on the string. If you’re currently resting your thumb
another string. The note sequence will change A string. We can cover both notes without too on the end of the neck for playing on the E
to what you see in example 2. much side-to-side motion, or stretching. string, that’s a very slight shift. If your thumb
Now, as we move across to the A string, But as soon as we start moving our bass-lines is on the pickup, it’s a little more involved, but
a couple of things need considering. Firstly, across multiple strings, the issue of muting still doable with practice.

example 2

067
Your resting position on the neck shouldn't involve any tension Fretting a G with your middle finger

example 3

A quick thought about working on left and Right, so we’ve got our two-bar bass-line that to move our fretting hand up or down the neck.
right-hand specifics: Work on them one at a time. goes E, E, G, G, E, E, A, B. It requires us to fret We find that comfortable position, and stay there.
While trying to get a particular series of events notes with our index and middle fingers, and we Now let’s put in quite a big shift so we can think
right, be it fretting notes at one end or shifting need to think about how we cross the strings about how best to handle that. See example 3.
your thumb to mute strings, you should look at with our picking hand, as well as how our thumb Now, for the first half, our hand is in position to
what your hand is up to. As you get comfortable, mutes the E string when we move across to play the G and the B with our middle and index
try looking away. Then once it’s comfortable, try the A. OK? Break it down, take it slow, and get fingers. For the second half we need to shift our
getting the other hand in sync too. Take your comfortable with it. whole hand up so that the D at the fifth fret on
time. This isn’t a race: Ease yourself into this stuff. Lastly this month, let’s add in our next fretting the A string can be played with our index finger,
Getting it right now saves you a whole world of hand challenge — shifting position. So far, none of and the E at the seventh fret on the A string can
frustration further down the line. the notes included in our lines have required us be played with our little finger. Note that the

068
Beginners’ Tutorial with Steve Lawson

Relaxed movement between D and E on the A string

“While trying to get a particular series of events right, be it fretting


notes at one end or shifting your thumb to mute strings, you should look
at what your hand is up to”
picking hand requirements for the repeated E, E, the same length, for a smooth repeated rhythm down the D. The only part of your fretting hand
D, E phrase are the same as they are for the E, E, with no surprises. that needs to keep contact with the neck is your
A, B phrase. The change in notes being fretted That requires us to be prepared, and wisely use thumb, and that should be slid lightly along as a
hasn’t changed the string-crossing/muting the time we have when playing open strings to guide – it’ll really help when you’re not looking
requirements at all. get our hand in position. This is a skill that we’ll at your hand to have some kind of physical
So, how do we move our hand up? First, note use a lot as we go on. Some famous popular lines reference point. If you have too much of your
that we have two whole beats in which to do use open strings as time for big hand position hand touching the neck as you try and shift it, it’ll
it. Those two open Es after the A-B are the gap shifts, including ‘Give It Away’ by the Red Hot get stuck, especially if your hands are sweating.
in which our hand can move to be readily in Chili Peppers and that incredible bass break in Go back to the relaxed position exercise right at
position to play the D. If we wait until just before the solo of ‘All Right Now’ by Free. the start of this lesson, and loosen your grip.
the D has to be played to start moving our hand, As soon as you’ve played the B, your picking See how you get on with that position
we’ll play it late, or just fluff the note by getting hand moves back to the E string to play the two shifting line, and next month we’ll look at
our hand in the wrong place. We’re aiming right open Es, and your fretting hand can move up to what those notes mean and what else we can
now for all the notes to be the same volume, and the correct position for your index finger to hold do with them!

069
Intermediate
phil mann
Tutorial
Session and stage veteran Phil Mann brings us the ultimate intermediate tuition column. Better warm up
those hands — it’s time to get your three-fingered plucking up to speed

T
he immemorial Robert Browning proverb claims that ‘less is conjunction with one another. This sounds tricky, but persevere and
more.' Well, perhaps it’s time for us to rewrite the rule book, you’ll make quick progress.
push our playing technique into the 21st century and tell the The main problem, of course, is that in the two-fingered technique,
manager of such proverbial phrases at Oxbridge University to your ring finger is not used to pluck the strings — so let’s take some
kindly get lost! small steps in the right direction and get it up and running (or rather,
This month, we will be commencing a study made famous by bass up and plucking). Try to maintain a consistent delivery of each pitch
virtuosos such as Billy Sheehan and Gary Willis — the three-fingered while playing through these rudiments. Ideally, there shouldn’t be any
plucking technique. Now, there are various similarities between this substantial difference in either the volume or tonality of each note,
method and the concepts employed by bassists such as Matt Garrison regardless of which digit is being used to strike them.
and Damian Erskine, but for our purposes, the quintessential difference This can prove tough to master, as not only does each finger produce
is the eradication of the thumb from your technique. a slightly different sonic texture, your ring finger may well develop
Our studies today will address the delivery of melodic information a mischievous mind of its own, and actually decide not to do what’s
through the index (i), middle (m) and ring (a) fingers, working in required of it. Rest assured we will soon tame this rebellious digit.

Example 1
As you can see in Example 1,
when delivering melodic
information using our three-
fingered technique, the delivery
pattern commences with the
ring finger (a), unlike many other
plucking techniques.

“remember that at all times, you must aim for clean, accurate technique:
even trickier now that we are looking at faster-moving rhythms”
070
intermediate Tutorial
with Phil Mann

Example 2
Our second example continues
from the first by introducing
an array of accented notes.
Throughout the study you will
be required to add emphasis to
one specific pitch, which is then
moved to a different position
with each measure. As long as the
rudiment being executed in the
right hand remains consistent,
this redeployment of the accent
will require you to continually
re-establish the associated finger.
This action will dramatically
improve the control and general
technical prowess you maintain
in your plucking hand.

Example 3
Example 3 continues to develop
the accented theme. However, in
this example, rather than simply
crossing the fundamentals in
an ascending and descending
manner, you’ll now be required
to skip strings while continuing
to maintain the articulation. The
habitual behavior that you’ll
encounter (and need to avoid) in
this exercise is the need to reach
for the adjacent strings with your
index finger. Ensure that you’re
still using your ring finger as the
lead digit, however weird it feels.

Example 4
Examples 4 and 5 explore two
chord tone-based melodic
structures commonly associated
with the diatonic intervals
that exist within the harmonic
minor. In 4 you’ll be attempting
to master a two-octave minor
triad, delivered using our
newly acquired three-fingered
methodology. Although the
formula used to produce a minor
triad always remains consistent
(it’s a major 3rd stacked on a
minor 3rd), the positioning in
which the notes are delivered
can vary. With this in mind,
try not to let the tablature in
the following example dictate
positioning to you, as discovering
your own path through the
notation will improve your long-
term skills.

071
Example 5
Extending three-note triad
vocabulary into four-note 7th
arpeggio voicings unearths a
number of new, and unexpected,
sonic qualities. Just as major
triads — usually labelled as
sounding ‘happy’ or ‘bright’
become more dissonant when
extended to 7ths, minor triads
also develop an unfamiliar
temperament. The following
exercise explores the minor 7th
arpeggio across two complete
octaves in the key of G minor.
Once completed, try transposing
the exercise into all of the
remaining key centers to ensure
fluency across the fretboard.

Example 6
Continuing with our three-
fingered, ‘a-m-i’ delivery pattern,
Example 6 introduces us to
the diatonic intervals of the
harmonic minor. Now, although
this structure is easily associated
to a minor key center, it's worth
acknowledging that both
harmonic and melodic minor
don’t actually belong to a key
signature, so we more commonly
use accidentals to notate their
spellings. As a result, in a number
of instances you’ll see both flats
and sharp accidentals in the
same measures of notation.

Example 7
Example 7 comprises fourth
intervals within the harmonic
minor structure. This somewhat
aerobic take on the scale is the
basis for our final examples. Have
a go at executing the following
four bars at an array of various
tempos and in a number of
fretboard positions.

072
intermediate Tutorial
with Phil Mann

Phil explains how, with dedicated practice, a smooth and controlled three
fingered technique can be developed

Example 8
Continuing to focus on triplet
subdivisions, the following
example addresses the harmonic
minor in a more melodic form.
Practice the exercise at a lower
tempo first, ensuring that your
right-hand technique is capable
before attempting to increase the
tempo. Slow and steady is the key
to success!

Example 9
This month’s final example
may be a little tricky, as triplet
subdivisions now appear with
individual pitches. It’s another
small step in the right direction
to achieving total mastery of this
three-fingered technique.
We’ll continue our studies
next month. Until then, keep
practicing and have fun!

073
Find Your Perfect Tone
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075
Advanced
stuart clayton
Tutorial
Bass tutor, author and publisher Stu Clayton takes us to advanced level. Ready to wield a pick in anger?

W
elcome to my new series on learning how to play with a pick. Scales Fourchestra and Eric Gales’ band. Both are well worth a quick
We’re going to be looking at advanced lines in the style of YouTube search if you’re not familiar with their playing. However,
legendary bass players such as Anthony Jackson, Carol Kaye, the early masters of the plectrum technique are indisputably Carol
Bobby Vega and Cody Wright. Strap yourselves in! Kaye and Anthony Jackson. Carol played on thousands of songs during
Last month we took a look at triplet rhythms and the various the 60s and 70s, working with big names such as Quincy Jones, Mel
complexities that they introduce when played with the pick. This Tormé, Joe Cocker, the Beach Boys, Glen Campbell, Count Basie, Ike and
month, we’re heading back to semiquaver-based lines, with the Tina Turner, and many more. Anthony Jackson in turn has played with
focus now on playing more complex, syncopated lines. Over the a huge number of well-established artists, including Al Di Meola, Chick
next few issues we’ll be developing further still in this direction, Corea, Billy Paul, the O’Jays, Chaka Khan, Steely Dan, Michel Camillo,
and learning how to incorporate rhythmic elements such as a and more recently the virtuoso pianist Hiromi.
strong backbeat and a continuous, percussive feel. Both Carol and Anthony are known for their musicality, their talent
Plectrum playing has enjoyed something of a resurgence in for finding just the right part for the song, as well as their skills with
popularity in recent years, thanks largely to players such as seasoned the plectrum. In this month’s column, we’re going to be looking at some
session bassist Bobby Vega, and Cody Wright of the Jonathan more complex grooves written in the style of these great players.

Example 1
Anthony Jackson’s best-known
bass groove is unquestionably
his line on ‘For The Love Of
Money’ by the O’Jays. He was
brought in by the writers to
add some spice to the track, and
came up with an unusual — but
perfect — part. Using a Fender
Precision bass and a Maestro
phaser pedal, he played a busy,
rhythm guitar-like part that
quickly came to define the song,
as well as earning him a writing
credit. This line is similar in
style to Jackson’s legendary part.
For bonus points, play it with a
phaser pedal.

“the early masters of the plectrum technique are indisputably


Carol Kaye and Anthony Jackson”
076
ADVANCED Tutorial
with Stuart Clayton

Example 2
This example is a complex,
syncopated funk groove written
in the style of Carol Kaye. The first
and third bars of this line will have
you skipping across the strings
using chord tones from a D7 chord,
then descending through the D
blues scale. The second and fourth
bars are turnaround figures that
put ghost notes and octave jumps
to good use.
When learning this line, it
would be a great idea to check
out some of Carol Kaye’s more
complex lines. Her part on Quincy
Jones’ ‘Hikky Burr’ (recorded with
Bill Cosby for The Cosby Show)
would be an excellent place to
start, as would her lines on ‘Slick
Cat’ and ‘Boogaloo’ from her album
Picking Up On The E-String.

Example 3
This example features a
challenging root-octave picking
pattern, similar to ideas that
Carol used in many of her more
complex lines. The blues scale
— another common fixture in
Carol’s lines — is used again in
bar 4. This is a tough exercise so
your picking arm will need to be
perfectly relaxed in order to play
this accurately.

Example 4
This example is another
funk/R&B-style groove that
makes use of ghost notes. The
second bar also features the use
of a double stop chord — two
notes played together. In this
case, the double stop notes are
C and F#, the seventh and third
of the implied D7 chord. These
notes are preceded by the B
and F a semitone below, which
then slide into the chord tones.
This particular double stop is
very common in funk music,
regardless of what technique is
being used.

077
Example 5
This example makes further
use of the double stop chord
from the previous example.
Note that the line on the second
half of the first three bars
is a conventional funk line,
ascending chromatically from
the major third of the chord to
the fifth. The blues scale is once
again put to use in the fourth bar.

Example 6
This is a more conventional funk
groove. Although the line is built
on an Eb7 chord, you’ll see open
D-strings being played as parts of
the fills in the second and fourth
bars. Although these notes
conflict with the chord tones (a
seventh of the chord is Db) they
work well as they are only heard
briefly. This technique of using
open strings in this way was
popularized by the legendary
Motown bassist James Jamerson.

Example 7
This groove is built around an
F7 sound and relies heavily on
chord tones, with ghost notes
being used to fill all of the
spaces between the pitched
notes. Remember that in these
examples, ghost notes are notated
on the string on which it is most
logical to play them, although
you do not have to stick to this.

078
ADVANCED Tutorial
with Stuart Clayton

Example 8
This final example is a complex
line that brings together many
of the elements that have
been covered in the previous
examples. It also makes use of
a ‘shake,' a decoration that is
similar to a trill. To perform the
shake in the second bar, play
the D at the end of the first
beat with your first finger, then
rapidly move it from side to
side, covering the D and D#. The
resulting sound is similar to a
trill but with a little more ‘grease.'
Shakes are commonly used in
funk music.
That brings us to the end of this
month’s instalment. Next month
we’ll be taking a look at the funky,
percussive style of plectrum
playing that Bobby Vega and
Cody Wright have made popular.
Until then, enjoy!

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the
Innovators
Every month Jim Roberts looks at the work of one of the great
luthiers or gear designers. This month: Kiesel Custom Guitars

I
Kiesel’s luxurious Zeus bass
n the late 1940s, when Leo Fender was In 2015, the Carvin Corporation was
building lap steel guitars and trying to dissolved and two new businesses were
get his new company off the ground, launched. The one that continued the Carvin electronics. Jeff emphasises that Kiesel works
a guitarist named Lowell Kiesel had name focused on audio gear, while Kiesel closely with its customers to produce what
a similar idea. He started the L. C. Kiesel Custom Guitars produced instruments under they desire. “Customers can even send their
Company to make and sell pickups, soon the direction of Mark and Jeff Kiesel. “We own wood if it’s one we don’t offer,” he says.
adding lap steels and amplifiers to his line. took the entire guitar business,” says Jeff. In addition to being actively involved
Within a few years, unhappy with the orders “All of the employees, the materials, the in instrument building, Jeff is the primary
coming in from his dealers, Kiesel decided machinery, the tooling — that whole side of designer for both guitars and basses. One
he’d be better off selling directly to his the business. I was close to my grandfather, so of his recent creations is the Zeus bass.
customers. Unfortunately, he was handcuffed I wanted to go back to the Kiesel name.” “It’s a single-cut, headless bass, bolt-neck,
by his dealer agreements — so Kiesel shut Kiesel guitars and basses are built in a lightweight, that’s available as a four-, five-
down the company and started over. He gave 21,000-square-foot factory in Escondido, or six-string,” he says. “There are multiple
his new operation the name Carvin, after his California, by a workforce of 55 employees. pickup configurations, including single-coils,
two eldest sons, Carson and Gavin. Annual production is about 4,000 instruments, humbuckers, and a big exposed-polepiece
By the mid-Fifties, Carvin’s catalogue had roughly one-third of them basses. As much pickup like a Music Man. Everything on the
expanded to include electric guitars, and in as possible, materials and components are Zeus bass is American made, and it’s been a
1959 the company introduced its first electric acquired from American suppliers. “I’m really successful model for us.”
bass. In 1970, Carson Kiesel decided that he committed to the made-in-America thing,” says Kiesel offers a wide range of top woods,
wanted to stop making instruments and focus Jeff. “It’s really important to me.” from quilted maple (AAAA is standard;
on electronics. His younger brother, Mark — The company has remained faithful to higher grades are available) to zebrawood to
Jeff Kiesel’s father — stepped in to take over Lowell Kiesel’s belief in direct sales. Kiesel buckeye burl, and there are dozens of solid
guitar and bass production. “If it were not for instruments are built to order, although it’s and translucent colors, from basic black to
my dad,” says Jeff, “our company would not be not a true custom shop. Customers choose lizardburst. For many instruments, Jeff does
what it is today. He is the real innovator, the from existing models — there are 10 different the wood selection himself. “Anything that’s
pioneer of a direct-to-player custom shop, and bass designs — but after that, there are many upgraded, I hand-pick it. Every single one,” he
the hardest-working guy I know.” options for woods, finishes, hardware, and says. He also does the hand-sanding required
for some of the more complicated finishes;
you can see him in action on YouTube.
Kiesel’s build-to-order system has
benefited from the internet, where customers
can easily see the models and finishes, and
social media, which enhances personal
interaction between Jeff and his customers.
“We have the Kiesel Guitars Facebook page,
and I have my own page, too,” he says. “ I don’t
know of any other company approaching our
size that is so accessible. I have a weekly live
session, for about an hour and a half. People
can ask me anything — even what kind of
hot sauce I like on my burritos. I really enjoy
it, and I like to remind our fans that I haven’t
forgotten, and will never forget, that they’re
the reason why we’re here.”

Info: www.kieselguitars.com.
Jim Roberts was the founding editor of Bass Player and also served as the magazine’s
publisher and group publisher. He is the author of How The Fender Bass Changed The
World and American Basses: An Illustrated History & Player’s Guide, both published by
Jeff Kiesel with his father Mark (left) and son Zak Backbeat Books/Hal Leonard.

082
9000

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