BassGuitar 130 May 2016

ESSENTIAL PRS, STONEFIELD, BREEDLOVE, PEAVEY AND AGUILAR BASS GEAR ON TEST!

d n i  B eh k  s  a M 

 t he JEFF AMENT PEARL JAM HARLEY FLANAGAN CRO-MAGS

lS ipknot’s ’ n a M V ‘ Ale x Ven tur ella e h t g n i n i o  j on d n a b t s e d mad ! e m i t l l a of 

JERRY SCHEFF ELVIS PRESLEY HORSE LATITUDES DARKGLASS JONATHAN NOYCE CHUCK GARRIC ALICE COOPER CHRIS FLINT BLOODY HEELS CHRIS BEATTIE HATEBREED www.bassguitarmagazine www. bassguitarmagazine.com .com UK £4.75 Issue 130 May 2016

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CONTENTS ISSUE 130 MAY 2016

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EDITOR Joel McIver, [email protected] SUB-EDITORS Kate Puttick, Nick Robbins TECHNICAL CONSULTANT Stuart Clayton CONTRIBUTORS Angus Batey, Bob Battersby, Duff Battye, Andy Baxter, Nick Beggs, Jeff Berlin, Jamie Blaine, Silvia Bluejay, Mike Brooks, Joe Burcaw, Dave Clarke, Stuart Clayton, Ben Cooper, Joe Daly, Hywel Davies, Jon D’Auria, Daryl Easlea, David Etheridge, Mike Flynn, Paul Geary, Ian Glasper, Joel Graham, Ruth Goller, Spencer Grady, Paolo Gregoletto, Hugh Gulland, Chris Hanby, Andy Hughes, Ken Hunt, Kevin Johnson, Steve Lawson, Phil Mann, Lee Marlow, George Martin, Michael McKeegan, Stewart McKinsey, Greg Moffitt, Chris Mugan, Douglas Mullen, Ellen O'Reilly, Franc O’Shea, Harry Paterson, Raz Rauf, Alison Richter, Steven Rosen, Kevin Sanders, Amit Sharma, Joe Shooman, Rob Statham, Scott Surine, Jon Thorne, Freddy Villano, Ray Walker, Alex Webster, Sam Wise ADVERTISING SALES Guy Meredith GRAPHIC DESIGN Steve Dawson COVER PHOTOGRAPH Tina K STUDIO PHOTOGRAPHY Eckie OPERATIONS DIRECTOR James Folkard ASSISTANT PUBLISHER Ruth Burgess PUBLISHER Wes Stanton SUBSCRIPTIONS 01926 339808, [email protected]

eavy metal just ain’t what it used to be – that is to say tinny, silly and preoccupied rather too much with loincloths. No, your modern metal is a serious form of musical expression, and it doesn’t get more serious than Slipknot, masked harbingers of doom from Iowa whose new bass player Alex ‘V-Man’ Venturella gets his first solo magazine cover this month. If you thought playing fiendishly twisty pick lines in front of stadiums packed with shrieking crowds was tough, try doing it wearing a mask that barely reveals your eyes. Somehow, Alex manages to deliver the goods on his Status Graphite bass, night after night: read and learn. Elsewhere in this frankly killer issue of BGM  we meet a record number of bass players, from Jeff Ament of Pearl Jam and Chuck Garric of Alice Cooper to Jerry Scheff of up-and-coming rock’n’roll hopeful Elvis Presley and beyond. We turn our attention to a range of new and exciting bass gear from PRS, Stonefield, Breedlove, Peavey and Aguilar, meet a host of new bass players in Bassically Speaking, debut a new Luthier column from Eve Guitars’ head honcho Douglas Mullen and take a look at life in the bass trenches with our acclaimed Front Line section. And that’s before we even get to the tuition section, a worldbeating eight-lesson virtual school of bass that has just one aim: to make you the bass player you’ve always wanted to be. Get to it, and we’ll see you in June!

Breedlove Solo Acoustic

48 PRS Gary Grainger 4 and 5

Nick Robbins gets stuck into two tone monsters from the PRS stable

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Stonefield 5

Mike Brooks road-tests a technological wonder, all the way from New Zealand

DISCLAIMER While Blaze Publishing Ltd prides itself on the quality of the information its publications provide, the company reserves the right not to be held legally responsible for any mistakes or inaccuracies found within the text of this publication. Bass Guitar Magazine is an independent publication and as such does not necessarily reflect the views or opinions of manufacturers or distributors of the products contained within. All trademarks are acknowledged.

56 Breedlove Solo acoustic

Joel McIver unplugs – aaaaaaand relaxes

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DISTRIBUTION Distributed to the news trade by Comag Magazine Marketing, West Drayton, Middlesex, UB7 7QE

Peavey Minimega and Minimax heads

Brooksy gets to grips with Peavey’s eagerly awaited new heads...

PUBLISHED BY

48 64 PRS Gary Grainger 4 and 5

Bass Guitar Magazine May 2016

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Gear

For all subscription offers and overseas prices visit www.bassguitarmagazine.com or call 01926 339808 Printed in the UK © Blaze Publishing Ltd 2016. All Rights Reserved. No part of this publication may be reproduced in any form, stored in a retrieval system or integrated into any other publication, database or commercial program without the express permission of the publishers in writing. Under no circumstances should this publication and its contents be sold, loaned out or used by way of trade, or stored or transmitted as an electronic file without the publishers prior written approval.

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Stonefield 1-5S Slimline

Joel McIver, editor

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Blaze Publishing Ltd. Lawrence House, Morrell Street, Leamington Spa, Warwickshire, CV32 5SZ Bass Guitar Magazine  is proud to support the Music Industries Association.

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Aguilar SL410X cab

...before plugging into Aguilar’s latest lightweight cabinet

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CONTENTS

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Tuition

 Jeff Ament, Pearl Jam

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Frontline

Four pro bassists offer you their collective wisdom. Get smart here

BEGINNER

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Harley Flanagan, Cro-Mags    e    e     L     d    a     h     C    :    c     i

72 Ellen O’Reilly

Beginner’s guide Ellen tangles with the triads. Yikes

7 4 Paul Geary

Our boy Geary shakes his rear end, Latino style

INTERMEDIATE

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Stuart Clayton

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Rob Statham

Looking Locrian with intermediate theory guru Stu

Alternating fingers with bass warlock Statham

ADVANCED

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Chuck Garric, Alice Cooper

Bassists In his first ever solo magazine cover, Alex of the mighty Slipknot reveals how he got the hottest (literally: have you seen that mask?) gig in metal

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Philip Mann

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David Etheridge

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Steve Lawson

Building melodic music with Big Franc

Divisions and subdivisions, explored by the fearless Mann

Continued soloing studies on double bass with Maestro Etheridge

38 Chuck Garric, Alice Cooper 40 42 Jonathan Noyce

Doug Castro, Darkglass Electronics Doug announces his long-awaited bass head!

22 Alex ‘V-Man’ Venturella, Slipknot

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Franc O’Shea

Back with a new side project, Beasto Blanco

To compute or not to compute, with experimentalist extraordinaire Steve

The Archive bassist recalls Jethro Tull and Gary Moore with Mike Brooks

Jeff Ament, Pearl Jam

The future looks orange for Jeff and side-project RNDM

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Harley Flanagan, Cro-Mags

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Jerry Scheff, Elvis Presley

Hardcore punk rocker plays Jaco Pastorius’s bass. Really, says Ian Glasper

44 Chris Flint, Bloody Heels Chris Beattie, Hatebreed 46

90 Classic Bass Albums

Hywel Davies heads Latvia-side to meet glam rocker Chris

Brooksy continues his new column with an appreciation of two classic Level 42 albums

New album, new danger, says our man Beattie

SUBSCRIBE

Joe Shooman meets the man who took care of business with the King

36 Horse Latitudes

Two bassists, one band... why the long face?

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Jerry Scheff, Elvis Presley

NOW DETAILS PAGE 82

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LOW

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 DOWN News and views from the bass world, collated by BGM’s team of intrepid newshounds

DARK MATTER

A band called D.A.R.K. has caught our att ention. Why should you care? Because the bass player is none other than Andy Rourke,

Order, came and went back in the mid-noughti es without doing much, which makes it double ace that the great man is back and in

sometime Smiths bass player and a man whose massive talents have been languishing in relative obscurity for far too long. The Freebass

bass business. D.A.R.K., it says here, is “an unlikely collaboration between Dolores

project, a three-bassist band in which Rourke joined Gary ‘Mani’

O’Riordan, Andy Rourke and Olé Koretsky. Dolores, k nown famously

Mounfield of the Stone Roses/Primal Scream and Peter Hook of New

as the singer of the Cranberries, has sold over 40 million albums and also worked with the likes of Angelo B adalamenti and Jah Wobble. Andy Rourke is best known as the inimitable bass player in one of the most important British bands ever, the Smiths; he has also worked with the Pretenders, Ian Brown, Sinead O’Connor and Badly Drawn Boy. The third and final member is Olé Koretsky, a little known songwrit er, producer and DJ based in New York.” So that’s the PR blurb – the question is, what’s the music like? Well, that question will be answered on May 27 when the Cooking Vinyl label releases Science Agrees , the band’s debut album. The band will also be touring Europe, with a date at London’s Bush Hall on May 18. We’ll be interviewing Rourke around that time, so keep your eyes peeled, and in the meantime check out ‘This Charming Man’ one more time on Youtube, there’s bound to be an isolated bass track on there somewhere. Info: www.darkofficial.co.uk

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Bass Guitar Magazine May 2016

JOHN THE UP AND UP John Patitucci recently hosted an online premiere of a new film, Back In Brooklyn , a documentary which covers the recording of his new album, Brooklyn. The doc includes interviews with Chick Corea, Herbie Hancock, Wayne Shorter and others and features live and rehearsal footage as well as the recording studio. “ Back In Brooklyn delivers what it promises: an incredible journey into the life of a legendary musician at the top of his craft,” said the filmmakers. “John Patitucci is as cool as his music, but more than that, he is a good guy who takes care of his responsibilities. John’s humility is completely incongruous with the enormous impact his music has had on jazz, the musicians around him and his worldwide fans.” Info: www.augustskyfilms.com/back-in-brooklyn

POLE DANCING Primus bassist Les Claypool has formed a new band with Sean ‘Son of John’ Lennon, calling it the Claypool Lennon Delirium and recording a debut album called Monolith Of Phobos . To be released on 3 June via ATO Records, the album takes listeners on a “stimulating psychedelic journey through the cosmos” says the press release, and based on the two protagonists’ previous work we’d say that’s likely to be a fair ass essment. “Sean is a musical mutant after my own heart,” says Claypool. “He definitely reflects his genetics, not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew.” Info: http://theclaypoollennondelirium.com

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THE LOWDOWN

LEMMY REMEMBERED A statue of the late Motörhead frontman – and perhaps the greatest heavy rock bass player

who ever lived – Ian ‘Lemmy’ Kilmister is set to be erected at his local boozer, the Rainbow Bar & Grill in Los Angeles, after a fan petition and crowdfunding campaign. The artist, Travis Moore, is creating the memorial for the cost of the materials only. It’ll take six months to build and will stand six feet tall, facial moles and all. Whether a Rickenbacker 4001 will be part of it was unconfirmed at press time. Damn, we miss him.

BLUE NOTES Aguilar has announced a limited edition run of Blue Bossa SL112 cabinets, set for

arrival in the UK as we speak via their exclusive UK distributors Barnes & Mullins. As you’ll know if you’ve skipped ahead and read our review of the SL 112 cab elsewhere in this issue, this nifty 250-watt unit is lightweight (25 lbs, or 11.34kg) and features a 12” neodymium driver, with a customdesigned crossover and phenolic tweeter with variable level control and frequency response ranging from 37Hz to 16kHz. The Blue Bossa variant comes in a blue finish and has a ‘Limited Edition 2016’ label on it to prove its elite status. Barnes & Mullins tells us, “The Blue Bossa received huge interest when previewed at the London Bass Guitar Show at the beginning of March, with retailers and customers particularly excited by its alternative colour scheme and now-famous lightweight construction.” Grab one for £860 before everyone else does. Info: www.bandm.co.uk

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Bass Guitar Magazine May 2016

CAT SCRATCH FEVER Black Sabbath bassist Geezer Butler has spoken out about the evil

practice of declawing cats, perhaps not the most expected of issues, but one which ties in with his general belief that animals should be treated kindly. He’s asked New York’s State Senate to pass a bill outlawing the practice. “New York is one of Black Sabbath’s favourite states to perform in because New Yorkers are smart, open-minded, and compassionate,” the great man has said. “I am particularly delighted to be coming back to the Empire State after learning from my friends at The Humane Society Of The United States that there is a bill before lawmakers that, if passed, would ban the practice of declawing cats.” He added, to reinforce his point: “Can you imagine having your fingers chopped off at the last bone? That is what the equivalent is for cats who are declawed. I urge lawmakers to remain steadfast in those characteristics I admire most about New Yorkers and support the bill to ban the declawing of cats.”

 R E VOLV E R 

 t h  we tell you the bass-line we can t stop listening  t 

 E v e r y mon THIS MONTH:

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o 

Air (aka ‘Air On The G String’) from Suite No. 3 In D (circa 1730)

Composer: J.S. Bach Old Johann Sebastian was the master when it came to bass-lines. Sure,

this piece has been overplayed and rearranged for cigar adverts and whatnot over the years (centuries, actually), but the beautiful simplicity of that unhurried descending line cannot be diminished. A good conductor will keep the pace serene rather than rushed, and if the piece is being recorded, a decent engineer and mixer will make sure that the double basses feature prominently, with a tone entirely absent of mids and top end. Make sure you see this piece performed by a massive German orchestra before you die.

Bass Guitar Magazine May 2016

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THE LOWDOWN

K TELLING Danish amp-makers TC Electronic have announced the new K-115 cabinet range as the newest addition to the K series. It features a 15” custom-made driver, 400 watts of power handling and dual 8-Ohm Speakon connectors. Fun fact: when BGM visited TC back in 2014, they gave us a sneak peek of the then-in-development K cabs, swearing us to secrecy. We must have looked more trustworthy than usual. Info: www.tcelectronic.com/k-115

BAYWATCH Every month, keen bassspotter Ray Walker brings us an online bargain. This Month: Spector Rebop 4 MM, £795 http://tinyurl.com/zxe4zcj Here’s an eye-catching little number that went for a sweet price: a Spector Rebop 4 MM bass. This alder body with trans blue stain matte finish and a three-piece, 34” scale, maple neck is sure to become a conversation piece for the lucky buyer. The black hardware is a nice touch including Spector’s own aluminum locking bridge. The pickup is an EMG passive dual-coil unit with Spector’s active TonePump tone controls. Interestingly, the volume control doubles as a push-pull control for switching between single or dual-coil modes. Gear-heads GAS up!

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Bass Guitar Magazine May 2016

BASSICALLY

SPEAKING Bassists reveal the tricks of their trade faster than a snapping D string

GEAR BASSES NÖE Jazz, Warwick Streamer LX 4, Warwick Thumb, Ibanez Affirma AFR 105F, Spector Forte5, Spector ReBop4 EFFECTS SansAmp DI, EBS Chorus, EBS OctaBass, EBS IQ, EHX Big Muff, Boss RC-50, Boss AW-3 AMPS EBS TD650 head, EBS Proline 410 cab, EBS Proline 300 (1x15T) cab  ©   S    t    u   a  r   t    J    a  m  e   s 

GEAR BASSES  Unknown German/Bohemian Rubner-esque upright, circa 1930 EFFECTS None AMPS Markbass Mini CMD 121P

REBEKAH BOUCHE, BOUCHE There are elements of rockabilly style slap in how I play,

occasionally. We don’t have a drummer so sometimes I veer slightly into that role. My first bass was a beast of a thing, from the 50s I think. I bought it from a friend who needed the cash more than the bass at the time, and he and his partner mostly shared hers anyway. Before that I was playing a washtub – oh, so actually that would be my first bass. A bucket and a broomstick. I’m still in love with GEAR thatMayones first Comodous, one, it Mayones has such attitude and it looks fantastic too: BASSES Jabba HHgreat 5 people assume it’s a lot is from thedelay, way looks. But EFFECTS Darkglass B7K, TC Electronic Ditto fancier Looper and Hallthan Of FameitReverb, Boss DD-7 OC-3 it octaver and TU-3 tuner, Line 6 G90 and G301930s relay wireless units my gorgeous Bohemian German beauty –which looks like a AMPS Eden WTX500 WT550 and heads, Markbass Tube 800 Rubner butorisn’t, we’re Little notMark quite sure who made it – is the one I use most for Bouche. It’s incredible, so rich and melodic, and so much bass for a relatively small body. I love them both. I’m most inspired by the people around me. I’m not really an in-my-room-headphones-on kind of girl. So I’d say par ticularly Fred Stitz (Smokey Angle Shades, Gipsydelica, Razorlight, Zazou) who absolutely means every single note he ever plays and just has impeccable taste – he can do so much, but never ever does too much. He also puts a massive amount of joy into his playing. It’s astonishing to watch. And Dakota Jim who sold me that first bass. He’s harmonically so surprising, but a gain, always gorgeous. Then there’s this guy Tom Wheatley who plays with some friends of mine. Amazing rhythm and he’s really into all that free improv stuff, exploring all the sounds the bass can make. He’s also mesmerising to watch – in fact , I need to go check out his solo shows, soon! I love playing bass because as a singer it ’s like having a second voice. In Bouche the bass is melodic, or as much of a harmonising voice as it is the groove, or holding it down. The physicality of the double bass, the sensuality of it: it’s difficult not to see it as human, standing there right up close to me when I play. I’ve never had that with any other instrument. We’ve just released our first album, So Long Solemn. We really want everyone to follow us down the rabbit hole for this one! www.bouchemusic.co.uk

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DAN ‘CLANKO’ CLARK, REBECCA DOWNES My bass style is no frills and in the pocket, with occasional flashes of,

er… other stuff. I used to play five-string basses almost exclusively: I was playing a lot of rock and convinced myself I needed the extra range for more power and grunt. But then I worked with a producer who hated fives and claimed they weren’t bassy enough, which at the time I thought was one of the most bonkers things I’d ever heard. I mean, by their very definition they’re more bassy, aren’t they? They go lower, so they must be… but the more I thought about it, the more it started to make sense: from a producer’s point of view, all a five-string really does is swallow up headroom. Depending on how much you use the low B-string in a track, you’ll end up being mixed out for the sake of a few notes, the fundamentals of which can’t even be reproduced by most bass rigs let alone domestic consumer hi-fi. So nowadays I mostly play fours, occasionally dropping to a D if needed. I do not slap, because I can’t! I hear a lot of people expounding the irrelevance and outdated nature of slap, waxing lyrical about how it doesn’t fit into their style and so on, and I can’t help but wonder if that’s just code for ‘I’m just not very good at it’. So I’ll come straight out and say it: I’m just not very good at it! Don’t get me wrong: I love it as a style. Marcus Miller is my favourite bass player of all time, and I love Mark King, Victor Wooten et al, but slapping just isn’t really my bag from a playing point of view. The secret of playing bass well is locking with the drums, specifically the kick. Understanding harmony, getting your head around the theory of music as much as possible. Not overdoing it, though: it’s great to have a good vocabulary of chops in your armoury, but if you spend all your time trying to shoehorn them in everywhere you’ll get on everyone else’s nerves and ultimately lose the gig pretty quickly. My favourite bass ever to date is one I made myself. I’ve always loved Warwicks and owned several over the years, but after getting into Marcus Miller I started to set my heart on a nice vintage Jazz. Then I was introduced to Tony Wright of Lakestone Guitars. I pitched him the idea of making me a custom ‘in the style of’. He didn’t seem too keen on the idea but had an interesting counter-suggestion: ‘You’re pretty handy, why don’t you make one yourself? Come and work in my workshop and I’ll mentor you through the process’. So I did, and two and a half years later ‘NÖE No. 01’ was born. I spent more on the materials than the cost of a new standard Jazz… it’s got Bartolini pickups, a John East preamp, lots of very heavy ash and maple, and sounds incredible – certainly more down to luck than judgement on my part. The only downside is that it weighs a ton! I use it all the time but if it’s a long gig I’ll probably switch to my trusty Warwick LX at some point. My main gig is with Rebecca Downes at the moment: I’ve been a regular fixture in her band for about 18 months now. Her second album, Believe , is getting lots of airplay and great reviews across the board. We had a few tours toward the end of last year and there’s more touring planned for this autumn which will be great. www.clanko.co.uk, www.rebeccadownes.com

stonefeld

GEAR BASSES Fender Telecaster, Gibson Grabber EFFECTS Boss ODB-3 AMPS Peavey VB2 valve head, 8x10 or 2x15 cabs

DAVE THOMPSON, RAGING SPEEDHORN My bass style is harsh and he avy, there’s no point messing around! I’ve never bee n into five- or six-string basses, never seen the point in them. Four strings all the way. My first bass was a Merlin Precision copy, I found it in a junk shop called Aladdin’s Cave and paid £25 for it. I really loved my Fender Aerodyne, it was a great sounding bass. My 1978 Precision was amazing too – both are sadly gone now. Paul McCartney is a massive inspiration. The Beatles had a major impact on me growing up: his style is his own, which I could always recognise instantly. If I could get the bass tone of any album ever released, I would choose Metallica’s ...And Justice For All . www.facebook/ragingspeedhorn

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GEAR BASSES Cort EVL Z6B, Cort GB5 EFFECTS SansAmp Bass Driver AMPS Ampeg SVT Classic with an 8x10 Ampeg cabinet, Ashdown ABM 500 with 4x10 and 1x15 cabinets

LUKE APPLETON, ICED EARTH I would describe my bass style as a combination of Steve Harris’s melodic fills with the power and attack of Cliff Burton. I have a very old school way of playing. For me, being the bass player is the glue between the guitar and the drums. I play a five-string bass, because I love having that low B for an extra dynamic in the music. It opens up so many more fills that I can play and can also make my bass-lines much more interesting. Playing in a band such as Iced Earth, with a lot of anthemic twin lead guitar melodies, the B-string really helps sustain the low end live and on the recordings. The secret of playing bass well is knowing when to underplay. I see so many bass players these days that basically mimic the guitar player, which is something I definitely do not do. The term I always use to describe how to play the bass is ‘less is more’. When I learn or write a song, I am always paying attention to what the kick drum is doing, as this is where I get my grooves from, or work out fills and beats with the drummer. It’s not about doing as many fills or as many notes per second as possible. My favourite bass ever is the Cort EVL Z6B. This was the first bass guitar I owned after I got my artist deal with Cort, and it still has a special place in my heart. I’ve played some of my favourite shows of my career with this bass and it still roars when I play it! I could go on and on about debating who the best bass player ever was, as every bass player has their own unique style of playing that I appreciate in many forms. Some good contenders would be Phil Lynott, Lemmy, Glenn Hughes, Billy Sheehan and Stu Hamm. If I could get the bass tone of any album ever released, I would choose III Sides To Every Story by Extreme. Pat Badger really nailed that bass tone. Iced Earth are currently writing a new album and are planning to record in the summer: we will be touring by the end of 2016. I also play in another band called Absolva, where we will be doing summer festivals this year all over UK and Europe. www.icedearth.com, www.absolva.com

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KELLY OGDEN, THE DOLLYROTS I’m a physical player so I don’t mind moving up and down the ne ck. As a lead singer/bassist and someone with a high vocal register I like to balance it out with the lowest, fattest, biggest tone I can get out of a bass, so higher string notes tend to work against that. Really, I could do with three strings on 90 per cent of our tracks. My tour bass for a long time was a 90s Fender Jazz that lost the G tuning peg after some onstage smashing… and I continued to play it for a couple years without really missing that string. We play straightforward rock’n’roll, heavily influenced by 60s pop and early punk. There’s not a ton of space for slapping. I play with a pick unless I drop one in the middle of a song, and then I play with a bloody thumb and index finger. Although I wouldn’t trade instruments for the world, I sort of play the bass like it’s a guitar. I need the sound of the pick attack and rapid downstrokes. My first bass was a 1979 Fender Musicmaster in bright yellow. It worked for our first album and tours but I can’t play it now: it’s just impossible to get a fat, deep tone unless you’re playing a heavy full-scale bass. After that I moved on to Fender Jazz and P-Basses, found Gibsons and never looked back. My favourite bass is my 2006 Gibson Studio Thunderbird. I had only played Fenders until I was gifted this beast after signing to Joan Jett’s Blackheart label. At first I was terrified of the thing. The tone was just so full and it was so much louder than t he Fenders. On the other hand, the neck is so easy to play compared to my P-Bass. At first I played it because I felt like it would be rude not to, but after about two shows I was sold. I toured with it until about a year ago and now only bring it out for special occasions or in studio. I don’t want to b e heartbroken if an airline loses it or som eone nicks it. I will forever look up to Lemmy, RIP dude. He was a master of playing bass with the pick attack usually reserved for guitar. When I saw Lemmy play I thought, ‘Yes! That’s it! That’s how I want to play’. Suzi Quatro is a goddess. Paul McCartney is a genius. Kim Deal, Kim Gordon… ‘the Kims’ showed me how to play not like a girl, but like myself. In a more punk vein, Krist Novoselic and Matt Freeman are up there. Krist managed to write such great counterpoint, heavy bass-lines that drove Nirvana’s songs. And Freeman is a crazy busy and technical player within a genre that doesn’t call for that. It is one of the main things that makes Rancid/ Operation Ivy stand out from the pack. Best bass player ever? Okay, I’m

GEAR BASSES Gibson Studio Thunderbird, Schecter Sixx, Luna acoustic, Fender Precision, Debutante Rock Candy Daisy Rock EFFECTS MXR M80 Bass DI, Rat distortion AMPS MESA/Boogie 400 and 2x15 Boogie cab

going to skip the usual ‘Best Bassist’ list and say Suzi Quatro. Not only was she a great bassist and front person, but she did it at a time when it wasn’t normal for a woman to be up there. When I think of the real pioneers of women in rock I think of her and Wanda Jackson. Our band is in freakout mode, getting ready for our third trip to the UK. Last time we were there we were supporting Buzzcocks. This time we’re supporting our pals Bowling For Soup. We’re also preparing to release our first live album and DVD,The Dollyrots Family Vacation: Live in Los Angeles  and a brand new EP called Mama’s Gonna Knock You Out . In other words we’re running around like chickens with our heads cut off. www.dollyrots.com

BILL BANWELL, KELIS, THE HOOSIERS, RAG’N’BONE MAN As a session bassist I tend to mould my playing style to the band or artist that I’m involved with at the time, as different genres call for different approaches. I like to keep it sounding solid but thoughtful as well. My personal playing is very much influenced by funk grooves and jazz fusion. I mainly play five-string basses: I love the sound of the B-string. There’s something about the lower octave which, when used in the right places, has a huge impact. The four-string comes out now and then on certain gigs. I tend to use slap only on bass solo occasions, it just sounds cool and is always impressive to your average audience. I was hugely inspired by Victor Wooten as a teenager, so practised the hell out of his chops and technique for a good few years. I believe the secret to being a great bass player is understanding groove and pocket, staying inspired, putting the practice hours in and keeping your mind open to a wide range of music genres. My first bass was a four-string P-Bass copy, a beginner bass package that came with a practice amp, lead and strap: it was a good bass to learn on and certainly did the job. My favourite bass to date has to be my custom Warwick Streamer Stage I, it plays and sounds incredible. My bass heroes are Victor Wooten, Jaco Pastorius, Marcus Miller, Hadrien Feraud and Tom Kennedy along with session greats s uch as Nathan East, Pino Palladino, James Jamerson and Jimmy Johnson. It’s really tough to say who the greatest bass player in the world is: there have been so many influential players. I’d say Jaco Pastorius definitely has to b e one of them, his playing was incredible and no one was doing any of that

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Bass Guitar Magazine May 2016

GEAR BASS Warwick Streamer Stage I, Warwick CV Streamer EFFECTS Boss OC-2, MXR Bass Overdrive AMPS Warwick LWA 1000, 4x10, 1x15, 2x8 cabs

stuff at the time. If I could achieve the bass tone of any album released it would have to be Erykah Badu’s Live  album: the tone that Hubert Eaves IV has is so smo oth and chunky. It’s also very high up in the mix, which is a rare treat. http://www.instagram.com/billbass88

GEAR BASSES Fender Jazz, Fender Precision, Ovation Celebrity CC074 EFFECTS Ibanez Tube Screamer, Boss DD-7 Digital Delay, Electro-Harmonix Big Muff  AMPS Ampeg SVT-AV, Ampeg B2R, Ampeg 4x10 or 8x10 cab

ALEX STIFF, THE RECORD COMPANY I take a pretty minimal approach to playing bass. Being in a

trio requires me to fill a lot of space and low end without getting too fancy. I also like the look and feel of beat-up, junky looking instruments, and those tend to be four-strings. I use strings that are really old, so slapping wouldn’t totally work with my set-up. I remember watching that video where bass legend Chuck Rainey explains his ‘secret’ slap bass on Steely Dan’s ‘Peg’. Essentially during recording, he turned away from everyone to hide the fact that he was slapping – but did it to a tremendously funky effect that worked great on the song. My first bass was a black Ibanez four-string. Me and my mom found an inexpensive bass for my dad’s birthday, so he could jam with me (I played guitar). He never played it, though, so slowly it moved into my room. My favourite bass ever to date is probably my current Fender Jazz. It’s been with me on every gig and almost every recording the Record Company has done. I keep meaning to get it worked on, as many of the upper frets don’t work. It’s got a really high action, and old rusty strings. I guess I’m worried it may lose its mojo if there isn’t any degree of struggle to play it. The greatest bass player that ever lived is Paul McCartney. I love the power of great songwriting, and his bass-lines tell a story of their own. The bass parts on Sgt. Pepper  are astonishing. With those vocal melodies, the bass didn’t technically have to say a whole lot, yet Paul finds a way to make the bass both interesting, and work with the song. Right before this band started, I was at a turning point in my life, where I didn’t think I could continue making music for a living. The idea of starting up a new band seemed hopeless, but something inside me found myself clicking on the ‘Musicians Wanted’ section on Craigslist, and the only ad that I answered happened to be from our singer Chris Vos, who was looking for a bass player. I met him and we eventually started the Record Company. Basically you have to put yourself out there if you want things to happen. We also made our current record with cheap instruments and recording gear in my living room, mostly from used items on Craigslist. It shows that you don’t need to have expensive, fancy gear to make music that s peaks to you. We have a new album, Give It Back To You, out worldwide on Concord Records, and we will be touring all over the US and Europe in the coming months. www.therecordcompany.net

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Bass Guitar Magazine May 2016

THE LOWDOWN The Luthier

Doug Mullen of Eve Guitars begins a new column on the design and manufacture of one of his ace basses

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elcome, readers, to my new regular column. I intend to focus on the theory, design and craft of bass construction, and everything else in between. There are literally dozens of ways to

build and construct musical instruments, and there is simply not enough room to cover the entirety of all the methods in this column, so I’d like to concentrate on how we do it at Eve Guitars, and hopefully to be informative about the practice of bass building. I’ve been building bass guitars for over 25 years, and intend to use this space to share a few observations and tips that I’ve discovered over the years. This will take shape by following an Eve build from start to finish, by inspecting each and every element and including wood selection, workshop techniques, hardware and finish. Firstly, I must state for the record that I’m entirely self-taught. In the early days, there was almost zero information on instrument construction. Obviously there was no internet to consult, so you had to either make an educated guess, or have some kind of formal training. Luthiers were like some mythical creatures you only heard about in low whispers in affluent playing circles, so they were difficult to track down and ask for advice. Therefore, I had to apply some logical thinking and simply make my best guess to how to make an instrument! I’ll be sharing my findings and thoughts with you here. In the early days it was very difficult to start a workshop. The

“

LUTHIERS USED TO BE LIKE SOME MYTHICAL CREATURES YOU ONLY HEARD ABOUT IN LOW WHISPERS IN AFFLUENT PLAYING CIRCLES ”

price of entry for tooling was extremely high, and to spec out suitable premises took an eye-wateringly amount of cash. It’s easy to forget, but unless you were in the building trade, it

was costly to buy high quality tools such as bandsaws, surface planers, thicknessers and so on. It’s all different now, with greater availability and wider choice, but back then, these machines were extremely expensive and only available to business trade. Thankfully, times move on, and it’s amazing what you can pick up from any decent DIY store or dedicated online supplier. Even eBay can be useful if you’re careful what you are looking for and buy from a trusted source. As I’m sure you all know, basses come in all manner of wood combinations and hardware choices. There is a lot of voodoo about what each one does and how they interact, and the ‘magical’ combination of materials for the ‘perfect’ tone. We’ll look at these as we progress through the stages of selection and hopefully clarify a few things, while giving you an insider’s view on what to look for and what to avoid, whether you’re a budding luthier or just a player who wants to know more about what goes on under the bonnet. Here at Eve Guitars we have a strong ethos in making the best instruments we can with soul and integrity. We are very passionate about the process, and believe love should be built in to each and individual instrument, from hands that believe in the true art and craft of instrument making. This column is intended to reflect this sentiment. We hope you will agree. www.evebass.com

Bass Guitar Magazine May 2016

017

THE LOWDOWN Rockschool

Applied Improvisation with

Rockschool Joe Hubbard examines blues and pentatonic workouts for bass

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elcome back! There are two main approaches to improvising over a set of chord changes. One of these, harmonic specificity, means playing on the chords in question, paying close attention to resolving on chord tones and the tensions of the specific chords you are playing on – while employing embellishments such as chromatic approach notes, diatonic approach notes and scalar passing tones. What most people refer to as the blues scale is actually called the minor blues scale. This scale and the minor pentatonic scale are closely related, because the blues scale has the same notes as the pentatonic, with an added chromatic note between the fourth and the fifth – see example 1. Another way to look at the blues scale is from the major perspective. The major blues scale is exactly the same as the major pentatonic scale, with an added chromatic tone between the second and the third. This resembles a double chromatic approach note from below the third – see example 2. The pentatonic and the blues scales share the same relative concept as the major scale and its relative minor scale. The C major blues and pentatonic scales have the same notes in them as the A minor blues and pentatonic scales – as seen in example 3. The method for applying the blues and pentatonic to the overall key area is s traightforward – major pentatonic and blues scales (along with relative minor) for major key areas, and minor pentatonic and blues scales (along with relative major) for minor key areas. If you are applying these scales over a song form such as the 12 bar blues progression (which is based on dominant seventh chords), you can also apply the parallel minor pentatonic and blues scales to outline the overall key area, like in example 4. Next month Nik Preston is back with another lesson – so stay tuned!

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Bass Guitar Magazine May 2016

EXAMPLE 1

EXAMPLE 2

EXAMPLE 3

EXAMPLE 4

The second approach is based on playing over a set of chord changes in relation to the tonic of the key area. This concept lends itself to applying pentatonic and blues scale ideas. Experienced improvisers will be able to move in and out of these two principles dynamically in order to enhance the shape and contour of their improvisation.

THE LOWDOWN The MU and Basschat

THE MU BASSCHAT Silvia Bluejay of Basschat toasts another great LBGS

Acronymically speaking with the Musicians’ Union

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t’s a long-running joke that our industry has too many acronyms and no one knows what they do. Near the top of the list, up there with PRS, ASCAP, PPL and BMI, is MCPS. MCPS provides £140 million worth of income to songwriters, composers and publishers each year. It has well over 26,000 members, and has b een around since 1911. But what does MCPS actually do? MCPS stands for Mechanical Copyright Protection Society. It distributes mechanical royalties, which are paid to songwriters, composers and publishers when copies have been made of pieces of music they have contributed to. Those copies can be a CD sale, synchronisation into a TV programme, a DVD or a download from a website such as iTunes. Streaming services make various copies in the process of music being played via their platforms. Acts of copying include when a track is buffered on the internet or sent via satellite, or if someone saves a stream to their laptop for offline playback. All of this applies regardless of who is singing your song – if someone else sings it and makes a copy, that’s another act of copying. To make a copy of a song, whoever wants to make the copy needs to buy a mechanical licence. That money is paid back to MCPS members, whether through publishers or directly to songwriters/composers themselves. Individual royalties can be really small, making them expensive for a publisher to collect. MCPS traces and collects all the tiny sums of money

“

MCPS STANDS FOR MECHANICAL COPYRIGHT PROTECTION SOCIETY. IT DISTRIBUTES MECHANICAL ROYALTIES, WHICH ARE PAID TO SONGWRITERS, COMPOSERS AND PUBLISHERS WHEN COPIES HAVE BEEN MADE OF PIECES OF MUSIC THEY HAVE CONTRIBUTED TO ”

on publishers and songwriters’ behalves. It might sound like a small and trivial job, but those small payments add up to give MCPS that £140 million turnover. For songwriters who don’t have publishers, MCPS licenses its members’ repertoire in one go via negotiated agreements with the record industry, digital services and broadcasters. You can join directly for £50. We can offer advice if you’re trying to decide between direct memb ership or working through a publisher. If you’re thinking about it, or have questions about any other aspect of your career (including those pesky acronyms), get in touch with your Musicians’ Union Regional Office via theMU.org/contact.

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Bass Guitar Magazine May 2016

A

nd so the most successful London Bass Guitar Show ever is over for another year, and I’m already counting down to next year’s. You see, I’m something of a veteran of music shows. Long before the existence of Basschat and my involvement as its representative, and indeed long before Bass Guitar Magazine   itself began publication, I started attending what was originally called the London Music Show – in 1994, held in Wembley. For me, the attraction of highly desirable music gear, coupled with the opportunity to see performances and masterclasses by many British and international stars, makes the LBGS irresistible. I have always particularly loved the masterclasses: they allow us to gain insights into the star players’ skills, ask them questions, shake their hand and catch a glimpse of them as human beings – not to mention take selfies with them! Also, by watching them play and being exposed to their infectious enthusiasm, we may become inspired to try styles, instruments or accessories that are new to us, or listen to kinds of music we may not have considered before. Since becoming a member of the Basschat community, I have loved meeting fellow Basschatters at the show who are also professional bass players, and who may be there as visitors, or helping out at exhibitors’ stands, or giving brief performances at their favourite gear manufacturer’s booth. It’s always good to put faces to screen names; after meeting a Basschatter in the flesh, talking, laughing, or arguing with them online feels much more real. Also, many of the exhibitors themselves are Basschatters, and usually regular posters, so the show allows us to see them in person, ask a myriad of geeky questions, watch demos, and be tempted to place an order (or three). Basschat had a small official presence at the 2013 and 2014 shows. On those oc casions we were sharing some exhibiting space with Bass Gear, the shop in Twyford, and created a Basschat Corner with some posters, some free goodies, and myself as a representative, armed with a camera and a large tablet (the electronic, not the headachesoothing kind, despite the slap-fest noise). Our meeting point at the 2013 show also hosted the London leg of our Basschat Charity Relay; our travelling bass, the BC Baton, was taken to the show by owner and relay creator James Ryan for Basschatters to collect, play in public, and pass on to others in town and in the rest of the country, raising money for Cancer Research UK in the process. In the years when no Basschat Corner had been organised, I’ve enjoyed being the forum’s roaming representative at the show. This year I was lucky enough to also be working for BGM , so I was proudly wearing two hats – in fact, two lanyards: the magazine’s press pass and Basschat’s exclusive lanyard with the black a nd orange logo. Many Basschatters write their online monikers and real names on the lanyard, then play spot-the-fellow-wearer. They could be se en everywhere: queueing for performances and masterclasses, ogling gear, chatting with exhibitors at the stands. Having said that, we also have incognito Basschatters, who attend bass shows but want to be still shrouded in mystery when posting on the forum. Yes, we think they’re being unnecessarily shy, but we still appreciate their involvement! www.basschat.co.uk

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Bass Guitar Magazine May 2016

BASSISTS

The Man  In The Mask 

Alex ‘V-Man’ Venturella, Slipknot

In his first ever solo magazine cover, Alex ‘V-Man’ Venturella tells Joel McIver the unlikely tale of how he came to join one of the world’s biggest metal bands... Photography by Tina K

O

n paper, Slipknot should

member, drummer Joey Jordison, also

How did you come to join Slipknot, Alex?

never have made it big.

left the band, in circumstances yet to be

It’s a funny one! I was teching with Mastodon

Their music is too

explained. In this period when the nine

in 2014 and we’d just got back from Australia,

aggressive for

members were reduced to seven, Slipknot

where we were doing the Soundwave festival.

mainstream acceptance,

were between albums, and a new rhythm

I was staying with [Mastodon singer and

their singer’s vocals are

section had to be recruited before a new one

former BGM  cover star] Troy Sanders’ brother

often bestial and their

could be recorded.

Darren Sanders in Atlanta, which was a party

image is enough to make most over-40s fill

Enter Alex Venturella, who – alongside

house with people coming and going. One

their drawers. And yet they’ve been selling out

new drummer Jay Weinberg, son of Bruce

night, Darren’s girlfriend got a call at one in

arenas since 2002, when their second album

Springsteen drummer Max Weinberg – was

the morning from [Slipknot guitarist] Jim Root.

 Iowa was a worldwide hit.

recruited into the band in 2014. At first his

I knew Jim because I toured with Slipknot

identity was concealed behind the mask

in 2008, teching with Coheed & Cambria. So

essentially it runs as follows. Nine musicians

You couldn’t make the Slipknot story up, but

that he wears, like his eight bandmates: but

she passed me the phone and he said, ‘Do you

from Des Moines, Iowa, coalesced into a highly

that didn’t last long: a bunch of distinctive

know any bass players?’ I asked if it was for

dysfunctional band after several years of

tattoos on his hands gave the game away.

Stone Sour and he said, ‘No – the other band’

faffing about in 1999, when they signed to the

A well-received comeback album was then

and I instantly said ‘I’ll do it!’ I gave him this

premium heavy metal label Roadrunner and

released in 2014 as a tribute to Gray, titled

whole drunken spiel about ‘I’ll give you some

released a self-titled album. For a couple of

.5; The Gray Chapter .

slap bass if you need it!’ and we were having a

years they rode the nu-metal wave, building

As Alex revealed to us before appearing

a fanbase who enjoyed their curious blend of

at the Status Graphite booth at the London

want to do this?’ and I said ‘Yes, I’d really love

death metal, samples and enraged lyrics, b efore

Bass Guitar Show back in March, he’s been

to do it’.

streamlining their sound a bit, dropping the

working in the music industry for years – and

‘nu’ from their metal and getting huge. Two

although that meant that his identity couldn’t

What happened then?

of them play in Stone Sour, a stadium-rock act

be hidden for long, it also means that he’s

Four days later the manager called me and

also from Iowa.

mentally equipped to handle what is known

told me to learn six songs. I thought, ‘Fuck that,

as one of the toughest gigs in metal. Reckon

I’ll learn more than that’ and sat down on the

when their bassist Paul Gray, one of their

you could play in that mask and boiler suit

couch and watched all of Paul’s old videos and

founder members, succumbed to a heroin

under boiling stage lights every night? No, us

DVDs, and crammed in as much knowledge as

overdose. Three years later, another founder

neither. Read on...

I could. Some people think it’s well easy to play

In 2010 Slipknot were rocked by tragedy

laugh. Then he said ‘Seriously, do you actually

Bass Guitar Magazine May 2016

023

Slipknot’s stuff, but there’s a lot of chromatic

off in another room to listen to it and asked

stuff going on and it’s a workout. I phoned

me to stick around afterwards and play some

James Leach, the bassist from Sikth, who is a

more. They wanted me to learn some new

good friend of mine, and said, ‘Dude, you won’t

stuff and jam to it: because I knew Jim, I could

believe what’s happening’. He told me I needed

ask him if I could try certain things, which

to downpick as hard as I could, so I worked on

they let me do. I came up with some bass-lines

building that up.

and it was cool.

What kind of reception did you get from

Was this a stressful situation?

Slipknot themselves when you first joined

After the studio audition, we were in a nice

the band?

big mansion up in the Hollywood Hills, so it

They flew me out to Sunset Sound studio in

wasn’t pressured. Everyone was chilled out

Los Angeles. They had a rig set up for me, but I

and relaxed. It wasn’t like playing classical

said I didn’t really like it and asked if we could

guitar in front of 200 people in an exhibition

change some things around, which I did. I had

hall, as I did when I was a teenager. I hated

Troy Sanders’ Zon bass with me and, being a

playing in front of people at those times, so

tech, I’d set it up myself to play as nicely as I

I was in my comfort zone this time. I knew

could. I said, ‘Right, let’s go!’

I could do it, and I was confident in myself. I suggested trying a few things out, and getting

Who else was there?

in the gear that I wanted to use, and finally

All the other eight were there. They said, ‘Go

they sat me down and told me that I was

on then, knock it out’ and so I did, doing what

going to play on .5: The Gray Chapter . In total,

James had told me to do and downpicking

I played on eight songs, and Jim and Mick

everything as tightly as I could. They all went

[Thomson, guitarist] did the rest.

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Bass Guitar Magazine May 2016

BASSISTS Alex ‘V-Man’ Venturella, Slipknot

"

 It wasn't until the curtain came up at the first Knotfest that I had a moment when I  realised 'Whoa  I've got a mask on'

"

Was there a ‘Eureka’ moment when you realised you’d joined one of the world’s biggest bands? All I was ever focused on was building my rig and making sure that my bass sounded good. I never thought about stage nerves, or anything like that: I only focused on playing and sounding right. It wasn’t until the curtain came up at the first Knotfest that I had a moment when I realised ‘Whoa! I’ve got a mask on!’

What have been the challenges of playing in Slipknot so far? The main learning curve has been learning how to rock out. It’s an hour and 40 minute set, so I’ve learned different techniques for headbanging and picking. My thumb used to hurt because I was picking so hard: it would expand and blow up, so now I pick with more control and less aggression. I’d notice it hurting before and so I’d have to play notes with less attack, and our front-of-house guy would notice it because I’ve got four outputs. I was still playing fine, but I had to work around it to get back to the level I’d been before. So I’m always on the technical side of things.

Did Slipknot ask you to play the same bass gear as Paul Gray did? No, they were like, ‘Whatever you feel comfortable playing is fine with us’.

So what basses are you using? We tried everything in the studio and recorded with a P-Bass, which sounded great. And then we did the same thing live, going through all the basses, trying the ones that Paul used and everything. Nothing beat the P-Bass, although as I said before, I tried Troy Sanders’ Zon, and used one in the studio. And for playing live, I auditioned different basses and went with a Status S2.

Are you a fan of headless basses, then? Headless has always been a thing for me, and now there seems to be a bit of trend for it coming back. I’ve always been a fan of Steinbergers, and there’s a great video of Dave Gilmour of Pink Floyd – who is my favourite guitar player – playing a white cricket-bat Steinberger guitar. But I’m equally happy with headed basses too.

Do you prefer four or five strings? For what I’m doing with Slipknot there’s enough notes on a four-string. They’ve kept the same tunings for over 15 years, so it’s not going to be any time s oon that they go any lower, or I’ll start using fretless basses or anything. Plus, if the strings get any thicker, they’ll start to annoy me.

What’s your background? I studied classical guitar, and did all the grades and all that malarkey, when I was a teenager.

Bass Guitar Magazine May 2016

025

BASSISTS Alex ‘V-Man’ Venturella, Slipknot

Being a classical guitarist and playing on a small scale, going to the bass was a bit of a stretch. And even when I’d learned to play bass, I’d never played it while rocking out or headbanging, and I have tiny little hands, so on my Status S2s I’ve gone for a Jazz-style neck and narrow string separation. What music did you listen to as a kid? It was Guns N’ Roses early on, and my dad was a big Pink Floyd, Black Sabbath, King Crimson and Hawkwind fan, so that was what I grew up listening to. From the age of 15 onwards it was Pantera and Metallica and Megadeth. I love Primus too: I saw them on the  Anti Pop tour and was blown away by the song

‘Lacquer Head’. I listened to that album and then their whole catalogue, and became a big Les Claypool fan. Is jazz your cup of tea? I love Al Di Meola and Allan Holdsworth and all those fusion guys, so the bass playing that went along with that was always high-calibre, but it’s only recently that I’ve gone out of my way to listen to Marcus Miller and the rest of those guys. I never really sat down to listen to dedicated bass players before that. Does the mask make it difficult to play? At first the mask was a bit weird, but the LEDs make the sides of the bass neck easier to see! Sometimes when I’m headbanging forward I can see the fret markers and I know I’m in the pocket. Despite it, people realised who you were soon after joining, because they recognised your hand tattoos. Well, I’ve been in the industry for a while, teching with John 5 and some other big names, so it was only a matter of time before people worked out who I was. Is it odd being a Brit in a band of Americans? I was taught by Lee Sollory, who is in the

started playing more and more bass on the

There’s always talk of me moving to America,

London Guitar Trio, until I was 16 or 17. I

road, because I was teching for people. I’d pick

but I’m from St Albans and grew up in

barely touched electric guitar before that.

up bass for an hour a day, using someone else’s

Watford and I don’t want to leave my friends

gear, and I’d learn a load of Steve Harris licks.

and my girlfriend. Also, the dudes in the band

When did the loud music come along?

Having the knowledge of classical guitar, I

come from all over America, so everyone

I picked up the electric guitar and started

knew the groundwork and how to get around

travels anyway.

playing in hardcore bands, but metal was

the bass. I just needed to s ound like a bass

something that I listened to rather than

player, instead of a guitarist playing bass.

played. I never learned anyone else’s music: I

So you’re in a good place? Definitely. If I’d got this gig as a random kid

always learned by reading music or playing

What have you found to be the best way to

who didn’t know anyone, it would have been

along. My first band was called Incoherence,

achieve that?

daunting, but I’ve done so much and know

but I never really knew anything about

By listening to music and picking out the bass,

so many people that when we play a festival

proper shredding until I left that band and

as opposed to listening to music and the bass

I can go into every dressing room and know

started Cry For Silence: that was when I

just being a background thing. A guitarist

everybody. I was in the industry but I wasn’t a

jumped into the deep end and went to eight-

might just play root notes on the bass, but you

famous bass player or from a big metal band, so

string guitars and learned all the techniques. I

need to be able to go around those notes rather

it’s not about me: it’s about seven dudes who’ve

played in Krokodil as well.

than just copying them.

been through a lot of shit and need someone to do service to what Paul did.

How did you get into bass?

How did you find switching from playing

I learned tapping licks on bass, and then

guitar to bass?

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Bass Guitar Magazine May 2016

Info: www.slipknot1.com

J a m m i Pearl Jam bassist Jeff Ament returns with a second album,  Ghost Riding , from his side project RNDM – and discusses the tricky task of taking eight basses on tour

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e’re all in different bands in

before going back as a three-piece band and

RNDM, so there’s a little bit

playing over the top of those arrangements. I’d

couple of other basses with me, that I haven’t

of planning going on

never made a record like that, and it was fun.

played in a while, and a couple of those ended up

whenever we release an

Orange is still the colour we use for the band’s

That said, every time I do a project I bring a

on the new record. There’s an old Fender P-Bass

album. We started this new

image and the stage set: we thought about

on a couple of things, and a Wal and a 12-string

record, Ghost Riding, about a

changing the colour, but everyone still liked the

on a couple of other sections.

year ago: it took us seven or

orange and we’d collected a lot of stuff in that

In my live set-up I have a Swollen Pickle, a

eight months to do in a couple of different

colour, so we thought we might as well continue

Strymon Flint reverb with cool slapback, and

sessions. We mixed it three times, adding and

to use it. We’re taking out almost all Orange amps

a Boss octave pedal which is great for making

taking away things each time – so it took a lot

this time, which we tried to get going on the first

that 12-string sound live, as I’m not taking the

longer to do than the first record, Acts, which

record, but failed to for some reason: we just

12-string bass out with me. We’re carrying all of

came out in 2012. That was cool, though, because

didn’t get it organised. Orange has been super-

our stuff on the plane, which makes taking more

we wanted to approach it a lot differently.

gracious to us, giving us a bunch of gear to play

than two basses out difficult. We’re on a budget:

on the tour: it’s a match made in heaven. The one

the first record and tour we did was a little higher

that our guitarist Joe Arthur and I had a back-

The great thing about making this record was

I’m using is a 200W head. Before that I was using

than where we should have been, and we lost a

and-forth discussion about the spirit records that

Fenders with orange tolex, and Ampeg cabs, also

bit of money, so we’re stripping it back a bit this

we leaned into for the new songs: we talked about

covered in orange.

time. The production will be more intensive live

the first couple of David Sylvian solo albums, and

For basses, I use my Mike Lull signature series.

this time though.

some of the weirder Bowie stuff and Peter Gabriel

I almost never play anything else. They always

I’m really missing the 12-string, I must say.

and Bauhaus and Talk Talk. Basically, songs that

sound great and there’s no dead spots in any of

It was originally a Hamer backup that I had. I

had space. So the new record star ted that way,

the necks. Sometimes I’ll play one of my older

wasn’t happy with the body, though, and it was

but then our instincts took over and we made it

Lulls and I’ll notice that a particular section of the

a neck-through design, so Mike Lull chopped out

all different. It started with a drum machine and

neck plays really great, or the pickups are cool-

the neck and kept the hardware and used one of

keyboards and us crafting simple arrangements,

sounding: I’ve got very fond of the Lulls.

his bodies in my kinda Thunderbird design.

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Bass Guitar Magazine May 2016

“

I’VE RANGED FROM GOING SUPER CRAZY WITH THE RACK AND SWITCHING BETWEEN AMPS, AND BEING A NIGHTMARE FOR MY TECH, TO SIMPLIFYING IT DOWN TO TWO AMPS

”

n g Over the course of Pearl Jam’s career, I’ve ranged from going super crazy

with the rack and switching between amps, and being an absolute nightmare for my tech, to simplifying it down to two amps which are on all the time. I used Dug Pinnick’s signature head, the Tech 21 Ultra Bass 1000, when we

were down in South America, which was great. It does what my Pearce amps have done for years, and it’s a bit more flexible and louder. Simplicity is really important for me nowadays, especially by the time the bass sound gets through the PA to the people. Sometimes you’re playing through too many pedals and the low end goes away, and it’s a nightmare for the sound guy. Only a couple of pedals work for me, really. In Pearl Jam I have eight basses out on tour. We have songs that are tuned down to D, Eb, E, then there’s fretless... and we change the setlist before the show, or even during the show, so the techs don’t have time to tune a bass – they need one right there off the shelf. Pearl Jam’s producer Brendan O’Brien is a phenomenal bass player. We butt heads sometimes, because he has a specific way that he hears bass: he really likes to hear a P-Bass or a Thunderbird through an Ampeg SVT. That’s what he likes. I’ll put on a new bass and he’ll say, “Hey, what just changed?” and I’ll tell him “I’m playing a fretless on this one, sorry. I know you’re not really fond of them!” But he always has great ideas: he comes from a prog and pop background. Nick Lowe is probably the beginning and end of where he wants bass to be – super-interesting playing and all the right passing notes. I broke out of that this time, because we didn’t use Brendan on the new RNDM album! I channelled different bass players, like Tony Levin and Willie Weeks and the bassist from the Meters. I love those guys, and hopefully you’ll hear their influences when you hear our new record. Ghost Riding is out now. Info: www.rndmband.com

Bass Guitar Magazine May 2016

029

BASSISTS Harley Flanagan, Cro-Mags

FULL MAG US hardcore punk legend Harley Flanagan looks back with Ian Glasper

F

ans of hardcore punk music, in particular the especially virulent strain hailing from NYC, will know and love the Cro-Mags, whose 1986 debut album, The Age Of Quarrel, was not only an

instant classic of the genre, but an aptly-titled release given the bitter feuding that went down between the band members since [Google it, it makes entertaining reading]. We’re not here to rake over old ashes, though, but rather to celebrate the new album, and often overlooked bass guitar brilliance, of original Cro-Mag Harley Flanagan. “I joined the Stimulators on drums in 1979, and we recorded two 45s,” recalls Harley, of how his musical journey began. “They were a pretty important band on the scene in the late 70s, and although they were a punk band, they were one of the foundational bands of what would become New York hardcore. By 1980 I started learning bass on the side, and when I recorded my first solo recordings with me on bass, guitar, drums

As well as Darryl from Bad Brains (“He was like

I loved Cliff Burton’s playing. There was a local

and vocals in 1982-83, I really made the switch

my big brother growing up”), Flanagan professes

guy, Hayward Peele, who was real nasty: sadly, he

to bass. At the time the only two bassists who

his biggest influences on the bass to be Geezer

was killed in a home invasion back in the late 90s.

gave me any guidance were Anne Gustavson, the

Butler and Lemmy. “I learned tons of Motörhead

And of course I love my friends Flea and Robert

bassist for the Stimulators, and one of my biggest

when I first started getting serious about bass,”

Trujillo, and there are always new amazing

influences, Darryl Jenifer of Bad Brains.

he says. “I learned the Ace Of Spades album back

bassists coming up: I really like Tal Wilkenfeld, I

“I love both the bass and the drums. It makes

to front. I loved Lemmy’s rhythm and attack: it

think she’s awesome. I love seeing new talent.”

me nuts because when I play drums I hear what I

was so locked in with the kick and snare – and

would be playing on bass in my head, and when I

all those power chords, I loved it. When we

new album, Cro-Mags , and you have to agree that

play bass I hear what I would be doing on drums

toured with them on Orgasmatron, forget about

he has one of the most violent, explosive styles of

in my head. So I’m always itching to play the

it. I watched every set they played and every

playing bass ever committed to tape.

other instrument, but it depends on the mood I’m

soundcheck. My ears are still ringing from that

in and the moment; I just like to play.”

shit all these years later.

Flanagan began on a Guild Starfire, but readers

“Sabbath was another band I tried to learn as

One listen to ‘I Come In Peace’ from Harley’s

“I was a drummer for a lot of years before I started playing bass, so I’m inherently rhythm conscious,” he reckons. “I don’t just play a bass

will be intrigued to learn that his next bass

much as I could from. I borrowed and stole so

part, I’m very percussive. And I listen to a lot of

originally belonged to Jaco Pastorius.“It was an

many runs from Geezer and so many drum fills

different stuff. I think most hardcore bassists are

Ibanez Musician,” he recalls, “but Jaco had messed

from Bill Ward: they were two of my biggest

playing with a limited tool set and are kinda one-

with the built-in preamp and totally fucked it up,

influences as far as rhythm sections go in rock.

dimensional. I don’t think I’m so great, I just think

so it had to be fixed. I never saw pictures of him

Of course, there is Rainy from Discharge who is

I’m a little more musical and rhythmic than your

playing it, but the story is that he got it in Japan

a monster: I love his playing, and Cronos from

average hardcore or metal guy.

from Ibanez: their people showed up at a gig and

Venom, who I think is so sadly underrated. He’s

gave it to him. He traded it to a friend of mine on

a good player and has written some really heavy

over the years, who I respect, and some of the

the Lower East Side for an eight-ball [an eighth of

riffs and great songs. I love the way he slides, it’s

players I look up to, give me props – so I guess I

an ounce] of coke, and I bought it off him for like

so rhythmic; he has a definite style all his own. I

must be okay or kinda good. But I know I’m not

100 bucks: I played it on the Age Of Quarrel record.

used to practise their songs too.

one of the great ones… I just do my thing and have

“All I know is, all the players I have played with

I used to run into Jaco in the neighbourhood from

“But there are many others that blew my

time to time; I have some great – but kind of tragic

mind. There are people I borrowed little things

– Jaco stories. They’re all in my book, which will

from but could never dream of trying to emulate,

Cro-Mags  is out now on 171-A Records.

be out this spring.”

people like Jaco, Stanley Clarke and many others.

Info: www.harleyflanagan.com

030

Bass Guitar Magazine May 2016

fun doing it.”

C   g   n i    k  a T  a s  s - n  o f  B  and y e l s e r P es – s i v l ver E n e o D w t n h h t o i J ed w and k s r p o i l l w i h s a P h m rry a st i e S s J , s n y a l a b l n y o h D c d i Wh Bob e an , n s o r o e o h T D ? e s h t an Cost ell o – eds of ot her mus i ci ti ons dr es amo ng hun ho o ma n as ks t he qu S e o J . f f e h c S

032

Bass Guitar Magazine May 2016

e    r  a  s   s  e 

BASSISTS Jerry Scheff 

I

magine a career spanning

left, and Mingus handed him a card and said to

six decades – taking in

tell me to call him if I ever got to New York. It

jazz, segregated blues

was four more years before I made it to NYC –

clubs, rock innovators, full

and I had lost the card by then.”

Vegas shows and

In the mid-1950s, electric bassists were thin

encounters with chain-

on the ground, meaning there was room for a

wielding punk rockers. The

young greenhorn to develop. Ever the student

amazing individual who can lay claim to this CV

of his new instrument, Jerry explains how

is Jerry Scheff, whose bass work is as varied and

sitting in with bands refined his style. “Most

innovative as his career has been colourful.

electric bass players have developed their parts

Now living in Scotland, Jerry tells BGM that

as an adjunct to the kick drum, thinking that

bass wasn’t his first instrument by any means…

locking with the kick drum should be their goal

“My older brother Bill played trombone in the

above all else,” he explains. “When I star ted

school marching band,” Jerry explains. “At about

playing jazz, the kick drum was mainly used to

eight years old, I told my mother that I wanted

accent and punctuate. I learned early on that

to play in a band as well. I didn’t know very

musicians can absorb many things at once:

much about instruments. To me, bigger was

you may have one feel of the melody and the

louder, and loud had always gotten me attention

distinct feel of the person or persons playing or

one way or another, so I was thrilled with

singing it.

the tuba.”

“Then there’s the feel of the rhythm

The next step was learning the bass violin

instruments, or as we called it then, comping

in seventh grade, and in junior high school the

instruments, such as piano or guitar. Or maybe

future bass player was exposed to many kinds of

background horns playing counter rhythms.

music. “My uncle Dean Miller was bandleader

All these different grooves were going on

Glen Miller’s brother, so my mother was exposed

simultaneously, with every player playing his

to big band music in her youth: we always had

or her version of what the feel should be. It was

a record player, lots of records and an upright

by trial and error that I learned where the bass

piano. At that same time Bill was completely

part should lie in the midst.”

smitten by boogie-woogie, rhythm and blues,

Rather than one central groove for the whole

and black music in general. This was the mid-

band, he realised that everyone’s individual

50s, and at age 13 I was already reading music

grooves were changing, depending on who was

and being exposed to many kinds of music.”

playing, the overall feel, intensity and song as a

Later, Jerry’s supportive mother took him

whole. “To sum up, only marching bands lock.

to experience sessions in jazz clubs near their

Concentrating on locking interrupts the little

home in Sacramento, where he saw the likes

voice within. I always looked for agreement.

of Lionel Hampton, whose bassist Monk

Agreement is where the magic happens.”

Montgomery was playing a Fender. “I thought the whole show was wonderful

This gives a freedom, he explains, that more than suits his own style of playing. “What it all

and I liked the bass sound, but I was too green

boils down to is learning to place the bass part

to really understand that he was blazing a

on top, below, in the middle, or anywhere in

new bass-playing trail,” says Scheff. Soon after,

between, wherever and whenever it is needed

another trip to see Norman Granz’s Jazz at the

to make the song work. That has always been

Philharmonic revealed Ray Brown as the first

my philosophy about playing music. No one is

true bass hero he would have.

right for everything. I have been wrong many

“All of the bass players I admired early on

times. I could have made a lot more money if I’d

were jazz and bebop string bass players. Charlie

tried to please everyone, but I stuck to my guns.

Mingus just killed me. I got to sit in with his

No regrets.

band at Jimbo’s Bop City in San Francisco in

“Technique-wise, I have always heard a little

about 1956-57. The house piano player, Flip

voice inside telling me where to go, and what

Nuñez, and the other house band musicians

to do. I have always been a player that played

persuaded Mingus to let the skinny white boy

off the top of my head. Sometimes I bit off more

get up and play a few songs.

than I could chew and had to fake it for a few

“I never got to actually meet Mingus – he

bars, but I found that the only way to advance

left before I finished sitting in – but a drummer

was to push myself to the limit. It has never

friend of mine was talking to Mingus before he

been easy for me to give up, so no matter how

“

MOST ELECTRIC BASS PLAYERS HAVE DEVELOPED THEIR PARTS AS AN ADJUNCT TO THE KICK DRUM, THINKING THAT LOCKING WITH THE KICK DRUM SHOULD BE THEIR GOAL ABOVE ALL ELSE ”

Bass Guitar Magazine May 2016

033

many blisters I had, or how fast the tempos

with a drumstick in my right hand, I would

to decide: stay in LA and do studio work,

were, my technique improved rapidly.”

use the tip of the drumstick to play eighth

study and practise my ass off, or investigate

notes on the closed hi-hat, ride, and crash

unknown territory in the roots of white

B-15s for the studio and Ampeg all-tube amps

Of his preferred amps – which are Ampeg

cymbals and so on. I had the drums set up

rock’n’roll and country music.”

with 8x10 cabinets live – he says: “My sound

so that the snare was within a drumstick

depends on setting the tube preamps to

length of the hi-hat, so I could use the butt

rock star there ever has b een – Elvis Presley.

distort at a certain volume. I’m not a passive

end of the stick to play a backbeat, or other

Following his successful 1968 comeback,

player. I don’t let the bass and amp do the

cross stick patterns on the snare or the

Presley wanted to get a band together to go

talking. I play very hard at times and I want

snare rim.

on the road for the first time in more than a

the tubes to spit when I do it. On the other

“Then, I memorised the drums and bass

This led to a call from the biggest white

decade. Jerry duly got the job with the TCB

hand, I want a warm sound when I play

together for each song until they became

band – short for ‘Taking Care of Business’,

softer. In other words, distortion gradually

automatic and I didn’t have to think about

Elvis’s personal motto at the time.

increasing from none, to a lot, depending on

them any more. Then I could concentrate on

how hard I play. My style of playing is like

the trombone parts, or solos, or even vocal

was getting into. I really liked him and

strangling a chicken or wringing the dirty

harmonies and add them to the mix.”

his singing, and the fact that he seemed

water out of a dish rag. Controlling all this

At times there were added distractions, he

“At that time, I had no idea what I

willing to let me do what I wanted to do.

only comes with time and understanding,

recalls. “We once played in a strip joint. We

I was ready to see how it would play out

but it becomes second nature after a while.”

were set up behind a bar and the girls danced

for a while,” he explains. “Also, there were

on it. I had to accent the strippers’ moves,

no demands made on me as far as playing

sending waves through an already jazzed-

which required me to follow them with my

with anyone else I chose to. I could do his

up scene, it seemed that everything was

eyes. An older couple came in and I heard

gig and then be off to other things. I wasn’t

possible. For Jerry, however, that meant

the woman say, ‘Look at that disgusting

tied down to him. Of course that works

pushing things even further than anyone

drummer! He can’t take his eyes off those

both ways, but I had enough confidence in

else and playing trombone, electric bass,

girls...’ Ha ha!” We believe you, Jerry.

myself at that time to make that a perfect

With the first mad rush of rock‘n’roll still

drums and the odd vocal line in the same

Session work started to pile in for Scheff,

arrangement.”

band – at the same time. The other musicians

who had been turned on to new players

As Scheff explains in his ace 2012 book,

were pianist Craig Evans and Mexican

like Scott LaFaro, Stanley Clark and Jaco

Way Down: Playing Bass With Elvis, Dylan,

percussionist Gil Palacio, and the trio would

Pastorius, who he says were “taking bass

The Doors And More, Presley was definitely

play the jazz and pop hits du jour. Jerry

playing to new places.”

the boss.

makes it sound simpler than it was, of course. “Let’s assume that the song is a bossa

“I knew that I would have to devote my

“Elvis picked or personally okayed the

whole life and really get serious if I was

members of the TCB band. Therefore, no

nova. I first made up a simple drum groove,

going to catch up with those guys, and even

one dared fuck with one another while

playing kick and hi-hat with my feet. Then

then, who knew how far I could take it. I had

he was alive. That included [Presley’s

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Bass Guitar Magazine May 2016

BASSISTS Jerry Scheff 

entourage] the Memphis Mafia and the background people. If Elvis chose Donald Duck to play bass, everyone better be pretending to love him. I personally didn’t care what anyone but Elvis thought about what I was doing,” says Jerry of the famous TCB band that lit up Presley’s Vegas years. With Jerry’s increasing interest in the outer reaches of rock apparent, he found himself doing what nobody had ever done before – adding bass guitar to an LP by the Doors. The results were the LA Woman album, released in 1971. “Well, Jim [Morrison, the Doors] wanted me to play bass on the album. He heard me with Presley. I’ve read in interviews with the other guys that t hey were hoping I would help light a fire under him, because he was burned out. Ray Manzarek [their keyboard player] was always quick to claim most of the bass parts on the album as his, but it wasn’t that cut and dried. For instance,

In 1973, Scheff took two years off from

these, he treated the bass more than he

one bar out of the whole ‘Riders On The

the TCB band, returning to the band for

ever had done before, creating some unique

Storm’ bass part was Ray’s. It’s the seminal

the depressing end. Jerry has his own take

sounds and putting together all his outré

bass-line of the album, and I wish I could

on this: “I personally believe that there

influences, along with the knowledge gaine d

say I came up with that. However, the

was no way out for Elvis. I also believe,

over a career of some import.

rest of the song is mine. I listened to him

along with many other people who knew

In his book, Scheff tells of a night in

play the whole song, and tried to stay

him, that he would have been happy just

which he and a pal had a knife pulled on

within the spirit of his musical approach,

singing gospel music.”

them at a bar by none other than Sid Vicious

but I only copied exactly what I felt was

After Presley’s demise, Scheff moved

irreplaceable. I think you could say that

on to become live bassist in Bob Dylan’s

with other anti-establishment movements

about the whole album.”

touring band. “I loved playing with

including jazz, R&B and rock’n’roll? “I, like

drummer Ian Wallace,” he explains. “I to ok

many other people, feel that the best music

Rob Stoner’s place after the Pacific leg of

trends percolate up from the streets,” Jerry

a world tour. He and Bob evidently had

muses. “Punk was a definite rebellion against

a falling out. We rehearsed a few days

intellectualised music production and

and Bob announced that we were going

playing. There is always a lot of anger roiling

to record an album. Chord charts were

around looking for an outlet. Groups like

produced and one song at a time, we were

Pink Floyd, Yes and so on weren’t providing

off and running.” A similar touring stint

a place for garage bashers to vent their souls,

with John Denver followed.

so there was a huge response to the punk

The TCB band soon found itself back in action, backing Elvis Costello as the

of the Sex Pistols. How did punk compare

philosophy of free-range nihilism.” Looking back in 2016, Jerry says it has

Confederates in the King Of America  days.

been “like a train that I got on and never got

“James, Ronnie [Tutt, drummer] and I

off.” He adds: “It has taken me places I never

were supposed to play on three t racks,”

dreamed of, with only a few breakdowns

recalls Jerry. “One of them was a rocker

here and there. There is no such thing as

that Costello had to work hard on. He was

a self-made person. I wish all the up-and-

covered with sweat. I jokingly told him

coming bass players as much help as I’ve had

that that was just what the ballads were

along the way. I advise young bassists to get

like with Presley. He got this surprised

out and play with people better than you as

look on his face. He thought I was serious.

much as you can. Also, get it in your mind

I did four or five albums with EC and

early that alcohol and drugs don’t make you a

toured behind them with him. He was a

better musician, and can destroy you.”

wonderful guy to work with and a very bright man.” Some of Scheff’s favourite work is

Finally, we ask Scheff the near-impossible question of naming his favourite all-time bass players – and he is more qualified

on Sam Phillips’ Cruel Inventions album,

than most to give a c op-out answer. “I love

where he was permitted to experiment.

different bass players for different reasons.

“I had a P-bass, a Jazz, a Höfner and

Hundreds of them,” he replies, reasonably

a Danelectro bass with a Sadowsky

enough. Then he adds , “A network TV news

outboard preamp. My studio kit had

person once asked me what it was like

different thicknesses and densities of

working with Elvis Presley. I asked her, ‘Do

foam rubber, rolls of duct tape, and

you have a specific day in mind?’ They cut

different widths of masking tape.” With

that out of the interview.”

Bass Guitar Magazine May 2016

035

NEIGH SAYERS Bassists Vellu Ilmonen and Heidi Kettunen of Horse Latitudes discuss the double low end Vellu There’s no guitarist in Horse Latitudes,

that it was F#BEA, but five strings is where

guitarists. You probably wouldn’t like playing

instead we have two bass players. This leaves

it’s at. I sometimes play baritone guitar-type

with them anyway.

a lot of room to fill in the sonic spectrum.

sounds when the songs call for them. I couldn’t

I predominantly play fingerstyle, but

do without the G string now that I’m used to

Heidi

occasionally dabble with using a pick too. I like

having it.

your playing and tone to supporting other

fuzz, feedback and heavy notes and chords that

Know your space and try to build

instruments, creating the most important

ring out for ages. The physical aspect of sound

Heidi

is very important to my playing, which means

up when I was a teenager and found that

high volume and emphasis on the bass and low

death metal would be my thing. Jeff Walker

mid frequencies. You should be able to feel the

and Carcass were among my first biggest

Vellu For Horse Latitudes I prefer

riffs as much as hear them.

influences, as were Bolt Thrower, Iron Maiden

BTB singlecut. It’s heavy as hell, has a 35”

and my big brother, who taught me to play

neck and it’s all about sustain, which is vital

Heidi

I would describe my bass style as

My first attempt to be a bassist came

base for the music. Also have the courage to experiment with different styles and effects. my Ibanez

Black Sabbath songs and gave me my first

in our music. It’s not the prettiest looking bass

minimalist. I prefer heavy and well-timed

distortion pedal. But I made the final decision

out there but it gets the job done better than

playing with some personal tones over

to play bass guitar when I first time heard

most. By the sheer magnitude of his influence

extremely technical playing. I think our music

Reverend Bizarre’s album Harbinger Of Metal . It

and legacy, the greatest bassist ever has to be

is built more to describe different atmospheres,

really hypnotised me, and I started to listen to

Lemmy. I’m not putting down his technique in

feelings and spaces than trying to reach

more doom metal.

the least, but I fully endorse his approach that

technical predominance.

feeling and energy are more important than Vellu Know your role but don’t be

afraid

technical brilliance.

Vellu I play five-string bass, because I like

to experiment. There are far too many bass

having both the low B and the high G strings. I

players out there who are quick to tell you that

Horse Latitudes’ album Primal Gnosis  is out on Ritual

used to play basses tuned to BEAD and before

fingerstyle is the only way and effects are for

Productions. Info: www.facebook.com/HorseLatitudes666

036

Bass Guitar Magazine May 2016

BASSISTS Doug Castro, Darkglass Electronics

GLASS FULL Doug Castro of Darkglass Electronics drops in to discuss his eagerly awaited new bass amp

O

ur biggest announcement this year is the first Darkglass bass amplifier, which we’ve been working on for the last year. It’s the Microtubes 700, and consists basically of the

best preamp we’ve ever made, with a 700W power amp. It’s a Class D unit, so it’s very compact and light, and it has a fully functioning clean channel, which has turned out very nicely. I was surprised at how well it turned out, actually! The Microtubes 700 has a lot of headroom, with a four-band EQ, the ability to dial in any character you want – and of course it includes our overdrives, which is what we’re famous for. Those are interesting, because we’ve included both the Vintage and the B3K in it. Those are footswitchable, which will be useful for playing live because you can switch overdrives on the fly. It will cost around £850 including VAT in the UK. Releasing a bass amp was a good decision for us for many reasons. No one else is doing an amp like this one. You can get some very natural crunch tones that no other Class D amp offers. They’re clean and transparent, which is good. I’ve always been excited about doing things that are different. We’ve had lots of good luck in Darkglass, but we’ve also tried our best to grow the company in the right way. I’m a metal guy, so the pedals I design have resonated with a lot of heavy metal bassists because we’re after the same thing. The reason I started the company in the first place was because I had a c ertain

 © 

E    c  k   i   

sound in my head that I couldn’t get anywhere else, so I built it. A lot of people were looking for something similar. So it’s been cool that we’ve had so much suc-

is super-pristine, but you can also play rock’n’roll

Finland in 2009, which made sense because the

or blues, because the tone shaping is very wide.

country is known for its technological industries.

cess with metal bass players, but I think we can

Next year should be very exciting for us, as

Of course, learning the language was difficult at

also do great things for any bassist. We love all

well as busy. It’s easy to get overwhelmed when

the beginning, but things have got progressively

kinds of music here, including jazz and fusion.

your company grows, but I’m trying to hire

better – and I’m really looking forward to

The new amplifier is an attempt to show that you

really good people so that doesn’t happen. At

the future.

can use Darkglass with any kind of music. You

the moment there are 13 of us, mostly working

can play funk with it, be cause the clean channel

in Finland. I’m originally from Chile: I moved to

038

Bass Guitar Magazine May 2016

Info: www.darkglass.com

Alice Cooper bassist Chuck Garric returns with a new, self-titled album with his side project Beasto Blanco...

W

e’re just getting our

used no effects apart from some distortion

intro, so my approach to those bass-lines is

new album, Beasto

from a SansAmp, and some plug-ins that the

to replicate the main parts for the fans, but

Blanco,  finalised and

producer had: mostly, it was just the dry bass

if there’s room for a fill or a b ass run when

it’s all coming to gether.

tone. We used a Kemper on a track or two as

you’re running into the chorus, that’s when

I can’t wait to release

well, which was real responsive.

you can take the liberty and you can be

this sucker! We laid the bass parts down last.

I love doing that: we had a really good

Live with Alice Co oper, I use Ashdown

yourself. I’m very much a product of 1970 s

cabinets, which I love. They have a great,

bass playing, it’s what I was raised on – but

vintage bass tone and subharmonic

after 14 years in Alice’s band, there have

foundation down for what we

been several different other

wanted, it was really just a case

musicians, so the band has

of getting the performance right. That was the idea: we didn’t want the bass to step on anything, but we also wanted it to complement a few things. The beauty of the bass is that it’s the glue: you do n’t need to glue two pieces of wood together with too much of it

“

THE THING I LOVED ABOUT ALICE AND A LOT OF OTHER BANDS IN THE 70S WAS THAT EACH TIME THEY PLAYED SOMETHING IT WAS A LITTLE DIFFERENT ”

or it’ll spill all down the side

grown and changed. I also worked with the late, great Ronnie James Dio a few years ago. I was a huge Rainbow fan, both as a bass player and a songwriter. Ronnie came from bands that had some of the best musicians in the world. I was just speaking t o Roger Glover, another great bass player that

and it looks crappy. To continue the analogy,

control. The bass is a different instrument

Ronnie worked with, alongside Geezer Butler,

you end up wiping the g lue off there and it

depending on which band I’m with, in terms

Bob Daisley and Jimmy Bain. And then

doesn’t look right. With the right amount of

of character: Alice has three guitar players

there was me! It was really exciting to be

glue, nothing seeps through the edges and

weaving in and out, and when that hap pens

on that list of bassists whose playing was so

everything is held together naturally. I’ve

the bass becomes more of a frequency than

important to me and whose playing had been

always been a less-is-more guy with the bass.

an instrument that you really hear. The

so instrumental to the bands they were in.

I always go to my 1973 Fender Precision.

challenge is to find a tone that works with all

Ronnie and I hit it off immediately when we

It’s been on several Alice Cooper records

of their volume and distortion, and when it’s

met and we became good friends: I wrote a song

and on stage with us too. I used a BAE Audio

time for the bass to pop, it has to be there.

with him called ‘Death By Love’ on Masters Of

1073 preamp which was nice and warm,

The thing I loved about Alice and a lot

The Moon, the last recorded Dio album. I have so

and we re-amped it through an Ampeg

of other bands in the 70s was that each

many great memories of working with that guy,

SVT to get some of those high mids to pop

time they played something it was a little

and he’s very sorely missed.

through, because I was playing with a pick.

different. Their songs often had a different

That bass seemed to fit every application. I

ending or a different middle section or

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Bass Guitar Magazine May 2016

Info: www.beastoblanco.com

BASSISTS Chuck Garric, Alice Cooper

Bass Guitar Magazine May 2016

041

DEAR JON

So that keeps things simple, and I’ve got all sides covered. With the exception of my Wal basses, I’m very much a passive fan: I want to hear wood. The pedalboard is three distortions – a SansAmp, a Z.Vex Woolly Mammoth and an Unpleasant Companion by Fredric Effects – a switcher and two octave pedals. With all of those I can create a lot of different textures. I’ve got an SWR rig that I’ve had for years, which is great: that goes back to my Tull days. It’s super-reliable, but it’s like listening to a studio monitor.” Noyce was in Gary Moore’s band when Gary sadly died in early 2011: he recounts his memories of the time. “We recorded a DVD in 2005 called One Night In Dublin – A Tribute To Phil Lynott which was amazing – talk about a

night in your life! I was very nervous, but it was a case of focusing on the gig. It was a glorious experience: what you see on the DVD is what you get, that was the gig and it shows you just how great Gary was. He wanted to revisit the rock stuff that made him famous in the 80s, but record companies weren’t interested: we did some demos and nobody wanted to touch it. Five years later, in 2010, we headlined a load of rock festivals and then we were offered a proper old-fashioned record deal and a ton of money. We were about to go into the studio and get going in 2011. Gary went away and he was a bit down on his luck, and wasn’t dealing with it in a modern way. He wasn’t talking about stuff, he was bottling it all up. So there was a lot of pent-up energy, and drinking, and he wasn’t really taking care of himself – but a heart attack can kill anyone at any time, as it did

Jonathan Noyce, star of stage and session, talks to Mike Brooks about Jethro Tull, Archive and beyond

my friend Mark Smith, who was as fit as a fiddle and they found him seemingly asleep on his sofa. Enjoy your time! Especially if it’s loud, like Gary’s was… “Lately I’ve been working in Paris with Mylene

B

ack in 2002, today’s

meeting him. He very kindly put me up for some

Farmer on her recent album, Interstellaires . To

interviewee, Jonathan

things and then I started working with producers,

be concise, she’s the French Madonna, and a

Noyce, had a monthly BGM 

which snowballed quickly into working with

friend of Archive – she’s been trying to poach me

column on bass, the music

big acts. The first big thing I had up my sleeve

for a little while now. I’m also now a producer,

business and life in general

was working with Take That on their Everything

courtesy of Mike Marlin, whose The Secret Of My

and they were a good read,

Changes album. Not long after that I met Martin

Success album I produced and played a variety of

he recalls: “I hadn’t written

Barre [Jethro Tull guitarist] and then the whole

instruments on. It’s out on 6 May – think Leonard

for a magazine before. Writing in that capacity

Tull thing started. So in 1995, aged 23, I was in

Cohen, via Beck and Boards Of Canada.

was interesting to me, but it’s all down to the

Jethro Tull. It was a full-time job: a fantastic

editing. My partner is a fantastic editor and would

opportunity, and it has served me well in my life

firstly The Man From U.N.C.L.E. , with composer

go through my text and say ‘This doesn’t make any

on many different levels. After that I did some

Daniel Pemberton, plus Man Down with Clint

sense. What are you trying to say?’ I really enjoyed

stuff with Gary Moore, and then Archive called.

Mansell. I’ve worked with Daniel several times.

doing the column, because basically Adrian

“The bass role in Archive is all about keeping

“I’ve also done a couple of film soundtracks,

He must like my textural approach to playing bass.

Ashton [BGM’s  founder editor] gave me carte

a lid on it: there’s a fine line between playing

blanche. I could discuss more obscure things that

out and not overplaying. Though the goalposts

bassists might not often think about.”

are different, they’re good because it gives you a

with Jacqui McShee for a few years. This year

framework to work in.”

I’m playing a bunch of gigs with them, which I

Noyce attended the Royal Academy of Music in the early 90s – but from the off, he was dipping

Care to divulge the contents of the bass

Or maybe it’s some kind of running joke? “I’ve been working on and off with Pentangle

enjoy a great deal. Tom Chaplin from Keane is

his toes into extracurricular activities: “1990 was

arsenal? “I’ve got it down to three basses for live

launching his solo career and I’ve been involved

an exciting time, and it wasn’t just about John

work,” he explains. “I have a 60s Precision, which

in his band. So far, we’ve done a few low-key gigs,

Coltrane, it was also about Public Enemy and

stays at home, for recording purposes, but Fender

but this will change as he’s currently recording a

Parliament and AC/DC. There was a bunch of us

have ‘Masterbuilt’ me a replica. I have a five-string

new album. Archive is ongoing and unstoppable.

that got on really well, and we had a great rhythm

Yamaha BB2025 too: the old BB basses are what

We have a new album in the can to be released

section so we decided to punt ourselves around

I started out on originally, and are still what I use.

later this year. I also do occasional gigs with my

and do things.

I also use a semi-hollow Epiphone Rivoli bass. In

friend Martin Barre, for the sake of great times

the studio, we’ve used a Höfner on a few things

and old friendships.”

“The first proper opportunities I had came through Mark Smith, the Waterboys’ bassist.

and I’m now a Höfner endorsee. I have a Club

Mark was basically my mentor: it was brilliant

bass in my live rig and a Violin bass in the studio

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Bass Guitar Magazine May 2016

Info: www.archiveofficial.com

Hywel Davies heads to Riga to meet Chris Flint of Latvian glam-rock revivers Bloody Heels

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Bass Guitar Magazine May 2016

BASSISTS Chris Flint, Bloody Heels

n a rather unexpected

I

twist, glam metal is taking over the Baltic state of Latvia. As readers of a certain age will recall, this tongue-in-cheek brand of heavy rock dominated the

airwaves from the early 80s up until the early 90s. MTV showed us bands like Mötley Crüe and Poison strutting up and down LA’s Sunset Strip clad in spandex, taking the sex, drugs and rock’n’roll lifestyle to its logical conclusion. Meanwhile, in complete contrast, Latvia was in the firm grip of the Soviet Union, where rock music was heavily censored and controlled. Culturally and geographically, these worlds could not have been further apart. However, 25 years after gaining their independence from the USSR, it would seem that the Latvian people are ready to fight for their right to party. Spearheading this movement are rowdy rockers Bloody Heels, a four-piece that are determined to have their voices heard, so much so that they put BGM  on a plane to Riga, where we paid bassist and band co-founder Chris Flint a visit. “One of the first things I remember from when I was a kid,” recalls Flint, “was watching Guns N’ Roses on TV. I think it was the Freddie    m    o    c  .    o     t    o     f    x    u    m    y     b    c     i     P

Mercury Tribute Concert at Wembley in the early 90s. After I saw those guys on stage, all I ever wanted to be was a rock star. “I decided to play bass because I saw how awesome Duff McKagan of GNR looked on stage: he’s one of my biggest influences. When you’re a kid you don’t really appreciate who a bass player is or what they do, but Duff helped me understand that role, showing me that bass

“

I DECIDED TO PLAY BASS BECAUSE I SAW HOW AWESOME DUFF MCKAGAN OF GNR LOOKED ON STAGE

”

players could be the coolest guys in the band. After I saw him play I thought to myself, ‘Man, I really want to be a bass player…’”

when I was in music school, one of the big things

we had to start taking it seriously. We had guys

they taught us was to never play anything on

come and go, but then Harry [Rivers, guitar] and

bass? “My older brother played bass: he was into

the day of a show or a performance. That kind

Vicky [White, vocals] came in and everything

hardcore and really heavy music at the time.

of stuck with me. I’ll play for the soundcheck,

just clicked. It just happened, I can’t describe it.”

I would go to watch his band rehearse, and I

but you won’t find me practising backstage. You

remember they were so fucking loud, I didn’t

have to get ready for a concert days before, or

always play for the audience. The same goes

really like it. My ears were bleeding after every

even weeks or months, depending on how big

with my bass playing. You don’t have to be

practice. Eventually I inherited a bass from him, it

the show is. When you’re constantly practising

playing technical stuff all the time; I notice that

was a five-string Warwick Rockbass with a maple

you need an escape, and to be somewhere else

with a lot of bands at the moment. I enjoy bands

neck and 24 frets. I thought it was awesome. I

in your mind. It helps me to relax before I go out

like Dream Theater but I wouldn’t want to play

didn’t really use the B string too much, because

and play, so I don’t have a strict routine: maybe a

like that. We write music for our friends, our

the music we play doesn’t go that low.

few scales, but that’s about it.”

fans, everyone – not just for us. We play for the

Does Flint recall when he started playing

“These days I play a Schecter Diamond-J

With an undeniable passion for all things

“We like to keep it simple: our goal is to

song and that’s what people want. For example,

four-string,” Flint continues. “It’s really good

‘hair’ and ‘metal’, Flint co-founded the band with

if you look at Nikki Sixx of Mötley Crüe, not

for playing jazz, but I also found it great for our

drummer Gus Hawk back in 2011. “At first all

only is he a great bass player but he’s also a great

kind of metal. I’m using it on the album we’re

my friends told me ‘You can’t possibly make it

entertainer, and he makes that connection with

currently recording. But if it was up to me,

happen out here in Latvia. You won’t ever find

the audience.”

and I had a million euros to choose any bass I

guys who listen to glam metal, let alone form a

wanted, I would choose a Hamer Scarab. It’s not

band with you’. It was all I ever wanted to do in

Nights, back in 2014 and with an album in the

a very popular or well-known company but I

life, though, and I wasn’t going to let that stop me.”

works, Bloody Heels have the rest of the world

Having already recorded a debut EP, Summer

in their sights. “It would be awesome to get to

love that bass. I think it’s to do with that Rick

“Then I found Gus and we started talking

Savage influence: I love anything to do with

about this type of music,” he says. “He was a big

Wembley or Donington, but I think playing LA

Def Leppard.”

fan of the Doors and Led Zeppelin, but then I

would be a dream come true, especially because

Psychology plays a key role in Flint’s pre-

played him some Whitesnake and Def Leppard

that’s where glam all started,” says Flint. A man

show routine. Asked how he prepares to go on

and he really liked it. We started playing when

can dream, can’t he? Watch this space.

stage, he tells us: “I’ll usually play bass at home

we were still teenagers; at the time we were just

before a show to warm up. It’s weird actually:

having fun and drinking beers, but after a while

Info: www.facebook.com/bloodyheelsband

Bass Guitar Magazine May 2016

045

BASSISTS Chris Beattie, Hatebreed

Chris Beattie of hardcore metal veterans Hatebreed says hi

BREED APART hen it comes to bass gear, I’m like a NASCAR driver – I have a whole list of endorsements! I have several signature Jacksons: my go-to bass is a black one that I’ve had for a couple of years, and we’re releasing a new white one with white binding. I’ve been with them for 15 years: their A&R over there is really awesome. It’s hard to find good people to work with in the music industry, but he’s great – he really tells it like it is. I also endorse DR Strings, SansAmp, Peterson tuners, Dunlop picks and Ampeg of course. I’ve tried a whole range of SansAmps over the years and I always come back to the box. It’s incredibly durable. We always joke that your entire backline could go down and that

W

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Bass Guitar Magazine May 2016

SansAmp would still be going strong. It’s the best thing I’ve ever owned. I’ve been playing bass for 25 years. I had a buddy in high school who played a whole bunch of instruments, and I was hanging with him one day and picked up a bass he had and just started playing it. I started jamming with other guys and progressively got better over the years. It’s one of those things where you really have to practise: I remember as a kid playing bass all day! It’s definitely all about dedication. I like to write songs on bass, usually with a distorted bass sound because I like to have that tone in there. Then I’ll add stuff on guitars and demo them and our singer Jamey Jasta will add his ideas. Less is more when it comes to bass: I always try not to overplay. My first bass was an Ibanez that I bought after I won $2,000 on a lottery

ticket. The necks on my signature Jacksons are pretty much like the one on that Ibanez. I was pretty much into metal bass players – Steve Harris, Lemmy and those guys. I heard Cliff Burton play and I was totally blown away. I have always liked bass players who make their bands sound better. We’re about to be extremely busy! Our new album is coming out and then we’re out on tour. We’ll be hitting festivals in Europe and then we have a full US tour before we come back to Europe and start running around there again. It’s been three years since our last album: we’ve played every part of the world since then, and I can’t wait to play the new songs for you guys. Hatebreed’ss new album The Concrete Confessional Hatebreed’ is out on May 13 on Nuclear Blast Entertainment. Info: www.hatebre www.hatebreed.com ed.com

GEAR Introduction

B

GEAR R E V I E W S

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

52

Stonefield 1-5S Slimline

56

Breedlove Solo Acoustic

48

PRS Gary Grainger 4 & 5

60

Peavey MiniMax & MiniMega

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Aguilar SL 410X Bass Guitar Magazine May 2016

047

PRS

Gary Grainger 4 & 5 Nick ‘Lone Grainger’ Robbins tackles six grand’s cumulative worth of Paul Reed Smith PRS Europe www.prsguitars.com

W

ay back in the annals of history (BGM  127), we reviewed the PRS Kestrel and Kingfisher – two sub-£1000 passive models with oodles of charm, but slightly limited tonal palettes. What does an extra two grand afford you from PRS? Well, now’s the time to find out, as esteemed PRS luthier Gary Grainger has brought the know-how from his time creating Private Stock bass models to bear on these eponymous production four- and five-strings.

Build Quality For this section let’s discuss both basses together, since the construction and finish on both are exemplary exemplary.. The eye is immediately drawn to the carved and exquisitely figured maple top sporting a 10-top flame finish: a tobacco sunburst effect on the five-string and jade green on the four. The finishes, offset by delicate maple binding, are a rich and layered joy on both.

The body shape, which seems to be based on the company’s 513 series of electric guitars, features a cutaway on the upper bout, and much deeper, scalloped cutaway on the lower one, affording access right up to the 24th fret on the higher strings. The mahogany body on both basses is surprisingly light, and the contouring, which loops around the bridge and sweeps underneath the volume and EQ pots, is an aesthetic joy. Flip things over and you’ll discover the two 9v batteries that power the 18v active preamp housed securely on the back. The plastic covers sit flush and operate as well as you would expect a battery holder to on a £3000 bas s. Much like a cupholder on a Bugatti Veyron, a smoothly operating battery compartment that allows for a quick change over and isn’t going to pop open during a gig won’t grab any headlines, but we’re glad it’s there and that it works properly.

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GEAR PRS Gary Grainger 4 & 5 £3079, £3135

TECHNICAL SPECIFICATION PRS Gary Grainger 4 and 5 (in brackets where different) Price | £3079 (£3135) Body | Mahogany with carved figured maple top Frets | 24 Scale length | 34” Neck Maple Fretboard | Rosewood (maple) Bridge | PRS four-string bridge (PRS five-string bridge) Tuners | PRS Hardware | Nickel Electronics | Active three-band EQ Pickups | GG 4 Treble/ GG 4 Bass (GG 5 Treble/ GG 5 Bass) Controls | Volume x2, Low, Mid, Treble

WHAT WE THINK Plus | Huge range of tones, staggering build quality – and those necks… Minus | Looks won’t be for everyone. More customisation offered at similar price from other brands Overall | We still can’t think of a better description than ‘tone monster’

BGM RATING BUILD QUALITY SOUND QUALITY VALUE

May 2016 Bass Guitar Magazine

049

GEAR PRS Gary Grainger 4 & 5 £3079, £3135

Both necks are maple with a satin finish: you’ll find a matching maple fretboard on the five and a rosewood board on the four (though both options are available on either model). At this point you’ve already made your mind up about the bird inlays. I’m never going to be their biggest fan, but golly if they don’t just absolutely pop out of that maple board. We found it interesting that the headstock contains Gary Grainger’s signature and his initials on the truss rod cover, but no mention of PRS. Yet, thanks to the bird inlay, the distinctive finishes and jagged headstock these are definitively PRS basses. Not a bad situation to be in when you don’t even have to put the company name on the product to get it recognised. The five control pots turn smoothly, with the three EQ controls offering a centre detente. How this isn’t standard on all EQ controls we’re still not sure, but it allows you to recall specific settings with ease and set the whole thing flat in an instant. The pickup volume controls also lift up and click back down positively... and we’ll come to why that is later. PRS has decked both bassess out in its own hardware and there are no complaints here about how well it all works. There are some quite chunky tuning buttons at the top end – a two-by-two configuration on the four string and a three-by-two on the five – and a vintage-looking brass saddled bridge at the other. Perhaps the look of the bridge is slightly out of the touch with the more modern design of the rest of the bass – all pointy headstocks and sweeping curves – but it’s a case of function over form here.

Sounds and Playability Recent BGM  interviewee Eric Bass – and walking example of nominative determinism – told us of his decision to switch to the Maryland-based company’s instruments: “PRS sent over some Grainger basses – and man, you want to talk about a tone monster?” He might as well be called Eric Bassguitarreviewer, because he has summed up the oeuvre of both of these basses in just two words: tone monsters. Let’s start with what the two basses have in common. First up you’ve got the kind of unplugged performance that has you reaching for your cable with giddy excitement. Individual notes sing out, resonating through the mahogany bodies and hanging in the air for a lifetime. But the real

excitement comes courtesy of that three-band active preamp system. Dial in your volume across the two PRS pickups – two rail-style humbuckers at the neck and the same at the bridge – and set the EQ flat, and you’ve got a thunderous tone with enough bite in the top end to cut through in any musical situation. There’s an undeniable warmth to the low end and a glasslike top end, with a b ell-like clarity and evenness in volume across all strings and up and down the fretboard. Scoop out the mids and boost the bass for an eminently usable tone that’ll be as at home in driving rock as R&B and soul. Keep the mids down and drive a little extra through the top and you’re into slap and pop territory. Achieving the tone is one thing, but being able to play in the style is another, and both basses deliver here too. The necks are things of beauty: comfortable, hand-filling and faster than a greased-up E xocet missile. Switching between the two guitars caused no discomfort or major adjustments, and even after extensive playing there was little to no fatigue in th e left hand. The 18v system means you can dig in as hard as you want, whether fingerstyle or slapping the strings silly, and you won’t hear any distortion in the tone. These are basses that reward you for jumping through the genres. The five-string comes into its own in a funk setting, with the rumbling low B filling the room with a dark drawl and allowing you to push some serious air. You can also play the bass in passive mode – just pull the volume pot up to isolate the bridge or neck pickup, or bring them both up to get a blend between the two. There’s no volume change when this is done (providing you don’t pull and twist the pot) which means you can open up a new tonal option midsong if needed. Without doubt this is one of the better active EQs we’ve come across. There’s a huge amount of tonal tweaking that feels possible with just the three-band adjustment and the two humbucker-style pickup configuration.

Conclusion Just because these models now fall under PRS’s core range and out of the Private Stock-only territory, doesn’t mean that the price isn’t going get your wallet quaking. At £3079 for the four-string version and £3135 for the five, we’re straying into the price bracket of custom built basses. But, for your money, you are getting an American-built PRS, a company whose standing in the bass community we predict will only rocket – as long as they keep producing basses of this quality. The modern look might not be for everyone, but we can’t imagine too many people will struggle to find something to love in the tone department. With the versatility of the active circuitry and the quality of the build, these two basses might be, dare we say it, a bit of a bargain.

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Bass Guitar Magazine May 2016

STONEFIELD 1-5S Slimline

When something a little different comes along, we sit up and take notice. Mike Brooks gets up close and personal with this bad boy from the southern hemisphere Stonefield Musical Instrument Company www.stonefieldmusic.com

S

tonefield instruments are the brainchild of Tomm Stanley and are handcrafted in New Zealand using many indigenous timb ers of the region and some interesting design concepts. One look at these basses and your attention is instantly drawn to the fact

that Stanley has developed a radically different take on the well-worn features we have come to expect on an electric bass guitar. Let’s see how it translates to everyday use.

Build Quality If you like the look and feel of an organically timber-laden instrument, don’t be surprised if you fall head over heels for this bass. Pic king the

bass up, you’re struck by the care and attention to detail that Stanley has instilled into this instrument. The body shape looks familiarly curvaceous, but any similarities stop there. The natural colouring and figuring of the timbers gives the bass an earthy, rustic look, accentuated by the multi-laminated through-neck core which is made up of aircraft-grade laminates to give t he bass rigidity and strength. Although the body is deep, it balances extremely well due to the headstock design, the lack of conventional machine heads and the use of stainless steel, anodised aluminium and brass in the hardware and bridge system, designed and t rademarked by Stanley himself. The metals in the design have been chosen so that no rusting will occur over the life of the instrument, as well as to limit any excess weight.

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GEAR  Stonefield 1-5S Slimline £3245

TECHNICAL SPECIFICATION Price | £3245 Made In | New Zealand Colour | Natural Body | Salusalu with Australian blackwood Neck | Mairi and aircraft-grade laminates; joint full through-body neck and core Nut Width | 50mm Fingerboard | Solomon Island ebony Frets | 24 Pickups | Non-specific humbucker Electronics | Passive Controls | Volume, passive bass roll-off, passive treble roll-off, midrange setting (10 options with push/pull and bypass) Hardware | Stainless steel ‘Tomm Stanley Tuning System’, black mairi bridge Weight | 4.1 kg Case/gig bag included | Yes, lite-flite case and extra strings Left-hand option available | Yes

WHAT WE THINK Plus | A decidedly different bass with a big sound and a solid five-string performance Minus | A hefty price tag and non-standard visuals from a relatively unknown name Overall | For the sound quality, design ingenuity and Stanley’s passion for his craft, this bass will turn your head. It deserves recognition

BGM RATING BUILD QUALITY SOUND QUALITY VALUE

Bass Guitar Magazine May 2016

053

GEAR  Stonefield 1-5S Slimline £3245

The bridge works effortlessly, with very little resistance as the string is tightened: the tuning stability is impressive. The south-pointing jack socket is an interesting choice: perhaps an angled jack plug would be beneficial. The controls for volume, bass roll-off and treble roll-off are located on the lower half of the body, while the all-important midrange settings are accessed, along with a bypass (silent) setting, through the control on the upper bout. A real mixture of tones is accessible using this control, with 10 available settings – five via the pushed control, five via the pulled control. The carved Stonefield logo on the front is replicated on the back along with the upper strap button on the rear of the top horn. Individual cavity plates exist for each control pot and the subtle burst colouring on the through-neck adds a touch of class, as does the zebrano and Australian blackwood binding to the edge of the fingerboard and the ebony bridge and nut. The neck profile is full, but the nut width keeps the dimensions in check – and although the neck depth may not appeal to those of a Jazz persuasion, it’ll suit those who prefer a neck they can dig into . The set-up is excellent, with a slinky action, and the water-based lacquers applied to the neck give it a sleek feel: the body, on the other hand, has had two coats of Danish oil and a single coat of teak oil applied to it.

Sounds and Playability Straight away, you can feel how resonant it is. Attempt to play anything you like and the timbers vibrate against your bo dy. Plug this beauty in and the humbucking pickup brings everything you play to life. The passive controls offer a broad palette of tones: I was surprised by just how powerful and forthright the sig nal was, with plenty of punch. No matter how you set the controls, it never lacks a rounded, full sound.

“

UNDERPINNING IT ALL IS A FABULOUSLY WARM WOODEN TONE THAT I DEFY YOU NOT TO FALL IN LOVE WITH ” Bringing the mid control into play opens up your tonal options considerably, which also benefits the performance of the low B string. If you require a throaty upper-mid boost, you’ll find it: if you seek an aggressive, biting tone, you can have that too. For a passive bass, the sonic performance is impressive: the volume across all five strings is consistent and the notes ring out no matter which playing style you choose to throw at it. Underpinning it all is a fabulously warm wooden tone that I defy you not t o fall in love with.

Conclusion A state of the art custom lite-flite case is included in the price (valued at $350) and should you wish to opt for a titanium bridge unit, for an additional cost of $250 you can shave 28g of weight from the bass per string – which is worth not ing if you suffer from back or shoulder pain. Instruments bought from the Stonefield website in the ‘Off The Shelf’ section of the store will receive an additional 5 per cent discount until the end of July 2016. As a new company with a new product, this bass certainly grabs the attention – and judging by the numbers visiting the Stonefield stand at the recent LBGS, Stanley may well be onto something. The question is whether this bass, and its brothers and sisters, have enough about them to set them apart from more established names in the £3000 bracket. Only time will tell, but early signs are promising indeed.

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BREEDLOVE Solo Acoustic

Unplug with eight hundred quid’s worth of acoustic, says Joel McIver. Does it deliver value for money, or should this Solo be frozen in carbonite? Rosetti www.rosetti.co.uk

S

ome bass players will never quite acquire the taste for an acoustic bass guitar, no matter how much we rave in these pages about the subtle joys of these instruments. “It’ll feed back!” they complain. “You can’t hear it!” they whine. “You’ll smack it on the drummer’s

ride cymbal and break it !” they gibber. Never mind. Let’s have a gander at this rather splendid-looking Breedlove.

Build Quality You’ll have your own opinion about the lo oks of the Solo, but we love it right out of the box. Although that neck looks fearsomely long on first examination, leading the dread words ‘neck dive’ to rise unbidden to the surface of your mind, you can’t help but admire its swan-like elegance. Stick it on your lap and have a poke around. The 23-fret neck – yes, 23, for some arcane reason – offers you 16 accessible frets and seven more that are sort-of-playable, thanks to the cutaway. There’s a soundhole on the top side, next to the electronics

panel, with a removable rubber buffer that is a slight pain t o remove and replace but which comes in handy, as we’ll see. The neck surface is slick and friendly, allowing you plenty of expression speed without being completely frictionless. Apparently we’ve been using the phrase ‘this neck plays like butter’ too often in our reviews, according to a cheeky member of staff over at BGM ’s secret command bunker, so let’s just s ay that it plays like ‘extruded bovine dairy protein’ instead.

Sounds and Playability The Solo’s body is a jumbo, with a depth of four inches, although it feels deeper. The waist is just under 10 inches, so the ‘hips’ fit comfortably under your picking arm, assuming you’re seated: a strap might be a bit unwieldy unless you’re of Shrek-like proportions. In fact, an instant cause for a slightly furrowed brow is the sheer size of the Solo: that long neck and hefty body combine to make a bass that you need to work with, in order to find a comfortable playing position.

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GEAR  Breedlove Solo Acoustic £859

TECHNICAL SPECIFICATION Made In | USA Price | £859 Body | Solid cedar top, mahogany back and sides Neck | Mahogany Fretboard | Rosewood, 23 frets, 34” scale Nut Width | 1 11/16” Hardware | Chrome Pickup | LR Baggs Stage Pro Controls | LR Baggs 3-band EQ, tuner, presence, battery LED Bridge | Pinless original Case/gigbag included? | Deluxe gigbag

WHAT WE THINK Plus | Splendid build quality Minus | Much cheaper acoustic basses exist that are almost as good Overall | A lovely bass, for sure, but shop around and you may pay less

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GEAR  Breedlove Solo Acoustic £859

Assuming you’ve found one, perhaps via the gift of a Val Doonicanstyle bar stool, make sure that you take some time to play the Solo unplugged. Volume levels are low, by definition, but there’s certainly enough poke there for any campfire or (very) small room scenario you might reasonably find yourself in. Without the benefit of electric power, the tone range is also a bit compressed, so don’t expect significant highs or lows, especially given the flatwound strings which this bass is sporting on arrival. If you find yourself in this particular situation, just go ahead and whip off the upper soundhole cover for extra decibels and top end. Then put it back on, because we’re about to plug in and we want to avoid feedback, which can be the curse of the acoustic bass when any cabinet is pushing air towards it. A rich range of tones are instantly available thanks to the LR Baggs pickup and electronics, accessed via the nifty control panel and its three-band EQ. Sure, you won’t get earbleeding highs or elephantine lows, but that’s because it’s an acoustic. Try playing with a pick if you’re looking for that extra cut, especially as there’s no thumb rest for fingerstyle – an omission which we find can be common to many acoustic basses, and which will be our first priority, come the revolution.

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Slapping and tapping are both doable on the Solo, although the instrument’s strengths are obviously elsewhere: the neck and action are set up for supportive lines rather than showing off. Sustain is average for an acoustic instrument, so if you’re looking for a rock or funk instrument, look elsewhere... not that you needed us to tell you that.

Conclusion This is a lovely bass, and we don’t really have anything negative to say about it. Like all acoustic bass guitars, it doesn’t have the playability of an electric, but it scores highly on a particular tone and function and comes with the obvious bonus of not needing an amp. However, £859 is a lot of money for an acoustic bass these days: we’re reminded of the surprisingly excellent Vintage VCB430, reviewed in BGM  122 and costing only £239. Of course that bass doesn’t have the components, the engineering, the USA build or the general quality of the Solo, but it plays almost as well for less than a third of the price. Against competition like that, this bass and its similarly priced brethren are going to have a fight on their hands.

TECHNICAL SPECIFICATION Peavey MiniMega Price | £640 Made in | China Power | 2000 watts (PEAK), 1000 watts (RMS) @ 4 Ohms Features |¼-inch jack active/passive input, Gain, Compression, Low, Lo Mid (Frequency shift, gain), Hi Mid (Frequency Shift, Gain), High, Kosmos (Kosmos A-sub, Kosmos C-Psycho), Volume, Crunch, Compression Enable, Pinch, Narrow Q, Bright, Kosmos Enable, Mute, headphones output, SpeakON output sockets (1/4-inch jack capability), Auxiliary input, FX loop (Send & Return ¼-inch sockets), Pre/Post DI, Pad, Ground/Lift, Balanced XLR DI output, ¼-inch  jack TRS (balan ced) output , ¼-inch jack tuner output, MIDI footswitch output Dimensions | 90mm (H) x 305mm (W) x 295mm (D) Weight | 4.08 kg

WHAT WE THINK Plus | More features than you can shake a stick at, immensely powerful and it won’t break the bank Minus | Slightly over-complicated front end Overall | A versatile amp at a very attractive price

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PEAVEY

MiniMax & MiniMega Mike Brooks puts the two new Class D amps from Peavey to the test Barnes & Mullins www.bandm.co.uk

P

eavey amps have a reputation for getting the job done while keeping the cost within budget of most bass players. These two new bass heads continue in that tradition, with a long features list on both amps and highly attractive RRPs. Let’s wheel out a Peavey Headliner 410 cabinet, plug in and play!

Build Quality Both amps are heavily feature-laden, so refer to the specification boxes for the full lis ting. Right from the off, both units exhibit great build quality, a Peavey trademark. The controls and buttons are solidly fitted and turn smoothly: accessing any of the features is simple. The selector buttons give enough tonal options to suit all playing styles and the inbuilt tuner is extremely simple to use. The MiniMax is the cheaper of the two amps, but comes with enough tonal shaping controls and features to make it worth considering if you want a simply laid-out, no-nonse nse amp. It has all t he features you would need in a live sit uation and enough power, at 500 watts, to shake any stage.

GEAR Peavey MiniMax & Peavey MiniMega Heads £365, £640

The MiniMega is a different beast, boasting a stomach-shaking 1000 watts output and so many buttons, controls and features that working out your sound may require some experimentation. The buttons are quite firm – maybe a little too firm, as I had to check on several occasions whether the button I had pressed had been activated. With so much going on, the controls and features are usefully backlit: the user can change the colour scheme of the lighting to suit their mood, the stage lighting or the colour of their lucky trousers! Both amps are equally at home onstage as they are in a home or rehearsal setting: both come with all the inputs and outputs you’d expect from a small portable amp, such as headphone outputs and auxiliary inputs so you can attach external music sources. The MiniMega also has a MIDI capacity for switching features in and out, although the footswitch has to be bought separately: both amps come with carry bags for easy transportation and protection.

Sounds and Playability The MiniMax is such an intuitive amp that it is quite difficult to fault it: plug in, set a flat EQ, turn up and work from there. With a 15dB boost and cut available across the EQ, there’s plenty of room for tone-shaping. The controls are responsive and will give you everything you require most of the time, but if you need a

TECHNICAL SPECIFICATION Peavey MiniMax Price | £365 Made in | China Power | 1000 watts (PEAK), 500 watts (RMS) @ 4 Ohms, 300 watts (RMS) @ 8 Ohms Features | 1/4-inch jack active/passive inputs, Gain, Bass, Middle, Treble, Volume, TT boost, Punch, Mid Shift, Bright, Psycho Acoustics Technology, Tune/Mute, Chromatic tuner, Auxiliary input, headphones output, DDT indicator, SpeakON output sockets (1/4-inch  jack capabil ity), FX l oop (Send & Re turn ¼-inch sockets), Pre/Post DI, balanced XLR DI output, ground/lift Dimensions | 85mm (H) x 275mm (W) x 210mm (D) Weight | 2.54 kg

WHAT WE THINK

little extra, the selector switches are game-changers. I found myself picking out certain features that suited specific playing styles or instruments: for example, the Punch option gave passive basses extra body and definition, while the Mid Shift button smoothes out some of the inherent ‘clank’ of a Precision bass.

Plus | Well featured, well priced and simple to use with plenty of power on tap Minus | None Overall | A great little amp for the price: simple to use with a big sound

“

I LOVE THE SIMPLICITY OF THE MINIMAX, A TRULY ‘PLUG AND PLAY’ AMP, WHILE THE MINIMEGA IS A BASS BOFFIN’S DREAM

”

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GEAR Peavey MiniMax & Peavey MiniMega Heads £365, £640

“

THE REAL ACE IN THE PACK IS THE PSYCHO ACOUSTICS FEATURE. THIS MAKES YOU THINK THAT YOU’RE HEARING INCREASED BOTTOM END BY GENERATING HARMONICS AROUND YOUR LOW NOTES ”

The real ace in the pack is the Psycho Acoustics feature. This makes you think that you’re hearing increased bottom end by generating

pants: it’s as though the sound has broadened, with more power across the whole frequency range of your signal, without necessarily making

harmonics around your low notes. In fact, no extra bass load is being sent to the speakers. Very clever.

the amp or cabinets work harder. Again, some time spent getting used to this feature, how it affects your sound a nd how it can best b e used

As for the MiniMega, it’s hard to know where to start. To use all the features in a live setting, you’ll need the footswitch, unless you use an effect or feature for a whole track and have time to press the butt ons between songs. Focus has been put on the mid EQ, a quasi-parametric equaliser, with frequency selection and boost controls for 200-800Hz

will be time well spent.

Conclusion I’m very impressed by both amps, I love the simplicity of the MiniMax,

on the Lo Mid control and 800Hz-3.2kHz on the Hi Mid control. The Narrow Q presets narrow the bandwidth of t he filter in each range, s o

a truly ‘plug and play’ amp, while the MiniMega is a bass boffin’s dream. At these prices, they should definitely be on your shopping list

some experimentation is called for there. In terms of power, this amp lacks nothing, it really is a beast.

if you’re looking at changing your amp, or if you need a lightweight amp to carry with you as an alternative to a bigger rig. Go and try

Peavey’s Kosmos system essentially gives your bass signal a kick in the

them – you won’t be disappointed.

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AGUILAR

SL 410X Cabinet Prayers have been answered: Aguilar has added a new cabinet to its ever-popular SL range and Mike Brooks has got his hands on the first one in the UK Barnes & Mullins www.bandm.co.uk

TECHNICAL SPECIFICATION Price | £1585 Made in | USA Power | 800W RMS Impedance | 4 or 8 Ohms Frequency Response | 44Hz-16kHz Speakers | 4 x 10” cast frame woofer speakers and phenolic tweeter with integral phase plug and variable control Dimensions | 604mm (H) x 560mm (W) x 395mm (D) Connections | One SpeakON socket, two ¼”  jack sockets Weight | 22.22kg

WHAT WE THINK Plus | Lightweight portability, great power handling and a pleasing tonal display Minus | The price is on the hefty side but you get what you pay for Overall | A worthy addition to the Aguilar range and a sure-fire winner for those who like the sound of 10” cones

T

he SL range of cabinets from Aguilar once boasted a 4x10 cabinet, but when the price of Neo speakers rocketed some years ago, and the sonic, design and physical constraints that come with working with those drivers proved difficult to accommodate, the cabinet was dropped. However, where there’s a will, there’s a way, and the Aguilar team over in New York has now unveiled its latest cabinet to sit alongside the highly

successful SL 112 cabs.

Build Quality The SL 410X picks up where the SL 112 first blazed the trail and naturally, the familiar design livery is the same. Taking the cabinet out of its packaging, you’re instantly aware of its relatively light, 22 kilo weight, but be aware that the cuboid dimensions and the height of the cab mean you are still advised to carry it using both recessed handles. A one-arm lift is possible, but think of your back and shoulders and spread the lift. The cab has been constructed with 12mm lite plywood, and the tough black vinyl covering should be rugged enough to withstand the rigours of road life alongside a gigging musician. The mesh material speaker covering, white piping, metal protective corners and logo placement give the cab a certain understated refinement. Rubber feet have been fitted to the underside and stop the cab from shifting due to vibration: a box of castors are included in the shipping package if you wish to fit wheels for easier transportation. Able to handle up to 800 watts of output, the four 10” woofers have been tailored to Aguilar’s preferences with the low end designed to work with the endemic midrange of Neo speakers. Seven-ounce neo magnets have been used while the phenolic tweeter has an integral phase plug to extend high frequency response. As with the SL 112, the crossover has been custom designed to suit this cabinet’s inherent characteristics, permitting a frequency response of between 44Hz and 16kHz. A quick peek around the back shows a variable control for the tweeter’s performance and effect on the sound, one Neutrik SpeakON socket and a pair of ¼” jack sockets.

BGM RATING BUILD QUALITY SOUND QUALITY VALUE

Two rear ports have also b een incorporated to improve the bass response and to smooth out the overall sonic display offered by this cabinet. With 10” cones and a tweeter, the rear porting adds some solidity to the low end and midrange.

Sounds and Playability “

THIS IS A HIGHQUALITY CAB, VOICED PERFECTLY WITH AN IMPRESSIVE SONIC DISPLAY AND EQUALLY IMPRESSIVE PORTABILITY

”

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Wow! The wait has been worth it: this is a seriously impressive cabinet. Throwing a bunch of active, passive and semi-acoustic instruments at this cab and hearing how it performs, many players’ wishes for a larger, portable Aguilar cabinet have been granted. With the tweeter backed off, the cabinet sounds rounded and full, and the bass end sounds tight and powerful, almost as though it straddles older vintage tonality with modern technology and design processes. Without the tweeter in use, slapped passages have body, but lack glassy finesse: fingerstyle and pick playing also lacks that top end sizzle. I appreciate why some players choose to turn off the tweeter in a cab, but if you bring it into play here, the voicing of the cab opens up – as though it’s saying “I can do all of this – and now I can do all of this as well!” The percussiveness it adds is very impressive without sounding brittle or clinical, and it also adds some projection when using two different five-string basses. Power handling is impressive: I couldn’t detect any issues as I pushed the volume of the amp. The fundamentals remained clear and powerful, with the intrinsic smoothness always remaining apparent.

Conclusion So here’s the deal. At £1585, this is no cheap option: some may baulk at the price, but you get what you pay for. This is a high-quality cab, voiced perfectly with an impressive sonic display and equally impressive portability. The cab comes with a three-year limited warranty, and padded covers are available, sold separately. I’m in no doubt that this is to be an immense success for Aguilar.

GEAR Aguilar SL 410X Cabinet Price £1585

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BASS

TUITION Making you a better bass player

W

Ellen O’Reilly is a freelance bassist and vocalist currently studying at ICMP. Ellen has extensive experience in gigging, studio and television work. www.lowendlady.com

ELLEN O’REILLY BEGINNER’S THEORY

72

Paul Geary attended the Berklee College of Music in Boston and the Musicians’ Institute of Technology. He also heads up the Academy Of Contemporary Music’s bass school. www.paulgeary.com

PAUL GEARY BEGINNER’S TECHNIQUES

74

the electric and upright bass world. We’re fortunate enough to have

Stuart Clayton is a professional bassist and writer with over 20 years of experience in the industry. He runs the bass department at BIMM Bristol and Bassline Publishing, which has published a range of tuition and tab books.

some serious talent on the team, from world-class music educators

www.stuartclayton.com www.basslinepublishing.com

elcome to our redesigned tuition se ction, in which Bass Guitar Magazine  collates the wit and wisdom of the crème de la crème  of

to experienced touring musicians, who between them have laid down

STUART CLAYTON INTERMEDIATE THEORY

the low notes in every studio, club and arena in the civilised world. Note

76

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

Rob Statham has amassed over 25 years as a professional freelance bass player. He has played in a wide range of musical settings, including jazz, blues, prog and classical, and he has taught for the past three years at BIMM London.

ROB STATHAM INTERMEDIATE TECHNIQUES

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Head of the Bass Department at BIMM Brighton, Franc has worked with artists such as Steve Howe (Yes), Lisa Moorish, and Mike Lindup (Level 42). Franc uses Jeff Chapman basses and Elites strings. www.francoshea.com

FRANC O’SHEA ADVANCED THEORY

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Say hello to advanced techniques columnist Philip Mann, star of studio and stage. Ready to get those fingers flying? Mann up...

PHILIP MANN ADVANCED TECHNIQUES

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David Etheridge studied double bass at the Royal College of Music. Since then he’s worked with musicians such as Nigel Kennedy and Martin Taylor. David teaches double and electric bass and is the MD of two big bands and a 55-piece jazz orchestra.

DAVID ETHERIDGE UPRIGHT BASS

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Steve Lawson is the UK’s most celebrated solo bass guitarist, with 15 years of touring and 36 solo and collaborative albums to his name. He also lectures at colleges around the world. www.stevelawson.net

STEVE LAWSON EFFECTS MAESTRO

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Mike has written for BGM since 2004 and has been a bassist since 1987, clocking up over 3000 gigs around the world in the process. He has played for and worked with the likes of Bonnie Tyler and Toyah Willcox, and has a bass collection to rival a small shop.

MIKE BROOKS  CLASSIC BASS ALBUMS

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TUITION Introduction

BGM Notation Legend The following is a guide to the notation symbols and terminology used in Bass Guitar Magazine  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 marked with a ‘t’, notes popped with the fingers marked with a ‘p’

Fretting hand slaps are marked ’lh’ and double thumbing upstrokes are shown with an upward pointing arrow

Where necessary, down and upstrokes with the pick will be shown using these symbols (down-up-down-up)

Fretting hand taps are shown with a ‘+’ in a circle. Picking hand taps are shown with ‘+’. Specific fingers will be shown with numbers if necessary

FRETTING TECHNIQUES

HAMMER-ON AND PULL-OFF

SLIDE (GLISSANDO)

TRILLS

VIBRATO

Hammer-ons and pull-offs are shown with a slur over the notes. Only the first note is plucked by the picking hand

Slides are performed by playing the first note then sliding the fretting finger up to the second note

Trills are performed by rapidly alternating between the two notes shown using hammer-ons and pull-offs

The pitch of the note is altered by repeatedly bending the string up and back with the fretting finger

BENDING NOTES

PLAYING HARMONICS

NATURAL HARMONICS

ARTIFICIAL HARMONICS

BEND

BEND AND RELEASE

The note is played as a harmonic by lightly touching the string above the fret indicated

Pluck the string while fretting the lower note and placing the edge of the picking hand thumb an octave higher (the note shown in brackets)

The note is bent upwards to the interval specified: ½ = semitone, full = tone

The note is bent up to the interval indicated then released back to its original pitch

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T  h  e 

FRONT LINE Want to make it as a professional bassist? Listen up as BGM’s world-class bass team reports back from the tourbus THE JAZZ BASSIST RUTH GOLLER

Jazz warrior Ruth relaxes after a stint on the road Recently I had a listen to a record that greatly inspired me when I was younger: Brad Mehldau’s Art Of The Trio Volume 4 . This is a live recording from the famous New York jazz club, the Village Vanguard. The record is from the late 90s and features Mehldau’s trio of Larry Grenadier on double bass and Jorge Rossy on drums, with the trio playing arrangements of standards. What’s really special about this recording is the fluency with which all three players play in odd time signatures. They really stretch the various ways of playing over five and seven. The version of ‘All The Things You Are’ is particularly interesting, with the players subdividing the seven in many different ways, whether as two bars of 7/8, or one bar of 7/4: dividing the seven into four plus three, or three plus four, and so on. What is more, they interact at breakneck speed, and play with great fluency. Grenadier, who is for my money the most influential double bass player of the last 20 years, underpins everything perfectly. The way he will displace certain notes, or anticipate or delay tonics in his bass-lines, are two elements that make his improvising so interesting, all while taking care of the time in a rock-solid fashion, and doing so with a great tone. Even when he’s soloing, it’s still an extension of the bass-line: he never loses sight of the importance of his role in taking care of the raw elements of the music – time, feel and harmony. Listening to this record makes me realise how much the other two players rely on him in all these departments: with him being so solid in these areas, he allows the other players to really fly over the top and be totally free. The moments when he does take flight are made even more powerful by their rarity. The results are a perfect balance of trust and adventure, with all three players able to play at their very limits. www.ruthgoller.com

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THE METALHEAD PAOLO GREGOLETTO

Trivium bassist Paolo talks radio As I write this, we’re five weeks into a seven-week tour. Some guys are getting over being sick; some are maintaining their level of sickness with a little late-night booze and some vitamin supplements. We aren’t stir-crazy yet, but I think when we get through this next jaunt straight across the tundra of Canada we will be ready to get home. This entire tour has been geared to work around the ‘active rock’ radio format in the US, an entirely different beast than that used for rock radio anywhere else. It’s very political and it has taken a lot of time and teamwork with our label and management to get spins and station adds for our latest single, ‘Until The World Goes Cold’. We weren’t exactly sure how this tour would pan out, but we were ready for anything to help develop this single and the album in © Scott Uchida this rock radio market. There was a risk that the turnouts might be lower because this audience is still getting acquainted with our sound. Thankfully, we’ve had tremendous success so far with sell-outs or near-sell outs almost every night. We had a few celebrity tweets about the new album, Silence In The Snow , when it was released las t October. One of the biggest, and most surprising, was Nikki Sixx, the bassist for Mötley Crüe. He gave the video for the title track a shout-out to all his followers. Then days after we began this t our he tweeted about us

“WE WEREN’T EXACTLY SURE HOW THIS TOUR WOULD PAN OUT, BUT WE WERE READY FOR ANYTHING TO HELP DEVELOP THIS SINGLE AND THE ALBUM IN THIS ROCK RADIO MARKET. THERE WAS A RISK THAT THE TURNOUTS MIGHT BE LOWER BECAUSE THIS AUDIENCE IS STILL GETTING ACQUAINTED WITH OUR SOUND” again, and eventually Nikki interviewed our singer Matt [for Sixx’s nationally syndicated rock radio show, Sixx Sens e], and even came out to see us at our LA show at the Roxy. Radio is a numbers game: it’s like learning a new language that has nothing to do with music as an art form, but which is important to understand if you play this game. I’ve learned a lot about the power of rock radio, and how important it still is to reach wide audiences, even in the face of streaming apps and satellite radio. America is a big place. You can be a good-sized band here and still be unknown to the majority of people. You can be big in New York City and barely fill a bar in Illinois. The only way to break through is with a mixture of touring smart and having a game plan to crack the mysterious world of radio politics, all while not losing your sound and uniqueness along the way. www.trivium.org 

THE FRONT LINE

THE ALTERNATIVE ROCKER

THE EXTENDED-RANGE SPECIALIST

MICHAEL MCKEEGAN

STEWART MCKINSEY

Therapy?’s Mike ponders active versus passive

Don’t fret, or at least don’t fret badly, says McKinsey

I recently took charge of a new bass kitted out with passive pickups and, having mostly used active basses previously, it was quite a revelation. revelati on. As soon as I plugged it in I heard a certain character that I hadn’t heard in a while with the active basses. So much so, that as an experiment I redid a bass part on a new demo and compared it with a previous version done on an active bass. The difference was considerable: considera ble: the passive bass with flat EQ sat brilliantly between the guitar and drum machine parts. I know this is an age-old conundrum

Now that we’ve examined some consistency in terms of attack, let’s shift focus to the fretting hand. I’ve written a lot about manipulating a string to get the effect you want, so here’s where we start getting into the minutiae of technique. For most of us, the fretting hand is there to do no more than make sure the string is stopped at a certain point, but if you want to develop as a player – and if mastery of the instrument is something you make a priority – you need to realise that great musicians are not only dedicated and disciplined, they are usually more than a little obsessive. While that behaviour is to be avoided in most aspects of life, when approaching your art it can be a useful trait. Your fretting hand serves more roles than you may initially consider. In addition to holding down the string while the note sounds, it is central to your muting technique, essential to your expressiveness and most likely an unconscious part of your rhythmic arsenal. Bearing that in mind, how do you enhance these skills? In all seriousness I would suggest you listen to classical musicians, particularly cellists and nylon string guitarists. Start paying attention to how they manipulate the s trings to create different effects. Any serious player of a fretless instrument understands that the fingers that stop the string are responsible for so much. These artists can also open you to legato playing, something we electric bassists often take for granted. Play more on the tip of your finger, then use more of the meat there, and hear t he differences. Feel how lightening your touch affects the blossom and decay of notes, and how that can open you to new timbres. Listen to the entire envelope of a note and how you can change it simply with your fretting hand. Find the limits of definition and softness in a note and just how much your fretting hand has an impact there. You may also want to listen to saxophone or trumpet solos, particularly in the realm of jazz, to further develop dynamics and expression. This should be something you revisit often, if you truly want to grow and flourish. www.facebook.com www.faceboo k.com + search ‘Stewart McKinsey’

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for bassists: certain players that I know have waxed evangelical, almost to the point of overkill I should add, about the pros and cons of passive and active. I know that each and every set of active pickups has a different set of characteristics, but generally I find they sound a bit cleaner and punchier, while the more varied tone shaping is a big bonus for people who like to be a bit more versatile with sounds. When recording, I much prefer passive pickups: there’s a warmth and ‘honesty’ to the tone that tends to come across really well in the studio. When I use an active bass myself myself,, the producer seems to spend half the time cutting frequencies and trying to EQ or gate out that very subtle, but annoying, hiss that the treble sometimes has. Live is a completely different different kettle of bass, of course, and the fullrange roar afforded by active pickups can be a godsend when trying to get a decent tone – especially if you’re using hired gear or at the mercy of a crippled or non-existent PA. I much prefer that bigger, more hi-fi sound they afford, and it’s normally pretty easy to dial in a serviceable sound on the bass, regardless of what other gear is onstage. Of course, there are good and bad passive pickups, so maybe I’ve just lucked out and have an ace set in this new bass. I’ll see how it sounds in 10 years after much blood and sweat. Apples and oranges, you may well think – and I agree, both kinds of pickups have their own unique sonic strong points. I’m enjoying the luxury of having both on hand to get the best out of any situation. www.therapyquestionmark.co.uk

Bass Guitar Magazine May 2016

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Beginner’s Theory

This month Ellen shakes things up with some inversions

H

i low-enders, I hope you’ve all been running over your pentatonics. This month we are taking a look at the simplest form of chords, which are known as triads. Now a triad is when you play a root, third and a fifth in succession: these intervals together form this chord. There are different kinds of triads, as follows:

Major triad Minor triad Augmented triad Diminished triad

ELLEN O’REILLY

Root, major 3rd and perfect 5th Root, minor 3rd and perfect 5th Root, major 3rd and #5th Root, minor 3rd and b5th

These variations of intervals are what create these triads, but you can play them in different ways. For example, if you play a triad from the root, this is called root position. You can play the notes of the triads in different orders, known as inversions. So, if you play starting from the root, it’s known as the root position; if you play starting from the third, it’s the first inversion; and if you start from the fifth, then it’s the second inversion.

“

WHY SHOULD I LEARN ABOUT INVERSIONS, I HEAR YOU ASK?

”

Why should I learn about inversions, I hear you ask? Well, I know that as bass players our job is often to highlight the chord in the most obvious way possible by playing the root note, but we can also let the listener know what chord we’re on by playing o ther key notes of a particular chord. The notes that make up a chord are also known as chord tones, and the chord tones we’re highlighting here are the root, third and fifth. In this column, we’re taking our first look at inversions, so we will look at the major triad first. As you can see in the example, we are playing the C major triad. The first bar shows the root position (playing in the order: root, 3rd, 5th), then in the first position (in the order: 3rd, 5th, root) and finally in the 2nd position (5th, root, 3rd). So the C major triad is made up of the notes C, E and G. In root position we play C, E and G, in 1st inversion we play E , G and C, and in 2nd inversion we play G, C and E. You can see these notes and inversions highlighted for you in the example and tab given. Try this major triad formula on other major chords: pick a new root note to start from and follow the same principle. For example, if the chord is G major, your root, 3rd a nd 5th will be G, B and D. Try this for as many major chords as you can think of – and experiment. Get a guitarist or keyboardist buddy to help you by playing down the chord while you play the inversions. Have fun!

EXAMPLE 1

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EXAMPLE 1

This starts with two bars of C. The first note is a dotted crotchet: remember to let this ring for three eighth notes. It is played on the third fret of the A string. Next is an eighth note, played on the same string at the third fret. This is a crucial note to keep the groove and pulse consistent. We then stretch across to play the perfect 5th on the fifth fret

PAUL GEARY

The mighty Geary goes Latin. Alea jacta est ...

T

his month, let’s take a look at

of the D string; this note is another dotted crotchet played on G. You can use either your little finger or third finger of your fretting hand to play this note. Keep a s teady pulse throughout and set your metronome or drum machine to 95BPM. After this we finish the bar off with another eighth note on G played at the fifth fret of the D string. This triggers bar two and creates an authentic Latin groove on the bas s, using the root and fifth intervals of the chord. This is essentially played as a b ossa nova feel. In bar three we change chords to Bb, using the first fret of the A string to play the note, followed by the same rhythmic pattern and interval. The perfect 5th is played on the third fret of the D string and is a dotted crotchet on the F note. Finally, in bar four we use a G eighth note, played on the third fret of the E string to take the repeat back to C.

EXAMPLE 2

Latin music and the function of the bass within this genre. Latin music has a broad

spectrum of influences and styles. It has its roots firmly within Latin America, and originally this music was built around various tuned drums and percussion, and used as a foundation within the songs. This is still evident today as many songs include this vast a rray of

This example uses the same chords but is syncopated with an anticipated groove. We start with a crotchet on C, third fret A string, and then move to the perfect 5t h G after an eighth note rest . The G on the fifth

rhythmical backbeat. Melodic

fret of the D string is tied over to a crotchet: play the G eighth note and let it ring over to the crotchet. We

instruments including the bass were added later.

then have another eighth note rest, and the C this time is tied over the bar line to the crotchet, which gives a syncopated feel to the line. We then hit a G on the third fret of the E string which is tied to a crotchet,

We’re going to take a look at two styles this month: bossa

and then play a Bb, first fret A string, which again is t ied over the bar line. In bar three we follow the same sequence and groove on to the F, third fret D string and another Bb which is ti ed to the bar line. Finally we

nova and samba. Each style has a fundamental pulse running

take the low G, third fret E string a nd play a single G eighth note to take the repeat. Star t this one at 80BPM. You should soon be able to get the feel once you’ve played it through a couple of times.

through it, called a clave. This rhythmical pattern is crucial to lock in with as a ba ss player. It

EXAMPLE 3

is also important to remember that the bass has more of a supportive role within the music, outlining the chord progression and complementing the extensive rhythm used.

We’re using the same chords and note po sition, but this time we move to a double eighth note p attern which is tied over to a crotchet. As you practise this, you should hear that it is the standard root-fifth Latin progression. As before, all of the notes are tie d over within the bar and over the b ar line, except for the initial eighth note on each root and fifth movement of the chord. This gives the whole line a Latin feel. In bar four watch out for the two eighth notes at the end of the bar p layed on low C, third fret A string: these notes take us back to the beginning on the repeat.

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Bass Guitar Magazine October 2015

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Beginner’sTechniques

“WE’RE GOING TO TAKE A LOOK AT TWO STYLES THIS MONTH: BOSSA NOVA AND SAMBA. EACH STYLE HAS A FUNDAMENTAL PULSE RUNNING THROUGH IT, CALLED A CLAVE”

EXAMPLE 4 On the last example we use a dotted crotchet rhythm to create the groove. It is similar in feel to Example 2 with reference to syncopation – however, it has one key difference. There are no rests! This gives a forward motion to the line and creates a seamless pattern. Try playing this one with your picking hand close to the neck. It should create a thick, fat tone which will sound great with

any bossa nova or samba style chord progression. The key difference between the two styles is tempo. Samba is essentially fast bossa nova. This all depends on the actual song you’re playing.

LATIN EXTRA Here is a chord progression over which you can practise some of the examples. Take each example in turn and play it over the progression. Use the standard root and fifth pattern, being careful to play those tied and dotted notes with precision. Notice how each line changes the feel of the music. This would be a great exercise

guitarist: failing that, use software t o whack down the chord progression, record a drum loop and away you

to practise with a drummer and

go. Until next time, enjoy getting down to some serious Latin vibes.

Bass Guitar Magazine October 2015

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EXAMPLE 1

When you play this mode you’ll instantly hear that it has a unique sound: it’s dark, it’s menacing, it’s unusual… it’s basically a great mode for rock and metal! The Locrian mode is unique among the modes of the major scale in that it works with the half diminished (or m7b5) chord that is built on the seventh degree of the scale. In example 2 you will see all of the chords that arise from harmonising the major scale.

EXAMPLE 2

STUART CLAYTON

Commander Clayton steers the BGM  ship into Locrian territory

W

elcome to the penultimate instalment in my series of columns covering the modes of the major scale. Over the last 10 issues we have dissected five of the modes that can be derived from the major scale: Dorian, Phrygian, Lydian, Mixolydian and Aeolian. In this month’s column we will begin looking at the final mode, the Locrian. This is not a mode that you’ll use as often as the Dorian or the Mixolydian, but as with all the modes it has a unique sound and is appropriate in certain musical situations. The Locrian Mode The Locrian mode is built on the seventh degree of the major scale, so in the key of C, it runs from B to B. Remember that as we are in the key of C major, there will be no sharps or flats. Example 1 illustrates the B Locrian mode.

As ever, in order to get a clear idea of how this mode sounds, it’s a great idea to play it over two octaves. Example 3 is a fingering for a two octave B Locrian mode.

EXAMPLE 3

Remember that you can get a clearer idea of what makes a mode sound unique by comparing it to either the major or minor scale that begins on the same note, whichever is more appropriate. Although the Locrian mode works with a diminished chord, it’s easiest to relate it to the natural minor scale. In example 4 you can see a comparison of the B natural minor scale and the B Locrian mode. This mode is usually described as being a ‘minor scale with a flattened second and fifth’.

EXAMPLE 4

“AS WITH ALL THE MODES, THE LOCRIAN MODE HAS A UNIQUE SOUND AND IS APPROPRIATE IN CERTAIN MUSICAL SITUATIONS ”

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Bass Guitar Magazine October 2015

TUITION Intermediate Theory

EXAMPLE 5 Let’s put the Locrian mode to use now in some bass-lines. Example 5 is a driving rock riff that very clearly outlines the sound

of the mode by emphasising the flattened fifth (F) and flattened second (C).

EXAMPLE 6 Example 6 is another rock/metal riff. When playing the fill in the fourth bar, I recommend playing

the B at the ninth fret with the third finger. The finger-per-fret method can then be used to play the remainder of the line.

As we are nearing the end of this series of columns on the modes, now would be a good time to recap on the modes covered so far and the chords they work with. Remember that when we talk about modes, it’s easiest to relate them back to either the major or minor scale that begins on the same note. This allows us to clearly see/hear their distinguishing characteristics.

Cmaj7 – C Ionian

We didn’t cover this mode as it is simply the major scale

Dm7 – D Dorian

This is a minor mode that has the raised sixth degree as its distinguishing characteristic.

Em7 – E Phrygian

Another minor mode, this time notable for its flattened second degree.

Fmaj7 – F Lydian

A major mode, identical to the major scale aside from the sharpened fourth degree.

G7 – G Mixolydian

Another major mode, this time with a flattened seventh degree.

Am7 – A Aeolian

This mode is another name for the natural minor scale.

This mode is best compared to the natural minor scale, in which case, its distinguishing characteristics are the flattened second and fifth scale degrees. Bm7b5 – B Locrian

That’s all for this month, folks. Next month we will be concluding this series with a longer study piece that will allow you to become even better acquainted with the B Locrian mode. Until then…

Bass Guitar Magazine October 2015

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ROB STATHAM

The great Statham looks at alternating fingers for maximum bass efficiency

I

’ve written before about the contentious question of alternating or raking in the plucking hand when descending

down across strings. For me, either

“WHICH FINGER SHOULD LEAD? SOME PREFER THEIR FIRST FINGER, AND OTHERS PREFER THEIR SECOND ”

is fine, but be aware of both options and that we can adjust as necessary. There are occasions when I might

Remember this formula: when ascending across strings, an even number of notes on a string means

do one or the other, but I won’t leave

we lead with the same finger as we move to the next string, and an odd number means the leading finger

it to chance – I want to be making a

changes. However, when descending and raking the opposite is true, so we need to focus on keeping the

conscious decision about it.

formula the same when descending as well as ascending.

People often rake without

Example 1 is a simple four-note chromatic run on each string, moving to the same pattern on each string

thinking, and so when I ask

in turn. This means that if we begin by leading with our first finger then we will also be leading with

students to play a pattern strictly

our first as we move to the next string up. Now, when we reach the highes t note and begin to play the

alternating throughout, their fingers

descending form, the leading finger changes to the second finger, and so we need to lead with our second

‘want’ to rake as they descend

finger as we cross to the next string down to keep a strictly alternating pattern.

strings. The examples here will

If we keep this together all the way down, then the last note of the example will be played with our first

challenge us in this respect and

finger. Really focus on the leading finger as you cross strings on the descent, ensuring it’s the second finger

help us alternate where we might

in each case. Having completed the example in this manner, repeat it, this time starting with the second

otherwise rake.

finger: the first finger then becoming the leading finger as we cross strings on the descent. You may find

Which finger should lead? Some prefer their first finger, and

yourself raking without meaning to at first, but with a little concentration this one isn’t so hard.

Example 2  is similar, but this time playing three notes per string in a minor pentatonic with added passing

others prefer their second, but

notes, so the leading finger changes each time we cross a string. If we start with the first finger we’ll be

we need to be comfortable with

leading with the second as we cross to the next string. This will be true for the descending form too, as long

either, otherwise certain patterns

as we keep the alternating pattern together and, as before, we should end up on the finger we started with.

become difficult to play. Obviously,

Once again, when we can do this comfortably leading with the first finger at the start, try it the other way

the leading finger changes as we

around, commencing with the second finger and finishing on the same finger again. Again, with a little

cross strings, having played an odd

concentration this isn’t too hard – keep an eye on your plucking hand as you play the example and ensure

number of notes on the previous

you’re alternating throughout.

string: being comfortable leading with either finger avoids problems.

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Bass Guitar Magazine October 2015

Example 3 is a common scale pattern – groups of four from each note in turn of a C major scale – but this will involve crossing strings in both directions and a mix of odd and even numbers of notes on each string.

TUITION Intermediate Techniques

EXAMPLE 1

EXAMPLE 2

EXAMPLE 3 However, if we ens ure that the first note of each group o f four is played with the same finger, this should help us keep to an alternating pattern throughout, whether we are crossing strings up or down. Try it leading with the first finger first, each group of four notes following the same plucking hand pattern, and we should end on our

EXAMPLE 4

first finger when we play the octave note at the end of bar two. Once comfortable, try it leading with the second finger and, as before, finishing on that finger. You might find yourself raking inadvertently at first, so, as before, keep an eye on your plucking hand, concentrate on targeting the first note of each

directions and a mix of odd and even numbers of notes on each string, the aim being to maintain a strictly

group of four with the same

alternating plucking hand approach throughout. The second two bars should start with the same finger

finger, and you’ll get there. I’ve

you started the firs t bar with: use this as a check to make sure you haven’t inadvertently raked along the

only written out the ascending

way and swapped the leading finger. At the end of t he four bars, we should be playing the repeat leading

form of the example so have a go

with the same finger we started with. As before, once you’re comfortable starting with the first finger

at the descending form following

and can maintain the alternating pattern throughout, try it the other way around, starting with the

the same approach.

second finger.

Finally, for example 4 I’ve

You can devise similar exercises t o challenge yourself in this way: ensure that you’re string crossing

written a four bar bass-line from

in both directions and mixing odd and even numbers of notes on each string, leading with either finger.

an E minor pentatonic scale wit h

Gradually you’ll have more plucking hand control, and will b e more aware of whether you want to a lternate

a lot of string crossing in both

or rake, rather than leaving it to chance.

Bass Guitar Magazine October 2015

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EXAMPLE 1

EXAMPLE 2

FRANC O'SHEA

Can Franc build it (a melodic bass piece, that is)? Yes he can!

EXAMPLE 3

T

his month we will start to look at building solo chord/melody bass pieces – not uncommon in today’s bass world. The history of unaccompanied bass stretches back to Jaco Pastorius’s classic harmonics composition ‘Portrait Of Tracy’, his rendition of J.S. Bach’s ‘Chromatic Fantasy’ and ‘America the Beautiful’, which he re-titled ‘Amerika’. In the 80s, Jeff Berlin broke new ground with his masterful version of ‘Dixie’, a dazzling array of often contrapuntal melodic, chordal and bass material, sometimes sounding like two people playing at once. In the 90s Dominique Di Piazza followed Berlin not only in style but also as a member of John McLaughlin’s Trio, with his spellbinding ‘Marie’, from McLaughlin’s Que Alegria album. Then the floodgates opened and Victor Wooten and a whole host of others appeared on the scene. This month let’s look at the idea of keeping one or more voices constant in a s equence. By ‘voice’, I mean each note of a chord, whether sung by a group of singers (voices), a string quartet or even by individual strings on the same guitar. The term ‘voice leading’ is generally where each voice of a chord moves smoothly to a voice

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Bass Guitar Magazine October 2015

EXAMPLE 4

in the next chord. This is often stepwise diatonically, or outside of the scale, as when using chromatic tension and resolution. There is another factor in voice leading, though: keeping the voice exactly the same from one chord to the next. Example 1 shows a basic chord sequence in A minor. All the chords are triads and appear in root position. Nothing wrong with this; in fact it sounds quite distinctive since its components move like big blocks, which might be what you want. However, if each of these voices were a real voice, and this was a ‘backing’ vocal part, this configuration might sound too distinctive, as each singer makes large interval leaps, a fact highlighted in bars three to four where each voice moves down by a whopping sixth! Example 2 provides the solution. By using inversions we can create a voice leading part that still retains the original chords' notes but now lead smoothly from one to chord to another. No single voice has to move more than a scale degree up or down, and often one note continues in the same position from one chord to the next. The result creates parts with much less movement – fitting not only for, say, a string quartet or vocal group, but on

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TUITION Advanced Theory

EXAMPLE 5

The chord in the first bar of example 5 is a Dmin7 and the static melody note is an F, the minor 3rd of the chord. This same F becomes the major 3rd of the Db7 chord in the next bar, and in the next it becomes the perfect 4th, or 11th of the Cmin7 chord. The F then appears as the diminished 5th of the B7b5 chord in the fourth bar. Following the first four bars, example 5 then continues with a fresh sequence of chords and a new static melody note. This time the note is a Bb played at the 15th fret of your G string. The first chord of this part of the sequence is an Fmin7 and the melody note plays the role of the 11th against the chord, creating a melodic upper extension. Next is a Bb7 chord, and the Bb is at home here since it is the chord’s root. This is followed by an Ebmaj7 chord where the Bb is the perfect 5th. Then comes an interesting change to an Ab dominant 7th chord

EXAMPLE 6

and the Bb is again used as an upper extension: this time as the major 9th interval. Overall, an interesting effect is created. We have a single note that doesn’t change, yet the way it is framed by different chords alters its flavour from bar to bar, like using varying lights on the same subject in a photographic studio to produce differing shots. Example 6 goes further by keeping the note G, at the 15th fret of the D string static, but moving two other notes in diatonic 6ths down the scale of C major using the A and G strings. To play this you need to fret the static G with your right hand index finger while plucking all the notes of each chord with your right hand thumb. The static note here is G, the perfect 5th of the key. You could also experiment with other

bass too. If you follow the fingerings designated by the tab for both examples 1 and 2, you can see the difference

notes from the key to use as the static note. Example 7 reaches more exotic

between the two approaches. Arpeggiating each chord also works well when playing harmonies on bass. Example 3 poses another sequence of block chords: This time a I, vi, ii, V, iii sequence in C major. Example 4 provides

territory by using a D melodic minor

a voice leading solution for this progression by using the same technique of keeping a voice constant from bar to bar

scale with its 7th, C #, as the static

where possible and using inversions to create voice leading, so that each voice only moves up or down one scale degree, or remains where it is. To create the smooth rising effect demonstrated in example 4 we only have to place the root of

note. This gives some enigmatic flavours and works well with any of

the A minor chord an octave higher to put it in first inversion and to move the root and 3rd of the G chord up an octave to put it in second inversion.

the melodic minor modes in that key, including the A Mixolydian b6 mode,

Example 5 is in the style of Antônio Carlos Jobim’s bossa nova classic ‘One Note Samba’. Why that title? Because the

Taking this idea of keeping a voice the same from chord to chord, we can also use it for melodic material too.

which we explored previously. Next month: developing chord/

melody note stays the same for several bars while the chords change: meanwhile, the static melody note works well with each chord’s particular voicing.

melody for unaccompanied bass. Until then…

Bass Guitar Magazine October 2015

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we can generate our intended 32nd notes: they become straightforward to hear, and most importantly, easy to understand. Example 1 introduces a 32nd note rhythm that will be a continued theme throughout this month’s study. Addressing the first beat of bar one, count “1 e + a” aloud, playing two notes on the ‘e’. Initially, this may seem straightforward, but on closer examination, you’ll spot that the two featured 32nd notes are in fact plucks pulled by two different fingers: p1 refers to the index finger, p2 the middle finger.

EXAMPLE 1

PHIL MANN

Divisions and subdivisions, explored by the fearless Mann

S

ubdivisions and rhythmic games are two of my favourite elements of vocabulary at advanced bass level. However, even the mention of words such as ‘demisemiquaver’ can make some bassists feel a little uneasy. My aim, whether you’re a student or experienced musician, is to show you that applying rhythmic subdivisions such as 32nd notes isn’t really that much of a big deal. Let’s look at them together… A demisemiquaver is 1/32nd of the duration of a whole note, which is why the subdivision can also be referred to as a 32nd note if using US terminology (the demisemiquaver title is the one used by us Brits. Pip pip!). Counting 32nd notes can be a little tricky as there isn’t really a designated counting methodology associated with this subdivision. In my experience, the easiest way to understand how to execute 32nd notes actually starts by playing 16th notes. Try counting out loud, “1 e + a, 2 e + a, 3 e + a, 4 e + a” to emulate semiquavers. Then, while still counting the 16th notes aloud, play two notes on each of the subdivisions. Using this method

Magazine October 2015 GUITARGuitar MAGAZINE 84 BASS Bass 84

EXAMPLE 2 Our second example introduces the rhythm figure we became associated with in example 1. However, on this occasion our phrase has now been enveloped by other 16th note patterns to bolster the four-bar groove. Watch out for the trill featured on the final quaver of bar two and also the delivery of our rhythmic subdivision in bar three, where on the third beat we come into contact with some octave patterns.

“MY AIM IS TO SHOW YOU THAT APPLYING RHYTHMIC SUBDIVISIONS SUCH AS 32ND NOTES ISN’T REALLY THAT MUCH OF A BIG DEAL ”

TUITION Advanced Techniques

EXERCISE 3 Example 3 continues to develop

the rhythmic themes found in both of our first two examples. However, on this occasion, the double pop demisemiquaver pattern that we’ve started to become acquainted with has been delivered over three strings. In order to pluck both fifth and octave intervals, you’re required to pull both the D string and G string with adjusted fingers: this can be a little tricky at first, so ensure you slow the phrase down and practise until mastery before moving on to example 4.

EXAMPLE 4 The harmonic content found in the final bar of our penultimate example is an intriguing one. Once again, the rhythmic theme is reminiscent of that seen in all of our previous examples. However, on this occasion, instead of remaining static, the harmonic content now ascends through an E minor scale. The first three bars, once again, encapsulate the left and right hand slap patterns encountered in example 3.

EXAMPLE 5 This month’s final example continues to persevere with the development of the demisemiquaver rhythm we have continually seen throughout this month’s article. In the following four bar passage, somewhat challengingly, we see it executed using hammer-ons, octaves, sliding intervals and dead notes, so try to ensure you’re comfortable with the preceding examples before attempting this one. Until next time, practise hard!

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EXAMPLE 1

EXAMPLE 2

EXAMPLE 3

DAVID ETHERIDGE

More approaches to double bass soloing with David Etheridge

EXAMPLE 4

O

EXAMPLE 5

ne of the more worrying things I see in instructional books for bass is the suggestion that when

soloing, you can play a particular scale over a chord. We ll okay, you can, but are you soloing? No, you’re just playing scales. In fact, there’s a lot of discussion on the web and on YouTube by various jazz musos about the modern approach, which all seems to be about scales, modes and notes over creativity. They point out that the jazz legends of yesteryear didn’t have the educational resources we have nowadays (which are fantastic, needless to say) and that they had to find their own approach by that most essential of activities: listening. Students now, they say, are all taught the same things the same way, so they’ll all sound the same until much later on. Let’s look at how we can correct misconceptions on soloing. If we take the idea that you can play a particular scale over a chord, and take our I-VIII-V progression as an example, it might look like example 1. Boring, isn’t it? Yet I’ve heard beginner

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TUITION Upright Citizen

students do something very

EXAMPLE 6

similar, and I suppose we do have to start somewhere. However, we can take the scalic approach and break it up, even dividing the scale into intervals. In example 2 it’s beginning to sound a bit bet ter, but we can do more, so if we use intervals,

EXAMPLE 7

things start to have a direction and shape as in example 3. Notice that in bars three and four we’re using the 3rd of the chord as the first note. We could also use the 5th as well at the start of each bar and use the notes we play

EXAMPLE 8

to outline the h armony, as in example 4.

Developing this, let’s add some chromatic runs. Example 5  shows one approach. Don’t worry about the ‘non chord’ notes: we can regard them as passing tones to

EXAMPLE 9

the chord tones we want, and chromatics are useful to use notes that lead to the next chord. For instance, the F# at the end of the first bar leads neatly to the Gm7 in bar two, while the Db at the end of that bar leads smoothly to

EXAMPLE 10

the Cm7 in bar three. Note that at the end of the bar I’ve added a chromatic triplet to get to the chord note at the end. You could of course use A, G, and F just as effectively. Now all the examples so

open string as well: Fx (double sharp) is the same as G, likewise Cx is the same as D. The upper fingering uses a lot of 2 and 1/2 position; as in B major a lot of the scale notes can be played in that one position. Across the

far, and last month, have been

strings they would be B and C# (G string), F# and G# (D string), C# and D# (A string) and G# and A# (E string).

in Bb, and you can use open

A semitone position up or down will provide the other notes in the scale.

strings as part of the scale and

For example 7 let’s take it up a semitone again to another easy key: C. Obviously we can now use open

key. What about ‘difficult’ keys?

strings again, but here I’ve given you some extra fingerings in other positions. This not only gives you an

Remember, supposedly complex

alternative, but also provides suggestions for fingerings in other keys. Remember that any position will give

key signatures are usually only a

you a group of notes under the hand without moving. Across all four strings in any key going from the E

semitone away from easy ones: Bb

string upwards, you’ll have 1, 2, 4, 5, 7, 8, and 3, 4 on the top string. You simply move back a semitone for 3

to B, F to F#, C to C#, and so on.

and 6 and the upper 2.

Again, let’s move the last example up by a semitone. Example 6  shows the result,

Example 8 shows the notes and fingerings in G: G and A, move back to B, up again for C and D, back for

E, up again for F# and G, back for the high A, and up again for the B and C. This basic fingering works in all keys up the neck. If you’re an extension fingering fan (I am), then from about the 3rd position upwards

and I’ve added fingerings to show

you can use the standard 2, 4, 1, 2, 4, 1, 3, 4, 1, 3, 4 fingering ac ross all four strings. As we’ve seen in past

what moves are involved. The

columns, extension fingering really frees you up in the higher positions, and can make your soloing easy and

lower fingerings are the ‘easy’

fluid. More on that in later columns.

ones: mostly in half and first

Now let’s put all this together and use chord tones, scales and chromatics. Example 9  uses arpeggios, scales

positions. As you can see, there’s

and the odd chromatic, but in the last two bars we’re using 3rd intervals as well. In fact, in a solo a C-Eb, D-F

a bit of shuttling forwards and

progression will actually imply a substitution: C to Dm(7).

back between the two, and the chromatic tones give you the opportunity to use the occasional

Example 10 shows this developed further. In bar one, Bb -Cm-Bb; bar two Gm-Am(7)-Gm; in bar three we

actually have Cm-Dm-Eb (or Cm7 if you wish); and bar four F-Gm(7) and back again to F. Next month we’ll start to extend chords to add to our range of options.

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TUITION Laying Down The Lawson

STEVE LAWSON

The mighty Lawson discusses the ‘Babbage Engine’

wireless systems. At this year’s London Bass Guitar Show I was introduced to the Smooth Hound digital wireless system, which has a fantastically small and neat transmitter part that plugs into the bass and crucially for me, doesn’t have a pack that needs to be clipped onto your strap – I almost never play with a strap. The latency introduced by the Smooth Hound is around 7 to 8ms, which, while detectable if you’re being very specific about it, is more than workable. It’s possible to lower the latency further but it introduces ar tefacts unless you’re in a place with no interference from wifi, radio and so on. The problem with 7ms of latency comes if you’re piling that on top of latency that’s already there – for example if you’re using a laptop that has another five or so ms, and maybe another wireless system for in-ear monitoring. I was discussing this with a commenter on Instagram, who was obviously affected by this compound latency issue, and saw an additional 7-8ms as sufficiently detrimental to his set-up. One wholly unavoidable thing that introduces latency, that we live with every single day, is distance. The speed of sound is roughly 1ft every 0.8ms, so being 10ft from your amp introduces 8ms of latency. The thing is, when the latency matches our visual perception of the space, it doesn’t jar in the way that the same amount of latency would if it were introduced with a speaker much closer to us. More of our old friend, psychoacoustics! So, if you’re thinking of adding anything into your signal chain that introduces latency, have a think about how it will interact with the other stuff you have. Check latency figures, but more importantly, check the new gear with your current rig and see if it causes you any problems – the speed you play at, and the tolerance of the environment to minute fluctuations in time placement of notes will both have an effect on what you perceive as ‘acceptable’. While I’m using my current live set-up which has no other significant latency-introducing hard- or software, the Smooth Hound is proving popular and making life a whole lot easier.

F

or many years, I’ve avoided switching from pedals and rack gear to a laptop because of two main arguments. The first is about stability. I’ve just never found a system I trusted enough not to crap out on me at some point… and when it does, rebooting a laptop takes a painfully long time to sort out, as anyone who’s ever been in the audience at a gig where it happened can attest. The other reason is latency. This is the delay introduced between you playing something and you hearing that thing. Digital processing is one of the main culprits. As computers have got faster, and processors have got more powerful, the latency introduced by a super-fast laptop has dropped to mostly bearable levels. Every time you drop the latency further (by reducing the size of the buffer, and/or increasing the sample rate), you sacrifice stability, but it’s now possible to run a top spec laptop system with around 3 to 5ms of latency, running all but the heaviest of plug-ins. But laptops aren’t the only thing that introduce latency – anything digital will. Digital effects do this, although mostly in undetectably tiny amounts, and so do digital

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This month Brooksy looks back on two classic Level 42 albums... elcome back! This month, I’m looking at two albums that celebrated their 30th anniversaries last year and marked what was to be a pivotal year for Level 42. Back in 1986, despite becoming a hot ticket on the live scene, serious sustained chart success had effectively eluded the band. As vocalist and bassist Mark King has remarked since, at that point they had to make a conscious decision either to write albums that sold adequately – or take a real leap of faith and attempt to write an album that contained huge hits. Three shows were recorded for A Physical Presence at Woolwich, Reading and Chippenham in March and April 1985 to fill the gap until the next studio album, World Machine , was ready. The album perfectly

W

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Bass Guitar Magazine May 2016

conveyed the spirit and energy of a Level 42 gig, although the original CD release arguably omitted three of the best tracks (they were featured on the double vinyl and cassette editions). Released in June 1985, A Physical Presence reached number 28 in the UK album chart. Gear-wise, Mark was firmly ensconced in Jaydee Supernatural and Status Graphite territory, equipping his basses with Rotosound Superwound Funkmaster nickel 30-90 strings and using Trace Elliot GP11/12 amps, two 4x10 cabs and two Yamaha E1010 delay units. He preferred to use both pickups for slap parts and the bridge pickup for tight fingerstyle lines. The entire album is a bass workout of the highest quality – a library of strumming, plucking, slapping, rolling fingerstyle, punchy tone, cutting snaps and pulls and only one bass-sequenced track, ‘Ho t Water’. The instrumental tracks – ‘Mr Pink’, ‘Foundation & Empire’ and ‘88’ – are indicative of the creative talents on display, the band being compared to Weather Report in some circles, with the bass playing propelling the band forward at all times. ‘Eyes Waterfalling’ is a great example of Mark’s signature slap tone and style, a slap marathon that resurfaced later in ‘Lessons In Love’. ‘Follow Me’ was written as a single for release alongside the album, and eventually appeared as an E P, although it wasn’t played again live until 2003. ‘Kansas City Milkman’, on the other hand, became a fan favourite, its D tuning giving the song a moodiness alongside a tight fingerstyle line, harmonics, a syncopated instrumental section that kicks in at 3’31” and plucked 10th note double stops. A clutch of hits, including ‘The Sun Goes Down’ and ‘Hot Water’, lead into one of Mark’s best recorded solos, with elements of ‘Dune Tune’ and ‘The Essential’ from Influences, which in turn leads into a blistering version of ‘Love Games’.

World Machine was released in the

autumn, peaking at number three here in the UK, and marked a change in direction. It’s a more polished album than its predecessor, True Colours, but it boasted two worldwide hits in ‘Something About You’ and ‘Leaving Me Now’, both worthwhile fruits of the band’s labours. The title track opens the proceedings and to this day is still used by hi-fi shops to demonstrate gear. The production quality and clarity is top notch, crisp and clear: the sequenced bass part works perfectly with Mark’s playing. The descending line from 3’55” through to 4’13” is classic King. ‘Physical Presence’ is another great example of Mark’s fingerstyle technique: check out the bent harmonics at 1’04”, which he also employs on the intro to ‘Good Man In A Storm’. Play the harmo nic and then press down, or push the string beh ind the nut, for vibrato. Simple but effective. ‘I Sleep On My Heart’ and ‘Dream Crazy’ both feature killer slapped riffs that work really well as exercises in building slap stamina and consistency of playing without dropping notes. ‘Something About You’ put Level 42 firmly on the map: its tightly sequenced verse line is sparse and tight while the slapped choruses create a killer groove with Phil Gould’s drumming. ‘Lying Still’ closes the album and proved to be the only outing for Mark’s Kahler tremolo-fitted Zon Legacy: the track is filled with a great mix of fingerstyle, slap and harmonics and features some great lyrics from Boon Gould. The band went on to continued success through the mid to late Eighties, with 1987’s Running In The Family  sealing their status as a major act across Europe. These two albums show Level 42’s transition from jazz funkers to a polished pop funk act – and remain essential listening to this day.