Professional Documents
Culture Documents
BassGuitar 132 July 2016
BassGuitar 132 July 2016
ESSENTIAL DINGWALL, SCHACK, TORUN, PEAVEY AND ASHDOWN BASS GEAR ON TEST!
Issue 132 July 2016
Stanley Clarke | Chris Kael, Five Finger Death Punch | Lee Sklar | Steve Luna, Lemmys bass tech | Youth | Sheldon Dingwall | Mike DAntonio, Killswitch Engage | Dingwall Z3 | Schack | Torun 5 | Peavey Headliner | Ashdown EVO-10T AAA combo
8,500
Gold Leaf Torun
reviewed inside!
W
hatever your
preferred
style of bass
playing,
52
Schack
you owe a debt to
the great Stanley Unique 5
Clarke, who is
most famous
for his jazz bass
explorations but
whose importance
in our world cant
be summed up in
a single genre tag.
We could have
filled this entire
EDITOR Joel McIver,
[email protected] issue with tales of
SUB-EDITORS Kate Puttick, Nick Robbins his greatness when
TECHNICAL CONSULTANT Stuart Clayton it comes to the low
CONTRIBUTORS Angus Batey, Bob
Battersby, Duff Battye, Andy Baxter, Nick frequencies: its a
Beggs, Jeff Berlin, Jamie Blaine, Silvia Bluejay,
Mike Brooks, Joe Burcaw, Dave Clarke, Stuart
Clayton, Ben Cooper, Joe Daly, Hywel Davies,
Jon DAuria, Daryl Easlea, David Etheridge, Mike
Flynn, Paul Geary, Ian Glasper, Joel Graham, Ruth
genuine privilege to have him back on our cover, his first since BGM 31
back in 2007. Elsewhere in this issue were also treated to a chat with
the equally veteran Lee Sklar, perhaps the most fted session and stage
56
Torun 5
Goller, Spencer Grady, Paolo Gregoletto, Hugh
bassist ever, and the mighty Martin Youth Glover, most famous for
Gulland, Chris Hanby, Andy Hughes, Ken Hunt, his bass and production work with Killing Joke, the Orb and up-and-
Kevin Johnson, Steve Lawson, Phil Mann, Lee
Marlow, George Martin, Michael McKeegan,
coming bass newcomer Paul McCartney. New (or new-ish) virtuosos
Stewart McKinsey, Greg Moffitt, Chris Mugan, from the bass scene appear in the form of Chris Kael and Mike
Douglas Mullen, Ellen O'Reilly, Franc OShea, DAntonio of Five Finger Death Punch and Killswitch Engage, while
Dayal Patterson, Harry Paterson, Raz Rauf, Alison
Richter, Steven Rosen, Kevin Sanders, Amit Lemmys tech Steve Luna pops up to raise a glass to his late employer.
Sharma, Joe Shooman, Rob Statham, Scott As always, our reviews section is a feast for the eyes and a threat to
Surine, Jon Thorne, Freddy Villano, Ray Walker,
Alex Webster, Sam Wise the wallet, not least with the incredible gold leaf Torun 5 which will set
ADVERTISING SALES Guy Meredith you back no less than 8,500. And BGM wouldnt be what it is without
GRAPHIC DESIGN Steve Dawson our world-class education section, where we aim to make you the best
AD DESIGN Matt Smith
bassist you can be regardless of ability. Here comes the summer: lets
COVER PHOTOGRAPH Tina K
STUDIO PHOTOGRAPHY Eckie make it a bass-heavy one!
OPERATIONS DIRECTOR James Folkard Joel McIver, editor
ASSISTANT PUBLISHER Ruth Burgess
PUBLISHER Wes Stanton
48 Gear
ACCOUNTS Dave Deo
SUBSCRIPTIONS 01926 339808,
[email protected]
SUBSCRIPTION RATE UK 69
Dingwall Z3
48Dingwall Z3
For all subscription offers and overseas
prices visit www.bassguitarmagazine.com
or call 01926 339808
Printed in the UK Blaze Publishing
Mike Brooks runs this fan-
Ltd 2016. fretted phenomenon through
All Rights Reserved. No part of this
publication may be reproduced in any form, its paces
stored in a retrieval system or integrated
into any other publication, database or
52Schack Unique 5
commercial program without the express
permission of the publishers in writing.
Under no circumstances should this The love Schack is a little
publication and its contents be sold, loaned
out or used by way of trade, or stored or known place where we can get
transmitted as an electronic file without the
publishers prior written approval. together with Mike Brooks
DISCLAIMER
56Torun 5
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 This 8,500 bass is covered
or inaccuracies found within the text of this
publication. with gold leaf and costs 8,500.
Bass Guitar Magazine is an independent
publication and as such does not necessarily
Ellen OReilly road-tests all
reflect the views or opinions of manufacturers 8,500 of it. Did we mention that
or distributors of the products contained
within. All trademarks are acknowledged. it costs 8,500?
DISTRIBUTION
Distributed to the news trade by Comag
Magazine Marketing, West Drayton,
Middlesex, UB7 7QE
PUBLISHED BY
Blaze Publishing Ltd. Lawrence House,
60Peavey Headliner 1000 head &
Headliner 410 Cabinet
Brooks meets the brand new
Morrell Street, Leamington Spa,
Warwickshire, CV32 5SZ Headlining team
Bass Guitar Magazine is proud to
support the Music Industries Association.
Pic: Eckie
Pic: Harry Reese
Tuition
70 Frontline
Four pro bassists offer
you their collective wisdom.
Get smart here
BEGINNER
72 Ellen OReilly
Augmented triad fun
Pic: Eckie
INTERMEDIATE
76 Stuart Clayton
Commander Clayton
launches a brand new 12-part
soloing series!
78 Rob Statham
Metric modulation
unpacked with intermediate
techniques guru Rob Statham
ADVANCED
32
Chris Kael, 44 80Franc OShea
Combine chord voice
leading with arpeggios and
melodic phrases, says Obi-
Five Finger Death Punch Sheldon Dingwall Wan Franc
84Philip Mann
Bassists 32 Chris Kael,
Five Finger Death Punch
Hywel Davies gets the metallic
Quintuplets are easily
delivered, says midwife of
bass Mann
22 Stanley Clarke
In a meeting of bass minds, the great jazz pioneer discusses the
philosophy of the low frequencies with Steve Lawson
lowdown from 5FDPs bass
monster
86David Etheridge
Girl From Ipanema
38 Steve Luna
Lemmys bass tech salutes
his late, legendary boss
says pedal king Steve
40 Youth
Martin Youth Glover
90Classic Bass Albums
Earth, Wind & Fires I
Am album celebrated
revisits his unequalled career
with Dayal Patterson
SUBSCRIBE
NOW
44 Sheldon Dingwall
The master luthier talks
tone with Silvia Bluejay
DOWN
News and views from the bass
world, collated by BGMs team
of intrepid newshounds
stoNe freeK
Funk basssist extraordinaire and star of London Bass Guitar Shows past Freekbass Sherman
has announced a signature bass from New Zealands Stonefield Guitars. Says Freek:
Its not often that you sit down with an instrument you have never played before and
feel immediately at home, but thats the feeling I had when I first picked up a Stonefield
bass. I was lucky enough to run into Tomm Stanley of Stonefield at this years London
Bass Guitar Show. Tomms basses immediately caught my eye, and I asked Tomm if I could
have a go with one. The neck was the first thing out of the gate that had the perfect level
of comfort. Once we flipped the amp on, the tone and low end were perfect. Tomm gave me
a shout once I got back to the States about doing something together, and with a few ideas
from a little bit of my madness, he came up with the ultimate-funk-low-end-hybrid bass that
any bass player could hope for. I am very excited to get this out on the road and the studio
this year... watch out!
www.freekbass.com, www.stonefieldmusic.com
Orange Appeal
Orange has recruited some tasty bassists to their roster of brand ambassadors, namely Deftones low-end master Sergio Vega, Theo Ellis of Wolf Alice,
Matt Dirito of Pop Evil and others. The company already has a posse of bass names to conjure with on its roster, specifically Geddy Lee, Glenn Hughes,
Brent Hinds and John McVie, so the new boys are in good company. Sergio Vega explains that his AD200B MK3 Head and OBC810 cabinet serve
him well because of the way he attacks his bass (read more about that in Sergios cover feature in due course), while Jake Figueroa of Crobot adds:
The OB1 is a badass amp. Go to war with a battle stag of monstrous filthy tone or dial her back a bit for warm and crisp clean runs. This amp is just as
versatile as it is reliable. A work horse to the fullest extent. Whatever a battle stag is, we want one.
https://orangeamps.com/bass-gear
Tina K
Duff Notes
The wit and
wisdom of Guns
NRoses bassist
Duff McKagan
is captured in a
new documentary,
Its So Easy (And
Other Lies), a live
show in which
the great man
reads from his
autobiographical
tome and plays
songs for the
audience. He
was always the
coolest member
of GNR (anyone
who disagrees
is wrong) and
well be first in
line to pick one
up. We just hope
he shares the
anecdote about
the time his
pancreas exploded.
Really, it did.
REVOLVER
Every month w
e tell you the bass-line we cant stop listening to
Tina K
Bass BattLes
Occasionally we like to get a bit tabloid here at the BGM command why hes not my hero any more or anybodys, adding a few choice
bunker, even though we normally occupy a moral high ground that insults as time passed.
mere mortals (eg drummers) can only dream of. This month weve been This persuaded Paul Stanley to defend Simmons, saying Jesus
enjoying the antics of our favourite raven-haired hard-rock bass players Christ, Nikki Sixx! Would you please shut up, find another way to
Gene Simmons of Kiss and Nikki Sixx of Mtley Cre, who have been be in the news and get off your self-inated pedestal? Regardless of
sniping at each other like its 1986 all over again. some things Gene Simmons has said that I may take issue with, his
It all started in early May when Simmons reacted to the premature inuence on musicians (you included) is undeniable and will continue.
death of Prince with the words How pathetic that he killed himself. More importantly, his work, generosity and monetary contributions
Dont kid yourself, thats what he did. Slowly, Ill grant you but thats to numerous causes and charities for those less fortunate makes your
what drugs and alcohol is: a slow death. After his Kiss bandmate ongoing rant, in the scheme of things, the unimportant but annoying
Paul Stanley expressed disapproval causing Simmons wife Shannon squeak it truly is.
Tweed to castigate Stanley in turn Simmons apologised. That could Sixx then backed away from the row, concluding accurately: We just
have been the end of it, but no, Sixx stepped in, saying Gene Simmons kind of look like a bunch of old women fighting at this point.
recent heartless and uneducated remarks about Princes death shows Thats enough gossip. Back to proper journalism now.
BeGINNING at fortY
Spectors UK distributors Barnes & Mullins
BAYWATCH
Every month, keen bass-
has announced the arrival of two limited edition spotter Ray Walker brings
40th Anniversary basses. Launched at Winter us an online bargain.
NAMM 2016 by Stuart Spector to celebrate the This month: Pedulla
companys four-decade history to date, the models Thunderbolt
are variants of the Euro series of hand-crafted
Spectors and come in at a deservedly hefty 2340. This month we look at a Pedulla
Available in red and blue stain gloss versions, both Thunderbolt bass. A serial-number web
models feature Spectors stylishly carved, solid search shows this bass dates back to
maple bodies and are loaded with all the hardware 1993. Theres not much information from
and electronics that has popularised the Euro the seller, other than its kitted out with
Series for many years. Every model is individually Bartolini pickups. My research shows it
crafted from hand-picked tone woods and the weighs in at 9lbs, so it shouldnt be too
finest source materials to ensure a top quality tough on your back for that third set. It also
resonant body. The 40th Anniversary models are sports 22 frets on a rosewood fingerboard
finished with a striking red or blue gloss top broken for a velvety feel and a warm sound.
by a solid black band down their centre and a black According to Pedulla, this slightly shorter
maple neck, neck-through construction and 24 fingerboard helps deliver a meatier, more
fret rosewood fingerboard that includes a 40th substantial slap sound. The body consists
Anniversary 12th fret inlay, they tell us. Graphite of soft Eastern curly maple with a book
reinforced truss rods, custom-wound Bartolini and matched top. The control set-up consists of
EMG pickups plus Spectors Tone Pump circuit add master volume, master tone and a pickup
to the fun. Let us at them! blend. Mmm, vintage goodness!
www.bandm.co.uk http://tinyurl.com/zn8qpdz
GEAR GEAR
Basses Fender Jazz Basses Fender Mustang, Fender Jazz
Effects Various Effects Electro-Harmonix Big Muff Pi, SansAmp
Amps Mesa Bass Driver, Ernie Ball volume pedal
Amps Trace Elliot, Gallien Krueger, Avalon DI
Jose Patricio Zuniga Labarca
Nahko
I feel most comfortable playing four-string basses. I practise and
play every day. We never stop learning our instruments. Every
day something new shows up to see and learn, so play it every
day. My first bass was a Fender Jazz and my bass heroes are
Jaco Pastorius, Aston Family Man Barrett and Pino Palladino.
If I could get the bass tone of any album ever released, I would
choose the Voodoo album by DAngelo and Mamas Gun by
Erykah Badu. One of the many things that Ive learned being
a musician is that music is for sharing and learning and giving
and inspiring others. I dont buy the stuff about who is the best
or whatever: music is sharing, baby. We are touring right now
through the East Coast of the USA on the Make A Change Tour,
getting ready for our album release in June, Hoka. Check it out!
www.nahko.com
GEAR
Basses Music Man Stingray, Fender FSR Deluxe Precision Special
Effects Abominable Electronics Hail Satan Fuzz Deluxe, SansAmp Bass Driver, Boss DD-3 Delay, Palmer The Junction DI box
Amps EBS Fafner 2, Orange OBC-810 cab
Eloise Campbell
Vicky Warwick Charli XCX
My bass style is as tasty as a posh fry-up on a Sunday morning. Just what you need, when you
need it. A few tasteful frills (poached eggs, that sprig of rosemary) but reliable and satisfying! I
have the worlds smallest hands and play short-scale basses. Im still on a quest for a shorter-scale
five-string. I did try a Fender American Deluxe Jazz 5 over at Aguilar HQ recently and I loved
it. If I need to go lower, I tend to detune. Six strings arent really my thing: I always think that
if four strings were enough for James Jamerson, theyre good enough for me. Slapping is such
an important strand of the performance of the bass guitar as an instrument. I dont do it all the
time: fingerstyle and playing with a pick have been called for more often. Also, there was a time
when I was at music school where a lot of the bassists spent every spare second slapping away.
That unplugged racket, before every class, even while the teachers were speaking, did put me off
for a bit. Now, Im truly ready for my slap bass revival. Your job is to be as solid and consistent as
possible: after that you can bring in your creativity. Im always blown away by the composition
of James Jamersons bass-lines. Ive also been getting into the Smiths recently and love the
bass-lines on The Queen Is Dead by Andy Rourke. I also have a huge amount of admiration for
Yolanda Charles, to mention someone in the current London scene. Right now, Im lusting after
Pinos tone on DAngelos Voodoo. It depends what mood Im in: other days I think Nirvana
showcases tone perfection on Nevermind. Make good music with good people. When the magic
of music and personal relationships come together its the most blissful feeling. Im pouring all
my time into finally writing my own music. I think its a rite of passage all bass players have to go
through at some point, to convince the world that Im more than these four strings!
www.sheplaysbass.co.uk
Dave Ewald
like the angular approach of Busta Jones and I try to ape him if the Bass Gibson RD artist
chance arises. It was something I worked hard at, but now not so
effects None
aMps acoustic 360/361, acoustic 470, ampeg sVt cab
much. I still like to pick up a bass at the shop and pop a bit, because
you can really feel whats going on in the neck of an instrument.
Un-playing is king. I like listening to really good players who can the compositions of Penderecki, Grecki, the choral of Prt, Bach,
do all kinds of stuff, but if it becomes a distraction itll lose me. Ives. Theres a lot of really inventive people out there. Dave Sims
My playing is dependent on a whole different aesthetic where the of Jesus Lizard has the most badass tone ever, not that Id want
bass is tonally super-aggressive, but passive in that there is very to ape anyones ridiculously great tone. I feel good about the tone
little overt movement. My bass heroes are Tony Levin, Bob Babbitt, Ive found... Its not for everybody and wont work in a majority of
Alphonso Johnson, Dave Sims, Verdine White, Jaco Pastorius, musical settings but it works as Id like it to.
Paul Chambers, Carol Kaye, Steve Swallow, on and on. I also love https://soundcloud.com/gsdahlquist-asva
I
n this issue Id like to focus on one of the two most important parts
of the bass: the nut and the bridge. Since these two anchor points
are where the strings vibrate to create sound, I think each deserves
attention over two issues so that we can delve into the importance of
these components and how they contribute to your bass.
Firstly, lets discuss the nut. What is the nut, and why is it
important? Every part of an instrument impacts the sound, and the nut
has its own variety of materials from which it can be made, with each
creating a slightly different timbre to the overall tone, although this
is subjective. How the nut vibrates is dictated by its composition. The
most common types are bone, graphite, brass, wood, and plastic: these
are usually glued into position either at the factory, or by the luthier
with epoxy resin or cyanoacrylate glue (aka superglue).
Technically, the nut is simply another bridge located where the
fingerboard ends and the headstock begins. Its purpose is to locate
the strings from the tuning heads to their relative position on the
fingerboard at the required string height. This also applies to headless
instruments, where the string ball-ends are located by a metal plate
attached to an extended portion of the neck. There is also something
called the zero fret, where the zero position on the fingerboard is an
actual fret rather than a traditional nut. The nut that sits behind this
fret acts simply as a locating device so the desired string spacing is
correctly provided.
When the strings anchor from the headstock to the nut, tension is
produced so that direct pressure is applied to the nut. In Gibson-style
instruments, this is achieved by an angle on the headstock so that the
correct amount of pull is exerted at the nut: this provides downforce
on the strings over the nut, creating tension in relation to pitch. In
Fender-style instruments the headstock is scooped rather than angled,
and the headstock is relatively parallel in relation to the underside of
the neck. It has a retaining string tree which tensions certain pairs of
strings by pulling them down towards the headstock.
Since the nut is fixed, theres a potential problem if a different gauge
of string is used later on. If the nut is glued and has been shaped to the
correct gauge of the old string, there could be issues if it rattles around in
the channel. You can tell if the correct diameter of the nut has been cut
for the appropriate string by the snug of the fit. One of the ways we here
at Eve Guitars have solved this issue is to use an ABM brass nut: this is
height-adjustable via threaded screws, which can be replaced and cut to a
new string gauge without the need to remove the nut entirely.
Next month, lets examine the role of the bridge, and how these three
areas are the fundamental starting point for the design of a bass.
www.evebass.com
Rockschool
Blues and pentatonic patterns reinvestigated by Joe Hubbard
EXAMPLE 1
T
his month, lets continue to
explore blues and pentatonic
scales in order to examine some
cool structural patterns that
you can add to your performance
toolbox. Learning to play scales up
and down the neck is a great way
to learn their sound: by doing this, EXAMPLE 2
youll gain more familiarity with
your fingerboard, but it doesnt
relate to the way that we would
use a scale when performing.
So why is it that so many
teachers prescribe running up
and down scales? A fundamental
problem exists when learning
to improvise from the time
that you learn a scale and then
fast-forwarding yourself into a EXAMPLE 3
performance. In fact, there is a
whole A to Z process to investigate.
A missing link in bass education
is learning to bridge the gap
between theoretical and applied
concepts, which becomes part of
that A to Z process. Remember that
EXAMPLE 4
the only reason that you would
want to learn an arpeggio or a scale
is to be able to use that musical
content in a song. One of the first
ways to understand this concept
(remember, there are many paths
to enlightenment) is through what
is called melodic sequencing.
In this lesson we are going
to take a look at some melodic
THE MU BASSCHAT
The MU and Basschat
Handy hints to bear in mind before you head Stateside Silvia Bluejay of Basschat addresses
the unthinkable... quitting
T
ouring the US is an exciting opportunity, but weve all heard stories of
musicians being turned away at the border. If youre thinking about
crossing the pond for a tour or showcase, make sure you travel with
bass-playing!
B
the right documentation, and get the right advice. asschats membership comprises
bassists of varying ages and skill
Visas levels. Some have been playing, on
Getting an offer to tour the US is a dream come true for many artists, but stage or at home, for years or decades,
making it a reality can be expensive. The MU estimates that acquiring while others are beginners, just dipping
work visas whether for an individual artist or a five-piece band can their toes in the magical art of the low
cost in the region of 3000 to 4000. By comparison, a UK Tier 5 visa for end. Regardless of experience, many of
a US act applying to play in the UK can cost just 900 and a sponsored us may at some point need advice and
work permit is just 84. support from our community. This time Im not
Artists seeking a visa to perform in the US also need to collate talking about choosing P or J pickups, roundwounds or flatwounds,
enough material to demonstrate their musical profile and standing. Such four or five strings; I refer to those moments when a bassist is about
material includes press cuttings, letters from record labels and so on. For to throw in the towel and either quit their band, or give up playing
independent artists, such evidence can be hard to produce. However, bass altogether.
in response to members requests for help with supporting evidence, As a learner, after a relatively short time spent getting used to the
the MU now offers members a letter confirming their status as an MU instrument, its easy to expect progress by leaps and bounds if we put
member and thus as a working musician, which can be submitted as part in some effort and dedication. However, all of us, nobody excepted,
of the visa application process. Your first port of call for visa information will reach some kind of a plateau: thats how learning works. We feel
and travel advice should be the UK governments foreign travel advice, that our progress has ground to a halt, and have moments of self-
available atgov.uk/foreign-travel-advice. The MUs Live Performance doubt. Add to that the presence in our life of pesky distractions such
departments guidance note on travelling to the US, as well as advice on as working for a living, having relationships, or raising children, and
travelling to otherother countries, is availableattheMU.org/PlayingLive. playing bass can soon become a chore rather than a pleasure.
Since weve all been there, at the first sight of a cry for help, our
Visa Waiver Program community is quick to suggest courses of action stemming from
If you have been invited to perform at industry-facing events, experience. If youre starting out, get some one-to-one lessons with
conferences or showcases such as SXSW, CMJ, A3C, AMA or the Folk a good teacher who can inspire you. Listen to artists that you like,
Alliance International for no fee, you may be entitled to enter the United and study their technique challenge yourself in a different way.
States under the Visa Waiver Programme (VWP) orElectronic System for If you can play a few songs, join your first band: most Basschatters
Travel Authorisation (ESTA). However, if travelling under these auspices, who did so noticed that they were nowhere near as musically
you would not be eligible to accept further paying gigs in addition to the incompetent as they feared. Above all, remember that its not a race.
event that allows you to travel under a VWP/ESTA. Alternatively, take a break from bass playing if you feel that life is
You willneed to take your ESTA with you, along with your invitation getting in the way: music will irresistibly draw you back when the
to attend the showcase or conference, and a signed statement from each time is right.
musician in your group travelling under the ESTA that says you are in the Its not just the beginners among us that occasionally feel
US for solely promotional purposes and will not receive a fee. Even then, discouraged. Sometimes the frustration of having to put up with less-
we have heard of musicians being turned away at the border, so its vital than-ideal bandmates takes its toll even on experienced, reasonably
that you carry as much supporting evidence as possible. successful bassists. Theres the prima donna vocalists, guitarists
Together with British Underground, the MU has devised a letter whose volume only has the 11 setting, drummers who play in too
stating our request for the musicians to be able to enter the country many other bands. Then theres those who come to rehearsal without
without hindrance and delay under the Visa Waiver Programme. If you having done the tiniest amount of homework, expecting to learn the
are travelling to the US to perform at a showcase under the Visa Waiver songs from scratch there and then infuriating when you yourself
Programmeor ESTA, take this letterwith you. You can find the letter, have diligently memorised them at home (that situation being so
along with more advice on travelling abroad, attheMU.org/PlayingLive. familiar to Basschatters that we wonder whether in fact we had all
joined the same band!)
Visa Taskforce All of this can make you want to retreat to your bedroom, plug into
TheMusic Industry Visa Taskforce, of which the MU is a founder your headphone amp, and never go out again. However, its crucial
member, is working to address the many issues affecting UK artists to be clear on what your musical aims are: are you hoping to hit the
trying to perform gigs and tours in the US. Those issues include the level big time? Are you supplementing the income from your day job? Is it
of fees, application timeframes, the use of visa specialists/lawyers and the just a bit of fun and socialising? Then re-assess your band in that light
problems that arise when artistsattend US Embassy appointments. (the fun-to-politics ratio) and decide if its worth it. If its not, leave
The Taskforce is made up of industry professionals whose day-to-day for pastures new. Unfortunately, even those of us who are happy
work involves supporting UK artists as they work in the US with our band may still end up facing indifferent audiences, or badly
organised or dishonest venues, and wonder why we bother. Yet its
Get in touch plain to see from the forum that most of us are far happier playing
For advice on visas, the visa waiver programme and touring abroad, get in live than not. Dont lose heart!
touch with the MU via theMU.org/contact.. www.basschat.co.uk
h a r d to
j u s t as n as
w
r
n ed B r o
I liste and James
ve
ix
Hendr Davis
e
es
r
to Mil
Fo
a
m In r e a t j a z
The g ke has done m most
n e e
z pio ore for r S t anley
Its way too easy for our
media-saturated brains to
forget just how young the
electric bass is. Among the
list of legends of the
instrument, a handful of
th
o d y e l s e . Ste k into for the rest of us. From Jet Harris and James
e leg hap
me philosophy that sration
t h whose legacy comes close to that of Stanley
e t s Clarke, once of the fusion band Return To
People used to
used to play in bands, and Id be the only guy
that could arrange the music, the only guy
look at me like
that could write, and the only guy that could
rehearse the band properly. So I thought, If I
I was crazy!
have all these abilities, why dont I just write
some shit for the bass? I have to admit, I
I couldnt play a
six-string to save
my life. I tried a
five-string, but
it still feels weird
to me
Bass Guitar Magazine July 2016 029
With hands that could crush a human skull to dust, Chris Kael was born to pound
out heavy riffs on a bass. Hywel Davies runs for cover
n late 2010, one of the With the release of their latest album, Got pickups and a decorative knuckleduster on
I
biggest heavy metal Your Six, last September, the Las Vegas quintet the bridge.
bands on the planet was have all but conquered the heavy metal world. I was trying to envision a personification
left with a pretty sizable The album claimed the number two spot on of myself in a bass, says Kael. Im a
hole to fill when bassist the US album chart, selling 199,000 copies in motorcycle and hot-rod kind of guy and I like
Matt Snell parted ways its first week. Though mainstream attention the matt finish on all that stuff. I wanted to
with Las Vegas quintet is often frowned upon among some elitist apply a similar no-nonsense look for my bass,
Five Finger Death Punch. At the time, FFDP members of the metal subculture, Kael argues so I made it available in matt black and matt
were in the midst of recording their third that you can still be heavy as well as successful. white. The brass knuckle bridge gives it a bit
album, American Capitalist, but tensions were Its still an aggressive album. I think we more attitude: its a tribute to the band and to
high and relationships within the band were hold the record for most number of fucks all the knuckleheads out there.
at an all time low. in one song, he chuckles referring to the Ive always been a big fan of unique
Enter the enthusiastic ball of energy that infamous track Boots And Blood. Were shapes: the very first bass I bought was a BC
is Chris Kael. A heavy metal maniac through playing big shows now and for this album, Rich Warlock, he says. The body style of
and through, Kael brought new life to the we wanted to maintain that same level of my CK-4 is loosely based on James Hetfields
band and officially became a member in heaviness were known for, albeit giving it the Explorer and Rex Browns [Pantera] Rex 4.
June 2011. Fast forward five years and Kael, clarity that is needed for playing an arena. Its a mixture of both those shapes and in my
has proven himself to be a vital cog in the Im not sure the machine-gun stuff off our own little way, Im paying respects to both
Death Punch machine alongside fellow FFDP earlier albums like The Way Of The Fist would Metallica and Pantera.
members Ivan Moody (vocals), Jason Hook really translate for bigger venues, he explains. He adds: The P-J pickups have a nice bite
and Zoltan Bathory (guitars) and Jeremy We still love playing those songs, but with Got to them and are great for cutting through all
Spencer (drums). Your Six we wanted songs with a heavy, four- the guitar madness thats going on. Im able to
Previously, Kael had been a successful on-four stomp that was more uptempo. get a nice distinctive tone that really separates
bartender on the Las Vegas strip. So Unlike his predecessor, Kael favours a pick myself from the guitars.
successful, in fact, that he almost gave up on rather than his fingers and utilises an aggressive Why did Kael choose Spector, BGM asks?
music entirely. I was bartending at a place downpicking style that would leave most players When I joined Death Punch, I had the pick of
called the Cosmopolitan. It the litter and I could have chosen
was actually an awesome any company that I wanted. I stuck
A
expect the session and stage on this side of the pond in recent years due to were dependent on a massive sound system. Im
veteran Lee Sklar to be his ongoing role in Judith Owens band, which using an amp that is so small it would fit under a
taking things a little easier had the good fortune to support Bryan Ferry chair. Bryan offered Judith his studio to do some
as he approaches 50 years on his tour last year apart from the final night recording, so I asked if they had a bass amp and
in the business but the in London, as Lee recounts: Bryans band were they pointed to this little Peavey amp: I plugged
bass legend is having none really great, Jimmy [Sims, bassist] and I are in and it sounded great. They said I could have it
of it. This year sees him touring Europe and the brothers in beards! Hes a really great player and so Im using that on this tour. My EA stuff is all
US with Toto, an all-encompassing tour with a real hoot. On the last night of that run, Bryan back in the States and thats what I use with Toto
Welsh songstress Judith Owen, and benefit lost his voice less than an hour before show time and Phil Collins, but this Peavey is perfect for
concerts with Phil Collins as well as a full plate at the Royal Albert Hall. Judith was so looking the intimacy of this stuff, because I dont need to
of recording commitments. forward to that show, but shes the best at be loud. Judith is very much in the same mould
BGM caught up with Lee recently to discuss making lemonade out of a lemon. Had the show as James Taylor: she doesnt really need us. She
the state of bass, YouTube videos and what its happened, she probably would only have had a could sit at a piano and do her show, shes a real
like to be Lukather-ised following his dates with two-line mention at the end of the show review: treasure. Ive always recognised my position in
Toto earlier this year. This time Ive felt better instead, she invited 50 press people back to her these sorts of things and I never bring an ego.
about doing it. Last time, I was there because of place for an impromptu show in her living room. Im happy knowing I can do the Toto gigs after
[late bassist] Mike Porcaro: this time it was because We set up and went for it, and instead she had a spending a year playing in a chair.
David Hungate decided he didnt want to be out stellar review of her own. Thats what makes her Although Lee has equipment offered to him
on the road any more. Toto deserve so much a unique artist: other people would fold under that almost on a daily basis, little has changed in the
respect and yet in the US they get so little, despite kind of pressure. Sklar arsenal of late. With Judith, Im playing my
the fact that songs people have loved for years With Owens latest album, Somebodys Child, Warwick Starbass, which is perfect for this gig.
feature those guys but they just dont realise it. ready to go, TV performances lined up and shows Ive used that on every record Ive played on since
The thing I find saddest of all about this band is in the UK, Spain, Italy, Germany, France, Australia I got it. With Toto, I use my Dingwall five-string.
that we can show up in Finland and 15,000 turn and the US already confirmed, Lees excitement at My preference is a four-string bass, Im really old
up yet we go to the States, and theyre opening taking the new songs out on the road is tangible. school, but I always figured you use the best tool
for Rick Springfield. No offence to Rick, obviously! The new album is really wonderful. Live, its up for what youre doing at that time. I ended up
Steve Luna was the late Motrhead bassist Lemmys bass it sounded great. All his companies took care
of him: guys like Nick Bowcott from Marshall
tech. Listen up as he pays tribute to the master were like family.
He used to call me up and say Lets go to
Vegas! and wed drive there from Los Angeles,
emmy was amazing to bass, and he would adjust his stack himself. stay a week and then come back. We did that
L
work for. He was one of During the show, though, he might look over at four times a year. That was always a good time:
the easiest guys Ive ever me and nod at the head, wanting me to turn it hed tell me stories about being a roadie for Jimi
teched for. He was a good up. The bass on the amp was always down, and Hendrix, and being in Hawkwind.
guy, always respectful. so was the treble, and he always ran the mid all Towards the end of his life, Lemmy started
Tim Butcher was Lemmys the way up. It was so incredibly loud that youd to look a little frail, but we just thought he was
bass tech for many years, get a kind of phasing sound. No effects he ran getting old although we always joked that
so I filled in for Tim when he couldnt make it a wireless and that was that. hed live forever. Maybe his energy levels went
out. I did a solid three years with Motrhead I teched for the whole of Motrhead when down a bit, but his spirit never did, and nor did
when his old production manager left. they were in the studio: I did six albums with his passion for making music. People could see
We hung out for three years together, on them, all the ones they recorded with Cameron that when they went to see him play.
the bus, in the air, in Europe, the USA, South Webb. Being able to watch him record an I was with him an hour before he died. We
America, all over.... I have so many cool Lemmy album from start to finish was such a privilege. thought he still had some time, maybe a few
stories. I did South Korea and Japan on their Sometimes hed record vocals while playing an months. I drove up there and spent some time
last tour. He was a good person, man; I knew unplugged bass. with him, although he was frail, obviously. He
him for 13 years. He taught me so much about In the early years, when I first met Lem I gave me a hug and we said our goodbyes, and
music: everybody talks about him in sex, drugs was like, The action on these basses is so high! I left. I was driving home and thats when I got
and rocknroll terms, but to me, it was all about and he said Dont touch it! Leave it as it is! In the call that hed died. Im glad I went up there.
the rocknroll. the last couple of years, though, when hed got Lemmy went out there and gave it his all,
Lemmy wasnt too picky, although he knew a little older, we lowered the action to make it even though he wasnt feeling well. What he
how he wanted his bass to sound. I changed his more comfortable to play. did best was put on a show, so thats what he
strings every show, and when Marshall came Rickenbackers are famous for having a did. To him, it wasnt about the money or the
out with Lemmys signature series head, he was double truss rod, and every couple of shows booze or the glory: it was about playing music
happy with them, but I swapped out the tubes that could be an issue, but for the most part for the fans.
because he wanted a bit more gain out of them. Lemmys basses were ready to go. Theyre
He liked it to be loud on stage: he would come heavy, too: the one he played was made of Motrheads DVD Clean Your Clock live album and DVD is
out for soundcheck and strum that Rickenbacker walnut. Recently Seymour Duncan made some out now.
M
known as Youth Barrett and Jah Wobble make up at least 50 to make the guitar sound better. Generally
derived from his original per cent of my influences, he states. I was people think the guitar plays with the drums
nickname Pig Youth, also listening to a lot of McCartney for the which of course you do, it has to be totally
itself a nod to reggae melodic stuff, David Essex and Herbie Flowers synced but often that means just listening
hero Big Youth is a that was the first single I ever bought and to the drums and not really thinking about
man with an impressive was probably a formative influence on my the guitars or the melodies of the vocals. So
array of irons in the fire. bass John Paul Jones of Led Zeppelin of sometimes I get them to follow that before
Probably most famous as the bassist course, and I liked JJ Burnel of the Stranglers going back to the root.
and co-founder of legendary post-punk/ for his grittiness and dirtiness. In the studio its all about encouragement:
goth/metal pioneers Killing Joke, he has The Jamaican stuff was a big thing, he occasionally I say, Look, let me show you
contributed to a wide array of other projects continues. King Tubby, Lee Perry, Augustus an idea and that ups their game a bit.
including Brilliant (with Jimmy Cauty Pablo, Treasure Isle, Channel One, Trojan, and Occasionally theyll say, You do it and I
of the KLF), ambient house pioneers the bit of ska, I really loved it. And it went hand in will. I mean, it is the ultimate meritocracy,
Orb, Transmission (with Simon Tong, ex- hand with punk. Bass-line-wise, I used to play playing music and making records. Ive had
Verve) and the Fireman, an experimental along to Family Man and King Tubby records. that happen to me, where bass players have
collaboration with none other than Paul Jah Wobble in particular, because he was a bit replaced what Ive done: if its good for the
McCartney. Alongside this active recording more my generation, a young white kid from record, you have to be positive about that. You
career, Youth is also a prolific producer, his London, made me think I can do that. He just have to leave your dignity and ego at the door
CV including album projects with such high learned to play the bass for the first PiL album: when you go in.
profile artists as the Cult. hed only been playing a few months, but Asked about gear, Youth tells us: Ive been
Visiting this most versatile character at its one of the best albums for bass Ive ever with Ashdown since the early 80s when
his London home, we find a property whose heard. That was really inspiring and it taught they were a part of Trace Elliot. They gave
contents reflect the man himself, housing not me the punk ethic that its not how many me half a PA because I kept blowing mine
only a recording studio but a cornucopia of notes you play, its what you put into it, and up: it was the same rig that John Paul Jones
musical and cultural items as well as a wealth that you should do what you want to do. had and didnt blow up and they kept saying,
of books on all manner of subjects. Settling Despite his technical improvement over Youve had three of these! They had these
into the comfy furniture in the front room, the years, Youth explains that it is really this big bass bins and 2x12s and I said, Can we
we begin by discussing the beginnings have a bass bin and a 2x12 on top and
IM ALWAYS BARGAIN
HUNTING ON TOURS, GOING
TO SECOND HAND RECORD
SHOPS, GUITAR SHOPS AND
THRIFT SHOPS, BECAUSE I
FIND THAT SO INSPIRING
I suppose one of the more relaxed albums throughout our conversation. In fact, he do direct, deliberate referencing, the more
I did on bass was East Of The River Ganges by maintains that most of his inspiration unique and original you sound.
the Kumba Mela Experiment, which is a chill- is drawn from the musicians he finds Youth puts the finishing touch to his
out album, but I managed to get Klaus Schultz himself playing with, along with the many now-psychedelic page, before looking up and
on there and all sorts of crazy people, even interesting recordings and equipment he has concluding, As soon as I meet an artist who
Uri Geller, and Im just playing dub bass-lines amassed over the years. says, I dont listen to other peoples music I
throughout. That was a real joy. Playing bass Im always bargain hunting on tours, know Im going to have a boring session!
on the last Echo & The Bunnymen record going to second hand record shops, guitar
was also a great pleasure, as was playing on shops and thrift shops, because I find that
the last Peter Murphy album. The Orb has to so inspiring, he says. Having a room full
be in there as well, particularly Little Fluffy of instruments and gear is a big buzz and GEAR
Clouds, even though getting the bass right inspires me as an artist. Generally a starting
took a while. Id started with synths and point for a composition is me saying, I BASSES Gibson EB-2, Rickenbacker 4003, Rotosound RS66
done a very basic one, but Im glad I pursued want to sound like this track and I will try LE strings
EFFECTS Vintage Electro-Harmonix Small Stone, custom
it further because it came out as one of my and match the tone. Thats kind of how I
made Doppelgnger glam racket fuzz, T-Rex Reptile Delay
favourite bass-lines. work, whether its a symphony or a dance
with modulation
Despite his contribution to so many record, its referencing and referencing
AMPS Ashdown 900s with 2x15 cab and prototype 8x10 with
projects where innovativation and and referencing. I learned early that the custom made Doppelgnger Yellow box drive, Ashdown
experimentation are inherent values, Youth harder you try and sound original, the more Speakeasy 1x12 custom mod combo
underplays his own musical originality of a clich you become, and the more you
e caught up with luthier improvement at 36; 37 just sounded he says. When I first started, I followed the
W
Sheldon Dingwall at this awesome. Thats how we came up with the advice of my main mentor, Gar Gillies, a sort
years London Bass Guitar original 37 scale for the low B. We designed of Leo Fender of Canada, who recommended
Show, where he was a bass starting with a 37 scale going down to always making left-handed models. Up until
exhibiting his 34, finished it, and looked for suitable strings, 1996 I had left- and right-handed tooling for
Afterburner and but no manufacturer made 37 scale strings. everything we made. Then my shop went
Combustion ranges, as I had designed a bass nobody could get down and we had to retool, and it took a year
well as the stunning D-Bird prototype, at Bass strings for, he recalls, shaking his head. So and a half just to get tools for three basses,
Directs stand. Dingwall basses are so I called Kaman Musical Strings. The head so I just couldnt afford tools for left-handed
distinctive that my opening question has to be string technician, a bass player, was intrigued as well. I always meant to, though. Well get
about how Sheldons interest in bass-building by my request and saw an opportunity to there. Watch this space.
started, and how the fanned frets design solve a problem. Long story short, two weeks Is there a particular kind of musician who
became his trademark. later I had a dozen sets of strings to try! That makes Dingwalls their first choice, we ask?
It started when I was three, replies the was the start of our relationship. We never Weve always sold our basses to all kinds of
Canadian luthier. We had a piano, and I still intended to get into the string business, but musicians, he replies, but the people who
vividly remember reaching the keys, and we just lucked out with those guys. were our core customers were the engineer
noticing how rich the bass strings sounded. Ive Right from the beginning we studied types. So we have Rolls Royce engineers,
always gravitated towards this bass richness. how the length of the string affects the NASA engineers, Paul Allen [the co-founder
However, I didnt take up the bass until I was tone. Since our strings are designed for of Microsoft] and so on among our customers.
15, when I first got exposed to Stanley Clarke. that skill and that skill only, they are more Then, just recently, seven- and eight-string
When I started building guitars, I would also fine-tuned, like high-end tyres on sports guitars have become popular in the djent
question bass players: they all wanted the same cars. These sets have been designed to genre, and Adam Getgood of Periphery is
thing, a five-string bass with a big B string, but have as close to perfect tension from string the king of that genre. Those guitars have
werent happy with what was available. So the to string, instead of having all kinds of pushed the bass down in frequency, often
first thing I did was talk to piano makers, asking different tensions, and as close to perfect down to F#, and that has put extra stress on
how pianos worked, and why they worked so timbre on each string. Once the signals from the equipment. Our basses have been very
capable of being tuned to F# all along, but
nobody wanted that until now!
THE RIGHT SCALE LENGTH REQUIRED A BASS THAT WOULD BE We want to know more about the
relationship between scale length in a
TOO BIG. I THOUGHT IT WAS A DEAD END. THEN I SAW A GUITAR Dingwall and sound definition, particularly
at low frequencies.
FRETS. I SAID TO MYSELF: THATS HOW YOU BUILD A BASS! overall tone. A big boomy bottom sounds good,
but if it lacks definition, its not very useful.
What we found when we analysed the signal
coming out of our basses is that there is a lot
well on the bass frequencies. Then I went home all the strings go on through the pickup, you of first harmonic and second harmonic: the
and studied scale length and all that. cant separate the B string from the G string fundamentals there, but the tightness comes
But it wasnt easy, he recollects. The right to try and correct them. from the harmonics. A long scale allows the
scale length required a bass that would be too In practice, were using physics to self- harmonics to be in tune with the fundamental,
big. I thought it was a dead end. Then I saw a EQ the strings so that, when they sound so theyre much more useful than the kind of
guitar built by Steve Juan for Michael Hedges together, you have a tone that doesnt plus-or-minus tuning.
that had fanned frets. I said to myself: Thats require correction it only requires a few Definition on bass affects an audience,
how you build a bass! That was 1992. Three enhancements. Many sound engineers and more so than guitars and more so than
months later I found myself at a luthiers producers have gone out of their way to say drums and vocals he continues. A well-
convention in the US and I met Ralph Novak, to me that recording bass with a Dingwall played bass gives power to your fingers. You
the inventor of the fanned frets. I told him that I was the easiest project theyve ever done. can create emotion in multitudes of people.
saw the potential of fanned frets for bass. After We had evidence from the very get-go that You may think of the guitars as the focal
about five minutes we hit it off and he says, Tell we were on to something. Its just that we point of the band, and sure they are, as far
you what, Ill focus on guitars and you focus on had unfortunate timing we came up with as television cameras are concerned, but as
bass and well take it from there. We shook this futuristic-looking bass at the start of far as communicating emotion, thats the
hands, and that was it. the retro trend, and 20 years later the retro bass player. Theres a revolution coming
Originally the bass was designed around trend is just running out of steam, so we on, where the bass player is stepping out in
a string I found at a music store. It had no were at odds with the rest of the bass world front, and Adam is at the forefront of that
wrapper and no name, it was just a long B for 20 years. Demand is increasing now. as well. I havent seen anything like it: its
string. I used a Fender bass and I put that B As a left-handed bassist Ive never like back in the 80s when the guitar was
string in the G string position, so I could slide a been able to try a Dingwall properly. everything. I see the same thing happening
nut up and down the headstock, and listened. Has Sheldon got any lefty models in the now, but this time on bass. And its really
Interestingly, I only started to hear a significant pipeline? We dont make any at present, exciting!
Info: www.dingwallguitars.com
I
I would describe my bass It was my main bass for a long time. I had to Claypool. Dont play to impress, play what
playingas having a retire the bass after the second on-stage neck sounds right, and know your position in the
homegrown,moonshine break. It was so sad: I couldnt bear to hurt my band. In my opinion, stepping all over a cool
type of distilledvibe. baby again, so she now lives at my house, safe riff is criminal. Overplaying a riff can hinder
Over time, I have been from tour. its simplicity, so dont be frustrated by playing
crafting my skills into the My bass heroes are Jason Black from Hot rhythm to the lead guitar: know your role and
bass player I am today aggressive, angry and Water Music: not only a super nice guy, hold it down.
to the point. I have small hands, so five-string he has fills for days! I marvel at his bass My new signature bass from Ibanez, the
basses just do not feel comfortable to me. I do wordiness and how it complements the MDB4, will be coming out very soon.Im super
like having an extra low string, but Im not guitars.Also Steve Harris from Iron Maiden: stoked about the pickup arrangement of this
sure its always needed in my bands. They can what can be said about Steve that hasnt new incarnation of my signature bass. The
be fun to play though I just need those already been said? The hairy man is the metal MDB4, stocked with two Seymour Duncan
fingerextensions first! finger master!Harley Flanagan from Cro- P-bass pickups, now includes a Jazz pickup at
My first bass was a Washburn. I had a Mags has the best live stage presence Ive ever the bridge.I feel like you can sink your teeth
friend who was selling a guitar and another seen. He practically makes the audienceeat into that high end now and really make this
who was selling a bass. Unfortunately I could his bass, by pushing it into their faces like baby scream.This is my favourite of all the
only afford the bass, so I went with that. I a battleaxe! Last but not least,Frank Bello MDBs so far.
dont remember having the bass that long, or from Anthrax: Frank is a pro player and a pro
liking it that much, but the rest is history. I awesome dude. Hands down one of the nicest www.killswitchengage.com
GEAR
48
REVIEWS DINGWALL Z3
B 52 56
ehold our world-beating bass
gear review section, where
we bring you the crop of each
months new, interesting or
otherwise relevant bass guitars,
bass amplifiers, bass speakers
and bass effects. Occasionally
well review a guitar effect if its
particularly useful for bassists, and
well test recording equipment and
general accessories every now and
then as well, but generally speaking,
this zone is for bass-specific gear.
We take the ratings that we give
each item very seriously. BGM is
the only print magazine devoted to
bass in this country, and we have
readers from all over the world,
so were responsible about our
conclusions. If a product is worth
your investigation, well say so; if SCHACK Unique 5 TORUN 5
its flawed in some way, we wont
hold back from making that clear.
Were not beholden to advertisers
in any way and our conclusions are
60
entirely independent of the views
of manufacturers, musicians and
distributors.
When you read about a bass-
related product here, you know PEAVEY Headliner 1000 Amp and Headliner 410 Cabinet
youre getting a sensible, balanced
review from an experienced bass
tester. Value for money is at the
top of our agenda in these cash-
strapped times, but on the other
64
hand, we still believe in paying
for quality.
Right, thats enough from me.
Remember, this is just about the
only place that its good to have
GAS!*
Joel McIver, editor
W
eve reviewed several Dingwall basses in the past, and no matter
how often we hear the question does fan-fretting actually work?,
we always come away from a review with a glowing appraisal of
Sheldon Dingwalls work. The man never rests on his laurels, with
new models and reworkings of existing models appearing regularly. So
what does this Z3 bring to the party?
Build Quality
You can always be assured that a Dingwall will be exquisitely crafted and
built, and the Z3 is no exception: the body shape, contouring and all round
craftsmanship are wonderful. The body itself is so comfortable to wear, and
although there is no front chamfer on the upper body, the cutaways are deep,
with great access to the upper frets. The Translucent Black gloss finish looks
classy, with just enough of the ash grain visible, while the satin-finished,
lightly-coloured bleached maple neck and fingerboard provide a familiar but
striking contrast, topped off by the matching headstock veneer and finish.
There is some headstock dive, as you might expect on a bass with a
neck of these dimensions: the scale varies from 34 to 37 inches on the low
B string. This is remedied when the Z3 is placed on a strap. Although the
neck is long, it is extremely comfortable: the way the bass sits on the player
is a testament to Sheldons design skills and ergonomic outlook. The slim,
shallow D-shaped neck profile draws the player in: playability is a serious
priority here, despite the 53mm nut width and the use of banjo fretwire
instead of regular fretwire. The 18mm string spacing also helps to give
the Z3 a slinky feel.
TECHNICAL SPECIFICATION
Price | 3750
Made in | Canada
Body | Dual density swamp ash in Translucent
Black finish
Neck | Maple, 34 to 37 scale
Neck joint | Bolt-on (four bolt attachment)
Nut width | 53mm
Fingerboard | Maple
Frets | 24
Pickups | Dingwall FD3 Super Fatty pickups x3
Electronics | Glockenklang active three-band EQ
Controls | Volume (active/passive push/pull),
rotary pickup selector, bass (+/- 14 dB @ 40 Hz),
middle (+/- 9 dB), treble (+/- 18 dB @ 18 kHz)
(passive treble cut), neck pickup series/parallel
selector, mid frequency selector (250 Hz/550
Hz), bridge pickup series/parallel selector
Hardware | Gotoh ruthenium lightweight
tuners, Dingwall black bridge units
Weight | 3.9kg
Case/gigbag included? | Gigbag included
Left-hand option available? | No
WHAT WE THINK
Plus | Vast tonal palette, supreme playability,
balance and comfort, killer B string
Minus | The price tag may be off-putting, but
this is a hand-built bass. Listen to the tones!
Overall | A top-notch instrument, built with
care and attention to detail
BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE
HIGHLY PLAYABLE AND COMFORTABLE between each of the four settings, the similarities to the original tones
are clearly evident.
INSTRUMENT. ANYONE PURCHASING Throw the EQ and pickup switching options into the mix and you
have an extremely versatile instrument, with one of the best-sounding
low B strings anywhere: its performance is made even better by the
ONE SHOULD FEEL VERY PLEASED 37 scale length. The fan-fretting needs to be mentioned, of course
and for anyone who doesnt get on with this system, a good tip is
WITH THEMSELVES to simply look at the fret ends along the top edge of the fingerboard.
If you dont look at the angled slant of the frets, your fingers should
naturally land where they need to, or at least mine did. Maybe the
mind plays tricks on ones eyes!
The many switching options may seem a bit daunting at first, so
Luminlay side dots assist the player in low light, and a Neutrik try leaving the EQ alone to begin with so that you can get accustomed
locking jack socket has also been incorporated. The lightweight to the nuances of the pickups. Once I was familiar with the tonal
Hipshot tuners reduce the weight burden and operate smoothly and characteristics of each pickup and setting, then I was able to bring the
solidly, as indeed do all the controls and hardware on this bass. The EQ into play and achieve some classic tones. Is there anything this bass
three FD3 pickups are well-matched with the Glockenklang three- cant do?
band active preamp, with controls for volume (passive tone control in
passive mode, activated by push/pull), a rotary pickup selector, and a
three-band EQ. Extra switches control mid-frequency selection and Conclusions
series/parallel switching for the neck and bridge pickups. The Z3 is a solidly built, tonally flexible, highly playable and
comfortable instrument, and anyone purchasing one should feel
very pleased with themselves. Ive thoroughly enjoyed playing and
Sounds and Playability reviewing it. At this price, youll need deep pockets but considering
The tonal concept for the Z3 was to offer three of the most popular how many players have ventured along the Dingwall route in recent
pickup tones, namely the split-coil tone of a Precision, the twin single- times, there will surely be many bassists interested in putting this
coil performance of a Jazz and the humbucker punch of a Stingray, instrument through its paces. Enjoy!
A
lthough they dont produce a vast number of
instruments, Schack basses are highly regarded
and, for the most part, this is down to the
extremely flexible active circuitry for which the
company have become renowned over the years.
Does the Unique have what it takes to knock us off
our feet?
Build Quality
The Unique gets full marks in the design and visual
departments: even with all of its modern touches and
features, it still comes across as a woody, organic
instrument. Resplendent in a Midnight finish, the flamed
maple body and neck, walnut top and ebony fingerboard
straddle the traditional and modern aspects perfectly. The
slightly odd satin lacquer is like no standard satin finish
Ive ever come across: it certainly isnt gloss but it works
very well and gives this Unique model an appropriately
unique feel.
Ergonomics have been a major consideration, with
careful contouring to the body, front and back, and the
rounded body curves are accentuated by rounded body
edges. The elongated top horn makes the bass comfortable
to wear although without a strap, there is some
neck dive to contend with. Once on a strap,
the bass is well balanced. Playability is
further enhanced by the shallow D-shaped
neck profile and with the 45mm nut width,
this five-string is incredibly playable
and comfortable. I have no doubt you
will find your fingers skipping across the
fingerboard, as mine did.
The combination of the timbers, the neck
attachment more of which below the zero
fret, high attention to detail and superb set-
up all contribute to make this a bass with a
very distinctive acoustic tone from the off, the ETS two-piece bridge facilitates adjustments to the action,
with great definition and voicing of the intonation and string spacing. The controls for volume,
low B string. The minimalist, clean-cut pickup pan, bass, middle and treble operate smoothly and
look is maintained with no front facing are made by ETS to Schacks specification.
position markers, although mother of The Basstec humbucking pickups are Schacks own
pearl side dots have been included. A brand, matched here with an 18-volt active three-band
two-over-three Schaller machine head circuit. This comes with switchable centre frequencies
arrangement has been used, and the for each band, courtesy of a series of mini dip switches
tuners are finished in a satin chrome, while inside the electronics compartment.
TECHNICAL SPECIFICATION
Price | 3450
Made in | Germany
Body | Flamed maple with walnut top
Neck | Flamed maple, 34 scale
Neck joint | Locking neck joint (no bolts)
Nut width | 45mm
Fingerboard | Ebony
Frets | 24
Pickups | Schack-designed Harry Heusen
Basstec humbuckers x2
Electronics | Schack active three-band EQ with
mini dip switch EQ settings (bass (100 Hz, 150 Hz,
220 Hz, 300 Hz), middle (500 Hz, 800 Hz, 1.2 kHz,
1.5 kHz), treble (2.5 kHz, 4 kHz, 6.5 kHz, 8 kHz))
Controls | Volume, pickup pan, bass, middle
and treble
Hardware | Schaller lightweight tuners in satin
chrome, ETS two-piece bridge Schack-designed
ETS controls
Weight | 4.2kg
Case/gig bag included? | Mono Vertigo
gigbag included
Left-hand option available? | Yes, at no
extra charge
WHAT WE THINK
Plus | A high-class offering that ticks all the boxes
Minus | The pricetag is hefty
Overall | A seriously impressive five-string that
delivers on all counts, with a tonal palette to
keep even the most ardent tone technician busy
BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE
Conclusions
Okay, heres the rub. At 3450, this is not a cheap bass by any means
but so much about the way it sounds, feels and plays is top notch.
Although a lot of players may balk at the price tag, for those able to
justify such an outlay, I recommend taking a closer look at the current
offerings from the Schack stable.
WHAT WE THINK
Plus | Distinctive looks (if thats your thing);
high-quality materials and workmanship; highly
versatile sounds
Minus | Distinctive looks (if thats not your
thing); high price; potentially confusing choice of
sound combinations
Overall | You will either love or hate this bass,
while still admiring it as a work of art
BGM RATING
BuILD QuaLITY
SounD QuaLITY
VaLue
Torun
5
Eight grands worth of golden Cypriot artistry, road-tested by Silvia Bluejay
Torun
www.torun-instruments.com
T
he London Bass Guitar Show 2016 featured a number of brand launches
in the UK: among the debutant luthiers was Kamil Torun from North
Cyprus, who introduced his high-end basses. Their shape was inspired by
Kamils beloved pet dog, he told us: he decided to create something in her
honour at a time when she was ill.
The five-string gold leaf bass we review here is one of a group of four
prototypes that Kamil brought to London with the aim of showcasing
different sound characteristics. Theyre all his own basses, created to his own
playing preferences and specifications, so this particular instrument was not
for sale. Kamil stresses that he is happy to modify and customise any aspect
of the bass to suit individual customers requirements and if the price of
this model is intimidating also their pockets.
Build Quality
This is bass-building as a work of art. The Toruns singlecut body has
a distinctive, aesthetically pleasing shape, and this particular model is
hes not necessarily planning to impose that option on his customers all coils on, or just those on the right, just those on the left, or the top half
unless they ask for it. The string height at the nut is comfortable, and on one side of the pickup and the bottom half on the other side.
there is no fret buzz. Predictably, given its electronics, the sound of this bass is powerful.
The bridge design is two-piece, with individual string attachments Despite its 34 scale, the low B sounds majestic and, with both humbuckers
positioned tastefully along the curve of the body, rather than in a straight in parallel mode, the neck pickup produces rich, enveloping bass
line. The individual saddles are adjustable sideways as well as lengthwise frequencies, while the bridge pickup is more middy and punchy. All that,
and in height, easily allowing for the difference in string spacing on however, becomes almost irrelevant when we look at the tweaking options
this model. On the back of the body there is a large, black electronics available: the range of sounds that can be obtained through knob and
cover plate in anodised aluminium, attached through four fixing screws: switch combinations is vast. Large humbucker pickups arent the only
interestingly, the plate also houses the jack socket. That makes repair or choice, though: there is also the option to install piezo pickups under the
replacement much easier than the usual position at the side of the body, bridge, if the customer prefers. The purpose of all this is to create a bass that
near the strap button, and avoids the risk of damage when the bass is can provide the desired sound for playing any kind of music, without the
placed on an A-frame while still plugged into an amp. need to change instruments between songs. In other words, the ultimate
Although the position of the socket, the size and shape of the body and Gear Acquisition Syndrome-killer: buy one bass to replace all others! The
the way the bass hangs from the strap are such that a straight lead doesnt idea stems from Kamils own experience in his native Cyprus, where bands
necessarily interfere with the players body, using a right-angle jack may play a variety of styles at the same gig, to multicultural audiences. But isnt
still be advisable. On the back of the body there is also a housing with two having so many pickup combinations at best confusing, and at worst a
cavities with clip locking for two 9V batteries side by side, used in series. recipe for on-stage disaster? How easy is it to remember which setting to
use for which track? I for one would certainly be in trouble.
Kamil is getting ready to unveil an additional solution: some models
Sounds and Playability will be fitted with an on-board software memory option, with three or
Given the size of the body and the neck, I was expecting this bass four slots, that can save groups of settings and retrieve them at the press
to be heavier than 4.5kg, although that cant exactly be described as of a button, while still allowing for any manual tweaking necessary. That
lightweight. Pick it up and examine the electronics, which comprise two sounds quite intriguing.
soapbar pickups, five knobs and two three-way switches. The first knob
from the neck is stacked, controlling the volume and doubling as an
active/passive selector. The second knob controls the balance and allows Conclusions
selection of the neck or bridge pickup or a blending of both, as desired. This is one of the most peculiar basses around, and a classic case of
The third knob controls the bass, and the fourth the treble: the fifth is a either love it or loathe it. If youre only comfortable with understated or
stacked knob for mid-range, providing boost and cut. traditional basses, look away now. If, however, youre after a bass that
A pair of three-way switches also control the pickup combinations. With can get you noticed with its looks as well as its sound, and you have deep
the first switch in the up position, the neck humbucker is in serial mode; pockets, this may be for you. Similarly, if you are a one-pickup-is-enough
with the switch in the middle position its in single coil mode; and with the Precision lover, youll find the electronics on this bass, and the options
switch in the down position, its in parallel mode. The second switch works they provide, not just baffling but also pointless. Conversely, if you thrive
in the same way on the bridge humbucker. Try setting the two switches in on modern styles and love using the widest variety of sounds, youll be
two different positions, each placing one pickup in one of the three modes. thoroughly fascinated, and quite possibly tempted, especially if you opt for
Each pickup contains four coils which can be switched on independently: a slightly less expensive custom build.
I
ve played through many Peavey rigs over the years and Ive always The amp isnt lacking any features and has a very plug and play
been impressed by how well they get the job done in any live feel: everything you need is laid out in front of you on a simple,
situation. This amp and cab are part of the Peavey Tour range and uncluttered front panel. Once youve set your Gain level, aided by
slot very nicely into the head and 4x10 cab for less than 1000 selecting an active or passive instrument, you can either bypass
bracket but do they offer enough sonic clout to cut the mustard? the Tone selector or select a mix of tone settings from Bright (more
presence and high end), Contour (mid-scooped) or Crunch (hi-gain
with a slight distortion). Bass and Treble EQ can be added using the
Build Quality Low and High controls, after which the seven-band Graphic EQ can be
Much of Peaveys reputation has been based around excellent build used to fine-tune your tone, or to remove any frequencies that might
quality and this amp and cabinet both appear to follow in that be causing you a problem in a room or on a stage. Should you require
tradition. The cabinet looks rugged, covered in a black carpet material compression, turn the Compressor on; a Mute switch is also available.
with protective metal corners, a black metal grille and recessed side
carry handles. Theres no tweeter, which is understandable at this
price point and as so many bass players now turn their tweeters off, Sounds and Playability
the omission may be welcome. Tested with a number of passive and active basses, this rig nails its
The amp is a solidly-built beast, with a combination of metal and colours to the mast from the start, with a solid and full display. My
plastic controls, all of which operate smoothly without feeling cheap passive basses benefited from the additional push from the Active/
or lightweight. As its rated at 1000 watts, youll need two cabinets Passive selector: even without adding any EQ from the amp, both
to get the full power: with one cabinet, a full delivery of 700 watts is basses sounded big and warm with a tight, punchy response from the
possible. In terms of weight, the amp clocks in at a very reasonable 5.4 4x10 cabinet.
kilos, while the cabinet is 32.7 kilos. The tone selector proved useful, while adding some extra EQ
Although its not fitted with neodymium speakers, I found it smoothed things out a little, particularly with my naturally clanky
relatively easy to move around, even though the cabinet shape is an Precision, and the Graphic worked very well in adding upper-mid and
old-school near-perfect cube. treble frequencies for extra finesse from both the Precision and my Jazz.
I was very impressed with both units, and having used them both
in rehearsal and gig settings, I can certainly recommend both to
anyone looking for a stack
technIcal sPecIfIcatIon
Peavey Headliner 1000 Amp
Price | 549
Made in | China
Power | 700 watts RMS @ 8 Ohms, 1000 watts
RMS @ 4 Ohms
Features | input jack socket, Pickup Type
(Active/Passive) selector, Pre-Gain, Tone (Bright/
Contour/Crunch) on/off selector, Low, Graphic
EQ on/off selector, seven-band Graphic EQ
(+/- 15 dB, 40 Hz, 100 Hz, 200 Hz, 400 Hz, 800 Hz,
1.6 kHz, 3.2 kHz), High, Compressor, Compressor
on/off selector, Volume, Mute on/off selector,
jack headphones output socket, SpeakON
output socket, jack output socket, jack
footswitch input, FX Send/Return jack
sockets, DI XLR output, DI Pre/Post switch, DI
Ground Lift switch
Weight | 5.4kg
what we thInk
Plus | A great rig at a great price, with plenty
of features
Minus | Lack of a tweeter is disappointing
Overall | No real frills but this rig does what it
needs to do at a simple, player-friendly price
BgM ratIng
BUILD QUaLITy
SOUND QUaLITy
vaLUe
T
he venerable Brit amp makers Ashdown have sent us
this fun-sized 60W AAA bass combo, and fans
of the companys bigger gear as we are, it would
be churlish not to put it through its paces and
see how it matches up to its more powerful siblings.
Now, a fun game that we have at BGMs secret
command bunker is to plug gear in and play with
it before we know what the price is. That way, you
get a feel for its performance without thinking That
should be better or indeed, That could be worse
because a price tag is influencing your judgement.
We did this with the AAA combo and, without
wanting to spoil the verdict so early in this review,
were pleasantly surprised when we later found out
that it only costs the same as a curry and beers for
your band and crew.
Pick the thing out of its box and stand there smugly
for a minute, holding it in one hand (assuming youre
of average human stature). It only weighs 12 kilos, or
less than two stone, and is therefore unlikely to give
you sciatica unless you attempt to throw it across the
stage at your guitarist. The heyday of the pointlessly
heavy amp is long gone, as youll know unless youve
been living in a Tibetan yurt for a decade, and a good
thing too.
Plug in via a high or low input, switch on and a friendly
green LED beams at you. Next to that is a socket for a cable to
your smartphone, in case you fancy using Ashdowns AppTek
software, more of which in a minute. Refreshingly, Ashdown
include the cable: if we had 10p for every time a manufacturer fails to
TECHNICAL SPECIFICATION
include a power supply/battery/useful gizmo as part of the RRP, dinner
would be on us. RRP | 199
Materials | Lightweight plywood, Tolex covering
Flatten the EQ without using AppTek, a simple but functional bass/mid/treble three-potter and play. The
Features | 1 x 10 speaker, 8 ohm min. load jack
default tone is round and punchy with plenty of bottom end and definition. Familiar but useable, this sound has a socket, tube emulating overdrive, four-band
reasonable amount of clarity and stays clean all the way up to the top end of the volume, with merely the slightest EQ (Bass, Hi-Mid, Lo-Mid, Treble and Variable
signs of breakup as you begin to run out of headroom. Roll on the treble and a glassy slap tone develops, but Mid Sweep), Hi and Lo inputs, AppTek socket
crucially not a weak or weedy one: theres solidity there too. (cable supplied, app free to download), line in,
The AAAs secret weapon is its Drive control. This is where youll have most fun. Give it a little twist and your headphones out, DI out, speaker mute
Power | 60W
tone gains a subtle warmth. Add more and youre in crunch territory. Max it out and youll discover a wonderfully
Weight | 12kg
aggressive John Entwistle-indebted bellow that will scare sheep at 100 paces, especially if you add serious volume. Dimensions | H 418mm x W 406mm x D 325mm
For a 60-watt amp, this combo punches above its weight. excluding feet
The AAA has obviously been designed to work in various scenarios, hence the 8 ohm extension speaker out
(evolving the amp into a stage rig), DI out and line in. The red grille looks effortlessly cool, but Im not sure how well WHAT WE THINK
it would take an accidental boot in the face by a brain-dead roadie or stage invader, so keep it well clear of crowds. Plus | Lumbar-friendly weight, impressive
The rest of the unit is solid, despite the lightweight ply construction, helped along by a tough Tolex covering. overdrive, AppTek is useful
Minus | Grille could be stronger
For 199, the spec weve just described is great value for money but add in the AppTek functionality and youre
Overall | At this price, its a steal
into even broader tonal territory. Download the app to your phone (its free, hurrah!), plug into the combo and youll
be rewarded with features from Ashdowns ABM series, sub-harmonics, tube drive, compression and a wider EQ BGM RATING
among them. Its the future, readers: be in it. BUILD QUALITY
So, three cheers for the AAA combo, then. Light, useful, affordable and easy to use. If only all amplifiers, etc SOUND QUALITY
etc etc... VALUE
TUITION
experience in gigging, studio and television work.
www.lowendlady.com
W
Stuart Clayton is a professional bassist and writer with
elcome to our redesigned tuition section, in which Bass Guitar
over 20 years of experience in the industry. He runs the
Magazine collates the wit and wisdom of the crme de la crme of bass department at BIMM Bristol and Bassline Publishing,
the electric and upright bass world. Were fortunate enough to have which has published a range of tuition and tab books.
some serious talent on the team, from world-class music educators www.stuartclayton.com www.basslinepublishing.com
to experienced touring musicians, who between them have laid down StuARt CLAYton INTERMEDIATE THEORY 76
the low notes in every studio, club and arena in the civilised world. Note
that weve divided the columns according to Beginner, Intermediate and
Advanced level for easy reference. Whether youre looking to improve Rob Statham has amassed over 25 years as a
professional freelance bass player. He has played in a
your playing technique, expand your awareness of theory, set up your rig
wide range of musical settings, including jazz, blues,
to sound like your particular bass hero or simply get on a bus and tour, we prog and classical, and he has taught for the past three
provide the answers you need here. What are you waiting for? Dive in... years at BIMM London.
Joel McIver, editor
Rob StAtHAm INTERMEDIATE TECHNIQUES 78
Mike has written for BGM since 2004 and has beena
bassistsince 1987, clocking up over 3000 gigs around
the worldin the process. He has played for and worked
withthe likes of Bonnie Tyler and Toyah Willcox, and has
a bass collection to rival a small shop.
Notes shown in brackets indicate that a note has been tied over from a previous bar.
Playing Techniques
Slap and Pop Technique Advanced slap Technique Plectrum Technique Tapping Techniques
Notes slapped with the thumb are Fretting hand slaps are marked Where necessary, down and Fretting hand taps are shown with
marked with a t, notes popped lh and double thumbing upstrokes with the pick will a + in a circle. Picking hand taps are
with the fingers marked with a p upstrokes are shown with an be shown using these symbols shown with +. Specific fingers will
upward pointing arrow (down-up-down-up) be shown with numbers if necessary
Fretting Techniques
front line
The Metalhead
Pa o l o G r e g o l e t t o
as BGMs world-class bass team reports back from childhood holds up so well. I feel lucky that most of my favourite bands
are still relevant and have done a great job of preserving their legacy, but
the tourbus sometimes the music does more than any publicist, manager or band
could ever do on
their own.
Puppets has
The Jazz Bassist truly earned its
place as one of
Ruth Goller
those mythical
Therapy?s bass warrior Mike on show prep ERB-twiddling legend McKinsey gets dynamic
Were coming round to festival season again and its time to get Ive mentioned dynamics a great deal in previous columns, but have
thinking how best to deal with the flyer shows well be doing this run. As never addressed the subject directly: it is absolutely essential to your role
its a logistical and financial no-no to get our backline out to the festivals, as a soloist, as well as an ensemble player, to understand them. While this
its going to be us flying with basics and renting the rest. At the minute I is a challenging topic for someone with the range of a typical four-string
have quite a stripped-down pedalboard comprising a tuner, a pedal-style instrument, for us it is in perpetual refinement. This ties in dramatically
wireless receiver, a Drop pedal and a SansAmp Bass Driver. So from that with several pieces in this recent series about activating and manipulating
lot I have a basic DI and preamp sound for whatever amp Im using, the the strings to achieve the effects you want. In terms of understanding
Drop pedal to deal with any lower tunings and the wireless which keeps dynamics in your playing, you need to grasp what goes on between your
tangled stage leads to a minimum. hands and the strings, the signal chain and how both of these things are
then amplified.
You can find all kinds of material about limiters and compressors online:
you should also investigate how EQ affects notes between you and the
world, as well as how cable length and method of bass construction affect
the transmission of a note. Initially, when exploring dynamics, use the
cleanest technique with both fretting and plucking hands. Focus on the
force youre exerting on the string, and how the note opens and decays.
The extremes of our range are where you will really need to focus to
understand how to play with uniformity and consistency, but start your
work in the traditional range of the bass to hear what you want to be able
to do lower and higher. Then you can start working on the unique aspects
of both the top and bottom ends of the spectrum.
The higher strings dont have the same excursion as the low strings, but
at the same time, these notes are more present than the extreme depths.
For once, you will find that the big strings will give you more in terms of
trial, but potentially more reward when you begin to hear how playing
softly or really attacking can create some very cool effects. The more you
work on this, the more you will enhance all aspects of your expression,
which in turn opens up your solo work and how you interact with a band.
This is important because in the next piece I want to start getting into the
nuts and bolts as well as the philosophy of your soloing. This will also
get into songwriting and a bit of theory, as well as referencing several of
this years articles. See you then!
www.facebook.com + search Stewart McKinsey
www.ashleybird.com
With regard to rental gear, you can get most standard rigs worldwide:
pretty much every venue will have a decent SVT and an 8x10 cab
available. Sometimes its good to specify rental backline to be used
exclusively for your show, which should be fair enough if youre paying a
full days rental. Ive heard of some companies wholl charge three or four
bands on the same bill a full days rate for the same backline, which is no
fun if you have to use it last after its been thrashed all day, or you need to
drag it across from another stage 10 minutes before youre due on. Dont
skimp on spares: bring enough strings and batteries for the shows, and if
you cant fly with a spare bass, ask the rental chaps to supply a basic P or
J bass with the right gauge of strings. Normally this can be figured in at a
nominal cost.
Prep your gear before you fly: sometimes there just isnt time backstage
to start restringing guitars or changing batteries. Shop around for flights,
too: sometimes the budget option isnt the most fiscally sound. It can work
out cheaper to pay more for flights with airlines that have bigger baggage
allowances. Another good tip if you fancy flying light and avoiding silly
excess baggage costs is to use an airline which has an allowance in items
as opposed to weight. Buy an industrial-sized roll of clingfilm, put two
matching guitar cases together and bind them into one item. Youll get
funny looks at the airport, but youll get to bring twice as many guitars for
the same price. Have fun and above all, remember to say a prayer that the
baggage handlers and airline dont break or lose your gear!
www.therapyquestionmark.co.uk
ELLEN OREILLY
Beginners bass guru Major triad Root, major 3rd and perfect 5th
the triad zone Diminished triad Root, minor 3rd and b5th
In the last column we saw that the major triad is made up of root, major 3rd and a perfect 5th. We also saw
H
ello again, bass buddies! Last how the minor triad is made up of root, minor 3rd and a perfect 5th. In this issue, we will take a look at the
month we had a look at the augmented triad and all its inversions.
first of the four triads, which In an augmented triad, there is only one difference distinguishing it from the major triad, and that is the
was the major triad. Now just 5th. In a major triad we have a perfect 5th, whereas in an augmented triad we have an augmented 5th (or as
to recap on what we learned so you can see, a sharpened 5th). There is a very distinctive and strong sound when you play the interval of the
far: a triad is a three-note chord perfect 5th, whereas when you play the augmented 5th you can hear how it is lifted in tonality. If you play
which incorporates a root, 3rd and both intervals side by side, then you will clearly hear the difference.
a 5th. This is the simplest form Now that you know what makes up a minor triad, its time to look at it in all its inversions. First up is the
of a chord, and as it highlights root position, followed by the first inversion and second inversion, which are played as follows:
the core chord tones, this makes
it incredibly melodic and a great Root position Root, major 3rd, #5th
way to add more interest when First inversion Major 3rd, #5th, root
playing under a chord. Here are Second inversion #5th, root, major 3rd
the four triads and their formulas
to help you remember what we In the example Ive given, root position consists of C, E and G#. The first inversion would be E, G# and C,
are looking at: and the second inversion would be G#, C and E. You can see how these appear on the stave in the example.
These inversions are useful for highlighting the overall tone and feel of a chord without sticking to the
root notes. As bassists we tend to get stuck on the root a lot, but by using inversions and chord tones we can
see and more importantly hear how there are many ways to complement the music to which were playing.
Give it a go yourself: get someone to play an augmented chord on a piano or guitar, and play the root position
first. Then try out the different inversions of this triad and get used to how they sound against that chord.
Youll be amazed at what you can come up with!
EXAMPLE 1
T
his month I would like to take a look at a reggae chart, break it down and analyse the style and genre.
Reggae originates from Jamaica and is based around traditional calypso music. It can incorporate a range
of different bass techniques, using thumb and palm muting as well as fingerstyle. It is also important
to realise the varied EQ and string considerations that are needed to achieve the correct tone. Reggae
should be felt, not heard.
Line 3
The final line starts off with a C
dominant 7th chord. This chord
is made up of a root C, a major
3rd E, a perfect 5th G and a minor
7th Bb. The bar starts off with
the same rests as before followed
by a C root and then the perfect
5th played down the octave on
the G note at the third fret of the
E string. We then finish the bar
with another root C, played as a
quarter note. Bar two starts the
same but then we have another
quarter note triplet starting on C
at the third fret of the A string,
finishing up on B at the second
fret of the A string. The B sets up
the chord change for bar three.
This final chord is a B dominant
7th. The chord is made up of a B
root, a major 3rd (Db), a perfect
5th (Fb) and a minor 7th, A. We
play a low B at the second fret of
the A string, followed by a perfect
5th played down the octave on a
low Fb at the second fret of the
E string. In the last bar we have
an eighth note B and a dotted
quarter note. This is the same Try playing this whole chart with the thumb as well as with the fingers of the fretting hand. Notice how
rhythm as before, and the final this dramatically changes the feel and the overall tone of the piece. Lastly and most importantly, dont forget
note is a low E eighth note that that this style incorporates a great deal of swing, more than you think, so dont play it too straight. Finally,
sets up the repeat. have fun!
example 1
The notes in a Cmaj7 chord are C, E, G, B. In this exercise I have demonstrated some ways in which this could
be played on the bass. Fretting hand fingerings have been included between the staves I recommend that you
follow them. Note that this column will rarely include any tab. I am using it in here only as a way to illustrate that
STUART CLAYTON there are many ways of playing the same arpeggio!
Commander Clayton
kicks off an amazing new
column series. Listen up!
W
elcome to the first in a new
series of columns where I example 2
look at approaches to soloing If you know the notes in the chord (and you know your fingerboard), you shouldnt need any shapes or patterns
on the bass guitar. Over the in order to play the arpeggio. This is a fingering for a two-octave Cmaj7 arpeggio. Note that I have used a different
next 12 issues (and possibly beyond) fingering when descending you should seek to find different ways to play this arpeggio all over the fingerboard.
we will follow a structured approach When playing all these arpeggios you should try to say the notes to yourself as you play them. This will
designed to get you playing effective continuously reinforce the associations between the theory and what you are playing.
bass solos over common chord
progressions. Well approach this
from a jazz/blues perspective,
meaning well predominantly cover
common blues and jazz chord
progressions. If blues or jazz arent
your thing, dont panic: the lessons
youll learn here will be applicable
to any other style of music and you
can instantly apply them to your Lets move on to the next chord type.
preferred genre.
The dominanT SevenTh Chord
Chord ToneS The chord that well look at is the dominant seventh and is one of the most important. This chord is a major chord
As you probably know, the key to with a minor seventh interval added to it. When we add a minor seventh to a chord we just call it 7, not minor
any good bass-line is the use of seven. Therefore, a dominant seventh chord is written as C7. Lets play this chord as an arpeggio on the bass.
chord tones, and the same is true
when playing a solo. If your solo example 3
lines are rich in chord tones, not Here we see a selection of ways in which the C7 arpeggio can be played over one octave.
only will you be clearly outlining
the harmony, but youll be playing
ideas that sound good too. With
that in mind, our first port of call
needs to be to begin learning about
chords and the notes contained in
them. In this first column, we are
going to look at seventh chords
(chords which contain a root, third,
tuition
Intermediate Theory
Example 4
This demonstrates a fingering for a
two-octave C7 arpeggio.
Example 5
This shows some ways to play a
Cm7 arpeggio on the bass.
Example 6
followed by a two-octave
fingering for a Cm7 arpeggio.
Example 7
This shows some fingerings for the
Cm7b5 chord.
Example 8
followed by the Cm7b5 chord
over two octaves.
example 1
example 2
ROB StAtHAM
Metric modulations
made easy with the
mighty statham noticed was on the introduction of By Fire by Hiatus Kaiyote, which implies a slowing down by moving to a
dotted quarter-note pulse for a few bars before resuming the original tempo.
i
n my last column I ran through Another way in which this concept is used is as a polyrhythmic concept, implying a new tempo while still
some useful exercises which observing the original tempo, thus creating the effect of two different tempos being played at the same time.
we can do with a metronome This can be confusing, and you may have had the uncomfortable experience of the drummer youre playing
to strengthen our time feel. with executing a metric modulation idea, creating the illusion of speeding up or slowing down, and it might have
These included some sub-division thrown you off, causing you to lose your place in the existing tempo. Because a secondary pulse is implied, we
exercises, so Id like to take this need to be careful that we dont get drawn in to feeling this as the primary tempo and thus losing track of where
idea of working on our rhythmic we are in the bar.
sub-divisions a step further and put One of the reasons why it is easy to lose your place is because the shape of the drum pattern or bass-line
them in the context of a concept strongly implies the modulated tempo. However, if the same rhythm is played as a single note, it is a fairly simple
known as metric modulation.
Metric modulation is a way we
can slow down or speed up the
tempo using an approach that is
based on moving to a different
sub-division of the beat as our
pulse. For instance, if were playing
at a tempo of 120BPM, we can
take a dotted quarter note as our
new pulse. This will result in a
tempo two thirds of the original, so
80BPM. Using this method, even
a large ensemble like an orchestra
can make sudden tempo changes
it just requires the musicians to
be able to feel the new pulse before
the bar-line where it changes, and
then move to the new tempo. This
is a useful way to make sudden
tempo changes without guesswork,
although were limited to tempos
that have sub-divisions in common.
Nonetheless, it is a very useful
concept a recent example I
example 1
FRaNC O'SHea
I
n this months column well
continue to look at ideas to use
for building a chord/melody
solo bass piece by combining
chord voice leading using
arpeggios with melodic phrases
and runs.
The passages used in my
last column and the ones
demonstrated in this issue are
either influenced by, or taken
directly from, an unaccompanied
piece that featured on my first
album Esprit, called Pearl. This
piece is in a similar style to Jeff
Berlins Dixie or Dominique Di
Piazzas Marie and is not groove-
based like many of todays solo
bass pieces, but is compositional,
with flowing changes that could,
for example, be arranged for a
string quartet.
Example 1 demonstrates a
chord sequence that is based
around a Imaj7/VI7/IImin7/
V7 in the key of F major. It
doesnt exclusively follow that
set of changes, though, and uses
substitutions to create voice
leading and smooth transitions
between chords.
Example 2 expands on these
ideas by interjecting melodic
material between successive
THIS PIECE is not groove-based but compositional, with same I/VI/II/V sequence and
incorporates an independent
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ExamplE 1
pHIl maNN
i
f you stop to think about it for
a moment, its quite incredible
just how much the study of
Western contemporary music
is motivated by even subdivisions
of note and time. Drummers
are good people to verify this,
as they happen to spend almost
the entirety of their careers
counting eight-bar intros, 12-bar
verses or 24-bar solos. Away
from the duration of time, the
mathematical subdivision of notes
is also predominantly fuelled by ExamplE 3
this common familiarity. Basically,
ever since the first day you were
introduced to music through
nursery rhymes and TV jingles,
youve been listening to, and
more importantly feeling, even
subdivisions of time.
It should therefore come as
no surprise that as soon as we
are confronted with odd time
meters or odd subdivisions,
musical studies instantly become
substantially harder to feel and
understand. Those of you with
roots in progressive rock or world
music may relish the rhythmical
challenge, whereas other bassists
among your ranks may simply
find the entire study a little
84
84 BASS Bass
GUITARGuitar
MAGAZINE
Magazine October 2015
EXAMPLE 1
EXAMPLE 2
DAVID ETHERIDGE
T
his month, lets look at using
the extended chord approaches
on a standard: Girl From
Ipanema. Its a great tune to
play, with its bossa nova groove,
but more importantly the chord
sequence is very sophisticated,
with eighths, elevenths and more
dotted throughout lots of mileage
for soloing.
Now all the previous examples
Ive given have been swung, but
here we go into straight quavers
and semiquavers (eighths and
sixteenths). In addition, we can mix
and match cross-rhythms and even
use triplet crotchets to help the
groove and stretch the pocket. This
gives the laid-back feel that bossas
and slower Latin grooves need.
Before we go into the song itself,
lets set the groove. Example 1 gives
a typical bossa bass figure, with
plenty of room for syncopation and the chord sequence and the form. The typical chord sequence given is fairly basic, but there are plenty of options
fills. Notice that Ive added some for substitutions, and youll find in practice that most musos add their own take on the chords. Also, the notes you
alteration to the chords compared play in your solo can imply extra tones to the chords, as we shall see.
with the next example. Youll see The form here is unusual. At first sight its an AABA (verse/verse/middle/verse) format, but there are 40 bars
why this can be important in the rather than 32. Whats going on is that the middle section is double the usual length. In effect we have a form that
solo later on. goes like this: A1/A2/B1/B2/A3. Each of the As is slightly different, as are the Bs, and the turnaround back to the
With the song itself, things start final A is wide open for extensions on the chords. Being a Latin feel, youve got plenty of scope for syncopations
to get very interesting as regards and cross rhythms throughout.
086
086 BASS Bass
GUITARGuitar
MAGAZINE
Magazine October 2015
BASS GUITAR
Bass Guitar Magazine OctoberMAGAZINE
2015 087
087
group, as a solo artist, or for studio production and idea development then the requirements from a pedal set-up
are a little different. Instead of focusing on diligently pursuing a fixed set of desirable sounds, were aiming to
enhance our sense of possibility. The first question I ask of any pedal (yes, I talk to my pedals, what of it?) is What
do you make possible? Im less interested in buying an overdrive that just gives me an authentic Geddy Lee, Alex
Webster or Dug Pinnick tone than I am in acquiring one that lets me access a whole range of interesting and
usable overdriven sounds that I can get to without too much fuss.
I love pedals that have mix controls, or dry signal level controls, so I can have the pedal on and gradually fade
in the effect: I like the way that influences the kind of playing decisions I make on the gig too! Sometimes I get
to do it to a line thats already playing, either while re-processing a recorded bass part for someones record,
or live, by using effects after a looper or delay. But often its a matter of thinking about what I do to the tail of
a particular note, or how I change the sound from one phrase to the next. Its a whole other way of thinking
about pedal interaction.
In an ideal world, Id just have four of every pedal, a ginormous pedal board and patching system, and a team
of minions to carry it around for me. In the absence of such luxuries, I have to get picky. So, what questions do
you need to ask of your pedals? From How do I sound like P-Funk era Bootsy? to Whats going to give me the
broadest range of possible metal bass sounds for this session? the question will often help guide the choices. So, go
STEVE LAWSON talk to your pedals, and see what they tell you!
W
hen were choosing pedals
either building a board
from scratch, or adding new
sounds to our collection
theres more to consider than just
whether the pedal is good. As
with everything musical, context
is everything, and where and how
youre going to use that particular
pedal is key to deciding whats
suitable. I dont just mean Dont
buy a fuzz pedal for an orchestra
gig theres a more subtle set of
requirements around whether
you know what youre going to be
playing or not.
If you play in a band that has
a set list (yknow, like nearly all
bands ever), then you probably
have some idea of which sounds
you need to play those songs.
If your band operates within a
recognisable genre, and has a fairly
stable set of influences, choosing
pedals can be as simple as finding
out how to match the sounds
on other peoples records. Note:
technique, strings, set-up and how
the part was recorded can have
as much influence as pedals, so do
your homework!
But if youre someone whose
musical life requires you to come
up with new ideas in the moment
Eckie
TO ADVERTISE HERE
CONTACT guy on
01926 339 808
[email protected]
Brooksy salutes Earth, Wind & led the way at that time. The staccato bass
part at 310 in After The Love is typical
good mix of disco groove and mid-tempo
smoochiness, but its Rock That which
H
recent death of Maurice The horns are the icing on the cake but its the occasional plucks.
White reminded me how bass part that makes it swing and groove like I Ams radio-friendly sound guaranteed
great a band Earth, Wind a monster. The middle-eight section from 138 constant airplay, ensuring the bands
& Fire were at their peak is a prime example of a simple octave pattern popularity for years to come. If you still dont
and although they being immensely effective, on this occasion in own this album, check it out and find out what
continued producing tandem with a bass synth or sequencer. youre missing!
albums (and still do) after
the death of disco, their classic ninth release, I
Am, remains their most popular and iconic
album for good reason. Even without Boogie
Wonderland, the whole album is a lesson in THEIR USE OF PYROTECHNICS, STAGING AND
groove, funkiness and great writing but
throw that disco monster into the mix and the
album takes on a legendary quality,
SHOWMANSHIP LED THE WAY AT THAT TIME
hitting the top three in the US charts
and the top five in the UK. When it
was released in 1979, the
musicianship on the album caused
many a young bassist to sit up and
take notice, including a young Guy
Pratt who has said, I was in a mod
band, then I heard Earth, Wind &
Fire and things changed. It was and
wasnt disco, but had the most
amazing musicianship Id ever heard
up to that point.
The core band was ably supported
by the Phenix Horns, who would
later go on to work with Phil
Collins in the studio and live: their
playing on this album is a perfect
demonstration of how a horn section
can take a band to another level
sonically. Bassist Verdine White
has always cut the mustard as a
groovemeister extraordinaire, but
on this album, his signature Jazz
bass tone is tight and slinky, a classic
thick tone with just the right amount
of top end bite to accentuate his
bullseye-hitting grooves.
Album opener In The Stone is
ushered in with the signature horn
section and by 036, the groove
is off and running. This is a good
example of the bass being treated as
the melodic instrument and playing