130

ESSENTIAL PRS, STONEFIELD, BREEDLOVE, PEAVEY AND AGUILAR BASS GEAR ON TEST!
Issue 130 May 2016

h i n d
Alex Venturella, Slipknot | Jeff Ament, Pearl Jam | Harley Flanagan, Cro-Mags | Jerry Scheff, Elvis Presley | Horse Latitudes | Darkglass | Jonathan Noyce | Chuck Garric, Alice Cooper | Chris Flint, Bloody Heels | Chris Beattie, Hatebreed | PRS Gary Grainger 4 & 5 | Stonefield 5 | Breedlove Solo acoustic | Peavey Minimega & Minimax heads | Aguilar SL410X cab

Be the

M a s k JEFF AMENT
PEARL JAM
HARLEY FLANAGAN
Slipknots CRO-MAGS
A l e x V- M a n JERRY SCHEFF
Venturella he ELVIS PRESLEY
on joining t nd HORSE LATITUDES
maddest ba DARKGLASS
fo all time! JONATHAN NOYCE
CHUCK GARRIC
ALICE COOPER
CHRIS FLINT
BLOODY HEELS
CHRIS BEATTIE
HATEBREED
www.bassguitarmagazine.com UK 4.75 Issue 130 May 2016
30

9 771476 521061 >

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002.indd 2 20/04/2016 15:54
003.indd 3 20/04/2016 15:49
 CONTENTS
I S S U E 1 3 0 M AY 2 0 1 6

H
eavy metal just
aint what it
used to be that
is to say tinny,
52
Stonefield
silly and preoccupied
rather too much 1-5S
with loincloths. No, Slimline
your modern metal
is a serious form of
musical expression,
and it doesnt get
more serious than
Slipknot, masked
harbingers of doom
from Iowa whose
new bass player Alex
EDITOR Joel McIver,
joel@blazepublishing.co.uk V-Man Venturella
SUB-EDITORS Kate Puttick, Nick Robbins gets his first solo
TECHNICAL CONSULTANT Stuart Clayton magazine cover this
CONTRIBUTORS Angus Batey, Bob
Battersby, Duff Battye, Andy Baxter, Nick month. If you thought playing fiendishly twisty pick lines in front of
Beggs, Jeff Berlin, Jamie Blaine, Silvia Bluejay, stadiums packed with shrieking crowds was tough, try doing it wearing
Mike Brooks, Joe Burcaw, Dave Clarke, Stuart
Clayton, Ben Cooper, Joe Daly, Hywel Davies, a mask that barely reveals your eyes. Somehow, Alex manages to deliver
Jon DAuria, Daryl Easlea, David Etheridge, Mike the goods on his Status Graphite bass, night after night: read and learn.
Flynn, Paul Geary, Ian Glasper, Joel Graham, Ruth
Goller, Spencer Grady, Paolo Gregoletto, Hugh
Elsewhere in this frankly killer issue of BGM we meet a record number
Gulland, Chris Hanby, Andy Hughes, Ken Hunt, of bass players, from Jeff Ament of Pearl Jam and Chuck Garric of
Kevin Johnson, Steve Lawson, Phil Mann, Lee
Marlow, George Martin, Michael McKeegan,
Alice Cooper to Jerry Scheff of up-and-coming rocknroll hopeful Elvis
Stewart McKinsey, Greg Moffitt, Chris Mugan, Presley and beyond. We turn our attention to a range of new and
Douglas Mullen, Ellen O'Reilly, Franc OShea, exciting bass gear from PRS, Stonefield, Breedlove, Peavey and Aguilar,
Harry Paterson, Raz Rauf, Alison Richter,
Steven Rosen, Kevin Sanders, Amit Sharma, meet a host of new bass players in Bassically Speaking, debut a new
Joe Shooman, Rob Statham, Scott Surine, Luthier column from Eve Guitars head honcho Douglas Mullen and
Jon Thorne, Freddy Villano, Ray Walker, Alex
take a look at life in the bass trenches with our acclaimed Front Line

56
Webster, Sam Wise
ADVERTISING SALES Guy Meredith section. And thats before we even get to the tuition section, a world-
GRAPHIC DESIGN Steve Dawson beating eight-lesson virtual school of bass that has just one aim: to make
COVER PHOTOGRAPH Tina K
STUDIO PHOTOGRAPHY Eckie
you the bass player youve always wanted to be. Get to it, and well see Breedlove
you in June!
OPERATIONS DIRECTOR James Folkard
ASSISTANT PUBLISHER Ruth Burgess Joel McIver, editor
Solo Acoustic
PUBLISHER Wes Stanton
SUBSCRIPTIONS 01926 339808,

Gear
subs@blazepublishing.co.uk
SUBSCRIPTION RATE UK 69
For all subscription offers and overseas
prices visit www.bassguitarmagazine.com
or call 01926 339808

48PRS Gary Grainger 4 and 5

Printed in the UK Blaze Publishing
Ltd 2016.
All Rights Reserved. No part of this Nick Robbins gets stuck
publication may be reproduced in any form,
stored in a retrieval system or integrated into two tone monsters from the
into any other publication, database or
commercial program without the express PRS stable
permission of the publishers in writing.
Under no circumstances should this

52Stonefield 5
publication and its contents be sold, loaned
out or used by way of trade, or stored or
transmitted as an electronic file without the Mike Brooks road-tests a
publishers prior written approval.
DISCLAIMER
technological wonder, all the way
While Blaze Publishing Ltd prides itself on from New Zealand
the quality of the information its publications
provide, the company reserves the right not

56Breedlove Solo acoustic

to be held legally responsible for any mistakes
or inaccuracies found within the text of this
publication.
Bass Guitar Magazine is an independent Joel McIver unplugs
publication and as such does not necessarily
reflect the views or opinions of manufacturers aaaaaaand relaxes
or distributors of the products contained
within. All trademarks are acknowledged.
DISTRIBUTION
Distributed to the news trade by Comag
Magazine Marketing, West Drayton,
Middlesex, UB7 7QE
60Peavey Minimega and
Minimax heads
Brooksy gets to grips with
PUBLISHED BY
Blaze Publishing Ltd. Lawrence House, Peaveys eagerly awaited
Morrell Street, Leamington Spa, new heads...
Warwickshire, CV32 5SZ

48PRS 64
Bass Guitar Magazine is proud to
support the Music Industries Association.
Aguilar SL410X cab
...before plugging
into Aguilars latest

Gary Grainger 4 and 5 lightweight cabinet

004 Bass Guitar Magazine May 2016

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 f/bassguitarmagazine o/bassguitarmag CONTENTS

28
Jeff Ament, Tuition
Pearl Jam
70 Frontline
Four pro bassists offer
you their collective wisdom.
Get smart here

BEGINNER

30 72 Ellen OReilly
Beginners guide Ellen
tangles with the triads. Yikes
Harley Flanagan,
Cro-Mags 74 Paul Geary
Our boy Geary shakes his
rear end, Latino style

Pic: Chad Lee

INTERMEDIATE
76 Stuart Clayton
Looking Locrian with
intermediate theory guru Stu

78 Rob Statham
Alternating fingers with
bass warlock Statham

ADVANCED
80Franc OShea
Building melodic music

40 with Big Franc

Chuck Garric,
Alice Cooper 84Philip Mann
Divisions and subdivisions,
explored by the fearless Mann

86David Etheridge
Bassists 38 Doug Castro, Darkglass Electronics
Doug announces his long-awaited bass head!
Continued soloing
studies on double bass with
Maestro Etheridge

22 Alex V-Man Venturella, Slipknot

In his first ever solo
magazine cover, Alex of the 40 Chuck Garric, Alice Cooper
Back with a new side project, Beasto Blanco 88Steve Lawson
To compute or not to
mighty Slipknot reveals how he compute, with experimentalist
got the hottest (literally: have you
seen that mask?) gig in metal 42 Jonathan Noyce
The Archive bassist recalls Jethro Tull and Gary Moore with
Mike Brooks
extraordinaire Steve

28 Jeff Ament, Pearl Jam

The future looks orange
for Jeff and side-project RNDM
44 Chris Flint, Bloody Heels
Hywel Davies heads Latvia-side to meet glam rocker Chris 90Classic Bass Albums
Brooksy continues his new
column with an appreciation of

30 Harley Flanagan, Cro-Mags

Hardcore punk rocker
plays Jaco Pastoriuss bass. Really,
46 Chris Beattie, Hatebreed
New album, new danger, says our man Beattie
two classic Level 42 albums

says Ian Glasper

32Jerry Scheff, Elvis Presley SUBSCRIBE

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

36Horse Latitudes
Two bassists, one band...
why the long face?
32
Jerry Scheff, Elvis Presley DETAILS PAGE 82

Bass Guitar Magazine May 2016 005

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 LOW
THE

DOWN
News and views
from the bass world,
collated by BGMs
team of intrepid
newshounds

DaRK MatteR
A band called D.A.R.K. has caught our attention. Why should you
care? Because the bass player is none other than Andy Rourke,
sometime Smiths bass player and a man whose massive talents have
been languishing in relative obscurity for far too long. The Freebass
project, a three-bassist band in which Rourke joined Gary Mani
Mounfield of the Stone Roses/Primal Scream and Peter Hook of New
Order, came and went back in the mid-noughties without doing
much, which makes it double ace that the great man is back and in
bass business.
D.A.R.K., it says here, is an unlikely collaboration between Dolores
ORiordan, Andy Rourke and Ol Koretsky. Dolores, known famously
as the singer of the Cranberries, has sold over 40 million albums and
also worked with the likes of Angelo Badalamenti and Jah
Wobble. Andy Rourke is best known as the inimitable bass
player in one of the most important British bands ever, the
Smiths; he has also worked with the Pretenders, Ian Brown,
Sinead OConnor and Badly Drawn Boy. The third and final
member is Ol Koretsky, a little known songwriter, producer
and DJ based in New York.
So thats the PR blurb the question is, whats the music
like? Well, that question will be answered on May 27 when
the Cooking Vinyl label releases Science Agrees, the bands
debut album. The band will also be touring Europe, with a
date at Londons Bush Hall on May 18. Well be interviewing
Rourke around that time, so keep your eyes peeled, and in
the meantime check out This Charming Man one more time
on Youtube, theres bound to be an isolated bass track on
there somewhere.
Info: www.darkofficial.co.uk

006 Bass Guitar Magazine May 2016

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

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

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 The Lowdown

Lemmy Remembered
A statue of the late Motrhead frontman and
perhaps the greatest heavy rock bass player
who ever lived Ian Lemmy Kilmister is set to
be erected at his local boozer, the Rainbow
Bar & Grill in Los Angeles, after a fan
petition and crowdfunding campaign.
The artist, Travis Moore, is creating
the memorial for the cost of the
materials only. Itll take six months
to build and will stand six feet tall,
facial moles and all. Whether a
Rickenbacker 4001 will be part of
it was unconfirmed at press time.
Damn, we miss him.

Blue Notes
Aguilar has announced a limited edition
run of Blue Bossa SL112 cabinets, set for
arrival in the UK as we speak via their
exclusive UK distributors Barnes & Mullins.
As youll know if youve skipped ahead and
read our review of the SL112 cab elsewhere
in this issue, this nifty 250-watt unit is
lightweight (25 lbs, or 11.34kg) and features
a 12 neodymium driver, with a custom-
designed crossover and phenolic tweeter
with variable level control and frequency
response ranging from 37Hz to 16kHz. The
Blue Bossa variant comes in a blue finish
and has a Limited Edition 2016 label on it
to prove its elite status. Barnes & Mullins
tells us, The Blue Bossa received huge
interest when previewed at the London Bass
Guitar Show at the beginning of March,
with retailers and customers particularly
excited by its alternative colour scheme and
now-famous lightweight construction. Grab
one for 860 before everyone else does.
Info: www.bandm.co.uk

008 Bass Guitar Magazine May 2016

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

REVOLVER
Every month w
e tell you the bass-line we cant stop listening to

THIS MONTH: Air (aka Air On The G String) from Suite No. 3 In D (circa 1730)

Composer: J.S. Bach

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

Bass Guitar Magazine May 2016 009

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 the lowDown

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

BAYWATCH
Every month, keen bass-
spotter Ray Walker brings us
an online bargain.
This Month:
Spector Rebop 4 MM, 795
http://tinyurl.com/zxe4zcj

Heres an eye-catching little number that went

for a sweet price: a Spector Rebop 4 MM bass. This
alder body with trans blue stain matte finish and a
three-piece, 34 scale, maple neck is sure to become
a conversation piece for the lucky buyer. The black
hardware is a nice touch including Spectors own
aluminum locking bridge. The pickup is an EMG
passive dual-coil unit with Spectors active TonePump
tone controls. Interestingly, the volume control
doubles as a push-pull control for switching between
single or dual-coil modes. Gear-heads GAS up!

010 Bass Guitar Magazine May 2016

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011.indd 11 20/04/2016 15:50
 BASSICALLY
speaking
Bassists reveal the tricks of their trade faster
than a snapping D string
GEAR
Basses NE Jazz, Warwick Streamer LX 4, Warwick Thumb, Ibanez Affirma AFR 105F, Spector Forte5, Spector ReBop4
Effects SansAmp DI, EBS Chorus, EBS OctaBass, EBS IQ, EHX Big Muff, Boss RC-50, Boss AW-3
Amps EBS TD650 head, EBS Proline 410 cab, EBS Proline 300 (1x15T) cab

Stuart James
Dan Clanko Clark, Rebecca Downes
My bass style is no frills and in the pocket, with occasional flashes of,
er other stuff. I used to play five-string basses almost exclusively:
I was playing a lot of rock and convinced myself I needed the extra
range for more power and grunt. But then I worked with a producer
who hated fives and claimed they werent bassy enough, which at the
time I thought was one of the most bonkers things Id ever heard. I
mean, by their very definition theyre more bassy, arent they? They
GEAR go lower, so they must be but the more I thought about it, the more it
Basses Unknown German/Bohemian started to make sense: from a producers point of view, all a five-string
Rubner-esque upright, circa 1930 really does is swallow up headroom. Depending on how much you use
Effects None the low B-string in a track, youll end up being mixed out for the sake
Amps Markbass Mini CMD 121P
of a few notes, the fundamentals of which cant even be reproduced

Rebekah Bouche, Bouche

There are elements of rockabilly style slap in how I play,
occasionally. Wedont have a drummer so sometimes I veer slightly
into that role. My first bass was a beast of a thing, from the 50s I
think. I bought it from a friend who needed the cash more than the
bass at the time, and he and his partner mostly shared hers anyway.
Before that I was playing a washtub oh, so actually that would
GEAR
be my first bass. A bucket and a broomstick. Im still in love with
thatMayones
Basses first Comodous,
one, it Mayones
has such Jabba HHgreat
5 attitude and it looks fantastic too:
people
Effects assume
Darkglass its a lot
B7K, TC Electronic Ditto fancier
Looper and Hallthan
Of FameitReverb,
is from
Boss DD-7
my gorgeous
Line 6 G90 and G301930s
relay wireless units
Bohemian German beauty which looks like a
Amps Eden
RubnerWTX500 butorisnt,
WT550 heads,
and Markbass
were Little
notMark
quiteTube 800
sure who made it is the one
I use most for Bouche. Its incredible, so rich and melodic, and so
much bass for a relatively small body. I love them both.
Im most inspired by the people around me. Im not really an
in-my-room-headphones-on kind of girl. So Id say particularly
Fred Stitz (Smokey Angle Shades, Gipsydelica, Razorlight,
Zazou) who absolutely means every single note he ever plays
and just has impeccable taste he can do so much, but never
ever does too much. He also puts a massive amount of joy into
his playing. Its astonishing to watch. And Dakota Jim who sold
me that first bass. Hes harmonically so surprising, but again,
always gorgeous. Then theres this guy Tom Wheatley who
plays with some friends of mine. Amazing rhythm and hes
really into all that free improv stuff, exploring all the sounds
the bass can make. Hes also mesmerising to watch in fact, I
need to go check out his solo shows, soon! I love playing bass
because as a singer its like having a second voice. In Bouche the
bass is melodic, or as much of a harmonising voice as it is the
groove, or holding it down. The physicality of the double bass,
the sensuality of it: its difficult not to see it as human, standing
there right up close to me when I play. Ive never had that with
any other instrument. Weve just released our first album, So
Long Solemn. We really want everyone to follow us down the
rabbit hole for this one!
www.bouchemusic.co.uk
by most bass rigs let alone domestic consumer hi-fi. So nowadays I
mostly play fours, occasionally dropping to a D if needed.
I do not slap, because I cant! I hear a lot of people expounding the
irrelevance and outdated nature of slap, waxing lyrical about how
it doesnt fit into their style and so on, and I cant help but wonder if
thats just code for Im just not very good at it. So Ill come straight out
and say it: Im just not very good at it! Dont get me wrong: I love it as
a style. Marcus Miller is my favourite bass player of all time, and I love
Mark King, Victor Wooten et al, but slapping just isnt really my bag
from a playing point of view.
the
way
delay, it looks.
OC-3 octaver But
and TU-3 tuner, The secret of playing bass well is locking with the drums,
specifically the kick. Understanding harmony, getting your head
around the theory of music as much as possible. Not overdoing it,
though: its great to have a good vocabulary of chops in your armoury,
but if you spend all your time trying to shoehorn them in everywhere
youll get on everyone elses nerves and ultimately lose the gig pretty
quickly. My favourite bass ever to date is one I made myself. Ive
always loved Warwicks and owned several over the years, but after
getting into Marcus Miller I started to set my heart on a nice vintage
Jazz. Then I was introduced to Tony Wright of Lakestone Guitars. I
pitched him the idea of making me a custom in the style of. He didnt
seem too keen on the idea but had an interesting counter-suggestion:
Youre pretty handy, why dont you make one yourself? Come and
work in my workshop and Ill mentor you through the process. So
I did, and two and a half years later NE No. 01 was born. I spent
more on the materials than the cost of a new standard Jazz its got
Bartolini pickups, a John East preamp, lots of very heavy ash and
maple, and sounds incredible certainly more down to luck than
judgement on my part. The only downside is that it weighs a ton! I
use it all the time but if its a long gig Ill probably switch to my trusty
Warwick LX at some point. My main gig is with Rebecca Downes
at the moment: Ive been a regular fixture in her band for about 18
months now. Her second album, Believe, is getting lots of airplay and
great reviews across the board. We had a few tours toward the end of
last year and theres more touring planned for this autumn which will
be great.
www.clanko.co.uk, www.rebeccadownes.com

012 Bass Guitar Magazine May 2016

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 stonefield

GEAR
Basses Fender Telecaster, Gibson Grabber
Effects Boss ODB-3
Amps Peavey VB2 valve head, 8x10 or 2x15 cabs

Dave Thompson, Raging Speedhorn

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

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

Luke Appleton, Iced Earth

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

Bass Guitar Magazine May 2016 013

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 BASSICALLY SPEAKING

kellY oGDen, the DoLLYRots

Im a physical player so I dont mind moving up and down the neck.
As a lead singer/bassist and someone with a high vocal register I like
to balance it out with the lowest, fattest, biggest tone I can get out of
a bass, so higher string notes tend to work against that. Really, I could
do with three strings on 90 per cent of our tracks. My tour bass for a
long time was a 90s Fender Jazz that lost the G tuning peg after some
onstage smashing and I continued to play it for a couple years without
really missing that string. We play straightforward rocknroll, heavily
inuenced by 60s pop and early punk. Theres not a ton of space for
slapping. I play with a pick unless I drop one in the middle of a song, and
then I play with a bloody thumb and index finger. Although I wouldnt
trade instruments for the world, I sort of play the bass like its a guitar. I
need the sound of the pick attack and rapid downstrokes.
My first bass was a 1979 Fender Musicmaster in bright yellow. It
worked for our first album and tours but I cant play it now: its just
impossible to get a fat, deep tone unless youre playing a heavy full-scale
bass. After that I moved on to Fender Jazz and P-Basses, found Gibsons
and never looked back. My favourite bass is my 2006 Gibson Studio
Thunderbird. I had only played Fenders until I was gifted this beast after
signing to Joan Jetts Blackheart label. At first I was terrified of the thing.
The tone was just so full and it was so much louder than the Fenders.
On the other hand, the neck is so easy to play compared to my P-Bass.
GeaR
Basses Gibson studio Thunderbird, schecter sixx, Luna acoustic, Fender precision, Debutante Rock candy Daisy Rock
At first I played it because I felt like it would be rude not to, but after eFFecTs MXR M80 Bass DI, Rat distortion
about two shows I was sold. I toured with it until about a year ago and aMps Mesa/Boogie 400 and 2x15 Boogie cab
now only bring it out for special occasions or in studio. I dont want to be
heartbroken if an airline loses it or someone nicks it. going to skip the usual Best Bassist list and say Suzi Quatro. Not only was
I will forever look up to Lemmy, RIP dude. He was a master of playing she a great bassist and front person, but she did it at a time when it wasnt
bass with the pick attack usually reserved for guitar. When I saw Lemmy normal for a woman to be up there. When I think of the real pioneers of
play I thought, Yes! Thats it! Thats how I want to play. Suzi Quatro is a women in rock I think of her and Wanda Jackson.
goddess. Paul McCartney is a genius. Kim Deal, Kim Gordon the Kims Our band is in freakout mode, getting ready for our third trip to the
showed me how to play not like a girl, but like myself. In a more punk UK. Last time we were there we were supporting Buzzcocks. This time
vein, Krist Novoselic and Matt Freeman are up there. Krist managed to were supporting our pals Bowling For Soup. Were also preparing to
write such great counterpoint, heavy bass-lines that drove Nirvanas release our first live album and DVD, The Dollyrots Family Vacation: Live
songs. And Freeman is a crazy busy and technical player within a genre in Los Angeles and a brand new EP called Mamas Gonna Knock You Out.
that doesnt call for that. It is one of the main things that makes Rancid/ In other words were running around like chickens with our heads cut off.
Operation Ivy stand out from the pack. Best bass player ever? Okay, Im www.dollyrots.com

bIll banWell,
KeLIs, the hoosIeRs, Ragnbone Man
As a session bassist I tend to mould my playing style to the band or artist
that Im involved with at the time, as different genres call for different
approaches. I like to keep it sounding solid but thoughtful as well. My
personal playing is very much inuenced by funk grooves and jazz fusion.
I mainly play five-string basses: I love the sound of the B-string. Theres
something about the lower octave which, when used in the right places,
has a huge impact. The four-string comes out now and then on certain
gigs. I tend to use slap only on bass solo occasions, it just sounds cool and is
always impressive to your average audience.
I was hugely inspired by Victor Wooten as a teenager, so practised
the hell out of his chops and technique for a good few years. I believe the
secret to being a great bass player is understanding groove and pocket,
staying inspired, putting the practice hours in and keeping your mind
open to a wide range of music genres. My first bass was a four-string
P-Bass copy, a beginner bass package that came with a practice amp, lead GeaR
and strap: it was a good bass to learn on and certainly did the job. My Bass Warwick streamer stage I, Warwick cV streamer
favourite bass to date has to be my custom Warwick Streamer Stage I, it eFFecTs Boss Oc-2, MXR Bass Overdrive
aMps Warwick LWa 1000, 4x10, 1x15, 2x8 cabs
plays and sounds incredible.
My bass heroes are Victor Wooten, Jaco Pastorius, Marcus Miller,
Hadrien Feraud and Tom Kennedy along with session greats such as stuff at the time. If I could achieve the bass tone of any album released it
Nathan East, Pino Palladino, James Jamerson and Jimmy Johnson. Its would have to be Erykah Badus Live album: the tone that Hubert Eaves
really tough to say who the greatest bass player in the world is: there have IV has is so smooth and chunky. Its also very high up in the mix, which is
been so many inuential players. Id say Jaco Pastorius definitely has to be a rare treat.
one of them, his playing was incredible and no one was doing any of that http://www.instagram.com/billbass88

014 Bass Guitar Magazine May 2016

012-014, 016 Bassicallys_rev5.indd 14 20/04/2016 16:09

015.indd 15 20/04/2016 15:53
 GEAR
BASSES Fender Jazz, Fender Precision, Ovation Celebrity CC074
EFFECTS Ibanez Tube Screamer, Boss DD-7 Digital Delay, Electro-Harmonix Big Muff
AMPS Ampeg SVT-AV, Ampeg B2R, Ampeg 4x10 or 8x10 cab

ALEX STIFF, THE RECORD COMPANY

I take a pretty minimal approach to playing bass. Being in a
trio requires me to fill a lot of space and low end without getting
too fancy. I also like the look and feel of beat-up, junky looking
instruments, and those tend to be four-strings. I use strings that
are really old, so slapping wouldnt totally work with my set-up. I
remember watching that video where bass legend Chuck Rainey
explains his secret slap bass on Steely Dans Peg. Essentially during
recording, he turned away from everyone to hide the fact that he was
slapping but did it to a tremendously funky effect that worked great
on the song.
My first bass was a black Ibanez four-string. Me and my mom
found an inexpensive bass for my dads birthday, so he could jam
with me (I played guitar). He never played it, though, so slowly it
moved into my room. My favourite bass ever to date is probably my
current Fender Jazz. Its been with me on every gig and almost every
recording the Record Company has done. I keep meaning to get it
worked on, as many of the upper frets dont work. Its got a really
high action, and old rusty strings. I guess Im worried it may lose its
mojo if there isnt any degree of struggle to play it. The greatest bass
player that ever lived is Paul McCartney. I love the power of great
songwriting, and his bass-lines tell a story of their own. The bass
parts on Sgt. Pepper are astonishing. With those vocal melodies, the
bass didnt technically have to say a whole lot, yet Paul finds a way to
make the bass both interesting, and work with the song.
Right before this band started, I was at a turning point in my
life, where I didnt think I could continue making music for a living.
The idea of starting up a new band seemed hopeless, but something
inside me found myself clicking on the Musicians Wanted section
on Craigslist, and the only ad that I answered happened to be from
our singer Chris Vos, who was looking for a bass player. I met him
and we eventually started the Record Company. Basically you have
to put yourself out there if you want things to happen. We also made
our current record with cheap instruments and recording gear in my
living room, mostly from used items on Craigslist. It shows that you
dont need to have expensive, fancy gear to make music that speaks
to you. We have a new album, Give It Back To You, out worldwide on
Concord Records, and we will be touring all over the US and Europe
in the coming months.
www.therecordcompany.net

016 Bass Guitar Magazine May 2016

012-014, 016 Bassicallys_rev5.indd 16 20/04/2016 16:10

 THE LOWDOWN The Luthier

Doug Mullen of Eve Guitars begins a new column on the

design and manufacture of one of his ace basses

W
elcome, readers, to my new regular column. I
intend to focus on the theory, design and craft
of bass construction, and everything else in
between. There are literally dozens of ways to
build and construct musical instruments, and there is
simply not enough room to cover the entirety of all the
methods in this column, so Id like to concentrate on how
we do it at Eve Guitars, and hopefully to be informative about the
practice of bass building.
Ive been building bass guitars for over 25 years, and intend to use
this space to share a few observations and tips that Ive discovered
over the years. This will take shape by following an Eve build from
start to finish, by inspecting each and every element and including

LUTHIERS USED TO BE LIKE SOME

wood selection, workshop techniques, hardware and finish.
Firstly, I must state for the record that Im entirely self-taught. In
the early days, there was almost zero information on instrument
construction. Obviously there was no internet to consult, so you
had to either make an educated guess, or have some kind of formal
training. Luthiers were like some mythical creatures you only heard
about in low whispers in affluent playing circles, so they were difficult
to track down and ask for advice. Therefore, I had to apply some
logical thinking and simply make my best guess to how to make an
instrument! Ill be sharing my findings and thoughts with you here.
In the early days it was very difficult to start a workshop. The
price of entry for tooling was extremely high, and to spec out suitable
premises took an eye-wateringly amount of cash. Its easy
to forget, but unless you were in the building trade, it
MYTHICAL CREATURES YOU ONLY HEARD
ABOUT IN LOW WHISPERS IN AFFLUENT
PLAYING CIRCLES
was costly to buy high quality tools such as bandsaws, surface planers,
thicknessers and so on. Its all different now, with greater availability
and wider choice, but back then, these machines were extremely
expensive and only available to business trade. Thankfully, times move
on, and its amazing what you can pick up from any decent DIY store
or dedicated online supplier. Even eBay can be useful if youre careful
what you are looking for and buy from a trusted source.
As Im sure you all know, basses come in all
manner of wood combinations and hardware choices.
There is a lot of voodoo about what each one does
and how they interact, and the magical combination of
materials for the perfect tone. Well look at these as we
progress through the stages of selection and hopefully clarify
a few things, while giving you an insiders view on what to
look for and what to avoid, whether youre a budding luthier
or just a player who wants to know more about what goes
on under the bonnet.
Here at Eve Guitars we have a strong ethos in
making the best instruments we can with soul and
integrity. We are very passionate about the process,
and believe love should be built in to each and
individual instrument, from hands that believe in
the true art and craft of instrument making. This
column is intended to reflect this sentiment. We
hope you will agree.

www.evebass.com

Bass Guitar Magazine May 2016 017

017 luthier_rev2_NR.indd 17 20/04/2016 11:09

 THE LOWDOWN
Rockschool

Applied Improvisation with

Rockschool
Joe Hubbard examines blues and pentatonic workouts for bass

W
elcome back! There are two main approaches to improvising
over a set of chord changes. One of these, harmonic specificity,
means playing on the chords in question, paying close attention
to resolving on chord tones and the tensions of the specific chords
you are playing on while employing embellishments such as chromatic
approach notes, diatonic approach notes and scalar passing tones.
The second approach is based on playing over a set of chord changes
in relation to the tonic of the key area. This concept lends itself to
applying pentatonic and blues scale ideas.
Experienced improvisers will be able to move in and out of these
two principles dynamically in order to enhance the shape and contour
of their improvisation.

What most people refer to as EXAMPLE 1

the blues scale is actually called
the minor blues scale. This scale
and the minor pentatonic scale
are closely related, because the
blues scale has the same notes
as the pentatonic, with an added
chromatic note between the fourth
and the fifth see example 1.
Another way to look at the
blues scale is from the major
perspective. The major blues EXAMPLE 2
scale is exactly the same as the
major pentatonic scale, with an
added chromatic tone between
the second and the third. This
resembles a double chromatic
approach note from below the
third see example 2.
The pentatonic and the blues
scales share the same relative
concept as the major scale and its EXAMPLE 3
relative minor scale. The C major
blues and pentatonic scales have
the same notes in them as the A
minor blues and pentatonic scales
as seen in example 3.
The method for applying
the blues and pentatonic to the
overall key area is straightforward
major pentatonic and blues
scales (along with relative minor)
for major key areas, and minor
pentatonic and blues scales
(along with relative major) for EXAMPLE 4
minor key areas. If you are
applying these scales over a song
form such as the 12 bar blues
progression (which is based on
dominant seventh chords), you
can also apply the parallel minor
pentatonic and blues scales to
outline the overall key area, like
in example 4.
Next month Nik Preston is
back with another lesson so
stay tuned!

018 Bass Guitar Magazine May 2016

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019.indd 19 20/04/2016 15:55
 THE LOWDOWN
THE MU BASSCHAT
The MU and Basschat
Acronymically speaking with
the Musicians Union
I
ts a long-running joke that our industry has too many acronyms and
no one knows what they do. Near the top of the list, up there with PRS,
ASCAP, PPL and BMI, is MCPS. MCPS provides 140 million worth of
income to songwriters, composers and publishers each year. It has well
over 26,000 members, and has been around since 1911.
But what does MCPS actually do? MCPS stands for Mechanical
Copyright Protection Society. It distributes mechanical royalties, which
are paid to songwriters, composers and publishers when copies have been
made of pieces of music they have contributed to. Those copies can be
a CD sale, synchronisation into a TV programme, a DVD or a download
from a website such as iTunes.
Streaming services make various copies in the process of music being
played via their platforms. Acts of copying include when a track is
buffered on the internet or sent via satellite, or if someone saves a stream
to their laptop for offline playback.
All of this applies regardless of who is singing your song if someone
else sings it and makes a copy, thats another act of copying. To make
a copy of a song, whoever wants to make the copy needs to buy a
mechanical licence. That money is paid back to MCPS members, whether
through publishers or directly to songwriters/composers themselves.
Individual royalties can be really small, making them expensive for a
publisher to collect. MCPS traces and collects all the tiny sums of money
MCPS STANDS FOR MECHANICAL
COPYRIGHT PROTECTION SOCIETY.
IT DISTRIBUTES MECHANICAL
ROYALTIES, WHICH ARE PAID TO
SONGWRITERS, COMPOSERS AND
PUBLISHERS WHEN COPIES HAVE
BEEN MADE OF PIECES OF MUSIC
THEY HAVE CONTRIBUTED TO
on publishers and songwriters behalves. It might sound like a small
and trivial job, but those small payments add up to give MCPS that 140
million turnover.
For songwriters who dont have publishers, MCPS licenses its
members repertoire in one go via negotiated agreements with the record
industry, digital services and broadcasters. You can join directly for 50.
We can offer advice if youre trying to decide between direct membership
or working through a publisher.
If youre thinking about it, or have questions about any other aspect
of your career (including those pesky acronyms), get in touch with your
Musicians Union Regional Office via theMU.org/contact.
020 Bass Guitar Magazine May 2016
020 basschat mu_rev2KP.indd 20
Silvia Bluejay of Basschat toasts
another great LBGS
A
nd so the most successful London Bass Guitar
Show ever is over for another
year, and Im already counting
down to next years. You see,
Im something of a veteran of music
shows. Long before the existence of
Basschat and my involvement as its
representative, and indeed long before Bass
Guitar Magazine itself began publication,
I started attending what was originally
called the London Music Show in 1994,
held in Wembley.
For me, the attraction of highly desirable
music gear, coupled with the opportunity to see
performances and masterclasses by many British and international
stars, makes the LBGS irresistible. Ihave always particularly loved
the masterclasses: they allow us to gain insights into the star players
skills, ask them questions, shake their hand and catch a glimpse
of them as human beings not to mention take selfies with them!
Also, by watching them play and being exposed to their infectious
enthusiasm, we may become inspired to try styles, instruments or
accessories that are new to us, or listen to kinds of music we may not
have considered before.
Since becoming a member of the Basschat community, I have loved
meeting fellow Basschatters at the show who are also professional
bass players, and who may be there as visitors, or helping out at
exhibitors stands, or giving brief performances at their favourite
gear manufacturers booth. Its always good to put faces to screen
names; after meeting a Basschatter in the flesh, talking, laughing, or
arguing with them online feels much more real. Also, many of the
exhibitors themselves are Basschatters, and usually regular posters,
so the show allows us to see them in person, ask a myriad of geeky
questions, watch demos, and be tempted to place an order (or three).
Basschat had a small official presence at the 2013 and 2014 shows.
On those occasions we were sharing some exhibiting space with Bass
Gear, the shop in Twyford, and created a Basschat Corner with some
posters, some free goodies, and myself as a representative, armed
with a camera and a large tablet (the electronic, not the headache-
soothing kind, despite the slap-fest noise). Our meeting point at the
2013 show also hosted the London leg of our Basschat Charity Relay;
our travelling bass, the BC Baton, was taken to the show by owner and
relay creator James Ryan for Basschatters to collect, play in public, and
pass on to others in town and in the rest of the country, raising money
for Cancer Research UK in the process.
In the years when no Basschat Corner had been organised, Ive
enjoyed being the forums roaming representative at the show. This
year I was lucky enough to also be working for BGM, so I was proudly
wearing two hats in fact, two lanyards: the magazines press pass
and Basschats exclusive lanyard with the black and orange logo.
Many Basschatters write their online monikers and real names on
the lanyard, then play spot-the-fellow-wearer. They could be seen
everywhere: queueing for performances and masterclasses, ogling gear,
chatting with exhibitors at the stands. Having said that, we also have
incognito Basschatters, who attend bass shows but want to be still
shrouded in mystery when posting on the forum. Yes, we think theyre
being unnecessarily shy, but we still appreciate their involvement!
www.basschat.co.uk
19/04/2016 09:50
021.indd 21 20/04/2016 15:56
 022 Bass Guitar Magazine May 2016

022-026 Ventruella_rev4.indd 22 20/04/2016 13:20


The Man
In The
Mask
In his first ever solo magazine cover, Alex V-Man Venturella tells Joel McIver the unlikely tale of how
he came to join one of the worlds biggest metal bands...
O
n paper, Slipknot should
never have made it big.
Their music is too
aggressive for
mainstream acceptance,
their singers vocals are
often bestial and their
image is enough to make most over-40s fill
their drawers. And yet theyve been selling out
arenas since 2002, when their second album
Iowa was a worldwide hit.
You couldnt make the Slipknot story up, but
essentially it runs as follows. Nine musicians
from Des Moines, Iowa, coalesced into a highly
dysfunctional band after several years of
faffing about in 1999, when they signed to the
premium heavy metal label Roadrunner and
released a self-titled album. For a couple of
years they rode the nu-metal wave, building
a fanbase who enjoyed their curious blend of
death metal, samples and enraged lyrics, before
streamlining their sound a bit, dropping the
nu from their metal and getting huge. Two
of them play in Stone Sour, a stadium-rock act
also from Iowa.
In 2010 Slipknot were rocked by tragedy
when their bassist Paul Gray, one of their
founder members, succumbed to a heroin
overdose. Three years later, another founder
022-026 Ventruella_rev4.indd 23
Photography by Tina K
member, drummer Joey Jordison, also
left the band, in circumstances yet to be
explained. In this period when the nine
members were reduced to seven, Slipknot
were between albums, and a new rhythm
section had to be recruited before a new one
could be recorded.
Enter Alex Venturella, who alongside
new drummer Jay Weinberg, son of Bruce
Springsteen drummer Max Weinberg was
recruited into the band in 2014. At first his
identity was concealed behind the mask
that he wears, like his eight bandmates: but
that didnt last long: a bunch of distinctive
tattoos on his hands gave the game away.
A well-received comeback album was then
released in 2014 as a tribute to Gray, titled
.5; The Gray Chapter.
As Alex revealed to us before appearing
at the Status Graphite booth at the London
Bass Guitar Show back in March, hes been
working in the music industry for years and
although that meant that his identity couldnt
be hidden for long, it also means that hes
mentally equipped to handle what is known
as one of the toughest gigs in metal. Reckon
you could play in that mask and boiler suit
under boiling stage lights every night? No, us
neither. Read on...
BASSISTS
Alex V-Man Venturella, Slipknot
How did you come to join Slipknot, Alex?
Its a funny one! I was teching with Mastodon
in 2014 and wed just got back from Australia,
where we were doing the Soundwave festival.
I was staying with [Mastodon singer and
former BGM cover star] Troy Sanders brother
Darren Sanders in Atlanta, which was a party
house with people coming and going. One
night, Darrens girlfriend got a call at one in
the morning from [Slipknot guitarist] Jim Root.
I knew Jim because I toured with Slipknot
in 2008, teching with Coheed & Cambria. So
she passed me the phone and he said, Do you
know any bass players? I asked if it was for
Stone Sour and he said, No the other band
and I instantly said Ill do it! I gave him this
whole drunken spiel about Ill give you some
slap bass if you need it! and we were having a
laugh. Then he said Seriously, do you actually
want to do this? and I said Yes, Id really love
to do it.
What happened then?
Four days later the manager called me and
told me to learn six songs. I thought, Fuck that,
Ill learn more than that and sat down on the
couch and watched all of Pauls old videos and
DVDs, and crammed in as much knowledge as
I could. Some people think its well easy to play
Bass Guitar Magazine May 2016 023
20/04/2016 13:20
 Slipknots stuff, but theres a lot of chromatic
stuff going on and its a workout. I phoned
James Leach, the bassist from Sikth, who is a
good friend of mine, and said, Dude, you wont
believe whats happening. He told me I needed
to downpick as hard as I could, so I worked on
building that up.
What kind of reception did you get from
Slipknot themselves when you first joined
the band?
They flew me out to Sunset Sound studio in
Los Angeles. They had a rig set up for me, but I
said I didnt really like it and asked if we could
change some things around, which I did. I had
Troy Sanders Zon bass with me and, being a
tech, Id set it up myself to play as nicely as I
could. I said, Right, lets go!
Who else was there?
All the other eight were there. They said, Go
on then, knock it out and so I did, doing what
James had told me to do and downpicking
everything as tightly as I could. They all went
024 Bass Guitar Magazine May 2016
022-026 Ventruella_rev4.indd 24
off in another room to listen to it and asked
me to stick around afterwards and play some
more. They wanted me to learn some new
stuff and jam to it: because I knew Jim, I could
ask him if I could try certain things, which
they let me do. I came up with some bass-lines
and it was cool.
Was this a stressful situation?
After the studio audition, we were in a nice
big mansion up in the Hollywood Hills, so it
wasnt pressured. Everyone was chilled out
and relaxed. It wasnt like playing classical
guitar in front of 200 people in an exhibition
hall, as I did when I was a teenager. I hated
playing in front of people at those times, so
I was in my comfort zone this time. I knew
I could do it, and I was confident in myself. I
suggested trying a few things out, and getting
in the gear that I wanted to use, and finally
they sat me down and told me that I was
going to play on .5: The Gray Chapter. In total,
I played on eight songs, and Jim and Mick
[Thomson, guitarist] did the rest.
20/04/2016 13:20
 BASSISTS
Alex V-Man Venturella, Slipknot

" It wasn't until the

Was there a Eureka moment when you
realised youd joined one of the worlds
biggest bands?

curtain came up at the All I was ever focused on was building my rig
and making sure that my bass sounded good. I
never thought about stage nerves, or anything

first Knotfest that I had a like that: I only focused on playing and
sounding right. It wasnt until the curtain came

moment when I
up at the first Knotfest that I had a moment
when I realised Whoa! Ive got a mask on!

realised 'Whoa What have been the challenges of playing in

Slipknot so far?
The main learning curve has been learning

I've got a how to rock out. Its an hour and 40 minute

set, so Ive learned different techniques for

"
headbanging and picking. My thumb used to

mask on' hurt because I was picking so hard: it would

expand and blow up, so now I pick with more
control and less aggression. Id notice it hurting
before and so Id have to play notes with less
attack, and our front-of-house guy would
notice it because Ive got four outputs. I was still
playing fine, but I had to work around it to get
back to the level Id been before. So Im always
on the technical side of things.

Did Slipknot ask you to play the same bass

gear as Paul Gray did?
No, they were like, Whatever you feel
comfortable playing is fine with us.

So what basses are you using?

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

Are you a fan of headless basses, then?

Headless has always been a thing for me,
and now there seems to be a bit of trend for
it coming back. Ive always been a fan of
Steinbergers, and theres a great video of Dave
Gilmour of Pink Floyd who is my favourite
guitar player playing a white cricket-bat
Steinberger guitar. But Im equally happy with
headed basses too.

Do you prefer four or five strings?

For what Im doing with Slipknot theres
enough notes on a four-string. Theyve kept
the same tunings for over 15 years, so its
not going to be any time soon that they go
any lower, or Ill start using fretless basses or
anything. Plus, if the strings get any thicker,
theyll start to annoy me.

Whats your background?

I studied classical guitar, and did all the grades
and all that malarkey, when I was a teenager.

Bass Guitar Magazine May 2016 025

022-026 Ventruella_rev4.indd 25 20/04/2016 13:20

 BASSISTS
Alex V-Man Venturella, Slipknot
I was taught by Lee Sollory, who is in the
London Guitar Trio, until I was 16 or 17. I
barely touched electric guitar before that.
When did the loud music come along?
I picked up the electric guitar and started
playing in hardcore bands, but metal was
something that I listened to rather than
played. I never learned anyone elses music: I
always learned by reading music or playing
along. My first band was called Incoherence,
but I never really knew anything about
proper shredding until I left that band and
started Cry For Silence: that was when I
jumped into the deep end and went to eight-
string guitars and learned all the techniques. I
played in Krokodil as well.
How did you get into bass?
I learned tapping licks on bass, and then
026 Bass Guitar Magazine May 2016
022-026 Ventruella_rev4.indd 26
started playing more and more bass on the
road, because I was teching for people. Id pick
up bass for an hour a day, using someone elses
gear, and Id learn a load of Steve Harris licks.
Having the knowledge of classical guitar, I
knew the groundwork and how to get around
the bass. I just needed to sound like a bass
player, instead of a guitarist playing bass.
What have you found to be the best way to
achieve that?
By listening to music and picking out the bass,
as opposed to listening to music and the bass
just being a background thing. A guitarist
might just play root notes on the bass, but you
need to be able to go around those notes rather
than just copying them.
How did you find switching from playing
guitar to bass?
Being a classical guitarist and playing on a
small scale, going to the bass was a bit of a
stretch. And even when Id learned to play
bass, Id never played it while rocking out or
headbanging, and I have tiny little hands, so
on my Status S2s Ive gone for a Jazz-style neck
and narrow string separation.
What music did you listen to as a kid?
It was Guns N Roses early on, and my dad was
a big Pink Floyd, Black Sabbath, King Crimson
and Hawkwind fan, so that was what I grew
up listening to. From the age of 15 onwards
it was Pantera and Metallica and Megadeth.
I love Primus too: I saw them on the Anti-
Pop tour and was blown away by the song
Lacquer Head. I listened to that album and
then their whole catalogue, and became a big
Les Claypool fan.
Is jazz your cup of tea?
I love Al Di Meola and Allan Holdsworth and
all those fusion guys, so the bass playing that
went along with that was always high-calibre,
but its only recently that Ive gone out of my
way to listen to Marcus Miller and the rest of
those guys. I never really sat down to listen to
dedicated bass players before that.
Does the mask make it difficult to play?
At first the mask was a bit weird, but the
LEDs make the sides of the bass neck easier
to see! Sometimes when Im headbanging
forward I can see the fret markers and I
know Im in the pocket.
Despite it, people realised who you were soon
after joining, because they recognised your
hand tattoos.
Well, Ive been in the industry for a while,
teching with John 5 and some other big names,
so it was only a matter of time before people
worked out who I was.
Is it odd being a Brit in a band of Americans?
Theres always talk of me moving to America,
but Im from St Albans and grew up in
Watford and I dont want to leave my friends
and my girlfriend. Also, the dudes in the band
come from all over America, so everyone
travels anyway.
So youre in a good place?
Definitely. If Id got this gig as a random kid
who didnt know anyone, it would have been
daunting, but Ive done so much and know
so many people that when we play a festival
I can go into every dressing room and know
everybody. I was in the industry but I wasnt a
famous bass player or from a big metal band, so
its not about me: its about seven dudes whove
been through a lot of shit and need someone to
do service to what Paul did.
Info: www.slipknot1.com
20/04/2016 16:56
027.indd 27 20/04/2016 17:30
Jammin Pearl Jam bassist Jeff Ament returns with a second album, Ghost Riding, from his side project RNDM and
W
discusses the tricky task of taking eight basses on tour
ere all in different bands in
RNDM, so theres a little bit
of planning going on
whenever we release an
album. We started this new
record, Ghost Riding, about a
year ago: it took us seven or
eight months to do in a couple of different
sessions. We mixed it three times, adding and
taking away things each time so it took a lot
longer to do than the first record, Acts, which
came out in 2012. That was cool, though, because
we wanted to approach it a lot differently.
The great thing about making this record was
that our guitarist Joe Arthur and I had a back-
and-forth discussion about the spirit records that
we leaned into for the new songs: we talked about
the first couple of David Sylvian solo albums, and
some of the weirder Bowie stuff and Peter Gabriel
and Bauhaus and Talk Talk. Basically, songs that
had space. So the new record started that way,
but then our instincts took over and we made it
all different. It started with a drum machine and
keyboards and us crafting simple arrangements,
028 Bass Guitar Magazine May 2016
028-029 Ament_rev6.indd 28
before going back as a three-piece band and
playing over the top of those arrangements. Id
never made a record like that, and it was fun.
Orange is still the colour we use for the bands
image and the stage set: we thought about
changing the colour, but everyone still liked the
orange and wed collected a lot of stuff in that
colour, so we thought we might as well continue
to use it. Were taking out almost all Orange amps
this time, which we tried to get going on the first
record, but failed to for some reason: we just
didnt get it organised. Orange has been super-
gracious to us, giving us a bunch of gear to play
on the tour: its a match made in heaven. The one
Im using is a 200W head. Before that I was using
Fenders with orange tolex, and Ampeg cabs, also
covered in orange.
For basses, I use my Mike Lull signature series.
I almost never play anything else. They always
sound great and theres no dead spots in any of
the necks. Sometimes Ill play one of my older
Lulls and Ill notice that a particular section of the
neck plays really great, or the pickups are cool-
sounding: Ive got very fond of the Lulls.
That said, every time I do a project I bring a
couple of other basses with me, that I havent
played in a while, and a couple of those ended up
on the new record. Theres an old Fender P-Bass
on a couple of things, and a Wal and a 12-string
on a couple of other sections.
In my live set-up I have a Swollen Pickle, a
Strymon Flint reverb with cool slapback, and
a Boss octave pedal which is great for making
that 12-string sound live, as Im not taking the
12-string bass out with me. Were carrying all of
our stuff on the plane, which makes taking more
than two basses out difficult. Were on a budget:
the first record and tour we did was a little higher
than where we should have been, and we lost a
bit of money, so were stripping it back a bit this
time. The production will be more intensive live
this time though.
Im really missing the 12-string, I must say.
It was originally a Hamer backup that I had. I
wasnt happy with the body, though, and it was
a neck-through design, so Mike Lull chopped out
the neck and kept the hardware and used one of
his bodies in my kinda Thunderbird design.
20/04/2016 16:12
 IVE RANGED FROM GOING SUPER
CRAZY WITH THE RACK AND
SWITCHING BETWEEN AMPS, AND
BEING A NIGHTMARE FOR MY TECH, TO
SIMPLIFYING IT DOWN TO TWO AMPS

ing Over the course of Pearl Jams career, Ive ranged from going super crazy
with the rack and switching between amps, and being an absolute nightmare
for my tech, to simplifying it down to two amps which are on all the time. I
used Dug Pinnicks signature head, the Tech 21 Ultra Bass 1000, when we
were down in South America, which was great. It does what my Pearce amps
have done for years, and its a bit more flexible and louder.
Simplicity is really important for me nowadays, especially by the time
the bass sound gets through the PA to the people. Sometimes youre playing
through too many pedals and the low end goes away, and its a nightmare for
the sound guy. Only a couple of pedals work for me, really.
In Pearl Jam I have eight basses out on tour. We have songs that are tuned
down to D, Eb, E, then theres fretless... and we change the setlist before the
show, or even during the show, so the techs dont have time to tune a bass
they need one right there off the shelf.
Pearl Jams producer Brendan OBrien is a phenomenal bass player. We
butt heads sometimes, because he has a specific way that he hears bass: he
really likes to hear a P-Bass or a Thunderbird through an Ampeg SVT. Thats
what he likes. Ill put on a new bass and hell say, Hey, what just changed?
and Ill tell him Im playing a fretless on this one, sorry. I know youre not
really fond of them!
But he always has great ideas: he comes from a prog and pop background.
Nick Lowe is probably the beginning and end of where he wants bass to
be super-interesting playing and all the right passing notes. I broke out of
that this time, because we didnt use Brendan on the new RNDM album! I
channelled different bass players, like Tony Levin and Willie Weeks and the
bassist from the Meters. I love those guys, and hopefully youll hear their
influences when you hear our new record.

Ghost Riding is out now. Info: www.rndmband.com

Bass Guitar Magazine May 2016 029

028-029 Ament_rev6.indd 29 20/04/2016 16:12

 BASSISTS
Harley Flanagan, Cro-Mags

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

F
ans of hardcore punk music,
in particular the especially
virulent strain hailing from
NYC, will know and love
the Cro-Mags, whose 1986
debut album, The Age Of
Quarrel, was not only an
instant classic of the genre, but an aptly-titled
release given the bitter feuding that went down
between the band members since [Google it, it
makes entertaining reading]. Were not here to
rake over old ashes, though, but rather to
celebrate the new album, and often overlooked
bass guitar brilliance, of original Cro-Mag
Harley Flanagan.
I joined the Stimulators on drums in 1979,
and werecorded two 45s, recalls Harley, of how
his musical journey began. They were a pretty
important band on the scene in the late 70s, and
although they were a punk band, they were one
of the foundational bands of what would become
New York hardcore. By 1980 I started learning
bass on the side, and when I recorded my first
solo recordings with me on bass, guitar, drums As well as Darryl from Bad Brains (He was like I loved Cliff Burtons playing. There was a local
and vocals in 1982-83, I really made the switch my big brother growing up), Flanagan professes guy, Hayward Peele, who was real nasty: sadly, he
to bass. At the timethe only two bassists who his biggest influences on the bass to be Geezer was killed in a home invasion back in the late 90s.
gave me any guidance were Anne Gustavson, the Butler and Lemmy. I learned tons of Motrhead And of course I love my friends Flea and Robert
bassist for the Stimulators, and one of my biggest when I first started getting serious about bass, Trujillo, and there arealways new amazing
influences, Darryl Jenifer of Bad Brains. he says. I learned the Ace Of Spades album back bassists coming up: I really like Tal Wilkenfeld, I
I love both the bass and the drums. It makes to front. I loved Lemmys rhythm and attack: it think shes awesome. I love seeing new talent.
me nuts because when I play drums I hear what I was so locked in with the kick and snare and One listen to I Come In Peace from Harleys
would be playing on bass in my head, and when I all those power chords, I loved it. When we new album, Cro-Mags, and you have to agree that
play bass I hear what I would be doing on drums toured with them on Orgasmatron, forget about he has one of the most violent, explosive styles of
in my head. So Im always itching to play the it. I watched every set they played and every playing bass ever committed to tape.
other instrument, but it depends on the mood Im soundcheck. My ears are still ringing from that I was a drummer for a lot of years before I
in and the moment; I just like to play. shit all these years later. started playing bass, so Im inherently rhythm
Flanagan began on a Guild Starfire, but readers Sabbath was another band I tried to learn as conscious, he reckons. I dont just play a bass
will be intrigued to learn that his next bass much as I could from. I borrowed and stole so part, Im very percussive. And I listen to a lot of
originally belonged to Jaco Pastorius. It was an many runs from Geezer and so many drum fills different stuff. I think most hardcore bassists are
Ibanez Musician, he recalls, but Jaco had messed from Bill Ward: they were two of my biggest playing with a limited tool set and are kinda one-
with the built-in preamp and totally fucked it up, influences as far as rhythm sections go in rock. dimensional. I dont think Im so great, I just think
so it had to be fixed. I never saw pictures of him Of course, there is Rainy from Discharge who is Im a little more musical and rhythmic than your
playing it, but the story is that he got it in Japan a monster: I love his playing, and Cronos from average hardcore or metal guy.
from Ibanez: their people showed up at a gig and Venom, who I think is so sadly underrated. Hes All I know is, all the players I have played with
gave it to him. He traded it to a friend of mine on a good player and has written some really heavy over the years, who I respect, and some of the
the Lower East Side for an eight-ball [an eighth of riffs and great songs. I love the way he slides, its players I look up to, give me props so I guess I
an ounce] of coke, and I bought it off him for like so rhythmic; he has a definite style all his own. I must be okay or kinda good. But I know Im not
100 bucks: I played it on the Age Of Quarrel record. used to practise their songs too. one of the great ones I just do my thing and have
I used to run into Jaco in the neighbourhood from But there are many others that blew my fun doing it.
time to time; I have some great but kind of tragic mind. There are people I borrowed little things
Jaco stories. Theyre all in my book, which will from but could never dream of trying to emulate, Cro-Mags is out now on 171-A Records.
be out this spring. people like Jaco, Stanley Clarke and many others. Info: www.harleyflanagan.com

030 Bass Guitar Magazine May 2016

030 Flanagan_rev3KP.indd 30 19/04/2016 10:57

031.indd 31 20/04/2016 15:58
 aa ki
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032 Bass Guitar Magazine May 2016

032-035 sheff_Rev3_KP_NR.indd 32 19/04/2016 10:38

 ee
a r
a r
CC sss
magine a career spanning
I
six decades taking in
jazz, segregated blues
clubs, rock innovators, full
Vegas shows and
encounters with chain-
wielding punk rockers. The
amazing individual who can lay claim to this CV
nnee
is Jerry Scheff, whose bass work is as varied and
innovative as his career has been colourful.
Now living in Scotland, Jerry tells BGM that
bass wasnt his first instrument by any means
My older brother Bill played trombone in the
school marching band, Jerry explains. At about
eight years old, I told my mother that I wanted
to play in a band as well. I didnt know very
much about instruments. To me, bigger was
louder, and loud had always gotten me attention
one way or another, so I was thrilled with
the tuba.
The next step was learning the bass violin
in seventh grade, and in junior high school the
future bass player was exposed to many kinds of
music. My uncle Dean Miller was bandleader
Glen Millers brother, so my mother was exposed
to big band music in her youth: we always had
a record player, lots of records and an upright
piano. At that same time Bill was completely
smitten by boogie-woogie, rhythm and blues,
and black music in general. This was the mid-
50s, and at age 13 I was already reading music
and being exposed to many kinds of music.
Later, Jerrys supportive mother took him
to experience sessions in jazz clubs near their
home in Sacramento, where he saw the likes
of Lionel Hampton, whose bassist Monk
Montgomery was playing a Fender.
I thought the whole show was wonderful
and I liked the bass sound, but I was too green
to really understand that he was blazing a
new bass-playing trail, says Scheff. Soon after,
another trip to see Norman Granzs Jazz at the
Philharmonic revealed Ray Brown as the first
true bass hero he would have.
All of the bass players I admired early on
were jazz and bebop string bass players. Charlie
Mingus just killed me. I got to sit in with his
band at Jimbos Bop City in San Francisco in
about 1956-57. The house piano player, Flip
Nuez, and the other house band musicians
persuaded Mingus to let the skinny white boy
get up and play a few songs.
I never got to actually meet Mingus he
left before I finished sitting in but a drummer
friend of mine was talking to Mingus before he
MOST ELECTRIC BASS PLAYERS HAVE DEVELOPED THEIR
PARTS AS AN ADJUNCT TO THE KICK DRUM, THINKING THAT
LOCKING WITH THE KICK DRUM SHOULD BE THEIR GOAL
ABOVE ALL ELSE
032-035 sheff_Rev3_KP_NR.indd 33
BASSISTS
Jerry Scheff
left, and Mingus handed him a card and said to
tell me to call him if I ever got to New York. It
was four more years before I made it to NYC
and I had lost the card by then.
In the mid-1950s, electric bassists were thin
on the ground, meaning there was room for a
young greenhorn to develop. Ever the student
of his new instrument, Jerry explains how
sitting in with bands refined his style. Most
electric bass players have developed their parts
as an adjunct to the kick drum, thinking that
locking with the kick drum should be their goal
above all else, he explains. When I started
playing jazz, the kick drum was mainly used to
accent and punctuate. I learned early on that
musicians can absorb many things at once:
you may have one feel of the melody and the
distinct feel of the person or persons playing or
singing it.
Then theres the feel of the rhythm
instruments, or as we called it then, comping
instruments, such as piano or guitar. Or maybe
background horns playing counter rhythms.
All these different grooves were going on
simultaneously, with every player playing his
or her version of what the feel should be. It was
by trial and error that I learned where the bass
part should lie in the midst.
Rather than one central groove for the whole
band, he realised that everyones individual
grooves were changing, depending on who was
playing, the overall feel, intensity and song as a
whole. To sum up, only marching bands lock.
Concentrating on locking interrupts the little
voice within. I always looked for agreement.
Agreement is where the magic happens.
This gives a freedom, he explains, that more
than suits his own style of playing. What it all
boils down to is learning to place the bass part
on top, below, in the middle, or anywhere in
between, wherever and whenever it is needed
to make the song work. That has always been
my philosophy about playing music. No one is
right for everything. I have been wrong many
times. I could have made a lot more money if Id
tried to please everyone, but I stuck to my guns.
No regrets.
Technique-wise, I have always heard a little
voice inside telling me where to go, and what
to do. I have always been a player that played
off the top of my head. Sometimes I bit off more
than I could chew and had to fake it for a few
bars, but I found that the only way to advance
was to push myself to the limit. It has never
been easy for me to give up, so no matter how
Bass Guitar Magazine May 2016 033
19/04/2016 10:38
 many blisters I had, or how fast the tempos
were, my technique improved rapidly.
Of his preferred amps which are Ampeg
B-15s for the studio and Ampeg all-tube amps
with 8x10 cabinets live he says: My sound
depends on setting the tube preamps to
distort at a certain volume. Im not a passive
player. I dont let the bass and amp do the
talking. I play very hard at times and I want
the tubes to spit when I do it. On the other
hand, I want a warm sound when I play
softer. In other words, distortion gradually
increasing from none, to a lot, depending on
how hard I play. My style of playing is like
strangling a chicken or wringing the dirty
water out of a dish rag. Controlling all this
only comes with time and understanding,
but it becomes second nature after a while.
With the first mad rush of rocknroll still
sending waves through an already jazzed-
up scene, it seemed that everything was
possible. For Jerry, however, that meant
pushing things even further than anyone
else and playing trombone, electric bass,
drums and the odd vocal line in the same
band at the same time. The other musicians
were pianist Craig Evans and Mexican
percussionist Gil Palacio, and the trio would
play the jazz and pop hits du jour. Jerry
makes it sound simpler than it was, of course.
Lets assume that the song is a bossa
nova. I first made up a simple drum groove,
playing kick and hi-hat with my feet. Then
034 Bass Guitar Magazine May 2016
032-035 sheff_Rev3_KP_NR.indd 34
with a drumstick in my right hand, I would
use the tip of the drumstick to play eighth
notes on the closed hi-hat, ride, and crash
cymbals and so on. I had the drums set up
so that the snare was within a drumstick
length of the hi-hat, so I could use the butt
end of the stick to play a backbeat, or other
cross stick patterns on the snare or the
snare rim.
Then, I memorised the drums and bass
together for each song until they became
automatic and I didnt have to think about
them any more. Then I could concentrate on
the trombone parts, or solos, or even vocal
harmonies and add them to the mix.
At times there were added distractions, he
recalls. We once played in a strip joint. We
were set up behind a bar and the girls danced
on it. I had to accent the strippers moves,
which required me to follow them with my
eyes. An older couple came in and I heard
the woman say, Look at that disgusting
drummer! He cant take his eyes off those
girls... Ha ha! We believe you, Jerry.
Session work started to pile in for Scheff,
who had been turned on to new players
like Scott LaFaro, Stanley Clark and Jaco
Pastorius, who he says were taking bass
playing to new places.
I knew that I would have to devote my
whole life and really get serious if I was
going to catch up with those guys, and even
then, who knew how far I could take it. I had
to decide: stay in LA and do studio work,
study and practise my ass off, or investigate
unknown territory in the roots of white
rocknroll and country music.
This led to a call from the biggest white
rock star there ever has been Elvis Presley.
Following his successful 1968 comeback,
Presley wanted to get a band together to go
on the road for the first time in more than a
decade. Jerry duly got the job with the TCB
band short for Taking Care of Business,
Elviss personal motto at the time.
At that time, I had no idea what I
was getting into. I really liked him and
his singing, and the fact that he seemed
willing to let me do what I wanted to do.
I was ready to see how it would play out
for a while, he explains. Also, there were
no demands made on me as far as playing
with anyone else I chose to. I could do his
gig and then be off to other things. I wasnt
tied down to him. Of course that works
both ways, but I had enough confidence in
myself at that time to make that a perfect
arrangement.
As Scheff explains in his ace 2012 book,
Way Down: Playing Bass With Elvis, Dylan,
The Doors And More, Presley was definitely
the boss.
Elvis picked or personally okayed the
members of the TCB band. Therefore, no
one dared fuck with one another while
he was alive. That included [Presleys
19/04/2016 10:38

entourage] the Memphis Mafia and the
background people. If Elvis chose Donald
Duck to play bass, everyone better be
pretending to love him. I personally didnt
care what anyone but Elvis thought
about what I was doing, says Jerry of
the famous TCB band that lit up Presleys
Vegas years.
With Jerrys increasing interest in the
outer reaches of rock apparent, he found
himself doing what nobody had ever done
before adding bass guitar to an LP by the
Doors. The results were the LA Woman
album, released in 1971.
Well, Jim [Morrison, the Doors]
wanted me to play bass on the album.
He heard me with Presley. Ive read in
interviews with the other guys that they
were hoping I would help light a fire
under him, because he was burned out.
Ray Manzarek [their keyboard player]
was always quick to claim most of the
bass parts on the album as his, but it
wasnt that cut and dried. For instance,
one bar out of the whole Riders On The
Storm bass part was Rays. Its the seminal
bass-line of the album, and I wish I could
say I came up with that. However, the
rest of the song is mine. I listened to him
play the whole song, and tried to stay
within the spirit of his musical approach,
but I only copied exactly what I felt was
irreplaceable. I think you could say that
about the whole album.
032-035 sheff_Rev3_KP_NR.indd 35
In 1973, Scheff took two years off from
the TCB band, returning to the band for
the depressing end. Jerry has his own take
on this: I personally believe that there
was no way out for Elvis. I also believe,
along with many other people who knew
him, that he would have been happy just
singing gospel music.
After Presleys demise, Scheff moved
on to become live bassist in Bob Dylans
touring band. I loved playing with
drummer Ian Wallace, he explains. I took
Rob Stoners place after the Pacific leg of
a world tour. He and Bob evidently had
a falling out. We rehearsed a few days
and Bob announced that we were going
to record an album. Chord charts were
produced and one song at a time, we were
off and running. A similar touring stint
with John Denver followed.
The TCB band soon found itself back
in action, backing Elvis Costello as the
Confederates in the King Of America days.
James, Ronnie [Tutt, drummer] and I
were supposed to play on three tracks,
recalls Jerry. One of them was a rocker
that Costello had to work hard on. He was
covered with sweat. I jokingly told him
that that was just what the ballads were
like with Presley. He got this surprised
look on his face. He thought I was serious.
I did four or five albums with EC and
toured behind them with him. He was a
wonderful guy to work with and a very
bright man.
Some of Scheffs favourite work is
on Sam Phillips Cruel Inventions album,
where he was permitted to experiment.
I had a P-bass, a Jazz, a Hfner and
a Danelectro bass with a Sadowsky
outboard preamp. My studio kit had
different thicknesses and densities of
foam rubber, rolls of duct tape, and
different widths of masking tape. With
BASSISTS Jerry Scheff
these, he treated the bass more than he
ever had done before, creating some unique
sounds and putting together all his outr
influences, along with the knowledge gained
over a career of some import.
In his book, Scheff tells of a night in
which he and a pal had a knife pulled on
them at a bar by none other than Sid Vicious
of the Sex Pistols. How did punk compare
with other anti-establishment movements
including jazz, R&B and rocknroll? I, like
many other people, feel that the best music
trends percolate up from the streets, Jerry
muses. Punk was a definite rebellion against
intellectualised music production and
playing. There is always a lot of anger roiling
around looking for an outlet. Groups like
Pink Floyd, Yes and so on werent providing
a place for garage bashers to vent their souls,
so there was a huge response to the punk
philosophy of free-range nihilism.
Looking back in 2016, Jerry says it has
been like a train that I got on and never got
off. He adds: It has taken me places I never
dreamed of, with only a few breakdowns
here and there. There is no such thing as
a self-made person. I wish all the up-and-
coming bass players as much help as Ive had
along the way. I advise young bassists to get
out and play with people better than you as
much as you can. Also, get it in your mind
early that alcohol and drugs dont make you a
better musician, and can destroy you.
Finally, we ask Scheff the near-impossible
question of naming his favourite all-time
bass players and he is more qualified
than most to give a cop-out answer. I love
different bass players for different reasons.
Hundreds of them, he replies, reasonably
enough. Then he adds, A network TV news
person once asked me what it was like
working with Elvis Presley. I asked her, Do
you have a specific day in mind? They cut
that out of the interview.
Bass Guitar Magazine May 2016 035
19/04/2016 10:39
 Neigh Sayers Bassists Vellu Ilmonen and Heidi Kettunen of Horse Latitudes
Vellu Theres no guitarist in Horse Latitudes,
instead we have two bass players. This leaves
a lot of room to fill in the sonic spectrum.
I predominantly play fingerstyle, but
occasionally dabble with using a pick too. I like
fuzz, feedback and heavy notes and chords that
ring out for ages. The physical aspect of sound
is very important to my playing, which means
high volume and emphasis on the bass and low
mid frequencies. You should be able to feel the
riffs as much as hear them.
Heidi I would describe my bass style as
minimalist. I prefer heavy and well-timed
playing with some personal tones over
extremely technical playing. I think our music
is built more to describe different atmospheres,
feelings and spaces than trying to reach
technical predominance.
Vellu I play five-string bass, because I like
having both the low B and the high G strings. I
used to play basses tuned to BEAD and before
036 Bass Guitar Magazine May 2016
036 Horse Latitudes_rev3KP.indd 36
discuss the double low end
that it was F#BEA, but five strings is where
its at. I sometimes play baritone guitar-type
sounds when the songs call for them. I couldnt
do without the G string now that Im used to
having it.
Heidi My first attempt to be a bassist came
up when I was a teenager and found that
death metal would be my thing. Jeff Walker
and Carcass were among my first biggest
influences, as were Bolt Thrower, Iron Maiden
and my big brother, who taught me to play
Black Sabbath songs and gave me my first
distortion pedal. But I made the final decision
to play bass guitar when I first time heard
Reverend Bizarres album Harbinger Of Metal. It
really hypnotised me, and I started to listen to
more doom metal.
Vellu Know your role but dont be afraid
to experiment. There are far too many bass
players out there who are quick to tell you that
fingerstyle is the only way and effects are for
guitarists. You probably wouldnt like playing
with them anyway.
Heidi Know your space and try to build
your playing and tone to supporting other
instruments, creating the most important
base for the music. Also have the courage to
experiment with different styles and effects.
Vellu For Horse Latitudes I prefer my Ibanez
BTB singlecut. Its heavy as hell, has a 35
neck and its all about sustain, which is vital
in our music. Its not the prettiest looking bass
out there but it gets the job done better than
most. By the sheer magnitude of his influence
and legacy, the greatest bassist ever has to be
Lemmy. Im not putting down his technique in
the least, but I fully endorse his approach that
feeling and energy are more important than
technical brilliance.
Horse Latitudes album Primal Gnosis is out on Ritual
Productions. Info: www.facebook.com/HorseLatitudes666
19/04/2016 12:06
037.indd 37 20/04/2016 16:23
 BASSISTS
Doug Castro, Darkglass Electronics

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

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

sound in my head that I couldnt get anywhere

else, so I built it. A lot of people were looking for
something similar.
So its been cool that weve had so much suc-
cess with metal bass players, but I think we can
also do great things for any bassist. We love all
kinds of music here, including jazz and fusion.
The new amplifier is an attempt to show that you
can use Darkglass with any kind of music. You
can play funk with it, because the clean channel
is super-pristine, but you can also play rocknroll
or blues, because the tone shaping is very wide.
Next year should be very exciting for us, as
well as busy. Its easy to get overwhelmed when
your company grows, but Im trying to hire
really good people so that doesnt happen. At
the moment there are 13 of us, mostly working
in Finland. Im originally from Chile: I moved to
Finland in 2009, which made sense because the
country is known for its technological industries.
Of course, learning the language was difficult at
the beginning, but things have got progressively
better and Im really looking forward to
the future.
Info: www.darkglass.com

038 Bass Guitar Magazine May 2016

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039.indd 39 20/04/2016 15:59
 Alice Cooper bassist Chuck Garric returns with a new, self-titled
album with his side project Beasto Blanco...
ere just getting our used no effects apart from some distortion intro, so my approach to those bass-lines is

W
new album, Beasto from a SansAmp, and some plug-ins that the to replicate the main parts for the fans, but
Blanco, finalised and producer had: mostly, it was just the dry bass if theres room for a fill or a bass run when
its all coming together. tone. We used a Kemper on a track or two as youre running into the chorus, thats when
I cant wait to release well, which was real responsive. you can take the liberty and you can be
this sucker! We laid Live with Alice Cooper, I use Ashdown yourself. Im very much a product of 1970s
the bass parts down last. cabinets, which I love. They have a great, bass playing, its what I was raised on but
I love doing that: we had a really good vintage bass tone and subharmonic after 14 years in Alices band, there have
foundation down for what we been several different other

THE THING I LOVED ABOUT ALICE AND A

wanted, it was really just a case
of getting the performance
right. That was the idea: we
didnt want the bass to step on
anything, but we also wanted it
to complement a few things.
The beauty of the bass is
musicians, so the band has
grown and changed.
I also worked with the late,
LOT OF OTHER BANDS IN THE 70S WAS THAT great Ronnie James Dio a few
years ago. I was a huge Rainbow
EACH TIME THEY PLAYED SOMETHING IT WAS fan, both as a bass player and a
songwriter. Ronnie came from

that its the glue: you dont
need to glue two pieces of wood
together with too much of it
or itll spill all down the side
and it looks crappy. To continue the analogy,
you end up wiping the glue off there and it
doesnt look right. With the right amount of
glue, nothing seeps through the edges and
everything is held together naturally. Ive
always been a less-is-more guy with the bass.
I always go to my 1973 Fender Precision.
Its been on several Alice Cooper records
and on stage with us too. I used a BAE Audio
1073 preamp which was nice and warm,
and we re-amped it through an Ampeg
SVT to get some of those high mids to pop
through, because I was playing with a pick.
That bass seemed to fit every application. I
A LITTLE DIFFERENT
control. The bass is a different instrument
depending on which band Im with, in terms
of character: Alice has three guitar players
weaving in and out, and when that happens
the bass becomes more of a frequency than
an instrument that you really hear. The
challenge is to find a tone that works with all
of their volume and distortion, and when its
time for the bass to pop, it has to be there.
The thing I loved about Alice and a lot
of other bands in the 70s was that each
time they played something it was a little
different. Their songs often had a different
ending or a different middle section or
bands that had some of the best
musicians in the world. I was
just speaking to Roger Glover,
another great bass player that
Ronnie worked with, alongside Geezer Butler,
Bob Daisley and Jimmy Bain. And then
there was me! It was really exciting to be
on that list of bassists whose playing was so
important to me and whose playing had been
so instrumental to the bands they were in.
Ronnie and I hit it off immediately when we
met and we became good friends: I wrote a song
with him called Death By Love on Masters Of
The Moon, the last recorded Dio album. I have so
many great memories of working with that guy,
and hes very sorely missed.
Info: www.beastoblanco.com

040 Bass Guitar Magazine May 2016

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 bassists
Chuck Garric, Alice Cooper

Bass Guitar Magazine May 2016 041

040-041 garric_rev3KP.indd 41 20/04/2016 13:21

 DEAR JON
Jonathan Noyce, star of stage and session, talks to Mike Brooks
about Jethro Tull, Archive and beyond
B
ack in 2002, todays
interviewee, Jonathan
Noyce, had a monthly BGM
column on bass, the music
business and life in general
and they were a good read,
he recalls: I hadnt written
for a magazine before. Writing in that capacity
was interesting to me, but its all down to the
editing. My partner is a fantastic editor and would
go through my text and say This doesnt make any
sense. What are you trying to say? I really enjoyed
doing the column, because basically Adrian
Ashton [BGMs founder editor] gave me carte
blanche. I could discuss more obscure things that
bassists might not often think about.
Noyce attended the Royal Academy of Music
in the early 90s but from the off, he was dipping
his toes into extracurricular activities: 1990 was
an exciting time, and it wasnt just about John
Coltrane, it was also about Public Enemy and
Parliament and AC/DC. There was a bunch of us
that got on really well, and we had a great rhythm
section so we decided to punt ourselves around
and do things.
The first proper opportunities I had came
through Mark Smith, the Waterboys bassist.
Mark was basically my mentor: it was brilliant
042 Bass Guitar Magazine May 2016
042 Noyce_rev5.indd 42
meeting him. He very kindly put me up for some
things and then I started working with producers,
which snowballed quickly into working with
big acts. The first big thing I had up my sleeve
was working with Take That on their Everything
Changes album. Not long after that I met Martin
Barre [Jethro Tull guitarist] and then the whole
Tull thing started. So in 1995, aged 23, I was in
Jethro Tull. It was a full-time job: a fantastic
opportunity, and it has served me well in my life
on many different levels. After that I did some
stuff with Gary Moore, and then Archive called.
The bass role in Archive is all about keeping
a lid on it: theres a fine line between playing
out and not overplaying. Though the goalposts
are different, theyre good because it gives you a
framework to work in.
Care to divulge the contents of the bass
arsenal? Ive got it down to three basses for live
work, he explains. I have a 60s Precision, which
stays at home, for recording purposes, but Fender
have Masterbuilt me a replica. I have a five-string
Yamaha BB2025 too: the old BB basses are what
I started out on originally, and are still what I use.
I also use a semi-hollow Epiphone Rivoli bass. In
the studio, weve used a Hfner on a few things
and Im now a Hfner endorsee. I have a Club
bass in my live rig and a Violin bass in the studio
So that keeps things simple, and Ive got all sides
covered. With the exception of my Wal basses,
Im very much a passive fan: I want to hear wood.
The pedalboard is three distortions a SansAmp,
a Z.Vex Woolly Mammoth and an Unpleasant
Companion by Fredric Effects a switcher and
two octave pedals. With all of those I can create a
lot of different textures. Ive got an SWR rig that
Ive had for years, which is great: that goes back
to my Tull days. Its super-reliable, but its like
listening to a studio monitor.
Noyce was in Gary Moores band when
Gary sadly died in early 2011: he recounts his
memories of the time. We recorded a DVD in
2005 called One Night In Dublin A Tribute To
Phil Lynott which was amazing talk about a
night in your life! I was very nervous, but it was
a case of focusing on the gig. It was a glorious
experience: what you see on the DVD is what
you get, that was the gig and it shows you just
how great Gary was. He wanted to revisit the
rock stuff that made him famous in the 80s, but
record companies werent interested: we did some
demos and nobody wanted to touch it. Five years
later, in 2010, we headlined a load of rock festivals
and then we were offered a proper old-fashioned
record deal and a ton of money. We were about
to go into the studio and get going in 2011. Gary
went away and he was a bit down on his luck, and
wasnt dealing with it in a modern way. He wasnt
talking about stuff, he was bottling it all up. So
there was a lot of pent-up energy, and drinking,
and he wasnt really taking care of himself but
a heart attack can kill anyone at any time, as it did
my friend Mark Smith, who was as fit as a fiddle
and they found him seemingly asleep on his sofa.
Enjoy your time! Especially if its loud, like
Garys was
Lately Ive been working in Paris with Mylene
Farmer on her recent album, Interstellaires. To
be concise, shes the French Madonna, and a
friend of Archive shes been trying to poach me
for a little while now. Im also now a producer,
courtesy of Mike Marlin, whose The Secret Of My
Success album I produced and played a variety of
instruments on. Its out on 6 May think Leonard
Cohen, via Beck and Boards Of Canada.
Ive also done a couple of film soundtracks,
firstly The Man From U.N.C.L.E., with composer
Daniel Pemberton, plus Man Down with Clint
Mansell. Ive worked with Daniel several times.
He must like my textural approach to playing bass.
Or maybe its some kind of running joke?
Ive been working on and off with Pentangle
with Jacqui McShee for a few years. This year
Im playing a bunch of gigs with them, which I
enjoy a great deal. Tom Chaplin from Keane is
launching his solo career and Ive been involved
in his band. So far, weve done a few low-key gigs,
but this will change as hes currently recording a
new album. Archive is ongoing and unstoppable.
We have a new album in the can to be released
later this year. I also do occasional gigs with my
friend Martin Barre, for the sake of great times
and old friendships.
Info: www.archiveofficial.com
20/04/2016 11:47
043.indd 43 20/04/2016 15:59
 Hywel Davies heads to Riga to meet Chris Flint of
Latvian glam-rock revivers Bloody Heels

044 Bass Guitar Magazine May 2016

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 BASSISTS
Chris Flint, Bloody Heels

n a rather unexpected

I
twist, glam metal is taking
over the Baltic state of
Latvia. As readers of a
certain age will recall, this
tongue-in-cheek brand of
heavy rock dominated the
airwaves from the early 80s up until the early
90s. MTV showed us bands like Mtley Cre and
Poison strutting up and down LAs Sunset Strip
clad in spandex, taking the sex, drugs and
rocknroll lifestyle to its logical conclusion.
Meanwhile, in complete contrast, Latvia was
in the firm grip of the Soviet Union, where rock
music was heavily censored and controlled.
Culturally and geographically, these worlds
could not have been further apart. However, 25
years after gaining their independence from the
USSR, it would seem that the Latvian people are
ready to fight for their right to party.
Spearheading this movement are rowdy
rockers Bloody Heels, a four-piece that are
determined to have their voices heard, so
much so that they put BGM on a plane to Riga,
where we paid bassist and band co-founder
Chris Flint a visit.
One of the first things I remember from
when I was a kid, recalls Flint, was watching
Guns N Roses on TV. I think it was the Freddie

Mercury Tribute Concert at Wembley in the
early 90s. After I saw those guys on stage, all I
ever wanted to be was a rock star.
I decided to play bass because I saw how
awesome Duff McKagan of GNR looked on
stage: hes one of my biggest influences. When
youre a kid you dont really appreciate who a
bass player is or what they do, but Duff helped
me understand that role, showing me that bass
players could be the coolest guys in the band.
After I saw him play I thought to myself, Man, I
really want to be a bass player
Does Flint recall when he started playing
bass? My older brother played bass: he was into
hardcore and really heavy music at the time.
I would go to watch his band rehearse, and I
remember they were so fucking loud, I didnt
really like it. My ears were bleeding after every
practice. Eventually I inherited a bass from him, it
was a five-string Warwick Rockbass with a maple
neck and 24 frets. I thought it was awesome. I
didnt really use the B string too much, because
the music we play doesnt go that low.
These days I play a Schecter Diamond-J
four-string, Flint continues. Its really good
for playing jazz, but I also found it great for our
kind of metal. Im using it on the album were
currently recording. But if it was up to me,
and I had a million euros to choose any bass I
wanted, I would choose a Hamer Scarab. Its not
a very popular or well-known company but I
love that bass. I think its to do with that Rick
Savage influence: I love anything to do with
Def Leppard.
Psychology plays a key role in Flints pre-
show routine. Asked how he prepares to go on
stage, he tells us: Ill usually play bass at home
before a show to warm up. Its weird actually:
I DECIDED TO PLAY BASS BECAUSE I SAW HOW
AWESOME DUFF MCKAGAN OF GNR LOOKED ON STAGE
when I was in music school, one of the big things
they taught us was to never play anything on
the day of a show or a performance. That kind
of stuck with me. Ill play for the soundcheck,
but you wont find me practising backstage. You
have to get ready for a concert days before, or
even weeks or months, depending on how big
the show is. When youre constantly practising
you need an escape, and to be somewhere else
in your mind. It helps me to relax before I go out
and play, so I dont have a strict routine: maybe a
few scales, but thats about it.
With an undeniable passion for all things
hair and metal, Flint co-founded the band with if you look at Nikki Sixx of Mtley Cre, not
drummer Gus Hawk back in 2011. At first all
my friends told me You cant possibly make it
happen out here in Latvia. You wont ever find
guys who listen to glam metal, let alone form a
band with you. It was all I ever wanted to do in
life, though, and I wasnt going to let that stop me.
Then I found Gus and we started talking
about this type of music, he says. He was a big
fan of the Doors and Led Zeppelin, but then I
played him some Whitesnake and Def Leppard
and he really liked it. We started playing when
we were still teenagers; at the time we were just
having fun and drinking beers, but after a while
Pic by muxfoto.com
we had to start taking it seriously. We had guys
come and go, but then Harry [Rivers, guitar] and
Vicky [White, vocals] came in and everything
just clicked. It just happened, I cant describe it.
We like to keep it simple: our goal is to
always play for the audience. The same goes
with my bass playing. You dont have to be
playing technical stuff all the time; I notice that
with a lot of bands at the moment. I enjoy bands
like Dream Theater but I wouldnt want to play
like that. We write music for our friends, our
fans, everyone not just for us. We play for the
song and thats what people want. For example,
only is he a great bass player but hes also a great
entertainer, and he makes that connection with
the audience.
Having already recorded a debut EP, Summer
Nights, back in 2014 and with an album in the
works, Bloody Heels have the rest of the world
in their sights. It would be awesome to get to
Wembley or Donington, but I think playing LA
would be a dream come true, especially because
thats where glam all started, says Flint. A man
can dream, cant he? Watch this space.
Info: www.facebook.com/bloodyheelsband

Bass Guitar Magazine May 2016 045

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 BASSISTS
Chris Beattie, Hatebreed
hen it comes to bass
W
gear, Im like a
NASCAR driver I
have a whole list of
endorsements! I have
several signature
Jacksons: my go-to
bass is a black one that Ive had for a
couple of years, and were releasing a
new white one with white binding. Ive
been with them for 15 years: their A&R
over there is really awesome. Its hard to
find good people to work with in the
music industry, but hes great he really
tells it like it is.
I also endorse DR Strings, SansAmp,
Peterson tuners, Dunlop picks and
Ampeg of course. Ive tried a whole range
of SansAmps over the years and I always
come back to the box. Its incredibly
durable. We always joke that your
entire backline could go down and that
046 Bass Guitar Magazine May 2016
046 Beattie_rev3KP.indd 46
BREED APART
SansAmp would still be going strong. Its
the best thing Ive ever owned.
Ive been playing bass for 25 years. I
had a buddy in high school who played a
whole bunch of instruments, and I was
hanging with him one day and picked up
a bass he had and just started playing it.
I started jamming with other guys and
progressively got better over the years.
Its one of those things where you really
have to practise: I remember as a kid
playing bass all day! Its definitely all
about dedication.
I like to write songs on bass, usually
with a distorted bass sound because I
like to have that tone in there. Then Ill
add stuff on guitars and demo them and
our singer Jamey Jasta will add his ideas.
Less is more when it comes to bass: I
always try not to overplay.
My first bass was an Ibanez that I
bought after I won $2,000 on a lottery
Chris Beattie of hardcore
metal veterans Hatebreed says hi
ticket. The necks on my signature
Jacksons are pretty much like the one on
that Ibanez. I was pretty much into metal
bass players Steve Harris, Lemmy and
those guys. I heard Cliff Burton play and
I was totally blown away. I have always
liked bass players who make their bands
sound better.
Were about to be extremely busy! Our
new album is coming out and then were
out on tour. Well be hitting festivals in
Europe and then we have a full US tour
before we come back to Europe and start
running around there again. Its been
three years since our last album: weve
played every part of the world since
then, and I cant wait to play the new
songs for you guys.
Hatebreeds new album The Concrete Confessional
is out on May 13 on Nuclear Blast Entertainment.
Info: www.hatebreed.com
20/04/2016 12:08
 GEAR Introduction

B
ehold our world-beating bass gear review section, where we bring you the crop of each
months new, interesting or otherwise relevant bass guitars, bass amplifiers, bass speakers

GEAR
and bass effects. Occasionally well review a guitar effect if its particularly useful for
bassists, and well test recording equipment and general accessories every now and then as
well, but generally speaking, this zone is for bass-specific gear.
We take the ratings that we give each item very seriously. BGM is the only print magazine
devoted to bass in this country, and we have readers from all over the world, so were
responsible about our conclusions. If a product is worth your investigation, well say so; if
its flawed in some way, we wont hold back from making that clear. Were not beholden
to advertisers in any way and our conclusions are entirely independent of the views of
manufacturers, musicians and distributors.
When you read about a bass-related product here, you know youre getting a sensible,
balanced review from an experienced bass tester. Value for money is at the top of our agenda in
these cash-strapped times, but on the other hand, we believe in paying for quality.
Right, thats enough from me. Remember, this is just about the only place that its good to
have GAS!*
Joel McIver, editor

R E V I E W S *GAS = Gear Acquisition Syndrome (a malaise often suffered by bass players)

52 56
Stonefield Breedlove
1-5S Slimline Solo Acoustic

48
PRS
Gary Grainger 4 & 5

60 64
Peavey Aguilar
MiniMax & MiniMega SL 410X

Bass Guitar Magazine May 2016 047

047 Reviews intro_rev2KP.indd 47 20/04/2016 12:16

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

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

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

The body shape, which seems to be based on the companys 513 series
of electric guitars, features a cutaway on the upper bout, and much deeper,
scalloped cutaway on the lower one, affording access right up to the 24th
fret on the higher strings. The mahogany body on both basses is surprisingly
light, and the contouring, which loops around the bridge and sweeps
underneath the volume and EQ pots, is an aesthetic joy.
Flip things over and youll discover the two 9v batteries that power the
18v active preamp housed securely on the back. The plastic covers sit flush
and operate as well as you would expect a battery holder to on a 3000 bass.
Much like a cupholder on a Bugatti Veyron, a smoothly operating battery
compartment that allows for a quick change over and isnt going to pop open
during a gig wont grab any headlines, but were glad its there and that it
works properly.

048 Bass Guitar Magazine May 2016

048-050 PRS Gary Grainger_rev4KP.indd 48 20/04/2016 16:52

 GEAR
PRS Gary Grainger 4 & 5 3079, 3135

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

WHAT WE THINK
Plus | Huge range of tones, staggering build
quality and those necks
Minus | Looks wont be for everyone. More
customisation offered at similar price from
other brands
Overall | We still cant think of a better
description than tone monster

BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE

May 2016 Bass Guitar Magazine 049

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 GEAR
PRS Gary Grainger 4 & 5 3079, 3135

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

Sounds and Playability

Recent BGM interviewee Eric Bass and walking example of nominative
determinism told us of his decision to switch to the Maryland-based
companys instruments: PRS sent over some Grainger basses and man,
you want to talk about a tone monster? He might as well be called Eric
Bassguitarreviewer, because he has summed up the oeuvre of both of these
basses in just two words: tone monsters.
Lets start with what the two basses have in common. First up youve
got the kind of unplugged performance that has you reaching for your
cable with giddy excitement. Individual notes sing out, resonating through
the mahogany bodies and hanging in the air for a lifetime. But the real
excitement comes courtesy of that three-band active preamp system. Dial
in your volume across the two PRS pickups two rail-style humbuckers at
the neck and the same at the bridge and set the EQ flat, and youve got
a thunderous tone with enough bite in the top end to cut through in any
musical situation. Theres an undeniable warmth to the low end and a glass-
like top end, with a bell-like clarity and evenness in volume across all strings
and up and down the fretboard.
Scoop out the mids and boost the bass for an eminently usable tone thatll
be as at home in driving rock as R&B and soul. Keep the mids down and
drive a little extra through the top and youre into slap and pop territory.
Achieving the tone is one thing, but being able to play in the style is another,
and both basses deliver here too. The necks are things of beauty: comfortable,
hand-filling and faster than a greased-up Exocet missile. Switching between
the two guitars caused no discomfort or major adjustments, and even after
extensive playing there was little to no fatigue in the left hand.
The 18v system means you can dig in as hard as you want, whether
fingerstyle or slapping the strings silly, and you wont hear any distortion in
the tone. These are basses that reward you for jumping through the genres.
The five-string comes into its own in a funk setting, with the rumbling low B
filling the room with a dark drawl and allowing you to push some serious air.
You can also play the bass in passive mode just pull the volume pot up
to isolate the bridge or neck pickup, or bring them both up to get a blend
between the two. Theres no volume change when this is done (providing you
dont pull and twist the pot) which means you can open up a new tonal option
midsong if needed.
Without doubt this is one of the better active EQs weve come across.
Theres a huge amount of tonal tweaking that feels possible with just the
three-band adjustment and the two humbucker-style pickup configuration.

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

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051.indd 51 20/04/2016 16:00
 STONEFIELD
1-5S Slimline
When something a little different comes along, we sit up and take notice. Mike Brooks gets up
close and personal with this bad boy from the southern hemisphere
Stonefield Musical Instrument Company
www.stonefieldmusic.com

S
tonefield instruments are the brainchild of Tomm Stanley and
are handcrafted in New Zealand using many indigenous timbers
of the region and some interesting design concepts. One look at
these basses and your attention is instantly drawn to the fact
that Stanley has developed a radically different take on the well-worn
features we have come to expect on an electric bass guitar. Lets see
how it translates to everyday use.

Build Quality
If you like the look and feel of an organically timber-laden instrument,
dont be surprised if you fall head over heels for this bass. Picking the

bass up, youre struck by the care and attention to detail that Stanley
has instilled into this instrument. The body shape looks familiarly
curvaceous, but any similarities stop there. The natural colouring
and figuring of the timbers gives the bass an earthy, rustic look,
accentuated by the multi-laminated through-neck core which is made
up of aircraft-grade laminates to give the bass rigidity and strength.
Although the body is deep, it balances extremely well due to the
headstock design, the lack of conventional machine heads and the
use of stainless steel, anodised aluminium and brass in the hardware
and bridge system, designed and trademarked by Stanley himself. The
metals in the design have been chosen so that no rusting will occur
over the life of the instrument, as well as to limit any excess weight.

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 GEAR
Stonefield 1-5S Slimline 3245

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

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

BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE

Bass Guitar Magazine May 2016 053

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 GEAR
Stonefield 1-5S Slimline 3245

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

Sounds and Playability

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

UNDERPINNING IT ALL IS A FABULOUSLY

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

Conclusion
A state of the art custom lite-flite case is included in the price (valued
at $350) and should you wish to opt for a titanium bridge unit, for an
additional cost of $250 you can shave 28g of weight from the bass per
string which is worth noting if you suffer from back or shoulder
pain. Instruments bought from the Stonefield website in the Off The
Shelf section of the store will receive an additional 5 per cent discount
until the end of July 2016.
As a new company with a new product, this bass certainly grabs the
attention and judging by the numbers visiting the Stonefield stand
at the recent LBGS, Stanley may well be onto something. The question
is whether this bass, and its brothers and sisters, have enough about
them to set them apart from more established names in the 3000
bracket. Only time will tell, but early signs are promising indeed.

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055.indd 55 20/04/2016 17:28
 BREEDLOVE
Solo Acoustic
Unplug with eight hundred quids worth of acoustic, says Joel McIver.
Does it deliver value for money, or should this Solo be frozen in carbonite?
Rosetti
www.rosetti.co.uk

S
ome bass players will never quite acquire the taste for an acoustic
bass guitar, no matter how much we rave in these pages about the
subtle joys of these instruments. Itll feed back! they complain.
You cant hear it! they whine. Youll smack it on the drummers
ride cymbal and break it! they gibber. Never mind. Lets have a gander
at this rather splendid-looking Breedlove.

Build Quality
Youll have your own opinion about the looks of the Solo, but we love
it right out of the box. Although that neck looks fearsomely long on
first examination, leading the dread words neck dive to rise unbidden
to the surface of your mind, you cant help but admire its swan-like
elegance. Stick it on your lap and have a poke around.
The 23-fret neck yes, 23, for some arcane reason offers you 16
accessible frets and seven more that are sort-of-playable, thanks to the
cutaway. Theres a soundhole on the top side, next to the electronics

panel, with a removable rubber buffer that is a slight pain to remove

and replace but which comes in handy, as well see.
The neck surface is slick and friendly, allowing you plenty of
expression speed without being completely frictionless. Apparently
weve been using the phrase this neck plays like butter too often in
our reviews, according to a cheeky member of staff over at BGMs
secret command bunker, so lets just say that it plays like extruded
bovine dairy protein instead.

Sounds and Playability

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

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 GEAR
Breedlove Solo Acoustic 859

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

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

BGM RATING
BUILD QUALITY
SOUND QUALITY
VALUE

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 GEAR
Breedlove Solo Acoustic 859
Assuming youve found one, perhaps via the gift of a Val Doonican-
style bar stool, make sure that you take some time to play the Solo
unplugged. Volume levels are low, by definition, but theres certainly
enough poke there for any campfire or (very) small room scenario
you might reasonably find yourself in. Without the benefit of
electric power, the tone range is also a bit compressed, so dont expect
significant highs or lows, especially given the flatwound strings which
this bass is sporting on arrival. If you find yourself in this particular
situation, just go ahead and whip off the upper soundhole cover for
extra decibels and top end.
Then put it back on, because were about to plug in and we want to
avoid feedback, which can be the curse of the acoustic bass when any
cabinet is pushing air towards it. A rich range of tones are instantly
available thanks to the LR Baggs pickup and electronics, accessed via
the nifty control panel and its three-band EQ. Sure, you wont get ear-
bleeding highs or elephantine lows, but thats because its an acoustic.
Try playing with a pick if youre looking for that extra cut, especially
as theres no thumb rest for fingerstyle an omission which we find
can be common to many acoustic basses, and which will be our first
priority, come the revolution.
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056-058 Breedlove acoustic_rev4KP.indd 58
Slapping and tapping are both doable on the Solo, although the
instruments strengths are obviously elsewhere: the neck and action
are set up for supportive lines rather than showing off. Sustain is
average for an acoustic instrument, so if youre looking for a rock or
funk instrument, look elsewhere... not that you needed us to tell
you that.
Conclusion
This is a lovely bass, and we dont really have anything negative to say
about it. Like all acoustic bass guitars, it doesnt have the playability of
an electric, but it scores highly on a particular tone and function and
comes with the obvious bonus of not needing an amp. However, 859
is a lot of money for an acoustic bass these days: were reminded of
the surprisingly excellent Vintage VCB430, reviewed in BGM 122 and
costing only 239. Of course that bass doesnt have the components,
the engineering, the USA build or the general quality of the Solo,
but it plays almost as well for less than a third of the price. Against
competition like that, this bass and its similarly priced brethren are
going to have a fight on their hands.
20/04/2016 13:27
059.indd 59 20/04/2016 17:48
 Technical specificaTion
Peavey MiniMega
Price | 640
Made in | China
Power | 2000 watts (PEAK), 1000 watts (RMS)
@ 4 Ohms PeaVeY
MiniMax & MiniMega
Features |-inch jack active/passive input,
Gain, Compression, Low, Lo Mid (Frequency
shift, gain), Hi Mid (Frequency Shift, Gain), High,
Kosmos (Kosmos A-sub, Kosmos C-Psycho),
Volume, Crunch, Compression Enable, Pinch,
Narrow Q, Bright, Kosmos Enable, Mute,
headphones output, SpeakON output sockets
(1/4-inch jack capability), Auxiliary input, FX loop
(Send & Return -inch sockets), Pre/Post DI,
Pad, Ground/Lift, Balanced XLR DI output, -inch
mike brooks puts the two new class d amps from peavey to the test
jack TRS (balanced) output, -inch jack tuner
output, MIDI footswitch output Barnes & Mullins
Dimensions | 90mm (H) x 305mm (W) x www.bandm.co.uk
295mm (D)

p
Weight | 4.08 kg
eavey amps have a reputation for getting the job done while keeping the cost within budget of most bass
whaT we Think players. These two new bass heads continue in that tradition, with a long features list on both amps and
Plus | More features than you can shake a stick highly attractive RRPs. Lets wheel out a Peavey Headliner 410 cabinet, plug in and play!
at, immensely powerful and it wont
break the bank
Minus | Slightly over-complicated front end
Overall | A versatile amp at a very
Build Quality
Both amps are heavily feature-laden, so refer to the specification boxes for the full listing. Right from the
attractive price
off, both units exhibit great build quality, a Peavey trademark. The controls and buttons are solidly fitted and
bgm raTing turn smoothly: accessing any of the features is simple. The selector buttons give enough tonal options to suit
all playing styles and the inbuilt tuner is extremely simple to use.
BUILD QUaLITY
SOUND QUaLITY The MiniMax is the cheaper of the two amps, but comes with enough tonal shaping controls and features
VaLUe to make it worth considering if you want a simply laid-out, no-nonsense amp. It has all the features you
would need in a live situation and enough power, at 500 watts, to shake any stage.

060 Bass Guitar Magazine May 2016

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 gear
peavey minimax & peavey minimega heads 365, 640

The MiniMega is a different beast, boasting a stomach-shaking 1000 watts output and so many buttons,
Technical specificaTion
controls and features that working out your sound may require some experimentation. The buttons are
Peavey MiniMax
quite firm maybe a little too firm, as I had to check on several occasions whether the button I had pressed
Price | 365
had been activated. With so much going on, the controls and features are usefully backlit: the user can Made in | China
change the colour scheme of the lighting to suit their mood, the stage lighting or the colour of their Power | 1000 watts (PEAK), 500 watts (RMS) @ 4
lucky trousers! Ohms, 300 watts (RMS) @ 8 Ohms
Both amps are equally at home onstage as they are in a home or rehearsal setting: both come with all the Features | 1/4-inch jack active/passive
inputs and outputs youd expect from a small portable amp, such as headphone outputs and auxiliary inputs inputs, Gain, Bass, Middle, Treble, Volume,
TT boost, Punch, Mid Shift, Bright, Psycho
so you can attach external music sources. The MiniMega also has a MIDI capacity for switching features
Acoustics Technology, Tune/Mute, Chromatic
in and out, although the footswitch has to be bought separately: both amps come with carry bags for easy tuner, Auxiliary input, headphones output, DDT
transportation and protection. indicator, SpeakON output sockets (1/4-inch
jack capability), FX loop (Send & Return -inch
sockets), Pre/Post DI, balanced XLR DI output,
Sounds and Playability ground/lift
Dimensions | 85mm (H) x 275mm (W) x
The MiniMax is such an intuitive amp that it is quite difficult to fault it: plug in, set a flat EQ, turn up and
210mm (D)
work from there. With a 15dB boost and cut available across the EQ, theres plenty of room for tone-shaping. Weight | 2.54 kg
The controls are responsive and will give you everything you require most of the time, but if you need a
little extra, the selector switches are game-changers. I found myself picking out certain features that suited whaT we Think
specific playing styles or instruments: for example, the Punch option gave passive basses extra body and Plus | Well featured, well priced and simple to
definition, while the Mid Shift button smoothes out some of the inherent clank of a Precision bass. use with plenty of power on tap
Minus | None
Overall | A great little amp for the price: simple
to use with a big sound

i loVe The simpliciTy of The minimaX, a Truly plug and BUILD QUaLITY
bgm raTing
play amp, while The minimega is a bass boffins dream SOUND QUaLITY
VaLUe

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 gear
Peavey MiniMax & Peavey MiniMega Heads 365, 640
The real ace in the pack is the Psycho Acoustics feature. This makes you
think that youre hearing increased bottom end by generating harmonics
around your low notes
The real ace in the pack is the Psycho Acoustics feature. This makes
you think that youre hearing increased bottom end by generating
harmonics around your low notes. In fact, no extra bass load is being
sent to the speakers. Very clever.
As for the MiniMega, its hard to know where to start. To use all the
features in a live setting, youll need the footswitch, unless you use an
effect or feature for a whole track and have time to press the buttons
between songs. Focus has been put on the mid EQ, a quasi-parametric
equaliser, with frequency selection and boost controls for 200-800Hz
on the Lo Mid control and 800Hz-3.2kHz on the Hi Mid control. The
Narrow Q presets narrow the bandwidth of the filter in each range, so
some experimentation is called for there.
In terms of power, this amp lacks nothing, it really is a beast.
Peaveys Kosmos system essentially gives your bass signal a kick in the
062 Bass Guitar Magazine May 2016
060-062 Peavey_rev3KP.indd 62
pants: its as though the sound has broadened, with more power across
the whole frequency range of your signal, without necessarily making
the amp or cabinets work harder. Again, some time spent getting used
to this feature, how it affects your sound and how it can best be used
will be time well spent.
Conclusion
Im very impressed by both amps, I love the simplicity of the MiniMax,
a truly plug and play amp, while the MiniMega is a bass boffins
dream. At these prices, they should definitely be on your shopping list
if youre looking at changing your amp, or if you need a lightweight
amp to carry with you as an alternative to a bigger rig. Go and try
them you wont be disappointed.
20/04/2016 13:27
063.indd 63 20/04/2016 16:02
 agUILar
SL 410X Cabinet
Prayers have been answered: Aguilar has added a new cabinet to its ever-popular
SL range and Mike Brooks has got his hands on the first one in the UK
Barnes & Mullins
www.bandm.co.uk

T
he SL range of cabinets from Aguilar once boasted a 4x10 cabinet, but when the price of Neo speakers
TECHNICAL SPECIFICATION rocketed some years ago, and the sonic, design and physical constraints that come with working with those
drivers proved difcult to accommodate, the cabinet was dropped. However, where theres a will, theres a
Price | 1585 way, and the Aguilar team over in New York has now unveiled its latest cabinet to sit alongside the highly
Made in | USA successful SL 112 cabs.
Power | 800W RMS
Impedance | 4 or 8 Ohms
Frequency Response | 44Hz-16kHz
Speakers | 4 x 10 cast frame woofer speakers Build Quality
and phenolic tweeter with integral phase plug The SL 410X picks up where the SL 112 rst blazed the trail and naturally, the familiar design livery is the
and variable control same. Taking the cabinet out of its packaging, youre instantly aware of its relatively light, 22 kilo weight, but
Dimensions | 604mm (H) x 560mm (W) x be aware that the cuboid dimensions and the height of the cab mean you are still advised to carry it using both
395mm (D) recessed handles. A one-arm lift is possible, but think of your back and shoulders and spread the lift.
Connections | One SpeakON socket, two
The cab has been constructed with 12mm lite plywood, and the tough black vinyl covering should be rugged
jack sockets
Weight | 22.22kg enough to withstand the rigours of road life alongside a gigging musician. The mesh material speaker covering,
white piping, metal protective corners and logo placement give the cab a certain understated renement.
WHAT WE THINK Rubber feet have been tted to the underside and stop the cab from shifting due to vibration: a box of castors
Plus | Lightweight portability, great power are included in the shipping package if you wish to t wheels for easier transportation.
handling and a pleasing tonal display Able to handle up to 800 watts of output, the four 10 woofers have been tailored to Aguilars preferences
Minus | The price is on the hefty side but you with the low end designed to work with the endemic midrange of Neo speakers. Seven-ounce neo magnets
get what you pay for
have been used while the phenolic tweeter has an integral phase plug to extend high frequency response.
Overall | A worthy addition to the Aguilar range
and a sure-fire winner for those who like the As with the SL 112, the crossover has been custom designed to suit this cabinets inherent characteristics,
sound of 10 cones permitting a frequency response of between 44Hz and 16kHz. A quick peek around the back shows a variable
control for the tweeters performance and effect on the sound, one Neutrik SpeakON socket and a pair of
BGM RATING jack sockets.
BUILD QUaLITY Two rear ports have also been incorporated to improve the bass response and to smooth out the overall sonic
SOUND QUaLITY
display offered by this cabinet. With 10 cones and a tweeter, the rear porting adds some solidity to the low end
VaLUe
and midrange.

Sounds and Playability

THIS IS A HIGH-
Wow! The wait has been worth it: this is a seriously impressive cabinet. Throwing a bunch of active, passive
and semi-acoustic instruments at this cab and hearing how it performs, many players wishes for a larger,
portable Aguilar cabinet have been granted. With the tweeter backed off, the cabinet sounds rounded and full,

QUALITY CAB, VOICED and the bass end sounds tight and powerful, almost as though it straddles older vintage tonality with modern
technology and design processes.

PERFECTLY WITH Without the tweeter in use, slapped passages have body, but lack glassy nesse: ngerstyle and pick playing
also lacks that top end sizzle. I appreciate why some players choose to turn off the tweeter in a cab, but if you

AN IMPRESSIVE
bring it into play here, the voicing of the cab opens up as though its saying I can do all of this and now I
can do all of this as well! The percussiveness it adds is very impressive without sounding brittle or clinical, and
it also adds some projection when using two different ve-string basses.

SONIC DISPLAY Power handling is impressive: I couldnt detect any issues as I pushed the volume of the amp. The
fundamentals remained clear and powerful, with the intrinsic smoothness always remaining apparent.

AND EQUALLY Conclusion

IMPRESSIVE So heres the deal. At 1585, this is no cheap option: some may baulk at the price, but you get what you pay for.
This is a high-quality cab, voiced perfectly with an impressive sonic display and equally impressive portability.

PORTABILITY The cab comes with a three-year limited warranty, and padded covers are available, sold separately. Im in no
doubt that this is to be an immense success for Aguilar.

064 Bass Guitar Magazine May 2016

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 gear
Aguilar SL 410X Cabinet Price 1585

Bass Guitar Magazine May 2016 065

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066.indd 66 20/04/2016 16:03
067.indd 67 20/04/2016 16:07
 BASS
TUITION
Making you a better bass player
W
elcome to our redesigned tuition section, in which Bass Guitar
Magazine collates the wit and wisdom of the crme de la crme of
the electric and upright bass world. Were fortunate enough to have
some serious talent on the team, from world-class music educators
to experienced touring musicians, who between them have laid down
the low notes in every studio, club and arena in the civilised world. Note
that weve divided the columns according to Beginner, Intermediate and
Advanced level for easy reference. Whether youre looking to improve
your playing technique, expand your awareness of theory, set up your rig
to sound like your particular bass hero or simply get on a bus and tour, we
provide the answers you need here. What are you waiting for? Dive in...
Joel McIver, editor
068 Bass Guitar Magazine February 2015
068-069 Techniques Intro_Rev1.indd 68
Ellen OReilly is a freelance bassist and vocalist
currently studying at ICMP. Ellen has extensive
experience in gigging, studio and television work.
www.lowendlady.com
ELLEn oREiLLY BEGINNERS THEORY 72
Paul Geary attended the Berklee College of Music in
Boston and the Musicians Institute of Technology. He
also heads up the Academy Of Contemporary Musics
bass school.
www.paulgeary.com
PAuL gEARY BEGINNERS TECHNIQUES 74
Stuart Clayton is a professional bassist and writer with
over 20 years of experience in the industry. He runs the
bass department at BIMM Bristol and Bassline Publishing,
which has published a range of tuition and tab books.
www.stuartclayton.com www.basslinepublishing.com
StuARt CLAYton INTERMEDIATE THEORY 76
Rob Statham has amassed over 25 years as a
professional freelance bass player. He has played in a
wide range of musical settings, including jazz, blues,
prog and classical, and he has taught for the past three
years at BIMM London.
Rob StAtHAm INTERMEDIATE TECHNIQUES 78
Head of the Bass Department at BIMM Brighton,
Franc has worked with artists such as Steve Howe
(Yes), Lisa Moorish, and Mike Lindup (Level 42). Franc
uses Jeff Chapman basses and Elites strings.
www.francoshea.com
FRAnC oSHEA ADVANCED THEORY 80
Say hello to advanced techniques columnist Philip
Mann, star of studio and stage. Ready to get those
fingers ying? Mann up...
PHiLiP mAnn ADVANCED TECHNIQUES 84
David Etheridge studied double bass at the Royal College
of Music. Since then hes worked with musicians such as
Nigel Kennedy and Martin Taylor. David teaches double
and electric bass and is the MD of two big bands and a
55-piece jazz orchestra.
DAViD EtHERiDgE UPRIGHT BASS 86
Steve Lawson is the UKs most celebrated solo bass
guitarist, with 15 years of touring and 36 solo and
collaborative albums to his name. He also lectures at
colleges around the world.
www.stevelawson.net
StEVE LAWSon EFFECTS MAESTRO 88
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.
miKE bRooKS CLASSIC BASS ALBUMS 90
20/04/2016 13:35
 tuition Introduction

bgm Notation Legend

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

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

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

Notes shown in brackets indicate that a note has been tied over from a previous bar.

Playing Techniques

Slap and Pop Technique
Notes slapped with the thumb are
marked with a t, notes popped
with the fingers marked with a p
Advanced slap Technique
Fretting hand slaps are marked
lh and double thumbing
upstrokes are shown with an
upward pointing arrow
Plectrum Technique
Where necessary, down and
upstrokes with the pick will
be shown using these symbols
(down-up-down-up)
Tapping Techniques
Fretting hand taps are shown with
a + in a circle. Picking hand taps are
shown with +. Specific fingers will
be shown with numbers if necessary

Fretting Techniques

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

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

Playing Harmonics Bending Notes

Natural Harmonics Artificial Harmonics Bend Bend and Release

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

Bass Guitar Magazine May 2016 069

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 The

front line
The Metalhead
Pa o l o G r e g o l e t t o

Trivium bassist Paolo talks radio

As I write this, were five weeks into a seven-week tour. Some guys are
getting over being sick; some are maintaining their level of sickness

Want to make it as a professional bassist? Listen up with a little late-night booze and some vitamin supplements. We
arent stir-crazy yet, but I think when we get through this next jaunt

as BGMs world-class bass team reports back from straight across the tundra of Canada we will be ready to get home.
This entire tour has been geared to work around the active rock

the tourbus radio format in the US, an entirely different beast than that used
for rock radio
anywhere else.
Its very political
The Jazz Bassist and it has taken
a lot of time and
Ruth Goller
teamwork with

Jazz warrior Ruth relaxes after a stint on the road our label and
management
Recently I had a listen to a record that greatly inspired me when I to get spins and
was younger: Brad Mehldaus Art Of The Trio Volume 4. This is a live station adds for
recording from the famous New York jazz club, the Village Vanguard. The our latest single,
record is from the late 90s and features Mehldaus trio of Larry Grenadier Until The World
on double bass Goes Cold.
and Jorge Rossy We werent
on drums, with exactly sure
the trio playing how this tour
arrangements of would pan
standards. Whats out, but we
really special about were ready for
this recording is the anything to
fluency with which help develop
all three players this single and
play in odd time the album in
signatures. this rock radio Scott Uchida

They really market. There

stretch the various was a risk that the turnouts might be lower because this audience
ways of playing is still getting acquainted with our sound. Thankfully, weve had
over five and seven. tremendous success so far with sell-outs or near-sell outs almost
The version of All every night. We had a few celebrity tweets about the new album,
The Things You Silence In The Snow, when it was released last October. One of the
Are is particularly biggest, and most surprising, was Nikki Sixx, the bassist for Mtley
interesting, with the Cre. He gave the video for the title track a shout-out to all his
players subdividing followers. Then days after we began this tour he tweeted about us
the seven in many
different ways,
whether as two bars
We werent exactly sure how this tour would pan out,
of 7/8, or one bar but we were ready for anything to help develop this
of 7/4: dividing the
seven into four plus
single and the album in this rock radio market. There
three, or three plus was a risk that the turnouts might be lower because this
four, and so on. What is more, they interact at breakneck speed, and play
with great fluency. Grenadier, who is for my money the most influential
audience is still getting acquainted with our sound
double bass player of the last 20 years, underpins everything perfectly. again, and eventually Nikki interviewed our singer Matt [for Sixxs
The way he will displace certain notes, or anticipate or delay tonics in his nationally syndicated rock radio show, Sixx Sense], and even came
bass-lines, are two elements that make his improvising so interesting, all out to see us at our LA show at the Roxy. Radio is a numbers game: its
while taking care of the time in a rock-solid fashion, and doing so with a like learning a new language that has nothing to do with music as an
great tone. Even when hes soloing, its still an extension of the bass-line: art form, but which is important to understand if you play this game.
he never loses sight of the importance of his role in taking care of the raw Ive learned a lot about the power of rock radio, and how important it
elements of the music time, feel and harmony. Listening to this record still is to reach wide audiences, even in the face of streaming apps and
makes me realise how much the other two players rely on him in all these satellite radio. America is a big place. You can be a good-sized band
departments: with him being so solid in these areas, he allows the other here and still be unknown to the majority of people. You can be big in
players to really fly over the top and be totally free. The moments when New York City and barely fill a bar in Illinois. The only way to break
he does take flight are made even more powerful by their rarity. The through is with a mixture of touring smart and having a game plan to
results are a perfect balance of trust and adventure, with all three players crack the mysterious world of radio politics, all while not losing your
able to play at their very limits. sound and uniqueness along the way.
www.ruthgoller.com www.trivium.org

070 Bass Guitar Magazine May 2016

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The Alternative Rocker
Michael McKeegan
Therapy?s Mike ponders active versus passive
I recently took charge of a new bass kitted out with passive pickups
and, having mostly used active basses previously, it was quite a
revelation. As soon as I plugged it in I heard a certain character that
I hadnt heard in a while with the active basses. So much so, that as
an experiment I redid a bass part on a new demo and compared it
with a previous version done on an active bass. The difference was
considerable: the passive bass with flat EQ sat brilliantly between the
guitar and drum machine parts. I know this is an age-old conundrum
www-ashleybird-com
for bassists: certain players that I know have waxed evangelical,
almost to the point of overkill I should add, about the pros and cons of
passive and active. I know that each and every set of active pickups
has a different set of characteristics, but generally I find they sound
a bit cleaner and punchier, while the more varied tone shaping is a
big bonus for people who like to be a bit more versatile with sounds.
When recording, I much prefer passive pickups: theres a warmth
and honesty to the tone that tends to come across really well in
the studio. When I use an active bass myself, the producer seems to
spend half the time cutting frequencies and trying to EQ or gate out
that very subtle, but annoying, hiss that the treble sometimes has.
Live is a completely different kettle of bass, of course, and the full-
range roar afforded by active pickups can be a godsend when trying
to get a decent tone especially if youre using hired gear or at the
mercy of a crippled or non-existent PA. I much prefer that bigger,
more hi-fi sound they afford, and its normally pretty easy to dial
in a serviceable sound on the bass, regardless of what other gear is
onstage. Of course, there are good and bad passive pickups, so maybe
Ive just lucked out and have an ace set in this new bass. Ill see how it
sounds in 10 years after much blood and sweat. Apples and oranges,
you may well think and I agree, both kinds of pickups have their
own unique sonic strong points. Im enjoying the luxury of having
both on hand to get the best out of any situation.
www.therapyquestionmark.co.uk
070-071 Front line_Rev3.indd 71
the front line
The Extended-Range Specialist
S t e wa r t M c K i n s e y
Dont fret, or at least dont fret badly, says McKinsey
Now that weve examined some consistency in terms of attack, lets
shift focus to the fretting hand. Ive written a lot about manipulating
a string to get the effect you want, so heres where we start getting
into the minutiae of technique. For most of us, the fretting hand is
there to do no more than make sure the string is stopped at a certain
point, but if you want to develop as a player and if mastery of the
instrument is something you make a priority you need to realise
that great musicians are not only dedicated and disciplined, they are
usually more than a little obsessive. While that behaviour is to be
avoided in most aspects of life, when approaching your art it can be
a useful trait. Your fretting hand serves more roles than you may
initially consider. In addition to holding down the string while the
note sounds, it is central to your muting technique, essential to your
expressiveness and most likely an unconscious part of your rhythmic
arsenal. Bearing that in mind, how do you enhance these skills?
In all seriousness I would suggest you listen to classical musicians,
particularly cellists and nylon string guitarists. Start paying attention
to how they manipulate the strings to create different effects. Any
serious player of a fretless instrument understands that the fingers
that stop the string are responsible for so much. These artists can also
open you to legato playing, something we electric bassists often take
for granted. Play more on the tip of your finger, then use more of the
meat there, and hear the differences. Feel how lightening your touch
affects the blossom and decay of notes, and how that can open you to
new timbres. Listen to the entire envelope of a note and how you can
change it simply with your fretting hand. Find the limits of definition
and softness in a note and just how much your fretting hand has an
impact there. You may also want to listen to saxophone or trumpet
solos, particularly in the realm of jazz, to further develop dynamics
and expression. This should be something you revisit often, if you truly
want to grow and flourish.
www.facebook.com + search Stewart McKinsey
Bass Guitar Magazine May 2016 071
20/04/2016 13:58
 APP EXTRA
TUITION
Beginners Theory
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for extra content

This month Ellen shakes things up with some inversions

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

Major triad Root, major 3rd and perfect 5th

Minor triad Root, minor 3rd and perfect 5th
Augmented triad Root, major 3rd and #5th
Diminished triad Root, minor 3rd and b5th

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

WHY SHOULD I LEARN ABOUT

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

EXAMPLE 1

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 examPle 1

This starts with two bars of C. The rst note is a dotted crotchet: remember to let this ring for three eighth notes.
It is played on the third fret of the A string. Next is an eighth note, played on the same string at the third fret. This is
a crucial note to keep the groove and pulse consistent. We then stretch across to play the perfect 5th on the fth fret
of the D string; this note is another dotted crotchet played on G. You can use either your little nger or third nger
of your fretting hand to play this note. Keep a steady pulse throughout and set your metronome or drum machine
PAuL GEARY to 95BPM. After this we nish the bar off with another eighth note on G played at the fth fret of the D string. This
triggers bar two and creates an authentic Latin groove on the bass, using the root and fth intervals of the chord. This
is essentially played as a bossa nova feel.
the mighty geary goes In bar three we change chords to Bb, using the rst fret of the A string to play the note, followed by the same
rhythmic pattern and interval. The perfect 5th is played on the third fret of the D string and is a dotted crotchet on the
latin. alea jacta est... F note. Finally, in bar four we use a G eighth note, played on the third fret of the E string to take the repeat back to C.

examPle 2

t
his month, lets take a look at
Latin music and the function
of the bass within this genre.
Latin music has a broad
spectrum of influences and styles.
It has its roots firmly within Latin
America, and originally this music
was built around various tuned
drums and percussion, and used
as a foundation within the songs.
This is still evident today as many This example uses the same chords but is syncopated with an anticipated groove. We start with a crotchet
songs include this vast array of on C, third fret A string, and then move to the perfect 5th G after an eighth note rest. The G on the fifth
rhythmical backbeat. Melodic fret of the D string is tied over to a crotchet: play the G eighth note and let it ring over to the crotchet. We
instruments including the bass then have another eighth note rest, and the C this time is tied over the bar line to the crotchet, which gives
were added later. a syncopated feel to the line. We then hit a G on the third fret of the E string which is tied to a crotchet,
Were going to take a look and then play a Bb, first fret A string, which again is tied over the bar line. In bar three we follow the same
at two styles this month: bossa sequence and groove on to the F, third fret D string and another Bb which is tied to the bar line. Finally we
nova and samba. Each style has take the low G, third fret E string and play a single G eighth note to take the repeat. Start this one at 80BPM.
a fundamental pulse running You should soon be able to get the feel once youve played it through a couple of times.
through it, called a clave. This
rhythmical pattern is crucial to
lock in with as a bass player. It
examPle 3
is also important to remember
that the bass has more of a
supportive role within the music,
outlining the chord progression
and complementing the extensive
rhythm used.

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

074 Bass Guitar Magazine October 2015

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 APP extra tuition
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for extra content Beginners Techniques

Were going to take a look at two styles this month: bossa nova and samba.
Each style has a fundamental pulse running through it, called a clave

Example 4
On the last example we use a
dotted crotchet rhythm to create
the groove. It is similar in feel
to Example 2 with reference to
syncopation however, it has
one key difference. There are no
rests! This gives a forward motion
to the line and creates a seamless
pattern. Try playing this one with
your picking hand close to the
neck. It should create a thick, fat any bossa nova or samba style chord progression. The key difference between the two styles is tempo. Samba is
tone which will sound great with essentially fast bossa nova. This all depends on the actual song youre playing.

latin extra
Here is a chord progression over
which you can practise some of
the examples. Take each example
in turn and play it over the
progression. Use the standard root
and fifth pattern, being careful to
play those tied and dotted notes
with precision. Notice how each
line changes the feel of the music.
This would be a great exercise guitarist: failing that, use software to whack down the chord progression, record a drum loop and away you
to practise with a drummer and go. Until next time, enjoy getting down to some serious Latin vibes.

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 example 1

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

example 2
STUART CLAYTON

Commander Clayton
steers the BGM ship into As ever, in order to get a clear idea of how this mode sounds, its a great idea to play it over two octaves. Example
Locrian territory 3 is a fingering for a two octave B Locrian mode.

example 3

W
elcome to the penultimate
instalment in my series of
columns covering the modes
of the major scale. Over the
last 10 issues we have dissected five
of the modes that can be derived
from the major scale: Dorian,
Phrygian, Lydian, Mixolydian and
Aeolian. In this months column we
will begin looking at the final mode,
the Locrian. This is not a mode that Remember that you can get a clearer idea of what makes a mode sound unique by comparing it to either the major
youll use as often as the Dorian or or minor scale that begins on the same note, whichever is more appropriate. Although the Locrian mode works
the Mixolydian, but as with all the with a diminished chord, its easiest to relate it to the natural minor scale. In example 4 you can see a comparison
modes it has a unique sound and of the B natural minor scale and the B Locrian mode. This mode is usually described as being a minor scale with a
is appropriate in certain musical flattened second and fifth.
situations.

The Locrian Mode example 4

The Locrian mode is built on the
seventh degree of the major scale,
so in the key of C, it runs from B
to B. Remember that as we are
in the key of C major, there will
be no sharps or flats. Example 1
illustrates the B Locrian mode.

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

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 example 6

tuition
Intermediate Theory

example 5
Lets put the Locrian mode to use
now in some bass-lines.

Example 5 is a driving rock riff that

very clearly outlines the sound
of the mode by emphasising the
flattened fifth (F) and flattened
second (C).

example 6
Example 6 is another rock/metal
riff. When playing the fill in the
fourth bar, I recommend playing
the B at the ninth fret with the
third finger. The finger-per-fret
method can then be used to play
the remainder of the line.

As we are nearing the end of this Cmaj7 C Ionian We didnt cover this mode as it is simply the major scale
series of columns on the modes,
now would be a good time to Dm7 D Dorian This is a minor mode that has the raised sixth degree as its distinguishing characteristic.
recap on the modes covered so far
and the chords they work with. Em7 E Phrygian Another minor mode, this time notable for its flattened second degree.
Remember that when we talk
about modes, its easiest to relate Fmaj7 F Lydian A major mode, identical to the major scale aside from the sharpened fourth degree.
them back to either the major or
minor scale that begins on the G7 G Mixolydian Another major mode, this time with a flattened seventh degree.
same note. This allows us to clearly
see/hear their distinguishing Am7 A Aeolian This mode is another name for the natural minor scale.
characteristics.
Bm7b5 B Locrian This mode is best compared to the natural minor scale, in which case, its distinguishing
characteristics are the flattened second and fifth scale degrees.

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

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 APP EXTRA
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for extra content
ROB STATHAM
The great Statham
looks at alternating
fingers for maximum
bass efficiency
I WHICH FINGER SHOULD LEAD? SOME PREFER THEIR FIRST
ve written before about
the contentious question of
alternating or raking in the
plucking hand when descending
down across strings. For me, either
is fine, but be aware of both options
and that we can adjust as necessary.
There are occasions when I might
do one or the other, but I wont leave
it to chance I want to be making a
conscious decision about it.
People often rake without
thinking, and so when I ask
students to play a pattern strictly
alternating throughout, their fingers
want to rake as they descend
strings. The examples here will
challenge us in this respect and
help us alternate where we might
otherwise rake.
Which finger should lead?
Some prefer their first finger, and
others prefer their second, but
we need to be comfortable with
either, otherwise certain patterns
become difficult to play. Obviously,
the leading finger changes as we
cross strings, having played an odd
number of notes on the previous
string: being comfortable leading
with either finger avoids problems.
078 Bass Guitar Magazine October 2015
078-079 Statham_rev3KP.indd 78
FINGER, AND OTHERS PREFER THEIR SECOND
Remember this formula: when ascending across strings, an even number of notes on a string means
we lead with the same finger as we move to the next string, and an odd number means the leading finger
changes. However, when descending and raking the opposite is true, so we need to focus on keeping the
formula the same when descending as well as ascending.
Example 1 is a simple four-note chromatic run on each string, moving to the same pattern on each string
in turn. This means that if we begin by leading with our first finger then we will also be leading with
our first as we move to the next string up. Now, when we reach the highest note and begin to play the
descending form, the leading finger changes to the second finger, and so we need to lead with our second
finger as we cross to the next string down to keep a strictly alternating pattern.
If we keep this together all the way down, then the last note of the example will be played with our first
finger. Really focus on the leading finger as you cross strings on the descent, ensuring its the second finger
in each case. Having completed the example in this manner, repeat it, this time starting with the second
finger: the first finger then becoming the leading finger as we cross strings on the descent. You may find
yourself raking without meaning to at first, but with a little concentration this one isnt so hard.
Example 2 is similar, but this time playing three notes per string in a minor pentatonic with added passing
notes, so the leading finger changes each time we cross a string. If we start with the first finger well be
leading with the second as we cross to the next string. This will be true for the descending form too, as long
as we keep the alternating pattern together and, as before, we should end up on the finger we started with.
Once again, when we can do this comfortably leading with the first finger at the start, try it the other way
around, commencing with the second finger and finishing on the same finger again. Again, with a little
concentration this isnt too hard keep an eye on your plucking hand as you play the example and ensure
youre alternating throughout.
Example 3 is a common scale pattern groups of four from each note in turn of a C major scale but this
will involve crossing strings in both directions and a mix of odd and even numbers of notes on each string.
20/04/2016 16:57
 tuition
Intermediate Techniques

example 1

example 2

example 3
However, if we ensure that the
first note of each group of four
is played with the same finger,
this should help us keep to an
alternating pattern throughout,
whether we are crossing strings
up or down. Try it leading with
the first finger first, each group
of four notes following the
same plucking hand pattern,
and we should end on our
example 4
first finger when we play the
octave note at the end of bar
two. Once comfortable, try it
leading with the second finger
and, as before, finishing on that
finger. You might find yourself
raking inadvertently at first, so,
as before, keep an eye on your
plucking hand, concentrate on
targeting the first note of each directions and a mix of odd and even numbers of notes on each string, the aim being to maintain a strictly
group of four with the same alternating plucking hand approach throughout. The second two bars should start with the same finger
finger, and youll get there. Ive you started the first bar with: use this as a check to make sure you havent inadvertently raked along the
only written out the ascending way and swapped the leading finger. At the end of the four bars, we should be playing the repeat leading
form of the example so have a go with the same finger we started with. As before, once youre comfortable starting with the first finger
at the descending form following and can maintain the alternating pattern throughout, try it the other way around, starting with the
the same approach. second finger.
Finally, for example 4 Ive You can devise similar exercises to challenge yourself in this way: ensure that youre string crossing
written a four bar bass-line from in both directions and mixing odd and even numbers of notes on each string, leading with either finger.
an E minor pentatonic scale with Gradually youll have more plucking hand control, and will be more aware of whether you want to alternate
a lot of string crossing in both or rake, rather than leaving it to chance.

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 exAmPle 1

exAmPle 2

FrANC O'SHeA

Can Franc build it (a

melodic bass piece,
that is)? Yes he can!
exAmPle 3

T
his month we will start to look
at building solo chord/melody
bass pieces not uncommon in
todays bass world. The history of
unaccompanied bass stretches back
to Jaco Pastoriuss classic harmonics
composition Portrait Of Tracy, his
rendition of J.S. Bachs Chromatic
Fantasy and America the Beautiful,
which he re-titled Amerika.
In the 80s, Jeff Berlin broke new
ground with his masterful version
exAmPle 4
of Dixie, a dazzling array of often
contrapuntal melodic, chordal and
bass material, sometimes sounding
like two people playing at once. In the
90s Dominique Di Piazza followed
Berlin not only in style but also as a
member of John McLaughlins Trio,
with his spellbinding Marie, from
McLaughlins Que Alegria album.
Then the floodgates opened and
Victor Wooten and a whole host of in the next chord. This is often stepwise diatonically, or outside of the scale, as when using chromatic tension and
others appeared on the scene. resolution. There is another factor in voice leading, though: keeping the voice exactly the same from one chord
This month lets look at the idea to the next.
of keeping one or more voices Example 1 shows a basic chord sequence in A minor. All the chords are triads and appear in root position.
constant in a sequence. By voice, Nothing wrong with this; in fact it sounds quite distinctive since its components move like big blocks, which
I mean each note of a chord, might be what you want. However, if each of these voices were a real voice, and this was a backing vocal part,
whether sung by a group of singers this configuration might sound too distinctive, as each singer makes large interval leaps, a fact highlighted in bars
(voices), a string quartet or even three to four where each voice moves down by a whopping sixth!
by individual strings on the same Example 2 provides the solution. By using inversions we can create a voice leading part that still retains the
guitar. The term voice leading is original chords' notes but now lead smoothly from one to chord to another. No single voice has to move more than
generally where each voice of a a scale degree up or down, and often one note continues in the same position from one chord to the next. The
chord moves smoothly to a voice result creates parts with much less movement fitting not only for, say, a string quartet or vocal group, but on

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 APP extra
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Advanced Theory

The chord in the first bar of

example 5 example 5 is a Dmin7 and the static
melody note is an F, the minor 3rd of
the chord. This same F becomes the
major 3rd of the Db7 chord in the
next bar, and in the next it becomes
the perfect 4th, or 11th of the Cmin7
chord. The F then appears as the
diminished 5th of the B7b5 chord
in the fourth bar. Following the first
four bars, example 5 then continues
with a fresh sequence of chords and
a new static melody note. This time
the note is a Bb played at the 15th
fret of your G string. The first chord
of this part of the sequence is an
Fmin7 and the melody note plays
the role of the 11th against the chord,
creating a melodic upper extension.
Next is a Bb7 chord, and the Bb is
at home here since it is the chords
root. This is followed by an Ebmaj7
chord where the Bb is the perfect
5th. Then comes an interesting
change to an Ab dominant 7th chord
and the Bb is again used as an upper
example 6 extension: this time as the major
9th interval. Overall, an interesting
effect is created. We have a single
note that doesnt change, yet the way
it is framed by different chords alters
its flavour from bar to bar, like using
varying lights on the same subject
in a photographic studio to produce
differing shots.
Example 6 goes further by
keeping the note G, at the 15th fret of
the D string static, but moving two
other notes in diatonic 6ths down
the scale of C major using the A and
G strings. To play this you need to
fret the static G with your right hand
index finger while plucking all the
notes of each chord with your right
hand thumb. The static note here
is G, the perfect 5th of the key. You
could also experiment with other
notes from the key to use as the
bass too. If you follow the fingerings designated by the tab for both examples 1 and 2, you can see the difference static note.
between the two approaches. Arpeggiating each chord also works well when playing harmonies on bass. Example 7 reaches more exotic
Example 3 poses another sequence of block chords: This time a I, vi, ii, V, iii sequence in C major. Example 4 provides territory by using a D melodic minor
a voice leading solution for this progression by using the same technique of keeping a voice constant from bar to bar scale with its 7th, C#, as the static
where possible and using inversions to create voice leading, so that each voice only moves up or down one scale degree, note. This gives some enigmatic
or remains where it is. To create the smooth rising effect demonstrated in example 4 we only have to place the root of flavours and works well with any of
the A minor chord an octave higher to put it in first inversion and to move the root and 3rd of the G chord up an octave the melodic minor modes in that key,
to put it in second inversion. including the A Mixolydian b6 mode,
Taking this idea of keeping a voice the same from chord to chord, we can also use it for melodic material too. which we explored previously.
Example 5 is in the style of Antnio Carlos Jobims bossa nova classic One Note Samba. Why that title? Because the Next month: developing chord/
melody note stays the same for several bars while the chords change: meanwhile, the static melody note works well melody for unaccompanied bass.
with each chords particular voicing. Until then

Bass Guitar Magazine October 2015 81

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 app ExTra
Download the Bass app
for extra content

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

ExamplE 1

pHil maNN

Divisions and
subdivisions, explored
by the fearless Mann

S
ubdivisions and rhythmic
games are two of my
favourite elements of
vocabulary at advanced ExamplE 2
bass level. However, even the Our second example introduces the rhythm figure we became associated with in example 1. However, on this
mention of words such as occasion our phrase has now been enveloped by other 16th note patterns to bolster the four-bar groove. Watch
demisemiquaver can make some out for the trill featured on the final quaver of bar two and also the delivery of our rhythmic subdivision in bar
bassists feel a little uneasy. My three, where on the third beat we come into contact with some octave patterns.
aim, whether youre a student
or experienced musician, is to
show you that applying rhythmic
subdivisions such as 32nd notes
isnt really that much of a big
deal. Lets look at them together
A demisemiquaver is 1/32nd
of the duration of a whole note,
which is why the subdivision
can also be referred to as a 32nd
note if using US terminology
(the demisemiquaver title is the
one used by us Brits. Pip pip!).
Counting 32nd notes can be a
little tricky as there isnt really a
designated counting methodology
associated with this subdivision.
In my experience, the easiest
way to understand how to
execute 32nd notes actually
starts by playing 16th notes. Try
counting out loud, 1 e + a, 2 e

MY AIM IS TO SHOW YOU THAT APPLYING RHYTHMIC SUBDIVISIONS

+ a, 3 e + a, 4 e + a to emulate
semiquavers. Then, while still
counting the 16th notes aloud,
play two notes on each of the
subdivisions. Using this method SUCH AS 32ND NOTES ISNT REALLY THAT MUCH OF A BIG DEAL

84
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 tuition
Advanced Techniques

Exercise 3
Example 3 continues to develop
the rhythmic themes found in
both of our first two examples.
However, on this occasion, the
double pop demisemiquaver
pattern that weve started to
become acquainted with has
been delivered over three strings.
In order to pluck both fifth and
octave intervals, youre required to
pull both the D string and G string
with adjusted fingers: this can be a
little tricky at first, so ensure you
slow the phrase down and practise
until mastery before moving on to
example 4.

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

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

Bass Guitar Magazine October 2015 85

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 APP EXTRA
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for extra content

EXAMPLE 1

EXAMPLE 2

EXAMPLE 3
DAVID ETHERIDGE

More approaches to
EXAMPLE 4
double bass soloing with
David Etheridge

O
ne of the more worrying
things I see in instructional
books for bass is the EXAMPLE 5
suggestion that when
soloing, you can play a particular
scale over a chord. Well okay,
you can, but are you soloing? No,
youre just playing scales. In fact,
theres a lot of discussion on the
web and on YouTube by various
jazz musos about the modern
approach, which all seems to be
about scales, modes and notes
over creativity. They point out
that the jazz legends of yesteryear
didnt have the educational
resources we have nowadays
(which are fantastic, needless to
say) and that they had to find
their own approach by that most
essential of activities: listening.
Students now, they say, are all
taught the same things the same
way, so theyll all sound the same
until much later on.
Lets look at how we can
correct misconceptions on
soloing. If we take the idea that
you can play a particular scale
over a chord, and take our I-VI-
II-V progression as an example, it
might look like example 1. Boring,
isnt it? Yet Ive heard beginner

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 TUITIONUpright Citizen

students do something very EXAMPLE 6

similar, and I suppose we do have
to start somewhere. However,
we can take the scalic approach
and break it up, even dividing the
scale into intervals.
In example 2 its beginning to
sound a bit better, but we can
do more, so if we use intervals,
EXAMPLE 7
things start to have a direction
and shape as in example 3. Notice
that in bars three and four were
using the 3rd of the chord as the
first note. We could also use the
5th as well at the start of each
bar and use the notes we play
EXAMPLE 8
to outline the harmony, as in
example 4.
Developing this, lets add some
chromatic runs. Example 5 shows
one approach. Dont worry about
the non chord notes: we can
regard them as passing tones to EXAMPLE 9
the chord tones we want, and
chromatics are useful to use notes
that lead to the next chord. For
instance, the F# at the end of the
first bar leads neatly to the Gm7
in bar two, while the Db at the
end of that bar leads smoothly to
EXAMPLE 10
the Cm7 in bar three. Note that
at the end of the bar Ive added
a chromatic triplet to get to the
chord note at the end. You could
of course use A, G, and F just
as effectively. open string as well: Fx (double sharp) is the same as G, likewise Cx is the same as D. The upper fingering uses
Now all the examples so a lot of 2 and 1/2 position; as in B major a lot of the scale notes can be played in that one position. Across the
far, and last month, have been strings they would be B and C# (G string), F# and G# (D string), C# and D# (A string) and G# and A# (E string).
in Bb, and you can use open A semitone position up or down will provide the other notes in the scale.
strings as part of the scale and For example 7 lets take it up a semitone again to another easy key: C. Obviously we can now use open
key. What about difficult keys? strings again, but here Ive given you some extra fingerings in other positions. This not only gives you an
Remember, supposedly complex alternative, but also provides suggestions for fingerings in other keys. Remember that any position will give
key signatures are usually only a you a group of notes under the hand without moving. Across all four strings in any key going from the E
semitone away from easy ones: Bb string upwards, youll have 1, 2, 4, 5, 7, 8, and 3, 4 on the top string. You simply move back a semitone for 3
to B, F to F#, C to C#, and so on. and 6 and the upper 2.
Again, lets move the last example Example 8 shows the notes and fingerings in G: G and A, move back to B, up again for C and D, back for
up by a semitone. E, up again for F# and G, back for the high A, and up again for the B and C. This basic fingering works in
Example 6 shows the result, all keys up the neck. If youre an extension fingering fan (I am), then from about the 3rd position upwards
and Ive added fingerings to show you can use the standard 2, 4, 1, 2, 4, 1, 3, 4, 1, 3, 4 fingering across all four strings. As weve seen in past
what moves are involved. The columns, extension fingering really frees you up in the higher positions, and can make your soloing easy and
lower fingerings are the easy fluid. More on that in later columns.
ones: mostly in half and first Now lets put all this together and use chord tones, scales and chromatics. Example 9 uses arpeggios, scales
positions. As you can see, theres and the odd chromatic, but in the last two bars were using 3rd intervals as well. In fact, in a solo a C-Eb, D-F
a bit of shuttling forwards and progression will actually imply a substitution: C to Dm(7).
back between the two, and the Example 10 shows this developed further. In bar one, Bb -Cm-Bb; bar two Gm-Am(7)-Gm; in bar three we
chromatic tones give you the actually have Cm-Dm-Eb (or Cm7 if you wish); and bar four F-Gm(7) and back again to F.
opportunity to use the occasional Next month well start to extend chords to add to our range of options.

BASS GUITAR
Bass Guitar Magazine OctoberMAGAZINE
2015 087
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 TUITION
Laying Down The Lawson

wireless systems. At this years London Bass Guitar Show I was introduced to the Smooth Hound digital wireless
system, which has a fantastically small and neat transmitter part that plugs into the bass and crucially for me,
doesnt have a pack that needs to be clipped onto your strap I almost never play with a strap. The latency
introduced by the Smooth Hound is around 7 to 8ms, which, while detectable if youre being very specific about
it, is more than workable. Its possible to lower the latency further but it introduces artefacts unless youre
in a place with no interference from wifi, radio and so on. The problem with 7ms of latency comes if youre
piling that on top of latency thats already there for example if youre using a laptop that has another five
or so ms, and maybe another wireless system for in-ear monitoring. I was discussing this with a commenter
on Instagram, who was obviously affected by this compound latency issue, and saw an additional 7-8ms as
sufficiently detrimental to his set-up.
One wholly unavoidable thing that introduces latency, that we live with every single day, is distance. The speed
of sound is roughly 1ft every 0.8ms, so being 10ft from your amp introduces 8ms of latency. The thing is, when
the latency matches our visual perception of the space, it doesnt jar in the way that the same amount of latency
would if it were introduced with a speaker much closer to us. More of our old friend, psychoacoustics!
So, if youre thinking of adding anything into your signal chain that introduces latency, have a think about
how it will interact with the other stuff you have. Check latency figures, but more importantly, check the new
STEVE LAWSON gear with your current rig and see if it causes you any problems the speed you play at, and the tolerance of the
environment to minute fluctuations in time placement of notes will both have an effect on what you perceive as
acceptable. While Im using my current live set-up which has no other significant latency-introducing hard- or
The mighty Lawson software, the Smooth Hound is proving popular and making life a whole lot easier.

discusses the
Babbage Engine

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

tiny amounts, and so do digital

88 Bass Guitar Magazine October 2015

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 Advertising Index
Allianz Musical Insurance ............................................67

Aria UK ........................................................................39

Barnes & Mullins ...................................................15, 29

Bass Centre ..................................................................19

Bass Direct......................................................................9

Darkglass ........................................................... ISFC, 51

Eich Amplification.........................................................27

Elixir........................................................................Spons

Marleaux basses ..........................................................89

Marvit basses ..............................................................73

Musicians Union..........................................................16

Orange Amplification....................................................55

Proel Int. Ltd (Cort)........................................................37

Promenade....................................................................43

Radial Engineering .......................................................31

Rotosound ......................................................................7

Sadowsky .....................................................................63

Sims (Enfield Basses) ...................................................11

Stonefield Musical Instrument Co. Ltd.........13, 67, ISBC

Strings & Things .................................................... OSBC

Surine Basses...............................................................63

Swan Song Guitars.......................................................63

Synergy Distribution.....................................................59

Warwick .............................................................3, 21, 66

TO ADVERTISE HERE
CONTACT guy on
01926 339 808
guym@blazepublishing.co.uk

089.indd 89 20/04/2016 17:45


This month Brooksy looks back
on two classic Level 42 albums...
elcome back! This month,
W
Im looking at two
albums that celebrated
their 30th anniversaries
last year and marked
what was to be a pivotal
year for Level 42. Back in
1986, despite becoming a
hot ticket on the live scene, serious sustained
chart success had effectively eluded the band.
As vocalist and bassist Mark King has
remarked since, at that point they had to make
a conscious decision either to write albums
that sold adequately or take a real leap of
faith and attempt to write an album that
contained huge hits.
Three shows were recorded for A
Physical Presence at Woolwich, Reading and
Chippenham in March and April 1985 to fill
the gap until the next studio album, World
Machine, was ready. The album perfectly
90 Bass Guitar Magazine May 2016
090 Brooks_Rev4.indd 90
conveyed the spirit and energy of a Level
42 gig, although the original CD release
arguably omitted three of the best tracks
(they were featured on the double vinyl and
cassette editions). Released in June 1985, A
Physical Presence reached number 28 in the
UK album chart.
Gear-wise, Mark was firmly ensconced
in Jaydee Supernatural and Status Graphite
territory, equipping his basses with Rotosound
Superwound Funkmaster nickel 30-90 strings
and using Trace Elliot GP11/12 amps, two 4x10
cabs and two Yamaha E1010 delay units. He
preferred to use both pickups for slap parts and
the bridge pickup for tight fingerstyle lines.
The entire album is a bass workout of the
highest quality a library of strumming,
plucking, slapping, rolling fingerstyle, punchy
tone, cutting snaps and pulls and only one
bass-sequenced track, Hot Water. The
instrumental tracks Mr Pink, Foundation
& Empire and 88 are indicative of the
creative talents on display, the band being
compared to Weather Report in some circles,
with the bass playing propelling the band
forward at all times. Eyes Waterfalling is a
great example of Marks signature slap tone
and style, a slap marathon that resurfaced
later in Lessons In Love.
Follow Me was written as a single for
release alongside the album, and eventually
appeared as an EP, although it wasnt played
again live until 2003. Kansas City Milkman, on
the other hand, became a fan favourite, its D
tuning giving the song a moodiness alongside a
tight fingerstyle line, harmonics, a syncopated
instrumental section that kicks in at 331 and
plucked 10th note double stops. A clutch of
hits, including The Sun Goes Down and Hot
Water, lead into one of Marks best recorded
solos, with elements of Dune Tune and The
Essential from Influences, which in turn leads
into a blistering version of Love Games.
World Machine was released in the
autumn, peaking at number three here in the
UK, and marked a change in direction. Its a
more polished album than its predecessor,
True Colours, but it boasted two worldwide
hits in Something About You and Leaving
Me Now, both worthwhile fruits of the
bands labours. The title track opens the
proceedings and to this day is still used
by hi-fi shops to demonstrate gear. The
production quality and clarity is top notch,
crisp and clear: the sequenced bass part
works perfectly with Marks playing. The
descending line from 355 through to 413
is classic King.
Physical Presence is another great
example of Marks fingerstyle technique:
check out the bent harmonics at 104, which
he also employs on the intro to Good Man In
A Storm. Play the harmonic and then press
down, or push the string behind the nut, for
vibrato. Simple but effective. I Sleep On My
Heart and Dream Crazy both feature killer
slapped riffs that work really well as exercises
in building slap stamina and consistency of
playing without dropping notes.
Something About You put Level 42 firmly
on the map: its tightly sequenced verse
line is sparse and tight while the slapped
choruses create a killer groove with Phil
Goulds drumming. Lying Still closes the
album and proved to be the only outing for
Marks Kahler tremolo-fitted Zon Legacy: the
track is filled with a great mix of fingerstyle,
slap and harmonics and features some great
lyrics from Boon Gould.
The band went on to continued success
through the mid to late Eighties, with 1987s
Running In The Family sealing their status as
a major act across Europe. These two albums
show Level 42s transition from jazz funkers
to a polished pop funk act and remain
essential listening to this day.
20/04/2016 13:34
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