Online Bassist Guide

CLIFF BURTON Biographer Announces U.K., Italian Signings

2009-10-10T21:18:00.000-07:00

U.K.-based author Joel McIver will be reading from his recent book, "To Live Is To Die: The Life And Death Of Metallica's Cliff Burton" (pictured below) at two Milan and London locations.

The first event takes place in Milan this coming Saturday (September 27), the 23rd anniversary of Burton's death in a coach crash in Sweden in 1986. The venue, the Alcatraz, is the city's foremost metal club and will host concerts by SLAYER and CANNIBAL CORPSE in the fall. McIver will guest on bass with a local METALLICA tribute band, ORION, sign copies of the Italian translation of "To Live Is To Die…" and participate in a question-and-answer session with clubgoers. The Italian branch of Metclub and Universal Records are also involved in the event, billed as "Cliff Burton Night" (see promotional video clip below).

The second event takes place at London's famed Crobar on Friday, October 2 and will feature a set by the renowned tribute band METALLICA. The Crobar was once hailed by FOO FIGHTERS frontman Dave Grohl as "my favorite bar anywhere" and holds a unique position in British heavy metal culture.

"To Live Is To Die: The Life And Death Of Metallica's Cliff Burton" features a foreword written by METALLICA guitarist Kirk Hammett and has been internationally praised.

For more information, visit www.joelmciver.co.uk.

Ex Yngwie Malmsteen Bassist Marcol Jacob Dead at 45

2009-07-26T02:16:00.000-07:00

Legendary vocalist Jeff Scott Soto (TALISMAN, JOURNEY, YNGWIE MALMSTEEN) has issued the following statement:

"It is with deep regret and remorse I, along with fellow members of TALISMAN, am announcing our brother, longtime colleague and overall greatest musician we've ever played with, Marcel Jacob, is no longer with us as of today, Tuesday July 21, 2009. Marcel took his own life after many years of personal and health issues he was battling.

"We were mere days from starting what would have been our eighth TALISMAN studio album together, celebrating the 20 year anniversary of the band. I spoke with him just yesterday about finalizing the details that would get us started only to get the news this afternoon that my friend merely gave up on it all.

"I want him to be remembered as everything I have already mentioned above but more so, he helped influence so many musicians and songwriters. He was a quiet, gentle soul with a very intense passion for his craft. I have been associated with him since 1994 but it was when we started TALISMAN is when he truly became a brother, one of my dearest friends.

"It is far too early to say anything now but I plan to organize a memorial for his legacy, although not known by the masses, the ones who do see him as the genius I know he was.

"R.I.P. my friend, you will be sorely missed, you will be in my heart forever and I'll see you on the other side... I hope now you will get your dream and jam with Phil Lynott!!"

Jacob formed RISING FORCE with YNGWIE MALMSTEEN in 1978 and later became involved in the pre-EUROPE act called FORCE. Jacob was also a member of HUMAN CLAY, John Norum's (EUROPE) solo band and HUMANANIMAL. He was 45 years old.

blabbermouth.net

Ampeg's New See-thru Dan Armstrong Transparent Bass

2009-05-10T07:54:00.000-07:00

Among bass players, Ampeg is a name synonym with bass history itself: a legendary brand which has influenced entire generations of bass players and has written the history of modern music itself.

From the early creations of guitar guru Dan Armstrong, the clear acrylic body guitar taken on stage by Rolling Stone's Keith Richards to the modern basses and amping played by today's rock/metal big names, everything is there: an almost mythical, natural drive for high-quality, zero-compromise and exceptional bass performance that keeps on inspiring young and elderly alike.

This year's Winter NAMM will be the host of the new Ampeg launch, a re-issue of the 1969 Dan Armstrong's ADA4 "Plexi" bass guitar. The new ADA4 boasts the same head-turning diamond-cut acrylic body with dual cutaways on full two-octave fretboard made from Indian rosewood. The neck of the new bass also sports a new bolting method for enhanced rigidity and better sustain.

Also related to the eternal sustain-issue, the Ampeg ADA4 has a compensated brass saddle bridge that is directly-connected to the tail-piece and forming a very solid assembly for increased note sustain and offering one of the best string-to-body coupling possible. The two pickups in the new Ampeg bass are grouped together in a stacked unit and they work as either "Bright Bass" or "Deep Bass"; these custom PUs are also removable, in case you feel like adding a new sound to your axe.

Bassist Ingebrigt Haker Flaten Experimental Jazz with a Norwegian Accent

2009-05-09T17:53:00.000-07:00

Avant-garde jazz has almost always had its sacramental side. Theres a reason for the devotion that some listeners bring to the mid-1960s music of John Coltrane.

Or to the output of his fellow saxophonist Albert Ayler. The spirituality in these performances wasn't subtext or suggestion; it radiated out from a fervent core.

Ingebrigt Haker Flaten, an astute Norwegian bassist, has experience with the fiery side of free improvisation: hes among the most prolific figures on the European experimental scene. His own music hasnt often reflected clear spiritual concerns. But it did, to resounding effect, during the strikingly different duo sets he played on Friday night, at Monkey Town in Williamsburg, Brooklyn, and the 5C Cafe in the East Village.

The catalyst for this expression was Elise (Compunctio), a gemlike album released in Europe last year. Named after Mr. Flatens grandmother, it consists mainly of hymns from Norways populist Christian revival in the 19th century. These were the songs that Elise Flaten learned and sang, and Mr. Flaten, together with the imposingly proficient saxophonist Hakon Kornstad, treats them like valuable but usable heirlooms. (Now available through iTunes, the album can also be streamed free at kornstad.com.)

Mr. Flaten and Mr. Kornstad were just as respectful with this material at Monkey Town, performing with virtually no amplification. A song called For Himmerigs Land Maa Man Kjempe moved from a bowed-bass invocation to a mournful, slow-moving melody, played with depth and presence by both players; it wasnt a far cry from certain Ayler recordings. Paa Hinside Orken, which came next, was more introspective, heeding a strong tonal center; it called Coltranes Alabama to mind.

Like the album the set also included the Keith Jarrett ballad Death and the Flower and one song on which Mr. Kornstad traded his tenor saxophone for a flute with a clarinet mouthpiece. (The mongrel instrument, which he calls a flutonette, imported a suggestion of Middle Eastern microtonality.) But mostly the focus was on deceptively simple abstraction, and on the intuitive bond between the two players.

Mr. Flaten later explored a different sort of interplay with the cellist Daniel Levin at the 5C Cafe: freeform and busy, with the power of unhinged commotion. Both musicians reveled in garbled textures, plucking and scraping, detuning their soundboard pegs, slapping their strings. It was easier in this context to appreciate the sheer breadth of Mr. Flatens technique and the ferocity of his attack.

There was nothing inherently spiritual about this outpouring: it was unadulterated free jazz, known to some adherents as energy music. But perhaps because of the imploring conviction of Mr. Flatens previous set, this one felt similarly driven. His strenuous exertions, equaled at every turn by Mr. Levin, suggested some kind of penance.

Ingebrigt Haker Flaten performs with the trumpeter Jawwaad Taylor on Monday at Local 269, 269 East Houston Street, Lower East Side; (212) 228-9874

Continue....

Renowned Bassist Stanley Clarke Returns to UArts for Honorary Degree During Presidential Inauguration

2009-05-09T10:49:00.000-07:00

PHILADELPHIA, PA - The University of the Arts will bestow an Honorary Doctorate of Fine Arts upon one of its most distinguished alumni, world-renowned jazz bassist and composer Stanley Clarke, at the inauguration of Sean T. Buffington as president of the University on April 18.

After studying double bass at the Philadelphia Musical Academy, now The University of the Arts, Clarke went on to earn a Grammy Award, several other Grammy and Emmy nominations, and a place at the top of numerous reader and critic polls during his nearly 40-year career as a bass virtuoso.

Teaming with Chick Corea, Lenny White and Al Di Meola in the influential jazz fusion group Return to Forever, Clarke won a Grammy award for 1975's No Mystery, and earned two gold records. He has been honored with Bass Player Magazine's Lifetime Achievement Award; was named Rolling Stone's first “Jazzman of the Year;" received Playboy's Music Award as the best jazz bassist for 10 straight years; and is a member of Guitar Player Magazine's “Gallery of Greats." He has been honored with the key to Philadelphia and put his hands in cement as a 1999 inductee into Hollywood's “Rock Walk" on Sunset Boulevard.

“In the 1970s when electric bass was taking center stage with powerful jazz-rock 'fusion' bands, Clarke went against the grain in achieving his initial reputation, by excelling as an upright acoustic bassist with a robust, sustained tone and facile technique," said Richard Lawn, dean of the UArts College of Performing Arts. “He has enjoyed a successful career because he did something 'different,' which is precisely what we strive to teach our students on a daily basis - lead, don't follow, take chances, do something different. We are honored to have had a role in Clarke's development and take great pride, particularly now that our music program is jazz- and contemporary American music-focused, in recognizing him for his outstanding achievements with an honorary doctorate."

One of the few bassists to play acoustic and electric bass with equal ability, Clarke has worked with some of the top bandleaders of the time - Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Pharaoh Saunders, Gil Evans, Stan Getz and Corea. He's collaborated with guitarist extraordinaire Jeff Beck, Keith Richards of the Rolling Stones and Stuart Copeland, drummer for the Police. He has toured with George Duke, Bela Fleck and Jean Luc Ponty.

Since the 1980s, Clarke has also created film and television show scores, earning Emmy nominations for his score to “Pee Wee's Playhouse" and title themes for “Hull High" and “Knightwatch." He is currently scoring the critically acclaimed series “Lincoln Heights" on ABC Family Channel, in addition to composing the show's theme song. Clarke won the BMI Film Music Award for his score to the Oscar-nominated film Boyz 'n' the Hood, and has composed music for such films as What's Love Got To Do With It, Passenger 57, Poetic Justice, Little Big League, Romeo Must Die, The Transporter, Undercover Brother and Roll Bounce. Clarke was the composer for the Showtime series “Soul Food." All told, he has over 65 film credits and is one of the most in-demand composers in Hollywood.

On October 16, 2007, Clarke's newest CD, The Toys of Men, a collection of 13 tracks examining the emotional sweep of war, was released and, within a week, it jumped to No. 2 on Billboard Magazine's Contemporary Jazz Chart.
http://www.uarts.edu/inauguration

Former MEGADETH Bassist On DAVE MUSTAINE: 'Things Are Peaceful Between Us'

2009-05-08T15:46:00.000-07:00

Kris Melton of Rock Fist Reviews recently conducted an interview with bassist David Ellefson (MEGADETH, F5, HAIL!). A couple of excerpts from the chat follow below.

Rock Fist Reviews: Dave Mustaine was the original guitarist for METALLICA. While MEGADETH gained fame, they never received quite the same amount of attention. Did that reality affect Dave and thus the rest of the band as well?

Ellefson: You'd have to ask him on his side of it, but for me my attitude was I was always thankful for METALLICA, because without them I probably wouldn't be here. Not only am I a fan of what METALLICA does and has done, but just as a contemporary of theirs in the scene I have great respect and admiration for how they ran their business. They were just a big, well-oiled machine. And, as a result, they got huger and huger. They really captured the minds of millions of people. And I think the first ones to the party are always the winner. I think to some degree the ones that come after that probably will never gain that much success, but that's not to say...

Read More... http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=119175

Peavey T-40 - Bass Lessons

2009-05-08T03:31:00.000-07:00

I've recently bought a '79 Peavey T-40. I might have paid too much for it, but seeing that prices are going up recently, and that I had been looking for a T-40 in Italy for ages, I just bought the first one I found with a sensible price (some priced it at €600+, which I think is crazy).

It's in very good nick, few scratches and dents here and there, but very well kept, considering it's a 30 year old bass. Quite heavy, although not as heavy as I thought it would be (about 5kg, erm... I think approx. 10lb), when switching basses, you really feel the difference :-) I didn't find the neck to be "log-like", actually: it's really comfortable, although I must say I'm not a fan of glossy finish on the neck, but it isn't really a problem, especially since I dig the neck profile very much. The only thing I don't really like is the radius, maybe a little bit too flat for my taste, but it's all about getting used to it.
What really fascinated me about this bass was its peculiarity and originality of design, it really has a design of its own: two Peavey-made humbucking pickups, which sound quite fat, with a nice top end as well.

I must say something straightaway. the T-40 has a weird circuit, comprising of a quite useless phase switch, a three-way selector, two volume controls and two tone controls , one of each for each pickup. Now, the tone controls work this way: in the 0-7 range, the pickup's in humbucking mode, in the 7-10 range, it's in single coil mode (in other words, the tone has a coil tap function as well, in addition to being a tone pot). I rewired my T-40 since the phase switch was really useless, and the tone controls didn't work for me, seeing that there is a HUGE volume difference going from single coil to humbucking mode, and I always used the bass in humbucking mode (single coil mode is kinda thin sounding, as with all coil-tapped humbuckers), plus I wanted to keep all the treble in humbucking mode. Now the phase switch is an on-off switch, and the bass is always in humbucking mode now (with the added feature of a clearer tone, since there is no tone roll-off in humbucking mode: with the previous tone circuit, the humbucking mode always sounded a bit muddy).

In the neck position (the one I prefer) it produces a very fat tone, nice and throaty as well, with the added plus of a nice top end. I wouldn't liken it to a P-bass though: it is radically different, it may resemble it vaguely with the tone a bit rolled off, but it isn't as mid-heavy, it has somewhat less presence in the mix, while being softer and "broader", if you get what I mean. The bridge pickup is very nice as well, very usable on its own, quite mid-heavy, while retaining enough low end to sound fat. Very nice for funky-ish lines and for when you need a stronger attack and a clearer sound. I regret saying that combining the two pickups doesn't work for me: the sound gets muddy, too many mids get cut out, and the bass is too woody-sounding to get a nice modern scooped tone, or a nice smooth and compressed 90's r'n'b/soul/hip hop tone. But, of course, YMMV.

Anyway, a very personal tone. Beware of anyone telling you it sounds a bit like a Rick. Simply put, it doesn't (of course, they refer to the single coil mode). Plus, if you get to try the bass, always try it with both tone at the max and the tone at around 7, many people have complained that it's a bit thin sounding, that's probably because they didn't tweak the tone controls (which are a bit stupid, in truth, a push-pull pot or a switch would have been much better). In humbucking mode, the bass is anything but thin.

As a final note, I must say it's not a bass that responds well to hard plucking-picking. It responds better to a lighter touch, it has tons of sustain, but it has a kind of... "compressed" overall feel, which you may like or dislike, of course.

I'm not going to give the usual BGRA ratings. 90% as a minimum rating is not sensible, let alone 98 or 100% *rolls eyes*.

Bass Specifications

Bass type: 4 string fretted
Neck join: Bolt-On
Neck construction: Maple
Fingerboard: Maple
Body :Hard Ash, I suppose
Finish: Natural
Pickups: 2 ceramic humbucking pickups
Hardware: Chrome
Electronics Passive: 2 vol, 2 tone, 3-way selector, phase switch

http://www.bgra.net/

Bassist Dennis Irwin - 1994 Interview Unearthed

2009-05-07T14:45:00.000-07:00

n March of 2008, the jazz world lost the irreplaceable Dennis Irwin, a bassist who was a remarkable musician; a beautiful person generous with his time and his heart; and a scholar and facilitator of musical experiences without equal. Since his passing there have been tributes to this world-class sideman, which enumerate the details of his career. Not too many people know that Irwin began playing bass at 19, after years of classical clarinet and playing drums in marching bands and alto sax in R&B settings. He was first attracted to, and able to play bass in, a lot of free jazz settings.

Irwin has enlightening things to say about the psychoacoustic aspects of playing. His remarkable attention to aesthetics--and extensive experience playing chamber music--yield valuable musical lessons for players and listeners alike. He also discusses using gut strings, playing with Junior Cook, what was at the time the current generation of players, and his own philosophy of playing as a privilege and a spiritual duty.

AAJ Contributor Lora Rosner interviewed Irwin in 1994 and, while plenty went on between then and the tragic time of his passing, in this piece Irwin provides background information on how he came to be one of the busiest bassists in modern jazz, while largely operating under the radar.

Check out Dennis Irwin: Respect the Tradition at AAJ today!
http://www.dennisirwin.org/

Renown Bassist Lindsey Horner Embarks on Artistshare Project "Undiscovered Country"

2009-05-07T10:43:00.000-07:00

The renowned and versatile bassist Lindsey Horner has embarked on his first ArtistShare project. This project will truly be a multinational one, as almost every single musician is from a different country, and each has an incredibly diverse experience and musical backgrounds.

Undiscovered Country, in Lindsey's own words:

I am embarking on a new project that will bring together many of my past influences as well as some of my favorite musicians who have been most important to me up to this point in my musical journey. We will record and perform some new music conceived and written especially for this unique group of players. I am calling this project “Undiscovered Country" because it will bring together musicians from the various places I have lived and been inspired by and also because the entire process is new, one in which you as the listeners are an important part of what happens. The title, Undiscovered Country, is from Shakespeare (see Hamlet, the “to be, or not to be", speech) and while the reference there is to death, I am choosing to see it in this context as a willingness, or even a need, to step off into the unknown; not recklessly or lightly but to do so fortified and accompanied by strong allies while using the lessons of the times and places and people I have known on my own journey.

The musicians are:

Lindsey Horner: Bass
Erwin Vann: Saxophone
Augustin Foly: Guitar
Colter Harper: Guitar
Allison Miller: Drums
Jeff Berman: Percussion
Rob Thomas: Violin
Special Guest: Legendary Irish Singer Andy Irvine

For more detailed information on the project and the specific musicians Lindsey has chosen to be a part of “Undiscovered Country", please visit his ArtistShare project page!

http://www.allaboutjazz.com/

THIS year's Melbourne International Jazz Festival, under a new management, brought many innovations, especially in its wider-ranging programming. Arti

2009-05-06T10:38:00.000-07:00

THIS year's Melbourne International Jazz Festival, under a new management, brought many innovations, especially in its wider-ranging programming. Artistic director Michael Tortoni and his unflagging, youthful program director Sophie Brous presented an impressive program of more than 60 events. One welcome change was a free opening night concert featuring respected US bassist Charlie Haden, 71, the artist in residence, with 12 of Australia's top players.

Selecting Haden to perform his earlier arrangements, with stellar Australian musicians replicating his Liberation Music Orchestra, was an inspired idea. He chose some more accessible numbers including Amazing Grace and We Shall Overcome among more complex pieces.

The bite and style of many fine soloists extended the interest, particularly trombonist Shannon Barnett's powerfully shaped contributions, as well as tenor saxophonists Jamie Oehlers'senergetic flights and Julien Wilson's lyrical imagery. A magical moment came when bassist Sam Anning exchanged exhilarating solos with the old master, who shouted appreciatively of Anning's abilities: "Yeah man!"

Haden displayed an intuitive choice of phrases, making minimal use of the upper register and producing a beautifully sonorous tone at the deeper end.

The organisers retained and expanded a series of masterclasses as well as Jazz for Kids concerts and introduced a Future Leaders award for students in years 10 to 12.

Other variations included free sound walks with live dadaist music at the National Gallery of Victoria; performance and conversations between sound artist Oren Ambarchi and New York guitarist Nels Cline at the NGV Ian Potter Centre; various screenings of jazz on film at the Australian Centre for the Moving Image; and a performance by the Melbourne Symphony Orchestra of a new work by conductor Matthias Pintscher.

Daily free concerts in Federation Square were performed by local groups including the talent-laden Victorian College of the Arts' big band and Sydney's Vampires, fronted by award-winning young saxophonist Jeremy Rose.

On Tuesday Haden - in another incarnation - led his group of 25 years, Quartet West, featuring tenor saxophonist Ernie Watts, pianist Larry Goldings and the stylish, unobtrusive drumming of Rodney Green. Watts's locked-on solos moved effortlessly into whistling harmonics and raced all over the horn. They presented a range of works by Charlie Parker, Ornette Coleman and others, plus a jaunty, traditional calypso.

The supporting group in the acoustically superior Melbourne Recital Centre was a sensational local trio of trumpeter Eugene Ball, guitarist Stephen Magnusson and that rarest of beings, a drummer with delicate touch, Joe Talia. They moved seamlessly from floating serenity to a higher energy, and interpreted Lush Life building a slow, haunting beauty with subdued trumpet notes of liquid silver.

By Wednesday the festival's diversity was apparent. Fans could go from the emotionally moving and talented amateurism of the Choir of Hard Knocks to the outer reaches of the jazz universe. Here, US composer-saxophonist Tim Berne fronted a sextet of our highly accomplished locals, embarking on the controlled chaos of Berne's futuristic, atonal compositions.

US saxophonist Joshua Redman appeared on Thursday with his trio, with Reuben Rogers on bass and drummer Greg Hutchinson. They opened with a quick and crisp rendition of The Surrey with the Fringe on Top, setting the scene for an evening of high-calibre playing. The trio included several originals from its new CD, Compass. Redman played soprano and tenor saxes with great style and absolute control. Unexpectedly, the trio played Redman's calming jazz arrangement of Beethoven's Moonlight Sonata.

A much anticipated event on Friday night saw Paul Grabowsky perform his commissioned composition Shirley Avenue, leading a quartet from the console of the Melbourne Town Hall organ.

Scott Tinkler played trumpet, Genevieve Lacey played a variety of recorders and Nico Schauble was on drums. The music was avant garde and at times a sound collage. It was an interesting experiment, but the mighty organ often overwhelmed the fragile recorder.

A trio of Americans Haden, pianist Ethan Iverson and guitarist Bill Frisell was up next, in an unaccustomed grouping, and after a tentative start found a comfortable groove for some bop standards.

There were some problems at the festival. US pianist Cecil Taylor cancelled because of illness, concert times clashed and there were occasional difficulties with acoustics and amplification. Bennetts Lane, the venue for nightly jam sessions and several main performances, couldn't accommodate the numbers and, sadly, many were turned away.

For all that, the festival was a success with record attendances. Despite a program that contained players not strictly qualifying as jazz artists, the overall concept and performance level at the Melbourne festival rivalled the nation's foremost at Wangaratta. Interesting that both are in Victoria.
http://www.theaustralian.news.com.au/

Bass Guitar: How To String a Bass guitar

2009-05-05T17:29:00.000-07:00

Bass Tuning Lesson - Tuning - Part 4

2009-05-03T02:15:00.001-07:00

Nuances of Tuning
As stated in the previous pages, it is better to detune or loosen the pitch of the string you are tuning and to gradually tune up to the reference note instead of being initially above the reference note and tuning down to it. The reason for this is that there is a greater chance of the string slipping in its tuning peg and going out of tune if you tune down to notes instead of up. There is no hard and fast rule regarding this, but it has been my experience that the bass stays in tune better if you follow this practice.

New Strings
New strings have a tendency to stretch and to go out of tune more frequently. Depending upon how much you play, this stretching process can be a couple of minutes or a couple of days. One thing that you can do to speed up this process is to stretch them yourself after you put them on. Go through each string, grab it with your hand around the 12th fret and tug very firmly, pulling in the direction of the bridge. The pitch of the note should drop a few frets. Tune it back up to its correct pitch and repeat this process until tugging on it doesn't produce a drop in pitch. This process does two things:

It stretches the string.
It tightens the tuning peg's grip on the string so that it doesn't slip in the peg.

Different Types of Tuning
The notes used for tuning in this lesson were E,A,D,G. This is known as standard tuning, but you should be aware that there are many other types of tuning. Some alternative bands use different tunings for more interesting riffs and harmony. Don't be afraid to tune your bass in weird ways. This is a great way to expand both your playing and your composing.

Well, that's all on tuning for now. If you have questions, you should post them in the Instructional Forum at ActiveBass, which is a good resource for instructional advice.

http://www.activemusician.com/

Electronic Pickups Affect Bass Guitar Sound

2009-05-02T01:13:00.000-07:00

As with standard electric guitars, the sound captured by the pickups is extremely important in the tone achieved for conveyance to audience or recording. There are basically two different ways in which the pickups on bass guitars use electronics to capture the sound produced by the strings. Most electric basses use magnetic pickups to capture the sound created from string vibration. The other main type of pickups is non-magnetic.

Magnetic pickups possess magnets that create a magnetic field that is interrupted and fluctuates by the vibrations created when the strings are picked or plucked. These fluctuations produce electrical current in the metal coils within the pickups, creating an electrical signal that is then sent to the bass guitar amplifier for processing and amplification in order to be converted back into an acoustic sound signal. The magnetic pickups work in basically the same way as the coil within a dynamic microphone converts sound to signal, minus the diaphragm. Pickup arrangements come in various styles, each purporting to get the most sound out of bass string vibration. The main difference between magnetic pickups found in electric basses can be observed by the number of magnetic poles (4 or 8) and the number of coils found within the pickup itself (single or double). The tried and true methods created by Leo Fender when he designed the first electric bass have been mimicked in assorted ways over the years, with most basses possessing one or two pickups, usually one nearer the bridge for a brighter sound and one nearer the neck joint for warmth. A dual coil pickup is called a humbucker and possess two rows of exposed magnetic poles while the single coil pickup possesses just one. The other type of magnetic pickup, the soapbar, gets its name by its design (it looks like a bar of soap) and does not possess visible poles.

Types of non-magnetic pickups are piezoelectric pickups and optical pickups. Piezoelectric pickups use a transducer crystal to convert string vibrations into electric signal for the amplifier. Because vibrations are captured non-magnetically, non-metal strings made of materials such as nylon or rubber may be used. These different materials when used in bass strings provide a much different tone than produced by metal strings, often mirroring the sonic qualities of a double bass, especially on fretless models. Optical pickups use an L.E.D. to track string movement optically. This arrangement allows for high volume production without the annoying white noise or interference generated by traditional magnetic pickups at high volumes.

The best way to find the right pickup arrangement for a given bassist is by playing every kind of electric bass one can get their hands on. Local music stores like Austin's Strait Music Company stock basses that are representative of all styles and brands to provide every bassist with a wide array of sounds and tones to choose from.

http://www.articleblast.com/

Bass Lesson - Practising

2009-05-01T17:28:00.000-07:00

A commonly believed myth about becoming a great bass player, is that it is necessary to play the same boring material for hours at an end. Most musicians are nor satisfied about the time they spend on studying. Usually this means that they believe they should practice material all day long that would make you sick if you had to listen to it for more than five minutes.

I believe the contrary: if you want to become a good musician, find material that really interests you. It should not be a punishment to play on your bass; you’re doing this for your enjoyment. You’re not playing to torture yourself, it should give you great pleasure! Always play something you like playing and you’ll make time for your instrument, even if you’re a very busy person. If you want to play well, just play, don’t work on it. So lets throw all the depressing material by for instance Simandel or Rufus Reid into the wastepaper basket, except of course if you enjoy playing this stuff.

So play your favorite music when practicing. After all, you probably started playing the bass after being moved by particularly beautiful bass playing. Why not play that very same piece? After playing for a short period, you’ll hear something that you believe you could do better. Spend a few minutes trying to improve your playing – a few minutes, no more, except if you’re having a great time. Think how you would like to play this and just try. Maybe you’ll find a way to improve your playing immediately, maybe you’ll discover a technical problem. This probably means you’re tense. You’ll have to learn to relax more while playing (see lesson 1).

I do not mean to suggest that it is never good to practice the way it is suggested by most manuals. If you like to practice this way, by all means do so. But never practice this way if you hate it, for you’ll start to hate your instrument, which means you’ll play worse than before. If you’ve got a teacher, it is wise to demand interesting material. If he does not comply, find another teacher. You’re wasting your time and learning to hate bass playing.

Why are people so keen on making bass playing their personal hell? This may have something to do with the puritan, Christian background a lot of us have. If so, you’ll probably believe something like this on a subconscious level: there is a lot of terrible work to be done, life is a form of punishment, we’re not on earth to enjoy ourselves and in the end we’ll have to die in order to go to heaven and earn the right to be happy. Brrrrr! Shall we try to stop thinking this way? Let’s believe life is beautiful instead. Lets believe that its fun to play the bass, that we don’t have to work hard to become great bass players, that we don’t have to practice on terribly boring material, but that we should only play material that makes us happy!

I think this way – will you join me?

http://baumgarten.nl

Electric Bass: The Choice of the New Generation?

2009-04-30T03:55:00.002-07:00

In a rock and roll rhythm section, the drummer and the bass guitarist provide the essential foundation over which the electric guitarist (lead and otherwise) and vocalist can provide melodic movement and main thematic material. Take the mighty Led Zeppelin for instance; Jimmy Page and Robert Plant's virtuosic exploits were made possible because of the sure and true foundation provided by the locked in groove of drummer John Bonham and bassist John Paul Jones. An excellent bassist must have the ability to be a seamless extension of the rhythm of the drums. Perhaps better described, drummer and bassist should be the two-headed monster, inextricably bound by beat and groove.Everybody knows the guitarists and the singers get the girls (exceptions and apologies of course to the many female artists like Joni Mitchell and Ann Wilson who "get the guys"). You never hear of the offstage antics of the Rolling Stones' Bill Wyman, only of Sir Mick's latest conquest (continuing to sire new heirs in his late sixties). Bassists have been painted as workmen over the years, playing their basses with precision (pardon the pun), but always staying out of the way of the fleet fingered, show-stopping guitarist noodling away stratospherically above. Case in point, can anyone think of memorable lines offered by Van Halen's Michael Anthony? Without his sure foundation would Eddy's slick lines be possible or could they get any monkey, strike that, Wolfie to do it? Okay, maybe Michael Anthony isn't the best example, known mostly for his accomplished background vocals, not for his prodigious counterpuntal basement bass lines, but the point should be well taken. Bass playing has not been the choice of most young men and women growing up in America because it has been painted as boring compared to guitarists' exploits. Name one bassist who has set their rig aflame or smashed it. Okay, I'll give you Nirvana's Krist Novoselic, any others? What America's youth need to remember when thinking about picking up a bass or a traditional guitar is that guitarists are a dime a dozen. An excellent bassist is in high demand, because so many are simply "want to be" guitarists. A bassist in a rock and roll band might not be glamorous, but he or she is nonetheless essential. This is a call to all youngsters, get down to your local guitar shop like Austin's Strait Music Company, and pick up a sweet bass guitar. Feel its heft in your hands. Plug it in and give that low E a good pluck or thwack. You won't be sorry. You might not be on a course to move mountains like Hendrix's Voodoo Chile, but you'll most definitely move hips and booties if you hone those chops just right!

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So You Want To Play Bass Guitar?

2009-04-30T03:55:00.001-07:00

The bass guitar is both the pivot and the drive of many pop, rock and jazz groups. Most times the bass is what holds it all together, but then sometimes it just emerges from the mix and seems to pulse through your whole body. The bass is one of the most emotive instruments around.

While the bass is versatile, the instrument tends to take a backseat in a group. Few group leaders play the bass. Take Paul McCartney, who's a bassist predominantly. Also, Thin Lizzy's Phil Lynott covered bass duties and Level 42's Mark King is the singer and bassist. However, these examples defy the rule. The role of the bass guitar in a band in comparison to a regular guitar is very different since most bass guitars are never heard solo, except for a few short breaks or in jazz arrangements. One reason why bass guitar solos are rare is that most folk singer voices rarely blend will with just the bass sound.

Offering an exact explanation for preferring a bass guitar is very difficult for most players. Still, lots of bassplayers are quick to ID their favorite bassists since so many great players have influenced their style. One player often mentioned is The Who's John Entwistle who has led many bass solos. Bassist and lead band member Jack Bruce of Cream is another frequently mentioned top bass player. Eric Clapton, another famous guitarist, has recorded with Cream. Red Hot Chili Pepper's Flea, Adam Clayton of U2, and (sometimes vocalists, sometimes bass player) Geddy Lee of Rush are other bassist popular with young players. On top of some lists for their funkier bass playing style are Bootsy Collins and Donald "Duck" Dunn.

These examples of fine bass players are just a sampling of some great artists who've inspired many men and women to pick up the bass and to influence their techniques. As with any instrument, if you truly want to be good, you first have to love the sound (as played by the greats, which isn't you just yet). Not only that, you also have to appreciate the music created by the bass. These starting points and examples of great players just scratch the surface. Many more great players come from the Jazz world and deserve exploration, especially the greats from early modern Jazz.

This is the point where you get to begin playing. It's child's play to get the notes from an electric bass since basic bass playing is mostly single-note action. For this reason, bass is considered one of the easier instruments to play. So, even though it doesn't take a lot to get down the basics, it does take a lot of practice (like with anything) to make it sound great. In order to progress in playing the bass, you have to not only grasp the fundamentals but also possess an instinctive ability to keep time. This is why it's so important to begin bass playing with a great teacher so your technique doesn't suffer. If finding a teacher is out of the question, then get your hands on lots of books and study their instructions so you can work on your style. Above all else, observe other bassists whenever you can and listen to their music. Then, listen to more music. And, then, listen some more...

Tips and Tricks For Recording Bass Sounds

2009-04-30T03:39:00.000-07:00

In contrast to the acoustic bass strings electric bass when called by pickups (pickup) instead of the microphone off. It is recommended that the cartridges so that all strings are equally loud. There are pickups for both top and bottom bolts, which can be the distance to the strings can adjust. Ideally, the bass player plays on the "humbucker" pickup (usually the lowest setting of the toggle switch). Here are 2 sources phase mixed together so that Einsteuungen (noise) and humming noises blot. Cable is recommended as a "low-capacitance cable," the best retailers in demand.

Choice of microphone
We recommend the following models: MD421/441, RE-20, KM-87, Beyer MC-740, C414. We recommend the following models: MD421/441, RE-20, KM-87, Beyer MC-740, C414. If a bass speaker to be removed, it must be with so-called "crosstalk" expected. If a bass speaker to be removed, it must be with so-called "cross talk" expected. The Basses are involuntarily in all other open microphones. The bass are involuntarily in all other open microphones. As a workaround, you can the bass when recording into a separate room are. As a workaround, you can the bass when recording into a separate room are.

Placement of the microphone placement of the microphone
If the microphone is very close to the speakers ( "close miking"), a cleaner sound. If the microphone is very close to the speakers ( "close miking"), a cleaner sound. In Metal sounding live rock or can be a second micro about 3m away draw. In Metal sounding live rock or can be a second micro about 3m away draw. Alternatively you can simply mix in a little reverb to add. Alternatively you can simply mix in a little reverb to add.

Direct vs. decrease. Direct vs. decrease. Micro Micro
Both have its advantages and disadvantages. Both have its advantages and disadvantages. The signal directly accepted sounds clean and transparent, the microphone signal sounds natural, warm and provides pressure. The signal directly accepted sounds clean and transparent, the microphone signal sounds natural, warm and provides pressure. The direct loss is via a so-called DI-box, because an impedance conversion vorgnommen be. The direct loss is via a so-called DI-box, because of impedance conversion vorgnommen be. The signal from DI Box and Micro can also be mixed. The signal from DI Box and Micro can also be mixed. The DI signal is then for the hi-frequencies and the signal for the micro-printing. The signal is then Tuesday for the hi-frequencies and the signal for the micro-printing. The microphone signal should be compressed so much. The microphone signal should be compressed so much.

Other indications other notes
When loud sounds can lead to differential and Summationstönen between original and subbass (Zupfgeräusch) can occur. When loud sounds can lead to differential between original and Summationstönen and Subbass (Zupfgeräusch) can occur. Remedy against: bass volume down a little twist! Remedy Against: bass volume down a little twist!
An interesting variation on the bass recording is the "doubling" (Creating the 1st floor Tones). An interesting variation on the bass recording is the "doubling" (Creating the 1st floor Tones). This is the same bass line an octave higher again recorded. This is the same bass line to octave higher again recorded. This leads to a warm sound and is more vivid than the usual pitch shifter effect presets in the device. This leads to a warm sound and is more vivid than the usual pitch shifter effect presets in the device.
While recording drummer need a very basslastigen mix on their headphones, so they are good for the bass rhythm to follow. While recording drummer need a very basslastigen mix on their headphones, so they are good for the bass rhythm to follow.

destructive destructive Equalizer Equalizer
The two lowest octaves, which gives the bass should be linear (+ / - 3dB) are made. The two lowest Octaves, which gives the bass should be linear (+ / - 3dB) are made. This means that one per equalizer ensures that in the range between 55 Hz (A-contra) and 125 Hz (low C) is less than 3 db volume differences in the frequency bands prevail. This means that one per equalizer ensures that in the range between 55 Hz (A-contra) and 125 Hz (low C) is less than 3 db volume differences in the frequency bands prevail. The bandwidth (width) of the equalizer should be 0.2 octaves or less. The bandwidth (width) of the equalizer should be 0.2 or less Octaves.
When you slap bass, a feedbackhnliches distortion (2-3kHz) occur. When you slap bass, a feedbackhnliches distortion (2-3kHz) occur. We should be in the reception already removed. We should be in the reception already removed.

Compressor Compressor

Attack: 4-8 ms Attack: 4-8 ms
Release: 0,3-1 sec. Release: 0,3-1 sec
Ratio: 4:1 - 10:1 Ratio: 4:1 - 10:1

The release time, depending on the selected note length: 0.3 sec. The release time, depending on the selected note length: 0.3 sec or less for short notes, 1 sec. or less for short notes, 1 sec in long notes. during long notes. The shorter the release time, the more grip noises are audible. The shorter the release time, the more grip noises are audible. When slapping, or strong dynamics, the "rational" very high. When slapping, or strong dynamics, the "rational" very high.

Effects Effects
If the electric bass as an A bass should sound (for jazz and blues ballads): If the electric bass as an A bass should sound (for jazz and blues ballads):
There lies the DI signal and boostet close range with the Zupfgeräusch, as well as the frequency range of 1 kHz and processed the signal with a noise gate. There lies the signal and Tuesday boostet close range with the Zupfgeräusch, as well as the frequency range of 1 kHz and processed the signal with a noise gate. The "threshold" of this noise gates must be just above the Zupfgeräusches lie. The "threshold" of this noise gates must be just above the Zupfgeräusches lie.

Attack: 10-20 ms Attack: 10-20 ms
Release: 0.5 sec Release: 0.5 sec
Range: -20 to -30 dB range: -20 to -30 dB

The two signals are mixed and processed with EQ to publish the best components. The two signals are mixed and processed with EQ to publish the best components.
Reverb should only sparingly, as it easily the bass signal to make slushy. Reverb should only sparingly, as it easily the bass signal to make slushy. You can, for example, a "plate" to use Hall (Hall Time 1 sec. Or less). You can, for example, a "plate" to use Hall (Hall, Time 1 sec or less). A short reverb with no pre delay "can handle noise obstructed. A short reverb with no pre delay "can handle noise obstructed. A reduction by EQ at 200-500 Hz in the FX return will provide more Klahrheit. A reduction by EQ at 200-500 Hz in the FX return will provide more Klahrheit. For Heavy Metal and Live Rock should be a short hall with "pre delay". For heavy metal and Live Rock should be a short hall with "pre delay".

Flanging can make the bass warmer. Flanging can make the bass warm. It may be the bass but also take pressure. It may be the bass but also take pressure. That's why you should return in the FX or even better in the FX send all frequencies below 150 Hz rausnehmen. That's why you should return in the FX or even better in the FX send all frequencies below 150 Hz rausnehmen. Effective sounds also send a short flangers Hall. Effective sounds so send a short Flanger Hall. If the micro-signal sent by a flanger, then the sound dreckig (The Cure). If the micro-wave signal sent by a flanger, then the sound dreckig (The Cure).

Stereo effects to stereo effect, you should use the bass with two amplifiers / speakers and play them separately decline. Stereo effects to stereo effect, you should use the bass with two amplifiers / speakers and play them separately decline. Thus, the Sterobasis larger. Thus, the larger Sterobasis. The problem with stereo effects for the bass is that you preset effects so often heard. The problem with stereo effects for the bass is that you preset effects so often heard.

Mono and stereo flanging chorus gives good sound. Mono and stereo flanging chorus gives good sound.

www.homerecording.de

Restring Your Bass Guitar

2009-04-30T03:34:00.000-07:00

For a newbie, this may seem a little intimidating. But with the right tools, a little knowledge and some practice, you'll be able to restring an electric guitar like a professional guitar tech. When I was gigging regularly, I would restring my guitar every week. My body chemistry is acidic and the sweat and oils from my hands would tend to dull the brightness of the strings as well as make them feel "dirty". For me, the bright sound and smooth feel of a new set of strings would inspire my playing. It became a ritual for me the night before the weekend’s gigs started. I would sit in front of the TV and restring my electric guitar; my acoustic was much less frequent.

OK, so you've decided you don't want to pay the guys at the music store and you want to know how to restring an electric guitar yourself. Here is the list of tools and supplies you will need:

· A new set of strings (naturally!) Click here for info on string sizes
· A string winder (not required but very handy)
· A pair of wire cutters
· A guitar tuner (again, not required but helpful)

You will need to set aside about an hour of time to do this correctly, but like I stated earlier, with practice you will know how to restring your electric guitar in about 20-30 minutes.

First thing to remember, do NOT remove all six strings at the same time. The guitar neck is designed to withstand the tension of the strings and if all of the tension is removed for any significant amount of time you could damage your guitar.

Also, there are some guitars that are literally held together by the string tension. I remember reading a story about a guy who had recently gotten hired as a guitar tech for the Ramones. Wanting to make a good impression on Johnny Ramone he decided to restring his guitar for him right before the show. He removed all six strings and Johnny's Mosrite guitar literally fell apart in his hands. The string tension held the whole guitar together! What's worse, the bridge of the guitar bounced across the floor and fell down the air conditioning duct.

If I remember the story correctly, they spent quite some time using a coat hanger and chewing gum trying to rescue the bridge from the duct. He retrieved it and managed to keep his job, living to restring the guitar another day. But not all six strings at once!

But I digress. Some people work in pairs of strings at a time, I prefer to work on individual strings. You will quickly decide what works best for you. Use this article as a guideline to get you up to speed quickly.

OK, let's get down to it. I always start with the high E string (personal preference); it helps keep me organized.

If your guitar has a locking nut tremolo (whammy bar) system you will have to unlock it. It works best if you remove the clamps completely and work with just the nut until the restringing process is done and the strings are stretched and tuned. Then replace the locking clamps and fine tune using the tuners on the tremolo bridge.

· Use your string winder and loosen the string until there is enough slack that you can unwind the string from the tuning post by hand.

· Use your wire cutters to cut off the curled end of the string and discard. Do this to minimize the chance of scratching the finish of your guitar. Push/pull the string back through the bridge slowly making sure it does not drag across the body. You don't want restringing your guitar to result in refinishing your guitar!

· Next, unwrap the appropriate new string. Insert it through the bridge of the guitar, over the saddle, up the neck, over the nut and into the hole in the tuning post. Again make sure the trailing end of the string doesn't drag across the guitar body.

· Start turning the tuner by hand making sure the string wraps over the top of the tuning post. Ideally you want to have 3-4 wraps of the string around the tuner, but this in nothing to stress over.

· Turn the tuner until the slack is out and the string is properly seated in the nut and over the bridge saddle.

· Next clip the excess string off close to the tuner and use your string winder to bring the string up to pitch.

· Use your digital tuner and tune to pitch.

· Next, grab the string with your picking hand halfway between the bridge and the nut and lightly tug the string away from the fretboard. Do not pull real hard, just hard enough to pull the stretch out of the string and tighten it around the tuner post.

· Tune to pitch and repeat the stretching process until the string stays in tune.

Now repeat the entire process for the remaining five strings. Know that the pitch of the new strings may fluctuate as you work on the remaining strings. This is especially true with a Floyd Rose or similar type floating bridge. When you have replaced and stretched the last string make sure all six strings are still in tune. If you have a locking tremolo system, replace the clamps for the locking nut, tighten, and use the bridge fine tuners to get the proper pitch.

The final step is the best one; sit back, crank up your amp and enjoy. Make sure you play something with lots of note bending in it and make sure the stretch is all played.

Take satisfaction in knowing that you now know how to restring an electric guitar.

http://how-to-play-guitar.blogspot.com/

Bass Tuning Lesson - Tuning - Part 3

2009-04-30T03:05:00.000-07:00

Absolute Tuning

As stated in page part 1, absolute tuning is the process of tuning your bass to reference pitches that you obtain from a tuning device such as the ActiveBass Tuner. The main task of tuning this way is to really be able to hear the reference pitch, to hear it clearly in your head, and to figure out whether the string you are tuning is below or above this reference pitch and adjusting the tuning peg for this string accordingly. To tune you bass this way, try the following steps:

1.Take a deep breath (optional)
2.Launch the ActiveBass Tuner by clicking on the tuner icon located in the lower left-hand corner of your browser.
3.Click on the red button above the left-most 'E' to hear the reference note for a low 'E'.
4.As it repeats, sing the note out loud. This will help you internalize the pitch.
5.Adjust the tuning peg of your 4th string until its pitch is exactly in tune with the reference note. (Note: In general, it is better to detune or loosen the pitch of your 4th string and to gradually tune up to the reference note instead of being initially above the reference note and tuning down to it.)

Congratulations, you have just tuned your 4th string! Now, following the remaining steps below to tune the rest of your bass:

1.Take another deep breath (again, optional)
2.Click on the red button above the 'A' to hear the reference note for an 'A'.
3.Adjust the tuning peg of your 3rd string until its pitch is exactly in tune with the reference note.
4.Click on the red button above the 'D' to hear the reference note for an 'D'.
5.Adjust the tuning peg of your 2nd string until its pitch is exactly in tune with the reference note.
6.Click on the red button above the 'G' to hear the reference note for an 'G'.
7.Adjust the tuning peg of your 1st string until its pitch is exactly in tune with the reference note.

Congratulations, you have tuned your bass! At this point, I always like to play a scale that I really know well (like a 'C' or an 'E') and test how it sounds. If it sounds a little off, you may want to double-check some of the strings.

http://www.activemusician.com/

Bass Tuning Lesson - Tuning - Part 2

2009-04-27T03:09:00.000-07:00

Relative Tuning
As stated in first lesson, relative tuning is the process of tuning a bass to itself. To begin, you need to pick a string which will be the reference point. For a beginner, this is usually the low E string (the 4th string). Using this string, you can tune the remaining strings of your bass to put it in relative tune. For this example, we will assume that the 4th string (E) is your reference point, and we will systematically tune the remaining 3 strings.

Note: If you want to be in tune with the musical examples on the site, you should tune your low E using the ActiveBass tuner before proceeding with the steps shown below. To access the tuner, simply click on the tuner icon located in the lower left-hand corner of your browser. When the tuner window appears, click on the button above the left-most 'E' to hear the reference note for a low 'E'. If you are not yet comfortable tuning to a reference note in this manner, don't worry about it.

Tuning Your 3rd String
You can use your 4th string to tune your 3rd string. If you pluck the 4th string at the 5th fret (refer to diagram below), you will be playing the same pitch as your open 3rd string. This note is an 'A'. So, to tune your 3rd string:

1.Pluck the 4th string at the 5th fret.
2.Adjust the open 3rd string until it has the same pitch as your fretted 4th string.

Tuning Your 2nd String

You can use your 3rd string to tune your 2nd string. If you pluck the 3rd string at the 5th fret (refer to diagram below), you will be playing the same pitch as your open 2nd string. This note is a 'D'. So, to tune your 2nd string:

1.Pluck the 3rd string at the 5th fret.
2.Adjust the open 2nd string until it has the same pitch as your fretted 3rd string.

Tuning Your 1st String

You can use your 2nd string to tune your 1st string. If you pluck the 2nd string at the 5th fret (refer to diagram below), you will be playing the same pitch as your open 1st string. This note is a 'G'. So, to tune your 1st string:

1.Pluck the 2nd string at the 5th fret.
2.Adjust the open 1st string until it has the same pitch as your fretted 2nd string.

Congratulations, you have tuned your bass! At this point, I always like to play a scale that I really know well (like a 'C' or an 'E') and test how it sounds. If it sounds a little off, you may want to double-check some of the strings.

Tuning in Reverse

It's important to understand that you don't necessarily have to tune starting at the 4th string and working toward the 1st string. For example, your 1st string might be the note that you know is in tune, and you can use it to tune the rest of your bass. In this case, you can use the 1st string to tune the second by playing the open 1st string, and adjusting the 2nd string until its pitch at the 5th fret matches the open 1st string. Thus, you are using the same relationship between strings but switching which note is the reference point. In the first example, we said that the 4th string, 5th fret was our good note, and used it to tune our open 3rd string. In the latter example, we said that the open 1st string was our good note, and used it to tune our 3rd string.

Review the Tuning Relationships

So, to recap, here is how the strings of your bass can be tuned by using each string to tune the one directly above it

http://www.activemusician.com/

Bass Lesson - Relaxation

2009-04-25T19:20:00.000-07:00

I could just as easily call this lesson lesson 1-10, for it is very, very important. If you want to become a virtuoso bass player, if you want to improve your timing, technique, hearing and you're playing together with your fellow musicians: learn to relax more. A great technique is not the result of trying very hard, but of relaxation. If you try very hard, the result is tension, and you get the opposite of what you want. When I study, which I do every day, I try to discover at what moment tension arises. Next, I try to play the same thing I was playing, but now without tension. You can feel tension in your body and in your head, but the first is always a result of the latter.

When tension arises, it becomes impossible to concentrate fully on what you're doing and on what your fellow musicians are doing. You'll never learn to play perfectly if you don't do something about this tension. If you do, you'll be able to look at your playing with a new, higher level of consciousness. You'll understand better what you and the people around you are doing exactly, and if something goes wrong, you'll understand very quickly why and do something about it.

bass

Great musicians never seem to have to work hard to play anything. It seems easy for them. It is. It’s easy because they’re so relaxed. To play well, you have to be conscious of many things at the same time. It is a form of mind mastery. For this level of consciousness, it is imperial that you’re totally relaxed.

Relaxation is not something you can only attain after long hours of study. When you feel tension when you're trying to play a certain lick, just play for a short time every now and then, trying to relax while playing it. A few minutes each time is enough. This way, you'll become a virtuoso bass player very easily!

This always works. I used to experience a lot of tension, and I can still get more relaxed. This method really helps me to raise my playing to a higher level. I don't believe in boundaries anymore thanks to this method; I just keep getting better and better. You can to, it's very easy!

http://baumgarten.nl/

Plucking Bass

2009-04-25T14:19:00.000-07:00

Plucking the string is a relatively new technique, for in classical music, as you know, the bow is used almost constantly. You only have to watch the ‘elegant’ way classical bassist pluck the string with one finger, to realize that plucking is completely underdeveloped in classical music. In jazz, new techniques are developing all the time, and if you search the internet, you’ll find a lot of different solutions presented by my colleagues.
In the last century, amplification was a serious problem, so most bassist were mainly interested in making as much noise as possible. To achieve this, they usually hit the strings as hard as possible with two fingers at the same time. Some romantic, orthodox jazz bass players still think this is the only way to play the bass, and they believe that everybody who plays differently does not really understand the nature of the instrument. I totally disagree with this viewpoint: I’m very glad that we bass players don’t have to play this way anymore, now the biggest amplification issues have been resolved, and we can choose for a more musical approach to the instrument.

Most bassists develop their own plucking technique. That’s probably not such a bad idea, considering all the nonsense that is being broadcast about this subject. It took me years to discover that it’s better not to listen to the following advice: after plucking the string, you should let your finger come to rest against the next string. Chances are you play this way, for this method is very, very popular, though I don’t really know why – maybe because in the beginning, it seems easy. If you play this way and like it, that’s great, but please realize that you may be holding yourself back terribly.

1. The less resistance you encounter when plucking, the more relaxed, easily and fast you can play. Touching the next string means that you encounter resistance. This costs time and strength. Not touching it means your finger can complete it’s swing much easier and faster and initiate a new movement more quickly. It’s very important that you learn to move your fingers as relaxed and freely as possible. Of course, it will take some time to change your technique, but oh boy, you’ll reap enormous benefits!

2. You make a sound when you touch the next string. It’s difficult to hear that this is so, but I can assure you this is true. This has an effect on your sound: you sound less clear. If you don’t mind that, go on playing the way you do, but if you want to sound as clear as possible (I do), it’s time to change your technique. You’ll be surprised how much better you sound when you’ve done so!

Some bass players believe that it’s only possible to have a powerful sound if you pluck in the traditional way. This is utter nonsense. You’re tone will definitely get more powerful when you don’t touch the next string.

The way I play you can’t really call plucking. My fingers swing over the strings, only just touching them. My tone is getting more powerful and more full by the day, it’s really a very big difference, compared to my playing with the traditional technique. My acoustic bass, which really is not a superb instrument, sounds like a very good bass nowadays. And I can play at least five times as fast as before, which is a very nice result!

http://www.baumgarten.nl

Bass Tuning Lesson - Tuning - Part 1

2009-04-25T05:06:00.000-07:00

When you first start playing bass, one of the hardest aspects is actually tuning it. I find tuning to be one of the most important things because your playing sounds so much better when your bass is in tune. Also, when other people listen to you play, it conveys a sense that you actually know what you're doing.

There are three basic methods to tuning your bass, the first two of which will be covered in this lesson:

1)Tune your bass relative to itself by comparing fretted notes to open strings
2)Tune your bass using a tuner
3)Tune your bass relative to itself by comparing harmonics on different strings.

In addition, it's important to understand the difference between a bass being in tune with itself (relative tuning), and being in absolute tune. There are also certain nuances of which to be aware when you are in the process of tuning your bass.

Relative Tuning
The main thing to understand about relative tuning is that a bass can be in tune with itself, but not necessarily be in tune with another instrument, such as a piano. The low string on a bass (i.e. 4th string) corresponds with the note 'E', and there is an absolute, known pitch and frequency associated with this note. However, if your 4th string is not exactly this pitch, it's not a big deal unless you're going to be jamming with a piano player or someone playing an instrument that isn't easily tunable. In fact, many bands don't tune to the exact frequency of an 'E'. They just tune to an 'E' on somebody's bass, and as long as they're in tune with eachother, everything sounds fine. For most beginners, it isn't particularly important to be tuned to the exact pitch of an 'E'.

Absolute Tuning
If you need your bass to be exactly in tune with a piano or if you want to be in tune with the musical examples shown at WholeNote, then you'll need a tuner or some other device that can give a reference. Fortunately, WholeNote has provided you with an on-line tuner that you can use to be exactly in tune. This will also ensure that when you play some of the musical lesson examples, your playing will be in tune with the music playback. To access the tuner, simply click on the tuner icon located in the lower left-hand corner of your browser. When the tuner window appears, click on the string that you want to tune. The strings are arranged from lowest string to the highest string (E,A,D,G.).

Moving the Tuning Peg
Your bass will retain its tuning better if you tune up to reference notes instead of tuning down. That is to say, the string that you are tuning should initially be lower in pitch than the note that you are tuning to, and you should gradually raise the pitch until it is tune, instead of being initially higher in pitch and then lowering the pitch of the string that you are tuning until it is tune. (More on this later on in the lesson.)

http://www.activemusician.com/

Steve Harris Hint New Album By Iron Maiden

2009-04-25T03:59:00.000-07:00

Iron Maiden bassist Steve Harris is one smart cookie. He knows to strike when the iron is hot and at this point, his band are just about volcanic. Last year's worldwide Somewhere Back In Time tour was a sold-out phenomenon, the ensuing flick, Flight 666, is receiving rave reviews and these New Wave Of British Heavy Metal stalwarts are at an all-time high.

Therefore, he's ushering his fellow band-mates back into the studio late this year in hopes of releasing what will be their 15th full-length in a long and storied career. If they're successful, expect the "Irons to be Upped" for a 2010 tour.

"At the end of the year we'll be writing again, rehearsing and recording at the beginning of next year,” guitarist Adrian Smith related to My Park Magazine. “Then we'll be back out on the road again next year. Kevin Shirley [producer] will be working on it with us and we'll probably be doing it somewhere where we've done a lot for recording in the past."

Naturally, there are a lot of expectations riding on this as yet untitled affair. The band's last outing, 2006's A Matter Of Life And Death, was adored by fans and press alike, prompting the sextet to play it in its entirety on tour. That hasn't happened with a Maiden album in, well, decades, so it's a lot to live up to.

"There's always a bit of pressure to follow up the last album. In a way it's good because it motivates you. We never get complacent; we always try our best for our own sake, as much as anything else. As far as pressure for another album, we just do what we do. We've been doing it long enough now. We know what we're doing," Smith laughs.

http://www.exclaim.ca/

Rascal Flatts Is Not Rascal

2009-04-24T23:56:00.000-07:00

NEW YORK - One of the reasons Rascal Flatts has sold millions over the decade is their deft blend of rock and pop in anthematic crossover hits, from the cover of "Life Is a Highway" to the heart-tugging ballad "What Hurts the Most." Fans will find those familiar touches on their latest record, including their first single, the soaring top 10 Billboard country hit "Here Comes Goodbye." But bassist and songwriter Jay DeMarcus says Flatts fans may be surprised by what else they hear on the trio's latest CD, "Unstoppable," released this week.

"In an odd way, this album is a bit more country than even 'Me and My Gang' and even 'Still Feels Good' was," DeMarcus says.

"We love pop too and we've had so much success there," he adds. "(But) we were at a place where we said, 'You know what? There are some times where good old-fashioned country music is still the best thing in the world.'"

Putting old-fashioned country and Rascal Flatts in the same sentence may seem oxymoronic, especially since they were seen early on as a slick, boy band-type act. But the group - which includes DeMarcus' cousin, lead singer (and sometime songwriter) Gary Levox and guitarist Joe Don Rooney - has dominated country music with enduring hits spanning nearly 20 million albums sold since its 1999 debut.

The band won its seventh straight trophy for best vocal group Sunday at the Academy of Country Music Awards.

"It's fun to go on this journey with these guys," says Dann Huff, the group's longtime producer. "They're totally living this dream. They came to Nashville just to see if they could make a living in music. I don't think they ever dreamt of this. But they're there."

They've remained together not only by maintaining a strong friendship - they good-naturedly poke fun, finish each other's sentences and dole out compliments during an hour-long interview - but also by crafting albums with mainstream songs. While members of the group have had a hand in writing some of Rascal Flatts' hits, they've also been smart enough to solicit other songwriters who seem to have a knack for writing hits.

"A lot of these artists get to a place where they want to write their entire album and they feel like it makes them less of an artist if they do a song penned by someone else because it's not coming from within their songs, but at the end of the day I just want to hear a great song," says DeMarcus. "We did write some on this record but we've always stood by the mantra: 'The best song wins.'"

Rooney says one of the most emotional tunes on the record for him is "Things That Matter," co-written by Levox, which talks about family and love trumping some of the other things that threaten to get in the way.

"It definitely hit me right in the heart having a baby," says Rooney, whose wife gave birth to a son almost a year ago. "We try to look for songs like that that speak to us, because if they can speak to us we know they'll speak to a lot of other people too."

The album closes with another emotional song written by outside writers, titled "Why," about suicide.

"It's written in a very delicate way to where it deals with the subject matter," says DeMarcus. "Gary and I had an uncle who shot himself eight years ago, so we've experienced it firsthand in our own family."

Huff says the inclusion of "Why" and other tracks shows a maturation for the guys, all of whom are in their 30s and married (Levox and his wife also have children).

Levox calls "Unstoppable" their best album yet. He says while the band is high on the perch of country's elite, they want to make sure they don't get complacent in their position.

"You dream about this position as a kid, and I think we work harder every day just to continue to grow, and do what we love to do," he says. "We always keep striving to do better and be the best, because at the end of the day, it's all about the careers that we've made for ourselves. We've got the greatest jobs in the world - we get to touch people's lives through music."

http://www.rascalflatts.com/
http://www.news8.net

Metallica to play with 2 Bassists

2009-04-24T17:52:00.000-07:00

Hoping to avoid a drama-filled, awkward onstage reunion like those at past Rock and Roll Hall of Fame induction ceremonies, Metallica graciously invited ex-bassist Jason Newsted to join them on Saturday night when they get enshrined in the Hall.

But earlier this week, Newsted, grateful to get the chance to play alongside his longtime bandmates for the first time in eight years, told Billboard.com that he would be the sole bassist during the band's two-song set of classic tunes following their induction. On Wednesday (April 1), however, a spokesperson for the group's label clarified that both Newsted, who played with the band from 1986-2001, and current bassist Robert Trujillo will both be performing with the group after Red Hot Chili Peppers bassist Flea welcomes them to the Hall.

The label spokesperson declined to elaborate on whether both bassists would be onstage at the same time. According to Billboard.com, the group is planning to fly in from Paris after shows on Wednesday and Thursday night to rehearse with Newsted at Friday's soundcheck.

Drummer Lars Ulrich told Billboard.com that the band wanted the occasion to feel like a "family reunion," so they invited staffers from their previous labels, Megaforce and Elektra, journalists and photographers who'd chronicled their rise over the years, as well as producers and musician friends. They also reportedly invited founding guitarist Dave Mustaine (from whom they are estranged), who was not able to attend due to scheduling conflicts. But former bassist Ron McGovney will be there, as will Ray Burton, the father of late bassist Cliff Burton, who will accept on his son's behalf.

MTV will be all over Saturday night's ceremony at the Rock and Roll Hall of Fame in Cleveland, which will also include the induction of Run-DMC by Eminem, as well as Jeff Beck, Little Anthony & the Imperials and Bobby Womack.

http://www.mtv.ca

Bill Black Joins Hall Of Fame With Metallica and Run DMC

2009-04-24T04:41:00.000-07:00

CLEVELAND - Metallica, a heavy-metal machine whose menacing sound has inspired headbangers for nearly three decades, is detouring from its latest world tour for its biggest gig yet. Twenty-eight years after forming and having survived some of the darkness found in their raging music, the San Francisco-based band will be inducted into the Rock and Roll Hall of Fame on Saturday, headliners of an eclectic 2009 class.

"It's still somewhat surreal," singer-guitarist James Hetfield said. "The other part of it will be us kicking in the door a little bit. We've got a lot of other friends that we'd like to bring in to the Rock and Roll Hall of Fame. There's a lot of heavy music that belongs in there."

Metallica will be inducted along with rap pioneers Run-DMC, virtuoso guitarist Jeff Beck, soul singer Bobby Womack and rhythm and blues vocal group Little Anthony and the Imperials. Rockabilly singer Wanda Jackson will be inducted as an early influence. Drummer DJ Fontana and the late bassist Bill Black - both of Elvis Presley's backup band - and keyboardist Spooner Oldham will enter in the sidemen category... Read more

Joe Lally Announced Tour In North America

2009-04-24T02:39:00.000-07:00

Fugazi bassist Joe Lally has announced a fairly massive North American tour this summer in support of 2007’s appropriately titled album, Nothing is Underrated. The tour, which kicks off in Fresno, California on April 23, will see the soft-spoken bassist performing all around the USA's west coast, as well as making a lone trip to Italy in May.

Towards the end of the tour, Lally will be joined by former Karate front-man Geoff Farina’s new project, Glorytellers. This leg of the tour will see the musicians make Canadian stops in Toronto, Ottawa and Montreal.

Of course, like Ian Mackaye's the Evens, any mention of Joe Lally comes with the hope that a top-secret Fugazi reunion has just been announced, which, of course, it hasn’t.

http://www.exclaim.ca/

Jason Newsted Consider To Be With Voivod

2009-04-23T04:37:00.000-07:00

A bittersweet note comes from Sonic Unyon as it announces that June 23 is the confirmed release date for the next Voivod album. The sweet: it's new Voivod. The bitter: it might very well be their last album of new material ever.

It was only a matter of time before the inevitably shallow vault of recorded music emptied after the death of founding member/guitarist Denis “Piggy” D'Amour in 2005. While that store offered us 2006's Katorz and has elicited enough guitar riffs for vocalist Denis “Snake” Bélanger, bassist Jason Newstead (Yes, Newstead. We'll sort that out in a moment.) and drummer Michel “Away” Langevin to create Infini's 13 tracks, it appears that this is the last hurrah unless the band decide to forge ahead with current live guitarist Dan Mongrain as D'Amour's creative replacement. Such will probably be the case, as the Voivod of today seems to be rather loose on who is or isn't in the band. Former Metallica bassist Jason Newstead is still considered to be a member of Voivod, playing and mixing Infini, while the live version of the band features founding member Jean-Yves “Blacky” Thériault. We told you we'd straighten it out.

For the album's release, Sonic Unyon (and Relapse in the U.S.) states the CD version will be packaged in a deluxe digi-pack with Langevin's enigmatic artwork and a double-LP will be pressed later.

And how did Voivod create a posthumous album? As with Katorz, the band took D'Amour's demo guitar tracks from his laptop unaltered and wrote/recorded around them utilizing the likes of engineer Glen Robinson and Enrique Gonzalez Müller.

While Infini will be released though, don't expect the band to perform songs live. That is saved solely for their catalogue material. Bélanger sums it up this way, “If we don’t play live again then the songs die with Piggy and he wouldn’t want that. His genius deserves to be heard by new and life long fans.”

http://www.exclaim.ca/

Duff Mckagan On Tour With Foo Fighters

2009-04-23T04:34:00.000-07:00

Aerosmith frontman Steven Tyler and Velvet Revolver bassist Duff McKagan will be joined by Foo Fighters touring keyboardist Rami Jaffee at the upcoming Rock 'n'Roll Fantasy Camp, scheduled to run from April 29th through May 3rd in Hollywood. Other guest counselors include Todd Rundgren, former Kiss guitarist Bruce Kulick, Yes drummer Alan White, original Chicago drummer Danny Seraphine, ex-Vixen bass player Share Ross and others. According to a press release, a limited number of spots are still available for the sessions, while tickets are also being sold for the closing night concert at the Whisky-A-Go-Go.

Tyler gave us a sample of the advice he plans to give the aspiring musicians at the camp: "You know, I used to think that, you know, you studied and rehearsed -- my father went to Juilliard (Music School) -- but it's none of that. That ain't it at all. As a matter of fact, does anybody ever think Mick Jagger could really sing? Or Janis Joplin? It was more about feeling, and it was more about, you know, her passion and getting that across to the people."

According to a press release, Tyler and the others will take questions from and share career stories with camp attendees throughout the session, which includes seminars from well-known rock musicians, a recording opportunity at Capitol Studios and the closing concert at the Whisky.

Participants in the camp form separate bands, each of which receives intensive coaching from a different rock star.

Previous guest counselors have included Velvet Revolver's Slash, Roger Daltrey of the Who and Brian Wilson from the Beach Boys.

Info on camp registration can be found at rockcamp.com.

http://www.kbsradio.ca/

Demon Kiss

2009-04-23T04:27:00.000-07:00

A city councillor who made headlines last year for his moral outrage over Motley Crue's appearance at Bayfest is again calling for more "wholesome" entertainment at the summer music festival.

"This is not good for the community," said David Boushy, adding that bands like KISS, headliners at this year's Bayfest, send a bad message to young people.

"I think the promoters underestimate the opposition to bands like that -- they're vicious. I want what's wholesome for the community. I want what's best for the community."

KISS' reputation as a live act includes explosions, fire breathing and blood spitting. The band's tongue-wagging bassist, Gene Simmons, who is known as "The Demon," publicly claims to have slept with more than 4,000 women.

"Of course I have concerns about these bands," said Boushy. "It's tough for teenagers -- I don't think they need that. I want a wholesome environment where they can believe in something good."

Last year, Boushy's warning that Motley Crue's "pornographic" antics would tarnish the city's image prompted an outpouring of support for the band, as well as outrage that a politician would try to control events in a city-owned park.

Boushy tried unsuccessfully to convince Sarnia council that the municipality should have some say about which acts perform at the mega-music festival.

A handful of letter writers to The Observer supported Boushy's stance.

The councillor didn't attend the Motley Crue concert last year but said he parked nearby to hear what went on.

"I was disgusted," he said. "Every other word was a swear word. I wonder why people would pay so much to see that."

Still, Boushy says he endorses the festival, which brings about $9 million into Sarnia each summer.

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"It's good for local business; I am in favour of that," he said. "I just don't endorse the Motley Crue kind.

"I'm not going to buy a ticket to see (KISS)," he added. "A lot of people won't be."

Bayfest organizer Michele Stokley said individual KISS VIP tickets have already sold out. "That area went very quickly. These are the diehard fans that want to be up close," she said.

Stokley said Boushy come down to Centennial Park and see the show for himself.

"These bands, they do a lot of good," she said, noting that Simmons has started a Canadian record label to give exposure to up and coming artists.

"I think (Boushy) should come out and enjoy the show; look at all the different age groups."

Stokley said overall ticket sales are ahead of last year at this time, with special passes -- rock weekend, country weekend, and all-shows -- being the most popular.

"We priced it so that people would travel, and stay," she said, adding she's received inquiries from as far away as Spain.

Meanwhile, Bayfest staff continue to field calls from fans asking about the latest rumours.

"People think it's not the real Gene Simmons coming or that it's not the real Stone Temple Pilots," said Stokley. "None of that is true."

http://www.theobserver.ca/

Looking For Prizes

2009-04-23T04:24:00.000-07:00

A SUNSHINE man is pleading for information that might help him find his much-loved guitar, which was stolen from his house in January.

Musician Antal Barabas had two guitars stolen from his Joan St home on Australia Day while he enjoyed a fishing trip with friends.

Thieves took his 1969 Jazz Fender guitar as well as his custom-made five-string bass guitar, which was designed in England and specifically made to fit Mr Barabas ’ body shape.

Mr Barabas said he loved both guitars hut the loss of his five-string bass guitar was devastating.

"It was something special that was just for me. that no one else had," he said.

"it was made to specifically suit me. it ’s like buying a suit.

It was tailored for me.

"1 watched it being built for 12 months. It had everything I like in a guitar in it." Detective Senior Constable Sandy Thwaites told Star that the custom-made guitar had been pawned at Cash Converters in Sunshine.

She said a member of the public had purchased the guitar from the Store for about $230 on 23 March. not knowing they were buying stolen goods.

Also unaware the guitar was stolen. Cash Converters did not keep record of the person who bought Mr Barabas ’ guitar.

Det Sen Const Thwaites said police were keen to speak with anyone who had information on the whereabouts of the guitar and stressed that the person who had bought it from Cash Converters was not in the wrong and would in no way be prosecuted.

Mr Barabas said he was willing to compensate the person who had bought the guitar and would also be happy to provide a small reward.

Having had no insurance at the time of the burglary. Mr Barabas now has no guitar and cannot afford to buy another.

"It was very special to me, 1 used to play it every day.

"It is worth everything to me. I ’m happy to pay whoever bought it to get it back." Anyone with information on the whereabouts of either the Fender or the custom-made bass guitar can call Crime Stoppers on 1800 333 000 or Del Sen Const Thwaites at Sunshine Police Station on 9313 3333.

Melbourne,Australia

Llyod Parkes hits Officially

2009-04-14T09:43:00.000-07:00

These days, Lloyd Parkes is known primarily as a bass guitar player (after all, not many musicians have their name in the band's). But before he lays down the grooves at a show as part of Lloyd Parkes and We The People, he always takes time to welcome the audience 'Officially', with the song of that name.

And the response indicates the staying power of a song that topped both the JBC and RJR charts for six weeks in 1970. Still, it was a second coming of the same song - almost.

Parkes told The Sunday Gleaner that Officially, a love song in which he declares to a lady that their relationship has to be 'up front', was a slight reworking of Feel a Little Better, which he had written and recorded a few years earlier. The slight adjustment of adding the line "if you want to be my queen you've got to be officially" proved to be a charm.

Both songs were recorded with the same set of musicians, Neville Grant (drums), Ansell Collins (keyboards), Radcliffe Bryan (lead guitar), Phillip Grant (rhythm guitar) and Parkes on bass, with the Rocking Horse duo (including Keith Poppin) providing harmony. Officially was recorded at Randy's, North Parade, in a high-noon session.

When the session was finished, Parkes knew he had a good song, but not necessarily a number one song. He was distributing it himself (Officially came out on his own Parkes label) and the record store people always encouraged him to push it.

Wonderful feeling

The number-one announcement was made at night. "I remember the night it went number one. Allan Magnus was one of the people who believed in that song. The night he said it was number one it was a great, wonderful feeling," Parkes told The Sunday Gleaner.

He points out that it also became a slang, where somebody would say that they were going to do something 'officially'.

Still, Parkes went on to focus on the bass guitar. "Because I was an established bass player, I ease off the singing for a while and start to concentrate on the instrument," Parkes said. His choice is not an indication of a greater love for one over the other, but Parkes points out that in playing an instrument "you are always sure you can put on your pot. You don't have to wait on a hit song".

Ironically, learning the guitar came out of singing. "I came out of the Studio One stable. I used to sing with the Termites (with Wentworth Vernon). We did a song called Do the Rocksteady which was a top 10 song in the mid-60s. While I was in that group, that guy could play guitar. He showed me the first three chords on three chords, G, C, D," Parkes told The Sunday Gleaner.

Seizing an opportunity

And progressing to the bass was a matter of seizing an opportunity.

"I was a rhythm guitarist in a band. One night the bass player did not show up. I told the bandleader (Bobby Aiken) I could play it. Him say 'yu sure yute'?" Parkes recalled. And the then 19- or 20-year-old Parkes said "yes".

"I never looked back from the bass," he said.

Officially was not written for anyone in particular, as Parkes says "my imagination goes wide and deep". As has Officially. "Internationally now, it is one of my biggest songs. People love it all over the world," Parkes said, naming Japan and Australia among the places where he has been to and found that his voice had gone before him - 'Officially'.

Officially was not written for anyone in particular, as Parkes says, "my imagination goes wide and deep". As has Officially.

http://www.jamaica-gleaner.com/

Bassist Jazz Don Thompson leads award nomination.

2009-03-29T09:36:00.000-07:00

Toronto's Don Thompson dominated the nominations for Canada's eighth annual National Jazz Awards with seven nods, including musician of the year.

The B.C.-born Thompson, ano, bass and vibraphone, is in the running for several categories including bassist of the year, composer of the year, instrumentalist of the year, jazz recording of the year (For Kenny Wheeler ) and arranger of the year.

His Don Thompson Quartet is in competition for acoustic band of the year. He was playing bass guitar.

The Juno-award winning Thompson has lived and worked in Toronto since 1969. Once an artist in residence at bassist player the Royal Academy of Music in London in 1996, the musician has worked with the likes of Moe Koffman, Ed Bickert and Lenny Breau.

Right behind Thompson is another Toronto bassist, Roberto Occhipinti, who is up for six trophies including bassist of the year, guitarist of the year, instrumentalist of the year and musician of the year.

Cuban-born pianist Hilario Duran has five nominations while Vancouver's Brad Turner, a keyboardist and trumpeter, is competing in four categories. which were also a bass player

Duran joins Occhipinti and Thompson in the arranger of the year category as well as musician of the year.

CBC Radio 2's Katie Malloch, who hosts Tonic, is up against Len Dobbin, Larry Green, Walter Venafro, Jaymz Bee and Heather Bambrick for broadcaster of the year.

Other bass player and bassist from other bands were invited to the shows as well.

MEGADETH Bassist Checks In From Denmark - Mar. 3, 2009

2009-03-03T22:49:00.002-08:00

MEGADETH bassist James Lomenzo has issued the following update from the "Priest Feast" tour, also featuring JUDAS PRIEST and TESTAMENT:

"The 'Priest Feast' has been better then expected. There's been great back stage camaraderie between the bands and their crews, it's a great thing to be part of. Everybody's working together to make the best possible show for you all who are coming down.

"The crowds that have been attending have really got me stoked. The energy's been electric (eye). Yesterday at sound check in Gothenburg , I was called to the stage by one of our crew, ...'JLo, report to the stage...' As I walked around to the back, I passed by Chuck (two first names) Billy [TESTAMENT] who remarked, 'Did someone just call you JLo?' He seemed amused and indicated that my crew might be acting just a bit insubordinate. I shrugged and said, 'No, that's what they call me.' 'Called me it back in Brooklyn too, way before there was a big butted Latina with the same acronym.' He kind of shook his head like, 'I don't know...' So, I reminded him of the few choice items from his past that he (or was it some one else?) divulged in his dressing room the other night... I won't reveal any of it here 'cause like you, I like the big, bad-ass Chuck Billy persona just as he is now. Besides, who needs to get on his bad side?

"Anyway, great show in Gothenburg. It was fantastic to see Mikkey Dee (MOTÖRHEAD, KING DIAMOND) and some of the KING DIAMOND clan back stage. Most of us went out out to a local bar afterwards and had a grand time. All in all, a real 'metal' event.

"Here in Denmark (we got in around 8 AM), we continue our quest to complete the new album. We set up in Dave's [Mustaine] room again and knocked out some guitar solos and embellishments for two of the songs. Things are taking shape at a comfortable pace and we're all really stocked with what we're coming up with.

"So, it's gettin' to the wee hours here and there's more metal ahead of us. Looking forward to the show in Horsens, Denmark. I don't think I've ever played here before so it will be great to see my Danish friends tear it up here."

On January 7, MEGADETH commenced the recording process for its twelfth studio album at the band's own Vic's Garage studio in San Marcos, California. The CD is once again being helmed by acclaimed British producer Andy "Undie" Sneap, who produced MEGADETH's last album, "United Abominations" (May 2007, Roadrunner Records).

Tentatively due later this year via Roadrunner Records, MEGADETH's forthcoming LP will be the group's first with guitarist Chris Broderick, who replaced Glen Drover at the end of 2007.

DEATH ANGEL Plays First Show With New Bassist; Video Available - Mar. 2, 2009

2009-03-03T22:49:00.001-08:00

Capital Chaos has uploaded video footage (see below) of San Francisco Bay Area metallers DEATH ANGEL performing the song "Voracious Souls" on March 1, 2009 at The Kennel Club in Sacramento, California. Also on the bill were IRRITANT, SEXCIETY, PSYCHOSOMATIC and FORMULA.

DEATH ANGEL in Janaury announced the addition of bassist Sammy Diosdado to the group's ranks. Sammy is a Bay Area native who previously played with the San Francisco hardcore band THE SICK and is a member of the rock and roll outfit ALL TIME HIGHS which is fronted by DEATH ANGEL singer Mark Osegueda. With his in-your-face punk assault on bass and on stage, he was the perfect fit to fill the shoes of former bassist and founding member Dennis Pepa.

In a recent interview with Australia's PyroMusic.net, Mark Osegueda was asked how Sammy Diosdado is working out. "He's great," Mark replied. "He's really nailing all the songs down."

"[Sammy and I] We played together in ALL TIME HIGHS, so we've known each other for a while," he added. "When we put it out that we needed a bass player, we tried a few guys out and then Sammy decided that he wanted to try out. That being said, I love Sammy but I never brought his name to the table because I didn't want people to say, 'You just want your guy!' (laughs) Andy [Galeon, drums] brought him in for the audition and even after that I wasn't the guy who said, 'Let's bring him in.' After he'd played, in all honesty, everyone said he was the guy they were most comfortable with, and I just said, 'Yes!' (laughs)."

Dennis Pepa played his last show with DEATH ANGEL on October 28, 2008 at the Grand Ballroom in San Francisco, California. Photos of the concert are available at this location (all pictures taken by Alan Ralph).

Jack Black, Jazz Bassist Charlie Haden Making Opry Appearance

2009-03-03T09:54:00.000-08:00

Film star Jack Black will appear with his father-in-law, legendary jazz bassist Charlie Haden, this weekend at Grand Ole Opry in Nashville. Haden, an original member of the Ornette Coleman Quartet in the late '50s, has won three Grammys and has worked with a wide variety of musicians including John Coltrane, Herbie Hancock, Hank Jones, Pat Metheny and Ringo Starr. He returned to his roots in traditional country music in 2008 with the album, Rambling Boy, featuring his four children and Black, Rosanne Cash, Elvis Costello, Vince Gill, Bruce Hornsby, Ricky Skaggs & the Whites, Dan Tyminski, Jerry Douglas, Sam Bush, Stuart Duncan and Bryan Sutton. Saturday's (Feb. 28) Opry show will feature Skaggs, Del McCoury and the Infamous Stringdusters. Among those expected to perform with Haden include Bush, Duncan, Sutton, Mark Fain, Rob Ickes and Jim Mills. Black, who sings "Old Joe Clark" on Rambling Boy, is married to Tanya Haden, a professional cellist.

http://www.cmt.com/

TAKARA Seeking Bassist, Drummer - Feb. 27, 2009

2009-03-03T09:51:00.000-08:00

U.S. rockers TAKARA are seeking a bassist and drummer for shows/tours and upcoming work on new album. The band says, "No session players/guns for hire. Looking for dedicated, seasoned players. Los Angeles/Southern California locals only. This is a great opportunity for the right guys. We have international recognition and a sizable following."

Please send all packages to:

TR MGT
P.O. BOX 491891
Los Angeles, CA 90049

Or e-mail your press kit with demo to takararocks@yahoo.com.

TAKARA released its sixth album, "Invitation To Forever", on October 31 in Europe via SPV Records, and November 16 for the U.S. and the rest of the world through ProgRock Records. The LP is also available directly from the band via its web sites and through all digital music stores.

Commented founder/guitarist Neal Grusky: "The lineup for the new TAKARA album is Gustavo Monsanto (REVOLUTION RENAISSANCE) on vocals, Neal Grusky on guitar, Björn Englen (YNGWIE MALMSTEEN) on bass, and Patrick Johansson (YNGWIE MALMSTEEN) on drums and Brook Hansen on keyboards. This album also features an extraordinary reunion of Jeff Scott Soto on back-up vocals. It has been about 10 years since Jeff has last appeared on any TAKARA album."

Grusky added, "This album [is] a bit different than past TAKARA albums. 'Invitation To Forever' [is] a little bit heavier and have more edge than previous TAKARA albums, while still yet retaining the trademark distinctive TAKARA melodic rock. This is a very exciting album. Many fans will discover our new hidden gem on vocals, Brazilian vocal sensation Gustavo Monsanto. He will carry TAKARA like his predecessors before him in true traditional TAKARA form and style. We also have on the album as a tribute to the 20-year anniversary of the original formation of TAKARA a remake of our song 'Spotlight' which was on the first album 'Eternal Faith'. This was the song that started it all for TAKARA."

For more information, visit www.takararocks.com.

NO CHANCE OF GNR REUNION

2009-03-03T09:48:00.000-08:00

Guns N' Roses frontman Axl Rose has squashed all hopes for a GnR reunion.

"I suppose Duff McKagan (former GNR bassist) could play guitar on something somewhere," 47 year-old Rose told Spinner.com. "But there's 0 possibility of me having anything to do with Slash."

Lead guitarist Slash quit the band in the mid-90's.

Despite needing support after his latest Chinese Democracy bomb (which took nearly 15 years to drop), Axl still contends, "In a nutshell, personally I consider Slash a cancer and better removed."

http://www.radaronline.com/

Filipino bassist passes away

2009-03-03T09:45:00.000-08:00

MANILA, Philippines—(UPDATE) Dondi Ledesma, a versatile bass player considered by peers as one of the country’s best, died of heart failure at 1 p.m. Tuesday at the Makati Medical Center.

He was 50.

The favorite bassist of Joey “Pepe” Smith and a member of Wally Gonzalez’s current band, Ledesma reportedly complained of wobbly legs upon waking up in the morning of January 9.

He was rushed to the Makati hospital where he had been confined till his death.

http://www.inquirer.net/

Remembering Sid Vicious

2009-02-04T02:20:00.000-08:00

This entry should really be headed Warren Says, since all of the information below comes from former CHARTattack sales guru Warren Campbell. He's been on a major Sex Pistols kick lately and, to commemorate today's 30th anniversary of Sid Vicious' drug overdose death, he offers these interesting tidbits about the former Sex Pistols bassist:

His father was a guard at Buckingham Palace.

He got his stage name from Sex Pistols singer Johnny Rotten's hamster.

His bass playing isn't heard on Never Mind The Bollocks.

He asked Motorhead's Lemmy for advice on how to play bass after he joined the Sex Pistols. "I can't play bass," he said, and Lemmy responded, "I know."

There are rumours that some of his ashes were spread over girlfriend Nancy Spungeon's grave and others were sucked into the ventilation system at Heathrow Airport in London, England.

He was the original drummer for Siouxsie & The Banshees.

He first met John Lydon (a.k.a. Johnny Rotten) at Hackney Technical College.

When the Sex Pistols brought him into the band to replace bassist Glen Matlock, The Clash refused to perform on any bill with them because guitarist Mick Jones was Jewish and took offence to Vicious' Nazi regalia.

He invented pogo-dancing when he was at a Sex Pistols show and couldn't see the band, so he started jumping up and down.

A thousand punks marched in London's Hyde Park on the first anniversary of his death. His mother was going to take part, but she was recovering in hospital from a drug overdose.

He wore a padlock around his neck that his mother later gave to actor Gary Oldman, who portrayed him in Sid & Nancy.

After his arrest for killing Spungeon, bail of $50,000 U.S. was posted and plans were put in place by manager Malcolm McLaren for an album to be recorded with Sex Pistols guitarist Steve Jones and drummer Paul Cook. The album would have consisted entirely of standards, including "White Christmas" and "Mack The Knife."

There are at least seven semi-official Vicious records: Sid Vicious & Friends; Live At The Electric Ballroom; Never Mind The Reunion Here's Sid Vicious; Sid Dead Live; Sid Sings; Too Fast To Live; and The Idols With Sid Vicious. Most of these recordings contain music from various performances he gave while living in New York City.

By Steve Mclean
http://www.chartattack.com/

Frederik Bourdon Says Local Music Scene Is Full of Opportunities

2009-02-04T02:09:00.000-08:00

By John Redmond
Contributing Writer

When, working as a musician, you have toured most of Africa, America, Europe and parts of Asia, there seems little to be done in terms of places to go and venues to play. But, then again, it might be time to stay a little longer in one place and get to explore in greater depth what the local scene has to offer.

French Canadian bassist Frederik Bourdon, from Montreal, who has been playing bass for more than 20 years, has done just that.

Have toured extensively around the globe, including a leg of an Asian tour in Korea, Bourdon found himself back here for a short stint at JJ Mahoney's at Seoul's Grand Hyatt Hotel back in 2005. What began a short residency soon became a much longer stay.

`` I have played and toured in Africa, America, Asia and Europe so far. I came to South Korea the first time in 2001 for the Ceramic Festival where I toured in various cities for 21 days. The second time I came to Korea was for a Top-40 gig at the J.J. Mahoney's at the Grand Hyatt Hotel in 2005. It was supposed to be a three-month contract but that turned into six months,'' he said in an interview with The Korea Times at live music venue Ole Stompers after a performance with Led Zeppelin tribute band, Over The Hill and Far Away.

``After that, enjoying the Seoul life, I decided to stay and it's been almost four years now,'' he continued.

According to Bourdon, the working music scene here is very active, with no shortage of opportunities

``I played various styles of music with many bands and in about every situation; Korean weddings, special events in shopping malls, festivals, benefit concerts, recordings, etc… I also taught jazz combos and did a bass clinic at Seoul Jazz Academy, a Berkley affiliate. I also give private bass lessons from time to time.''

Bourdon has one unique trick up his sleeve uncommon to most bass guitarists in that he plays a six-string bass.

Where most bass guitars have only four strings, E, A, D, G, a six-string bass guitar features an extra high G and a low B string. Six- string bass guitars are extremely difficult to play, with only proficient musicians able to master the technique.

Bourdon currently plays in a number of bands including Korean band Rabihem, `Led Zeppelin' tribute band Over The Hill And Far Away, and the Wise Guys, an eclectic eight-piece band playing most weekends at Hard Rock Cafe in Itaewon.

Bourdon also composes music ranging from prog-metal to jazz-fusion. You can usually see him playing in Itaewon, Hongdae or Gangnam area. Otherwise, go to www.myspace.com/uvwssvq or to www.facebook.com (search: Frederik Bourdon).

redmond_john@hotmail.com

http://www.koreatimes.co.kr

Ex-Guns N' Roses bassist Duff McKagan becoming Playboy columnist

2009-02-04T02:03:00.000-08:00

Velvet Revolver and ex-Guns N' Roses bassist Duff McKagan is beginning a new gig as a financial columnist at Playboy.com. McKagan announced the news on Reverb, his weekly column at SeattleWeekly.com, writing in part, "Over the last few years, I have been doing more and more TV and print interviews regarding some faction of finance. It started in 2004 when a writer for some music newspaper asked me about my experience going to business school after my career with G N'R. That interview in turn prodded other writers to ask me about money issues within the music biz. From there, PBS's Frontline interviewed me about the 'valuation of a rock band' and the cork was officially off the top of the bottle as far as me being an ersatz 'go-to' guy for anyone looking for financial insight from inside the music industry."

McKagan added, "Sometimes I DO wish more artists would go to business school just so I wouldn't always be getting the calls to do these interviews."

The bassist indicated he is looking for ideas for a name for the Playboy column but did not say when it would begin running.

His Reverb column, which will continue, can be read every Thursday at blogs.seattleweekly.com/reverb/.

McKagan began his interest in finance after investing his royalties from Guns N' Roses in stocks such as Microsoft and Starbucks, which ended up becoming extremely profitable for him. He then set out to further his education, returning to school in the late '90s and eventually graduating from Seattle University with a degree in finance.

http://www.therockradio.com/

Metallica bassist hints that band is coming up with new music

2009-02-04T02:02:00.000-08:00

Metallica bassist Robert Trujillo told LiveDaily.com in a new interview that the band is "already jamming on new ideas and new riffs," although he did not indicate how long he thought it might be before Metallica returns to the studio. Trujillo explained, "To me, (latest album) Death Magnetic is only a launch pad. We're already jamming on new ideas and new riffs. There's a rhythm-section thing that I'm feeling with Lars (Ulrich, drummer) that I'd like to dive into even more so with the future. It's great to be playing thrashy, heavy riffs again, too. That's one of the things with this band -- there's no shortage of musical ideas."

Trujillo, who joined Metallica in 2003 shortly after the band finished making its St. Anger album, played a bigger role in the recording of Death Magnetic. He told us one of his strategies for becoming part of the creative process: "The whole thing is, when we're being creative, when Metallica's creative, the last thing you want to do is interfere with the flow that happens between Lars and James (Hetfield, frontman), 'cause these guys bump heads and they get on a roll with things, and you really gotta let them do their thing, 'cause it is magic, and let them be productive when that's clicking."

Trujillo also told LiveDaily, "When I first joined the band, I was kind of like the boy in the bubble. I really had to focus on being a part of this band and learning over 23 years of catalog at the time ... which was really crazy."

Death Magnetic is Metallica's final album on its current contract with Warner Bros. Records. The band has not indicated how it will release future projects.

Metallica closed out the latest leg of its North American tour on Sunday (February 2nd) in New Jersey and heads to Europe at the end of this month.

http://www.therockradio.com/

IRON MAIDEN Bassist's Daughter Strips Down For U.K.'s FHM Magazine

2009-02-04T01:56:00.001-08:00

Lauren Harris — singer and daughter of legendary architect and bassist of IRON MAIDEN, Steve Harris — recently took part in a "revealing" photo session and interview with the U.K. edition of the FHM magazine. Check it out at FHM.com. Larger scans can be found at Female Cele.

A 13-minute audio interview with Lauren Harris conducted by Norway's Metal Express Radio has been posted online at this location.

Lauren Harris released her new single, "Your Turn", worldwide on January 1 at one second past midnight as the first "official" release of 2009.

This groundbreaking event, in conjunction with worldwide music distribution giants, The Orchard was the brainchild of Quite Great Communications' marketing team, Redlands, and was the first of its type.

"Your Turn" is taken from Lauren's critically acclaimed debut album "Calm Before The Storm", which features performances from her father on a number of tracks — the first time he has played on anything besides a MAIDEN track, ever!

An original rock chick, Lauren is no stranger to touring around the world. She has already performed in front of millions worldwide and will again be wowing audiences with her energetic stage presence on her upcoming world tour.

"Calm Before The Storm" is an eclectic mix of high-energy pop-rock tracks and has already received rave reviews in the alternative press. Lauren is now launching a full-on assault on the British public.

Her catchy power-pop songs draw comparisons to American acts such as the DONNAS and PARAMORE as well as more mainstream artists such as AVRIL LAVIGNE and PINK but with a distinctly British attitude and sound.

http://www.roadrunnerrecords.com/blabbermouth.net/

Hatchet Searching For New Singer And Bassist

2009-02-04T01:54:00.000-08:00

Bay Area based thrash band Hatchet has posted the following message online regarding the hunt for new members:

"Hatchet is now actively seeking a new permanent vocalist and or bass player to re-complete our lineup. We are looking for talented, serious musicians, who can be 100% dedicated to our band.

"Vocalist needs to be confident in their ability to front our band as well as match the style and range of our previous singer. Bassist needs to have pro gear and confidence in playing our material. (Our main influences vocal and music wise are SLAYER, EXODUS and TESTAMENT).

"You must have your own transportation and a job or source of income, and be willing to practice two times a week at our Petaluma rehearsal studio.

"We are also currently signed to a Major/Indie record label which released our album worldwide early last year. Having time for routine band practices, touring and doing band business are essential. No ego's, druggies or flakes! 18+ preferred but not a necessity.

"If Interested, please contact us at: Hatchet.metal@gmail.com or message us through here and we will send you more info and setup an audition!"

http://www.metalunderground.com/

HOSTILE CELL Announces New Bassist - Feb. 2, 2009

2009-02-04T01:45:00.000-08:00

Gothenburg, Sweden-based metal/rock band HOSTILE CELL has recruited Johan Andreassen, formerly of HEADPLATE and ENGEL, as the group's new permanent bass player. He will make his live debut with HOSTILE CELL on February 21 at Glassheim in Jevnaker (just outside of Oslo), Norway as the support band for the ERIC SINGER PROJECT.

"Nothing", the new video from HOSTILE CELL, can be viewed below. The clip was directed by Magnus Petersson of PGF Motion in Borås, Sweden.

HOSTILE CELL released its self-titled debut album on October 1, 2008 via the band's own Coreshot Productions (with distribution from Plugged Records). The 10-track CD was mastered by Dragan Tanaskovich at Bohussound Recordings.

http://www.roadrunnerrecords.com/news/

Remembering Pekka Pohjola

2009-02-04T01:34:00.000-08:00

Regarded by all as the finest bass guitarist ever to come out of Finland, and a composer who inspired a whole generation of late twentieth century Finnish musicians, Pekka Pohjola died near Helsinki on November 27 2008, aged 56. Although he lived his last years far from the lime-lights which he frequented in the 1970s and 80s, he is revered by many Europeans of his generation as a scion of the music for which his country has long been famous—dark, portentous instrumental contemplations, but which regularly include a teasing twist in the tail.

Pohjola's musical output took influences from jazz, rock, folk music and even traditional hymns. The son of a prominent local choirmaster, he initially studied classical music at the Sibelius Academy (piano & violin) and he came close to winning the Finnish nationals on the latter instrument. But soon his interest veered to the electric bass, allegedly inspired by The Beatles. He began playing with the locally influential Eero, Jussi and The Boys, before moving in 1970 to the band which soon had the closest brush any Finnish group ever had with international success - Wigwam. Arguably involved with the most creative examples of this band's output, Tombstone Valentine and Fairyport, he left after just two years of intense touring in Scandinavia and Europe to pursue his own projects.

Pekka recorded his first solo album, the delicious intricate Pihkasilma Kaarnakorva (Resin Eye Bark Ear) during his Wigwam days. His second Harakka Bialoipokku, (B The Magpie) and third (The Mathematician's Air Display) albums were both released internationally by Virgin Records. Pohjola's involvement with Wigwam had brought him to the attention of Virgin's director Richard Branson, who was influential in linking him with Mike Oldfield. The Englishman both played on and produced the third album. This period saw the development of an increasingly jazz fusion style, sometimes compared with Frank Zappa in their complex arrangements and instrumentation, and he was reputedly even offered a position in the band by the man himself.

Always in demand as a session musician locally, Pohjola also toured with Oldfield's Tubular Bells in 1978. In 1977 he formed The Group with Finnish musicians, recording their eponymous album in the same year. Pekka's fourth solo album Visitation was released in 1979 with many of the same musicians, and with its fantasy influenced themes was more of a critical success. In 1980 The Group became the Pekka Pohjola Group and they released the album Katkavaaran Lohikaarme (The Dragon of Katkavaara Mountain) with a similarly melodic, sometimes wistful style. The band continued to tour extensively in Europe in the early 80s, with varying line-ups performing Pohjola's pieces, but steadily his energies were more focused on composition than performance. The sponsors in the 90s were often big bands, like the UMO Jazz Orchestra, and even the modern Finnish chamber orchestra Avanti!, with whom he also recorded.

The extent of Pohjola's legacy is witnessed by DJ Shadow, who took a sample of Pohjola's bass line in "The Madness Subsides" from B the Magpie in his own song "Midnight in a Perfect World," which featured on his 1996 album Endtroducing. Closer to home Pohjola's involvement with local fusion-progressive band XL Finland even brought him out of retirement to play bass in concert with them in 2004. He spent the whole evening almost hidden behind musicians half his age, playing the same role as 35 years earlier, unflinchingly anchoring the music with his feather light bass.

Pohjola's name is carried forward by two sons who have also gone into making music—Verneri (trumpet) and Ilari (trombone) are both prominent Finnish jazz musicians, playing alongside their father at the 2004 Pori Jazz Festival. The memorial concert in Helsinki in January 2009 featured local musicians whose age difference sometimes exceeded 50 years, but whose unified respect Pohjola will remain for many years to come.

By Anthony Shaw
http://www.allaboutjazz.com

The shock of the new

2009-02-04T01:33:00.000-08:00

ALEX KAPRANOS is the man who convinced aspiring visual artist Bob Hardy to learn the bass guitar in 2002 so that he could join Scottish band Franz Ferdinand. The two are a study in contrasts, if not contradictions.

The sleepy-eyed 28-year-old Hardy is relaxed and squishy a bit like a dishevelled sandy-haired beai while singer-guitarist Kapranos is upright and taut, more like a sharp-eyed bird. In a hotel room overlooking the harbour, Hardy has shucked off his livedin sneakers and is lying back on the bed in his baggy vertically striped pants and horizontally striped T-shirt. Occasionally he sits up and contorts his legs around him. He is mostly silent and seemingly less involved, though a droll and perceptive comment every now and then suggests otherwise.

Kapranos is also in old sneakers but they ’re worn with smartly tailored plaid pants, a close-fitting shirt and a sharp haircut. While he occasionally reclines on a hard stool, he never seems less than focused, verbally adroit and fully engaged.

Both have lived in Glasgow for some years.

Kapranos, 36, moved there in 1984 from a life spent between Sunderland and Greece, and Hardy came to Glasgow ’s School of Art in 1999. Yet Hardy ’s accent is soft northern English and Kapranos has a more diffused accent, partly English, partly Scottish and partly somewhere indeterminate.

But it ’s quickly clear that those differences are primarily superficial. They have a long friendship and shared intellectual interests, including the hard lines and blunt aesthetic of communist era Russian art, which has figured prominently in the band ’s visuals.

Their friendship has survived a hectic and occasionally mind-warping six years since Franz Ferdinand ’s self-titled debut turned them from Glasgow underground favourites to leading figures in a worldwide revival of danceable, melodic, rock.

Kapranos reveals that, like Nick Cave, he ’s been known to tune into BBC radio ’s Gardener ’s Question Time.

"For three years, that was my favourite way of relaxing, when I was having the craziest, hedonistic life, lying at two o ’clock in the afternoon, in a bath in Glasgow listening [despite] not having a garden of any sort." Hardy drily notes that at the same time "I was probably asleep at art school." Kapranos reminds him that the program was on a Sunday afternoon.

"Then I was probably still out," replies Hardy An incredulous Kapranos queries: "At two o ’clock in the afternoon?" prompting them to reminisce about The Crown, "the pub that was always open".

Has Hardy ever regretted giving up a hedonistic lifestyle for mere music? "No, not really It ’s quite fun to play" he says mildly adding with a grin, "there is a little bit of hedonism on the road." If the first five years were full-on, this past year without an international tour or a new record has almost been a public blank slate. Almost. The band recorded their third album, then scrapped it and re-recorded.

In the meantime, while they were saying little, rumours, blogs and the press ran wild.

At one point it was said PP were making an Afro-beat album. Everything went nutty when it emerged that the first, abortive recording had taken place with one of Britain ’s most successful ultra pop production houses, Xenomania, best known for making Sugababes and Gids Aloud - the biggest girl groups in British history "I was really amazed by the way people reacted to that," says Kapranos. "I think it says a lot about the prejudices a lot of people have, everyone from other musicians to fans and journalists, about bands like us and thing we experimented with before but really came to the fore with this record? ’ That clash of opposite forces is more evident on the new album, Tonight: Franz Ferdinand (including, in one song, a hint of that Afro-beat influence after all). It reinforces one of the interesting results of the Xenomania affaii the discussion of whether Franz Ferdinand were a pop band or a rock band.

"I used to get caught up in this sort of thing all the time," nods Kapranos. "I ’ve had so many debates and arguments about it and I quite like being contrary sometimes. I love elements of both worlds. I love the riffs of Led Zeppelin and Black Sabbath but under the pop melodies of the Shangri-Las and Girls Aloud. I love both." He may declare his love for all sides but Kapranos draws the line at what he calls the self-indulgence, the machismo, some of the pretensions to high art of rock. It ’s ironic given the intellectual underpinnings of Franz Ferdinand. The idea that if you try to make smart music then you are a middleclass ponce is one too easily bandied about by the thicker end of rock, such as a onetime harsh critic of F1~ Liam GallagheL "That it ’s not real; ’ says Hardy summarising the accusation.

The suggestion is that it ’s not real because it ’s not from the street it ’s art school. Therefore, it ’s soft and middle-class.

"That ’s a load of nonsense as well; ’ says Kapranos. "Fd say a Franz Ferdinand show is a hell of a lot more punk rock than an Oasis show in many ways. It ’s intense, it ’s really really intense." But the same time, there ’s no hiding the fact that they can write a song that might suggest they ’ve read a book or two.

"You can do both, why not? At the heart of it is some kind of honesty If I pretended that I was some kind of working class lad from the streets of Liverpool that would be a lie? ’ Toniqht: Franz Ferdinand is out now.

See review, Page 12. people like Xenomania. And the idea that those wodds could never come togetheL "But I loved the ideas that those guys had and they ’ve made some very interesting records. Their songs are unpredictable, they are novel, they are original yet they still have an extremely strong sense of melody and that ’s everything I wanted Franz Ferdinand to be? ’ Some of the shock horror reaction was as if the band would hand over control of their work to Xenomania.

"We were never going to do that; ’ Kapranos says. "That ’s kind of why it didn ’t work out in the end, because they are so used to writing everything and maybe we couldn ’t get our heads around that or it would have taken a really long time to work out the record. We got on well, we had a really really good time but it wasn ’t going to be right." Along with the original recordings being discarded, there was a series of small gigs during the second recording where they tested material publicly without the modern fear of illegal recordings hitting the internet.

Some of their favourite studio songs didn ’t survive the shows, thrown away seemingly without regret. Was that easy? "It ’s really easy because I don ’t think we are precious about songs," explains Kapranos. "Just because you ’ve created something doesn ’t mean it ’s wonderful and it doesn ’t mean it can ’t be betteii "When I first started writing songs, just the idea whoa, I wrote that, me. It ’s got to be great ’ then feeling frustrated that the world doesn ’t love this thing you ’ve created.

You ’ve got to drop that attitude really early on and you ’ve got to be harsh on yourself." Although the Xenomania partnership didn ’t work, did the band feel the process had been necessary to radically change, if not the way they sounded, then at least the way they thought? "We wanted to create a new sound," says Kapranos. "Something that we weren ’t hearing on the radio or around about us.

"We wanted to look for new ways of doing things and that meant us writing differently and working differently and it was fascinating to see how guys like [Xenomania] work." "Everything is a lot more compartmentalised. I know for myse1f~ I started writing in a less conventional songwriting method. I wouldn ’t sit down with an acoustic guitar and write a song where this is the verse and this is the chorus. I would write in sections of melodies that were entities in their own right and then construct songs from them by clashing them together It ’s some
Caption Text:
1Just because you ’ve created something doesn ’t mean it ’s wonderful. ’ Alex Kapranos
Heavy metal and girlie pop ... Alex Kapranos (far right) loves the riffs of Led Zeppelin and the melodies of the Shangri-Las

Sydney Morning Herald,
Sydney, Australia

Range of instruments taught at Beggs

2009-02-04T01:30:00.000-08:00

LOCATED above the Beggs Music Store at 614 Colombo St, the Beggs Music Academy has been operating for more than 20 years.

Lessons are held for piano, keyboard, guitar, bass guitar and drums.

The school operates six days a week (Monday Saturday) and follows the school terms, with lessons for 2008 beginning the week starting Monday, February 11.

The teachers are able to teach a wide range of styles, including classical, contemporary, jazz and rock.

All lessons are designed to make learning fun.

For keyboard and piano Beggs offers a modern exam system, which includes performance, ear tests, scales, sight-reading, improvisation, arranging and theory.

For more information, call Viv on 366 1949.

Star Midweek,
Christchurch,New Zealand

Information sought on missing bass guitar

2009-02-04T01:27:00.000-08:00

A DISTINCTIVE bass guitar owned by a Sydneybased musician who played at the Country Music Festival is believed to have been stolen during the event.

Craig Morrison Little Cowboys bassist Greg Peters ’ sparkling black four-string electric bass, worth $3500, was taken from the Coke marquee on Kable Aye, next to Wests ’ Diggers, between 530pm and 6. lSpm last Saturday.

The guitar has Ernie Ball Musicman StingRay printed on the headstock and has a D Hipshot tuner on the fourth string. It also has straplocks and a black strap attached.

It was placed in a black soft carry case, which has Warwick printed on it. The serial number is E26173.

Mr Peters said the sparkle in the guitar ’s paint was distinctive because not many were made to look like that.

Craig Morrison Little Cowboys went on stage in the tent about midday and left before 1pm.

He said the guitar was accidentally left behind, at the back area of the stage where several other instruments were kept.

"I didn ’t realise it was there at the time, because one of the other band members had put it there for me without my knowing," he said.

The band was playing a gig at another venue about 11pm that night. While looking for the bass, he was told that it had been placed behind the Coke marquee ’s stage that afternoon. "I rang around, I spoke to the sound people who were working for Coke there at the time, like the stagehands, and the last time it was seen was at 530pm," he said.

He has reported the theft to the police and made some musicians involved in the Festival aware of the missing instmment.

If anyone has any information about where the bass is, they are asked to call Crime Stoppers on 1800333000.

Northern Daily Leader,
Tamworth,News South Wales,
Australia

MEGADETH Bassist Looking Forward To European Tour, Laying Down Tracks For New Album - Jan. 2, 2009

2009-01-02T21:45:00.000-08:00

MEGADETH bassist James Lomenzo has issued the following update:

"James here checking in after a long holiday trip up through northern California. Did pretty much what all you do for the holidays, visit with family and friends. It was quite nice to be away from computers and such and just focus on what to me was most important this holiday season. Everyone's good and I hope the same for all of you.

"So what kind of MEGA news/tidbit can I share with you? Oh, how 'bout this? I pop on my Tivo thingy on my cable box to see what I've missed over the holiday week and click on VH1 Classic's 'That Metal Show'. For those of you who haven't seen it, it's a weekly half-hour talk show that's all about everything metal. It's hosted by a dear old freind of mine, Eddie Trunk of New York City WNEW radio and VH1 fame and also features Jim Florentine and Don Jamieson. If you haven't seen it, it's great nostalgia, kinda reminds me of hangin' out with my old Brooklyn, New York cronies and shooting the breeze in a diner at 4:00 a.m. after hanging out at a rock club. Anyway, on this week's past episode they played their weekly 'Stump the Trunk' trivia game in which some members of the audience ask Eddie a heavy metal-related query and if they stump Eddie they win a prize. One of our own droogies, Robin, asked Eddie the name of MEGADETH's mascot. Eddie, a bit perplexed, said 'Rattlehead.' There was some discourse over whether or not Eddie was stumped, but they gave it to him anyway. I think he didn't get it right, I think if he had said 'Vic,' it would have been more acceptable. Hmm, maybe Ed needs a little education in things MEGA. I thought it would be cool (i.e. ball-busting) if any of you out there who might have an extra moment to spare would contact Eddie with a piece of MEGADETH trivia. I'm kinda of hoping enough of you could inundate, er... educate him, so as to bring him up to speed. He obviously hasn't been devoting enough study time here and I'm sure he's not too busy these days. ;-)

"So what else? Well, I'm looking forward to the Priest Feast [European tour with JUDAS PRIEST and TESTAMENT] next month and certainly to tracking some cool bass stuff over the next batch of weeks for the album.

"I want to take a moment and give my sincerest thanks to some of my equipment sponsers over the past year, Yamaha, Ashdown and Dimarzio for being there and helping out when I needed it most. Some really special thanks go to the Rotosound string company, who have been supporting me with my favorite strings for over twenty years and I'll be appearing at their booth at this year's NAMM on the 16th of this month. I'll be sure to post where and when as the time draws near."

MEGADETH is in the final stages of the songwriting process for the band's new album, which is tentatively expected sometime this year year via Roadrunner Records. The CD is once again being helmed by acclaimed British producer Andy "Undie" Sneap, who produced MEGADETH's last album, "United Abominations" (May 2007, Roadrunner Records).

MEGADETH's forthcoming LP will be the group's first with guitarist Chris Broderick, who replaced Glen Drover at the end of 2007.

http://www.roadrunnerrecords.com

Bassist backs instruments campaign

2009-01-02T21:38:00.000-08:00

A music star from rock band Franz Ferdinand is among those backing a campaign urging Scots to donate unwanted musical instruments to children.

Bob Hardy, bassist with the Scottish group, said his own career as a bassist began thanks to a hand-me-down instrument, and urged people to be generous.

The instrument amnesty, currently titled Play It Again, aims to give young people across the country the chance to enjoy the benefits of music.

http://www.pressassociation.co.uk/

Jazz bassist Charlie Haden has returned to his country roots

2009-01-02T21:22:00.000-08:00

NEW YORK — After a career on modern jazz's cutting edge, bassist Charlie Haden admits being "scared" before recording his first country music album at Ricky Skaggs' Nashville studio.

But, with a little help from family and friends, Haden found he could indeed go home again to his Ozarks roots, and even garner a Grammy nomination. The 71-year-old bassist helped change the shape of jazz a half century ago as a member of Ornette Coleman's quartet.

Now he finds himself nominated for best country instrumental performance - with guitarist Pat Metheny, dobro player Jerry Douglas and pianist Bruce Hornsby - for "Is This America? (Katrina 2005)."

It's a slowly flowing ballad written by Metheny to evoke the sense of sadness and disbelief felt over the government's response to the hurricane.

It's one of the few pieces of contemporary Americana on Haden's new album "Rambling Boy" that finds him returning to songs made famous by the Carter Family, Hank Williams and other traditional country musicians.

Haden last performed these songs with his parents and siblings as the youngest member of the Haden Family band popular on the Midwest country circuit in the 1930s and 1940s.

Now he's doing them with his wife Ruth Cameron, son Josh, triplet daughters - Rachel, Petra and Tanya - and son-in-law, actor Jack Black as well as such musical luminaries as Elvis Costello, Vince Gill and Rosanne Cash.

"I've gotten three Grammys and about 15 nominations for jazz recordings ... but this record was very special because it was going back to my country roots and playing these old songs that I used to sing when I was a little kid," said Haden.

He spoke in a telephone interview from his home in Los Angeles.

"My roots have never left me ... because the very first memory I have is my mom singing and me singing with her. At different points in my life I thought about doing something like this, but I was so involved in modern music, it never seemed that it could ever really happen."

The CD includes Haden's first recorded performance - an excerpt from a 1939 Haden Family radio show on which 22-month-old Cowboy Charlie yodels on a gospel tune.

Haden feels a strong personal connection to songs like "Wildwood Flower" and "Rambling Boy," which he remembers Mother Maybelle Carter playing with her daughters in the Haden family living room in Springfield, Mo.

"We do these songs in a new way yet we don't take their tradition away from them or try to do anything hip," Haden said in an earlier interview at a New York hotel.

"We want to allow people to hear this music for the beauty that it has."

Haden speaks in a soft, raspy voice - a lingering effect from the childhood polio that weakened his vocal cords and put an end to his singing career at age 15.

He turned his attention to the bass, and got drawn to jazz after hearing Charlie Parker at a concert in Omaha, eventually heading out to Los Angeles in 1956 to study music and play jazz.

But, even as a member of Coleman's 1958-60 quartet that charted a freer course for jazz improvisation, Haden drew on the harmonies and melodies he learned playing country music.

His bass solo on "Ramblin"' from Coleman's 1960 album "Change of the Century" includes fragments from folk songs such as the fiddle tune "Old Joe Clark."

Haden, who leads such jazz groups as the noirish Quartet West and leftist Liberation Music Orchestra, sees the common link between jazz and country in that both are poor people's music related to "the struggle for independence, identity and to be recognized."

The seeds for "Rambling Boy" were planted 20 years ago when three generations of Hadens gathered in rural Missouri to celebrate his mother's 80th birthday.

Cameron, his wife and manager, suggested that everyone sing "You Are My Sunshine" and was struck by the harmonizing of the bassist's triplet daughters.

"The girls just fell into it and I think they all realized they blended so well because when you're related your voice, the timbre, seems to blend," said Cameron, who sings an Irish ballad, "Down by the Salley Gardens" on the new album.

Haden received further encouragement in 1997 when he picked up a Grammy for best instrumental jazz performance for his album with Metheny, "Beyond the Missouri Sky," that included Roy Acuff's "Precious Jewel."

Backstage, bassist Mark Fain, of Skaggs' bluegrass band, offered to help Haden do a country record in Nashville.

When Haden finally took Fain up on his offer, some of Nashville's finest musicians turned up for the January recording session.

They included Skaggs, guitarist Bryan Sutton, mandolin player Sam Bush, and vocalist Dan Tyminski, who was George Clooney's singing voice in the film "O Brother, Where Art Thou?"

http://www.thecanadianpress.com/

Cuban music and dancing at Watts Hall

2009-01-02T21:00:00.001-08:00

THOMASTON (Jan 3): Thomaston Public Library and Rockland's Good Tern Coop are sponsoring a Latin dance party with Brunswick-based Primo Cubano (left picture) Saturday evening, Jan. 10, at Watts Hall, Main Street/Route 1.
The fun will begin at 7:30 p.m. with a free salsa dance lesson with local dance instructor Nohora Estes, and the band will start playing at 8 p.m. The Good Tern will provide snacks and soft drinks.
Primo Cubano is a relatively new Maine band playing old Cuban music — the Son style as featured in the film and CD "Buena Vista Social Club." Son uses the traditional acoustic instrumentation of tres, upright bass, guitar and trumpet with the rich percussion of congas, bongos, maracas, guiro and claves. The songs' Spanish lyrics are sung in a rhythmic call and response style that's easy to join in on. The result is a smooth groove that makes listeners want to dance.

The band was started by longtime roots musician Paul D'Alessio, Maine native and member of bands The Danai Tribesmen, Holy Mackerels, Delco Ray and others. After an inspiring visit to Cuba in 2004, D'Alessio formed a core band of musicians who love to share this beautifully danceable folk music.

Primo Cubano's members bring skills from many years of playing in popular bands. Together, they have developed a repertoire of lively tunes that fill the floor with Latin dance lovers from the first song to the last.

The band partners with professional dance instructors to offer free Latin dance lessons to their guests at the beginning of performances so everyone can fully enjoy the movement that this rich music inspires.

Primo Cubano has been building its name recognition through a growing group of music fans and salsa dancers with full attendance at venues from Portsmouth, N.H., to the Midcoast. For more information about the band, visit primocubano.com.

Admission at the door will be $10, $18 per couple.
The dance party is a fundraiser for the Thomaston Interchurch Fellowship Food Pantry, which meets Tuesday and Thursday mornings at Watts Hall.

Art/Entertainment Editor Dagney C. Ernest can be reached at 207-594-4401 or by e-mail at dernest@villagesoup.com.

http://knox.villagesoup.com

Free bass guitar lessons...

2009-01-02T21:00:00.000-08:00

Carnival of jams
Ventura County Star, CA - 1 hour ago
Masson on guitar, Ron Jeffries on bass and Devin Lane on drums comprise this local trio of note, but there are usually extra friends on stage.

Spotlight: Class listings
Portsmouth Herald News, NH - Dec 31, 2008
Private lessons in piano, guitar, bass guitar, voice, etc. for children and adults. Portsmouth Music and Arts Center, Albany St., Portsmouth.

Fairfield County school teaches kids to rock out
Wilton Villager, CT - Dec 30, 2008
Now they have 30 children between the age of 9 and 16 with nine instructors teaching guitar, bass, keyboards, drums and vocals. Perrouna, like the rest of

RSVP - calendar
Fall River Herald News, USA - 1 hour ago
An alcohol-free lounge with live jazz and soul at Gallery X, 169 William St., New Bedford is hosted by Mwalim and The Bass Mint Bros and with featured

Jazz Clubs Listings New York
All About Jazz, PA - Dec 31, 2008
Here The Bad Plus returns to standard piano-bass-drums format, but with some new artillery — including, perhaps, head- spinning new treatments of

Former SALTY DOG Bassist Discusses Possibility Of Reunion - Nov. 7, 2008

2008-11-07T22:29:00.000-08:00

In a recent interview with Sleaze Roxx, bassist Michael Hannon of the '80s Los Angeles hard rock band SALTY DOG talked about the possibility of the group reuniting. An excerpt from the chat follows below.

Sleaze Roxx: In 2006, Jimmi Bleacher [vocals, guitar and harmonica] did an interview with Sleazeroxx.com and he said at that time you guys were really close to reuniting SALTY DOG. Has there been any interest since then?

Hannon: "It's funny you say that. Nobody really knows this; I've only told one other person this in the press. In August I went out to L.A. So did Jimmi. We met with Khurt Maier [drums] and we called Pete Reeven [guitar]. We were all going to get together and practice and see how it worked out because we had been offered a few shows to reunite. Everyone showed up except for Pete. He pulled out at the last minute and didn't want to do it. Me and Jimmi both came all the way from Ohio to fuckin Los Angeles. Our drummer booked the studio time then at the last minute Pete said no. He didn't want to do it after he told us yes. So that kind of fucked that in the ass."

Sleaze Roxx: That would probably put a damper on it then for the future?

Hannon: "Well, you know I've got a couple offers and one is a European thing, a Scandinavian thing. I said, 'hey here's my problem, would you be interested in three-fourths [of the original band] and have Steve, the guitar player from [Hannon's current band] AMERICAN DOG do it?' They said, 'Yeah, no problem.' It's kind of a joke how there's two L.A. GUNS and two FASTER PUSSYCATs and all that horseshit going on. So I'm thinking three of [the] four [original members] would be really good. I'd rather do it with all four but... there's so many people interested in SALTY DOG and I know they'd come see it. If they want it with three of the four, we're gonna do it like that."

Read the entire interview at Sleaze Roxx.

Deftones Bassist Injured in Car Crash

2008-11-07T22:20:00.000-08:00

Chi Cheng, the bassist for the Sacramento hard-rock band Deftones, was injured on Monday in a car crash in Santa Clara, Calif., that has left him comatose, The Sacramento Bee reported. According to The Bee, the band’s lead singer, Chino Moreno, confirmed that Mr. Cheng, 38, had been injured but did not give specifics about the accident or Mr. Cheng’s condition. Deftones, which was founded in 1988, has released five studio albums, including 2000’s “White Pony,” which earned the band a Grammy Award for the song “Elite.” The group has been recording a new album, titled “Eros” (Warner Brothers) since April.

Four FAQs for Beginning Bass Players

2008-03-09T10:29:00.000-07:00

1. How are basses tuned?

Four-string electric and upright basses are tuned in perfect fourths, E A D G from low to high. Five-string basses commonly add a low B, but some add a high C instead of the low B. Six-string basses usually have both the high C and the low B. Seven-string basses add an F# to the six-string layout. Eight-string basses are like 12-string guitars. There's an extra string added to each of the four standard strings, with the second set tuned an octave higher. 12-string basses add two "octave" strings to the pair, making four sets of three strings.

2. What is the difference between J Bass pickups, P Bass pickups & soapbars?

The P in P Bass pickups stands for Precision Bass. They are made of two single-coil pickups that are offset so they each pick up vibrations from two different strings. The signal is combined before it reaches the volume and tone controls. Each single-coil is wound in opposite directions to reduce hum. Basses usually have one P Bass pickup.

The J in J Bass pickups stands for Jazz Bass. They are made in one piece that picks up vibrations from all four strings. J Bass pickups are single-coils, and J Bass pickups usually have two of them; one near the neck and one by the bridge.

Soapbar pickups owe their name to their shape. These one-piece pickups are about twice as wide as J Bass pickups and can be wired as either single-coils or humbuckers.
Jazz Bass, J Bass, Precision Bass, and P Bass are trademarks of FMIC. All rights reserved. FMIC is neither affiliated with nor endorses any non-FMIC products.

3. What's the difference between bass strings?

There are two main flavors of bass strings: roundwound and flatwound. All wound strings are made by wrapping layers of wire around a core wire. Roundwound strings use a round wire as the wrap; flatwound strings use a flat ribbon wire. Roundwound strings deliver brighter sounds, but can emphasize squeaks. Flatwound strings have a duller sound with less extra noise.

Flatwound strings tend to keep a more consistent tone longer. Here's an extra tip: you can rejuvenate your roundwound strings by boiling them in vinegar or a mild detergent solution. It really works.

4. What is Biamping?

Biamping splits the signal from the bass preamp using a crossover. The highs are split from the lows and each is sent to a different power stage in the amp, and to separate speaker cabs. Low frequencies require more power to deliver the same volume, so this is ideal for situations where you have one cab with smaller drivers (4 x 10) for the highs and another cab with meatier speakers (4 x 15) for the lows.

http://www.musiciansfriend.com

How To Get A Great Bass Sound In Your Home Studio

2008-03-09T10:27:00.000-07:00

I spent more time in the early part of my engineering career trying to get a great bass sound than anything else. I tried going through a direct box. I tried miking the amp. I tried different amps. I tried different mics. I tried everything!

No matter how hard I tried, I always fell short of the mark. I went in search of the Holy Grail for bass sounds but never found it. I realized with time that the answer wasn't a singular prescription for success, but a collection of techniques that could be used as each situation dictated.

The first step in getting a good bass sound is of course, having a good sounding bass. "Good" being a subjective word, of course. With that in mind, let me simply say that the bass should have a nice balance between a rich bottom end and an articulate top end, great intonation, nice sustain, and no rattles or buzzes.

A few basic things to know about recording basses; First, and maybe foremost, the player has a great deal to do with the sound. As with many instruments, it's mostly in the fingers.

Second, the natural sound of the instrument is important. If the tonality isn't there to begin with, it's difficult at best to fake it. All the tube preamps and eq in the world can't hide a bass sound that's dull and lifeless.

Third, the strings. Round from flatwound, brass verses nickel. They all have a sound. The sound you like will be a personal choice. But, let me add that the song you're recording can and should dictate the type of sound you are going for. In other words, the bottom shouldn't sound alike for every type of song.

Fourth, recording a bass guitar with a direct box sounds differently than recording the bass by miking the amp.

Fifth, the tone you get on the bass itself will play a major role in getting your sound. Don't set and forget the onboard tone controls. Experiment.

Let's start with a direct box. There are many different brands. Some sound better than others. Do your homework. Ask your friends or engineers you know which they prefer. Try to find the brand and model which gives you the most bottom end, while also giving you the most definition or attack on the mid range frequencies. My personal favorite at the moment is made by Sans Amp.

It's usually best to use a compressor/limiter in line to keep your bass's signal from slamming into the red on the VU meter. A 3:1 ratio with a fast attack and slow release usually does the trick. A little higher ratio will give you more "punch" - too much compression will make the bass sound squashed. As always, experimentation is the key. And yes, tubes do make a difference. They'll arm up the sound, but they won't perform miracles.

I find that with most basses, I need to add about 4 db @ 80 HZ to fatten up the bottom end coming out of a direct box, and moderate compression gives me the "thump" I'm looking for. The more you can do with a bass's tone controls, the less work you'll have to do with equalizers.

I've also noticed that many direct boxes don't have a very fast slew rate. In plain English, that means the signal's rise and fall time is sluggish. What that means to the sound is the attack of the top end is often diminished, not due to the tone of the instrument, but the inadequacies of the box. Keep your ears open, and try several models. You'll be surprised at the wide range of sounds.

For miking the bass through an amp, I'll use a Fender Precision Bass as my imaginary example, and an old Bassman amp. A classic combination. I like to mic the cabinet with two microphones. A Senheiser 421 facing directly into one of the speakers at point blank range, and an AKG 414 (or any other good condensor mic) about four feet back from the cabinet. The close mic will give a more direct sound with an accentuated attack, and the distant mic will give you more of the low end (it takes several feet of "air" for a bass wave to develop).

By using various combinations of the two mics, I'm able to get a great sound that often just can't come out of one mic. While two mics can often spell trouble because of phase anomalies, this is a case where those same problems can work to your advantage. By balancing the signals different ways, you are effecting the phase relationship between the two mics and altering the eq curve, hopefully for the better. The amount you vary the signal is of course controlled by the faders on the respective channels of the console. The amount you move the faders to change the sound can often be measured by hair widths. A little dab will do ya!

Just for kicks, you can try adding a direct box to the aforementioned scenario, and send all three signals to the same track. The direct box often adds clarity to the whole sound that is nothing short of wonderful. Lesson learned: As always, experimentation pays. Be patient, be persistent, and most importantly, don't print it to tape unless you love it . . . or your client is getting ticked-off that you're taking way too long to get the sound!

By Michael Laskow

Bass Guitars Evolution

2008-02-23T09:44:00.000-08:00

This is a musical instrument of the string family. At the same time, it belongs to the guitar family, with a larger body and longer neck allowing longer musical distance or scale length. It's fingered or picked to vibrate its strings and therefore produce sound. This instrument is usually used with 4 strings, tuned one octave lower than the guitar

The bass guitar has been used by the music world for centuries. The 15th century “Viola da Gamba” was among the earliest known bass instrument. It was over 8 feet tall, with 6 to 7 strings, tuned similar to the present day double bass. With a fretted neck, a bow was used to play it. This overall look of “Viola de Gamba” has not changed in the next centuries. The size, shape, tone, parts, and woods were much the same although there were several variations in the number of strings.

THE EVOLUTION
The succeeding centuries would use strings ranging from 3 to 7. Throughout Europe, 3 and 4 string basses were used for 300 years. Germany and Austria used 4 to 5 strings until the 19th century while Italy, France and England used mainly the 3-string configuration until the 1870's. The next decades saw the dominance of the 4-string bass.

Starting from the 19th century, drastic changes were introduced initiated by Paul Tutmarc in the 1930's. He designed a bass that was very similar to a guitar, hand-held and carried and can be played horizontally. This concept was followed in the 1950s and 1960s by Leo Fender. The Leo Fender bass became the master model for the mass produced bass guitar. In 1971, the boutique or high end electric bass was introduced. In the 1979 new products were born such as the headless bass-the tuning machines are in the bridge. In the 1980's other innovations using new materials such as graphite were marketed. In 1987, the Ashbory bass was launched-ultra small body, 100% portable/light weight, nylon strings with an unexpected big bottomed sound.

MATERIALS & CONSTRUCTION
The usual material used for basses is wood (most common is alder for the body, or exotic woods such as bubinga, wenge, ovangkol, ebony or goncalo alves; maple or ash for the neck or graphite and carbon fiber for lightweight necks; and rosewood for the fretboard). Apart from aesthetic reasons, careful selection of material must be done because the material used has a significant effect on the timbre of the bass guitar. For the final finish, lacquer, wax and oil is used. With the advent of artificial materials such as luthite, unique production methods such as die-casting can be employed to allow manufacture of complex body shapes that would in turn allow convenience in holding the instrument.

Most bass guitars have solid bodies but can also have hollow chambers for increased resonance or to lessen the weight of the instrument. But caution must be noted as hollow bodies change the tone and resonance of the bass guitar. For the strings, all-metal (roundwound or flatwound) with coverings of either tapewound or plastic coatings, and non-metal strings made of nylon are used.

BASSES & GUITARS
Though from the family of guitars, a bass guitar has striking differences from the guitar. The simplest and basic difference is the pitch range of the instruments. Bass guitar plays notes an octave lower than a guitar.

Another unique difference is in the quality of sound produced by a bass. A bass guitar has a unique way of producing sound if played with the fingers or plucked. If played with the fingers using 2, 3 or 4 fingers, the bass guitar can create different rhythms and produce tonal differences that wouldn’t be possible if the instrument is played with a pick.

Another difference is the role the instrument plays in a musical group. Although the bass is very critical in the band, it normally would play a secondary role. Though the bass guitar could have solo acts and could play much like that of a guitar, traditionally (what is usually expected by people), a guitar is more visible or is more in the frontline or spotlight.

Though normally playing secondary roles, these roles played by the bass guitar varies depending on the type of music. The degree of prominence may also differ depending on the genre. The bass guitar is normally used to provide the low-pitched bass lines in pop music and jazz. It is used as a solo instrument in jazz, fusion, Latin, and funk styles. Rock and Roll, heavy metal, punk, reggae, and soul also use bass guitar as a solo instrument.

The bass guitar plays varied roles for orchestral settings. Traditionally, orchestral settings employ the double bass guitar but 20th century composers have started to use the electric bass

FAMOUS BASSISTS
Some of the famous bassists are Jimmy Blanton and Charles Mingus. Jimmy Blanton was a virtuoso bassist playing the bass like a horn producing melodic lines. He is regarded as the first true master of the jazz bass. Charles Mingus was an American jazz credited with hot and soul feel jazz music. Other well-known bass players are Stefan Lessard, Victor Wooten, Flea and James Jamerson. Stefan Kahil Lessard is the bassist for the Dave Matthews Band. Victor Wooten is regarded as the most influential bassist and is a member of the Bela Fleck & the Flectones, a Grammy-awarded group

Flea or Michael Perter Balzary was born in Melbourne Australia, migrated to the U.S. and is a member of the famous L.A. band, Red Hot Chili Peppers. James Jamerson is an influential bassist from the band, Motown

ABOUT THE TECHNIQUES
Various methods are used in playing the bass. The “slap and pop” method popularized in the 1960s till 1970s by Larry Graham of the Sly and Family Stone is produced by thumping a string with the thumb and snapping the strings with the index or middle fingers. Such technique produces percussive sounds. This technique was further improved by Stanley Clarke and Louis Johnson and is used by other bassist in other genres such as rock bassists Flea, JJ Burnel and Les Claypool; jazz-fusion bassist Victor Wooten. Later on Wooten developed other methods. He popularized the "double thump" method wherein the string is slapped twice, on the upstroke and a downstroke.

Luciano Figallo
http://www.guitar4ever.net/

Strings and tuning

2008-02-23T09:42:00.000-08:00

The standard design for the electric bass has four strings, tuned E, A, D and G, in fourths such that the open highest string, G, is an eleventh (an octave and a fourth) below middle C, making the tuning of all four strings the same as that of the double bass. This tuning is also the same as the standard tuning on the lower four strings on a 6-string guitar, only an octave lower. String types include all-metal strings (roundwound, flatwound, groundwound, or halfwound), metal strings with different coverings, such as tapewound and plastic-coatings. The variety of materials used in the strings gives bass players a range of tonal options.

In the 1950s, bassists often used flatwound strings with a smooth surface, which had a smooth, damped sound reminiscent of a double bass. In the 1960s and 1970s, roundwound bass strings similar to guitar strings became popular. Roundwounds have a brighter timbre with greater sustain than flatwounds. Flatwounds are still used by some bassists who want a more 'vintage' or Motown-style sound.

A number of other tuning options and bass types have been used to extend the range of the instrument. The most common are:

* Four strings with alternate tunings to obtain an extended lower range.
* Five strings usually tuned B-E-A-D-G (the earliest 5 string basses were tuned E-A-D-G-C and this is still a popular tuning for jazz). Other tunings such as C-E-A-D-G are used, but this is rare. The 5th string provides a greater lower or upper range than the 4-string bass, and gives access to more notes for any given hand position.

* Six strings (usually B-E-A-D-G-C, but sometimes E-A-D-G-B-E or F#-B-E-A-D-G). The 6-string bass is a 4-string bass with an additional low "B" string and a high "C" string. While much less common than 4- or 5-string basses, they are still used in Latin, jazz, and several other genres. A few players have tuned the high C down to a B (giving B-E-A-D-G-B) matching the E-A-D-G-B found on the first five strings of an acoustic or electric guitar.
* Detuners, such as the Hipshot, are mechanical devices operated by the right or left-hand thumb that allow one or more strings to be quickly detuned to a pre-set lower pitch. Hipshots are typically used to drop the "E"-string down to "D" on a four string bass.

www.wikipedia.org

Fretted and fretless basses

2008-02-23T09:38:00.000-08:00

Another design consideration for the bass is whether to use frets on the fingerboard. On a fretted bass, the frets divide the fingerboard into semitone divisions, (as on a normal guitar). The original Fender basses had 20 frets, but modern basses may have 24 or more.

Fretless basses have a distinct sound, because the absence of frets means that the string must be pressed down directly onto the wood of the fingerboard. The string buzzes against the wood, as with the double bass, creating a "mwaah" sound. The fretless bass allows players to use the expressive devices of glissando, vibrato and microtonal intonations such as quarter tones and just intonation. Some bassists use both fretted and fretless basses in performances, according to the type of material they are performing. While fretless basses are often associated with jazz and jazz fusion, bassists from other genres use fretless basses, such as metal bassist Steve DiGiorgio. The first fretless bass guitar was made by Bill Wyman in 1961 when he converted an inexpensive Japanese fretted bass by removing the frets. The first production fretless bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless Precision Bass in 1970. In the early 1970s, fusion-jazz bassist Jaco Pastorius created his own fretless bass by removing the frets from a Fender Jazz Bass, filling the holes with wood putty, and coating the fretboard with epoxy resin.

Some fretless basses have "fret line" markers inlaid in the fingerboard as a guide, while others only use guide marks on the side of the neck. Tapewound (Double Bass Type) strings are sometimes used with the fretless bass so that the metal string windings will not wear down the fingerboard. Some fretless basses have fingerboards which are coated with epoxy to increase the durability of the fingerboard, enhance sustain and give a brighter tone. Although most fretless basses have four strings, five-string and six-string fretless basses are also available. Fretless basses with more than six strings are also available as "boutique" or custom-made instruments.

www.wikipedia.org

Design considerations

2008-02-23T09:36:00.000-08:00

A wide variety of different options are available for the body, neck, pickups, and other features of the bass. Instruments handmade by highly-skilled luthiers are becoming increasingly available. Bass bodies are typically made of wood although other materials such as graphite (for example, some of the Steinberger designs) have also been used. While a wide variety of woods are suitable for use in the body, neck, and fretboard of the bass guitar - the most common type of wood used for the body is alder, for the neck is maple, and for the fretboard is rosewood. Other commonly used woods include mahogany, maple, ash, and poplar for bodies, mahogany for necks, and ebony for fretboards.

The choice of body material and shape can have a significant impact on the timbre of the completed instrument as well as on aesthetic considerations. Other design options include finishes, such as lacquer, wax and oil; flat and carved designs; Luthier-produced custom-designed instruments; headless basses, which have tuning machines in the bridge of the instrument (e.g.Steinberger and Hohner designs) and several artificial materials such as luthite. The use of artificial materials allows for unique production techniques such as die-casting, to produce complex body shapes.

While most basses have solid bodies, they can also include hollow chambers to increase the resonance or reduce the weight of the instrument. Some basses are built with entirely hollow bodies, which changes the tone and resonance of the instrument. Acoustic bass guitars are typically equipped with piezoelectric or magnetic pickups and amplified.
Bass guitar necks, which are longer than regular electric guitar necks, are generally made of maple. More exotic woods include bubinga, wenge, ovangkol, ebony and goncalo alves. Graphite or carbon fiber are used to make lightweight necks and, in some cases, entire basses.
The "long scale" necks used on Leo Fender's basses, giving a scale length (distance between nut and bridge) of 34", remain the standard for electric basses. However, 30" or "short scale" instruments, such as the Höfner Violin Bass, played by Paul McCartney, and the Fender Mustang Bass are popular, especially for players with smaller hands. While 35", 35.5" and 36" scale lengths were once only available in "boutique" instruments, in the 2000s, many manufacturers have begun offering these lengths, also called an "extra long scale." This extra long scale provides a higher string tension, which yields a more defined tone on the low "B" string of 5- and 6-stringed instruments (or detuned 4-string basses).

www.wikipedia.org

Bass history

2008-02-23T09:31:00.000-08:00

1930s

In the 1930s, inventor Paul Tutmarc from Seattle, Washington, developed the first guitar-style electric bass instrument that was fretted and designed to be held and played horizontally. The 1935 sales catalogue for Tutmarc's company, Audiovox, featured his "electronic bass fiddle," a four stringed, solid bodied, fretted electric bass guitar with a 30 ½" scale length. The change to a "guitar" form made the instrument easier to hold and transport, and the addition of guitar-style frets enabled bassists to play in tune more easily and made the new electric bass easier to learn. However, Tutmarc's inventions never caught the public imagination, and little further development of the instrument took place until the 1950s.

1950s-1960s

In the 1950s, Leo Fender developed the first mass-produced electric bass. His Fender Precision Bass, introduced in 1951, became a widely copied industry standard. The Precision Bass (or "P-bass") evolved from a simple, uncontoured 'slab' body design similar to that of a Telecaster with a single coil pickup, to a contoured body design with beveled edges for comfort and a single four-pole "split coil pickup."
Gibson EB-3.
Gibson EB-3.
Rickenbacker 4001
Rickenbacker 4001

Following Fender's lead, Gibson released the violin-shaped EB-1 Bass in 19533, followed by the more conventional-looking EB-0 Bass in 1959. As with Fender's designs, Gibson relied heavily upon an existing guitar design for this bass; the EB-0 was very similar to a Gibson SG in appearance (although the earliest examples have a slab-sided body shape closer to that of the double-cutaway Les Paul Special).

Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket. The EB-3, introduced in 1961, also had a "mini-humbucker" at the bridge position. Gibson basses also tended to be smaller, sleeker instruments; Gibson did not produce a 34" scale bass until 1963 with the release of the Thunderbird, which was also the first Gibson bass to utilize dual-humbucking pickups in a more traditional position, about halfway between the neck and bridge.

A small number of other companies such as Rickenbacker, Danelectro and Hofner also began manufacturing bass guitars during the 1950's. With the explosion of the popularity of rock music in the 1960s many more manufacturers began making bass guitars.

First introduced in 1960, The Fender Jazz Bass was known as the Deluxe Bass and was meant to accompany the Jazzmaster guitar. The Jazz Bass (often referred to as a "J-bass") featured two single-coil pickups, one close to the bridge and one in the Precision bass' split coil pickup position, and was designed by Leo Fender to be an easier bass for a guitarist to play than the existing Precision Bass, due to the narrower nut (noted later). The earliest production basses had a 'stacked' volume and tone control for each pickup. This was soon changed to the familiar configuration of a volume control for each pickup, and a single, passive tone control. The Jazz Bass' neck was narrower at the nut than the Precision bass (1½" versus 1¾").

Another visual difference that set the Jazz Bass apart from the Precision is its "offset-waist" body. Pickup shapes on electric basses are often referred to as "P" or "J" pickups in reference to the visual and electrical differences between the Precision Bass and Jazz Bass pickups. Fender also began production of the Mustang Bass; a 30" scale length instrument used by bassists such as Tina Weymouth of Talking Heads ("P" and "J" basses have a scale length of 34", a design echoed on most current production electric basses of all makes).

In the 1950s and 1960s, the term "Fender bass" was widely used to describe the bass guitar, due to Fender's early dominance in the market for mass-produced bass guitars. The term "electric bass" began replacing "Fender bass" in the late 1960s, however, as evidenced by the title of Carol Kaye's popular bass instructional book in 1969 (How to Play the Electric Bass) and the use of the term "electric bass" by U.S. musicians' unions. The instrument is also referred to as an "electric bass guitar", "electronic bass", or simply "bass".

1970s

The 1970s saw the founding of Music Man Instruments, owned by Leo Fender, which produced the StingRay, the first widely-produced bass with active (powered) electronics. This amounts to an impedance buffering pre-amplifier on-board the instrument to lower the output impedance of the bass's pickup circuit, increasing low-end output, and overall frequency response (more lows and highs). Specific models became identified with particular styles of music, such as the Rickenbacker 4001 series, which became identified with progressive rock bassists like Chris Squire of Yes, while the StingRay was used by Louis Johnson of the funk band The Brothers Johnson.

In 1971 Alembic established the template for what would subsequently be known as "boutique" or "high end" electric basses. These expensive, custom-tailored instruments featured unique designs, premium wood bodies chosen and hand-finished by master craftspeople, onboard electronics for preamplification and equalization, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. In the mid-1970s, Alembic and other "boutique" bass manufacturers such as Tobias, and Ken Smith produced 4- string basses and 5-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to a 6-string bass tuned (low to high) B, E, A, D, G, C.

1980s-2000s

In the 1980s, bass designers continued to explore new approaches. Ned Steinberger introduced a headless bass in 1979 and continued his innovations in the 1980s, using graphite and other new materials and (in 1984) introducing the Trans-Trem tremolo bar. In 1987, the Guild Guitar Corporation launched the fretless Ashbory bass, which used silicone rubber strings and a piezoelectric pickup to achieve a "double bass" sound with a short 18" scale length. In the late 1980s, MTV's "Unplugged" show helped to popularize hollow-bodied acoustic bass guitars amplified with pickups.

During the 1990s, as five-string basses became more widely available and more affordable, an increasing number of bassists in genres ranging from metal to gospel began using five-string instruments for added lower range. As well, the onboard battery-powered electronics such as preamplifiers and equalizer circuits, which were previously only available on expensive "boutique" instruments, became increasingly available on modestly-priced basses.

In the 2000s, some bass manufacturers included digital modelling circuits inside the instrument to recreate tones and sounds from many models of basses (e.g., Line 6's Variax bass). Traditional bass designs such as the Fender Precision Bass and Fender Jazz Bass remain popular in the 2000s; in 2006, a 60th Anniversary P-bass was introduced by Fender.

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Electric Guitar Bass

2008-02-23T09:25:00.000-08:00

The electric bass guitar is a bass stringed instrument played primarily with the fingers (either by plucking, slapping, popping, or tapping) or using a pick. The bass is similar in appearance and construction to an electric guitar, but with a larger body, a longer neck and scale length, and usually four strings tuned one octave lower in pitch than the four lower strings of a guitar.

Since the 1950s, the electric bass guitar has largely replaced the double bass in popular music. The bass guitar provides the low-pitched bassline(s) and bass runs in many different styles of music ranging from rock and metal to blues and jazz. It is also used as a soloing instrument in jazz, fusion, Latin, funk, and rock styles.