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35 Articles

Some bass players cannot be stopped. Not even death can defeat them.

Whatever you may have thought of Motörhead, you couldn’t deny the impact of their music, delivered by the genuinely iconic Ian ‘Lemmy’ Kilmister, who died in 2015 at the age of 70. Of course, a lot of people didn’t like his songs, his singing, or his image, come to that: Lemmy wasn’t exactly someone you could easily define or ignore. As a bass player, his tones and playing style were unorthodox to say the least, but they propelled him to a godlike position in our world... even if, as I say, his music wasn’t for you. In this issue, we show you to achieve those very bass tones, we look back at Lemmy’s chaotic life, and we ask why he remains as popular in the afterlife as he was when…

Some bass players cannot be stopped. Not even death can defeat them.

Emmett Chapman, the inventor of the Chapman Stick, died on November 1. A post on the homepage of the Stick Enterprises site reads: “The musician, inventor of the Free Hands two-handed tapping method and the Chapman Stick, and founder of Stick Enterprises, died at his home on Monday, November 1, after a long battle with cancer.” Chapman invented the 10-string instrument, which he dubbed The Stick, in the late Sixties. A keen jazz guitarist with an eye for innovation, Chapman already played a custom long-scale nine-string guitar, which included a gear shift lever for a “wild string”, allowing him to access various different intervals on demand. He had begun to practice playing while standing, and one night hit upon the method of playing the instrument in an upright position, using…

A new Zoom multi-effects unit for bass, the B6, has been launched at an approximately midmarket price point of $650—and you get a wide range of features for your money. It includes 11 bass amp and four DI tones, based on tube and solid-state models, a dual input (with adjustable impedance from 1M to 10M ohms) and an A/B switch, enabling players to quickly swap between two instruments. There’s a 4.3” color touchscreen, nine footswitches, a looper, and 10 new preamp and effects models, including Bass Analog Octave, a ‘1073’ preamp, and a new ‘Djent preamp’. Review incoming.…

Upright Citizens

The late saxophonist John Coltrane arguably peaked with his iconic 1964 album A Love Supreme, bringing spiritual themes to his art; a new live album, A Love Supreme: Live In Seattle restates the album’s impact. Coltrane’s band features Jimmy Garrison plus a second bassist, Donald Rafael Garrett. Jazz lovers will also appreciate Esperanza Spalding’s recent eighth album, Songwrights Apothecary Lab, containing 12 tracks, each assembled with the help of music therapists, neuroscientists, experts in Sufism and South Indian Carnatic music to evoke particular emotions.…

Upright Citizens

Amp-, bass- and pedal-makers Ashdown have unveiled a new signature head for Guy Pratt, the Interstellar-600, and a new signature pedal, the Pedal Of Doom, for Geezer Butler. The former is based on Ashdown’s ABM 900 head, and boasts extra features, such as two VU meters for input and output levels, a nine-band EQ section and, on the rear, an input for Pratt’s Moog Taurus pedal. The amp can be used with a footswitch to engage “the compression and the sub harmonics at fixed values to Guy’s exacting specifications when required”. As for the Pedal Of Doom, Ashdown tell us: “Over the past 18 months, we have been talking about what a great bass distortion requires: Fundamentally it revolves around an EQ, a predetermined structure to drive the right frequencies…

2021 was supposed to be the year that the live music industry got back to normal, but we know now that it’ll be 2022 at the earliest before we’re all jumping around in the front row in serious numbers. A whole range of cool tours have been announced by a range of optimistic bands, which has been rewarding to see, so let’s hope conditions continue to improve—because plans are for a whole lot of great bass players to hit the road. Keep an eye out for Cannibal Corpse, whose violent death metal should shake off those winter blues Make sure you catch the Red Hot Chili Peppers, whose impending world tour will see Flea and crew a-funking their way through 32 cities around the planet. Recently rejoined by their Blood…

IN THE Groove AL DI MEOLA : ELECTRIC RENDEZVOUS (COLUMBIA, 1982)

“The late Seventies and early Eighties were my developmental era, when I was playing jazz band at high school and being introduced to Weather Report and Spyro Gyra. The timing of this album was perfect in that context, because it came out the year before I graduated high school and moved to Los Angeles. “This is the perfect Anthony Jackson record for me. It’s the album that sat most comfortably in my wheelhouse, as a rock and metal guy. He can be a real pocket player, and he does that on this album, because these are actual songs rather than experimental jazz compositions. I loved that his tone sat inside the kick drum: He just owns it with the pick, and he’s using a flanger, too. “One thing that might…

IN THE Groove AL DI MEOLA : ELECTRIC RENDEZVOUS (COLUMBIA, 1982)

Peter Hook was born Peter Woodhead in 1956, and was the towering talent on the bass behind the seminal bands Joy Division and New Order, as well as projects including Monaco and the short-lived three-bassist group Freebass. Famed for his melodic, often high-register bass-lines, Hooky’s current project is Peter Hook & The Light, in which he plays bass and sings alongside his long-time collaborator David Potts and his own son, Jack Bates. Hooky’s long career has been one of peaks and troughs, with the music’s success both in terms of sales and quality occasionally hindered by record company shenanigans, poor decisions, and sheer bad luck. His Rochdale studio in the late Eighties played host to most of the upcoming Madchester bands, from the Stone Roses to the Happy Mondays, all…

When Jimi Hendrix asked Jack Bruce if he could play with Cream in 1967, what did Jack say?

"I first met Jimi Hendrix when Cream did a gig at the Regents Polytechnic in London,” the late Jack Bruce told BPa few years back. “Coincidentally, the guys that became Pink Floyd were in the audience, and apparently seeing that event made them become Pink Floyd. When I saw them recently, they told me that. I knew they were there, but I didn’t know that we were responsible for them getting together. Whether that’s a good thing or a bad thing, I leave that for you to decide...” The great bassist continued: “I was just having a pre-gig pint in a pub across the road, and in comes this guy who turns out to be Jimi Hendrix. Now, we had already heard about Jimi on the grapevine. He came up…

When Jimi Hendrix asked Jack Bruce if he could play with Cream in 1967, what did Jack say?

HOLIDAY SEASON GIGS

As we start to approach the holidays, we hit a peak season for gigging, whether that’s touring original music, or taking on the deluge of Christmas parties and weddings. As the live industry starts to pick up again, it’s important that we ready ourselves for this intense period. Having had plenty of my own experiences doing both, I felt it was a prime opportunity to impart some honest truths for tackling these live scenarios. MANAGE YOUR EXPECTATIONS Not every gig will be a good experience—there, I said it. Perhaps you already knew that, but we often find ourselves, almost romantically, holding out hope for a good show every time, despite so many factors being outside of our control. As easy as it is to dwell on the negatives when they…

HOLIDAY SEASON GIGS

ACOUSTICS ANALYZED

Economically-accessible digital modelling devices first flooded into the market just over 20 years ago. Since then, increasingly sophisticated digital amplifier and speaker emulators have become common tools for musicians. This technology marked the beginning of a new ‘post-fidelity’ era. Emerging technology has undeniably created some impressive new product categories. Among the digital amp emulators and multi-effect processors, a new generation of Class D solid state amplifiers also emerged. Less than a generation ago, bass players had to transport amplification the size of refrigerators if they hoped to keep pace with a live drummer and a 25-watt guitar combo. These increasingly diminutive amplifiers have greatly lightened our load. However, it’s unfortunate that an insatiable desire to get more from less has created an environment in which many newer bass players have…

ACOUSTICS ANALYZED

LET'S BORROW CHORDS

The concept of modal interchange is actually very simple: a song borrows chords from a parallel scale. By parallel we mean a different type of scale built on the same tonic, so for example we use chords from the key of C major, but then we may also use chords, within a passage or piece, from C minor. It doesn’t constitute a modulation as such, as the tonal center remains the same—it’s merely a change of tonality. This is a compositional device that is apparent in most Western music to varying degrees, and we encounter it in the popular repertoire quite frequently. If this is a new concept to you, it will expand your knowledge of chord progressions and compositional techniques significantly, while also developing your aural skills. Have fun!…

LET'S BORROW CHORDS

"I’m made for bass—I’m supposed to play bass, that’s what I’m supposed to do,” said Ian ‘Lemmy’ Kilmister, who departed for the great gig in the sky in December 2015. In our world, bass is indeed what the great man remains best known for, but let’s not forget that he was many other things, too—a singer, songwriter, guitarist, blues harp player, TV personality, actor, and most certainly a bon viveur. You could even label Lemmy an intellectual, arguably, as he was widely read, politically informed, and able to discourse learnedly on a number of philosophical subjects. The great contrast there, of course, was that he indulged in the rock’n’roll lifestyle with as much commitment as any of the elite, at least in his younger days, working his way through speed,…

SPEAKERS CORNER

“I loved everything about Motörhead. We played with them so often that we became tight with their crew as well as the guys themselves. I would watch their sets from the monitor board at the side, because I wanted to see how the magic worked. I always watched how Lemmy picked the strings, and I realized he was using two different types of pick. “His onstage sound was ferocious. Those Marshalls were easily the loudest thing on the stage, hands down. I loved every second of it. He and the drummer, Mikkey Dee, would go at each other all the time, because Mikkey had Lemmy’s amps—basically an entire PA system—blasting away behind him. He’d shout ‘You’re fucking killing me, man!’ and Lemmy would shout back at him, just like Charlie…

SPEAKERS CORNER

Describing the tone of Lemmy’s overdriven bass isn’t easy, although many have tried. The classic Motörhead line-up with guitarist ‘Fast’ Eddie Clarke and drummer Phil ‘Philthy’ Taylor didn’t sound like other bands, precisely because of the sound emanating from Lemmy’ speakers. Clarke explained, “He plays a Marshall amp with all the treble up and all the bass down, and he also plays a Rickenbacker bass, so if you can imagine the sound that you would get from that, it’s kind of like a rhythm guitar more than a bass.” More colorfully, Taylor remarked, “Our sound is not exactly as clear as a lot of other bands because of the way Lemmy plays bass. He plays it like a rhythm guitar, and he also likes a very trebly sort of ‘clappy’…

“Lemmy had this huge glass, maybe 12 inches tall, which he would fill up to an inch from the top with ice and Jack Daniel’s, and add a little Coca-Cola. Needless to say, things got a little confused: [Motörhead drummer] Philthy couldn’t remember his parts, and we spent an entire day going over the songs and getting them right, and then we recorded them.” “We started mixing at a studio called One On One, owned by a guy named Richard Landis, which had a solid-state SSL 4000 series desk. The three songs we were mixing were ‘Going To Brazil’, ‘Love Me Forever’ and ‘No Voices In The Sky’, which I think is a great song. "So I’m mixing one of the songs, and Lemmy walks in. He had taken one…

THE SOUND OF BASS

The Bay Area native, now Boston-based musician and entrepreneur Kristin Bidwell has fulfilled many roles in the world of bass, as she tells us while preparing her new album, Net Zero. Bidwell attended the Berklee College of Music, where she completed a dual bachelor’s degree in Music Business and Music Production and Engineering before going on to study entrepreneurship at Masters level. Since then she has built parallel careers in music, both on and off the stage. Who influenced you as a bass player in your early career, Kristin? Carol Kaye was the first teacher I studied with out of college. I messed around with bass in high school, and studied bass with some friends during college, but I really wanted to do studio work and tour internationally. Carol taught…

THE SOUND OF BASS

"We realized we were in danger of becoming the Best Specials Tribute Band In The World,” chuckles Horace Panter, “and that’s something none of us are interested in becoming. The time was right, and oddly, the pandemic gave us, as it did many people, a chance for a rethink.” We’re sitting with our morning coffees in a freshly-gentrified quarter of Birmingham, where the Specials are playing tonight, and we’re talking about how one of the UK’s most emblematically political bands has found a whole new lease of life. In March 2020, the Specials convened for what they thought would be the recording of a new album. The pandemic put paid to those plans, but oddly, it also gave the group—now pared down after the sad passing of drummer John Bradbury…

Burnt Sugar—whose full title is Burnt Sugar, The Arkestra Chamber—makes music like you’ve never heard before. In fact, they’ve never really heard it, either: This highly improvisatory and eclectic group creates new pieces every performance via a special hand-signal conducting system. The collective is co-led by groove-guru bassist Jared Michael Nickerson, whose musical background spans funk, rock, pop, and more. His upbringing in Dayton, Ohio informs that span of genres, and in turn his stylistic choices in Burnt Sugar. Nickerson and the band recently released a new album, Angels Over Oakanda, so we hit him with some burning questions. How does Angels Over Oakanda differ from Burnt Sugar’s other albums? It could probably be linked right up to the first four records as far as its spirit, but it’s pandemic-related.…

You’ll have heard of Black Flag, the hardcore punk band who formed in 1976 and are still going today, although there have been many breaks in their activity. Their most renowned line-up, and also their most prolific, consisted in the mid-Eighties of Henry Rollins (vocals), Greg Ginn (guitar), Kira Roessler (bass), and Bill Stevenson (drums), who made an enduring cult impact with releases such as Family Man and Slip It In (both 1984). Roessler parted ways with Black Flag in 1985 and formed a two-bass band, Dos, with her then-husband Mike Watt of the Minutemen. The duo continue to operate sporadically, but her main focus as a career these days is as a dialogue and sound editor on a number of TV and film productions. Two of these have been…

Back in September, the alternative-rock stalwarts Faith No More were forced to cancel a string of live shows alongside System Of A Down due to the mental health struggles of FNM singer Mike Patton. Supporting their comrade through his issue, the other band-members—Jon Hudson (guitar), Mike Bordin (drums), Roddy Bottum (keyboards), and our long-time friend, Bill Gould (bass)—have kept busy with other projects. Gould, a record-label owner, occasional guest bassist with projects such as the astonishing MC50 project a couple of years back, and also importer into the USA of the Yebiga Prva rakija spirit, has called to tell us what’s been happening lately. For starters, he fills us in on his ongoing battle to rebuild his flooded studio in Oakland, CA, where FNM recorded their last studio album Sol…

Phil Thornalley, songwriter and bass player, laughs as he recalls the creation of a certain iconic bass part. Back in 1983, he was producing the British band The Cure when their long-time bass player Simon Gallup stepped away from the band for a while. In Gallup’s absence, a single called ‘The Love Cats’ was given an unusual bass part. “Robert Smith, the Cure’s singer, had shown me the principal bass-line when we were on tour, and I’d learned it on electric bass. When we got to the studio to record it, I saw this double bass—and Robert said to me, ‘You’ve gotta play that!’ I had to get a tuner out and put some marks on the bass neck, because I had no idea where the notes were. When we…

How did you get started on bass? MATTEO I officially started playing bass in 2010 with a band called Donkey Breeder, a progressive band from Modena, Italy, my home town. The guys were in need of a new bassist ,and the previous one was, like me, a guitarist playing on bass, so it was my job from the beginning. I gave it a try, the guys liked me, I loved bass from the first touch and I haven’t stopped since then. Thanks to Donkey Breeder’s bass playing, I got a job in Blindead, and my adventure with Me And That Man started when I joined the band in 2017. FOZ I picked up the bass for this band! Through school I messed about with other instruments, and one day Perry…

Behold our world-beating bass gear review section, where we bring you the crop of each month’s new, interesting, or otherwise relevant bass guitars, bass amplifiers, bass cabs, and bass effects. Occasionally we’ll review a guitar effect if it’s useful for bassists, but generally speaking, this zone is reserved for bass-specific gear. We take our reviews seriously. BPis the last English-language print magazine devoted solely to bass in the world, and we have readers all over the planet, so we’re responsible about our conclusions. If a product is worth your time, we’ll say so; if it’s flawed, we’ll make that clear. We’re not answerable to advertisers in any way, and our tests are independent of the views of musicians, manufacturers, and distributors. When you read about a product here, you’re getting…

GODIN A5 Ultra AE

Godin’s sumptuous A4 and A5 acoustic-electric basses, the AE range, have been around for a few years: This new 2021 version has a redesigned electronics suite for bass players looking for an acoustic element to their sound. Beautifully designed and assembled, the A5 that we’ve been sent for review comes with a pricetag that will make most of us wince, especially in these impoverished early months of the year—but you do get a whole lot of bass innovation for your bucks. Build Quality This instrument oozes a feeling of quality, from the semi-gloss finish of the body, the almost frictionless rear neck finish and the diamond-hard Richlite fretboard. It feels expensive but also innovative, partly because its construction—essentially a chunky, Precision-style neck bolted to a partly acoustic body—is genuinely unusual.…

GODIN A5 Ultra AE

HARLEY BENTON CLB-10SE

The Harley Benton brand has made significant strides in recent times with their budget-conscious bass offerings, and this electro-acoustic is no exception. Designed as a ‘travel’ bass, its 23.5” scale length makes it ideal for players who need an affordable alternative to carrying a long-scale, regular-sized instrument with them on their travels. Equipped with a three-band preamp and tuner, it would appear to have the necessary features of an electro-acoustic instrument. So how does it perform? Build Quality The bass displays some fine timber choices and finishing, with mahogany used for the back and sides, a sitka spruce top, a nyatoh neck and laurel fingerboard, and ivory binding around the body and fingerboard edges. An abalone rosette surrounds the soundhole, with pearl front position markers along the front of the…

HARLEY BENTON CLB-10SE

KUSTOM KXB Combos

Kustom’s new KXB series of combos begins with 6” and 10” speaker-equipped 10-watt home practice units, and moves up to 20 and 100-watt alternatives, geared towards rehearsal and small-sized gigs. These units are sensibly priced and shouldn’t blow too large a hole in your finances. Looking at the two combos here, simplicity and ease of use are common factors in their design, but do they pack enough of a punch where it counts? Build Quality Fitted with metal corner protectors, metal grilles, and rubber carry handles on the top of both units, the KXB100 and KXB10 follow a clean and simple design principle: This is carried over onto the control panel and selection of controls on both units. Simplicity is very much the order of the day here, with familiar…

KUSTOM KXB Combos

ASHDOWN John Myung Double Drive FENDER Trapper Bass Distortion

Why take two distortion pedals out when you can take one? That’s the logic behind both of these handsome effects units, one from Ashdown and the other from Fender. The former is the signature overdrive of Dream Theater’s bassist extraordinaire John Myung, a user of Ashdown’s amps, and the latter an all-purpose unit that is half the size and half the price. This review isn’t a comparison of these two high-functioning units, though: Simply an exploration of what you can get for a certain outlay if you’re looking for a pedal with more than one drive option. Ashdown have produced their Double Drive pedal after consultation with Myung and his bass tech Maddi Schieferstein, the idea being to create a pedal that would sit well tonally with his signature Ernie…

ASHDOWN John Myung Double Drive FENDER Trapper Bass Distortion

RYAN MADORA Dig into your favorite bass parts... and discover treasure! Ryan Madora is one of Nashville’s most sought-after touring and session bassists. Recent touring and session credits include Robben Ford, Kyshona Armstrong, and her instrumental trio, The Interludes. For the past five years, she has served as musical director for Bobby Bones, and has played with Garth Brooks, Darius Rucker, and Carrie Underwood. In addition to instructing at Nashville’s campus of Musician’s Institute, Ryan has taught at Gerald Veasley’s Bass Boot Camp, Rock’n’Roll Fantasy Camp, and at colleges across the USA. She has contributed columns to No Treble for over a decade, and in 2019, published her first book, Bass Players To Know: Learning From The Greats. Ryan offers online education at TrueFire and her website. www.ryanmadora.com Facebook ryanmadoramusic…

BP Notation Legend

The Stave: Most music written for the bass guitar uses the bass clef. The example to the right shows the placement of the notes on the stave. Tablature: This is a graphical representation of the music. Each horizontal line corresponds with a string on the bass guitar, with the lowest line representing the lowest pitched string (E). The numbers represent the frets to be played. Numbers stacked vertically indicate notes that are played together. Where basses with five or six strings are required, the tablature stave will have five or six lines as necessary. PLAYING TECHNIQUES SLAP AND POP TECHNIQUE Notes slapped with the thumb are marked with a ‘t’, notes popped with the fingers marked with a ‘p’. ADVANCED SLAP TECHNIQUE Fretting hand slaps are marked ‘lh’ and double…

BP Notation Legend

EXPLORE EIGHTH NOTE TRIPLETS

Hey there, bass players! If you’re following this series, then you’re well acquainted with the world of eighth notes. My previous column featured the swung eighth note, where we tapped into the world of jazz, blues shuffles, and even pop records with an underlying swing. Now, let’s subdivide a beat into three notes, resulting in eighth note triplets. Eighth note triplets are extremely common and versatile. They’re not limited to swung or shuffled feels and pack quite a rhythmic punch in rock, metal, funk, soul—you name it. While regular eighth notes subdivide a beat into two increments, eighth note triplets subdivide a beat into three increments. We often speak this rhythm as ‘tri-pa-let’. Unlike the swung eighth note, the eighth note triplet doesn’t necessary imply an overall swing, though it…

EXPLORE EIGHTH NOTE TRIPLETS

GETTING FUNKY – PART 3

Welcome! For part three of our look at how to bring more of a funk feel to our bass-lines, we’re going to look at the role of chromatic lines in creating the sound that we most commonly associate with funk. These are ideas that transfer into a lot of other situations, so once you’ve learned them with an emphasis on funk, you can then experiment with where else they fit. Harmonic ideas are often a lot more resilient to a change of context than we imagine. We learn a lot of ‘rules’ about how things are meant to be played, but progress in all styles has always happened because people pushed at the edges of what was previously thought to be ‘the way to do things’. So feel free to…

GETTING FUNKY – PART 3

NASHVILLE NUMBERING EXPLORED

Let’s consider the Nashville numbering system, as it’s an essential component in the development of any aspiring musician. The concept is relatively simple: Off every step of a scale, a coinciding chord can be produced. This chord is then numbered accordingly, which in turn allows us to communicate progressions to one another using numeric formulas. For example, Gmaj7—Emin7—Amin7—D7 could simply be portrayed as a I-VI-II-V in G Major. The approach is decisive, effective, and a wonderful learning aid. Once you become aware of this system, you’ll notice how regularly some chord progressions feature in contemporary music Once you become aware of this system, you’ll start to notice how regularly some chord progressions feature in contemporary music. In fact, it’s not uncommon for genres such as the blues to be pretty…

NASHVILLE NUMBERING EXPLORED

USE MODES TO PLAY CHORDS

Welcome! In our last lesson, we talked about recognizing our options on a given chord progression using the notes of the triad. We used the II-V-I chord progression to demonstrate this. In this month’s lesson, we will expand on that idea in a way that I think you’ll definitely find interesting. This expansion all has to do with our trusted friends, the modes. The point of this lesson is to understand how you can use the modes to play any diatonic chord progression, even an entire song, anywhere that you choose on the fretboard. The whole concept is based on a pretty straightforward idea. When you consider the fact that each mode is simply another version of the major scale, it stands to reason that the same triads and chords…

USE MODES TO PLAY CHORDS

MULTI-EFFECTS, PART 1

Since I began this column two years ago, I’ve often referred to individual effects pedals and their operation, so this month we look at multi-effects units. First, let’s focus on the more budget-conscious end of the market. How dowe cram a bunch of pedals into a single box? Well, most single-effect pedals are analog, which a circuit inside that creates the sound you want. Space is often at a premium inside the casing, but if we use digital signal processing (DSP), the circuit simply becomes a platform for running programs that create effects. These include the obvious chorus, reverb and octave, as well as amp-profiling, more complex layered drives, intelligent pitch harmonizing, and even the ability to arrange effects in any order, in series and parallel. Sounds perfect... for guitar…

MULTI-EFFECTS, PART 1

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