The Reviews Archive
Basses | Amps | Effects | Accessories | Videos | Books | Recordings
Basses
The Barker Bass
Utilizing the experience he had acquired as a professional woodworker in his own custom cabinet building business for 22 years, bassist Lee Barker has been handcrafting his ergonomically-friendly, vertical instruments since 2002 as a response to the wrist-related problems he developed while performing gospel and bluegrass music on the electric bass for over three decades. The result of his efforts culminated in the debut of a unique hybrid instrument that combined components of a standard electric bass guitar with that of a traditional acoustic upright.
The Barker bass could be technically classified as an electric upright bass guitar because it contains certain features that make it a hybrid design. In terms of its overall physical nature, the Barker bass is closer to the makeup of an electric bass guitar than that of an acoustic upright. Upon first glance, the most striking feature of the Barker bass is its stunning appearance. It sports an elegant look all its own, but after further inspection, you'll find that the Barker bass is comprised of the typical 34" scale length, string spacing, neck radius, frets, position dot markers, bolt-on attachment to body, graphite nut, headstock, tuners, passive Jazz bass-style pickups, electronics, body/neck woods, and bridge from the electric bass guitar. It merges all of these variables with a very significant concept borrowed from the acoustic upright, its vertical position that can be raised or lowered through its adjustable endpin and an easy-to-setup, 3-legged metal stand.
In standing position, the Barker bass can be adjusted across a wide range of heights just like an acoustic upright. The vertical nature of the Barker bass makes the instrument completely effortless to play. Due to its free-standing nature, no extra weight is placed on your body during performance. The fretting hand does not need to support the bass in any fashion which allows your left hand to shift freely across the entire range of the fingerboard. Through its G-string-side cutaway, even the very highest registers of the Barker bass can be easily accessed.
Not only is the free-standing design of the Barker bass of substantial benefit in eliminating any potential discomfort or unwanted strain you might experience in your back, shoulders, and wrists due to the weight-related issues of electric basses, but it also provides an unparalleled level of sustain through the very limited physical contact required to play the instrument. Since no part of your body, besides your hands, is touching the Barker bass when playing, the tone produced by the bass is not dampened. I never realized how profoundly the tone of both the acoustic upright and electric bass was affected by the dampening of your body until I played the Barker bass.
Along with is free-standing design, the Barker bass is constructed of a 3-ply chambered body that is protected with a hand-rubbed, semi-gloss finish. Core pieces of wood have been removed between the front and back sections of the body, and the tonal consequence of this chambered body is a natural sonic resonance which contains a rich harmonic clarity that is not present in most standard, solid body electric basses.
Unlike an acoustic upright which is generally only used in orchestral or jazz settings, the Barker bass could be played in practically any style of music. The simple pickup/electronics configuration used in the Barker bass provides a wide range of tonal variation in order to cover virtually any performance situation. Regardless of the right hand techniques employed such as standard fingerstyle technique, slapping, or tapping, the transition period required in learning how to play the Barker bass, if you are coming from a background as an electric bassist, is virtually non-existent. The vertical position of the fingerboard didn't affect my ability to use tapping techniques, and only a minor adjustment was required in order to play the instrument with slapping techniques. Depending on the tonality you are attempting to generate, you can position your right hand thumb in up to five different locations including on the side of the neck similar to how a jazz bassist would play upright when using pizzicato technique, on the two pickups like an electric bassist, or on the two specially-designed thumb rests that are attached to the body of the Barker bass. The only minor disadvantage of playing the Barker bass from the perspective of an electric bassist is that it doesn't allow the type of mobility available when playing electric bass.
Specifications:
Scale Length: 34"
Body: 2" thick, 3-piece chambered construction - cherry front over alder core and back with hand-rubbed, semi-gloss finish
Neck: Hard rock maple, 5-bolt attachment to body
Fingerboard: 21-fret rosewood fingerboard with side and face dot markers
Nut: Graphite
Width At Nut: 1.5"
Electronics: Seymour Duncan
Controls: 2 independent pickup volumes (neck & bridge), tone control
Pickups: Passive, Seymour Duncan Basslines, Jazz bass, single coil
Bridge: Hipshot
Tuners: Gotoh
Endpin: Fully adjustable to accommodate players well over 6 feet tall
Weight: 18 lbs. (without stand)
Stand: Heavy-duty locking type with positive stud-and-socket attachment to bass and solid gear-teeth locking head
Case: Heavy-woven nylon, abrasion-resistant, padded gig bag with hand and shoulder straps and zippered pocket and separate bag for stand
Handcrafted in U.S.
Retail Price: $3700
Options:
4 or 5 strings
Fretted, fretless, or lined fretless
Rosewood or maple fingerboard - fretted, ebony fingerboard - fretless
Black or gold hardware
Different woods for front and back of body
Commemorative basses
The Bottom Line
The Barker bass should appeal to those electric bassists looking for an alternative approach to playing bass that still maintains a familiar tonal palette as well as to those who have experienced wrist pain from playing a conventional electric bass guitar, and at the same time, the Barker bass would be a welcomed addition for those acoustic upright players who would like to continue playing in a vertical position.
Contact:
Barker Musical Instruments
1842 SE 1st, Unit F
Redmond, OR 97756
Toll-Free Phone: 888.899.8302
Web Site: BarkerBass.com
E-Mail: lee@barkerbass.com
Reviewed By: Cliff Engel - January 25, 2006
Zon Guitars: Mosaic Pro 5 - 01/01/04
Since the early 1980's, Zon Guitars has been crafting some of the most technologically innovative basses ever built. By blending meticulous handcraftsmanship with high-tech components such as composite necks, phenowood fingerboards, quadraphonic electronics, infrared optical pickups, and piezo bridges, Zon Guitars has combined state-of-the-art technology with traditional concepts.
In 2003 Zon Guitars expanded their product line with the introduction of the Mosaic Series. Unlike Zon's Legacy, a mainstay of the Zon lineup since 1982, or various Sonus Series' of basses, the Mosaic Series is their first line which combines a bolt-on maple neck with a rosewood fingerboard. For many years, bassists have sought an all-wood Zon bass, and now with the edition of the Mosaic Series, bassists have the option of choosing between composite and wood materials.
Construction:
All basses in the Mosaic Series (Mosaic Pro & Mosaic) feature a swamp ash body. By utilizing the classic combination of an ash body and bolt-on maple neck, the Mosaic Series basses provide all the vintage tones. The 35" scale of the tested Mosaic Pro enhanced the overall clarity and articulation of this bass, especially with regard to the low B-string which was focused and very well-defined. Two features in particular struck me immediately after strapping on the Mosaic Pro 5. First, this bass was extremely lightweight. I could not believe the weight of this 5-string or lack thereof, especially considering the robust size of the body shape. The second aspect of this bass that I found truly appealing was the contour of the neck. It was exceptionally thin, particularly near the neck/body pocket thus allowing full utilization over the entire range of the fingerboard without overextending and straining your hand. In contrasting fashion to many other 5-string basses, the Mosaic Pro 5 was superbly well balanced and not neck-heavy. I never needed to reposition the bass in relation to my body. The neck never budged, and there were no dead spots located anywhere on the rosewood fingerboard, providing consistent tone throughout the instrument. The cutaway facilitated easy access all the way up to the 22nd fret. The tilt-back headstock design adds increased string tension, resulting in unbelievable sustain. The Mosaic Pro has a single truss rod that is readily available at the end of the fingerboard along with dual graphite bars that are embedded in the neck for added stability. After hours of abuse testing, the strings were still in tune. The new urethane flat finish that Zon is using on the Mosaic Pro body is stunning. It looks remarkable and it feels extraordinary. Unlike bass bodies with high-gloss finishes, fingerprints go virtually undetectable on this flat finish. The construction of the Mosaic Pro 5 was rock solid from top to bottom.
Electronics:
The ZAP-3 active electronics system on the Tribute Pro was designed for Zon by Aguilar. Housed inside the Mosaic Pro's neatly packaged control cavity and powered by two 9-volt batteries, the Aguilar OBP-3 preamp is Aguilar's most flexible onboard preamp design, providing +/-15db of cut and boost at 50Hz, +/-15dB of cut and boost at 400Hz, and +/-15dB of treble cut and boost at 5 kHz. Standing within just a few feet of a full range SWR rig, it was hard to tell that the bass was on. Even at rock arena volume settings, the Mosaic Pro tested completely noiseless. Equipped with two exclusively designed Seymour Duncan custom shop, narrow aperture, dual-coil pickups, the Mosaic Pro offered an amazing palette of flexible tone shaping and virtually limitless sonic textures. I couldn't think of a tone that this bass couldn't assist me in achieving. The dynamic punch provided by the 18-volt circuitry was empowering.
Sound:
Old-school funk to contemporary jazz and everything in between, the Mosaic Pro 5 excelled. Need some extra thump with your thumb or some added snap with your fingers? Simply boost the bass and treble controls, respectively. Are you playing in a rock setting and losing your sound in a wall of guitars and drums? Use the midrange control to cut through the mix. The round, warm lows provided a solid foundation for jazz. Are you doing session work and looking for a transparent sound? Just leave the 3-band eq flat and plug straight into the board. Studio engineers dream of basses that are this easy to use. Simply plug and play! Fundamental tones were crystal clear, and the overtones were brilliant.
Value:
With a retail price of $2750, the Mosaic Pro 5 definitely falls into the category of a high-end instrument. You certainly receive the best technology and finest craftsmanship available in this price range. For those bassists looking for a more cost effective solution to their bass needs, Zon offers a Korean-made version called the Mosaic which retails for about a $1,000 less than the Mosaic Pro.
Specifications:
Scale Length: 35" scale
Body: Swamp ash body with urethane flat finish
Neck: 3-piece quarter sawn, bolt-on maple neck with flat oil finish
Fingerboard: 22-fret rosewood fingerboard with side and face dot markers
Nut: Graphite
Width At Nut: 1.875"
Electronics: ZAP-3 active 3-band system by Aguilar
Controls: Master volume, pickup blend, bass, midrange, and treble controls with two position mid center frequency control
Pickups: Seymour Duncan narrow aperture, dual-coil design
Bridge: Zon machined brass bridge (19 mm spacing)
Tuners: Mini gotoh-style tuners
Handcrafted in U.S.
Retail Price: $2750
Options:
1/4" Flame Maple Wood Top: $125
Custom Colors (black, three-tone sunburst, tobacco burst in gloss finish): $150
Fretless (with or without lines - no dots on fingerboard): $120
Black Hardware: $100
Gig Bag: $100 (the accompanying gig bag with the tested Mosaic Pro 5 was seriously plush with lots of padding, pockets, handles, and straps.)
Additional Notes:
The Mosaic Pro is available in a 4-string version ($2550). The Mosaic Pro 4 features include a 34" scale length, 24 frets, and 1.532" width at the nut.
Also from the Mosaic Series of basses are the Korean-made Mosaic 5 and Mosaic 4. Mosaic basses come standard with a urethane gloss finish, single flat sawn bolt-on maple neck, 24 frets 4-string, 22 frets 5-string, Zon active electronics, and Zon narrow aperture, dual coil pickups. Mosaic options include a quilted maple veneer top and fretless.
Bottom Line:
Zon's Mosaic Pro 5 has set the standard among five string basses in its price range. There was nothing that this bass couldn't do. It practically played itself. Why haul two or three basses to your gigs or sessions when the Zon Mosaic Pro 5 can fit all your needs? Playability, tone, and affordability. It's all here. Wood or composite? Now you have an option!
For more information on Zon Guitars' Mosaic Series basses, visit: ZonGuitars.com or contact them at:
Zon Guitars
780 2nd Ave.
Redwood City, CA 94063
Ph: (650) 366-3516
C. Engel
Zon Guitars: VB4 4-String Headless Bass - 12/01/02
Looking for a high quality bass with a versatile, yet consistent tone, at an affordable price? Well, look no further. For well over the past two decades, Zon Guitars has been building some of the finest handcrafted basses on the market. Now, Zon has added the VB series to its already high-tech arsenal. Based upon bass virtuoso and Zon endorsing artist, Michael Manring's headless bass, nicknamed Vinny, Zon has introduced an innovatively designed bass which is portable enough to take anywhere and even store in an airplane overhead.
Construction:
The VB bass line features a body comprised of two pieces of select swamp ash, a favorite body wood used in bass building. The prototype which we tested had a really beautiful wood grain texture to it, highlighted by its natural "flat" finish. True to all Zon basses, the VB line has a composite (graphite) neck. Composite necks are extremely rigid and stiff and unaffected by even large variations in temperature and humidity. There is no need for a truss rod. Due to the density of the composite material, every note on the fingerboard was consistently even in sustain and volume. Having played instruments with composite necks for over the last decade and being accustomed to that "high-end" sound, I was a little skeptical about playing an instrument with a phenowood fingerboard. But my skepticism quickly vanished after only a few minutes with the VB4. If you are one of those players that thinks composite necks tend to lack in character or warmth, you must give this phenowood fingerboard a test drive. Phenowood is essentially compressed wood which is impregnated with a phenolic resin and what you get with phenowood is a fingerboard that feels and looks similar to ebony but is much more stable. It adds a certain character to the tone of the instrument which it wouldn't have with just a phenolic fingerboard. With a phenowood fingerboard on a composite neck, you get the best of both worlds: the clarity, definition, and punch of a composite neck and the added personality of an ebony fingerboard. The neck didn't move, and there were no dead spots anywhere. Even after hours of rigorous testing with slapping, plucking, and tapping techniques, the bass remained perfectly intonated. The composite neck is joined to the swamp ash body through a set-in design which allows the player easy access all the way up to the 24th fret. This superbly crafted design provides a smooth, neck-through body feel but yields a tonal characteristic closer to that of a bolt-on neck. The new hand polished "flat" finish that Zon is using on these basses has to been seen to be fully appreciated. This "flat" finish is simply amazing. It feels great, and it looks even better. As hard as I tried, the "flat" finish was overtly resistant to fingerprints or smudges. Also, the VB4 is not neck heavy due in large part to its headless design (no headstock tuning machines to add to the weight of the neck) and heavy-duty ABM bridge. In fact, the VB4 is one of the most well balanced basses I've ever strapped on. With the ABM bridge, you can still utilize your favorite set of strings, and string installation is a breeze. Simply detune the strings, release the strings with an allen wrench at the headpiece, thread the new strings through the headpiece, tighten the allen screws, tune up the bass, and then clip off the excess string length hanging from the headpiece.
Electronics:
At the heart of the VB line of basses are the brand new pickups from Bartolini. The "Classic Bass" (CB) series bass pickups are passive, custom wound designs which feature an extended and more resonant frequency range. The dual in-line hum cancelling coils provide clarity and punch across the entire range of the sound spectrum. The CB series pickups are fed into Bartolini's 3-band active electronics with two selectable mid center points (250/800) and powered by a 9-volt battery. The electronics of the VB bass tested flawlessly and proved to be ultra quiet even at very high decibel levels. They offered a wide range of tonal variablity, and the tone controls turned smoothly and evenly. There were no unwanted gaps in the tone as I dialed through the frequency spectrum. The control cavity housed one of the most neatly organized circuits I've ever seen. My only criticism with the entire bass, and be it a minor complaint that doesn't affect the playability or sound in any way, deals with the separate battery compartment. I would have liked to see Zon make this a pop-up battery compartment for easier access to the battery.
Sound:
You want thunderous slap tones? You got them. You looking for tight finger funk staccato sounds? They're here. You wanna rock? Take the pictures off the walls and crank it. This bass has plenty of output to give and then some. Vibrant harmonics and traditional voicings are here too. The VB4 sounded excellent tested through our SWR amplification system and even better when it was plugged directly into our recording device. Rank beginners to seasoned veterans will both enjoy the ease at which the VB4 played and its wide tonal range. This bass sounds as good as basses that cost twice as much.
Value:
There is no suggested retail price on these limited production Zon basses. The VB series basses are only available directly from Zon's factory in Redwood City, California. The prices you will find listed below are the actual cost to you. By offering their VB line of basses to you factory direct, Zon has made purchasing one of their instruments easy, fast, and most importantly, extremely affordable. With the VB4's cutting edge features, sound, and direct prices, you'll have a difficult time finding a better bass anywhere.
Specifications:
34" scale
Swamp ash body with natural "flat" finish
24-fret composite neck with phenowood fingerboard
ABM Bridge
Chrome hardware
Dual Bartolini custom wound CB series, linear coil pickups
Bartolini 3-band active electronics with two selectable mid center points (250/800)
Ultralite "custom cut" case
Direct Price: $1599
Options:
5-string model (VB5): $1749
Exotic top with "flat" finish: $225.00
Transparent red, amber, cobalt or black with high gloss finish: $125.00
Fretless lined, unlined, or half & half: $70.00
Black hardware: $50.00
Bottom Line:
Zon Guitars' VB4 was a blast to play. The bass just looks fun. I had a difficult time picking up my other basses after putting the VB4 down. Right out of its custom cut case, the VB4 was set up perfectly and ready for action. Except for my very minor complaint regarding the battery compartment, Zon Guitars has delivered! By combining state-of-the-art technology with classic handcraftsmanship and direct pricing, Zon's VB4 4-string headless bass is an investment you can't afford not to make.
For more information on Zon Guitars' VB4 and VB5 model basses, visit: ZonGuitars.com or contact them at:
Zon Guitars
780 2nd Ave.
Redwood City, CA 94063
Ph: (650) 366-3516
C. Engel
The Barker bass could be technically classified as an electric upright bass guitar because it contains certain features that make it a hybrid design. In terms of its overall physical nature, the Barker bass is closer to the makeup of an electric bass guitar than that of an acoustic upright. Upon first glance, the most striking feature of the Barker bass is its stunning appearance. It sports an elegant look all its own, but after further inspection, you'll find that the Barker bass is comprised of the typical 34" scale length, string spacing, neck radius, frets, position dot markers, bolt-on attachment to body, graphite nut, headstock, tuners, passive Jazz bass-style pickups, electronics, body/neck woods, and bridge from the electric bass guitar. It merges all of these variables with a very significant concept borrowed from the acoustic upright, its vertical position that can be raised or lowered through its adjustable endpin and an easy-to-setup, 3-legged metal stand.
In standing position, the Barker bass can be adjusted across a wide range of heights just like an acoustic upright. The vertical nature of the Barker bass makes the instrument completely effortless to play. Due to its free-standing nature, no extra weight is placed on your body during performance. The fretting hand does not need to support the bass in any fashion which allows your left hand to shift freely across the entire range of the fingerboard. Through its G-string-side cutaway, even the very highest registers of the Barker bass can be easily accessed.
Not only is the free-standing design of the Barker bass of substantial benefit in eliminating any potential discomfort or unwanted strain you might experience in your back, shoulders, and wrists due to the weight-related issues of electric basses, but it also provides an unparalleled level of sustain through the very limited physical contact required to play the instrument. Since no part of your body, besides your hands, is touching the Barker bass when playing, the tone produced by the bass is not dampened. I never realized how profoundly the tone of both the acoustic upright and electric bass was affected by the dampening of your body until I played the Barker bass.
Along with is free-standing design, the Barker bass is constructed of a 3-ply chambered body that is protected with a hand-rubbed, semi-gloss finish. Core pieces of wood have been removed between the front and back sections of the body, and the tonal consequence of this chambered body is a natural sonic resonance which contains a rich harmonic clarity that is not present in most standard, solid body electric basses.
Unlike an acoustic upright which is generally only used in orchestral or jazz settings, the Barker bass could be played in practically any style of music. The simple pickup/electronics configuration used in the Barker bass provides a wide range of tonal variation in order to cover virtually any performance situation. Regardless of the right hand techniques employed such as standard fingerstyle technique, slapping, or tapping, the transition period required in learning how to play the Barker bass, if you are coming from a background as an electric bassist, is virtually non-existent. The vertical position of the fingerboard didn't affect my ability to use tapping techniques, and only a minor adjustment was required in order to play the instrument with slapping techniques. Depending on the tonality you are attempting to generate, you can position your right hand thumb in up to five different locations including on the side of the neck similar to how a jazz bassist would play upright when using pizzicato technique, on the two pickups like an electric bassist, or on the two specially-designed thumb rests that are attached to the body of the Barker bass. The only minor disadvantage of playing the Barker bass from the perspective of an electric bassist is that it doesn't allow the type of mobility available when playing electric bass.
Specifications:
Scale Length: 34"
Body: 2" thick, 3-piece chambered construction - cherry front over alder core and back with hand-rubbed, semi-gloss finish
Neck: Hard rock maple, 5-bolt attachment to body
Fingerboard: 21-fret rosewood fingerboard with side and face dot markers
Nut: Graphite
Width At Nut: 1.5"
Electronics: Seymour Duncan
Controls: 2 independent pickup volumes (neck & bridge), tone control
Pickups: Passive, Seymour Duncan Basslines, Jazz bass, single coil
Bridge: Hipshot
Tuners: Gotoh
Endpin: Fully adjustable to accommodate players well over 6 feet tall
Weight: 18 lbs. (without stand)
Stand: Heavy-duty locking type with positive stud-and-socket attachment to bass and solid gear-teeth locking head
Case: Heavy-woven nylon, abrasion-resistant, padded gig bag with hand and shoulder straps and zippered pocket and separate bag for stand
Handcrafted in U.S.
Retail Price: $3700
Options:
4 or 5 strings
Fretted, fretless, or lined fretless
Rosewood or maple fingerboard - fretted, ebony fingerboard - fretless
Black or gold hardware
Different woods for front and back of body
Commemorative basses
The Bottom Line
The Barker bass should appeal to those electric bassists looking for an alternative approach to playing bass that still maintains a familiar tonal palette as well as to those who have experienced wrist pain from playing a conventional electric bass guitar, and at the same time, the Barker bass would be a welcomed addition for those acoustic upright players who would like to continue playing in a vertical position.
Contact:
Barker Musical Instruments
1842 SE 1st, Unit F
Redmond, OR 97756
Toll-Free Phone: 888.899.8302
Web Site: BarkerBass.com
E-Mail: lee@barkerbass.com
Reviewed By: Cliff Engel - January 25, 2006
Zon Guitars: Mosaic Pro 5 - 01/01/04Since the early 1980's, Zon Guitars has been crafting some of the most technologically innovative basses ever built. By blending meticulous handcraftsmanship with high-tech components such as composite necks, phenowood fingerboards, quadraphonic electronics, infrared optical pickups, and piezo bridges, Zon Guitars has combined state-of-the-art technology with traditional concepts.
In 2003 Zon Guitars expanded their product line with the introduction of the Mosaic Series. Unlike Zon's Legacy, a mainstay of the Zon lineup since 1982, or various Sonus Series' of basses, the Mosaic Series is their first line which combines a bolt-on maple neck with a rosewood fingerboard. For many years, bassists have sought an all-wood Zon bass, and now with the edition of the Mosaic Series, bassists have the option of choosing between composite and wood materials.
Construction:
All basses in the Mosaic Series (Mosaic Pro & Mosaic) feature a swamp ash body. By utilizing the classic combination of an ash body and bolt-on maple neck, the Mosaic Series basses provide all the vintage tones. The 35" scale of the tested Mosaic Pro enhanced the overall clarity and articulation of this bass, especially with regard to the low B-string which was focused and very well-defined. Two features in particular struck me immediately after strapping on the Mosaic Pro 5. First, this bass was extremely lightweight. I could not believe the weight of this 5-string or lack thereof, especially considering the robust size of the body shape. The second aspect of this bass that I found truly appealing was the contour of the neck. It was exceptionally thin, particularly near the neck/body pocket thus allowing full utilization over the entire range of the fingerboard without overextending and straining your hand. In contrasting fashion to many other 5-string basses, the Mosaic Pro 5 was superbly well balanced and not neck-heavy. I never needed to reposition the bass in relation to my body. The neck never budged, and there were no dead spots located anywhere on the rosewood fingerboard, providing consistent tone throughout the instrument. The cutaway facilitated easy access all the way up to the 22nd fret. The tilt-back headstock design adds increased string tension, resulting in unbelievable sustain. The Mosaic Pro has a single truss rod that is readily available at the end of the fingerboard along with dual graphite bars that are embedded in the neck for added stability. After hours of abuse testing, the strings were still in tune. The new urethane flat finish that Zon is using on the Mosaic Pro body is stunning. It looks remarkable and it feels extraordinary. Unlike bass bodies with high-gloss finishes, fingerprints go virtually undetectable on this flat finish. The construction of the Mosaic Pro 5 was rock solid from top to bottom.
Electronics:
The ZAP-3 active electronics system on the Tribute Pro was designed for Zon by Aguilar. Housed inside the Mosaic Pro's neatly packaged control cavity and powered by two 9-volt batteries, the Aguilar OBP-3 preamp is Aguilar's most flexible onboard preamp design, providing +/-15db of cut and boost at 50Hz, +/-15dB of cut and boost at 400Hz, and +/-15dB of treble cut and boost at 5 kHz. Standing within just a few feet of a full range SWR rig, it was hard to tell that the bass was on. Even at rock arena volume settings, the Mosaic Pro tested completely noiseless. Equipped with two exclusively designed Seymour Duncan custom shop, narrow aperture, dual-coil pickups, the Mosaic Pro offered an amazing palette of flexible tone shaping and virtually limitless sonic textures. I couldn't think of a tone that this bass couldn't assist me in achieving. The dynamic punch provided by the 18-volt circuitry was empowering.
Sound:
Old-school funk to contemporary jazz and everything in between, the Mosaic Pro 5 excelled. Need some extra thump with your thumb or some added snap with your fingers? Simply boost the bass and treble controls, respectively. Are you playing in a rock setting and losing your sound in a wall of guitars and drums? Use the midrange control to cut through the mix. The round, warm lows provided a solid foundation for jazz. Are you doing session work and looking for a transparent sound? Just leave the 3-band eq flat and plug straight into the board. Studio engineers dream of basses that are this easy to use. Simply plug and play! Fundamental tones were crystal clear, and the overtones were brilliant.
Value:
With a retail price of $2750, the Mosaic Pro 5 definitely falls into the category of a high-end instrument. You certainly receive the best technology and finest craftsmanship available in this price range. For those bassists looking for a more cost effective solution to their bass needs, Zon offers a Korean-made version called the Mosaic which retails for about a $1,000 less than the Mosaic Pro.
Specifications:
Scale Length: 35" scale
Body: Swamp ash body with urethane flat finish
Neck: 3-piece quarter sawn, bolt-on maple neck with flat oil finish
Fingerboard: 22-fret rosewood fingerboard with side and face dot markers
Nut: Graphite
Width At Nut: 1.875"
Electronics: ZAP-3 active 3-band system by Aguilar
Controls: Master volume, pickup blend, bass, midrange, and treble controls with two position mid center frequency control
Pickups: Seymour Duncan narrow aperture, dual-coil design
Bridge: Zon machined brass bridge (19 mm spacing)
Tuners: Mini gotoh-style tuners
Handcrafted in U.S.
Retail Price: $2750
Options:
1/4" Flame Maple Wood Top: $125
Custom Colors (black, three-tone sunburst, tobacco burst in gloss finish): $150
Fretless (with or without lines - no dots on fingerboard): $120
Black Hardware: $100
Gig Bag: $100 (the accompanying gig bag with the tested Mosaic Pro 5 was seriously plush with lots of padding, pockets, handles, and straps.)
Additional Notes:
The Mosaic Pro is available in a 4-string version ($2550). The Mosaic Pro 4 features include a 34" scale length, 24 frets, and 1.532" width at the nut.
Also from the Mosaic Series of basses are the Korean-made Mosaic 5 and Mosaic 4. Mosaic basses come standard with a urethane gloss finish, single flat sawn bolt-on maple neck, 24 frets 4-string, 22 frets 5-string, Zon active electronics, and Zon narrow aperture, dual coil pickups. Mosaic options include a quilted maple veneer top and fretless.
Bottom Line:
Zon's Mosaic Pro 5 has set the standard among five string basses in its price range. There was nothing that this bass couldn't do. It practically played itself. Why haul two or three basses to your gigs or sessions when the Zon Mosaic Pro 5 can fit all your needs? Playability, tone, and affordability. It's all here. Wood or composite? Now you have an option!
For more information on Zon Guitars' Mosaic Series basses, visit: ZonGuitars.com or contact them at:
Zon Guitars
780 2nd Ave.
Redwood City, CA 94063
Ph: (650) 366-3516
C. Engel
Zon Guitars: VB4 4-String Headless Bass - 12/01/02Looking for a high quality bass with a versatile, yet consistent tone, at an affordable price? Well, look no further. For well over the past two decades, Zon Guitars has been building some of the finest handcrafted basses on the market. Now, Zon has added the VB series to its already high-tech arsenal. Based upon bass virtuoso and Zon endorsing artist, Michael Manring's headless bass, nicknamed Vinny, Zon has introduced an innovatively designed bass which is portable enough to take anywhere and even store in an airplane overhead.
Construction:
The VB bass line features a body comprised of two pieces of select swamp ash, a favorite body wood used in bass building. The prototype which we tested had a really beautiful wood grain texture to it, highlighted by its natural "flat" finish. True to all Zon basses, the VB line has a composite (graphite) neck. Composite necks are extremely rigid and stiff and unaffected by even large variations in temperature and humidity. There is no need for a truss rod. Due to the density of the composite material, every note on the fingerboard was consistently even in sustain and volume. Having played instruments with composite necks for over the last decade and being accustomed to that "high-end" sound, I was a little skeptical about playing an instrument with a phenowood fingerboard. But my skepticism quickly vanished after only a few minutes with the VB4. If you are one of those players that thinks composite necks tend to lack in character or warmth, you must give this phenowood fingerboard a test drive. Phenowood is essentially compressed wood which is impregnated with a phenolic resin and what you get with phenowood is a fingerboard that feels and looks similar to ebony but is much more stable. It adds a certain character to the tone of the instrument which it wouldn't have with just a phenolic fingerboard. With a phenowood fingerboard on a composite neck, you get the best of both worlds: the clarity, definition, and punch of a composite neck and the added personality of an ebony fingerboard. The neck didn't move, and there were no dead spots anywhere. Even after hours of rigorous testing with slapping, plucking, and tapping techniques, the bass remained perfectly intonated. The composite neck is joined to the swamp ash body through a set-in design which allows the player easy access all the way up to the 24th fret. This superbly crafted design provides a smooth, neck-through body feel but yields a tonal characteristic closer to that of a bolt-on neck. The new hand polished "flat" finish that Zon is using on these basses has to been seen to be fully appreciated. This "flat" finish is simply amazing. It feels great, and it looks even better. As hard as I tried, the "flat" finish was overtly resistant to fingerprints or smudges. Also, the VB4 is not neck heavy due in large part to its headless design (no headstock tuning machines to add to the weight of the neck) and heavy-duty ABM bridge. In fact, the VB4 is one of the most well balanced basses I've ever strapped on. With the ABM bridge, you can still utilize your favorite set of strings, and string installation is a breeze. Simply detune the strings, release the strings with an allen wrench at the headpiece, thread the new strings through the headpiece, tighten the allen screws, tune up the bass, and then clip off the excess string length hanging from the headpiece.
Electronics:At the heart of the VB line of basses are the brand new pickups from Bartolini. The "Classic Bass" (CB) series bass pickups are passive, custom wound designs which feature an extended and more resonant frequency range. The dual in-line hum cancelling coils provide clarity and punch across the entire range of the sound spectrum. The CB series pickups are fed into Bartolini's 3-band active electronics with two selectable mid center points (250/800) and powered by a 9-volt battery. The electronics of the VB bass tested flawlessly and proved to be ultra quiet even at very high decibel levels. They offered a wide range of tonal variablity, and the tone controls turned smoothly and evenly. There were no unwanted gaps in the tone as I dialed through the frequency spectrum. The control cavity housed one of the most neatly organized circuits I've ever seen. My only criticism with the entire bass, and be it a minor complaint that doesn't affect the playability or sound in any way, deals with the separate battery compartment. I would have liked to see Zon make this a pop-up battery compartment for easier access to the battery.
Sound:
You want thunderous slap tones? You got them. You looking for tight finger funk staccato sounds? They're here. You wanna rock? Take the pictures off the walls and crank it. This bass has plenty of output to give and then some. Vibrant harmonics and traditional voicings are here too. The VB4 sounded excellent tested through our SWR amplification system and even better when it was plugged directly into our recording device. Rank beginners to seasoned veterans will both enjoy the ease at which the VB4 played and its wide tonal range. This bass sounds as good as basses that cost twice as much.
Value:
There is no suggested retail price on these limited production Zon basses. The VB series basses are only available directly from Zon's factory in Redwood City, California. The prices you will find listed below are the actual cost to you. By offering their VB line of basses to you factory direct, Zon has made purchasing one of their instruments easy, fast, and most importantly, extremely affordable. With the VB4's cutting edge features, sound, and direct prices, you'll have a difficult time finding a better bass anywhere.
Specifications:
34" scale
Swamp ash body with natural "flat" finish
24-fret composite neck with phenowood fingerboard
ABM Bridge
Chrome hardware
Dual Bartolini custom wound CB series, linear coil pickups
Bartolini 3-band active electronics with two selectable mid center points (250/800)
Ultralite "custom cut" case
Direct Price: $1599
Options:
5-string model (VB5): $1749
Exotic top with "flat" finish: $225.00
Transparent red, amber, cobalt or black with high gloss finish: $125.00
Fretless lined, unlined, or half & half: $70.00
Black hardware: $50.00
Bottom Line:
Zon Guitars' VB4 was a blast to play. The bass just looks fun. I had a difficult time picking up my other basses after putting the VB4 down. Right out of its custom cut case, the VB4 was set up perfectly and ready for action. Except for my very minor complaint regarding the battery compartment, Zon Guitars has delivered! By combining state-of-the-art technology with classic handcraftsmanship and direct pricing, Zon's VB4 4-string headless bass is an investment you can't afford not to make.
For more information on Zon Guitars' VB4 and VB5 model basses, visit: ZonGuitars.com or contact them at:
Zon Guitars
780 2nd Ave.
Redwood City, CA 94063
Ph: (650) 366-3516
C. Engel
Amps
Gallien-Krueger - Neo 700/112 Combo Amp
Building affordable and reliable bass amplification systems which are specifically devised for live performance applications has been the basis of Gallien-Krueger's designs for the past 40 years. Since its start in the late 1960's, Gallien-Krueger has become a legendary brand name in bass amplification and the world-wide leader in the production of solid state bass amps which generate a bass tone that has the punch of a kick drum. Bob Gallien, founder of Gallien-Krueger, has dedicated his ingenuity to solving the amplification problems experienced by professional bass players. Along the way, this Stanford-schooled engineer created a product line that delivers some of the most sought after sounds within the bass community and conceived a list of renowned innovations which are today recognized as standards in the music industry. Found on stages and in recording studios around the world, Gallien's creations are utilized by a genre-spanning artist roster of rock, jazz, fusion, and session bassists such as Flea of the Red Hot Chili Peppers, Velvet Revolver's Duff McKagan, Justin Chancellor of Tool, Ron Carter, Dave Holland, Charlie Haden, Norm Stockton, Jonni Lightfoot, and Leland Sklar.
The Neo Series combo amps combine a high powered G-K artist series head with their popular Neo Series speakers. At the heart of these cabinets are G-K's custom cast-frame neodymium loudspeakers which have the ability to sustain high output levels at a fraction of the weight contained in traditional ceramic speakers. Unlike practically every other manufacturer who makes use of outsourced speakers that were created by one of the major speaker companies, G-K builds their own brand of speakers under the Paragon name which they use in conjunction with all of their cabinets.
Featuring a double front-ported design, the Neo 700/112 combo amp is constructed of 11-ply poplar and is covered with black tolex, a flexible vinyl material. Although many people prefer the look and feel of tolex to the standard black carpet which practically all of G-K's competitors employ on their enclosures, the one potential drawback of tolex is that it is going to be more susceptible to damage if the cabinet receives substantial bumps. This combo amp also features a 16-gauge grill to protect the speaker and tweeter along with interlocking corners for stacking the Neo 700/112 with other G-K cabinets.
Housed inside the cabinet, you will find one of G-K's proprietary 12" neodymium woofers along with a G-K Paragon 5H50-8 tweeter. The amplifier section of the Neo 700/112 contains the G-K artist series 700RB-II bi-amp bass amplifier which features one of the most versatile tone configurations in production because the amp's interface is packed with so many options for the discriminating bassist. All of the controls are grouped into six different sections including direct out, input, voicing filters, active equalization, bi-amp output, and patch bay. From left to right on the front panel, there is an XLR direct out for sending a balanced signal to P.A. or recording consoles, ground lift, pre/post eq switch, level control, a standard 1/4" input jack to plug in active or passive basses, a -14dB pad to reduce the input signal from your bass if the clip LED lights up excessively, tuning mute switch, volume, 5/4-string voicing, contour, presence, active 4-band equalizer section with treble, hi-mid, low-mid, and bass controls, boost, tweeter level with hi-cut switch, woofer level with hi-cut switch, effects send and return, tuner out, and power switch. On the rear panel, there are two 1/4" speaker out connectors and two speakon outputs. To maintain a safe operating temperature, a variable speed fan is also included and increases in velocity as the amp works harder.
The tone sculpting options available with the Neo 700/112 are tremendously flexible, and regardless of the dozens of different settings I dialed in, they all maintained a desirable sound with very musical properties. Within the voicing filters section, the 5/4-string switch extends the roll off of the bass frequencies +11dB at 20 Hz when engaged to accommodate the ultra lows of an extended range bass. This is not just simply a bass boost button which works like a graphic equalizer when activated because it doesn't boost anything. It extends the roll off of the low bass frequencies. If you are playing a 4-string bass and trying to replicate the renowned sound of a G-K 800RB, you will want to leave the 5/4-string in the out position, but if you are playing a bass with a low B-string, you will want to have this button pushed in. As a 4-string bassist, you can actually leave the button pushed in at all times to get as much low end as possible out of the amp. The contour control is based on the same circuit that is found in G-K's classic 800RB amplifier, and it cuts the mid-range frequencies while simultaneously boosting the low and high frequencies (+2dB at 50 Hz, -10dB at 500 Hz, and +3dB at 7 kHz). The presence control provides additional definition for improved clarity when soloing or playing chords by boosting the highs +9dB at 10 kHz. In terms of the rotary 4-band equalizer, the treble and bass controls are both active shelving type which means that they boost the highs and lows consistently. The bass boosts and cuts +/-10dB at 60 Hz while the treble has the ability to boost and cut +12/-17dB at 7 kHz. The hi-mid and low-mid controls are both active bandpass type which boost +6dB and cut -10dB at 1 kHz and 250 Hz, respectively. Your tone can also be modified by adjusting the boost and tweeter controls in the bi-amp output section. The boost control uses G-K's exclusive valve effect technology which adds growl as it is turned clockwise, and the tweeter is the master volume control for the 50 watt horn amp which handles frequencies beyond 5 kHz. The tweeter hi-cut button cuts frequencies above 10 kHz in order to reduce tweeter hiss, and the woofer hi-cut button cuts frequencies above 5 kHz from the 12" woofer.
The most unique aspect of the Neo 700/112, and my favorite feature, is the horn management system. G-K's amplifier design consists of two separate power amps. In contrast to a passive, full range combo amp which can send several hundred watts of power to a tweeter, the G-K's horn management system splits the high and low signal paths. No other manufacturer has a crossover network in their cabinets that will accommodate this feature. A separate 50 watt horn amplifier is dedicated to managing the high frequency tweeter. If you are driving a horn with the same power amp as the woofer which is the case in nearly all other amps, instead of achieving a pleasant sounding growl, you receive unwanted buzzing due to the distortion that is coming through the horn. When you separate the woofer's power amp from the horn, you can boost the volume control of the woofer amplifier in order to achieve a desirable growl, and you can keep the level of the horn amplifier below clipping. This configuration will allow you to maximize the woofer's peak power so you can add as much growl to the woofer's signal as you want while the tweeter remains articulate and free of distortion resulting in greater overall projection. In addition, the Neo 700/112 can be connected to a G-K bi-amp compatible enclosure via a special 4-conductor speakon cable which will permit you to have completely independent control of the output from the woofers and tweeters in both cabinets. On the back of G-K enclosures, there is a bi-amp/full range switch that offers you the opportunity to run the speakers in a bi-amp or full range mode. While in the full range setting, the cabinet works like a typical enclosure, and you can drive the speakers with any amplifier hooked up to it with a standard cable. In bi-amp mode, the woofer and horn paths are separated, and they can be driven using our G-K's proprietary speakon cable. When the bi-amp mode is utilized, all of the frequencies below 5 kHz are sent to the woofers while everything above 5 kHz is sent through the horn.
At approximately 55 lbs., the Neo 700/112 ranks as an average-sized combo amp, but with its top grip and side spring-loaded handles, it can still be easily transported by a single person. In a small to medium-sized venue, the Neo 700/112 outputs more than enough volume with extra headroom to spare at 320 watts, and it can be easily expanded to a full bi-amped bass rig capable of handling 480 watts with the addition of an extension cabinet.
Whether you desire that legendary G-K growl or a clean and articulate sound, the G-K Neo 700/112 delivers some of the most aggressive rock, jazz, fusion, and funk tones available regardless of your preferred playing style or performance application and definitely ranks as one of the best values for a combo amp priced less than $1,000.
Specifications:
Power < 1% THD: Main amp - 320 watts, 480 watts with extension cabinet; horn amp - 50 watts at 8 ohms
Cooling: Continuously variable speed fan
Input Section: Ultra low noise S/N>90dB, clip LED, -14dB pad, volume, mute switch, and mute LED
Voicing Filter: 5/4-string voicing, adjustable contour, and presence
Equalizer: 4-band active
Output: Boost, tweeter level with hi-cut switch and woofer level with hi-cut switch
Direct Out: XLR, ground lift, pre/post switch and level control
Patching: Effects send and return, tuner out
Speaker Output: Two 1/4" and two horn bi-amp compatible speakon connectors
Woofer: 1 GK neodymium cast frame 12", 300 watts at 8 ohm
Tweeter: GK paragon 5H50-8
Construction: 11-ply poplar, black tolex, 16-gauge steel grill, custom tooled interlocking corners, front-ported
Dimensions: 21" W x 20" H x 16" D
Weight: 55 lbs.
Retail Price: $1199
Street Price: $899
Contact:
Gallien-Krueger
2234 Industrial Drive
Stockton, CA 95206
Web Site: Gallien-Krueger.com
E-Mail: sales@gallien.com
Reviewed By: Cliff Engel - October 15, 2007
The Neo Series combo amps combine a high powered G-K artist series head with their popular Neo Series speakers. At the heart of these cabinets are G-K's custom cast-frame neodymium loudspeakers which have the ability to sustain high output levels at a fraction of the weight contained in traditional ceramic speakers. Unlike practically every other manufacturer who makes use of outsourced speakers that were created by one of the major speaker companies, G-K builds their own brand of speakers under the Paragon name which they use in conjunction with all of their cabinets.
Featuring a double front-ported design, the Neo 700/112 combo amp is constructed of 11-ply poplar and is covered with black tolex, a flexible vinyl material. Although many people prefer the look and feel of tolex to the standard black carpet which practically all of G-K's competitors employ on their enclosures, the one potential drawback of tolex is that it is going to be more susceptible to damage if the cabinet receives substantial bumps. This combo amp also features a 16-gauge grill to protect the speaker and tweeter along with interlocking corners for stacking the Neo 700/112 with other G-K cabinets.
Housed inside the cabinet, you will find one of G-K's proprietary 12" neodymium woofers along with a G-K Paragon 5H50-8 tweeter. The amplifier section of the Neo 700/112 contains the G-K artist series 700RB-II bi-amp bass amplifier which features one of the most versatile tone configurations in production because the amp's interface is packed with so many options for the discriminating bassist. All of the controls are grouped into six different sections including direct out, input, voicing filters, active equalization, bi-amp output, and patch bay. From left to right on the front panel, there is an XLR direct out for sending a balanced signal to P.A. or recording consoles, ground lift, pre/post eq switch, level control, a standard 1/4" input jack to plug in active or passive basses, a -14dB pad to reduce the input signal from your bass if the clip LED lights up excessively, tuning mute switch, volume, 5/4-string voicing, contour, presence, active 4-band equalizer section with treble, hi-mid, low-mid, and bass controls, boost, tweeter level with hi-cut switch, woofer level with hi-cut switch, effects send and return, tuner out, and power switch. On the rear panel, there are two 1/4" speaker out connectors and two speakon outputs. To maintain a safe operating temperature, a variable speed fan is also included and increases in velocity as the amp works harder.
The tone sculpting options available with the Neo 700/112 are tremendously flexible, and regardless of the dozens of different settings I dialed in, they all maintained a desirable sound with very musical properties. Within the voicing filters section, the 5/4-string switch extends the roll off of the bass frequencies +11dB at 20 Hz when engaged to accommodate the ultra lows of an extended range bass. This is not just simply a bass boost button which works like a graphic equalizer when activated because it doesn't boost anything. It extends the roll off of the low bass frequencies. If you are playing a 4-string bass and trying to replicate the renowned sound of a G-K 800RB, you will want to leave the 5/4-string in the out position, but if you are playing a bass with a low B-string, you will want to have this button pushed in. As a 4-string bassist, you can actually leave the button pushed in at all times to get as much low end as possible out of the amp. The contour control is based on the same circuit that is found in G-K's classic 800RB amplifier, and it cuts the mid-range frequencies while simultaneously boosting the low and high frequencies (+2dB at 50 Hz, -10dB at 500 Hz, and +3dB at 7 kHz). The presence control provides additional definition for improved clarity when soloing or playing chords by boosting the highs +9dB at 10 kHz. In terms of the rotary 4-band equalizer, the treble and bass controls are both active shelving type which means that they boost the highs and lows consistently. The bass boosts and cuts +/-10dB at 60 Hz while the treble has the ability to boost and cut +12/-17dB at 7 kHz. The hi-mid and low-mid controls are both active bandpass type which boost +6dB and cut -10dB at 1 kHz and 250 Hz, respectively. Your tone can also be modified by adjusting the boost and tweeter controls in the bi-amp output section. The boost control uses G-K's exclusive valve effect technology which adds growl as it is turned clockwise, and the tweeter is the master volume control for the 50 watt horn amp which handles frequencies beyond 5 kHz. The tweeter hi-cut button cuts frequencies above 10 kHz in order to reduce tweeter hiss, and the woofer hi-cut button cuts frequencies above 5 kHz from the 12" woofer.
The most unique aspect of the Neo 700/112, and my favorite feature, is the horn management system. G-K's amplifier design consists of two separate power amps. In contrast to a passive, full range combo amp which can send several hundred watts of power to a tweeter, the G-K's horn management system splits the high and low signal paths. No other manufacturer has a crossover network in their cabinets that will accommodate this feature. A separate 50 watt horn amplifier is dedicated to managing the high frequency tweeter. If you are driving a horn with the same power amp as the woofer which is the case in nearly all other amps, instead of achieving a pleasant sounding growl, you receive unwanted buzzing due to the distortion that is coming through the horn. When you separate the woofer's power amp from the horn, you can boost the volume control of the woofer amplifier in order to achieve a desirable growl, and you can keep the level of the horn amplifier below clipping. This configuration will allow you to maximize the woofer's peak power so you can add as much growl to the woofer's signal as you want while the tweeter remains articulate and free of distortion resulting in greater overall projection. In addition, the Neo 700/112 can be connected to a G-K bi-amp compatible enclosure via a special 4-conductor speakon cable which will permit you to have completely independent control of the output from the woofers and tweeters in both cabinets. On the back of G-K enclosures, there is a bi-amp/full range switch that offers you the opportunity to run the speakers in a bi-amp or full range mode. While in the full range setting, the cabinet works like a typical enclosure, and you can drive the speakers with any amplifier hooked up to it with a standard cable. In bi-amp mode, the woofer and horn paths are separated, and they can be driven using our G-K's proprietary speakon cable. When the bi-amp mode is utilized, all of the frequencies below 5 kHz are sent to the woofers while everything above 5 kHz is sent through the horn.
At approximately 55 lbs., the Neo 700/112 ranks as an average-sized combo amp, but with its top grip and side spring-loaded handles, it can still be easily transported by a single person. In a small to medium-sized venue, the Neo 700/112 outputs more than enough volume with extra headroom to spare at 320 watts, and it can be easily expanded to a full bi-amped bass rig capable of handling 480 watts with the addition of an extension cabinet.
Whether you desire that legendary G-K growl or a clean and articulate sound, the G-K Neo 700/112 delivers some of the most aggressive rock, jazz, fusion, and funk tones available regardless of your preferred playing style or performance application and definitely ranks as one of the best values for a combo amp priced less than $1,000.
Specifications:
Power < 1% THD: Main amp - 320 watts, 480 watts with extension cabinet; horn amp - 50 watts at 8 ohms
Cooling: Continuously variable speed fan
Input Section: Ultra low noise S/N>90dB, clip LED, -14dB pad, volume, mute switch, and mute LED
Voicing Filter: 5/4-string voicing, adjustable contour, and presence
Equalizer: 4-band active
Output: Boost, tweeter level with hi-cut switch and woofer level with hi-cut switch
Direct Out: XLR, ground lift, pre/post switch and level control
Patching: Effects send and return, tuner out
Speaker Output: Two 1/4" and two horn bi-amp compatible speakon connectors
Woofer: 1 GK neodymium cast frame 12", 300 watts at 8 ohm
Tweeter: GK paragon 5H50-8
Construction: 11-ply poplar, black tolex, 16-gauge steel grill, custom tooled interlocking corners, front-ported
Dimensions: 21" W x 20" H x 16" D
Weight: 55 lbs.
Retail Price: $1199
Street Price: $899
Contact:
Gallien-Krueger
2234 Industrial Drive
Stockton, CA 95206
Web Site: Gallien-Krueger.com
E-Mail: sales@gallien.com
Reviewed By: Cliff Engel - October 15, 2007
Markbass - CMD 121H Combo Amp
When he founded Markbass Amplification in 2001, Marco De Virgiliis sought to manufacture high-end sound reinforcement that would not only accurately reproduce bass frequencies but at the same time wouldn't color the natural sound of the instrument being played. Since that time, Markbass has built a reputation of combining state-of-the-art components with ultra-lightweight technology to create an innovative product line that addresses the requests and practical needs of working bassists without imposing a particular sound on the bass-playing community.
Upon first glance, the most striking aspect of the Markbass CMD 121H combo amp is its vibrant yellow and black color scheme. While this particular color combination might not suit everyone's tastes, I think it is very unique because it makes this amp instantly recognizable and distinct from combo amps manufactured by its competitors.
The cabinet that encloses the combo amp is constructed with a multi-ply poplar. Utilizing the ultra-lightweight advantages of neodymium speaker technology, the bold-looking 1x12" custom woofer was designed in conjunction with Italy's B&C Speakers. The cabinet also features a 1" compression driver with custom horn and a rear port.
The amplifier section of this combo amp contains a solid-state preamp, an analog power amp, and Markbass' proprietary digital power supply. It is virtually identical to that of the Little Mark II amplifier which is the best-selling unit of the entire Markbass product line and weighs just over 6 lbs., but the combo head of the CMD 121H delivers slightly less power with 450 watts into a 4 ohm cabinet or 280 watts into an 8 ohm cabinet.
The interface design of the CMD 121H is intuitive and easy to navigate. On the front panel, there are two different input options. There is a 1/4" input that can be used for either passive or active basses as well as a balanced XLR connection which will accommodate high-end acoustic upright pickup systems. These inputs provide upright bassists the opportunity to blend a direct signal with that from a microphone by connecting a standard instrument cable from a typical bridge-mounted pickup to the 1/4" connector of the CMD 121H while simultaneously amplifying the upright via a microphone through the balanced XLR input.
The front panel also features an on/off switch with blue LED light, master volume, gain control, and blue clip light. In addition to these controls, the CMD 121H contains an extremely flexible 4-band EQ section that permits you to add or subtract specific frequencies and supplies an enormous palette of tone-shaping options. The EQ consists of a low EQ, low mid EQ, high mid EQ, and high EQ along with two special filters designed exclusively by Markbass, the VLE (Vintage Loudspeaker Emulator) and the VPF (Variable Preshape Filter). Each of the controls of the 4-band EQ cuts or boosts frequencies up to a generous 16 decibels at around 40 Hz, 360 Hz, 800 Hz, and 5 kHz, respectively. While all of the knobs turned very smoothly, I would prefer there to be center detents at the 12 o'clock position on most of the controls.
For me, the most exciting components of this combo amp are definitely the VLE and VPF filters. These two controls allow the user to dial in an array of classic to contemporary tones. For a mellow, retro sound such as that produced by a vintage amplifier, the VLE control can be used to filter out high frequencies. As you turn the VLE clockwise, the range of high frequencies that gets cut increases. The end result sounds similar to the tone knob on a passive bass. The VPF produces a mid-scoop by boosting lows around 35 Hz and highs at 10 kHz while at the same time cutting mids at 380 Hz. This produces a more modern sound and the classic slap bass tone. The amount of highs and lows that get boosted and mids that are cut increases as the VPF is turned clockwise.
The back panel of the combo head can be accessed through a velcro-secured, removable slot on top of the combo's housing. On the back panel, there are two speaker out connectors which allow you to connect either one or two speaker cabinets to the combo head. By default, the speaker cabinet is connected to the 1/4" speaker output. However, you could unplug the internal cabinet and drive an external cabinet through the 1/4" speaker output. You could even turn this combo amp into a small bass rig by using the internal speaker that is plugged into the 1/4" jack and connect the head to an additional speaker cabinet using the Neutrik speakon combo connector which will accept either a speakon or a 1/4" speaker cable.
Other features located on the back panel include an XLR line out that can deliver a balanced signal to a mixing board in a live performance setting or a recording console in the studio, a tuner out which can also send an unbalanced signal to another amp or recording device, an effects send and return, a ground lift switch, and a quiet, variable-speed fan that increases in velocity as the amp gets warmer. Even after hours of continued use, the CMD 121H only became moderately warm to the touch.
I tested the CMD 121H using four completely different basses, from a low-end Jazz bass to a high-end, custom-made instrument. With the tone controls set flat, I found that the CMD 121H certainly delivered what Markbass promised, a faithful replication of my instrument's natural tonal characteristics. With different EQ configurations, the CMD 121H produced everything from retro to edgier hi-fi tones, and it easily handled the low frequencies of a B-string on a 5-string bass with well-defined articulation.
The vertical-oriented construction of the CMD 121H combined with its weight of less than 40 lbs. and the top-positioned handle makes this combo amp very transportable. Considering its small footprint and weight, the CMD 121H provides an unbelievable amount of volume. It is more than enough to cover practically any performance situation you might find yourself playing. This combo amp generates so much output that I had a difficult time being able to tolerate the impressive loudness beyond the 9 o'clock position of the master volume.
Specifications:
Speaker: 1x12"
Tweeter: 1" compression driver with custom horn
Bass Reflex: Rear
Impedance: 8 ohms
Speaker Power Handling: 400W RMS (AES Standard)
Amp Output Power: (analog) 450W @ 4 ohm / 280W @ 8 ohm
Preamp: Solid state
Frequency Response: 45 Hz to 20 kHz
Crossover Frequency: 3.5 kHz
Sensitivity: 99 dB SPL
Weight: 39.5 lbs / 17.9 kg
Height: 23.6 in / 59.9 cm
Width: 15.3 in / 38.3 cm
Depth: 18.3 in / 46.4 cm
Made In Italy
Retail Price: $1200
The Bottom Line
Regardless of whether you play a standard 4-string, an extended range bass, or acoustic upright, the CMD 121H is a versatile and compact combo amp capable of delivering a variety of world-class vintage and contemporary tones to suit any playing style or performance application. From clubs to the studio, this mid-level priced combo amp easily surpasses the flexibility of more expensive combos available from other high-end manufacturers. If you are seeking the power, performance, and portability required by today's professional bass players without spending an absurd amount of money, the CMD 121H is worth checking out.
Contact:
Markbass Amplification
Parsek SRL
Via Aterno, 44
66020 San Giovanni Teatino
Chieti Italy
Web Site: Markbass.it
E-Mail: info@markbass.it
Reviewed By: Cliff Engel - September 18, 2006
Upon first glance, the most striking aspect of the Markbass CMD 121H combo amp is its vibrant yellow and black color scheme. While this particular color combination might not suit everyone's tastes, I think it is very unique because it makes this amp instantly recognizable and distinct from combo amps manufactured by its competitors.
The cabinet that encloses the combo amp is constructed with a multi-ply poplar. Utilizing the ultra-lightweight advantages of neodymium speaker technology, the bold-looking 1x12" custom woofer was designed in conjunction with Italy's B&C Speakers. The cabinet also features a 1" compression driver with custom horn and a rear port.
The amplifier section of this combo amp contains a solid-state preamp, an analog power amp, and Markbass' proprietary digital power supply. It is virtually identical to that of the Little Mark II amplifier which is the best-selling unit of the entire Markbass product line and weighs just over 6 lbs., but the combo head of the CMD 121H delivers slightly less power with 450 watts into a 4 ohm cabinet or 280 watts into an 8 ohm cabinet.
The interface design of the CMD 121H is intuitive and easy to navigate. On the front panel, there are two different input options. There is a 1/4" input that can be used for either passive or active basses as well as a balanced XLR connection which will accommodate high-end acoustic upright pickup systems. These inputs provide upright bassists the opportunity to blend a direct signal with that from a microphone by connecting a standard instrument cable from a typical bridge-mounted pickup to the 1/4" connector of the CMD 121H while simultaneously amplifying the upright via a microphone through the balanced XLR input.
The front panel also features an on/off switch with blue LED light, master volume, gain control, and blue clip light. In addition to these controls, the CMD 121H contains an extremely flexible 4-band EQ section that permits you to add or subtract specific frequencies and supplies an enormous palette of tone-shaping options. The EQ consists of a low EQ, low mid EQ, high mid EQ, and high EQ along with two special filters designed exclusively by Markbass, the VLE (Vintage Loudspeaker Emulator) and the VPF (Variable Preshape Filter). Each of the controls of the 4-band EQ cuts or boosts frequencies up to a generous 16 decibels at around 40 Hz, 360 Hz, 800 Hz, and 5 kHz, respectively. While all of the knobs turned very smoothly, I would prefer there to be center detents at the 12 o'clock position on most of the controls.
For me, the most exciting components of this combo amp are definitely the VLE and VPF filters. These two controls allow the user to dial in an array of classic to contemporary tones. For a mellow, retro sound such as that produced by a vintage amplifier, the VLE control can be used to filter out high frequencies. As you turn the VLE clockwise, the range of high frequencies that gets cut increases. The end result sounds similar to the tone knob on a passive bass. The VPF produces a mid-scoop by boosting lows around 35 Hz and highs at 10 kHz while at the same time cutting mids at 380 Hz. This produces a more modern sound and the classic slap bass tone. The amount of highs and lows that get boosted and mids that are cut increases as the VPF is turned clockwise.
The back panel of the combo head can be accessed through a velcro-secured, removable slot on top of the combo's housing. On the back panel, there are two speaker out connectors which allow you to connect either one or two speaker cabinets to the combo head. By default, the speaker cabinet is connected to the 1/4" speaker output. However, you could unplug the internal cabinet and drive an external cabinet through the 1/4" speaker output. You could even turn this combo amp into a small bass rig by using the internal speaker that is plugged into the 1/4" jack and connect the head to an additional speaker cabinet using the Neutrik speakon combo connector which will accept either a speakon or a 1/4" speaker cable.
Other features located on the back panel include an XLR line out that can deliver a balanced signal to a mixing board in a live performance setting or a recording console in the studio, a tuner out which can also send an unbalanced signal to another amp or recording device, an effects send and return, a ground lift switch, and a quiet, variable-speed fan that increases in velocity as the amp gets warmer. Even after hours of continued use, the CMD 121H only became moderately warm to the touch.
I tested the CMD 121H using four completely different basses, from a low-end Jazz bass to a high-end, custom-made instrument. With the tone controls set flat, I found that the CMD 121H certainly delivered what Markbass promised, a faithful replication of my instrument's natural tonal characteristics. With different EQ configurations, the CMD 121H produced everything from retro to edgier hi-fi tones, and it easily handled the low frequencies of a B-string on a 5-string bass with well-defined articulation.
The vertical-oriented construction of the CMD 121H combined with its weight of less than 40 lbs. and the top-positioned handle makes this combo amp very transportable. Considering its small footprint and weight, the CMD 121H provides an unbelievable amount of volume. It is more than enough to cover practically any performance situation you might find yourself playing. This combo amp generates so much output that I had a difficult time being able to tolerate the impressive loudness beyond the 9 o'clock position of the master volume.
Specifications:
Speaker: 1x12"
Tweeter: 1" compression driver with custom horn
Bass Reflex: Rear
Impedance: 8 ohms
Speaker Power Handling: 400W RMS (AES Standard)
Amp Output Power: (analog) 450W @ 4 ohm / 280W @ 8 ohm
Preamp: Solid state
Frequency Response: 45 Hz to 20 kHz
Crossover Frequency: 3.5 kHz
Sensitivity: 99 dB SPL
Weight: 39.5 lbs / 17.9 kg
Height: 23.6 in / 59.9 cm
Width: 15.3 in / 38.3 cm
Depth: 18.3 in / 46.4 cm
Made In Italy
Retail Price: $1200
The Bottom Line
Regardless of whether you play a standard 4-string, an extended range bass, or acoustic upright, the CMD 121H is a versatile and compact combo amp capable of delivering a variety of world-class vintage and contemporary tones to suit any playing style or performance application. From clubs to the studio, this mid-level priced combo amp easily surpasses the flexibility of more expensive combos available from other high-end manufacturers. If you are seeking the power, performance, and portability required by today's professional bass players without spending an absurd amount of money, the CMD 121H is worth checking out.
Contact:
Markbass Amplification
Parsek SRL
Via Aterno, 44
66020 San Giovanni Teatino
Chieti Italy
Web Site: Markbass.it
E-Mail: info@markbass.it
Reviewed By: Cliff Engel - September 18, 2006
Effects
Line 6: Bass PODxt Pro - 03/01/04
Using state-of-the-art, patented technology, Line 6 has released the latest generation of their award-winning Bass POD Series, the Bass PODxt Pro. This new unit is packed with a re-engineered tone engine, all new amp and cab models, as well as an expanded and improved set of effects. From the stage to the studio, the Bass PODxt Pro allows the user access to world-class bass tone with over 50 sought-after stomp box, studio, and synth effects, 28 vintage and contemporary classic amp models, and 22 models of the most renowned cabinets ever built (see specifications below). In addition, Bass PODxt Pro delivers six simultaneous effects that can be routed to meet your unique sonic and tone-shaping needs along with a dedicated high-end compressor and 6-band semi-parametric EQ that are available at all times. The effects include models of classic distortion boxes, delays, choruses, flangers, compressors, as well as synth effects, filter effects, and rich reverbs. With painstaking analysis, the engineers at Line 6 have paid fanatical attention to detail, and this is especially apparent in the vintage bass amplification department. Exclusive to Line 6, the Bass PODxt Pro features the latest generation A.I.R. technology (acoustically integrated recording). This revolutionary A.I.R. technology is the key component to Line 6's successful recreation of all the elements including amps, cabinets, speakers, microphones, and the recording areas that interact and contribute to great bass tone.
Front Panel:
The first feature that jumps out at the user is the new LCD window for deep patch editing. From this user-friendly LCD, you can view all the modifications made upon tweaking any of the front panel's various controls including Amp Models, Effects, Drive, Tone Controls (Bass, Lo Mid, Hi Mid, Treble), Channel Volume, and the Compressor which is based on the famous LA-2A tube studio compressor. Inspired by the classics, the Bass PODxt Pro features 64 user/factory presets. Many of these presets are based upon some of the most popular tracks ever recorded, offering the user access to a mind-boggling collection of the most revered bass rigs. Admittedly, I am not a big effects tweaker. Unlike every other effects processor that I have ever tested and owned in the past, I found that the Bass PODxt Pro's preset effects sounded great and didn't require any tweaking at all in order to dial up cool bass tones. Although, with the deep editing and flexibility offered by the Bass PODxt Pro, you will have the option to tweak every parameter imaginable using the many controls accessible from the front panel. Several buttons provide multiple functions depending on what is selected in the LCD. If you adjust the amp model control to bring up the amp emulation that you desire, the Bass PODxt Pro automatically matches that particular amp model with an appropriate cabinet and microphone setup. In fact, when you select an Amp Model, all of the amp-related settings including drive and the tone controls automatically load. All of these amp-associated defaults may be customized to fit your own individual preferences. To locate the desired tone you want to hear, simply press a button or tweak a knob to switch cabs, amps, effects, and microphones and their placement. You have complete customization available at your fingertips, and the possible combinations are almost limitless. The Effects Tweak control varies different aspects of the effect you've selected and each parameter's settings is viewable in the LCD window so you know exactly what you are tweaking. The Select control allows you to dial through the Bass PODxt Pro's 64 channel memories (16 banks of 4 channels each), a huge collection of pre-programmed amp and effect selections. With the four soft buttons located below the LCD, you can control different operations depending on what you have highlighted in the LCD. The Effect On/Off buttons located above the LCD allow you to activate or disable the 6-band parametric EQ as well as the loaded stomp-box, modulation, and delay/reverb effects. If you press the CAB/A.I.R. button, you can choose a cabinet model to pair with an amplifier and select a microphone and its "room" to be used on a cabinet. You can save all of your personalized tones with the Save button. Push the Edit button and you have deep editing control over all the parameters and settings. Simply tap on the Tap button to control the timing of the delay effects. The I/O & Dig Select button serves several functions including selecting the connection of your input source to the Bass PODxt Pro, configuring optimal studio or live settings, and bi-amping your rig among other options. Using the headphones output, you can practice your bass skills anywhere with the Bass PODxt Pro. And, why spend hundreds of dollars on a hand-held tuner that might get lost when the Bass PODxt Pro also comes with a built-in chromatic tuner that offers precision tuning at the touch of a button?
Back Panel:
The back panel of the Bass PODxt Pro is a session bassist's and studio engineer's dream come true. Every possible output you could need in the studio or live on stage can be found on the back panel. With its XLR and 1/4 inch outputs, 24-bit/96k digital ins and outs (AES/EBU & S/PDIF), effects loop, MIDI, and USB connectors, you can connect the Bass PODxt Pro to any type of analog, digital, or computer audio hardware that you need. The 1/4 inch outputs can be used in Studio, Live, or Bi-Amp Modes. In Studio Mode, the Bass PODxt Pro is ready to be plugged into a recording device with -10dBV unbalanced inputs. In Live Mode, the speaker simulation is disabled and ready to be connected to an onstage amp. When Bi-Amp Mode is utilized, the low frequency spectrum of your signal is sent out the D.I. output while the high frequencies go out the Model output. Each output may then be connected to discrete power amps and speaker cabinets for independent amplification of the low and high frequencies. The D.I. output provides a line level direct signal that is perfectly time and phase aligned with the processed (amp-cab-mic-effects) signal driven out the Model output. Ever record a track and then later wish you wouldn't have used a particular effect, amp, or cabinet? By using the Analog Reamping input/output connections, you can send a dry unprocessed signal to a recording device and then re-route it right back into the Bass PODxt Pro. This feature allows you to hear an effected bass signal while recording an unprocessed signal at the same time to your recording device. Later, during mixdown, you may choose to alter your signal with any of the Bass PODxt Pro's controls. By way of the MIDI jack, the user may control every aspect of the Bass PODxt Pro. Using MIDI, you may select any Bass PODxt Pro channel, tweak any parameter, and even backup your Bass PODxt Pro's memory to your computer. Although the Bass PODxt Pro contains practically every stomp box and studio effect you could ever need, the unit also contains a programmable effects loop so you can run your old rackmount effects processors in either series or parallel. And, as if all of these previously mentioned ins and outs weren't enough, the Bass PODxt Pro supports direct digital recording to your PC or Mac with its USB connector and free downloadable drivers and the functionality to play back audio from your computer like a soundcard through your bass cabinet! Forget about having to haul cabinets, amplifiers, and heavy rack cases to and from the studio. Simply plug into the Bass PODxt Pro and you can record straight into Pro Tools or any other software-driven recording application. The Bass PODxt Pro is compatible with Line 6's FBV Series foot controllers including the FBV, FBV Shortboard, and the FBV4. These optional foot controllers provide access to 64 presets via hands-free channel switches, large backlit name display, dedicated stomp box on/off switches, combination wah/volume pedal, tap tempo switch, and expression pedal input among other features. The Bass PODxt Pro is also compatible with the FBV4 foot switch for access to four channels.
Value:
With a retail price of $899.00, the Line 6 Bass PODxt Pro offers serious bang-for-the-buck. At a fraction of the cost of amassing a substantial amps, cabinets, and effects collection, Line 6 has delivered the goods in a two-space rackmountable unit. You can definitely consider the Bass PODxt Pro money well spent and an investment in your tone for years to come.
Other:
The accompanying Bass PODxt Pro handbook guides you in a step-by-step fashion through all the ins and outs of the unit. The handbook was one of the most thorough and easy-to-read instructional manuals I've ever read on any piece of equipment. It features a quick start guide, an in-depth analysis of all the controls and various connections, getting set up in various configurations, creating and storing sounds, thorough descriptions of all the modeled amplifiers, cabinets, and effects (with pictures of the original devices), deep editing tweaking, possible options using the foot controllers, and appendices filled with diagrams, tables, references, and signal flow options.
Specifications:
28 Amp Models
Acoustic 360
Aguilar DB750
Alembic F-2B
Ampeg B-15
Ampeg SVT
Eden Traveller WT-300
Fender Bassman Combo and Head
Fender Dual Showman
Gallien Kruger 800RB
Hiwatt DR-103
Hiwatt 200DR
Marshall Major
Marshall Super Bass
Mesa Boogie 400+
Polytone Minibrute
Sunn Coliseum
SWR SM-500
Versatone Pan-O-Flex
Vox AC-100
6 Line 6 originals plus Tube Preamp and Sub Dub
22 Cabinet Models
Acoustic 360 1x18
Ampeg B-15 1x15
Ampeg SVT 8x10
Ashdown ABM 210T 2x10
Eden 4x10
Euphonics CXL-112L 1x12
Fender Dual Showman D130F 2x15
Fender Bassman Combo 4x10
Hartke 4x10
Hiwatt 4x12
Line 6 4x10
1967 Marshall Basketweave 4x12
1968 Marshall Basketweave 4x12
Marshall Major 4x15
Mesa Boogie 1x18
Mesa Boogie 2x15
Polytone Minibrute 1x15
Sunn Coliseum 1x18+12
SWR Big Ben 1x15
SWR Goliath 4x10
Versatone Pan-O-Flex 1x12
Vox AC-100 2x15
Effect Models
Mu-Tron III Auto Wah
Arbiter Fuzz Face
Electro-Harmonix Big Muff Pi
EH Memoryman
EP-1 Echoplex
Ibanez TS-808 Tube Screamer
ProCo Rat Classic Distortion
Tycobrahe Octavia Octave Fuzz
MXR Dynacomp Compressor
Boss CS-1 Compression Sustainer
ADA Flanger
MXR Phase 90 Phaser
Boss CE-1 Analog Chorus
Uni-Vibe
Fender Opto Tremolo
Vox Bias Tremolo
Fender Vibratone Rotary Drum
Boss DM-2 Analog Delay
Roland RE-101 Space Echo
Line 6 Bass Overdrive
Line 6 Bronze Master
Line 6 Vetta Compressor
Line 6 Deluxe Chorus
Line 6 Deluxe Flanger
Line 6 Sweep Echo
Line 6 Digital Delay
Line 6 Reverse Reverb
Line 6 Spring, Room, Hall, Chamber, & Plate Reverbs
Additional Features
6-band semi-parametric EQ
64 channel memories
Effects loop
Bi-amp output mode with selectable crossover
Built-in chromatic tuner
+4dBu/-10dBV balanced 1/4" outs
4-bit A/D/A converters
MIDI I/O/Thru
USB connector for digital I/O
Headphone out
Audio mute
Bypass
Foot controller connector
S/PDIF and AES/EBU digital I/O (up to 24-bit/96kHz)
XLR line out
Balanced +4 line input for analog re-amping
Options:
FBV, FBV Shortboard, and FBV4 Foot Controllers
Bottom Line:
Why spend thousands of dollars trying to accumulate all the classic tones of yesterday along with the hi-fi sounds of today when Line 6 has already done all of the work for you. With its unsurpassed tone shaping flexibility, you have limitless sonic possibilities available at the push of a button or the turn of a knob. If you are serious about tone, then the Line 6 Bass PODxt Pro is a no-brainer.
To learn more about the Bass PODxt Pro from Line 6, go to: Line6.com or contact them at:
Line 6, Inc.
29901 Agoura Rd.
Agoura Hills, CA 91301-2513
Ph: (818) 575-3600
C. Engel
Using state-of-the-art, patented technology, Line 6 has released the latest generation of their award-winning Bass POD Series, the Bass PODxt Pro. This new unit is packed with a re-engineered tone engine, all new amp and cab models, as well as an expanded and improved set of effects. From the stage to the studio, the Bass PODxt Pro allows the user access to world-class bass tone with over 50 sought-after stomp box, studio, and synth effects, 28 vintage and contemporary classic amp models, and 22 models of the most renowned cabinets ever built (see specifications below). In addition, Bass PODxt Pro delivers six simultaneous effects that can be routed to meet your unique sonic and tone-shaping needs along with a dedicated high-end compressor and 6-band semi-parametric EQ that are available at all times. The effects include models of classic distortion boxes, delays, choruses, flangers, compressors, as well as synth effects, filter effects, and rich reverbs. With painstaking analysis, the engineers at Line 6 have paid fanatical attention to detail, and this is especially apparent in the vintage bass amplification department. Exclusive to Line 6, the Bass PODxt Pro features the latest generation A.I.R. technology (acoustically integrated recording). This revolutionary A.I.R. technology is the key component to Line 6's successful recreation of all the elements including amps, cabinets, speakers, microphones, and the recording areas that interact and contribute to great bass tone.
Front Panel:
The first feature that jumps out at the user is the new LCD window for deep patch editing. From this user-friendly LCD, you can view all the modifications made upon tweaking any of the front panel's various controls including Amp Models, Effects, Drive, Tone Controls (Bass, Lo Mid, Hi Mid, Treble), Channel Volume, and the Compressor which is based on the famous LA-2A tube studio compressor. Inspired by the classics, the Bass PODxt Pro features 64 user/factory presets. Many of these presets are based upon some of the most popular tracks ever recorded, offering the user access to a mind-boggling collection of the most revered bass rigs. Admittedly, I am not a big effects tweaker. Unlike every other effects processor that I have ever tested and owned in the past, I found that the Bass PODxt Pro's preset effects sounded great and didn't require any tweaking at all in order to dial up cool bass tones. Although, with the deep editing and flexibility offered by the Bass PODxt Pro, you will have the option to tweak every parameter imaginable using the many controls accessible from the front panel. Several buttons provide multiple functions depending on what is selected in the LCD. If you adjust the amp model control to bring up the amp emulation that you desire, the Bass PODxt Pro automatically matches that particular amp model with an appropriate cabinet and microphone setup. In fact, when you select an Amp Model, all of the amp-related settings including drive and the tone controls automatically load. All of these amp-associated defaults may be customized to fit your own individual preferences. To locate the desired tone you want to hear, simply press a button or tweak a knob to switch cabs, amps, effects, and microphones and their placement. You have complete customization available at your fingertips, and the possible combinations are almost limitless. The Effects Tweak control varies different aspects of the effect you've selected and each parameter's settings is viewable in the LCD window so you know exactly what you are tweaking. The Select control allows you to dial through the Bass PODxt Pro's 64 channel memories (16 banks of 4 channels each), a huge collection of pre-programmed amp and effect selections. With the four soft buttons located below the LCD, you can control different operations depending on what you have highlighted in the LCD. The Effect On/Off buttons located above the LCD allow you to activate or disable the 6-band parametric EQ as well as the loaded stomp-box, modulation, and delay/reverb effects. If you press the CAB/A.I.R. button, you can choose a cabinet model to pair with an amplifier and select a microphone and its "room" to be used on a cabinet. You can save all of your personalized tones with the Save button. Push the Edit button and you have deep editing control over all the parameters and settings. Simply tap on the Tap button to control the timing of the delay effects. The I/O & Dig Select button serves several functions including selecting the connection of your input source to the Bass PODxt Pro, configuring optimal studio or live settings, and bi-amping your rig among other options. Using the headphones output, you can practice your bass skills anywhere with the Bass PODxt Pro. And, why spend hundreds of dollars on a hand-held tuner that might get lost when the Bass PODxt Pro also comes with a built-in chromatic tuner that offers precision tuning at the touch of a button?
Back Panel:The back panel of the Bass PODxt Pro is a session bassist's and studio engineer's dream come true. Every possible output you could need in the studio or live on stage can be found on the back panel. With its XLR and 1/4 inch outputs, 24-bit/96k digital ins and outs (AES/EBU & S/PDIF), effects loop, MIDI, and USB connectors, you can connect the Bass PODxt Pro to any type of analog, digital, or computer audio hardware that you need. The 1/4 inch outputs can be used in Studio, Live, or Bi-Amp Modes. In Studio Mode, the Bass PODxt Pro is ready to be plugged into a recording device with -10dBV unbalanced inputs. In Live Mode, the speaker simulation is disabled and ready to be connected to an onstage amp. When Bi-Amp Mode is utilized, the low frequency spectrum of your signal is sent out the D.I. output while the high frequencies go out the Model output. Each output may then be connected to discrete power amps and speaker cabinets for independent amplification of the low and high frequencies. The D.I. output provides a line level direct signal that is perfectly time and phase aligned with the processed (amp-cab-mic-effects) signal driven out the Model output. Ever record a track and then later wish you wouldn't have used a particular effect, amp, or cabinet? By using the Analog Reamping input/output connections, you can send a dry unprocessed signal to a recording device and then re-route it right back into the Bass PODxt Pro. This feature allows you to hear an effected bass signal while recording an unprocessed signal at the same time to your recording device. Later, during mixdown, you may choose to alter your signal with any of the Bass PODxt Pro's controls. By way of the MIDI jack, the user may control every aspect of the Bass PODxt Pro. Using MIDI, you may select any Bass PODxt Pro channel, tweak any parameter, and even backup your Bass PODxt Pro's memory to your computer. Although the Bass PODxt Pro contains practically every stomp box and studio effect you could ever need, the unit also contains a programmable effects loop so you can run your old rackmount effects processors in either series or parallel. And, as if all of these previously mentioned ins and outs weren't enough, the Bass PODxt Pro supports direct digital recording to your PC or Mac with its USB connector and free downloadable drivers and the functionality to play back audio from your computer like a soundcard through your bass cabinet! Forget about having to haul cabinets, amplifiers, and heavy rack cases to and from the studio. Simply plug into the Bass PODxt Pro and you can record straight into Pro Tools or any other software-driven recording application. The Bass PODxt Pro is compatible with Line 6's FBV Series foot controllers including the FBV, FBV Shortboard, and the FBV4. These optional foot controllers provide access to 64 presets via hands-free channel switches, large backlit name display, dedicated stomp box on/off switches, combination wah/volume pedal, tap tempo switch, and expression pedal input among other features. The Bass PODxt Pro is also compatible with the FBV4 foot switch for access to four channels.
Value:
With a retail price of $899.00, the Line 6 Bass PODxt Pro offers serious bang-for-the-buck. At a fraction of the cost of amassing a substantial amps, cabinets, and effects collection, Line 6 has delivered the goods in a two-space rackmountable unit. You can definitely consider the Bass PODxt Pro money well spent and an investment in your tone for years to come.
Other:
The accompanying Bass PODxt Pro handbook guides you in a step-by-step fashion through all the ins and outs of the unit. The handbook was one of the most thorough and easy-to-read instructional manuals I've ever read on any piece of equipment. It features a quick start guide, an in-depth analysis of all the controls and various connections, getting set up in various configurations, creating and storing sounds, thorough descriptions of all the modeled amplifiers, cabinets, and effects (with pictures of the original devices), deep editing tweaking, possible options using the foot controllers, and appendices filled with diagrams, tables, references, and signal flow options.
Specifications:
28 Amp Models
Acoustic 360
Aguilar DB750
Alembic F-2B
Ampeg B-15
Ampeg SVT
Eden Traveller WT-300
Fender Bassman Combo and Head
Fender Dual Showman
Gallien Kruger 800RB
Hiwatt DR-103
Hiwatt 200DR
Marshall Major
Marshall Super Bass
Mesa Boogie 400+
Polytone Minibrute
Sunn Coliseum
SWR SM-500
Versatone Pan-O-Flex
Vox AC-100
6 Line 6 originals plus Tube Preamp and Sub Dub
22 Cabinet Models
Acoustic 360 1x18
Ampeg B-15 1x15
Ampeg SVT 8x10
Ashdown ABM 210T 2x10
Eden 4x10
Euphonics CXL-112L 1x12
Fender Dual Showman D130F 2x15
Fender Bassman Combo 4x10
Hartke 4x10
Hiwatt 4x12
Line 6 4x10
1967 Marshall Basketweave 4x12
1968 Marshall Basketweave 4x12
Marshall Major 4x15
Mesa Boogie 1x18
Mesa Boogie 2x15
Polytone Minibrute 1x15
Sunn Coliseum 1x18+12
SWR Big Ben 1x15
SWR Goliath 4x10
Versatone Pan-O-Flex 1x12
Vox AC-100 2x15
Effect Models
Mu-Tron III Auto Wah
Arbiter Fuzz Face
Electro-Harmonix Big Muff Pi
EH Memoryman
EP-1 Echoplex
Ibanez TS-808 Tube Screamer
ProCo Rat Classic Distortion
Tycobrahe Octavia Octave Fuzz
MXR Dynacomp Compressor
Boss CS-1 Compression Sustainer
ADA Flanger
MXR Phase 90 Phaser
Boss CE-1 Analog Chorus
Uni-Vibe
Fender Opto Tremolo
Vox Bias Tremolo
Fender Vibratone Rotary Drum
Boss DM-2 Analog Delay
Roland RE-101 Space Echo
Line 6 Bass Overdrive
Line 6 Bronze Master
Line 6 Vetta Compressor
Line 6 Deluxe Chorus
Line 6 Deluxe Flanger
Line 6 Sweep Echo
Line 6 Digital Delay
Line 6 Reverse Reverb
Line 6 Spring, Room, Hall, Chamber, & Plate Reverbs
Additional Features
6-band semi-parametric EQ
64 channel memories
Effects loop
Bi-amp output mode with selectable crossover
Built-in chromatic tuner
+4dBu/-10dBV balanced 1/4" outs
4-bit A/D/A converters
MIDI I/O/Thru
USB connector for digital I/O
Headphone out
Audio mute
Bypass
Foot controller connector
S/PDIF and AES/EBU digital I/O (up to 24-bit/96kHz)
XLR line out
Balanced +4 line input for analog re-amping
Options:
FBV, FBV Shortboard, and FBV4 Foot Controllers
Bottom Line:
Why spend thousands of dollars trying to accumulate all the classic tones of yesterday along with the hi-fi sounds of today when Line 6 has already done all of the work for you. With its unsurpassed tone shaping flexibility, you have limitless sonic possibilities available at the push of a button or the turn of a knob. If you are serious about tone, then the Line 6 Bass PODxt Pro is a no-brainer.
To learn more about the Bass PODxt Pro from Line 6, go to: Line6.com or contact them at:
Line 6, Inc.
29901 Agoura Rd.
Agoura Hills, CA 91301-2513
Ph: (818) 575-3600
C. Engel
Accessories
Tascam: CD-BT1 Portable CD Bass Trainer - 07/20/04
Studying the grooves and solos of your favorite musicians from recordings has long been considered by leading educators to be among the most significant steps taken during the formative years of musical development. For many musicians in years past, this time-consuming process of transcription has often left them frustrated in their attempts of improving faster and becoming a more knowledgeable musician. Now, Tascam has provided a solution to this dilemma with its CD-BT1 Portable CD Bass Trainer and in the process packed it with an abundance of bonus features along the way. Transcription has never been easier.
Features:
Using the built-in CD player, the CD-BT1 can play any compact disc including 3" mini-CDs as well as finalized CD-Rs and CD-RWs. Among the coolest features of the CD-BT1 are three modes for altering the way a CD is played back. The Slow Speed Audition (SSA), Key, and Pitch modes can assist you in playing along with the CD at a different tempo or key. The Slow Speed Audition mode is the most impressive feature of the CD-BT1 and well worth the price of the unit alone. In the SSA mode, you can slow down the tempo of the music for transcription without changing the pitch by 8%, 16%, 32%, or 50%. You can slow down any portion of the CD to half-speed and then incrementally increase the tempo until you have the ability to play the passage up to full speed. Unlike many of the CD-BT1's software and hardware phrase-sampling predecessors that were capable of slowing down music to half-speed but at the cost of serious fidelity loss, Tascam has really refined this feature with their digital technology. Even at half-speed, specific notes are pretty easy to decipher and most of the digital noise inherent to its predecessors is practically eliminated. If you are experiencing problems in playing in a specific key on a track, you can use the Key mode to modify the key of the track up or down by six semitones while not affecting the tempo of the music. The CD-BT1 also allows you to slow down the tempo and drop the pitch of a track in 1% steps down to -50% with the Pitch mode.
To dissect bass parts more easily from CDs or reduce the level of an existing bass line for play-along, the Bass Enhancement Effect will permit you to boost, enhance, or even cut the bass region. If you are having difficulties with any musical passage, the loop function allows you to set loop points to capture small excerpts and repeat them seamlessly or even loop the entire track or whole CD. This loop function proves to be especially valuable when used in conjunction with the SSA, Key, and Pitch modes. Customized effects settings can be created by tweaking the parameters of the 16 preset effects (chorus, flanger, delay, compression, distortion, and auto-wah) from the large LCD display and then storing them in one of the five effects slots for later use. In addition to these effects, the CD-BT1 has a 5-band equalizer with two memories to help you dial-in your favorite bass tone and a built-in 11-segment chromatic tuner. If you are using the CD-BT1 in low-light areas, the LCD display may become somewhat difficult to read because it is not backlit.
Regardless the type of pickups found in your bass, the 1/4" bass input is switchable to accommodate both active and passive pickups. Using the Line In mini-jack, you can connect a stereo line source such as an output from a bass preamplifier, rackmount effects unit, synthesizer, or cassette deck to the CD-BT1. With the Footswitch input and a non-latching footswitch, you can step through the effects settings on the CD-BT1 or cue the CD player with hands-free operation. You can connect a pair of headphones to the Phones stereo mini-jack to practice privately and not disturb anyone. From the Line Out stereo mini-jack, you can connect the CD-BT1 to a stereo system, powered speakers, or bass amp for CD playback and play-along or even capture your sessions with a recording device. For conducting bass clinics or shows, the CD-BT1 excels as a device to simply play backing tracks or provide samples for loopers from pre-recorded audio via the Line Out.
Options:
The CD-BT1 can be transported in the Tascam CDSP1 CD Trainer carry bag. This carry bag functions as a case for the CD-BT1 with room for the player, power supply, and 24 CDs. It even contains a pair of speakers so you can use your CD-BT1 anywhere. If you plan on multi-tasking the unit (play-along, effects, SSA, etc.), purchasing the AC adaptor is recommended because battery life is greatly reduced when multiple functions are utilized simultaneously.
Specifications:
Plays any compact disc including 3" mini-CDs and finalized CD-R/RWs
Slow Speed Audition slows down the CD tempo to 50% without altering the pitch
Changes song key ±6 semitones and ±50 cents without affecting tempo
Shifts song pitch and tempo in 1% steps down to 50%
Bass boost, bass enhance, and bass cut for CD playback
16 effects including chorus, flanger, delay, compression, distortion, and auto-wah
5-band graphic EQ with adjustable mid shape for bass input
Multifunction LCD display
1/4" bass input, switchable for active or passive pickups
1/8" line in input
1/8" line out output
1/8" headphone output
Footswitch input for cue start or effects switching
Cue button automatically returns you to the last playback starting point
Built-in 11-segment chromatic tuner
2-way power supply: 4 AA batteries or optional AC adapter
Accessories:
Tascam PS-PS5 AC Adaptor
Tascam CDSP1 CD Trainer Carry Bag With Speakers
Tascam RC-30P Footswitch
Bottom Line:
I wish the Tascam CD-BT1 had been available ten years ago. It would have saved me hundreds of dollars and countless hours in experimenting with other transcription devices, not to mention the many rewind and fast-forward buttons on the CD players and cassette decks I ruined over the years doing transcriptions. Whether you are in the studio, a tour bus, a hotel room, or at home and up late when everyone else is asleep, this easy-to-use, portable workstation allows you to practice anywhere at anytime. With all the sophisticated features available in the CD-BT1 along with an ultra-affordable retail price of $199, it is way too indispensable not to own.
For more information on Tascam's CD-BT1 Portable CD Bass Trainer, go to: Tascam.com.
C. Engel
Evidence Audio: The Lyric Instrument Cable - 06/07/03
Founded in 1997 in an effort to provide the finest instrument and studio cables available, Evidence Audio's technology is based upon decades of research in accurately transferring the quality of tone as it is passed through electronics. To test The Lyric instrument cable from Evidence Audio, we used a Zon Sonus and Fender Jazz basses connected via The Lyric to several SWR Sound Corporation units including the Grand Prix preamp, Stereo 800 power amp, Henry the 8x8 and Goliath Junior III speaker cabinets, and the Super Redhead combo amp.
Sound:
A/B tested against a range of cables of varying price levels, The Lyric easily outperformed them all. There was no comparison. The Lyric delivered a fully balanced signal with improved clarity, a wide dynamic range, a sonic depth, and an extremely well defined, articulate sound which the other cables seemed to lack. The signal remained crisp, lively, and clean. You could actually hear a sonic difference with A/B testing.
Construction:
In order to overcome the distortion found in most other cables of lesser quality, Evidence Audio's Lyric is a directional instrument cable which utilizes high-grade IGL copper conductors, solid core conductors, a balanced design, foamed polypropylene insulating material, a high-density pure copper braid for shielding to keep out interference, Wonder Solder from TRT, and Neutrik plugs. Many inferior cables will degrade audio signal through poor conducting material, insulation material, plugs, solder, strand design, and geometry, but The Lyric really excels in every area. Although the solid core conductors prevent The Lyric from possessing the flexibility of a stranded cable, the solid core conductors more than make up for that tradeoff with enhanced signal quality. These are heavy-duty cables. With the foamed polypropylene insulation, the amount of air around the conductors is maximized which in turn preserves the detail in resolution. In addition to the high-density pure copper braid, the conductors are also wrapped with graphite tape to further reduce extraneous noise. The Lyric can be utilized in long lengths without the fear of losing high frequencies because The Lyric was designed with that obstacle in mind. The Wonder Solder from TRT is comprised of a proprietary blend of materials which doesn't induce its own sonic signature on the tone, unlike many other solders. Likewise, the Neutrik plugs don't influence the signal, and they do a superb job of protecting against corrosion. The directionability of The Lyric is extremely easy to decipher. The plug with the red boot connects to the amplifier while the plug with the black boot goes to the instrument.
Value:
Through careful research and testing, The Lyric is comprised of a cable design which combines the best materials available, and the result is a high performance cable of exceptional quality which surpasses other cables costing much more.
Specifications:
As Tested
Length: 15 ft. Straight - Straight Plugs
Color: Green Vinyl Jacket
Connectors: Neutrick
Price: $55.00
Made in the U.S.A.
Options:
Even though Evidence Audio already offers a wide range of cables from 1.5 ft to 30 ft. in length, they will custom make cables to fit your own specific needs. Right angle plugs are also available.
Bottom Line:
The Lyric instrument cable by Evidence Audio is a serious cable for serious musicians. Compared to other cables in a similar price range, The Lyric's quality is simply unsurpassed. After just one listen, you will wander how you played all those years without it.
For more information on Evidence Audio's instrument, speaker, microphone, and TRS cables, visit: EvidenceAudio.com or contact them at:
Evidence Audio
P.O. Box 73241
San Clemente, CA 92673
Ph: (949) 306-7390
C. Engel
Studying the grooves and solos of your favorite musicians from recordings has long been considered by leading educators to be among the most significant steps taken during the formative years of musical development. For many musicians in years past, this time-consuming process of transcription has often left them frustrated in their attempts of improving faster and becoming a more knowledgeable musician. Now, Tascam has provided a solution to this dilemma with its CD-BT1 Portable CD Bass Trainer and in the process packed it with an abundance of bonus features along the way. Transcription has never been easier.
Features:
Using the built-in CD player, the CD-BT1 can play any compact disc including 3" mini-CDs as well as finalized CD-Rs and CD-RWs. Among the coolest features of the CD-BT1 are three modes for altering the way a CD is played back. The Slow Speed Audition (SSA), Key, and Pitch modes can assist you in playing along with the CD at a different tempo or key. The Slow Speed Audition mode is the most impressive feature of the CD-BT1 and well worth the price of the unit alone. In the SSA mode, you can slow down the tempo of the music for transcription without changing the pitch by 8%, 16%, 32%, or 50%. You can slow down any portion of the CD to half-speed and then incrementally increase the tempo until you have the ability to play the passage up to full speed. Unlike many of the CD-BT1's software and hardware phrase-sampling predecessors that were capable of slowing down music to half-speed but at the cost of serious fidelity loss, Tascam has really refined this feature with their digital technology. Even at half-speed, specific notes are pretty easy to decipher and most of the digital noise inherent to its predecessors is practically eliminated. If you are experiencing problems in playing in a specific key on a track, you can use the Key mode to modify the key of the track up or down by six semitones while not affecting the tempo of the music. The CD-BT1 also allows you to slow down the tempo and drop the pitch of a track in 1% steps down to -50% with the Pitch mode.
To dissect bass parts more easily from CDs or reduce the level of an existing bass line for play-along, the Bass Enhancement Effect will permit you to boost, enhance, or even cut the bass region. If you are having difficulties with any musical passage, the loop function allows you to set loop points to capture small excerpts and repeat them seamlessly or even loop the entire track or whole CD. This loop function proves to be especially valuable when used in conjunction with the SSA, Key, and Pitch modes. Customized effects settings can be created by tweaking the parameters of the 16 preset effects (chorus, flanger, delay, compression, distortion, and auto-wah) from the large LCD display and then storing them in one of the five effects slots for later use. In addition to these effects, the CD-BT1 has a 5-band equalizer with two memories to help you dial-in your favorite bass tone and a built-in 11-segment chromatic tuner. If you are using the CD-BT1 in low-light areas, the LCD display may become somewhat difficult to read because it is not backlit.
Regardless the type of pickups found in your bass, the 1/4" bass input is switchable to accommodate both active and passive pickups. Using the Line In mini-jack, you can connect a stereo line source such as an output from a bass preamplifier, rackmount effects unit, synthesizer, or cassette deck to the CD-BT1. With the Footswitch input and a non-latching footswitch, you can step through the effects settings on the CD-BT1 or cue the CD player with hands-free operation. You can connect a pair of headphones to the Phones stereo mini-jack to practice privately and not disturb anyone. From the Line Out stereo mini-jack, you can connect the CD-BT1 to a stereo system, powered speakers, or bass amp for CD playback and play-along or even capture your sessions with a recording device. For conducting bass clinics or shows, the CD-BT1 excels as a device to simply play backing tracks or provide samples for loopers from pre-recorded audio via the Line Out.
Options:
The CD-BT1 can be transported in the Tascam CDSP1 CD Trainer carry bag. This carry bag functions as a case for the CD-BT1 with room for the player, power supply, and 24 CDs. It even contains a pair of speakers so you can use your CD-BT1 anywhere. If you plan on multi-tasking the unit (play-along, effects, SSA, etc.), purchasing the AC adaptor is recommended because battery life is greatly reduced when multiple functions are utilized simultaneously.
Specifications:
Plays any compact disc including 3" mini-CDs and finalized CD-R/RWs
Slow Speed Audition slows down the CD tempo to 50% without altering the pitch
Changes song key ±6 semitones and ±50 cents without affecting tempo
Shifts song pitch and tempo in 1% steps down to 50%
Bass boost, bass enhance, and bass cut for CD playback
16 effects including chorus, flanger, delay, compression, distortion, and auto-wah
5-band graphic EQ with adjustable mid shape for bass input
Multifunction LCD display
1/4" bass input, switchable for active or passive pickups
1/8" line in input
1/8" line out output
1/8" headphone output
Footswitch input for cue start or effects switching
Cue button automatically returns you to the last playback starting point
Built-in 11-segment chromatic tuner
2-way power supply: 4 AA batteries or optional AC adapter
Accessories:
Tascam PS-PS5 AC Adaptor
Tascam CDSP1 CD Trainer Carry Bag With Speakers
Tascam RC-30P Footswitch
Bottom Line:
I wish the Tascam CD-BT1 had been available ten years ago. It would have saved me hundreds of dollars and countless hours in experimenting with other transcription devices, not to mention the many rewind and fast-forward buttons on the CD players and cassette decks I ruined over the years doing transcriptions. Whether you are in the studio, a tour bus, a hotel room, or at home and up late when everyone else is asleep, this easy-to-use, portable workstation allows you to practice anywhere at anytime. With all the sophisticated features available in the CD-BT1 along with an ultra-affordable retail price of $199, it is way too indispensable not to own.
For more information on Tascam's CD-BT1 Portable CD Bass Trainer, go to: Tascam.com.
C. Engel
Evidence Audio: The Lyric Instrument Cable - 06/07/03Founded in 1997 in an effort to provide the finest instrument and studio cables available, Evidence Audio's technology is based upon decades of research in accurately transferring the quality of tone as it is passed through electronics. To test The Lyric instrument cable from Evidence Audio, we used a Zon Sonus and Fender Jazz basses connected via The Lyric to several SWR Sound Corporation units including the Grand Prix preamp, Stereo 800 power amp, Henry the 8x8 and Goliath Junior III speaker cabinets, and the Super Redhead combo amp.
Sound:
A/B tested against a range of cables of varying price levels, The Lyric easily outperformed them all. There was no comparison. The Lyric delivered a fully balanced signal with improved clarity, a wide dynamic range, a sonic depth, and an extremely well defined, articulate sound which the other cables seemed to lack. The signal remained crisp, lively, and clean. You could actually hear a sonic difference with A/B testing.
Construction:
In order to overcome the distortion found in most other cables of lesser quality, Evidence Audio's Lyric is a directional instrument cable which utilizes high-grade IGL copper conductors, solid core conductors, a balanced design, foamed polypropylene insulating material, a high-density pure copper braid for shielding to keep out interference, Wonder Solder from TRT, and Neutrik plugs. Many inferior cables will degrade audio signal through poor conducting material, insulation material, plugs, solder, strand design, and geometry, but The Lyric really excels in every area. Although the solid core conductors prevent The Lyric from possessing the flexibility of a stranded cable, the solid core conductors more than make up for that tradeoff with enhanced signal quality. These are heavy-duty cables. With the foamed polypropylene insulation, the amount of air around the conductors is maximized which in turn preserves the detail in resolution. In addition to the high-density pure copper braid, the conductors are also wrapped with graphite tape to further reduce extraneous noise. The Lyric can be utilized in long lengths without the fear of losing high frequencies because The Lyric was designed with that obstacle in mind. The Wonder Solder from TRT is comprised of a proprietary blend of materials which doesn't induce its own sonic signature on the tone, unlike many other solders. Likewise, the Neutrik plugs don't influence the signal, and they do a superb job of protecting against corrosion. The directionability of The Lyric is extremely easy to decipher. The plug with the red boot connects to the amplifier while the plug with the black boot goes to the instrument.
Value:
Through careful research and testing, The Lyric is comprised of a cable design which combines the best materials available, and the result is a high performance cable of exceptional quality which surpasses other cables costing much more.
Specifications:
As Tested
Length: 15 ft. Straight - Straight Plugs
Color: Green Vinyl Jacket
Connectors: Neutrick
Price: $55.00
Made in the U.S.A.
Options:
Even though Evidence Audio already offers a wide range of cables from 1.5 ft to 30 ft. in length, they will custom make cables to fit your own specific needs. Right angle plugs are also available.
Bottom Line:
The Lyric instrument cable by Evidence Audio is a serious cable for serious musicians. Compared to other cables in a similar price range, The Lyric's quality is simply unsurpassed. After just one listen, you will wander how you played all those years without it.
For more information on Evidence Audio's instrument, speaker, microphone, and TRS cables, visit: EvidenceAudio.com or contact them at:
Evidence Audio
P.O. Box 73241
San Clemente, CA 92673
Ph: (949) 306-7390
C. Engel
Videos
Todd Johnson - The Solo Session
Regarded as one of the world's leading electric bass educators, Todd Johnson has designed an instructional series of DVDs comprised of core curriculum based on his vast knowledge and the extensive experience which he has acquired as a professional bassist. With his 6-string signature model Zon bass, Johnson has developed a distinct style of performance that goes beyond the traditional role of the bass guitar. On The Solo Session, the first DVD to document his innovative chord melody techniques, Johnson demonstrates his melodic chordal approach to arranging popular standards from the jazz repertoire and original compositions for solo bass guitar. Through accompaniment comprised of double, triple, and quadruple-stop chordal voicings in the styles of legendary jazz guitarists such as Wes Montgomery, Ron Escheté, and Joe Pass, Johnson transitions fluidly from one finger-twisting chord structure to the next while playing the melodies of these pieces simultaneously. Featured within the special bonus footage section of this DVD is excerpted instructional content from Volume's I and II of Johnson's acclaimed Walking Bass Line Module System DVD series along with a collection of fundamental exercises found on his Technique Builders DVD and a 2004 solo rendition of "Battle Hymn Of The Republic." Also provided on this DVD is an address to a page on Johnson's web site where supplemental notated examples can be downloaded. Whether this performance DVD is utilized by the viewer for entertainment purposes or to serve as a master class for learning chordal vocabulary, The Solo Session is an indispensable resource for contemporary bassists who are looking to expand their musical horizons and explore new sounds on the bass guitar.
DVD Chapters:
- "All The Things You Are"
- "Blues For Hellen"
- "Bye Bye Blackbird"
- "Goin' Home"
- "In A Mellow Tone"
- "Smile"
- "Stella By Starlight"
- "There Will Never Be Another You"
- "You Are My Sunshine"
- "Just A Closer Walk With Thee"
Release Date: August, 2007
Running Time: 42 Minutes
Street Price: $25.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - August 20, 2007
DVD Chapters:
- "All The Things You Are"
- "Blues For Hellen"
- "Bye Bye Blackbird"
- "Goin' Home"
- "In A Mellow Tone"
- "Smile"
- "Stella By Starlight"
- "There Will Never Be Another You"
- "You Are My Sunshine"
- "Just A Closer Walk With Thee"
Release Date: August, 2007
Running Time: 42 Minutes
Street Price: $25.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - August 20, 2007
Alain Caron - 5 Live
An internationally acclaimed and award-winning virtuoso bassist, Alain Caron is widely revered as one of today's most influential figures within the bass community. For over the past three decades, Caron has delivered some of the most complex slap grooves, powerful rhythmic structures, and emotive fretless melodies ever recorded by a bassist. With his highly advanced approach to slap bass playing, Caron's technical faculty and improvisation proficiency remain unparalleled. Utilizing both of his fretted and fretless 6-string F basses and Roland bass rig alongside an outstanding ensemble consisting of Jean St-Jacques on keyboards and malletkat, saxophonist David Bellemare, Simon Langlois on drums, and keyboardist Francois Blouin, 5 Live was recorded at Le Cabaret Music Hall De Montreal on May 18, 2005. On this live concert DVD, Caron directs his band through extended renditions of all the tracks from, 5, his previous release as a solo artist. Classified best as an instrumental fusion of contemporary jazz and electronic sounds, 5 was Caron's fifth studio project as a leader. In addition to performing all of the material introduced on 5, this presentation includes "Baby Step" and a couple of Caron's most inspiring bass-centric pieces, "Slam The Clown" and "D-Code." In terms of its overall production quality, 5 Live is undoubtedly one of the best performance DVDs ever released by a bassist. It features a bilingual interface (English and French), stereo and 5.1 surround sound audio, and it also contains a collection of DVD extras such as a selected discography, photo gallery, and equipment list. 5 Live is highly recommended to anyone seeking to experiment with Caron's pioneering performance techniques or studying the art of bass playing within a fusion/contemporary jazz format. 5 Live is also available as a double CD compilation.
DVD Chapters:
- "Ocean Of Trees"
- "Double Agent"
- "Signal"
- "Ink Illusion"
- "Show Of Hands"
- "No Left Turn On Tuesday"
- "Slam The Clown"
- "Turkey Loose On The Kit"
- "Baby Step"
- "Solitude"
- "Black Paws"
- "D-Code"
Musicians: Alain Caron (Basses), Jean St-Jacques (Keyboards and Malletkat), David Bellemare (Saxophones), Simon Langlois (Drums), Francois Blouin (Keyboards)
Style: Fusion/Contemporary Jazz
Release Date: June, 2006
Running Time: 110 Minutes
Artist Contact: AlainCaron.com
Reviewed By: Cliff Engel - May 31, 2007
DVD Chapters:
- "Ocean Of Trees"
- "Double Agent"
- "Signal"
- "Ink Illusion"
- "Show Of Hands"
- "No Left Turn On Tuesday"
- "Slam The Clown"
- "Turkey Loose On The Kit"
- "Baby Step"
- "Solitude"
- "Black Paws"
- "D-Code"
Musicians: Alain Caron (Basses), Jean St-Jacques (Keyboards and Malletkat), David Bellemare (Saxophones), Simon Langlois (Drums), Francois Blouin (Keyboards)
Style: Fusion/Contemporary Jazz
Release Date: June, 2006
Running Time: 110 Minutes
Artist Contact: AlainCaron.com
Reviewed By: Cliff Engel - May 31, 2007
Todd Johnson - Walking Bass Line Module System: Vol. II - Scale Modules
In volume two of his Walking Bass Line Module System, Todd Johnson picks up where he left off in the previous installation of this series as he continues to break down the art of walking bass line construction through scale modules. After a brief review of the fundamental components presented in volume one, Johnson outlines the basic building blocks of this DVD by playing the major scale utilizing just two hand positions and two sets of fingerings based upon the one-finger-per-fret approach to fingerboard harmony. Johnson then proceeds with his systematic analysis of walking bass lines created with Dorian, Mixolydian, Major, Aeolian, Locrian, and Spanish Dominant scale modules which are applied to a couple hand positions within his 4 + 2 filing system over both major and minor ii-V-I chord progressions, the most common progressions found in jazz music. Since the foundation of his method is based upon memorizing modules comprised of scale degree such as 1-2-3-5 or 8-7-6-5 and variations of those combinations, the entire system can be utilized in a universal fashion on any chord type within any chord progression or song form. Simply take a small number of these modules, plug them into the chord changes you are playing over, and make the necessary chord tone and scale tone adjustments in order to use any module on the various chord types. Johnson also demonstrates his method in real world musical application by providing transcribed bass lines to classic jazz standards including "Autumn Leaves," "Stella By Starlight," "All The Things You Are," and "How High The Moon." Along with the first-class video production and multiple viewing angles presented throughout the duration of this course, each of the performed walking lines is notated in standard notation on the screen, and you can download supplemental materials from Johnson's web site consisting of all the examples in the portable document format (PDF), blank chord charts which you can use as templates for improvising your own walking lines, a master module reference guide, bonus video excerpts, and several MP3 play-alongs to further assimilate the walking bass line module system into your practice sessions. Although Johnson encourages students to study music theory and learn essential chord/scale association, his walking bass line module system can be easily learned by anyone, regardless of their playing level or ability to read standard notation. While it might make sense to examine the triad modules of volume one in this DVD series before working through the scale modules contained in volume two since they are related and can be used in conjunction with each other, these scale modules have been developed independently of their predecessors, and they can be studied as such. In addition to presenting this easy-to-learn method to electric and acoustic upright bassists, it can be employed by guitar players and keyboardists as well.
DVD Chapters:
- Introduction & Review
- Overview
- Bb - 2 - E
- Scale Modules Ascending
- 4 + 2 Stretch Notes
- Scale Modules Descending
- Resolution Rule
- The 2 Bar Phrase
- Bb - 2 - E (Ex. 1-9)
- Bb - 4 - E
- Bb - 4 - E (Ex. 1-9)
- Theory Reminder
- Gmi - 1 - E
- Minor ii-v-i
- Gmi - 1 - E (Ex. 1-9)
- 4th Finger Minor
- Ami - 4 - E
- Putting It All Together
- "Autumn Leaves"
- "Stella By Starlight"
- "All The Things You Are"
- "How High The Moon"
- Closing Thoughts
Release Date: April, 2007
Running Time: 95 Minutes
Street Price: $40.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - April 30, 2007
DVD Chapters:
- Introduction & Review
- Overview
- Bb - 2 - E
- Scale Modules Ascending
- 4 + 2 Stretch Notes
- Scale Modules Descending
- Resolution Rule
- The 2 Bar Phrase
- Bb - 2 - E (Ex. 1-9)
- Bb - 4 - E
- Bb - 4 - E (Ex. 1-9)
- Theory Reminder
- Gmi - 1 - E
- Minor ii-v-i
- Gmi - 1 - E (Ex. 1-9)
- 4th Finger Minor
- Ami - 4 - E
- Putting It All Together
- "Autumn Leaves"
- "Stella By Starlight"
- "All The Things You Are"
- "How High The Moon"
- Closing Thoughts
Release Date: April, 2007
Running Time: 95 Minutes
Street Price: $40.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - April 30, 2007
Todd Johnson - Technique Builders: The Essential Guide To Electric Bass Technique
In an effort to correct the most common technique-based problems experienced amongst his students, Todd Johnson has released his second instructional DVD, Technique Builders. As an instructor, Johnson has demonstrated his concepts to students at leading musical institutions in California, during bass clinics throughout the United States, and in private lessons since the early 1990's. In this DVD, Johnson troubleshoots the problems inherent to playing the electric bass. He addresses the mechanics involved in playing the instrument in the most efficient manner possible by eliminating wasted motion and reveals how you can control the shape, attack, decay, and articulations of the notes you play.
Through an organized method, this DVD is divided into four separate sections. Following a brief introduction outlining the general purpose of the content within the DVD and the benefits of utilizing good technique, Johnson begins by discussing some of the basic and most often overlooked variables involved in playing electric bass such as the angles of the wrists, the height at which the bass is strapped on, and setting the strap at a consistent length for both standing and sitting positions.
In the second portion of his course, Johnson focuses on principles including left hand posture, finger placement, the right hand, the floating thumb concept, right hand muting technique, as well as playing with a light right hand touch and right hand placement considerations.
After establishing the fundamental guidelines contained within the first couple of segments, Johnson moves onto a series of exercises that are split into two additional sections. In the first group of exercises, Johnson discusses the significance of warming up and stretching in order to build strength, independence, and dexterity between each of the fingers. He also presents a series of exercises he calls two-finger combos, a shifting drill, a supportive fingering exercise, an exercise regarded as the x-drill, and exercises he refers to as bouncing fifths. In the last section of the DVD, Johnson outlines six more collections of exercises comprised of the spider, octaves, hammer-ons, pull-offs, and ghost notes.
As with his previous instructional DVD, Johnson's Technique Builders is extremely structured, well-produced, and provides multiple camera angles with lots of close-ups which allows you to really get inside the techniques and view his hands from different positions. Following a link specified on the DVD, you can also review several of the exercises in both standard notation and tablature by downloading supplemental PDF files from Johnson's web site.
The Bottom Line
Regardless of your current playing level, previous experience, or the style of music you prefer to play, Todd Johnson's Technique Builders will assist in establishing a solid foundation in becoming a well-rounded bassist and save you hours of frustration in not being able to play something accurately due to the lack of proper technique. It is the perfect starting place for beginners who have just picked up the electric bass and also for those self-taught bassists who are seeking to resolve bad habits that have been inadvertently formed over the years.
Release Date: January, 2006
Running Time: 107 Minutes
Street Price: $40.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - April 1, 2006
Through an organized method, this DVD is divided into four separate sections. Following a brief introduction outlining the general purpose of the content within the DVD and the benefits of utilizing good technique, Johnson begins by discussing some of the basic and most often overlooked variables involved in playing electric bass such as the angles of the wrists, the height at which the bass is strapped on, and setting the strap at a consistent length for both standing and sitting positions.
In the second portion of his course, Johnson focuses on principles including left hand posture, finger placement, the right hand, the floating thumb concept, right hand muting technique, as well as playing with a light right hand touch and right hand placement considerations.
After establishing the fundamental guidelines contained within the first couple of segments, Johnson moves onto a series of exercises that are split into two additional sections. In the first group of exercises, Johnson discusses the significance of warming up and stretching in order to build strength, independence, and dexterity between each of the fingers. He also presents a series of exercises he calls two-finger combos, a shifting drill, a supportive fingering exercise, an exercise regarded as the x-drill, and exercises he refers to as bouncing fifths. In the last section of the DVD, Johnson outlines six more collections of exercises comprised of the spider, octaves, hammer-ons, pull-offs, and ghost notes.
As with his previous instructional DVD, Johnson's Technique Builders is extremely structured, well-produced, and provides multiple camera angles with lots of close-ups which allows you to really get inside the techniques and view his hands from different positions. Following a link specified on the DVD, you can also review several of the exercises in both standard notation and tablature by downloading supplemental PDF files from Johnson's web site.
The Bottom Line
Regardless of your current playing level, previous experience, or the style of music you prefer to play, Todd Johnson's Technique Builders will assist in establishing a solid foundation in becoming a well-rounded bassist and save you hours of frustration in not being able to play something accurately due to the lack of proper technique. It is the perfect starting place for beginners who have just picked up the electric bass and also for those self-taught bassists who are seeking to resolve bad habits that have been inadvertently formed over the years.
Release Date: January, 2006
Running Time: 107 Minutes
Street Price: $40.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - April 1, 2006
Todd Johnson - Walking Bass Line Module System: Vol. I - Triad Modules
Acknowledged for his innovative approach to playing the 6-string bass as a seasoned performer with the critically-acclaimed Ron Escheté Trio and also recognized as a highly-regarded clinician, Todd Johnson has packaged years of experience into his first instructional DVD series, The Walking Bass Line Module System: Vol. I - Triad Modules. In volume I, Johnson dissects a collection of triad-based modules that can be used in building walking bass lines.
After defining basic terminology and discussing fundamental music concepts such as strong beat/weak beat theory, essential bass line requirements, and the three components of walking bass line construction, Johnson demonstrates how his in-depth system works through a series of 25 different modules consisting of roots, thirds, fifths, octaves, and half-step approaches from above and below these scale degrees. Two additional modules comprised of roots, thirds, fifths, and sevenths are included near the conclusion of the program that offer a glimpse towards the direction of volume II of this series.
Besides illustrating his module system to a backing track of chordal accompaniment and drums on a simple 12-bar blues form that is utilized throughout the duration of the course, Johnson offers suggestions regarding how you can employ his approach on the classic jazz standard, "Autumn Leaves." He also specifies resolution and quarter note rules, turnaround tips, thoughts on using open strings versus playing closed tones, right hand placement, and how his method will improve your skill to hear chord changes.
Unlike most other walking bass line methods, Johnson's system really excels in that the ability to read standard music notation is not required in order to learn the material because it's entirely based upon the memorization of bite-sized, 4-digit note arrangements that anyone can easily digest. If you are interested in reviewing the modules in standard notation as well as trying to replicate a live performance situation, you can download supplemental PDF files and MP3 play-along tracks directly from Johnson's web site. Johnson states that his approach can be learned through approximately 3-6 weeks of diligent practice, and then once you have a basic understanding of how the concepts work, it is just a matter of taking the triad modules and inserting them in chord changes as they are presented to you in songs.
The Bottom Line
For less than the cost of a single, private lesson, you receive instruction from one of the best jazz bassists in the business that you can review for years to come. Todd Johnson's Walking Bass Line Module System: Vol. I - Triad Modules is a logically-organized, easy-to-understand system that guides you step-by-step through the tools required to create solid, functional walking bass lines.
Release Date: August, 2005
Running Time: 80 Minutes
Street Price: $40.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - February 1, 2006
After defining basic terminology and discussing fundamental music concepts such as strong beat/weak beat theory, essential bass line requirements, and the three components of walking bass line construction, Johnson demonstrates how his in-depth system works through a series of 25 different modules consisting of roots, thirds, fifths, octaves, and half-step approaches from above and below these scale degrees. Two additional modules comprised of roots, thirds, fifths, and sevenths are included near the conclusion of the program that offer a glimpse towards the direction of volume II of this series.
Besides illustrating his module system to a backing track of chordal accompaniment and drums on a simple 12-bar blues form that is utilized throughout the duration of the course, Johnson offers suggestions regarding how you can employ his approach on the classic jazz standard, "Autumn Leaves." He also specifies resolution and quarter note rules, turnaround tips, thoughts on using open strings versus playing closed tones, right hand placement, and how his method will improve your skill to hear chord changes.
Unlike most other walking bass line methods, Johnson's system really excels in that the ability to read standard music notation is not required in order to learn the material because it's entirely based upon the memorization of bite-sized, 4-digit note arrangements that anyone can easily digest. If you are interested in reviewing the modules in standard notation as well as trying to replicate a live performance situation, you can download supplemental PDF files and MP3 play-along tracks directly from Johnson's web site. Johnson states that his approach can be learned through approximately 3-6 weeks of diligent practice, and then once you have a basic understanding of how the concepts work, it is just a matter of taking the triad modules and inserting them in chord changes as they are presented to you in songs.
The Bottom Line
For less than the cost of a single, private lesson, you receive instruction from one of the best jazz bassists in the business that you can review for years to come. Todd Johnson's Walking Bass Line Module System: Vol. I - Triad Modules is a logically-organized, easy-to-understand system that guides you step-by-step through the tools required to create solid, functional walking bass lines.
Release Date: August, 2005
Running Time: 80 Minutes
Street Price: $40.00
Artist Contact: ToddJohnsonMusic.com
Reviewed By: Cliff Engel - February 1, 2006
Roy Vogt: Electric Bass - 11/25/04
During this hour-long Master Study Series DVD, bassist Roy Vogt guides the viewer through a diverse collection of topics including walking bass lines, hand positions, scales, chords, slapping, tapping, and harmonics on 4 and 6-string fretted electric basses as well as fretless 6-string bass. Vogt, an instructor at Belmont University and a graduate of the University of Miami jazz program, became the recipient of the first masters degree in Electric Bass Performance awarded in the United States in 1980. Vogt begins by discussing the historical function of the bass as a bridge between the percussion and harmonic instruments such as the piano in an ensemble setting. Vogt then explains the significance of voice leading through the cycle of 4ths and shows how to create effective walking bass lines in both two-feel and quarter note-based styles utilizing triads and approach notes in every key. In the next section, Vogt breaks down basic left and right hand technique including the one-finger-per-fret concept, using the thumb on the back of the neck as a pivot point to relieve fatigue and expand the range of frets that you can cover in any position, wrist curvature, 2-finger alternating technique, economy of motion, and the floating thumb concept. Following a dissection of the modes of the major scale and diatonic 7th chords on a fretted 4-string bass, Vogt moves to a fretted 6-string in order to illustrate various chord voicings as well as two-handed tapping concepts. In the slap bass chapter, Vogt takes a look at the components closely associated with slap bass techniques including the role of the thumb, plucking fingers, muting, ghost notes, hammer-ons, pull-offs, and double thumbing approaches. Before closing with a brief description of 7-string bass, Vogt describes a few exercises to assist in playing fretless bass in tune, adding coloration with vibrato, and harmonics. Bottom Line: Through a culmination of years of proven playing, performing, recording, and teaching experience, Roy Vogt demonstrates many of the fundamental concepts to help you get started and further your understanding of electric bass techniques. For more information on Roy Vogt and this DVD, visit: RoyVogt.com.
C. Engel
Matt Garrison: Live DVD/CD - 09/25/04
After working with world renowned jazz pianist Herbie Hancock on his live DVD project, Matt Garrison entered a New York City studio in December, 2003 to capture a live performance as the leader of his own band consisting of material found primarily on his self-titled debut project. In front of a live studio audience and backed by several of his world-class musical colleagues including Adam Rogers (guitar), Scott Kinsey (keys), Jojo Mayer (drums), Sabina Sciubba (vocals), Arto Tuncboyacian (percussion), Jim Beard (keys), and Gene Lake (drums), Garrison documents his unique, multi-layered style of composition, unorthodox 4-finger right hand technique, and inventive chordal approach on his signature Fodera bass. The intensity of Garrison's playing and the live energy generated by the performance of his ensemble is fully realized through this video presentation and far surpasses the playing on the original tracks that were released a few years ago. The overall production of the DVD project is excellent. A complete track listing of the DVD performances includes: "Family", "Shapeless", "Duet", "Groove Tune", "Arto's Song", "Dark Matter", "Turn Around", and "Duet 9/4." The live CD does not include "Arto's Song." The total DVD running time is 49 minutes, and the CD running time is 42 minutes. Bottom Line: If you have never experienced the music of Matt Garrison in a live performance setting, this DVD presents the perfect opportunity to witness the virtuoso skills of one of today's most gifted bassists. The live DVD can also function as an instructional video for those who are interested in gaining insight into Garrison's mind-boggling bass technique. To learn more about Matt Garrison and his live DVD/CD, go to: GarrisonJazz.com.
C. Engel
Norm Stockton: Pondering Bass Technique - From Bass Pyrotechnics To Art - 07/07/04
In his most advanced presentation to date from the Grooving For Heaven bass instructional video series, bassist Norm Stockton demystifies many of the most popular techniques utilized in the vocabulary of contemporary bass playing. In his analysis, Stockton breaks down a broad palette of bass techniques including slapping, tapping, chords, harmonics, and palm muting. Stockton begins by explaining the fundamental mechanics of slap techniques, the most extensive section of the program. From single string slaps and plucks to double thumbing and plucking, Stockton provides forty exercises to assist in the control, accuracy, consistency, and refinement of your slap technique while considering musical sensitivity and the assimilation of these techniques into the most appropriate musical context. In the chapter outlining the elements of tapping, Stockton presents several exercises to aid in obtaining independence between your right and left hands along with musical applications displaying the primary ways Stockton uses arpeggio shapes, single-string, and chordal tapping techniques. To demonstrate some of the numerous chording opportunities on electric bass, Stockton offers a number of possible variations on minor 7th, major 7th, dominant 7th, diminished, augmented, and half-diminished chord voicings in multiple positions on the fingerboard. In the chapter titled A Spectrum of Tones: Chimes, Thuds, & Swells, Stockton explores the timbres that can be created with artificial harmonics, palm muting, and volume swells. Stockton then addresses how to combine many of these techniques into a tapestry of parts as dictated by the music followed by a brief discussion of his favorite effects to reinforce and enhance bass parts. Stockton's lesson concludes with an introduction to the concept of solo bass arranging using factors such as implied harmony through sparse chord voicings. Throughout the duration of the program, Stockton demonstrates how each of the techniques discussed can be employed with a number of featured performances of several original compositions and arrangements including "A Tender NAMM Moment", "Pondering The Sushi", "The Star Spangled Banner", "Veggie Soup", "Come Before Winter", "The Cedars Of Lebanon", "Jesu, Joy Of Man's Desiring", and "Angels We Have Heard On High." A special features section includes many "minus-bass" play-along tracks from Stockton's critically-acclaimed debut solo recording, Pondering The Sushi, such as "The Race", "Pondering The Sushi", "Blessed", "A Tender NAMM Moment", and "Veggie Soup." An additional benefit of the dvd format found in the chapter list options allows the user to jump to any specific exercise contained within that section. Bottom Line: For less than the price of a single private lesson, Norm Stockton has packed enough information into Pondering Bass Technique to keep even the most dedicated students in the woodshed for months. With over 2 hours of instruction from one of the finest bass educators in the world today, Pondering Bass Technique will equip you with the tools to pursue your musical creativity and express the widest range of tonal colors available to contemporary bass players using unconventional techniques. For more information on Norm Stockton and Pondering Bass Technique, visit: NormStockton.com.
C. Engel
Norm Stockton: The Art Of Groove - Taking Your Bass/Drum Relationship To The Next Level - 03/07/04
In Volume 3 of his highly-acclaimed Grooving For Heaven bass instructional video series, bassist Norm Stockton demonstrates how to take the bass/drum relationship to the next level through a comprehensive analysis of the interaction between the bassist and drummer in a contemporary ensemble setting. The Art Of Groove begins with a duo performance of "Blessed" from Stockton's very popular debut solo project, Pondering The Sushi. After a brief introduction and overview of the course, Stockton defines groove and discusses the role of a bassist as the bridge between the harmonic and rhythmic elements of the band. Stockton then addresses fundamental relative pitch ear training exercises using scales, intervals, and arpeggios. Utilizing the skills of David Owens on drum set, Stockton provides some very useful insight to rhythmic ear training through drum beat placement and variations on typical pop grooves. Within the Groove 101 chapter, Stockton explains groove concepts and approaches. With assistance from Owens and guitarist Joel Whitley, Stockton delivers example after example of what to do and more importantly what not to do in various situations and then how to subtly adjust your bass line accordingly to avoid rhythmic redundancy and salvage the overall feel of the music looking at the big picture. Stockton and Owens work through a multitude of must-know grooves exhibiting the nuances of what bassists and drummers typically play in a number of styles including rock, funk, fusion, r&b, reggae, hip hop, gospel, western african, south african, and ska genres. Stockton and Owens then take odd time signatures into consideration and reveal how to count their subdivisions in an easy-to-understand fashion. In the Critical Subtleties chapter, Stockton and Owens analyze the hard-to-define aspects of music which separate great musicians from the average. During a discussion of tempo versus feel, Stockton and Owens manipulate tempos and play various rhythmic anticipations and fills. Before closing the program with a performance of "Veggie Soup", the bonus track on his debut recording, Stockton and Owens guide you through spontaneous bass and drum musical dialogues by introducing variations in a call and response type of format and demonstrate rhythmic consistency using different technical aspects on their respective instruments. As a special dvd addition, Stockton performs an original composition in a live performance music video with a featured "Norm Cam" perspective. Bottom Line: Norm Stockton is one of the finest bass educators in the world today. Packed with all the essential grooves of the vocabulary and a total running time of almost 2 hours, The Art Of Groove is the first bass instructional method of its kind that delves so deeply into the analysis of the interaction between the roles of a bassist and drummer. Every bassist should force their time-keeping counterparts to watch this dvd. This video is an indispensable resource for any aspiring bassist looking to take their grooving ability to the next level. To learn more about Norm Stockton and The Art Of Groove, go to: NormStockton.com.
C. Engel
Keith Horne: Bass Techniques - 07/05/03
Presented by RowPro Records, Bass Techniques gives the aspiring bassist an inside look at the techniques which have made Keith Horne one of Nashville's most sought-after studio veterans and touring sideman to some of the biggest names in country music. Accompanied by guests Dane Bryant, Shawn Fichter, Pat McDonald, Jeffery Scott Wills, Sons of the Desert, and John Billings, Horne reveals his very unique approach to playing bass. The video consists of footage shot in a number of locations and captures Horne in a wide variety of musical formats including solo, duo, trio, and full band settings. The video begins with Horne playing a tour-de-force funk groove and solo, followed by a brief outline of his musical roots, influences, and the reasoning behind playing bass upside down. Next, Horne describes the gear he uses to obtain his distinct tone including his signature model, Warrior 6-string bass. In an unaccompanied, groove-infected showcase, Horne demonstrates how to utilize an arsenal of techniques complete with harmonics, a serious chordal workout, and blistering solo runs. With fellow bassist John Billings, Horne breaks down his approach to playing in funk, country, and blues styles and explains how to play for the song and incorporate tasteful fills, slides, and other licks to enhance the overall feel of compositions while remaining true to the style without over playing. Following this 30-minute presentation, the video concludes with two special performances with Horne and Sons of the Desert and as a leader of his own band. Bottom Line: While Bass Techniques is geared more towards the performance aspect of Horne's style, there are plenty of concepts found within this video to keep bassists of all levels sheddin' for a long time. From bluegrass to country to funk and blues, Keith Horne is truly a musical chameleon. Not only does he provide some of the most in-demand bass playing and vocal work in Nashville, but he gigs regularly as a guitarist too! As a multi-instrumentalist, few people possess this much raw musical talent.
C. Engel
Norm Stockton: Grooving For Heaven - Volume 2: The Bassist & Contemporary Worship - 02/06/03
In this 90+ minute instructional video, bassist Norm Stockton addresses a variety of fundamental musical concepts, ideas, and bass techniques applicable to a wide range of musical styles. Even more importantly, Stockton discusses the often overlooked subtleties of what not to play in musical settings. This volume picks up where volume one of this video series left off, Fingerboard Familiarity: Modes and Intervals. In this section Stockton guides you step-by-step through the modes of the major scale and interval memorization. If you have ever had trouble understanding how the modes of the major scale can be fully utilized in any musical situation, after viewing this section, you will see the light. Stockton outlines modal exercises and how to identify notes before you play them. Next, Stockton delves into Bassic Communication and demonstrates how to add spice to your lines and say what you mean through dynamics, articulations, slurs, hammer-ons, vibrato, and ghost notes. In the part that follows, Stockton analyzes several bass idioms within country, jazz, funk, rock, reggae, and latin music. He also briefly mentions tonal settings for your bass which will enhance the overall sound of your lines in each style. Then, he takes a closer look at The Slap Style with numerous string crossing and octave-based exercises. The next section is dedicated to the very subjective and somewhat intangible topic of Taste and how to contribute sensitively within the context of your given situation. Accompanied by an acoustic guitar and vocal backing track, Stockton provides a number of examples and variations with skillfully interwoven bass lines. He offers advice on how to perform as a team member and how to say the most with your lines without detracting from the overall performance of the group. Very nice! This section regarding Taste may very well be the most significant concept ever placed in an instructional video. Lastly, Stockton shows how a bassist can expand the tonal palette with the mwah factor of Fretless Bass. Bottom Line: Through his extensive travels performing and conducting clinics around the world, Norm Stockton has acquired years of experience as a professional bassist, and now he shares that insight with you on Grooving For Heaven - Volume 2: The Bassist & Contemporary Worship. Although this video was conceived with the bassist playing in a contemporary worship environment in mind, all of the topics included in this one-on-one video presentation are applicable to any beginner to intermediate leveled playing bassist looking to further develop their bass playing skills. For more information on Norm Stockton and this video, visit: NormStockton.com.
C. Engel
John Patitucci: David Gage String Instruments Master Class Series - 5/12/02
36 Walker Productions, the media arm of the world renowned David Gage String Instrument Repair Shop, has released its first video from its Master Class Series, John Patitucci: Master Class Video. Patitucci, currently the Artistic Director of New York's Bass Collective, is an award-winning electric/acoustic bassist who stands at the forefront of contemporary jazz as a highly sought-after sideman and a successful, Grammy-award winning leader of his own groups. Over the past decade, Patitucci has been recognized by critics and fans alike in polls conducted around the world as one of today's elite jazz bassists. Now, with his first ever acoustic-based video, he imparts all of his years of knowledge and experience onto you. Filmed live on location at Gage's shop, this video contains approximately an hour and forty minutes of truly inspiring and educational material. It is jam packed full of insightful and useful information and lots of applicable examples from beginning to end. In this video Patitucci addresses a number of concepts including things he calls the "non-negotiables" such as possessing a strong sense of time, the importance of developing your ears and understanding harmony, playing with taste, and being capable of reading music. With the comping help of guitarist Jay Azzolina, Patitucci provides numerous musical illustrations including "Stella By Starlight", "Alone Together", and several chorus' of "F Blues", to name only a few examples, in which he thoroughly applies his knowledge and concepts to real life musical situations. Patitucci lectures on the importance of learning how to think like a composer as you play through the changes of a composition. He stresses the importance of paying particular attention to emoting the music through the utilization of dynamics and articulations with examples from Ray Brown and Louis Armstrong. Patitucci places a strong emphasis on the need to transcribe, analyze, and imitate the playing and phrasing of the masters of the jazz bass tradition like Ray Brown and Ron Carter. From outlining the form of "Stella By Starlight" with simple chord tones in two to demonstrating how to shape the structure of a ballad while maintaining an awareness to the sensitivity of the music, Patitucci covers serious ground in a relatively short period of time. Throughout the video Patitucci interacts with interesting questions from the audience. Patitucci also offers his approach to right hand technique, ear training, playing outside the chord changes while utilizing the laws of tension and release through upper structures, improvising in pockets in a single register, playing in thumb position, and recording. As Patitucci exhibits throughout this video, his sense of harmony and highly advanced improvisational skills are what make him such a highly regarded and respected bassist. Bottom Line: John Patitucci's Master Class Video is without a doubt the most informative and inspirational upright jazz bass video on the market. Whether you are a beginner in search of learning the fundamental aspects of jazz bass playing or a seasoned veteran looking for advanced improvisation techniques, this video is a must have for all aspiring bassists. Finally someone has realized that a need exists for high-quality jazz bass instructional videos. Through David Gage and his production company, hopefully we will have the opportunity to experience more videos from the masters of the jazz bass tradition. For more information on this video and David Gage, go to: DavidGage.com.
C. Engel
Marcus Miller: In Concert - 12/25/01
If you have never had the distinct pleasure of catching Marcus Miller live, here is your opportunity. Taped on June 6, 1994, during a stop on a leg of "The Sun Don't Lie" tour in Baden-Baden, Germany, Miller and his band are caught in true pinnacle form. Joined alongside this icon of bass are Poogie Bell on drums, Kenny Garrett on sax, Michael Stewart on trumpet, and Bernard Wright and Morris Pleasure on keyboards. With its first rate video and audio production, this video has to be one of the most well produced concerts I've ever seen in any video format. The camera is focused on Miller for the vast majority of the concert which thus enables you to get a first hand look into all of Miller's wicked slap techniques. With this video you can now study and analyze how the master of slap plays some of his best material. This concert lasts just under sixty minutes and includes live performances of: "Rampage", "Panther", "Mr. Pastorius", "Steveland", "Scoop", "Tutu", and "Ju Ju." With his signature Fender Jazz Bass in hand, Miller blows jaw-dropping, extended solos over each track. Although this concert was originally recorded in 1994 by a local German television station for a German tv music program, it was not made available to the public in DVD format until the summer of 2001. It is a German import, but I was able to obtain it rather easily through a small, local record store. Just for the amount of instructional value alone, this video is worth ten times its cost of less than $20 U.S. dollars. This video will answer all the questions you've ever wandered regarding Miller's mind-boggling slap techniques. I have personally viewed this DVD now at least ten times before writing this review, and I have already noticed a dramatic improvement in my slap chops. When any of my private lesson students are ready to learn slapping techniques, I'll tell them that this video is a can't miss. Bottom Line: If you are interested in learning slap bass, look no further. Here is your chance to take an hour long lesson from the master of slap techniques. Forget about spending $40-$50 on all those other slap bass instructional videos that are already out on the market. Even though this video was not intentionally designed to be an instructional method, if you are willing to spend some time disecting and absorbing Miller's technique, this may be the wisest investment you ever make. For more information on bass great Marcus Miller or this DVD, go to: MarcusMiller.com.
C. Engel
Anthony Vitti: Accelerate Your Bass Playing - 08/01/01
After years of sharing his knowledge and love for the bass with hundreds of students from around the world at Berklee College of Music, professor Anthony Vitti now offers that same expertise to all aspiring bassists with his first instructional video, Accelerate Your Bass Playing. From his years of experience as a teacher, Vitti has formulated a practical approach to bass playing which consists of exercises and examples to help correct the elemental weaknesses that he has observed common to many bassists. His teaching focuses on becoming a well-versed bassist with a special emphasis on time, feel, and groove. This 53 minute video package is jam-packed with helpful tips, useful advice, and most importantly, proven exercises to help you play better, faster. Much of the material that Vitti presents here is actual lesson material which he uses in his own teaching at Berklee, and while most of the material is aimed towards the beginning to intermediate level bassist, there are several examples for even the more advanced player to work through. The production of this video is nothing short of exceptional, easily one of the best produced videos on the market today. With its split screen shots of both left and right hand technique, you get an insiders look at exactly how Vitti fingers each of his exercises. The video is divided into four parts and is accompanied by a 79 page booklet that is loaded with all of the exercises demonstrated on the video notated in both standard notation and tablature. The booklet alone is well worth the price of the package. In part one of this package Vitti's clear and detailed instruction centers on the importance of finger exercises for building hand strength, finger independence, speed, and consistency. In part two Vitti guides you through some basic fretboard knowledge such as intervals, natural notes, note colors, and playing lines in different positions. In the third section of the video Vitti explains his fingerstyle funk/r&b techniques with examples that cover muting and basic slap grooves. And in part four, Vitti explores various rhythm studies to help you gain a better understanding of how to approach reading music before delving into the basics of other styles including jazz, rock, heavy metal, bossa nova, latin tumbao, and hip-hop. After each notated example, Vitti states the primary purpose of each exercise, ways to approach practicing each example, and includes other important pointers in order for you to achieve the maximum benefits from his program. Each section is preceeded by a short demonstration of how Vitti's techniques can be utilized in a gig setting, and the video concludes with Vitti shredding through a slap solo while sitting in with Tomo Fujita and Blue Funk. Bottom Line: With its first-rate production quality and instructional content, Accelerate Your Bass Playing is a best buy. For more information on Anthony Vitti, this video, or his other instructional methods, go to: AnthonyVitti.com.
C. Engel
The Artist's Profile: Michael Manring
Prepare to be completely amazed as you take a journey through the incredible and magical world of the one and only, Michael Manring. On this video Manring offers you his thoughts and philosophy on solo bass and music as a whole. You will witness the often unorthodox approach that Manring commands from his arsenal of Zon basses which has catapulted him to the upper echelon of virtuostic solo bass playing and made him a true pioneer in the field of solo bass. Manring runs the gamut of all the different sonic possibilities creatable on bass as he explores rich and subtle textures some never thought possible. There is a real energy and power that one can feel as Manring brings his music to life, and the sheer beauty and elegance of his music that he achieves through the myriad of techniques that he incorporates into his music and this video really can't be described through words. It has to be seen to be truly appreciated. If you've never had a chance to feel the pure power of Manring's music live, either in a concert or clinic type atmosphere, then this video is the next best thing. I've watched it a countless number of times, and every time I view it I still become captivated and furthermore educated to the almost seemingly endless number of possible textures Manring has brought forth and presented to bassists. Manring utilizes a variety of advanced techniques and equipment on this video including: slapping and tapping, altered tunings, the Ebow, and a collection of fretted, fretless, and 10-string basses. Personal highlights from the video for me include: "No Wontons for Elvis" and "Monkey Businessman" which are two of my all-time favorite solo pieces and the powerful performance of "The Fire Sermon" which Manring hammers out on his alternately tuned Zon Legacy Elite 10-string bass. Other performances include "My Three Moons", performed on several Zon basses simultaneously and a multiple bass orchestration of "Snakes Got Legs". On "Snakes Got Legs" Manring builds this piece of music from the ground up like a well thought-out and constructed skyscraper. He starts with a basic rhythmic motif and through various overdubs and loops lays down a bass line, melody, and continues to further expand his ideas with a series of distorted Hyperbass solos all before he brings it back full circle to the basic line. If you want to really see what is meant by "playing the bass", you've got to check out "Diagonal Head Trauma", an unreleased Hyperbass solo. There is no low point throughout this video. It is all pure bass wizardry. If I ever get burned out with playing bass or just seem to not be able to come up with new or fresh ideas, I just pop this video into the vcr and in no time at all I'm headed back to the woodshed. This video is my personal motivation to keep trying to push and raise the standards of bass playing to new and higher levels of achievement. This concert performance/documentary of Manring is a must-have for all bassists beginner to professional. Bottom Line: If I could only own one video, this would be the one.
C. Engel
During this hour-long Master Study Series DVD, bassist Roy Vogt guides the viewer through a diverse collection of topics including walking bass lines, hand positions, scales, chords, slapping, tapping, and harmonics on 4 and 6-string fretted electric basses as well as fretless 6-string bass. Vogt, an instructor at Belmont University and a graduate of the University of Miami jazz program, became the recipient of the first masters degree in Electric Bass Performance awarded in the United States in 1980. Vogt begins by discussing the historical function of the bass as a bridge between the percussion and harmonic instruments such as the piano in an ensemble setting. Vogt then explains the significance of voice leading through the cycle of 4ths and shows how to create effective walking bass lines in both two-feel and quarter note-based styles utilizing triads and approach notes in every key. In the next section, Vogt breaks down basic left and right hand technique including the one-finger-per-fret concept, using the thumb on the back of the neck as a pivot point to relieve fatigue and expand the range of frets that you can cover in any position, wrist curvature, 2-finger alternating technique, economy of motion, and the floating thumb concept. Following a dissection of the modes of the major scale and diatonic 7th chords on a fretted 4-string bass, Vogt moves to a fretted 6-string in order to illustrate various chord voicings as well as two-handed tapping concepts. In the slap bass chapter, Vogt takes a look at the components closely associated with slap bass techniques including the role of the thumb, plucking fingers, muting, ghost notes, hammer-ons, pull-offs, and double thumbing approaches. Before closing with a brief description of 7-string bass, Vogt describes a few exercises to assist in playing fretless bass in tune, adding coloration with vibrato, and harmonics. Bottom Line: Through a culmination of years of proven playing, performing, recording, and teaching experience, Roy Vogt demonstrates many of the fundamental concepts to help you get started and further your understanding of electric bass techniques. For more information on Roy Vogt and this DVD, visit: RoyVogt.com.
C. Engel
Matt Garrison: Live DVD/CD - 09/25/04After working with world renowned jazz pianist Herbie Hancock on his live DVD project, Matt Garrison entered a New York City studio in December, 2003 to capture a live performance as the leader of his own band consisting of material found primarily on his self-titled debut project. In front of a live studio audience and backed by several of his world-class musical colleagues including Adam Rogers (guitar), Scott Kinsey (keys), Jojo Mayer (drums), Sabina Sciubba (vocals), Arto Tuncboyacian (percussion), Jim Beard (keys), and Gene Lake (drums), Garrison documents his unique, multi-layered style of composition, unorthodox 4-finger right hand technique, and inventive chordal approach on his signature Fodera bass. The intensity of Garrison's playing and the live energy generated by the performance of his ensemble is fully realized through this video presentation and far surpasses the playing on the original tracks that were released a few years ago. The overall production of the DVD project is excellent. A complete track listing of the DVD performances includes: "Family", "Shapeless", "Duet", "Groove Tune", "Arto's Song", "Dark Matter", "Turn Around", and "Duet 9/4." The live CD does not include "Arto's Song." The total DVD running time is 49 minutes, and the CD running time is 42 minutes. Bottom Line: If you have never experienced the music of Matt Garrison in a live performance setting, this DVD presents the perfect opportunity to witness the virtuoso skills of one of today's most gifted bassists. The live DVD can also function as an instructional video for those who are interested in gaining insight into Garrison's mind-boggling bass technique. To learn more about Matt Garrison and his live DVD/CD, go to: GarrisonJazz.com.
C. Engel
Norm Stockton: Pondering Bass Technique - From Bass Pyrotechnics To Art - 07/07/04In his most advanced presentation to date from the Grooving For Heaven bass instructional video series, bassist Norm Stockton demystifies many of the most popular techniques utilized in the vocabulary of contemporary bass playing. In his analysis, Stockton breaks down a broad palette of bass techniques including slapping, tapping, chords, harmonics, and palm muting. Stockton begins by explaining the fundamental mechanics of slap techniques, the most extensive section of the program. From single string slaps and plucks to double thumbing and plucking, Stockton provides forty exercises to assist in the control, accuracy, consistency, and refinement of your slap technique while considering musical sensitivity and the assimilation of these techniques into the most appropriate musical context. In the chapter outlining the elements of tapping, Stockton presents several exercises to aid in obtaining independence between your right and left hands along with musical applications displaying the primary ways Stockton uses arpeggio shapes, single-string, and chordal tapping techniques. To demonstrate some of the numerous chording opportunities on electric bass, Stockton offers a number of possible variations on minor 7th, major 7th, dominant 7th, diminished, augmented, and half-diminished chord voicings in multiple positions on the fingerboard. In the chapter titled A Spectrum of Tones: Chimes, Thuds, & Swells, Stockton explores the timbres that can be created with artificial harmonics, palm muting, and volume swells. Stockton then addresses how to combine many of these techniques into a tapestry of parts as dictated by the music followed by a brief discussion of his favorite effects to reinforce and enhance bass parts. Stockton's lesson concludes with an introduction to the concept of solo bass arranging using factors such as implied harmony through sparse chord voicings. Throughout the duration of the program, Stockton demonstrates how each of the techniques discussed can be employed with a number of featured performances of several original compositions and arrangements including "A Tender NAMM Moment", "Pondering The Sushi", "The Star Spangled Banner", "Veggie Soup", "Come Before Winter", "The Cedars Of Lebanon", "Jesu, Joy Of Man's Desiring", and "Angels We Have Heard On High." A special features section includes many "minus-bass" play-along tracks from Stockton's critically-acclaimed debut solo recording, Pondering The Sushi, such as "The Race", "Pondering The Sushi", "Blessed", "A Tender NAMM Moment", and "Veggie Soup." An additional benefit of the dvd format found in the chapter list options allows the user to jump to any specific exercise contained within that section. Bottom Line: For less than the price of a single private lesson, Norm Stockton has packed enough information into Pondering Bass Technique to keep even the most dedicated students in the woodshed for months. With over 2 hours of instruction from one of the finest bass educators in the world today, Pondering Bass Technique will equip you with the tools to pursue your musical creativity and express the widest range of tonal colors available to contemporary bass players using unconventional techniques. For more information on Norm Stockton and Pondering Bass Technique, visit: NormStockton.com.
C. Engel
Norm Stockton: The Art Of Groove - Taking Your Bass/Drum Relationship To The Next Level - 03/07/04In Volume 3 of his highly-acclaimed Grooving For Heaven bass instructional video series, bassist Norm Stockton demonstrates how to take the bass/drum relationship to the next level through a comprehensive analysis of the interaction between the bassist and drummer in a contemporary ensemble setting. The Art Of Groove begins with a duo performance of "Blessed" from Stockton's very popular debut solo project, Pondering The Sushi. After a brief introduction and overview of the course, Stockton defines groove and discusses the role of a bassist as the bridge between the harmonic and rhythmic elements of the band. Stockton then addresses fundamental relative pitch ear training exercises using scales, intervals, and arpeggios. Utilizing the skills of David Owens on drum set, Stockton provides some very useful insight to rhythmic ear training through drum beat placement and variations on typical pop grooves. Within the Groove 101 chapter, Stockton explains groove concepts and approaches. With assistance from Owens and guitarist Joel Whitley, Stockton delivers example after example of what to do and more importantly what not to do in various situations and then how to subtly adjust your bass line accordingly to avoid rhythmic redundancy and salvage the overall feel of the music looking at the big picture. Stockton and Owens work through a multitude of must-know grooves exhibiting the nuances of what bassists and drummers typically play in a number of styles including rock, funk, fusion, r&b, reggae, hip hop, gospel, western african, south african, and ska genres. Stockton and Owens then take odd time signatures into consideration and reveal how to count their subdivisions in an easy-to-understand fashion. In the Critical Subtleties chapter, Stockton and Owens analyze the hard-to-define aspects of music which separate great musicians from the average. During a discussion of tempo versus feel, Stockton and Owens manipulate tempos and play various rhythmic anticipations and fills. Before closing the program with a performance of "Veggie Soup", the bonus track on his debut recording, Stockton and Owens guide you through spontaneous bass and drum musical dialogues by introducing variations in a call and response type of format and demonstrate rhythmic consistency using different technical aspects on their respective instruments. As a special dvd addition, Stockton performs an original composition in a live performance music video with a featured "Norm Cam" perspective. Bottom Line: Norm Stockton is one of the finest bass educators in the world today. Packed with all the essential grooves of the vocabulary and a total running time of almost 2 hours, The Art Of Groove is the first bass instructional method of its kind that delves so deeply into the analysis of the interaction between the roles of a bassist and drummer. Every bassist should force their time-keeping counterparts to watch this dvd. This video is an indispensable resource for any aspiring bassist looking to take their grooving ability to the next level. To learn more about Norm Stockton and The Art Of Groove, go to: NormStockton.com.
C. Engel
Keith Horne: Bass Techniques - 07/05/03Presented by RowPro Records, Bass Techniques gives the aspiring bassist an inside look at the techniques which have made Keith Horne one of Nashville's most sought-after studio veterans and touring sideman to some of the biggest names in country music. Accompanied by guests Dane Bryant, Shawn Fichter, Pat McDonald, Jeffery Scott Wills, Sons of the Desert, and John Billings, Horne reveals his very unique approach to playing bass. The video consists of footage shot in a number of locations and captures Horne in a wide variety of musical formats including solo, duo, trio, and full band settings. The video begins with Horne playing a tour-de-force funk groove and solo, followed by a brief outline of his musical roots, influences, and the reasoning behind playing bass upside down. Next, Horne describes the gear he uses to obtain his distinct tone including his signature model, Warrior 6-string bass. In an unaccompanied, groove-infected showcase, Horne demonstrates how to utilize an arsenal of techniques complete with harmonics, a serious chordal workout, and blistering solo runs. With fellow bassist John Billings, Horne breaks down his approach to playing in funk, country, and blues styles and explains how to play for the song and incorporate tasteful fills, slides, and other licks to enhance the overall feel of compositions while remaining true to the style without over playing. Following this 30-minute presentation, the video concludes with two special performances with Horne and Sons of the Desert and as a leader of his own band. Bottom Line: While Bass Techniques is geared more towards the performance aspect of Horne's style, there are plenty of concepts found within this video to keep bassists of all levels sheddin' for a long time. From bluegrass to country to funk and blues, Keith Horne is truly a musical chameleon. Not only does he provide some of the most in-demand bass playing and vocal work in Nashville, but he gigs regularly as a guitarist too! As a multi-instrumentalist, few people possess this much raw musical talent.
C. Engel
Norm Stockton: Grooving For Heaven - Volume 2: The Bassist & Contemporary Worship - 02/06/03In this 90+ minute instructional video, bassist Norm Stockton addresses a variety of fundamental musical concepts, ideas, and bass techniques applicable to a wide range of musical styles. Even more importantly, Stockton discusses the often overlooked subtleties of what not to play in musical settings. This volume picks up where volume one of this video series left off, Fingerboard Familiarity: Modes and Intervals. In this section Stockton guides you step-by-step through the modes of the major scale and interval memorization. If you have ever had trouble understanding how the modes of the major scale can be fully utilized in any musical situation, after viewing this section, you will see the light. Stockton outlines modal exercises and how to identify notes before you play them. Next, Stockton delves into Bassic Communication and demonstrates how to add spice to your lines and say what you mean through dynamics, articulations, slurs, hammer-ons, vibrato, and ghost notes. In the part that follows, Stockton analyzes several bass idioms within country, jazz, funk, rock, reggae, and latin music. He also briefly mentions tonal settings for your bass which will enhance the overall sound of your lines in each style. Then, he takes a closer look at The Slap Style with numerous string crossing and octave-based exercises. The next section is dedicated to the very subjective and somewhat intangible topic of Taste and how to contribute sensitively within the context of your given situation. Accompanied by an acoustic guitar and vocal backing track, Stockton provides a number of examples and variations with skillfully interwoven bass lines. He offers advice on how to perform as a team member and how to say the most with your lines without detracting from the overall performance of the group. Very nice! This section regarding Taste may very well be the most significant concept ever placed in an instructional video. Lastly, Stockton shows how a bassist can expand the tonal palette with the mwah factor of Fretless Bass. Bottom Line: Through his extensive travels performing and conducting clinics around the world, Norm Stockton has acquired years of experience as a professional bassist, and now he shares that insight with you on Grooving For Heaven - Volume 2: The Bassist & Contemporary Worship. Although this video was conceived with the bassist playing in a contemporary worship environment in mind, all of the topics included in this one-on-one video presentation are applicable to any beginner to intermediate leveled playing bassist looking to further develop their bass playing skills. For more information on Norm Stockton and this video, visit: NormStockton.com.
C. Engel
John Patitucci: David Gage String Instruments Master Class Series - 5/12/0236 Walker Productions, the media arm of the world renowned David Gage String Instrument Repair Shop, has released its first video from its Master Class Series, John Patitucci: Master Class Video. Patitucci, currently the Artistic Director of New York's Bass Collective, is an award-winning electric/acoustic bassist who stands at the forefront of contemporary jazz as a highly sought-after sideman and a successful, Grammy-award winning leader of his own groups. Over the past decade, Patitucci has been recognized by critics and fans alike in polls conducted around the world as one of today's elite jazz bassists. Now, with his first ever acoustic-based video, he imparts all of his years of knowledge and experience onto you. Filmed live on location at Gage's shop, this video contains approximately an hour and forty minutes of truly inspiring and educational material. It is jam packed full of insightful and useful information and lots of applicable examples from beginning to end. In this video Patitucci addresses a number of concepts including things he calls the "non-negotiables" such as possessing a strong sense of time, the importance of developing your ears and understanding harmony, playing with taste, and being capable of reading music. With the comping help of guitarist Jay Azzolina, Patitucci provides numerous musical illustrations including "Stella By Starlight", "Alone Together", and several chorus' of "F Blues", to name only a few examples, in which he thoroughly applies his knowledge and concepts to real life musical situations. Patitucci lectures on the importance of learning how to think like a composer as you play through the changes of a composition. He stresses the importance of paying particular attention to emoting the music through the utilization of dynamics and articulations with examples from Ray Brown and Louis Armstrong. Patitucci places a strong emphasis on the need to transcribe, analyze, and imitate the playing and phrasing of the masters of the jazz bass tradition like Ray Brown and Ron Carter. From outlining the form of "Stella By Starlight" with simple chord tones in two to demonstrating how to shape the structure of a ballad while maintaining an awareness to the sensitivity of the music, Patitucci covers serious ground in a relatively short period of time. Throughout the video Patitucci interacts with interesting questions from the audience. Patitucci also offers his approach to right hand technique, ear training, playing outside the chord changes while utilizing the laws of tension and release through upper structures, improvising in pockets in a single register, playing in thumb position, and recording. As Patitucci exhibits throughout this video, his sense of harmony and highly advanced improvisational skills are what make him such a highly regarded and respected bassist. Bottom Line: John Patitucci's Master Class Video is without a doubt the most informative and inspirational upright jazz bass video on the market. Whether you are a beginner in search of learning the fundamental aspects of jazz bass playing or a seasoned veteran looking for advanced improvisation techniques, this video is a must have for all aspiring bassists. Finally someone has realized that a need exists for high-quality jazz bass instructional videos. Through David Gage and his production company, hopefully we will have the opportunity to experience more videos from the masters of the jazz bass tradition. For more information on this video and David Gage, go to: DavidGage.com.
C. Engel
Marcus Miller: In Concert - 12/25/01If you have never had the distinct pleasure of catching Marcus Miller live, here is your opportunity. Taped on June 6, 1994, during a stop on a leg of "The Sun Don't Lie" tour in Baden-Baden, Germany, Miller and his band are caught in true pinnacle form. Joined alongside this icon of bass are Poogie Bell on drums, Kenny Garrett on sax, Michael Stewart on trumpet, and Bernard Wright and Morris Pleasure on keyboards. With its first rate video and audio production, this video has to be one of the most well produced concerts I've ever seen in any video format. The camera is focused on Miller for the vast majority of the concert which thus enables you to get a first hand look into all of Miller's wicked slap techniques. With this video you can now study and analyze how the master of slap plays some of his best material. This concert lasts just under sixty minutes and includes live performances of: "Rampage", "Panther", "Mr. Pastorius", "Steveland", "Scoop", "Tutu", and "Ju Ju." With his signature Fender Jazz Bass in hand, Miller blows jaw-dropping, extended solos over each track. Although this concert was originally recorded in 1994 by a local German television station for a German tv music program, it was not made available to the public in DVD format until the summer of 2001. It is a German import, but I was able to obtain it rather easily through a small, local record store. Just for the amount of instructional value alone, this video is worth ten times its cost of less than $20 U.S. dollars. This video will answer all the questions you've ever wandered regarding Miller's mind-boggling slap techniques. I have personally viewed this DVD now at least ten times before writing this review, and I have already noticed a dramatic improvement in my slap chops. When any of my private lesson students are ready to learn slapping techniques, I'll tell them that this video is a can't miss. Bottom Line: If you are interested in learning slap bass, look no further. Here is your chance to take an hour long lesson from the master of slap techniques. Forget about spending $40-$50 on all those other slap bass instructional videos that are already out on the market. Even though this video was not intentionally designed to be an instructional method, if you are willing to spend some time disecting and absorbing Miller's technique, this may be the wisest investment you ever make. For more information on bass great Marcus Miller or this DVD, go to: MarcusMiller.com.
C. Engel
Anthony Vitti: Accelerate Your Bass Playing - 08/01/01After years of sharing his knowledge and love for the bass with hundreds of students from around the world at Berklee College of Music, professor Anthony Vitti now offers that same expertise to all aspiring bassists with his first instructional video, Accelerate Your Bass Playing. From his years of experience as a teacher, Vitti has formulated a practical approach to bass playing which consists of exercises and examples to help correct the elemental weaknesses that he has observed common to many bassists. His teaching focuses on becoming a well-versed bassist with a special emphasis on time, feel, and groove. This 53 minute video package is jam-packed with helpful tips, useful advice, and most importantly, proven exercises to help you play better, faster. Much of the material that Vitti presents here is actual lesson material which he uses in his own teaching at Berklee, and while most of the material is aimed towards the beginning to intermediate level bassist, there are several examples for even the more advanced player to work through. The production of this video is nothing short of exceptional, easily one of the best produced videos on the market today. With its split screen shots of both left and right hand technique, you get an insiders look at exactly how Vitti fingers each of his exercises. The video is divided into four parts and is accompanied by a 79 page booklet that is loaded with all of the exercises demonstrated on the video notated in both standard notation and tablature. The booklet alone is well worth the price of the package. In part one of this package Vitti's clear and detailed instruction centers on the importance of finger exercises for building hand strength, finger independence, speed, and consistency. In part two Vitti guides you through some basic fretboard knowledge such as intervals, natural notes, note colors, and playing lines in different positions. In the third section of the video Vitti explains his fingerstyle funk/r&b techniques with examples that cover muting and basic slap grooves. And in part four, Vitti explores various rhythm studies to help you gain a better understanding of how to approach reading music before delving into the basics of other styles including jazz, rock, heavy metal, bossa nova, latin tumbao, and hip-hop. After each notated example, Vitti states the primary purpose of each exercise, ways to approach practicing each example, and includes other important pointers in order for you to achieve the maximum benefits from his program. Each section is preceeded by a short demonstration of how Vitti's techniques can be utilized in a gig setting, and the video concludes with Vitti shredding through a slap solo while sitting in with Tomo Fujita and Blue Funk. Bottom Line: With its first-rate production quality and instructional content, Accelerate Your Bass Playing is a best buy. For more information on Anthony Vitti, this video, or his other instructional methods, go to: AnthonyVitti.com.
C. Engel
The Artist's Profile: Michael Manring
Prepare to be completely amazed as you take a journey through the incredible and magical world of the one and only, Michael Manring. On this video Manring offers you his thoughts and philosophy on solo bass and music as a whole. You will witness the often unorthodox approach that Manring commands from his arsenal of Zon basses which has catapulted him to the upper echelon of virtuostic solo bass playing and made him a true pioneer in the field of solo bass. Manring runs the gamut of all the different sonic possibilities creatable on bass as he explores rich and subtle textures some never thought possible. There is a real energy and power that one can feel as Manring brings his music to life, and the sheer beauty and elegance of his music that he achieves through the myriad of techniques that he incorporates into his music and this video really can't be described through words. It has to be seen to be truly appreciated. If you've never had a chance to feel the pure power of Manring's music live, either in a concert or clinic type atmosphere, then this video is the next best thing. I've watched it a countless number of times, and every time I view it I still become captivated and furthermore educated to the almost seemingly endless number of possible textures Manring has brought forth and presented to bassists. Manring utilizes a variety of advanced techniques and equipment on this video including: slapping and tapping, altered tunings, the Ebow, and a collection of fretted, fretless, and 10-string basses. Personal highlights from the video for me include: "No Wontons for Elvis" and "Monkey Businessman" which are two of my all-time favorite solo pieces and the powerful performance of "The Fire Sermon" which Manring hammers out on his alternately tuned Zon Legacy Elite 10-string bass. Other performances include "My Three Moons", performed on several Zon basses simultaneously and a multiple bass orchestration of "Snakes Got Legs". On "Snakes Got Legs" Manring builds this piece of music from the ground up like a well thought-out and constructed skyscraper. He starts with a basic rhythmic motif and through various overdubs and loops lays down a bass line, melody, and continues to further expand his ideas with a series of distorted Hyperbass solos all before he brings it back full circle to the basic line. If you want to really see what is meant by "playing the bass", you've got to check out "Diagonal Head Trauma", an unreleased Hyperbass solo. There is no low point throughout this video. It is all pure bass wizardry. If I ever get burned out with playing bass or just seem to not be able to come up with new or fresh ideas, I just pop this video into the vcr and in no time at all I'm headed back to the woodshed. This video is my personal motivation to keep trying to push and raise the standards of bass playing to new and higher levels of achievement. This concert performance/documentary of Manring is a must-have for all bassists beginner to professional. Bottom Line: If I could only own one video, this would be the one.
C. Engel
Books
Stuart Hamm - Bass Transcriptions - Outbound & Beyond
Having previously published the acclaimed Ultimate Slap Bass book along with a highly successful series of Level 42 transcriptions, Bass Transcriptions - Outbound & Beyond featuring the music of Stuart Hamm is the latest book authored by Stuart Clayton. As one of the most influential electric bassists of the past half-century, Hamm has released five projects as a leader and a number of collaborations as a sideman to guitarists such as Joe Satriani and Steve Vai. Expanding the non-traditional function of the bass guitar by fusing rock, jazz, fusion, classical, country, and urban sounds with virtuoso technical facility comprised of unconventional techniques including two-handed tapping, slapping, plucking, chords, and harmonics, Hamm has become recognized as a pioneer of his generation and one of today's leading bassists. After a biographical summary of Hamm's career spanning from his childhood in the early 1960's through his Bx3 tours alongside Jeff Berlin and Billy Sheehan to the release of Live Stu X 2 in 2007, Clayton outlines Hamm's collection of Kubicki Ex Factor and signature model Fender Urge basses that he has utilized on his productions. Clayton has also included detailed performance notes to guide you through each track with extended tips and comments supplied by Hamm. In addition to the standard notation, tablature, and chord symbols, Clayton has provided all of the proper slap, pluck, and tap articulations required to execute each of these complex pieces in their entirety. This compilation of 17 songs contains every track from Outbound, Hamm's fourth studio session as a solo artist, along with Hamm's classic solo bass arrangements of standards from the piano repertoire such as Beethoven's "Moonlight Sonata" and Bach's "Prelude In C" as well as Debussy's "Dr. Gradus Ad Parnassum." Other transcriptions consist of Hamm's renowned live bass medley and three compositions Hamm recorded as a member of the fusion trio GHS with guitarist Frank Gambale of Chick Corea's Elektric Band and former Journey drummer Steve Smith. Bass Transcriptions - Outbound & Beyond showcases all of Hamm's signature slapping, plucking, tapping, and chordal techniques which have earned him extensive accolades and award-winning acknowledgment on a global level since the 1980's. There is no better source for learning the style and advanced techniques employed by this legendary bassist which have helped him to redefine the contemporary application of the bass guitar within a band context and as an unaccompanied instrument.
Book Contents:
- Stuart Hamm Biography
- Stuart Hamm's Basses
- Performance Notes
- "Outbound"
- "... Remember"
- "The Castro Hustle"
- "Star Spangled Banner"
- "The Memo"
- "The Tenacity Of Genes And Dreams"
- "Charlotte's Song"
- "A Better World"
- "Further Down Market"
- "Lydian (Just Enough For The City)"
- "Dr. Gradus Ad Parnassum"
- "Moonlight Sonata"
- "Prelude In C"
- "Quahogs Anyone?"
- "Nostalgia"
- "November"
- "Wrong And Strong"
Author: Stuart Clayton
Release Date: August, 2007
Length: 129 Pages
Contact: BasslinePublishing.com
Reviewed By: Cliff Engel - September 10, 2007
Book Contents:
- Stuart Hamm Biography
- Stuart Hamm's Basses
- Performance Notes
- "Outbound"
- "... Remember"
- "The Castro Hustle"
- "Star Spangled Banner"
- "The Memo"
- "The Tenacity Of Genes And Dreams"
- "Charlotte's Song"
- "A Better World"
- "Further Down Market"
- "Lydian (Just Enough For The City)"
- "Dr. Gradus Ad Parnassum"
- "Moonlight Sonata"
- "Prelude In C"
- "Quahogs Anyone?"
- "Nostalgia"
- "November"
- "Wrong And Strong"
Author: Stuart Clayton
Release Date: August, 2007
Length: 129 Pages
Contact: BasslinePublishing.com
Reviewed By: Cliff Engel - September 10, 2007
Stuart Clayton - Ultimate Slap Bass
Written by U.K. bassist and Bassline Publishing founder Stuart Clayton, Ultimate Slap Bass contains a collection of 227 individual exercises demonstrating basic to highly advanced slap bass techniques. Following a brief historical overview of the slap bass tradition, Clayton offers suggestions on how to obtain optimal results when using slap techniques through holding the bass properly and common setup considerations for your instrument. The book is then organized into four primary sections including Beginner Level, Intermediate Level, Advanced Level, and Famous Slap Bassists. Within these four sections, there are 28 separate chapters devoted to various slapping techniques, closely associated components of slap bass playing, and biographies of the leading contributors to slap playing such as Larry Graham, Stanley Clarke, Marcus Miller, Mark King, Victor Wooten, and Ray Riendeau. From conventional single string slaps to plucks, hammer-ons, pull-offs, ghost notes, left hand slaps, machine gun triplets, double popping, open string hammer-ons, double slapping, and combining these techniques with tapping and harmonics, Clayton covers the entire sphere of modern slapping techniques. With the exception of a few extended lines, practically all of the exercises are notated as examples over four measures. Each of these exercises has been written in different keys and recorded at assorted tempos. The exercises are presented in standard notation and tablature along with chord symbols, performance notes, and the appropriate articulations required to perform the lines. Throughout his commentary, Clayton frequently refers to examples that have been written in the style of renowned grooves or are reminiscent of what a legendary bassist like Mark King, Victor Wooten, Marcus Miller, Stanley Clarke, or Stuart Hamm might play. This sp