Applying the lessons of previous columns to real gig situations
This month’s column brings together ideas from a few of my previous columns and applies them to gigs I’ve done recently. In particular, those columns have discussed finding a versatile rig (Nov. 2007), learning how to use it (Mar. 2008, Nov. 2009, and Feb. 2010), and branching out beyond the basic 4-string (May 2009)—all ideas that can help you become a versatile player who gets more gigs.
Choosing Versatile Gear
In a web-exclusive “On Bass” column from Nov. 2007, I wrote about searching for a portable, powerful, versatile rig to be used mainly with upright bass. At the time, I had settled on a small Acoustic Image Claus amp that put out 400 watts and a Euphonic Audio Wizzy cab with one 12" speaker and transmission- line porting that weighed less than 30 pounds. Since then, I’ve liked that cab so much that I bought a second, plus a similar model from the same company that has a 10" speaker. I also picked up a two-channel Euphonic Audio Micro amp, which is among the many great offerings of micro-sized bass amps now reaching the bass world. I still use the AI sometimes, but I really like the Micro’s two channels. Together, this gear forms a flexible and lightweight setup that can be adapted to almost everything I get myself into—not just acoustic-bass stuff. Now I’ll show how this gear fits my gigs.
Gig #1: Electric Blues
This gig was in a medium-sized tavern with PA support. The band had drums, bass, guitar and harmonica (plus shared vocals), and my rig was the Euphonic Audio Micro head with a stacked pair of 1x12 Wizzy cabs. When I plugged my amp’s DI into the PA, I got some hum, which suggested a ground loop between my rig and the in-house sound system. Because my amp didn’t have a ground-lift switch, I ran an MXR Bass DI+ box out of the amp’s effects send and all was good. I plugged my four-string 1981 G&L L-1000 electric into one channel and an Azola BugBass upright into the other. Each channel had its own gain and EQ settings, so I could switch quickly between the two instruments with the push of a button. Having one of the cabs up off the floor made my basses easy to hear, too.
Gig #2: Wine-Bar Blues
This place had a tiny space for us to play in. The instruments were guitar, bass and harmonica, plus vocals, and we needed to keep the volume down. This time, I went with my Azola upright into the EA Micro and the 1x10 Wizzy—which barely squeezed into my spot on the floor. I’m happy to report that the tiny bass rig did its job with volume to spare and plenty of bottom end. Having that little cab made the load-in a breeze, too.
Gig #3: Opening Act
At this gig, our four-piece blues band opened for a national act in a big ballroom. Unlike the other gigs, this show provided backline— a pair of SWR WorkingPro 4x10 cabs powered by an SWR WorkingPro 700-watt top. I’d never used a pair of 4x10 cabs before, but I was pleased not to have hauled it all in.
The SWR head was a single-channel amp, and I needed to play electric and electric upright, so I set up a Boss AB-2 pedal to switch between the two and set compromise volume and tone settings. Because I had owned three different SWR amps in the past, I was able to dial in my sound quite easily. The stage was boomy, so when it came time for soundcheck, rather than just turning up more and more, I kept the amp’s bass EQ flat and bumped up the midrange. That helped my sound cut through the onstage mix and cleaned things up a little. This worked especially well because the amp sent its DI signal before any EQ settings. Then the sound tech could mix for the house, tweaking the bottom and overall level.
The headline act soundchecked first, and their bass player did something clever— before leaving the stage, he pulled out an iPhone and took a photo of his EQ settings. When he got back onstage later that night, the photo reference helped him get back to his own settings quickly.
Gig #4: Going to the Big Show and Locking In
Finally, I just finished a musical theater production that had a 29-piece orchestra. For this gig, I brought my Azola upright to help squish into the cramped playing quarters. My rig started with the EA Micro and Wizzy 1x12 cab. We quickly found that the group could come unlocked rhythmically because of the wide seating arrangement. The electronic keyboard had only a small onboard amp and speaker and couldn’t be heard by players more than a few feet away—and that keyboard player needed to drive the whole group! My solution was to grab an instrument cable and plug it from the keyboard’s mono out into the second channel of my bass amp. I pointed the speaker toward the drummer so he could hear the keyboard and lock in, but the horns were still disconnected from the rhythm players. The next night, I brought a second Wizzy 1x12 and a 25' speaker cable, running it across to the horns. Voila! Now they, too, could lock with the rhythm section and the whole show was glued together.
Musical Versatility + Gear Versatility = Success
Okay, I’ve had a chance to show how ideas from some of my previous “On Bass” columns— versatile rig, versatile instruments, comfort in a variety of musical genres—fit together to help you get more gigs. Through this, I’m able to keep as musically busy as I can with my day-job schedule. And it’s a good way to keep things interesting!
Dan Berkowitz
Dan is a professor by day and a bass player when the sun goes down. He plays both electric and upright bass in blues, jazz and pit settings.
Leveraging 3D printing technology, the new Floyd Rose Original locking nuts are designed to deliver unmatched precision and consistency, replacing the traditional “lost wax” casting method that dominated for decades.
The shift to 3D printing allows for intricate detailing and tighter tolerances, ensuring each nut meets exact specifications.
The process begins with powdered metal, which is precisely 3D printed into the desired shape using advanced metal printing technology. After printing, the parts are depowdered and cleaned before undergoing a sintering process—an advanced heat treatment—during which the parts achieve full density and hardness. Lastly, the nuts are CNC “kiss-cut” to exacting specifications for consistency and control of the fit before receiving a premium electroplating finish.
“Floyd Rose has always been synonymous with innovation, and by embracing this incredible new technology we are able to continue that legacy,” said Andrew Papiccio, president of AP International Music Supply of which Floyd Rose is a division. “The accuracy and flexibility of the new 3D printing method will allow us to make a more consistent piece while also giving us full control of the manufacturing right here in the USA.”
Initially, the 3D-printed locking nuts will be available in ten classic sizes with a 10” radius, with plans to expand the range to accommodate various fretboard radii in Spring 2025. This augmentation will offer players more options for customizing their setups to match a wide variety of fretboard curvatures.
To get a sneak peek at the new Floyd Rose USA Series, come visit us at NAMM in booth 5734 in Hall D.
With flexible voltage adjustments, precise control, customizable protection, compact design, and affordable pricing at $299, the Brownie is the ultimate solution for optimizing tone and safeguarding your gear.
AmpRx, the trusted name behind the industry-renowned BrownBox, has unveiled its newest innovation: The Brownie, a voltage-optimizing power supply for modern amps and the first of its kind.
Designed by AmpRx co-owner and CEO Cassandra Sotos (2024 NAMM Female Entrepreneur of the Year), the Brownie provides unparalleled control, flexibility, and protection specifically for modern tube amplifiers by allowing the player to both increase and decrease voltage with volt-by-volt precision.
Priced at $299, the Brownie offers an affordable and essential solution for protecting your investment in your high-quality tube amp. It allows you to optimize your tone and safeguard your gear from variations in voltage by givingthe ultimate advantage: knowing exactly what you’re feeding your amp.
Known as the secret weapon of touring professionals, AmpRx products have been spotted on stage with bands like the Red Hot Chili Peppers, Lynyrd Skynyrd, Zac Brown Band, Iron Maiden, and many more. AmpRx is now bringing its game-changing technology to an even broader audience with this compact, affordable, and versatile product. Try the Brownie for yourself and discover exactly why artists, amp designers, and technicians rely on AmpRx to provide consistent sound, performance, and extend the life of their gear.
The Brownie will be available January 20th, 2025, presented at NAMM Global Media Day and on display at Booth #5630.
WHAT MAKES THE BROWNIE SPECIAL? Building on the success of the flagship BrownBox, the Brownie offers key innovations tailored for modern amplifiers:
- Flexible Voltage Adjustments: The Brownie is the first in the AmpRx line to both decrease and increase voltage, providing optimal performance for modern tube amps (often at 117-120V).
- Precise Control: Adjust voltage in ultra-precise -1V increments when decreasing, and by +3V or +5Vwhen increasing, allowing musicians to fine-tune their tone with precision.
- Customizable Protection: The Brownie ensures safe operation, putting control directly in the player's hands, and includes two fuse options: 2A for smaller setups and 4A for larger setups, ensuring compatibility with diverse gear.
- Compact and Portable Design: Smaller and lighter than the original BrownBox, the Brownie is perfect for musicians seeking portability, durability, and streamlined functionality. It can even fit on a pedalboard or in a backpack.
- Wide Accessibility: At just $299, the Brownie offers professional-grade voltage control at a price point that’s accessible to musicians everywhere.
Email sales@brownbox.rocks to order and stop by NAMM Booth #5630 to see the Brownie in action, talk with the owners, team and artists, and see exactly why so many people insist onAmpRx products when they make music.
For more information, please visit brownbox.rocks.
Inspecting a D’Angelico Excel during a full restoration.
When every guitar claims to be special, how can any guitar truly stand out?
In the guitar world, a transformation is underway that reminds me of the rise and fall of empires. The modern boutique guitar market, which once felt to me like an underground treasure trove, now seems poised on the precipice. It has grown, matured, and, in my opinion, overextended itself. Are we cresting the wave? Has the boutique boom run its course, or is it simply shedding its skin in metamorphosis?
Guitar building has been around for centuries, mostly as an individual, artisanal endeavor until the late 19th century, when it began to be dominated by manufacturing entities. The boutique guitar category as we know it today began as a reaction to the hegemony of big brands. It was a calling and philosophy—a return to individual builders and small shop manufacturers in the mainstream consciousness. Builders crafted instruments that evoked the patinated romance of vintage instruments as well as the hot-rod aesthetic. What started with a handful of outliers has now become an ecosystem. But, like all trends, there’s a limit to how far it can stretch before it must adapt or collapse.
Pioneers to Proliferation
In the early 1970s, builders like Rick Turner, John Suhr, Michael Gurian, and Bernie Rico, among others, stook as renegades of the modern boutique scene. They were voices bucking the production-line trend with craftsmanship that evoked past masters like D’Angelico, Bigsby, or even Stradivarius. These builders weren’t just producing instruments; they were making statements. A guitar by Parker or a Manzer wasn’t just a tool, it was a declaration of the builder’s ethos and vision—something that might have been lost in the guitar boom of the ’60s.
Today, the boutique world is a crowded stage where hundreds, if not thousands, of builders compete for the attention of an audience with only so much disposable income. Plus, the custom allure is no longer the sole province of artisans; custom shop offerings from major brands like Fender, Gibson, and PRS have blurred the lines. CNC machining and production streamlining have made “boutique” features practical, even necessary, for larger operations. To their credit, unlike at the birth of the vintage market, the big guys saw the wave as well. The once-clear delineation between boutique and mainstream is murkier than ever, which by its nature dilutes everyone’s impact in the segment.
In economic terms, this is a textbook example of market saturation. There are only so many players willing and able to spend $5,000, $10,000, or more on a guitar. Supply has exploded, but demand may be plateauing. Handmade boutique guitars, once a rarefied niche, are now ubiquitous at trade shows, online marketplaces, and across social media feeds. This leads me to a pressing question: When every guitar claims to be special, how can any guitar truly stand out?
The Instagram Paradox
Online, custom guitars have become as much about image as they are about sound. It seems any builder with a board and a butter knife is trolling for your approval. A scroll through Instagram reveals a sea of small-batch instruments, but there’s a creeping sense of déjà vu. How many “offset” guitars with stained burl tops and pre-distressed finishes can one truly appreciate before they begin to blur together? Social media, once a powerful tool for builders to connect with their clientele, has become a double-edged sword. On the one hand, it’s never been easier to showcase work to a global audience. On the other, the sheer volume of content has weakened the impact.
“A guitar by Parker or a Manzer wasn’t just a tool, it was a declaration of the builder’s ethos and vision—something that might have been lost in the guitar boom of the ’60s.”
The Buyer’s Shift
Meanwhile, players too are evolving. With the pandemic-fueled spike in sales fading, some tastes are turning away from the museum-worthy builds in favor of simpler, more traditional guitars. In a way, the legacy brands may now be a salve for the disaffected. In an ironic twist, they are seen as the true foundation of the industry—the original and genuine as opposed to a hip fad.
What Comes Next?
So, has the boutique guitar market peaked? Perhaps. But a peak doesn’t necessarily signal decline. Just as the boutique segment was born from a reaction to mass production, the next wave may be driven by a return to fundamentals. Builders who adapt to a changing landscape or who have built their own legacy will continue to thrive. Those who have not entered the general consciousness may find themselves left behind.
In the end, the boutique guitar market will endure, not because of its size, but because of its soul. Just as guitar building began as an individual endeavor, that heritage will continue. The challenge is to capture the essence of what makes a guitar special in the first place: the connection between builder and player—and the magic of turning wood and wire into music.
