In this introductory installment, our new columnist Anthony Tidd considers his own path to discovering the most important role of the bass—and it’s not lightning-fast technique!
In a world where Instagram, Facebook, and YouTube are literally saturated with teens and younger kids who have bass chops capable of scaring most grown bassists into an early grave, the prospects of ever becoming the next to achieve Jameson- or Jaco-level status seem bleak. Last week, a friend sent me a video of a very young girl ripping through John Coltrane’s “Giant Steps” solo as Coltrane played along in the background. She sounded great, and so did Coltrane! I, too, learned that solo in my late teens, so I know firsthand how hard it is to play up to speed, but she did it with a smile and made it look easy.
When I first began learning the instrument at 14 (I’m still learning), like most young people I was attracted to shiny things. For me, that particular shiny thing was Mark King of Level 42’s otherworldly ability to slap a bass at what seemed like the speed of light. His amazing technique was indeed so shiny that it was able to pull me from the guitar to the bass. I spent what seemed like an eternity (probably a year in adult years) learning how to slap really fast, and for my first two years as a bass player, slap was all I did!
Photo by Dimitri Louis
Many years later, I learned something else that was difficult to grasp, which becomes rarer by the day: “The bass” is not only an instrument, clef, or stave (nearer the bottom of most scores), it’s more importantly a role, or more aptly put, a function essential to almost all modern music. It’s the root of it all. Bass plays a role that forms a unique bridge betwixt rhythm, harmony, melody, and groove. The greatest bassists have all understood this fact in their own ways, and many of these masters never lusted for, and understood that they did not require, Paganini-like gymnastic mastery in the lower hertz. Don’t get me wrong … I personally love and have even pursued technical mastery. Thus, I’m a lover of great bass, sax, and whatever else solos. But those two things—soloing and becoming a technician—are not necessarily immediately related to the “bass function.”
As we go back in time to the root, the number of players who focused on function over flashy technique, and support over soloing seems to increase. I soon learned there was more to bass than slapping. (I also learned that slapping—though not quite at the speed of light—went back decades before Mark King.) I had no idea of the long and storied history of bass, and how this fit into the African American musical canon, which included blues, jazz, gospel, rock ’n’ roll, R&B, funk, soul, disco, hip-hop, house, and a seemingly never-ending procession of subgenres—which is to say most American music.
“The bass” is not only an instrument, clef, or stave (nearer the bottom of most scores), it’s more importantly a role, or more aptly put, a function essential to almost all modern music.
Eventually, with the help of American mentors Rich Nichols and Steve Coleman, my quest to understand bass, and music in general, would lead me to Philadelphia (and, later, to Harlem, NYC). Through Rich, a Philly native who also happened to be manager and patriarch of the Roots, I became an integral part of the exciting mix of music happening in Philadelphia in the late ’90s and 2000s. This formed the foundation of my education as a producer and provided opportunities for me to produce records for many well-known names in hip-hop, soul, funk, pop, etc. Through Steve—a Chicago native who moved to NYC in the ’70s and was responsible for creating the M-Base movement, which many consider to be the font of at least 50 percent of today’s NYC jazz scene—I learned about America’s rich jazz tradition. Between decades of touring, hanging out listening to much older musicians, and the wealth of things that Steve and others taught me directly, this formed the foundation of my music education. It gave me the tools to begin the Creative Music Program, which served as a foundation for many young creative musicians coming out of Philadelphia.
Philadelphia is home to some of America’s greatest bass legends, and it was once I moved to the city that I met Jymie Merritt, a relatively unsung hero of the bass, but a legend if there ever was one. Not only was Jymie a master of the upright, but he was also an early pioneer of the electric bass within jazz, and a fantastic composer. I met so many other great American bassists who, like me, continue a tradition and culture which stretches all the way back to the days of tubas, wash tubs, and broomsticks—a time somewhere between the abolition of slavery and Louis Armstrong first meeting the horn. These are players such as Henry Grimes, Stanley Clarke, Charles Fambrough, Victor Bailey, Jamaaladeen Tacuma, Reggie Workman, Christian McBride, Gerald Veasley, Reggie Washington, Anthony Jackson, Matt Garrison, Rich Brown, Richard Bona, and many others.
Stay tuned! I’ll surely be focusing on some of these and many farther afield subjects in future Root of It All columns.
- How NOT to Play Bass like a Guitar Player Playing Bass - Premier ... ›
- The Anatomy of a Bass String - Premier Guitar ›
- DIY: How to Set Up a Bass Guitar - Premier Guitar ›
- Crash Course in Harmony for Bassists - Premier Guitar ›
- Explaining Chord Motion for Bassists - Premier Guitar ›
- Tips for Capturing the Best Bass Tone - Premier Guitar ›
- How to Improve Your Pitch Recognition - Premier Guitar ›
- In Memoriam: Genre-Shattering Bassist Richard Davis - Premier Guitar ›
- Mastering Positions are the Root of Mastering Electric Bass - Premier Guitar ›
Day 12 of Stompboxtober means a chance to win today’s pedal from LR Baggs! Enter now and check back tomorrow for more!
LR Baggs Session DI Acoustic Guitar Preamp / DI
Inspired by the LR Baggs Handcrafted Video Sessions and our experience in some of Nashville’s great studios, the Session Acoustic DI brings our signature studio sound to your live rig. The Session DI enhances your acoustic pickup and imparts the rich sonic character that you’d expect from an experienced audio engineer using some of the world’s finest studio gear. We’ve captured this studio magic and put it into a compact, easy-to-use DI that will transform your live sound.
With its ability to dial in custom reverb, delay, and chorus settings without needing any extra equipment and intuitive looper and Bluetooth audio functions, the TAG3 C is designed to make it easier than ever to write, practice, and perform.
Building on its brand legacy of innovation and creating many of the world’s finest guitars, the TAG3C TransAcoustic guitar from Yamaha offers an unmatched experience in sound, versatility, and playability to spark creative expression – making it the ideal instrument for the modern guitarist. The guitar features a solid Sitka spruce top and solid mahogany back and sides, available in natural(TAG3 C NT) or sand burst finish (TAG3 C SDB), and includes a convenient magnetic charging port to enhance its functionality and ease of use.
“TAG3 C is the ultimate tool for players looking to push themselves artistically. The ability to dial in custom reverb, delay, and chorus settings without needing any extra equipment is a game changer for creative workflows, and the intuitive looper and Bluetooth audio functions make it easier than ever to write, practice, and perform,” says Brandon Soriano, marketing manager, Yamaha Guitars.“Even with TransAcoustic technology turned off, TAG3 C is a fantastic acoustic instrument built with all solid wood and high-quality craftsmanship. TAG3 C is a no-brainer for the modern guitarist!”
TAG3 C is equipped with powerful built-in tech and effects including but not limited to loop capability with touch sensitivity, a rechargeable battery, Bluetooth capability, new and improved user interface, controls, and indicators. Guitarists can also access the TAG Remote mobile designed for enhanced control and optimization.
TAG3 C Highlights At-a-Glance
- Built-in effects: chorus, delay and reverb
- Built-in looper• Bluetooth connectivity
- On-board tuner
- Solid Sitka spruce top
- Solid mahogany back and sides
- Dreadnought-style cutaway with ebony fingerboard
- Available in natural or sand burst finish
- Superior acoustic sound quality
TAG3 C | Yamaha TransAcoustic Guitars - YouTube
Ever watch a video of yourself playing guitar and wonder why you do “that thing” with your face?
When I was 16, my parents came to see me play in a bar. (Montana in the ’80s was pretty cavalier about the drinking age.) On a break, I sat with my parents, and my father said, “Boy, you really move your mouth a lot when you play. Why do you do that?”
“Do what?” I replied.
“Move your mouth when you play guitar.”
“I don’t.”
“You definitely are. It’s like you are trying to pronounce every note. Sometimes it looked like you were grinding your teeth.”
“Really? Tonight? Here?”
“Yes, you were literally just doing it pretty much on every solo. It’s a bit off-putting.”
My recent obsession with Corey Feldman guitar-solo videos reminded me of that conversation. I now feel a kinship with Corey. When the “Comeback King” and I play guitar, we both share that vacuous, dead-eyed stare into the distance, mouth chomping, teeth gnashing wildly. I bet, like me, Corey had no idea he was doing it until he watched a video of himself playing. Say what you will about Feldman, but when you watch his mouth, you know he is genuinely trying his best. He is in it, lost in the process of trying to make music.
Maybe you, dear reader, also suffer from guitar face. Most of our heroes do/did. Gary Moore, SRV, Hendrix, B.B. King, Joe Walsh, Steve Vai, Santana, Paul Gilbert—watch any of them play, and you will see some less-than-flattering involuntary facial expressions.
There are many types of guitar face:
Stank Face. Watch SRV cranking in “Cold Shot”—his face looks like he just walked into a porta potty on the third day of an Insane Clown Posse Festival. That’s stanky.
The Motor-Mouth. Corey Feldman and I are prime examples of motor-mouthing, but nearly everybody is guilty of it when working a wah pedal.
Angry Face.Joe Bonamassa is a philanthropist, great guy, and kind person, but when he’s playing, he hits those strings like they owe him money—the man looks pissed.
Surprised Face. Just imagine B.B. King with his eyes wide open, eyebrows raised in a lofting arch, and sometimes his mouth open in a perfect O.
I’m in Pain Face. Think John Mayer. The higher he sings, or the higher he plays, the more the notes hurt.Sometimes the grimaces are accompanied by loud groans, luckily usually drowned out by a loud band, but audible in acoustic settings. I saw famed classical guitarist Christopher Parkening in concert, and his guitar mic caught every loud groan and “aahh.” It was distracting. (Same with pianist Keith Jarrett. Listen to his Köln Concert and try not to be disturbed. Though that’s probably more a symptom of piano face, a related phenomenon.)I don’t think guitar face is one thing. Guitar face is probably at least partially an expression of emotions and the connection to the music. It’s also a reflection of the physical demands of playing guitar, like athletes grimacing as they sprint. It’s also one of those tics of concentration, like sticking your tongue out when you draw or paint.“Think John Mayer. The higher he sings, or the higher he plays, the more the notes hurt.”
I read a Quanta Magazinecolumn by R. Douglas Fields where he maintains that “hand and mouth movements are tightly coordinated. In fact, that interplay often improves performance. Martial artists scream short explosive utterances, called kiai in karate, as they execute thrusting movements; tennis players often shout as they smack the ball. And research shows that coupling hand movements with specific mouth movements, often with vocalization, shortens the reaction time needed to do both.”
To this day, I’m embarrassed when I see videos of my mouth moving. I’ve tried to control it, but have come to the conclusion that I can either try to connect with music or try to control my face. I cannot do both. I have found that smiling does mask it or make it less distracting. As an added bonus, smiling releases that happy hormone, dopamine. The smile trick works great on “Lay Down Sally,” but I wouldn’t try it on, say, “Tears in Heaven.”
I’ve been making an effort to be aware of where I’m holding tension when I play and making a conscious effort to relax my arms, shoulders, and butt, so maybe I can work my face into that.
I’ve made peace with this embarrassing quirk. Every now and then, I’ll see a video where it’s particularly bad, and I’ll feel that barb of shame nick me. But if it sounds okay, I’m okay with this degrading side effect.
Ultimately, connecting to an instrument is like mainlining deep emotions. Deep emotions get ugly, painful, pitiful, and ecstatic. In an age where half of America stares blankly at a screen, how lucky musicians are to dive deeply into something that puts them so firmly in the now that they lose control of their faces. Besides, if you play something genuinely moving, nobody will care how you look.
Here, our XAct Tone Solutions columnist walks you through every aspect of how to put together your ideal pedalboard.
A well-organized pedalboard may be just as crucial to a guitar player’s setup as the guitar itself. Even the most seasoned professional can be completely sabotaged by a malfunctioning or poorly performing pedalboard setup. Things like layout and logistics may seem trivial until that boost pedal is just far enough out of reach to cause your crunchy, soaring solo to be decidedly quiet and squeaky-clean.
The process of designing and arranging a pedalboard can go far beyond simply placing pedals in a straight line and patching them together from junk-drawer cables; from conception to completion, a pedalboard setup rewards careful planning.
Before diving into the physical setup of your pedalboard, start by assessing your current collection of pedals and any potential additions. Start with the bare minimum of devices needed for your current repertoire, whether they be for a gig or at-home play. What types of effects do you need to cover the style of music you’re looking to perform? You’ll likely want to cover the basics of tuning, overdrive, distortion, boost, and delay, but you may need specific devices to cover unique parts in cover songs or personal compositions. A certain modulation for this bridge, a certain reverb for that intro. While it is impossible to completely future-proof your rig, you can make sure that you attempt to account for changing needs.
Next, you’ll need a platform suitable for holding the pedals you’ve chosen. Companies like Pedaltrain and Creation Music Company have a selection of pedalboards in various sizes. These can include bags or cases to fit. There are custom-sized pedalboard options available, but they and the associated cases/bags usually cost more due to their bespoke nature. Consider your needs when selecting a bag or case to protect your pedalboard. If you seldom leave the house, you might just need a well-made gig bag. These can even be sufficient for semi-professional playing, so long as you or a trusted ally are carrying it and responsibly packing it away. If you need something more durable, cases like those from Pedaltrain are sufficient for many touring arrangements. Bear in mind, they are lightweight in construction with a minimal amount of lateral padding. For heavy touring, a real ATA-style case will be required. Their stalwart construction and thicker internal padding will stand up to long-term touring abuse.
“Even the most seasoned professional can be completely sabotaged by a malfunctioning or poorly performing pedalboard setup.”
Pedalboard planning and design can be frustratingly iterative. As a result, you may begin with picking all the pedals you’d love to have, but then the board you’ve picked won’t quite fit everything. If so, you might go back a step, adjust the pedal choices, and start to move forward again. Similarly, power requirements can push and pull on your pedal selections. Pedals require consistent power at specific voltages and amperages to function correctly. If a supply does not have the necessary power ports, you may have to eliminate a certain pedal or change the power supply scheme altogether. Furthermore, the supply may or may not fit under the pedal mounting surface of the pedalboard type you’ve selected. Again, this may cause an adjustment to previous decisions that must be propagated.
Cabling carries your signal between your pedals and out to your amp, so you’ll want to make sure you have something of sufficient quality. Solderless cable systems allow you to make custom length cables, but may not be as long-lasting as soldered cables. Soldered cables can be a DIY affair if you have the inclination and time to develop enough expertise. In lieu of that, companies like BTPA and Goodwood Audio can make excellent soldered cables in custom lengths.
Another key thing to keep in mind is that signal order doesn’t necessarily dictate the physical location of your pedals. I recommend arranging your pedals based on frequency of use. Pedals you use most often should be positioned where they are easily accessible during performance. If you are right-footed, this may mean low and to the right. Pedals used less frequently can be placed further away or in less convenient spots. Pedals used in fast-breaking, small sections of songs may not be needed frequently, but must be available quickly when needed. Ensure that you can comfortably reach and engage each pedal as you play the required material.
A well-thought-out pedalboard layout and implementation can significantly enhance your performance and playing experience. Like practice and rehearsal, it may not be the most glamorous bit of guitar rudiments, but with the right approach, your pedalboard can become a powerful tool that complements your musical journey.