
So what if you weren’t born with perfect pitch. Here’s one way to develop your ears.
As bassists, one of our most overlooked tools is our ears. In my opinion, our ability to hear and understand pitches and rhythms in real time is of equal importance to technique. For any musician who decides to take on the task of improving their ear, it probably won’t be long at all before they encounter the phenomenon of perfect pitch.
I still remember the fear, envy, and wonder that came over me the first time I heard those two words uttered. I was an 11-year-old aspiring musician experiencing my very first ear-training class. The teacher sat at the piano and played a series of notes and chords. Our job was to write down what we heard on the manuscript paper in front of us. I had no idea what I was hearing, and even less idea how to notate it. At the end of the class, the teacher browsed our papers, repeatedly shaking his head in disapproval until he came to Lindon Dominic’s paper. A smile came to his face as he held up that sheet and announced, “10 out of 10, Lindon! Gents, Lindon has perfect pitch, and you lot never will!” Sadly, at my school, the setting of low expectations and dashing of dreams was commonplace.
This is the day I began to conform to an erroneous point of view on the subject of perfect pitch. I believed it to be an unattainable thing that one is either blessed with or not—like being 7'5" in the NBA. Later in life, once I was exposed to much smarter people, my thinking (and ear) changed considerably for the better.
As one can imagine, perfect pitch would be a pretty awesome skill for any bassist (or other musician) to possess. One could hear any bass line, melody, or chord progression and instantly identify the key, notes, or chords. Fear not: though it may arguably be true that perfect pitch is something one is born with, there is something else equally awesome called relative pitch. And with training and hard work, it can be damn hard for anybody to tell the difference or know which a person is using.
The key to improving one’s ear or relative pitch is regular, structured practice that leverages our nature to memorize through repetition. Here is the method which I was taught by the great jazz saxophonist, Steve Coleman.
Go out and buy an A440 tuning fork and place it on your bedside table. For the first month, as soon as you awake in the morning, pick up the tuning fork and strike it on your knee, put it to your ear and listen for A440, and sing exactly what you hear. Observe and repeat the exact order and manner that you do these in, as, in the beginning, repetition and muscle memory are part of the process.
In month two, continue the same routine but now without the tuning fork to start. Instead, make the motion of picking up and striking an imaginary tuning fork, sing A440, and check your note with the real tuning fork. By the end of month two, you should be able to sing and identify A440 without any reference.
“The key to improving one’s ear or relative pitch is regular structured practice that leverages our nature to memorize through repetition.”
Going forward, repeat each month with a different note as your target. Rather than purchasing a new fork to find each new note each month, simply use relative pitch to find them. For instance, for the open strings on bass: E is a fifth above/fourth below A, D is a fifth below/fourth above, and G is a whole step below/minor seventh above. In this manner, you can find every other note until you can sing and identify all 12 notes, at which point you should have something pretty close to perfect pitch.
When I first went through this process, I accompanied each routine by choosing songs that I knew were in the particular key or started on the particular note I was working on. I’d also try to identify the keys of songs or even just sounds, like a bird singing, as I walked down the street. In the end, the beauty of this process is that it helps us to identify notes as if they were different colors, like yellow, green, or red, as opposed to just varying shades of gray.
Most people would never mistake yellow for green, because colors are distinct to us. The same is true for a person with perfect pitch or very good relative pitch. Each note has a quality they can recall. Either way, whether one is born with perfect pitch or not, we all still need to learn what it means. We need to learn the context and significance behind what we are hearing. Following this simple method, you should begin to notice a real difference in about 13 months.
A satin finish with serious style. Join PG contributor Tom Butwin as he dives into the PRS Standard 24 Satin—a guitar that blends classic PRS craftsmanship with modern versatility. From its D-MO pickups to its fast-playing neck, this one’s a must-see.
PRS Standard 24 Satin Electric Guitar - Satin Red Apple Metallic
Standard 24 Satin, Red App MetThe exquisite BilT Brothers collaborative guitar: a Frank Brothers Ultra Light in BilT eggplant sparkleburst with Arcane 3x3 Gold Foil Humbuckers and loaded with a Caroline Custom Cannonball Distortion.
This forward-thinking custom guitar commissioned by our columnist makes a special case for partnership in the guitar building community.
Owning a guitar shop, your brain is full of to-do lists, questions, and plenty of compulsive thoughts over details. And when you run a shop that specializes in custom builds that you spec out from boutique companies, the ideas for these guitars often come at the most random times of day (and night). While I don’t subscribe to the notion of fate, the following makes a case for its existence.
It was like any other random day at work: We had customers coming in, items shipping out, services on the bench. I was simultaneously working on a pedalboard for a customer and making plans with some vendors. I was on the phone with Brandon Darner of BilT Guitars when DHL dropped off our latest Frank Brothers guitar. Now, I’m never shy about talking up builds from any of our vendors. Spec’ing guitars for our shop, seeing their execution exceed my expectations, and then getting it into the hands of its new owner is one of my absolute favorite parts of my job. So, naturally I mentioned that we just got a new Frank Brothers in. Brandon told me how much he loved their stuff—sort of a “game recognizing game” kind of thing.
After we unboxed the guitar, I called Tim Frank to let him know how we continue to be impressed with their work and how much we loved the new arrival. I also mentioned Brandon had some very nice things to say about their work. Tim’s response was something like, “Oh wow! That’s really cool. Their stuff is amazing and we have a lot of respect for those guys.” At first, I thought he was just being polite, but I’ve gotten to know him pretty well. I knew that the compliment and sentiment was genuine and past the point of his wonderful Canadian pleasantness. One thing led to another, and I started a group text. Very quickly, they became friends. In fact, Brandon even ordered a Frank Brothers shortly after the introduction.
The Frank Brothers and BilT team, left to right: Tim Frank, Tim Thelen (BilT), Nick Frank, and Brandon Darner (BilT).
My last call of the day was to Philippe Herndon from Caroline Guitar Company. As we talked, he was glowing about the pedal building community and how friendly and collaborative it is, and obvious questions popped into my head: “Why aren’t guitar companies like that?” “Why can’t we do a collab guitar?”
Long story extremely short, with tons of excitement, I got Brandon and Tim on the phone and proposed the idea of doing a guitar together. Without hesitation, the response from both was “Hell yeah, let’s do it!” and it was time for us to spec it. We decided on a Frank Brothers Ultra Light. BilT would apply their world-class fit/finish as well as their signature effects treatment. I picked my favorite finish in the BilT repertoire called eggplant sparkleburst, selected Arcane 3x3 Gold Foil Humbuckers, and tapped Philippe on the shoulder to ask if he had any Custom Cannonball Distortions—the first pedal I bought from Caroline in 2013—that he could provide for the build, to which he happily obliged.
A year or so later, the BilT Brothers was born. Of course, it is exceptional beyond words and is a true testament to the results of these incredible companies working together to produce something truly remarkable. We decided, with custom shirts and all, to proudly debut our creation at Fretboard Summit in Chicago. The reaction from everyone exceeded our expectations and showed me that the level of mutual respect and admiration in this business can lead to phenomenal results.
This project has opened a lot of doors that I’m not sure anyone knew existed. For me, the most exciting part of all of this is the fact that, like the smaller pedal companies, there is an actual community here filled with like-minded, pure enthusiasts who also happen to be master craftsmen—and who truly geek out over each other’s work.
Never was this more evident than at the Wood Wire Volts show this January, where not only did the BilT and Frank Brothers crews travel and stay together, they were also often in deep chats with fellow luminaries Sacha Dunable (Dunable Guitars) and Carlos Lopez (Castedosa Guitars), discussing the trade, the work, and ideas for the future. If the vibe is any indicator, we can safely assume that while the BilT Brothers was, by all accounts, the first ever collab guitar of its kind, it will not be the last.
This entire experience is reminiscent of the DIY community ethos that I’ve clung to and has inspired me for most of my life. There is a cliché about the journey being greater than the destination, and while the destination in this case is one of the finest guitars I’ve ever laid my hands on, I’d have to say it holds true
Introducing the new Gibson Acoustic Special models, handcrafted in Bozeman, Montana, featuring solid wood construction, satin nitrocellulose lacquer finishes, and L.R. Baggs electronics.
Solid Wood Construction
Each of the three Acoustic Special models from Gibson are crafted using solid mahogany for the back and sides, solid Sitka spruce for the tops, utile for the necks, and rosewood for the fretboards for a sound that will only get better and better as they age.
Satin Nitrocellulose Lacquer Finishes
All three Gibson Acoustic Special models are finished in satin nitrocellulose lacquer for a finish that breathes, ages gracefully, and lets the natural beauty–both in sound and appearance–of the quality tonewoods come through.
L.R. Baggs Electronics
The Gibson Acoustic Special guitars come with L.R. Baggs Element Bronze under-saddle piezo pickups and active preamps pre-installed, making them stage and studio-ready from the moment you pick them up.
For more information, please visit gibson.com.
Introducing the Gibson Acoustic Specials – J-45, Hummingbird & L-00 Special - YouTube
Great Eastern FX Co. has released the limited-edition OC201 Preamp, featuring vintage Mullard OC201 transistors for a unique fuzz sound. Part of the 'Obsolete Devices' series, this pedal combines classic circuits with modern components for optimal tone and reliability.
Boutique British pedal designers GreatEastern FX Co. have released a new pedal. Limited to just 50 units, the OC201 Preamp is an intriguing twist on the familiar two-transistor fuzz circuit, built around a pair of new-old-stock Mullard OC201 transistors.
“The OC201 is a very early silicon transistor,” company founder David Greeves explains. “It was actually the first silicon transistor made by Mullard, using the same method as their germanium devices. It’s pretty crude by modern standards, with very low gain and limited bandwidth, but that’s exactly what makes it so great in a fuzz pedal.”
This little-known low-gain silicon transistor is responsible for the OC201 Preamp’s palette of sounds, which GreatEastern FX say ranges from dirty boost and garage rock drive sounds up to a raw and richly textured fuzz, all with the excellent volume knob clean-up characteristics this style of fuzz is famous for. The circuit has also been tweaked to deliver a healthy kick of volume to your amp.
This limited-edition pedal is the first in a new series that Great Eastern FX are calling ‘Obsolete Devices’. According to the company, the Obsolete Devices series will feature the company’s take on a range of classic circuits, constructed using a mixture of vintage and modern components. It’s a distinct departure from Great Eastern FX’s main range of pedals.
“With pedals like the Design-a-drive and the XO Variable Crossover, we’re really committed to developing original designs that bring something new to the table,” founder David Greeves explains. “I’m always very conscious of choosing parts that aren’t going to go obsolete so we can go on making the pedals for as long as people want to buy them. But I also love messing around with old parts and classic circuits, which is a totally different mentality. The Obsolete Devices series is basically a way for me to have fun modifying these classic circuits and experimenting with my stash of NOS components, then share the results.
“The name is a little bit of an inside joke,” he continues. “I think what gets labelled as ‘obsolete’ is very subjective. As pedal designers and guitar players, we obsess over obsolete components and what, in any other field, would be considered outdated designs. So the name is a nod to that. I also loved the thought of us coming out with some brand-new Obsolete Devices of our own!”
Alongside the pedal’s new-old-stock Mullard OC201 transistors – which are the reason only 50 of them are being made – the OC201 Preamp uses quality modern components, including high-tolerance Dale metal film resistors and WIMA capacitors. GreatEastern FX say that this hybrid approach, using vintage parts where they make the most difference sonically and low-noise modern parts elsewhere, will deliver the best combination of tone and reliability while also keeping the price from spiralling out of control.
The OC201 Preamp will cost £249 in the UK, $299 in the US and €299 in the EU. It’s available now direct from Great Eastern FX Co. and from the following dealers:
- UK – Andertons
- Europe – Pedaltown.nl
- USA – Sound Shoppe NYC
- Canada – Electric Mojo Guitars
For more information, please visit greateasternfx.com.