Designed by legendary bass player and founding member of Jefferson Airplane, this instrument features a Casady-designed JCB-1 Low-Impedance Humbucker and a three-position rotary impedance control for versatile tones.
As a founding member of Jefferson Airplane and Hot Tuna, legendary bass player and Rock and Roll Hall of Fame Inductee Jack Casady’s full driving tone and innovative melodic bass work have defined the role of bass guitar in rock and roll for decades. Liberating the bass from its traditional role as part of the rhythm section, Jack’s pioneering approach to bass brought the instrument to the forefront. The new Epiphone Jack Casady Fretless Bass was and is the culmination of years of experimentation by Casady to find an instrument with superior electric tone and the response of an acoustic bass. It features the Casady-designed JCB-1 Low-Impedance Humbucker, and a three-position rotary impedance control for a wide range of tonal versatility.
Jefferson Airplane’s debut, Jefferson Airplane Takes Off, was recorded in February of ’66 and released in August of that year. “It had somewhat of a local success,” explains Jack. “It was the material that we had been playing as a group around the Bay area for a while. We recorded it on 3-track, all pretty much live performances.” When the original singer, Signe Anderson, left the band to have a baby, it was Jack who convinced Grace Slick, then performing with her own band the Great Society, to join the group. The roster complete, Jefferson Airplane rocketed to superstardom in 1967 on the initial strength of their hits “Somebody to Love” and “White Rabbit,” making them a cornerstone of San Francisco’s burgeoning rock scene. Jack’s ground-breaking bass work was a highlight of Surrealistic Pillow, the Airplane’s 1967 breakthrough album. “That album was really a unique statement,” says Casady in retrospect. “There were a lot of different styles of songs contributed by everybody, including an instrumental acoustic fingerpicking original tune by Jorma called ‘Embryonic Journey.’ It was quite an eclectic album and I think it still holds up today.” Jefferson Airplane subsequently released a string of acclaimed recordings–After Bathing At Baxter’s (late ’67), Crown of Creation (’68), the live Bless Its Pointed Little Head (’69), Volunteers (’70), Bark (’71), Long John Silver (’72), and the live Thirty Seconds Over Winterland (1973). The band was inducted into the Rock and Roll Hall of Fame in 1995.
With the release of his solo album, Dream Factor, Casady opened a new chapter in his ever-evolving career. Featuring 11 songs and an impressive cast of collaborators including Paul Barrere, Ivan Neville, Jorma Kaukonen, Warren Haynes, Box Set, Fee Waybill, and Doyle Bramhall II among others, Casady showcases his signature sound in a variety of settings, traveling through blues, rock, country, folk, funk, R&B and soul influences.
One of the most innovative rock and roll bands in American music, Hot Tuna recorded their latest album, Steady As She Goes, at Levon Helm’s studio with GRAMMY®--winning producer Larry Campbell and captures the energy of Hot Tuna’s live performances. Jack, along with longtime band mate Jorma Kaukonen, teamed up with Barry Mitterhoff on mandolin, Skoota Warner on drums, as well as Larry Campbell on guitar, fiddle, organ, and vocals to deliver an absolute masterpiece.
With sweeping chords and stormy melodic lines Jack’s bass distinguished not only Jefferson Airplane and Hot Tuna but also a variety of solo and side projects and recordings with artists including Jimi Hendrix, David Crosby, Warren Zevon, Country Joe and The Fish, SVT, Rusted Root, and Gov’t Mule.
For more information, please visit epiphone.com.
The modern bass might look like a guitar, but it has a lineage of its own.
The bass is not a guitar.
I know, I know…. This can be confusing and even controversial. Basses look a lot like guitars, and so many people call the instrument I play the “bass guitar.” From this name, one might deduce that, like the bass flute, a bass guitar is merely a member of the guitar family which sounds lower. I will concede that the guitar and bass might seem similar and even appear to have a common ancestor, but appearances can be deceiving. These two instruments are separate and come from very different lineages. The ancestor of the electric bass is actually the double bass or upright bass, which hails back to the Renaissance, belonging to the violone family (along with the viola da gamba). On the other hand, the modern guitar’s ancestors range from the oud to Spanish instruments such as the guitarra latina and vihuela.
Upright and electric basses do typically feature four strings in the same tuning. Because they share the same note names as the first four strings of the guitar, some might see this as evidence that they are, indeed, related. Our modern guitar tuning was probably derived to accommodate chordal playing. This is why the second string interrupts the pattern of fourths with a third, which makes a whole host of chords possible and simpler to strum across all the strings at once.
To make matters more complicated, Leo Fender is sometimes mistakenly credited with the invention of the electric bass. In 1951, Leo modified his solidbody Telecaster guitar design to create the Precision Bass, so called because the frets allowed for precise intonation while playing. Later, Leo borrowed his offset body design from the Jazzmaster to create the Fender Jazz Bass. Both the Precision and Jazz basses became extremely popular and most modern electric bass designs are in some way based on them. By utilizing standardized patterns for most of his guitars and basses, Fender mastered the art of assembly-line mass production, which helped us all to see the electric bass as a type of guitar, due to the obvious similarities.
The ancestor of the electric bass is actually the double bass or upright bass, which hails back to the Renaissance, belonging to the violone family (along with the viola da gamba).
However, the first known electric bass ever made was the Audiovox Bass Fiddle, created by Paul Tutmarc in the mid 1930s. With the help of two new inventions, the amplifier and magnetic pickup, Tutmarc created the world’s first truly portable bass. While acoustic bass instruments had to be large to reproduce the extremely low fundamentals required, electric instruments changed all of that. Now, a relatively small 18-watt portable package could produce the lowest fundamentals, which had only been possible with instruments such as tubas, pipe organs, huge double basses, and 9' grand pianos. Tutmarc’s first attempt was a small solidbody upright, but he soon realized that he could build an even more compact bass that could be played horizontally.
Many bass players who would eventually play electric basses exclusively began as upright players, continuing a long tradition that predated the invention of the electric bass by at least two centuries. From my perspective, I come out of a long lineage which began with great upright players like Jymie Merritt and James Jamerson, who switched to the electric bass in the late ’50s, mostly out of convenience. These new smaller and louder instruments were game changing because they allowed constantly touring musicians to hold down a bass role in a more transportable package.
At first, bassists transferred what they were already playing on the upright to electric. But over time, they developed new voices, techniques and approaches specifically tailored to the physical characteristics, sonorities, and capabilities of this instrument. By the time we get to Bootsy Collins, Tony Levin, Louis Johnson, Larry Graham, Jaco Pastorius, Anthony Jackson, Jeff Berlin, Mark King, Marcus Miller, Rich Brown, Victor Wooten, and so many others, there are bassists who play the electric bass exclusively, and who have developed their own astounding techniques for doing so.
The bass has spent over six decades at the forefront of cutting-edge genres from soul to R&B, country, rock, funk, disco, jazz, and fusion. Today, there are countless virtuoso bassists who have never played the guitar or upright bass and have no desire to. The bass is not a guitar or even an upright bass substitute. And it is no longer a thing played out of convenience, but an independent instrument with its own sound and rich lineage.
Three abnormal basses, two loopers, and a few warping stomps help Kristian Dunn morph and multiply his buoyant post-rock tones.
Pedals can be a source of inspiration. But can they be the catalyst to start a band? The argument could be made that without a looper bassist Kristian Dunn and drummer Tim Fogarty would’ve never taken flight as El Ten Eleven. (The band is named after the Lockheed L-1011 TriStar airplane.)
“I knew I wanted to start a band—in my mind it was probably going to sound like El Ten Eleven—but I didn’t know exactly how I’d do it. I got Tim [Fogarty] to play drums and I thought I’d get a third person for keyboards,” recalls Dunn.
Fogarty wondered if Dunn had ever heard of a looper pedal. He hadn’t, so Dunn borrowed one from a friend and brought it to band practice. “We tried it, and right out of the gate our eyes lit up and we thought out loud, ‘Oh my god! Could we just do this with the two of us?!’”
Since 2002, the live-looping masterminds have taking to the skies performing their organic, net-free, high-wire act. (Even Fogarty loops electronic drum parts through Dunn’s Boomerang that runs into a Gallien-Krueger MB Fusion 800 and a GK 115 RBH cabinet that sits near Fogarty.) And to celebrate two decades of their clever, playfully poetic, post-rock instrumentals, they’ll release their ninth album, New Year’s Eve, on March 4, 2022 via Joyful Noise.
Before El Ten Eleven’s headlining show at Nashville’s Exit/In on January 26, juggling, tap-dancing, bass-playing Dunn gave PG’s Chris Kies 30-plus minutes to detail his cockpit. He explains how a late-night Genesis video influenced his doubleneck duality, illuminates why he always carries a marker, and then unlocks some expressive cheat codes with his pedalboard and signal chain.
Brought to you by D’Addario XPND Pedalboard.
Two Instruments, One Musician
“I’m a bass player,” declares Dunn. “I’m a terrible guitarist [laughs].” Late one night while watching VH1 Classic, Dunn saw a Genesis video where Mike Rutherford used a guitar/bass doubleneck. Up to that point, he was crudely looping by putting on and taking off various instruments. (He still uses several instruments during one song.) This doubleneck would alleviate all that rigmarole. So Dunn pivoted to eBay and immediately found this 1977 Carvin DB630 Doubleneck that has a 6-string top and 4-string bottom (30" scale length). It features a bird’s-eye maple
body, a bolt-on, hard-rock maple neck, APH-6S pickups (guitar), and APH-8 pickups (bass). Each set has master volume and tone controls, plus phase switches and coil splitters. Dunn uses Ernie Ball 2221 Slinkys (.010–.046) for the guitar and Ernie Ball 2852 Short Scale Regular Slinkys (.045–.105) for the bass. The guitar neck is tuned to E-A-D-G#-B-E, while the bass neck is tuned to D-A-D-A.
A Head Above the Rest
Here are the matching headstocks for the doubleneck, revealing both have a zero fret.
A Wal of a Good Time
“For me, Wals are the best basses in the world,” contends Dunn. “I’ve never heard a better-sounding bass.” This 1988 Wal Mk1 was bought from Rig Rundown alumnus Tim Lefebvre. It has a Brazilian mahogany core that’s masked by a bird’s-eye maple cover. The fretboard is made from Indian rosewood. The humbuckers are controlled by a master volume that can pulled out to engage “pick attack” circuity that Dunn describes as having “a brighter sound.” The pickup selector is actual a knob that dials in each pickup for maximum blending control. And each pickup has a low-pass-filter knob.
On their upcoming album, New Year’s Eve, Dunn rides the bridge pickup’s low-pass filter at about 4 and kicks on his Marshall Guv’nor for the nasty groove in “Meta Metta.” He did use roundwound strings on this instrument for years, but after having the fretboard sanded down from the wear they caused, he’s since opted for Ernie Ball 2813 Hybrid Slinky Flatwounds (.045–.105) that are kinder to the wood and still give a brighter tonal sheen.
Hungry Like the Wolf
“When I was a teenager, one of my bass heroes was John Taylor of Duran Duran, so I’ve always wanted an Aria like his,” states Dunn. This is an Aria Pro II SB-1000 with an ash body, a 7-ply maple/walnut neck (with thru construction), an ebony fretboard, a 34" scale length, a MB-1E Double Coil pickup, a 6-way low-pass filter preset, and Gotoh hardware. Varying the low-pass filter allows Dunn to loop several parts atop each other, providing tones to handle bass, guitar, and keyboards. This one takes Ernie Ball Hybrid Bass Slinkys (.045–.105).
Captain Hook
El Ten Eleven has had the pleasure of opening for Peter Hook and his various outfits several times. Hook is known to perform with custom Shergold Marathon 6 basses. (The difference with this instrument are the extra two strings are higher-tuned, allowing it to creep into a guitar’s range. Most standard models have the standard four bass strings plus one higher and one lower.)
With the help of Hook’s son, Dunn was able to secure one of the beasts. He did several tours with it, but has since retired the unique instrument because supposedly only about 100 of the 6-string models were made. Luckily, in 2019 Eastwood struck a partnership with the famed New Order and Joy Division bassist and released the Hooky Bass 6 Pro. Dunn admits to trying several other 6-string models from Fender and Schecter, but says those are designed more for guitarists, whereas the Shergold and the Hooky have bassists in mind—with wider string spacing that allows Dunn to play fingerstyle as he would on a normal 4-string.
Its ingredients are a solid alder body, bolt-on maple neck, maple fretboard, an Eastwood custom humbucker, and a 30" scale length. Dunn tunes his D-A-D-A-B-E and uses a custom range of Ernie Balls that starts with Hybrid Bass Slinkys (.045–.105), and the 5th-string is a .042 and the 6th-string is a .030.
With a Little Help from My Marker
To help him see the upper register for more precise picking, he added in some Sharpie inlays to give guidance when the lights go low during the show.
Growling With the Gallien
Dunn only plugs into this Gallien-Krueger MB Fusion 800. He gooses the treble control to help the guitar and keyboard sounds push through the other layers. He swore by GK’s 4x10 extension cab for years, but after doing a shootout with different configuration and speakers, he surprisingly favored the ported GK 115 RBH cabinet that has a ceramic driver and tweeter. He loves this setup’s hi-fi sound.
At one point, Dunn had three pedalboards and would have to crouch down and manipulate settings all night. Most of the swatches coloring his sound come from the Line 6 M9 Stompbox Modeler. The two Boomerang III Phrase Samplers are what make an El Ten Eleven show (or record) happen. In line, they’re separated by the DigiTech Bass Whammy. Dunn routes his signal this way so he can use the Whammy to shift octaves or keys on entire loops in Phrase Sampler one. The second Phrase Sampler, after the Whammy, allows him to pitch-shift specific loops without impacting the whole song or other loops (which can be done by the first Boomerang). The Strymon TimeLine sees the spotlight for precise repeats and specific delay settings not in the M9. The Electro-Harmonix Superego is a secret weapon harnessed by Dunn for sleek, reverse-sound bends. When he holds down the freeze function, it holds the original note. Then he continues holding down and plays the next note (which is not audible), but once he releases the switch, the ongoing audible note bends into the second note. The remaining two pedals are more standard fare: a Nu-X NFB-2 Lacerate FET Boost and a Marshall GV-2 Guv’nor Plus. A Boss TU-3 Chromatic Tuner keeps his instruments in check.
Bradshaw Breakthrough
Simplifying scene changes and making life a little easier for Dunn is this Custom Audio Electronics RS-T MIDI Foot Controller. The unit talks with the M9 and Strymon, alleviating some tap dancing for Dunn to pull off an El Ten Eleven performance.