overton

With so many well-thought-out features in such a budget-friendly package, Overton has taken a step in the right direction with the Flyweight 500 micro amp.

It’s truly amazing how small and powerful the latest micro amps for bassists have become. To have an amp that literally fits in your backpack but can still completely fill a room with sound is simply incredible. Coming off the award-winning design of their Featherweight bass amp, Chicago’s Overtōn has now rolled out its line of Flyweight micro amps, including both a 200-watt version and the more serious 500-watt offering. While Overtōn hasn’t been on the scene that long, it has a crack staff with years of combined experience, and they appear to be working overtime to build innovative amps and cabinets at extremely reasonable prices.

And in this Corner …
Weighing about as much as a U.S. history textbook, the cigar-box-sized Flyweight 500 just looks like it’s ready for action. The red metal housing is both sturdy and eye-catching in comparison to a lot of bass amps with subtler aesthetics, but the real knockouts (please pardon all boxing puns) are the combination punches of power, size, and usable features—all of which make the Flyweight 500 an interesting entry in the ever-expanding world of shrinking micros.

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Why Fender + Fender (or other brands) = more than the sum of their own signature sounds.

This column is not for the faint of back, but the rewards of such potentially heavy lifting are great. In my previous columns "Like Peanut Butter and Chocolate: Classic Guitar & Fender-Amp Pairings" (May 2020) and "Finding Perfect Tones in Imperfect Amps" (January 2021), I've discussed classic Fender amp and guitar pairings and how to EQ and tweak amps to get ideal tones. Let's take it a step further and discuss how to combine multiple amps to achieve even more complex, richer tones.

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Intermediate

Beginner

  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.
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