BGM_Issue5_123010_Layout 1 1/2/11 5:50 PM Page 1 bass “The Boogie Issue is here!” Mesa/Boogie shows us life after 40 gear All gear, all the time. bassgearmag.com Issue 5

“Living in the Home of Tone with the men of Mesa/Boogie”

$7.50US

TC Electronic Staccato ’51 Markbass New York 604 Bag End PS15-D Rocco’s personal power Italian mini might Bringing power to the port hole BGM_Issue5_123010_Layout 1 1/2/11 5:50 PM Page 2 BGM_Issue5_123010_Layout 1 1/2/11 5:50 PM Page 3 BGM_Issue5_123010_Layout 1 1/2/11 5:51 PM Page 4

COVER STORY - Special Focus: Mesa/Boogie

20 Bass Gear Icon: Randall Smith 24 Mesa/Boogie Virtual Factory Tour 36 Q&A with Dan Van Reizen bass QUICK LOOKS

10 SWR Spellbinder Blue Combo gear 12 Bag End S12-D and PS15-D Bass Cabinets 14 TC Electronic Staccato ‘51 Bass Head 18 KR Guitars Ursa Major XL Bass Guitar

FULL REVIEWS

68 Ernie Ball Big Al 5-String Bass Guitar Ed Friedland takes on three pickups, five strings, and a plethora of tonal options with this “big” bass from Ernie Ball Music Man.

58 Roscoe Guitars Century Standard 5 and Century Signature V Bass Guitars The 21st Century has many marvels in store for mankind. Vic Serbe takes two such marvels on an intergalactic planetary trip.

26 Mesa/Boogie M3 Bass Head and PH112 Bass Cabinet Back in issue #1, we reviewed the M6 and PH212. That review was so much fun, we decided to cut them in half, and do it again! Alan Loshbaugh does the math…

40 Markbass F500 Bass Head and New York 604 Bass Cabinet Who knew such big things came in such small packages? Vic Serbe investigates these stylish, sophisticated, but mighty, Italian works of art. INDUSTRY NEWS

74 2010 NAMM Revisited BGM looks back on the ghost of NAMM past and revisits the 2010 Winter and Summer NAMM Shows.

84 2010 Winter NAMM Show Awards

86 2010 Summer NAMM Show Awards

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PLAYER INTERVIEW

Rocco Prestia 52 Continuing our in-depth player interview series, Vic Serbe climbs the Tower of Power to talk with the legendary Rocco Prestia.

issue COLUMNS

How I See It 6 5 Why do bass players get more excited about gear than our bandmates? Because gear makes music…

In The Doghouse – EA Doubler 94 Who says that the slab bass guys get to have all the fun with the super-light micro heads? Chris Fitzgerald shows us how EA doubled the ante.

Philthy Talk – Alsatian Queen Rebuild 98 How do you make Phil Maneri cry? We’re not sure, but if ripping apart his beloved 150-year old double bass doesn’t do it I’m not sure what will!

The Speaker – Sealed vs Ported Enclosures 90 Would you like ports with that, sir? Anthony Lucas helps us read the menu when it comes to selecting which type of enclosure will suit our tastes the best.

The Upright Perspective – Getting Your Bass Playing the 96 Way You’d Like, Part 2 An upright bass can be a very significant investment. Arnold Schnitzer provides expert advice on how to make sure that you are getting the most from your investment.

Bass & Drums – An Interview with Hal Blaine, Part 2 100 Jake Jacobs finishes off his chat with one of the true living legends of studio and stage, the incomparable Hal Blaine.

Manufacturer’s Response 105 Yes, that’s right. We give manufactures and luthiers their very own space to tell us what they really think about our reviews!

Fundamental Support – Low Notes for Nashville 106 This past summer, an amazing thing happened in Nashville, TN. It just happened to come after one of the worst natural disasters to hit the home of Country…

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How I See it Tom Bowlus, Editor-in-Chief

By Tom Bowlus It doesn’t stop at getting the low end heavy. Recent trends (including class-D right. The electric bass is a full-range output sections, switch-mode power Bass players spend more time thinking instrument, and our rigs have to sound supplies, and neodymium-based drivers) and talking about gear, buying and “right” throughout the midrange. have led to smaller, lighter bass rigs. For selling gear, getting together with other Depending upon individual tastes and players with bad backs or aging joints, players to try out gear, and generally playing styles, some players incorporate this lightweight trend has been welcomed obsessing about gear than other a lot of high end information into their with open arms. Big, heavy gear is not musicians. I have no empirical data to tone. We fight for sonic space down low dead by any means, but players have back this up, but I’m going to take some with the kick drum. We compete for lower more options now than ever. liberties and pretend for the duration of midrange space with the toms and this article that it is an established fact. guitars. We need to slot our upper mids Gear obsession can take many forms. to lower treble into the Some folks feel the urge to try/buy What does this tell us about bass players guitar/keyboard/horn mix. And don’t everything. Others are constantly and the gear we use? The electric bass is forget about vocals. I have observed in tweaking their existing basses, amps, a relatively new player on the scene. Leo the studio how much overlap exists when cabs, etc. Some players will focus on just Fender put the electric bass on the map in soloing just the bass and vocal tracks one component in the recipe (say, strings, the ‘50s and ‘60s, but it is still evolving as (which is very enlightening thing to do; I or pickups) and experiment until it is just an instrument. Most guitar players seem think it really adds to a song if you are right, and then move on to the next to have some variation of a Strat, Tele, or able to write a bass line that connects to ingredient. There are merits to all of a Les Paul. Sure, there are some outliers, and supports the vocal line). these approaches. Of course, some cats but those three seem to dominate the sound awesome playing through skinny string world. Yes, we have a very These other musical voices are more than anything, but that just tells me that they heavy Fender influence in the bass often fairly “fixed.” You are lucky to have know how to use the tools at their market, but we also have Gibson, the drums in tune, much less dialed in so disposal. Rickenbacker, Music Man, and many as to offer the bass more room. A singer’s strong “custom” bass brands, like MTD, voice pretty much is what it is, and good Why do we obsess over gear? Do we just Pedulla, Alembic, and Smith. Bass players luck getting your guitar players to change enjoy spending the time and resources? seem more willing to experiment. their signature tone. It is often the bass Do we live only to drown out that pesky that has to “compromise” and adjust to guitar player? I think the true answer is Bass guitars have some unique the mix. Some gear has an inherent tone that we are musicians, and we do it for challenges. The thicker strings present that naturally slots this all in (there’s a the music. Serving the end goal – multiple issues for pickups to deal with. It reason so many studios use Fenders and whether it’s a live performance or a takes more hand strength to fret/pluck B-15’s). Some players may prefer a more studio session – is why we spend the these big strings. In addition to having neutral or balanced rig, where knowing time honing our skills and honing our good technique/chops, it is important to how to use your gear (and your hands) to gear. To the uninitiated, playing bass can have a setup on your bass that facilitates adjust to the mix is key. seem like an “easy” role to play, but we your playing style. Finding an instrument have a difficult job to do. Fitting into the that can take the kind of setup that works Upright players have a whole host of mix – tonally and contextually – is for you and learning how to dial in your additional challenges (and corresponding difficult to do “right.” To put forth our bass (from truss rod adjustment, to obsessions): pickups versus mics; input best effort, we have to know how to use bridge saddle height, to pickup height) impedance; phase cancellation; feedback; our gear in our own particular musical are both vital. not sounding like an amplified bass, etc. context. Yes, obsession can be a good Doubling gigs (where you play both thing – especially when the goal is as We also ask a lot of our rigs. It takes more electric and upright) compound these noble as serving the music. amplifier energy to get those low notes issues and involve the art of compromise. moving. The drivers have to deal with That’s how I see it. more excursion. Vibration is a concern not Until recently, the task of reproducing a only for tubes, but also with regard to wide range of frequencies (without Take care, Tom. unwanted rattles, and sometimes even wimping out down low) at sufficient loosening the hardware. volume meant that a bass rig was big and

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BGM Online Resources Read issues online! bass -For the lastest issue, go to: http://www.bassgearmag.com/web/ magazine_flip_pdf_1_n.php -For archives, go to: gear EDITOR IN CHIEF Tom Bowlus http://www.bassgearmag.com/web/ [email protected] past_issues.php TECHNICAL EDITORS Tom Lees -Subscribe to BGM online at: http://www.bassgearmag.com/web/ [email protected] subscribe_entry_1.php Phil Maneri [email protected] BGM on YouTube @ CONTRIBUTING EDITOR Terry Buddingh youtube.com/bassgearmagazine [email protected] -See the latest NAMM Show coverage, plus interviews and gear reviews STAFF REVIEWERS Vic Serbe Alan Loshbaugh See Ed Friedland's reiews @ Ed Friedland http://youtube.com/bassguitarmag STAFF CONTRIBUTORS Chris Fitzgerald [email protected] BGM fourms @ http://bassgearmag.com/forum/index.php Robert “Jake” Jacobs -Come join the discussion! [email protected] Anthony Lucas Check out the BGM Photo Galleries @ Arnold Schnitzer http://www.bassgearmag.com/blog/ [email protected] zenphoto/index.php -NAMM Show and Musikmesse galleries ART DIRECTOR George Keller -Supplemental photos which did not [email protected] make it into the print reviews/stories ADVERTISING DIRECTOR Daniel Elliott [email protected] BGM blog @ Diego Waisman http://www.bassgearmag.com/blog/ INFORMATION TECH -Read the latest news and catch up on PHOTOGRAPHER Steve Burkhalter past editions of Bass Gear Bulletin COVER PHOTO (this issue) Frank Bevans

Editorial inquiries or review product shipping: Bass Gear Bulletin @ Bass Gear Magazine 207 N. Park Ave. Fremont, OH 43420 USA +1 419-332-8260 http://www.bassgearmag.com/web/ subscribe_entry_1.php Advertising inquiries should be directed to [email protected] -Sign up for our periodic e-mail Publishing and reprints office: Bass Gear Magazine 207 N. Park Ave. Fremont, OH 43420 USA +1 419-332-8260

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By Alan Loshbaugh SWR Baby Blue. Problem solved! The Baby Quick Look Blue was a 160-watt 2x8+5 combo. Its great control of both power and EQ The Company Line helped me deliver a nice, natural sound SWR SWR stands for Steve W. Rabe. SWR at its from my double bass (while controlling inception was a one-man operation. One feedback), and still sounded great with Spellbinder guy with a really focused idea of what my electric bass. The original Baby Blue bass should sound like: hi-fi, clean, clear, has had several revisions throughout its Blue articulate, yet warm too. After several production run, and now SWR has years of hard work in his garage released the Spellbinder Blue! laboratory, Steve had five units he called the PB-200. This prototype was well First Impressions received, and went into large-scale I’ve had both first and second generation production in 1983 as the SM-400. It was Baby Blue combos – both of which produced essentially unchanged until featured two 8” drivers and a 5” 1999, when it got a power upgrade. The midrange driver. Back in the day, these SM-500 is still kickin’ hard today! were small combos, and didn’t seem all that heavy. But times have changed, and The feature set of the first SWR bass amp technology along with them. The 2x8 was trend-setting, and can still be found format made that amp somewhat tall and in many amps, not only from SWR, but therefore unwieldy to carry one handed. also from other manufacturers. It The use of neodymium-based drivers married a tube preamp to a solid-state changed how SWR has packaged this power section. The tube preamp added incarnation of the Blue combo. One 10” warmth and “fat” to the speed and custom-designed Eminence lightweight clarity of the solid-state power section, neo driver has replaced the two heavier as well as warming up the direct output. 8” drivers, and an Eminence horn has The front-panel features included replaced the 5” mid-driver. So, my first variable-input gain, a shelving bass impressions while taking the Spellbinder control followed by four bands of semi- out of its shipping box were: “Dang, this parametric EQ, shelving treble and a thing is small!” “Dang, this thing is master volume. The input gain controlled light!” saturation of the preamp tube. The output gain controlled overall output. And it is much smaller and lighter than The combination of both shelving and the BBII’s I had before. My BBII’s semi-parametric EQ gave the player both measured @ 25” tall, and weighed @ 45 wide-ranging and very focused control of lbs. The Spellbinder Blue measures 18” the instrument’s sound. In addition to tall, and weighs in at a svelte 26.5lbs – the innovative hybrid concept and EQ quite a weight loss! concepts, the first SWR heads also featured the Aural Enhancer – an easy The Spellbinder puts out the same 160 one-knob solution to adding a little bass watts my old Baby Blue did, but it’s and treble, while subtracting a little from limited to 4 ohms. ‘’Ole Blue’’ was rated the midrange. 2-ohm safe. This is significant, because now you can’t run an extension cab along As an older guy, I’ve had a long history with the internal speaker. While there is with SWR gear. SWR’s combination of hi- still a speaker output on the back, fi clarity and tube warmth provides turning it on defeats the internal speaker. amplification that is useful not just for The Spellbinder front panel has all the electric bass, but acoustic and double features of ‘’Blues from the Past,’’ with bass as well. When I first started taking four notable additions: jobs that required both double bass and 1. There is now a dual-function electric bass, I can’t tell you how input jack that has both 1/4” and XLR completely frustrating it was to find one capability. This means you can use a mic rig that would adequately deliver what I on your acoustic instrument, if that’s wanted from each instrument. Then, a what suits you; great friend of mine let me borrow his 2. The second additional feature compliments the XLR jack: a phase

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reverse button. The ability to reverse wasn’t feeling either the Sadowsky heft phase is very helpful in fighting acoustic or sheen. However, this was easily fixed Manufacturer: instrument feedback problems and phase using the semi-parametric EQ to add just SWR cancellation problems; a touch of 80Hz down low and 4kHz on 3. The addition of a compressor, top. Made in: for those so inclined; and USA 4. The addition of a front-panel The next closest bass to the Spellbinder was my 1961 King double bass. My history Enclosure: mute switch, which is nice for killing Plywood/Carpet signal for tuning. with the older Baby Blue combos, added with the fact that the Spellbinder box, Drivers: Missing from the Aural Enhance control is owners manual, and front control panel One 10” SWR-designed Eminence the “pull to defeat all EQ” option, which all have a caricature of someone playing Neodymium Driver let you quickly go back to flat in one easy double bass, led me to have high move. Also missing is the expectations for use with double bass. My Tweeter: “active/passive” input choice. King has a K&K bassmax piezo element Eminence Super Tweeter with Variable pickup on it. While this has always made Attenuator The rear panel is fairly well feature- it tougher to make its amplified voice loaded, too: effects send and return, sound 100% like it’s acoustic voice, it’s Preamp Type: headphone out, tuner out, and both 1/4” very feedback resistant. It works Tube and XLR balanced outputs. The output is reasonably well, but does have a selectable for direct and line. “Direct” somewhat “electric” feel to its top-end Output Section: sends signal after the first tube stage; response. With that as a given, the Solid State (Class-D) “line” includes all gain, tone, Spellbinder does a nice job with double compression and effects. There is a bass. I again added a little low-end EQ at Rated Output Power: ground lift for the XLR output. The around 100Hz, pulled mids back a little at 160 watts internal speaker control selects either the 400Hz, pulled treble back at 4kHz to help internal speaker, or speaker output. The mellow the piezo top end, and ran the Inputs: rear of the Spellbinder Blue also has a Aural Enhance control up just a touch. One Combination XLR & 1/4” Input Jack, horn level attenuator. Effects Return I did try using the XLR input to mic the A Closer Look King; I wasn’t able to really dial in a Outputs: So, when you fire up the Spellbinder, sound I liked with that. However, I didn’t Balanced XLR and 1/4” Outs, Headphone plug in, and set input gain, what do you futz with it for very long, either. Perhaps Out, One Speakon Output, Tuner Out, get? You get a nice, albeit small, dose of this can be made to work better with a Effects Send that trademark SWR sound: clean, clear, little more time and effort. and warm. The familiar tone control EQ: section is great for either controlling Lasting Impressions 3-band Semi-Parametric problem areas or adding a little of I used the Spellbinder to practice at home, play along with the stereo while DI: whatever suits your needs. The horn Electronically Balanced, Line/Direct, seemed best balanced to the speaker learning some new material, and took it Ground Lift, Variable Pad with the attenuator set at about 10 to a couple rehearsals. It sounds great, as o’clock, and is useful for adding a nice long you work with what it has to offer. Other Features: top-end sheen the older units with a 5” To expect that a combo this small would -10dB Pad, Aural Enhancer, Phantom mid-driver just couldn’t deliver. I like the have big low end and big volume would Power, Phase Reverse, EQ Defeat, Effects Aural Enhance control when used be an unfair expectation. What the Blend, Effects Bypass, Compressor, Mute sparingly. With electric basses, I set it at Spellbinder can deliver is great tone and about 9 o’clock; with double bass, I may a great EQ section for uses where any rig Dimensions: run a little more than that. of its size would be successful: personal 19.5” x 15 3/8” x 14.5” use, rehearsals, small to medium jobs The bass that was closest to hand was my where other musicians are respectful of Weight: Sadowsky Metro RV5 Jazz bass. Sadowsky volume, and studio work. I did use the 26.5 lbs basses are a nice take on the Jazz theme, Spellbinder Blue’s speaker output to but definitely speak with their own power several bigger speaker cabinets Warranty: voice; they’re a more modern sounding and while that worked quite well, it 5 Years (Transferable) iteration the traditional J-bass. With seems counter to the Spellbinder’s great both the Sadowsky and the Spellbinder grab-and-go packaging. Price: set flat, I was a little under whelmed. I $1,449 MSRP, $999.99 street

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By Tom Bowlus First Impressions Quick Look Bag End sent us two representatives from their bass enclosure lineup: the venerable The Company Line: S12-D and the powered PS15-D. The S12-D Bag End has been a cool, compact 1x12 since Being a fan of (nearly) all things Tolkien, before compact 1x12’s were cool. It has a I immediately think of a cozy home with no-nonsense elegance and simplicity of S12-D good food and drink on hand when I hear design, and this little cab does what it the words “Bag End.” Being a bass player, does very well. It does not try to go super PS15-D I also think of the super-hip bass cabs deep (Bag End does offer several lines of which have helped define the “high-end enclosures which are aimed at doing just bass enclosure” market (visions of deep that), and it does not try to go super high red carpeting also come to (no tweeter here). What it does do is mind). Obviously, this crank out solid, meaty, articulate review focuses on this midrange (in addition to low frequency second topic, but I can’t help extension to a reasonable, but not to feel that the earthy, rich, seismic, degree and decent high comforting imagery from frequency extension, but no tweeter the first train of thought has sparkle/sheen). In all honesty, the tone its place here, as well. can sound a bit “boxy” or midrange- focused when played solo, but this little It’s hard to believe that Bag cab just sits so well in a mix. This rear- End Loudspeaker Systems is ported enclosure was designed with the pushing 35 years in age, but gigging bass player in mind, and it offers it’s true. Founders Jim up a space-efficient cab that does all the Wischmeyer and Henry things you need it to do in a mix, with Heine met in the theater none of the things you typically don’t department back in high need (no issues with having too much school (in northwest low end bloom & rumble, and no harsh, Chicago), which started eardrum-piercing highs to tick off your them down a path involving bandmates). the technical side of theatrical production. The PS15-D takes the S15-D (a somewhat Henry’s parents were both bigger-sounding cousin to the S12-D) and professional musicians, and adds in Bag End’s Minima One onboard he followed this path, power amplifier, which cranks out 1,000 performing on both guitar watts into a 4-ohm load, and 500 watts and bass. Jim studied into an 8-ohm load (the S15-D presents an technical directing, and 8-ohm load, and there is no provision for went on to be a sound man, plugging in another cab). The non- as well as a system powered S15-D has been around for a long installer/designer for Foster time, and shares many of the Sound Systems. Tech-heads characteristics which make the S12-D so at heart, the two were not successful: sound good in a mix, stay happy with the professional controlled down low, good efficiency, audio equipment available don’t take up more real estate than at the time, and began necessary, etc. It is one of the most tinkering around with their compact 1x15’s out there, and it is very own designs. By the early quick and tight. The S15-D and PS15-D ‘70s, they were making their may also be ordered with a coxial- own systems and selling mounted tweeter (which adds a “X” to them to friends, and the rest the model name). The addition of the is history! internal amplifier does not seek to

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change the overall tone or function of the In addition to the PS15-D, I am familiar S12-D: cab; it merely eliminates the need to with powered bass enclosures from ISP bring an external amp. The tone is still all Technologies and Bergantino. The Manufacturer: Bag End Loudspeakers, Inc. about that solid kick-in the pants and Bergantino IP series of powered warm, yet distinct bass lines. The Minima enclosures incorporates a complex DSP, Made in: USA One amplifier adds a mere six pounds to which among other things attempts to EQ the package, so we are still looking at a the performance of the enclosure to be Enclosure: Birch Plywood very reasonable 50 lbs for the PS15-D closer to “flat.” Both ISP and Bag End do (and this is with a ceramic-based driver). not do this, but instead seek to employ Exterior: Red Carpet amplifiers that do little to change the Drivers: One 12” Proprietary Ceramic Driver A Closer Look inherent tone and performance of the There have been a number of 1x12 enclosure. One trick the Minima One does Tweeter: None “shootouts” over the years, and I’ve done offer, though, is the ability to select the a few, myself. The S12-D has long been -6dB point (with options for 95Hz, 50Hz, Inputs: Two 1/4” Input Jacks, Female one of the key measuring sticks for a or 8Hz – interestingly, this last frequency Banana Input Jack setting corresponds to the range to which high-end 1x12. As previously mentioned, Impedance: 8 ohms it is all about the midrange, and the Bag End’s own INFRA subs extend in “perfectly flat” fashion, when used in response is strong but smooth Rated Power Handling: 200 watts throughout the mids, with a bit of a conjunction with their 8Hz Integrator). (continuous) lower-mid bump. Bag End lists the Comparing the PS15-D directly to the frequency response range as 50Hz to Bergantino IP112, the IP112 clearly has a Dimensions: 15.5” x 18.5” x 15.5” 5kHz, and that seems like a fairly accurate more extended, deeper low frequency statement (though I am not sure what +/- range, and the tone is something very Weight: 41 lbs different from that of its unamplified dB range is used for this stated response). Warranty: 6 Years Comparing it to the competition, I find brother, the HT112. The PS15-D, however, sounds very much like the unpowered the tone profile of the S12-D to be most Price: $545 MSRP, $409 street similar to the Bergantino EX112 (which is Bag End cabs. now discontinued). Both make for solid PS15-D: performers in their own right, and both Lasting Impressions work well in a support role when paired There is a reason that Bag End has been a Manufacturer: Bag End Loudspeakers, Inc. up with a tweeter-equipped companion favorite among bass players seeking to cab (like the S15X-D). stray from the path of 8x10’s and more Made in: USA conventional amplification options. They Enclosure: Birch Plywood Powered enclosures are nothing too are easy to load in and out; they don’t take up more stage space than is terribly new, but their use in the bass Exterior: Red Carpet amplification arena is fairly limited. necessary; they work well with a wide Consistent with their overall approach to range of amplifiers (or preamps, for the Drivers: One 15” Proprietary Ceramic Driver making bass cabs, Bag End decided to powered cabs); they excel at reproducing enter this market with a fairly simple, but the meat of the tone, without Tweeter: None (Coaxial Tweeter Available) high quality, option – take pretty much unnecessary and problematic low-end rumble. Bag End has stood the test of Inputs: One Balanced XLR (with XLR pass- any bass enclosure that they make, and if through) you want it self-powered, they’ll install a time, and most of their designs are pretty timeless in their own right. No constant Minima One module. Each amplifier Impedance: 8 ohms module is adjusted to the specific reinvention of the wheel, here. I consider enclosure for maximum power and Bag End to be one of the founding fathers Internal Power Amplifier: 500 watts protection, as well as reliable of the high-end bass cab market, and it is (continuous) performance. This amplifier is spec’d at without question that they are one of the +/- 0.5dB from 20Hz to 20kHz, with 110dB main players on today’s scene, as well. Dimensions: 18.5” x 18.5” x 15.5” dynamic range and 0.1% THD (1kHz at 100 There is something undeniably Weight: 50 lbs watts), and as previously stated, it will comforting, earthy and cozy about Bag End cabs. Maybe that Tolkien allusion is put out 500 watts at 8 ohms and 1,000 Warranty: 1 Year watts at 4 ohms. not so far off the mark, after all. Price: $1,430 MSRP, $1,073 street

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By Vic Serbe between active and passive basses (no Quick Look need for an active/passive switch). The Gain control works as you’d imagine, except that the LEDs indicating level will The Company Line reduce in count if the SpectraComp multi- TC TC Electronic is very well known in the band compressor kicks in, to indicate how industry for making some of the highest much compression is happening. Electronic quality and best respected equipment on Speaking of the compressor, this is a the market, but TC Electronic is not an feature that TC Electronic is very proud of, Staccato ‘51 established force in the bass often describing it as a “per-string” amplification segment… yet. Uffe Hansen compressor. hopes to change that. Uffe is not only the VP of Business Management for TC The 4-band EQ section is one area of the Electronic, but is also the head of the amp that diverges from the RH450. All bass division, and a bass player, himself. four bands are semi-parametric, so you While it might seem a bit odd for this can not only set how much boost or cut, company to have leapt into the but also the center frequency for each instrument amplification market, it control, which makes the amp highly makes perfect sense to me - at least for customizable. How does the EQ section in bass amps. Their focus on faithful the Staccato ’51 differ from the RH450? reproduction and tonal clarity translates The Bass control has the same range from extremely well to what bass players 71Hz to 1.12kHz, but is centered at 280Hz often look for in an amp. My question in the RH450, and 125Hz in the Staccato would be, “What took them so long to ’51. The Lo-Mid controls on both boost up get around to it?” to 15dB, but the RH450 can cut up to 24dB, whereas the Staccato ’51 only cuts up to First Impressions 15dB. The Lo-Mid control is centered at The Staccato ’51 is Rocco Prestia’s 400Hz in the RH450 vs. 224Hz in the signature version of the RH450, which Staccato ’51. Both Lo-Mid controls have a was introduced to the market, along with range of 100Hz to 1.6kHz. The Hi-Mid is some RS cabinet models, at the 2009 another control where the RH450 can cut Winter NAMM show. The head was such a up to 24dB, whereas the Staccato ’51 can success at its launch that they decided to cut only up to 15dB. The range is slightly go on a hunt for endorsing artists. They different as well. The Hi-Mid on the RH450 connected with Rocco Prestia, famed is centered at 800Hz and goes up to bass player for Tower of Power, known adjustable from 200Hz to 3.15kHz; for their hard hitting and punchy funk. whereas the Staccato’51 is centered at Rocco is particularly known for his 630Hz and is adjustable from 200Hz to nimble staccato fingerstyle funk, often 3.25kHz. The Treble controls on both have with a strong emphasis on a 16th note the same boost/cut range (-24dB to feel and precision muting. He’s also 12dB), but the RH450 Treble control is known for having a particularly bass- centered at 1.6kHz and is adjustable from heavy tone, and he is very demanding on 400Hz to 6.3kHz. The Staccato ’51 is his amplifiers, as a result. Uffe brought centered at 6.3kHz and is adjustable from an RH450/RS rig to a Tower Of Power gig 400Hz to 10kHz. In essence, the Staccato when they were playing in Denmark, and ’51 is voiced to emphasize the lows and Rocco liked the sound so much he used low-mids and the higher frequencies, and the rig that night. The relationship de-emphasize the middle and upper- developed from there, and noting mids. This is precisely what Rocco goes Rocco’s particular tonal preferences, it for. was decided that a signature model was in order. Thus, the Staccato ’51 was born. Above the Bass control is the tuner It’s named both after Rocco’s playing display. The tuner is one of the coolest style, as well as the year of his birth. features of the amp. It’s constantly on, and shows you which note you’re playing, A Closer Look as well as which direction you need to The input jack of this amp looks like any adjust its pitch to be in tune. This is fairly other ¼” amplifier input, but this one can “low resolution” tuning for quick adjusts automatically handle gain differentials during a performance. For higher

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resolution tuning, whenever the mute is into the AUX IN on the back. Manufacturer: engaged, the LEDs that surround the TC Electronic Bass control (which would typically On the back, you’ll find the power cord indicate the Bass level setting) now receptacle, as well as the dual-purpose Made in: provide a higher resolution display of Speakon connector that can take either a whether you’re sharp or flat, and by how ¼” plug or Speakon connector. There’s a Denmark much. DIN receptacle for the RC4 remote control (footswitch) and a digital recording Preamp Type: There are three memory buttons across output, which is another unique feature Solid State the top, which can be used to store of this amp. The output of this AES/EBU different configurations of the amp. The connector is a 96kHz 24-bit digital Output Section: only parameter not stored is the Master representation of your bass signal for control setting. Everything else, both recording directly into any DAW (Digital Solid State (Class-D) level and center frequency settings for Audio Workstation) software suite. Next the EQ, SpectraComp setting, TubeTone are the auxiliary input RCA jacks for use Rated Output Power: setting, input gain, and even a level with any audio device you wish to 450 watts (4 Ohms) control, is saved. The level control is used practice with, such as an MP3 or CD player. to compensate for gain increases when This amp also provides a preamp output Inputs: using the EQ or TubeTone features, so and power amp input set, which can also One 1/4” Input Jack, Stereo RCA Aux you can switch from memory location to be used as an effects loop. Finally, there’s memory location and not have an output also a DI output with a PRE/POST switch, In, 1/4” Power Amp In, Remote In gain change… only the desired tonal which is transformer-isolated to eliminate change. The Shift button is used to hum and ground loops. The DI is also Outputs: access the SpectraComp, center designed to not be damaged if production Preamp Out, DI, Headphone Out, frequency, and level settings. The last crew accidentally provides phantom AES/EBU Digital Out, One Speakon button on top is the Mute control. On power, and can drive at least 100m of 1/4” Combo Speaker Output some amps, even with the mute cable without any degradation of audio engaged, if you disconnect and/or quality. reconnect an active instrument, you’ll EQ: still get some sort of “crack” or “pop.” The optional RC4 footswitch also bears 4-band Active EQ (variable frequency The Mute control on this amp (and the mention. This is a high quality piece. It’s centers and Q) RH450, for that matter) works properly. got good mass to it, and a rubber pad on Absolutely nothing is heard at any the bottom, so despite its svelte size, it DI: output when an instrument is does a good job of staying put when you Transformer Balanced XLR, Pre/Post, disconnected or reconnected. use it. It gives you remote access to not only the mute control, but also all three Galvanically Isolated The TubeTone control is another feature user presets on the amp. It also has an TC Electronic is particularly proud of. “always on” tuner display that always Other Features: They’ve gone to a lot of trouble to runs in high resolution mode. TubeTone, SpectraComp, Built-in emulate the sound of an all-tube amp, Tuner, 3 User Memories, Mute, emulating the behavior of both preamp The power supply is “universal,” and has a feature called “Active Power and power amp tubes. This control Optional: provides a fairly faithful representation Management.” This is another feature of the sweet growl that you get when developed with tube amps in mind. TC RC4 footswitch (same as for the you push an all-tube amp. The behavior describes it as “an integrated circuit that RH450) of the TubeTone control on the Staccato kicks in when the amp gets close to its ’51 has been tweaked from that of the maximum performance and starts to Dimensions: RH450 to better reflect Rocco’s compress and limit the peaks of the bass 10.8” x 11.4” x 2.6” preferences. Finally, we have the Master signal similar to the way a tube amp volume control and the headphone jack. would do.” Despite the stated 4-ohm The headphone jack automatically mutes minimum load, you can actually drive up Weight: the speaker output when used, and it’s to three of TC’s 8-ohm cabinets with this 8.8 lbs also based on a studio-quality amp. If you’re using anybody else’s headphone amp with a built-in “mild cabinets, you are limited to the usual 4- Warranty: speaker filter” to enhance the bass ohm configuration, such as a single 2 Years (Original Purchaser Only) response in the headphones. When using 4-ohm cabinet or two 8-ohm cabinets. headphones, the Master control becomes But, if you use their speaker cabinets, you Price: a level control to use as a balance control can “cheat” a bit and drive three cabs. between your bass and the music fed $1559 MSRP, $1,199.99 street

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Fit and finish is impeccable. Despite the fact that this amp is all about lightweight portability, I really like that it isn’t the lightest thing on the market. It’s got just enough weight to it that you don’t have to worry about it vibrating off the top of your cabinet or being pulled off by cable attachments. The integrated handle not only looks nice, but is quite comfortable in your hand without requiring a rubber pad or any other such compliments.

Lasting Impressions The “foundation” of this amp is of course the RH450, and a good foundation it is. However, the EQ and “native voicing” of this amp is very heavily biased towards someone looking for the same kind of explosive bass and treble-emphasized tone that Rocco goes for. I took this amp on a few gigs, and I must say I was skeptical about how it would perform, being a big fan of midrange punch, myself. I never thought something so mid-shy would give me the kind of identity in a mix that I could be happy with. I was pleasantly surprised. I would describe it as hitting you more in the gut than the chest, and at least in my experiences, seemed to pair particularly well with flat-wound strings. I can imagine someone like James Jamerson would really love this amp. I thought that I would have to really (try to) play like Rocco to make this amp “work.” That was also not true. I played this amp in worship gigs, blues gigs, and dance/funk gigs. I didn’t think this amp fared as well in the worship gigs, but on the blues band gigs and especially the funk tunes with the dance band, the authoritative thump this amp puts out was impressive.

The Bottom Line The more conventionally voiced RH450 may appeal to a larger segment of the bass playing community, but you have to give the Staccato ’51 its due – and an audition, if a mid-scooped tone with a heavy punch in the bass, and emphasized sizzle up top, is the kind of sound you’re looking for. The tonal quality and feature set are signature TC Electronic, the power is very respectable, and the quality is top notch.

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By Tom Bowlus First Impressions Quick Look KR Guitars offers three basic body styles for bass guitars: the single-cut BlissBass, the double-cut Kamakiri (which gets both KR Guitars The Company Line inspiration and its name from the praying After reviewing high-end basses for a mantis), and the single-cut Ursa (so Ursa Major XL number of years, I’ve seen my share of named for its resemblance – particularly Fender-inspired instruments, some fairly the rear view – to Native American bear modern designs, and a huge range of fetish art). This particular bass (owned by shapes and styles. Still, every now and a fine gentleman named Dave Ropper, then, something comes along that just who generously leant us this bass for cuts its own path through a sea of review) is the one and so far only Ursa recycled themes. This Ursa Major XL, from Major XL. It has an extended length KR Guitars, is just what I am talking fingerboard (29 frets!), an extra thick about. From the moment I opened the body, and an extended cutaway (to get to awe-inspiring case, I realized that I was all those frets), making it a bit of a dealing with a uniquely talented luthier. departure from an already unique model. After playing this bass, and talking to One of the design goals for this bass was Kevin Robertson, this realization was to achieve the range of a 6-string bass more than confirmed. with just four strings (hence all those frets). Kevin is a senior play tester at Mesa/Boogie, which is a dream job he As far as first impressions go, it really has held for nearly thirteen years. does start with that case. Made by Rock Although it is mere coincidence that this Hard and sporting a larger than life KR review falls into the “Mesa/Boogie Guitars logo, it is… well… huge! The issue,” serendipity is nothing new to nearly coffin-like dimensions and deep Kevin Robertson. Growing up in rural maroon interior led to some trepidation South Carolina, Kevin built his first guitar as to what I might find inside… There is when he was 12 or 13 years old. no arguing the protection value, though, Conveniently, his retired neighbor had and with a deep instrument, you do need some leftover cherry, some wood- a deep case. The custom cutout nestles working tools, and the time/desire to the Ursa’s body lovingly, and the quality help Kevin with this project. After high is impeccable. For those seeking a more school, he and his brother played in streamlined option, KR also offers a regional bands throughout the lightweight TKL flight case. southeast, and as far away as Nebraska. Somehow or another, he made his way Picking up the bass, I was struck by how out to California, and managed to hook light it felt. The extra-thick body leads up with Mesa/Boogie V-P Jim Aschow at you to expect something more than the a party – which eventually led to his XL’s svelte 9 lbs. I had originally employment at Mesa/Boogie. presumed that it was chambered, or possibly even a semi-hollowbody, but After moving to California, Kevin Kevin tells me the body is solid cedar. renewed his interest in guitar-building, Being a full-time play tester, Kevin often and bought a book on acoustic spends 10-hour days with a guitar or bass construction. He found a ’51 Shop Smith strapped around his neck, so he knows All-in-One for sale for $25 (and in need the value of a lighter instrument. The of some elbow grease), then scored an next thing I noticed was that despite the apprenticeship with Master Luthier Steve fact that I was playing an instrument Kauffman (when looking for someone unlike any other I had encountered, there local to give him advice on how to apply was something eerily familiar about the finish to his guitars). Taken as a whole, it feel. The neck shape and dimensions were does seem as if Kevin has had a guardian triggering some serious muscle memory. angel or two along the way. His basses I realized that it was reminding me certainly seem to be divinely inspired! strongly of my beloved ’91 Thunderbird (which in the hierarchy of T-bird necks is one of the thin, narrow necks – versus some of the thicker, more rounded T-bird

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necks). My suspicions were confirmed position, and the location of the upper Manufacturer: when I learned that not only did the strap pin (on the back of the instrument – KR Guitars bass’ owner, Dave Ropper, play a another Thunderbird homage, perhaps?) Thunderbird, but it turns out that Kevin’s allows for good balance when played Model: first bass was a ’76 Bird. The neck feel is with a strap. comfy and fast, and the durable lacquer Ursa Major XL finish offers just enough tactile feedback. With that super long fingerboard, the pickups are – by necessity – positioned Made in: A Closer Look fairly close to the bridge. This leads to a USA In addition to the cedar core, this bass fairly tight, barky tone, but the Q-tuners features a thick quilted maple top and a contribute a unique harmonic richness Body: tightly flamed, stunning maple back. The and clarity. I preferred the sound of the Cedar, with Quilted Maple Top and finish (also lacquer) is immaculate. neck pickup soloed, which sounded like a Flamed Maple Back Measuring 1.5” at the (brass) nut, the 7- more “complex” P-bass with enhanced piece neck is made from wenge, with clarity and added pleasing overtones. Neck: maple stringers. This is an exceptionally Dialing in the bridge pickup adds bite and stable combination, and Kevin prefers to growl, and you can get some seriously Neck-through, 7-piece Wenge with use various maple/wenge combinations burpy tones playing closer to the bridge. Maple Stringers for his necks. The macassar ebony Q-tuner claims that their pickups are fingerboard sports twenty-nine stainless especially well-suited to completely Fingerboard: steel frets, and if you can figure out what passive installations, and allow the user Macassar Ebony, 20” Radius to do way up there, you do have good to further fine-tune their performance by access to all of them. A classy abalone adjusting the height of the three rows of Bridge: “XL” inlay graces the 12th fret position. pole pieces (you can read more about this ABM Single String Bridges The hardware options are interesting in option at; and of themselves, featuring Gotoh www.q-tuner.com/adjust.shtml ). tuners (with a Hipshot Xtender on the E That being said, for my personal Pickups: string), ABM single string bridges, and Q- preference, I would have liked to have Q-tuners BL-4 tuner neodymium BL-4 pickups. This is a seen a 2-band preamp added – if for no passive instrument, with a other reason than to get back some of the Active/Passive: straightforward 3-knob volume, blend, low end you lose by moving the pickups Passive tone setup. To keep this from getting so far south. These same pickups, in a boring, the knobs themselves are decked passive configuration, laid out on a Controls: out in a gold finish, with abalone tops. “standard” Ursa might be just the ticket Volume, Blend, Tone for my preferences, though. Once a player has chosen the basic body shape, almost every other spec is Lasting Impressions Tuners: determined after consultation with the This is one impressive instrument, and Gotoh, with Hipshot Xtender player. One of the specs up for grabs is Kevin Robertson is one impressive scale length, including custom multi- builder. His instruments are certainly not Strings: scale setups. This bass features subtly aimed at satisfying the teeming masses, LaBella Slappers, .040” to .128” fanned frets, from 34” to 35,” and like but instead seek to establish a deep other multi-scale instruments I have connection with the individual for whom Scale Length: played, it has virtually no learning curve. they are made. As this Ursa Major XL 34” to 35” Kevin learned his technique for laying bears witness, his wood-working skills out multi-scale instruments from Harry and attention to detail are off the charts. No. of Frets: Fleishman, and offers both fretted and His unique sense of styling is combined fretless models with the multi-scale with a deep understanding of how 29 (stainless steel) option. instruments should work for the player. Any thoughts that his basses are Weight: Despite its unconventional looks, this interesting from an esthetic perspective 9.0 lbs bass plays like a dream, and feels much only are immediately dispelled once you more conventional than it looks. The pick one up and play it. The high-end Accessories: body is much thicker than I am used to in boutique bass market has no lack of Rock Hard Flight Case an electric bass, and borders on acoustic diversity, but even amongst an eclectic bass guitar territory. The ergonomics and field, KR Guitars stands out. Kevin Price: roundover make it fairly comfortable, Robertson is going to be a luthier to though. The lower horn provides good watch carefully over the coming years, for $4,000 Base Price; $5,200 as Tested stability for playing the XL in a seated sure. (including case upgrade)

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BASS GEAR ICONS: Randall Smith BGM_Issue5_123010_Layout 1 1/2/11 5:53 PM Page 21

Bass gear has evolved tremendously since the middle of the twentieth century – thanks to a relatively small group of innovators, experimenters, designers, engineers and builders that have dedicated their lives to the advancement of the art and science of the gear we play. With a singular determination of purpose coupled with life-long dedication to the pursuit of the advancement of bass gear technology, plus tangible contributions to the evolution of the art and science of bass gear design and production, Bass Gear Icons have proven themselves to be valued members of the bass gear community. As bassists, we owe the Bass Gear Icons a sincere debt of gratitude for expanding the instrument’s range of expression and enhancing our enjoyment of the music we play. As a representative of the bass community, Bass Gear Magazine is honored to formally acknowledge the contributions and achievements of these individuals. — Terry Buddingh

By Tom Bowlus the bass heads which set the standards needs to spend some quality time with a for the industry, and many of the older D-180!), and his approach to use of a Forty Years of Boogie models are still pulling active duty with fixed bias is unique, as well. 2009 marked the fortieth anniversary of touring artists and weekend warriors, the founding of a company dedicated to alike. Supporting these heads, both Randy has had numerous opportunities tone (and volume!). Mesa Engineering literally and figuratively, is an impressive to sell his company to various “expansion was started by Randall and Rayven Smith lineup of bass enclosures. Whether you via assimilation” minded entities (no, not in a mountain shack in California as a choose Diesel, Road Ready, or the Borg, but one such entity does have a small shop known primarily for PowerHouse, Mesa/Boogie has made G and b and an o in its name…). modifying Fender Princeton amplifiers some of the best-sounding and most Thankfully, he has consistently turned (they moved to Petaluma in 1980). road-worthy cabs out there. In fact, it was them all down (I think he’s having too Specifically, it all started with Barry a Diesel 4x10 that opened my eyes to the much fun!). Randall, and the entire crew Melton’s (Country Joe and the Fish) fact that not all bass gear is made the at Mesa/Boogie, remain(s) committed to Princeton, which Randall modified to all same! building amps and cabs by hand, one at a heck, boosted the power, and crammed a time, in the USA. And they’ve been doing JBL 12” driver inside. During its first play- For Randall Smith, whether you are this for over forty years. That is a major test, fate conspired to have Carlos talking guitar or bass amplification, tone accomplishment on multiple levels! Santana conveniently hanging out in the is king. Mesa/Boogie isn’t concerned with guitar shop Randall was running at the producing the most time. After jamming through the “flat” or “accurate” surprisingly powerful combo, Carlos gear out there, but commented, “Shit, man, that thing really they do take great boogies!” And the rest is history… pride in crafting products that sound Guitarists have seemingly had a love “musical.” One affair with Mesa/Boogie ever since those common element in modified Princetons started making the Mesa/Boogie waves on the San Francisco music scene. tone equation is the Ironically, the first “official” Mesa use of tubes. In and product (built for Patrick Burke) was the of itself, this isn’t Snakeskin Mesa 450 – a bass amp! The anything new, but 450 was a combination of a Fender Twin Randall was using and a Dual Showman, and the first five tubes in ways that amps out of the Mesa Engineering were had not been tried all Mesa 450’s. A series of landmark bass before. His cascading heads would follow, including the D-180, high-gain preamp Bass 400/400+, Basis M-2000, architecture was a WalkAbout, BB750, and more recently, real game-changer the M3/6/9 Carbines. These are some of (EVERY bass player BGM_Issue5_123010_Layout 1 1/2/11 5:53 PM Page 22

I recently had an opportunity to discuss not trying to deliver an un-modified, famous for guitar, like Fender and this milestone with Randy: completely transparent tone, but rather a Marshall, but not for bass (and the musical treatment of the incoming signal. opposite, like Ampeg). Fact is, our growth Q: You and your company have remained Mesa/Boogie amps and cabs each seem to in the bass amp sphere has really been under consistent ownership, and have add their own brush strokes to the overall very gratifying, like 25% or more per year been designing and manufacturing bass sonic picture. How do you determine just as players check us out. Remember and guitar amps and cabs in the USA for how much “colorization” to introduce, though, we don’t pay players for over 40 years. What is the secret to your and how do you keep it all so very endorsements or give away equipment, success? “musical?” so our visible profile may not seem as big. That’s okay. We remain committed to A: I like what I’m doing; product design A: Thanks. “Musical treatment” is what’s hand-building quality musical is “my main art.” If you love what you’re exciting about creating instrument amps. instruments here in our one, Petaluma, doing, it’s not work. Also, there’s no What I do is a combination of back-yard CA-based shop, and aren’t trying to take pressure to chase the money because I’ve hot-rodding and Italian cooking. (More over the world. avoided the trap of trying to “get big,” spice, more garlic, more TONE please!) I especially with borrowed money. get to work with really talented Q: That TransAtlantic is a really cool- Musicians, co-workers and friend are our musicians, and even though I’ve been looking guitar amp. When might us bass boss – not bankers and investors! doing this a long, long time, I wouldn’t players expect our own little want to do it alone! Mesa/Boogie lunch box amp? Q: When did you first begin working with Dan Van Reizen and Doug West? Q: What sonic characteristics do you A: Ah hah! We’ve been talking about just strive for with your bass amplification such an amp. That would be in Dan’s area A: I think Doug has been part of the team products? of expertise, I’m just an old tube junky! for around 30 years, Dan for about 27 years. A: It’s all about “pitch, punch and Having had the pleasure of hanging out power.” I want to hear the pitch of the with Randall, Dan, Doug, and other Q: You have based a lot of your designs note clearly and I want the attack to be a members of the Mesa/Boogie family, it is around the presumption that the precise event in time. Beyond that, I want imminently clear that these people care amplifier will be using tubes of a an organic-sounding “bloom,” like you’d deeply about what they do. I get an particular quality and bias. Has it become get from a fine acoustic instrument. honest sense that these guys have deep more difficult or easier over the years to and strong spiritual connection to the find tubes that meet your specifications? Q: Despite your earliest builds (the products they design/make and Snakeskin 450’s) being bass amps, and customers they serve. This may sound a A: It’s actually much easier now. We despite making some of the most tad hokey, but I’m telling you, it’s a work with the tube factories to get just competitive bass amplification products palpable feeling when you hang out with what we want and reject or send back out there, it seems as if your share of the these guys. Then again, it may just be tubes that don’t pass our muster. I market on the bass side is not keeping that “California thing…” believe we’re using more tubes than pace with your presence in the guitar anyone else, so we’ve got some clout – amplification market. Why do you think But you don’t need to hang with Randall and our pursuit of quality helps everyone that is? to appreciate what he has brought – and in the end. Occasionally, we’ve had to continues to bring – to the bass change manufacturers when someone’s A: Guitar amplification is enormously community. Just get your hands (and quality slips, but the competition keeps larger than the bass amp market, and it’s ears) on any product bearing the Mesa them (and us) on our toes! clear we’ve done a lot of innovating badge. The heritage, the innovation, the that’s heavily influenced guitar sounds – commitment to quality, the commitment Q: Virtually every Mesa/Boogie product I beginning with pioneering high-gain. to music – it’s all right there in each and have tried or heard seems to have its There may also be a “selective prejudice” every Mesa/Boogie product. own voice. It seems obvious that you are out there that companies are either

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mesa boogie factory tour: The Home of Tone

By Doug West Sound too good to be tru? It would be in most companies. But Randall Smith’s After ten years of hand-building original mission – “To make the best amplifiers at his Lagunitas home in the possible amplifiers using the best mountains of northwest Marin, in 1979 ingredients, and treat each customer as Randall Smith “bet the farm” on Tone and you (yourself) would like to be treated” made plans to move Mesa/Boogie out of – doesn’t suffer from the sacrificial the house to its current Petaluma, CA practices necessary to “be the biggest.” The massive toroidal power transformer is fitted after all location. Back then, Petaluma was Says Smith, “We just want to remain the other boards are bolted down in Mechanical. (Mechanical Dept. – 2nd Step) famous for arm wrestling and chicken same size, keep doing what we love to do ranching, but all that would soon change. and be the best at it.” He bought a lot on a gravel road in the middle of a cow pasture and set to work The following are a collection of shots on building Mesa’s 30,000 sq. ft. shop from inside the Mesa/Boogie factory in many refer to today as “The Home Of Petaluma. Enjoy the “virtual tour!” If you Tone.” would like to see more, head on over to: http://mesaboogie.com/plantTour/ Pots are fitted for the front and rear panel controls. After moving in on July 4, 1980, that first spiritofart-highres.html . (Mechanical Dept. – 2nd Step) year Randall worried that he might have made a mistake, as it took a bit to equal the production numbers he had achieved right out of his house. But his worries were soon allayed. The ‘80s were in full swing, and the music business was on fire. Mesa/Boogie kept pace with the unrelenting demand for both its guitar Technicians run the Carbine through a battery of tests in the and bass amplifiers, and those years saw Tech Dept. after Wiring has finished their work. Here, all the Mesa artist roster for bass explode. Sir A Carbine M6 is born; In the Mechanical Dept. the power previous work is scrutinized again, along with checking to see Paul McCartney, Mark King, Michael supply board is bolted down. (Mechanical Dept. – 2nd Step) that all systems are operating properly and the amp is putting out full power and is stable before the first of two Anthony, Jack Blades, Les Claypool… and rigorous play tests. This is also where the infamous Mesa even Stanley Clark were among the artists “hammer test” is administered. (Tech Dept. – 5th Step) touring with Mesa/Boogie bass rigs.

Today, Mesa/Boogie has a worldwide reach with fans – more like an extended family – that exude a cult-like loyalty. They’ve become synonymous with high- After the preamp, front and rear panel boards are bolted in; gain guitar, but they remain no less cooling fans are mounted. (Mechanical Dept. – 2nd Step) passionate and serious about all things fundamental. The Mesa/Boogie shop operates more like a band than a company, wherein each employee uses his or her unique talents to contribute to the quality of the end product in a satisfying, “craftsmanship” approach. The pervasive feeling there is “I love what I do - so I give it my all”. The average tenure is 12 years, with well over Custom-designed power MOSFETs are fitted by hand to the After Wiring, PreTech loads tubes, checks the work of the half of Mesa’s staff pushing 20 years! Carbine power block board before it is locked down to the other depts. and fires up the completed amplifier for the first massive heat sink. (Preamp Dept. – 1st Step) time before passing it on to Tech. BGM_Issue5_123010_Layout 1 1/2/11 5:53 PM Page 25

All big parts (caps, relays, large resistors etc.) are stuffed and Parts are created using only marine-grade, void-free birch The hardest job takes the most skilled craftsmen. These guys soldered by hand in the PC Dept., whereas smaller parts are pretested plywood for strength, durability and tone that projects well. are masters and they can wrap a perfect cabinet every time… and stuffed using the auto-insertion machine and “wave-soldered” (Woodshop – 1st Step) which is good because you only get one chance with 10 feet for consistency and reliability. (PC Dept. – 1st Step) of wet, gluey vinyl. (Woodshop 3rd Step)v

After the crossover and Player Control Network‘ adjustable high Frequency driver board is loaded onto the cabinets’ jack plate, it is ready to be fitted into the recessed cutout on the insulated cabinets’ backside. (Woodshop – last Step)

After being “stuffed,” circuit boards are put through a stringent Quality Control Inspection, where all solder joints are pulled-on and leads are trimmed to ensure consistency Birch ply struts are used for the aviation-style bracing and and reliability. (PC Dept. – Step 1) ports used throughout Mesa cabinetry. (Woodshop) The phenolic dome high frequency driver is fitted into the baffle before the speakers are loaded. (Woodshop) 5th Step

The PC Dept. starts with partially “stuffed” boards and completes the loading of big parts, completes all hand-soldering and then performs the Quality Control Inspection. (PC Dept. – 1st Step) The cabinet’s engine: custom-designed speakers are fitted into the finished insulated cabinetry. (Woodshop – 6th Step)

Baffle boards are constructed from the same marine-grade, void-free birch ply – not the typical MDF or pressboard found on many other brands. It’s a good thing if your drivers stay securely mounted and A choice of two grilles (either powder-coated stamped metal don’t rip out from the rigors of the road. (Woodshop) or vintage-style twisted jute) are fitted to the loaded cabinet. (Woodshop – 7th Step)

Finished amplifiers undergo two rigorous play-tests – one after each burn-in to ensure quality and confirm amazing tone and feel. These guys play hundreds of amps a year and Dalmasio runs a Carbine through the paces at his bench in the Badge of honor; The final step is the etched metal Mesa/Boogie can tell from the first note if an amp is performing up to Tech Dept. before sending it on to the first burn-in and nameplate, and to wear this stamp of approval… you gotta be snuff. (Play-test/ Final – 6th Step) subsequent play-test. (Tech Dept. – 6th Step) the real deal. (Final Assembly – Last Step) BGM_Issue5_123010_Layout 1 1/2/11 5:54 PM Page 26

Different Teaching Methods The M3/6/9 are a step forward in Mesa's Trans- Class bass amps, and a step or two away from feeling like big tube-powered amps – as some of Mesa's other offerings do. Yes, there is a 12ax7 tube in the preamp section, but it doesn't behave at all like the WalkAbout, Titan, Big T! Block or Bass 400+ you might be familiar with. TES While the tubes in the Trans-Class amps do add Tbass gear some heft, depth, and texture to the tone, the M3/6/9 don't drive their preamp tubea to over- saturation and overdrive. The signal stays very clean. The MOSFET power section is super fast and punchy, and never exhibits the squish or compression of a tube output section.

The M3's power (300 watts at 4 ohms) is indeed scaled down to half that of the M6, but the M3 retains the same stout, full-sized chassis. The M6 and M3 measure in at 19” wide x 12” deep x 4” tall. However, the M3 is down about 7 pounds from the M6, weighing in at 20 pounds.

Looking at the front-panel feature set from left to right, the M3 has both similarities and differences to the M6. First on the left is the input jack, but with the M3, there's no active/passive switch. In its place is an LED clip light. While this might seem like a functional downgrade, I've never needed to use the active input selection on the M6, and I never lit the Mesa/Boogie Bass Gear Magazine readers are no doubt clip light on the M3, even digging hard on a hot familiar with the Mesa/Boogie M6 Carbine active bass. M3 Carbine (reviewed in issue #1). When released, Mesa and PH112 claimed the new Trans-Class bass amp Next is the input gain pot, which is pretty self- delivered a whole new realm of power, explanatory: twist more, get more! A simple by Alan Loshbaugh headroom, fast response, piano-string detail Bass, Mid and Treble EQ section follows. The and simplicity of use. The BGM staff as a whole M6's voicing control has been left off the M3. I thought I had a fair handle on the new math. were not only happy to confirm their claims, Bass and Treble are active shelving type I can add. I can subtract. I can balance my but most of us also laid out our hard-earned controls, the Mid is a passive “boost only” checkbook. Apparently, I still have some gig coin and bought M6’s for our personal use control, according to Mesa. This straightforward problems with division though, because I sure – myself included. I use the heck out of mine! 3-band EQ is simple and easy to use. The Bass don't understand how downsizing the Big, fast, clean power combined with simple pot, retains the M6's “pull Deep” feature. Mesa/Boogie M6 Carbine to half-power and and effective EQ and the 5-position Voice Pulling out the Bass knob shifts bass taking away some of its feature set can result in control make the M6 both fun and easy to use. attenuation to a lower and broader frequency a sum that's clearly way more than it ought to When Mesa told us about the new M3 Carbine, range, and ironically adds some highs at the be by the numbers! we were all curious to see how much less of a same time. great thing a half-sized M6 really was.

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The DI control pot follows the EQ section. While variety of custom coverings, as well. The corner would normally take my M6 and Epifani UL-410 the DI is post-EQ by default, pulling out the protectors are plastic, but seem to be up to – a “big guns” venue. The M6/UL-410 pairing is knob sends out the pre-EQ signal. Master handling general abuse. There are nice big my big gig standard; it's loud, clean, and mates volume is the last rotary control, and also rubber feet on the bottom of the cabs, and the bass with the kick drum in a big and accesses the mute function when pulled out. Mesa offers some of the nicest and most impactful way. Though the UL-410 is a little There is an LED to indicate the mute is active, durable removable casters in the business mid-scooped, I generally play active JJ-type and an additional LED next to the off/on power (which are optional with the PH112). basses with fresh nickel rounds, and these tap. basses really make that combination work out The PH112's were the first Mesa cabs I've tried well for me. Left to right across the M3's rear panel also that had the new Player Control Network. This shows a simplified feature set, compared to allows the user to select three crossover ranges While I was initially a little concerned about the the M6. The fuse holder and EIC removable for the horn: 3kHz for “bright,” 4kHz for M3's 300-watt power rating not being able to power cord socket remain the same, but “sheen,” and 5kHz for “normal.” These meet my needs for that night, the M3 and missing are the dual-function Speakon speaker switching options are subtle, but audible and 2xPH112 rig completely excelled. In fact, I ran outputs. Two 1/4” output jacks take their place. effective. Using these, along with the variable the input gain and master volume at the exact Also missing are the foot-switchable voicings. attenuator on the back, really lets you dial in a same settings I would have expected to use There is a foot switch jack for the mute control, wide range of tones and set high-frequency with the M6: input gain at about noon, master though. Effects send, return and a bypass mini- response just where you want it. The rear panel volume at about 9 o'clock. The M3 had power switch are retained, as is the balanced XLR DI on the back also includes an instantaneous and headroom beyond my expectations for the output and ground lift mini-switch. Both the reset circuit breaker for the horn, rather than a night. “Still not buying that 300-watt rating...” mini-switches now have protective surrounds fuse, and both Speakon and 1/4” inputs and to make sure they don't get accidentally parallel outputs. While the PH112's don't have the big über-lows toggled. While this might seem like a good of the UL-410, they sure filled the club and the idea, the surrounds are very small, making it What's it all add up to? mix beautifully. The M6/UL-410 pairing can hard to actually switch the switches. I couldn't When I initially received the M3, it arrived with actually create low end that can be get my fingertips in there, and had to use a only one PH112. It was immediately apparent overwhelming and a little uncontrollable; the mini-screwdriver from my toolkit to flip them. upon firing the rig up at home that he M3 had PH112's are biased more towards low-mids than enough juice to drive one PH112 waaaaay deep lows. This is what I would expect from Three of a perfect pair beyond its power handling limits. ''300 watts boxes their size, and it's an absolutely perfect When contemplating which speakers to pair huh? Sure feels like more, so far...'' match for the M3/M6, which have plenty deep with the M3 with for testing, the PowerHouse low end already. 1x12 (PH112) seemed like a logical choice. Better My first field test for the M3 was a rehearsal yet, how about two PH112’s! session. I took the M3, PH112, and one of my I ran the M3's EQ dead flat, and after a few trusty old P-basses. There was no drummer at songs of playing with the horn attenuators and Each PH112 is rated for 300 watts at 8 ohms, so this rehearsal, so it wasn't very loud, but the rig Player Control Network's horn frequency shift, two PH112's are more than capable of handling worked well in this the M3’s full output (300 watts) at 4 ohms. The low-volume PH112's are small compared to some other 1x12 environment. Next cabs on the market. Weighing in at only 43 up was a nightclub pounds each, a PH112 measures 19” wide x 14” gig with a tall x 18” deep. The PH112's are built from stout contemporary AA marine-grade Baltic birch, and are loaded cover band. I took with custom Mesa neodymium-based drivers the M3 and both and neo high-frequency horns. A stout, PH112 cabs. This perforated steel grill protects the speakers. club is a Spring-loaded side handles make for an easy notoriously loud, one or two-handed carry. The cabs are covered raucous venue and with a nice tolex; Mesa/Boogie offers a great one to which I

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it seemed to me that setting the horn about at their limit. When digging in harder for expectations for a 300-watt amp. Even attenuator at about 30% netted the best mix of sections with bigger dynamics or a solo compared to Mesa's own 300-watt rated the horns with the drivers, and that the 3kHz section, the PH112's cones started to exhibit WalkAbout, the M3 comes out a crisp, clean setting delivered nice smooth highs. The 4 and some breakup. If a little “Geddy Lee-type clear winner in terms of power and headroom. 5kHz settings were just a little too much, given edge” to your sound is a good thing for you, I did take the time to check out the M3 with the aggressive nature of the freshly strung then I wouldn't classify this as a problem, as several of my other speaker cabs, and it really Sadowsky and Valenti JJ-basses I brought that the PH112's really break up nicely approaching did perform very much like my M6 in terms of night. their limits and don't seem to mind a little perceived power and headroom with them, as ''light abuse.'' If that extra grit and edge isn't well. Next up was a big outdoor job with the same your thing, pairing the M3 with one or two of band, but playing more classic cover material. Mesa's bigger speaker cabs like, the PH212 or The M3 mated with those little PH112's really To that end, I took my 1972 Precision, and an PH410, would likely solve that issue nicely. adds up to a gutsy rig that's plenty loud for Alleva-Copollo LG5. These two basses have nearly anything I would do. The M3 head much more of a vintage voice than the My last job with the M3 2xPH112 rig was with performs above and beyond its power ratings Sadowsky and Valenti basses. Both were my blues band, hosting a local blues jam in a and delivers quick, clear, clean, hard-hitting strung with fresh nickel rounds. Again, I was a smaller club. Stage space is at a premium in power. The PH112's are easy to carry, don't seem little concerned that the M3 2xPH112 rig might this club, so rather than stacking the cabs to mind getting pushed fairly hard, and are a not be up to the job. For the second show in a “normally,” I stacked them vertically. While beautiful pairing with the M3. row, the little M3 completely waylaid those this might have resulted in a little decoupling concerns; with two caveats as follows. from the floor, I didn't notice any drop off in The Bottom Line 1. We use two Bose sticks/subs for the low end; and I did get to listen for that So, it seems to me that the M3 is really more of our PA, and we only run the vocals through carefully from out in the room while other folks an M5...in other words, in terms of power them; so, this isn't a massively loud band. If sat in. This was the first job I moved the M3's EQ delivery and native tone, the M3 is very close to this was a louder job, running a bigger, more from flat. To get a little deeper, warmer sound, “an M6, minus a few bells.” You don't get the traditional PA with subs under mains, I'd have I pushed the Bass up just a hair, and rolled the super handy voicing control, but I didn't really wanted to send the M3's DI out to the PA to fill Treble back some. This netted a nice, fat, plush miss it that much. You don't get the nice dual- out the sound for the crowd. Fortunately, the blues tone that worked really well. For one function Speakon outputs on the back. I do M3 has a nice DI signal, and lets you chose from funk-based blues tune, I used the “pull Deep miss those, and I really would rather pay an pre and post-EQ; problem solved. Even under function” to add a little more lows and highs, extra $10 to keep them. At this stage of the those circumstances, the M3 and two PH112's rolled the Mid back a tad, and pushed the game, I feel like all amps and speakers ought would still have been plenty as a “loud band Treble forward. I also switched the PH112's to come with dual-function Speakons, but I'll stage monitor.” horns from 3kHz to 5kHz, which is really quick admit to that being my own personal bias. The 2. Though the M3 head delivered and easy to do. Great finger funk and slap tone! M3 doesn't deliver 2-ohm operation like the M6 well in this context, it was pushing the PH112's and M9, and many of the other Mesa heads. for about all they were worth. I had the input 6 divided by 2 equals...5...??? This is a function I like and use a lot, but gain dialed up to about 2 o'clock, and the All told, Mesa's use of new math really adds up whether that's important to you is going to be master at about 10 o'clock. While the M3 felt to something I didn't expect. I thought the M3 very much dependent on what speaker cabs like it sure had more to give, the PH112's were would feel noticeably down on power to the you own and use regularly. M6. It sure didn't! I never needed to The M3 2xPH112 rig is one I really like, and I push the M3 any don't want to give it back! It readily meets all harder than I would my needs in terms of both power and tone. have pushed my M6 Gimmee 5 for Mesa Boogie! in the same circumstances: The M3 has guts and headroom well beyond my

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s MESA

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s M3

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a g b CARBINE

ENCLOSURE GENERAL Material: All Steel Chassis (front: 4.5mm, Company: Mesa/Boogie sides/top: 1.8mm) 1317 Ross St., Petaluma, CA 94954 Dimensions: 7.5 in (with feet) x 12 in x 10 in www.mesaboogie.com Weight: 20 lbs Country of Origin: USA Year of Origin: 2010 PREAMP Warranty: 5 Years, Transferrable List Price: $899 Inputs: 1x 1/4” Jack Approx Street Price: $899 Mode: Tube Test Unit Options: None Tubes: 1x12ax7 Accessories: None Input Impedance: 1.26 mOhms Available colors: Black EQ Type/Features: Active Bass, Passive Mid, Active Available options: Head Case Treble, Pull Deep on Bass Acquired From: Mesa/Boogie Compressor/Limiter: NA Dates: April to June 2010 DI Output: Balanced XLR Line Out Locales: Ohio and Missouri Effects Loop: Yes with True Hard Bypass Switch Test Gear (in-hand review): 1972 Fender Precision, Additional Features: Line Out with Ground Lift & Front Alleva-Coppolo LG5, Valenti J5, Panel Level Control with Pre/Post G&L L1000, Epifani UL410, Pull Switch, Tuner Out, Input Clip Markbass F1 Indicator, Mute Switch TEST SUMMARY POWER AMP 1-5 (unacceptable to impeccable) on-bench in-hand Mode: MOSFET Chassis 3.5 Features: 3 Tubes: NA Vents and Cooling 3 Tonal Flexibility: 3 Outputs: 2 x 1/4” Speaker Jacks Finish / Handles 3 Ease of Use: 4.5 Impedance Options: 4 and 8 Ohms Jacks / Sockets 3.5 Aesthetics: 4 Power Supply/Transformer: Toroid Pots / Switches 4 Ergonomics 4 Cooling System: Fan Chassis Layout 3.5 Tone 3.5 Components Resistor/Cap 3 Value: 3 Line Voltage Options: 120VAC PCB / Power Transformer 3 Solder / Dress 2.5 MEASUREMENTS Internal / Overall Build 3 In-Hand Score Output Power Rating 4 3.57 average Freq Resp-Pre & Power Amp: 20Hz - 20kHz +/- 3.3dBu, Portability 3 +/- 1.4 dBu Optimally Flat Roadworthiness 4 Ease of Repair 3.5 On-Bench Score Warranty 4 4-Ohm 8-Ohm Quality Per Price 3 3.34 average Power: 300 watts 154 watts Sonic Profile: Burst: 377 watts 192 watts Lows – rich, deep and full with the twist of a knob... or pull deep function THD(At MAX Power): 5% 5% Mids – pleasantly present Input Signal: 1kHz 1kHz Highs – clean and crisp by nature, but readily tamed with the treble control TONE-O-METER

CERTIFIED POWER Capable of deep, round lows, with 4 ohms 8 ohms strong, but not overbearing, midrange, 300 watts 154 watts and a bright, clear high end. BGM_Issue5_123010_Layout 1 1/2/11 5:54 PM Page 30

Tom Lees’ on the outside. However, this amp circuit board. The socket felt secure to the is packed with enough PC board, so you should not have any AMP sophistication, and flexibility on problems if you are inclined towards tube the inside that you may be in for a swapping. The components are high- surprise or two, unless you have quality and the IC chips are socketed. LAB already taken the Carbine series Thus, the IC chips can be replaced or for a ride. swapped out without invasive disassembly of the preamplifier circuitry. Construction Mesa/Boogie Externally, the chassis assumes a The power amp section is borrowed from conventional form factor for mounting in the M6, but has been reconfigured for M3 Carbine a 2-space, 19” rack. The control knobs are slightly less output power, as will be Bass Head intuitively ordered, are nicely spaced described below. The power amplifier is apart and their function is clearly labeled. kept cool using two fans and a nice large Moreover, the knobs turn smoothly and heat sink. Additionally, stray magnetic “Less is more” is the mantra that has feel robust. Similarly, the switches and fields from the toroid power transformer been adopted by many artists who other controls appear heavy duty and are screened from the preamplifier subscribe to the concepts of minimalist provide a satisfying tactile response. For circuitry using mu metal shields. design. A quick look at the front panel of instance, the power switch gives the nice the M3 Carbine and one might be led to “click” when it is flipped. Internally, the Understanding The Amp the conclusion that the M3, introduced in preamp circuitry is separated from the In my opinion, the key to understanding the wake of its bigger siblings the M6 and power supply and power amp circuitry this amplifier is simply spending time M9, is intended to be a minimalist amp, using separate circuit boards. with the tone stack and the Gain knob to stripped down to a basic set of become familiar with their interaction. fundamental features. So, is this a Referring to Figure A , a gutshot of the M3 Referring to Figure B , a chart illustrates minimalist amp, or is this deceptively Carbine reveals a straightforward layout. the frequency response of the M3 Carbine simple layout fooling you? As we will see, The preamp circuit board includes a tube when all the tone controls are set at the the M3 Carbine looks clean and stage by means of a 12ax7 mounted in a noon positioned, compared to optimally uncluttered without being intimidating ceramic socket, which is soldered to the flat. With all of the tone controls at noon,

Power Power Amplifier Supply

Toroid 12ax7 Power PreAmp Transformer Tube

PreAmp MU Metal Circuitry Shielding

Fig. A Gutshot of the Carbine M3

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the frequency response was reasonably 8kHz, a deep flat at +/- 3.3dB, with a scoop at just over notch appears at 200Hz and a treble bump centered at approximately approximately 5kHz. The bass extends 60Hz and the from the mid-scoop to approximately bass is boosted 25Hz in a fairly steady climb, with a slight below the notch “step” at about 60Hz. Comparatively, an by almost 15dB optimally flat setting achieved a at 20Hz. frequency response of +/- 1.4dB by turning the Mid control to full on, and by Figure G slightly attenuating the Bass and Treble illustrates the controls from the noon position, as Bass sweep with illustrated in Figure C . the Deep function out, Figure D illustrates a Bass sweep with the compared to Mid and Treble controls at noon. Note that engaged. Notice Fig. B All Controls at Noon (Green) Compared to Optimally Flat (Red) at the maximum setting, the Bass Boost is that it does not wide, smooth and centered at shift the approximately 45Hz. Comparatively, the frequency points of the Bass control. Bass cut appears to include a relatively Rather, when the Bass control is tight notch at approximately 60Hz that is turned fully counterclockwise with a superimposed on the Bass cut. Because of Deep control enabled, the notch at this, the low frequencies below the notch 60Hz widens and deepens compared are asymmetrical with respect to the to the Deep control disengaged. Note frequencies above the 60Hz notch. For also that the effect of the Deep instance, with the Bass turned fully switch to cut the signal by about 3dB counterclockwise, 40Hz is down 10dB, extends into the midrange, affecting 60Hz is down 18dB, and 80Hz is down the signal to some degree up to 14dB. about 4kHz. Also, when the Bass control is turned fully Fig. C All Optimally Flat Tone Control Settings Figure E illustrates a Mid sweep with the counterclockwise, there is a treble Bass and Treble controls at noon. Of accent, i.e., approximately a 6dB interest here, when the Mid control is boost to the treble at 20kHz, starting fully counterclockwise, a notch is present at about 5kHz. just under 300Hz. As the Mid control is rotated clockwise, the notch depth When the Deep decreases and shifts to about 200Hz. control is However, when the Mid control is turned engaged and the fully clockwise, in addition to boosting Bass is fully the mids or otherwise decreasing the clockwise, a depth of the notch, a slight bass bump of relatively wide approximately 3-4dB appears, centered at bass boost is approximately 25Hz. applied, centered at Figure F illustrates the Treble sweep with about 40Hz. the Bass and Mid controls at noon. As Notice that the would be expected, when the Treble Deep control control is fully counterclockwise the provides treble gradually rolls off, starting at approximately about 1kHz. However, when the Treble is 3dB of extra gain turned fully clockwise, in addition to a at lower treble boost centered at approximately frequencies. Fig. D Bass Sweep

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However, this gain boost extends into the midrange, again affecting the signal to some degree up to approximately 4kHz.

Figure H illustrates an interesting aspect of the interaction between the tone stack and the gain control. In this figure, a 100 mVrms sine wave was presented at the input. The tone controls were set at noon with the Deep feature disengaged. The frequency response plot was captured and normalized five times across a sweep of the Gain control. As the Gain control is turned up, the mid notch begins to disappear, the treble response begins to flatten out, decreasing by approximately 2.5dB, and the bass below 30Hz is boosted by Fig. E Mid Sweep approximately 3dB.

Output Power The M3 Carbine performed exceptionally well in power testing. Into a 4-Ohm load, we measure 300 watts steady state with a 377- watt burst of dynamic power, as measured using the CEA-2006 1kHz test protocol at 5% THD +N. Into an 8-Ohm load, we measured 154 watts steady state with a 192-watt burst of dynamic power, as measured using the CEA- 2006 1kHz test protocol at 5% THD +N. The dynamic response of the amp to our Bass Gear Magazine test signal is illustrated in Figure I . Our test signal comprises a repeating train of sine waves that modulates between 0dBu for approximately 200ms, followed by -20dBu for Fig. F Treble Sweep approximately 600ms.

Miscellaneous Unlike its bigger siblings, the M3 does not have an active/passive switch. As such, a player will have to depend upon the Gain and Volume controls to balance out differences between active and passive pickups.

Of interest, the input stage input clip occurs at 1 Vrms. In testing, it was noted that this was observed independent of where the Gain control was set. When monitoring the harmonic content of the test signal as a function of the Gain setting, a nice, consistent increase in low-order harmonics is observed as the Gain knob is turned clockwise. Driving Fig. G Deep On Compared to Deep Off the input signal over 1 Vrms triggered the input clip, causing a corresponding further

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increase in harmonics, including higher-order harmonics.

Conclusions The M3 Carbine follows a tried and tested formula of a tube preamp with a solid state (MOSFET) power section. However, the implementation of the tone stack and the drive voicing of the tube stage provide a feel that should appeal to a broad cross-section of players. In this regard, the M3 Carbine serves up a lot of tonal flexibility for a deceptively simple control layout. The amplifier performed well on our bench tests and due to its dynamic power capabilities and frequency response, the M3 should produce a volume Fig. I Dynamic Response and tone that “feels” bigger than the numbers say.

There are some issues however that I would like to see addressed. There were some components inside the amp that were not securely soldered to the PCB board in the preamp stage. For instance, as seen in Figure J, a transistor, several resistors, and several flying leads are solder point-to-point and are suspended above the circuit board. I understand that this amp may borrow its circuit boards from the M6. However, if such modifications are necessary, I would like to see these modified components on a separate daughterboard or otherwise integrated into the existing circuit board. Also, as seen in Figure K , the chassis is missing a screw Fig. H All Controls At Noon, 100 mVrms, Swept Gain because the hole for the screw was never tapped.

Fig. K No Thread for a Screw Fig. J Components Wired Point-to-Point

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Tom Bowlus’ polycarbonate resin thermoplastic), and while CAB they do look smooth and svelte, I have seen these corners get broken in LAB shipping (the front/rear facing “lip” seems the most vulnerable to breakage). That being said, MESA/BOOGIE I have never seen one break through normal gig usage. PH112 panel also holds the instant-reset 2-amp horn The 12” driver is held in place by eight screws, protection circuit, the horn attenuator, and the BASS and the horn is secured by four screws. I Speakon and 1/4”ins/outs. somewhat prefer lag bolts (with threaded CABINET metal inserts) for mounting drivers to baffles, Our tests showed the PH112 to be a fairly Mesa/Boogie has always had their own flair for but the eight wood screws did make for a very balanced performer, from bottom to top, with making cabs. The original Road Ready cabs had solid connection. The interior of the cab was a bit of a peak around 2.5kHz, but no real dips clamp-on covers, which basically enclosed the well-covered with insulating material, though or valleys in the meat of the frequency range cab in its own “flight case.” The Diesel series they were careful to make sure that none of the most important to bass players. Off-axis was just as sturdily built, but skipped the white material was visible through the three response was very impressive up through “flight case” look. The current PowerHouse triangular front ports. 2kHz. lineup seems to be the modern iteration of the Diesel cabs of yore. Past Boogie cabs have not While the driver is of the lightweight While their heads seem to get more of the only broken new ground in driver neodymium variety, the remainder of the cab glory, Mesa/Boogie’s cabs rank right up there configuration (check out the original construction qualifies as “heavy duty” (without with the best of them. The construction Powerhouse and Powerhouse Jr. enclosures – being ludicrously over the top). The marine- techniques and built quality are exemplary, featuring 4x10/1x15/tweeter and grade Baltic birch and “aviation-style” bracing and the Player Control Network really sets 4x8/1x12/tweeter configurations, respectively), make for a very stiff, solid cabinet. That grille is these cabs apart from the competition. Kudos they have also made a habit out of dialing up very solid, and will take the occasional to Mesa for throwing in a nice, slightly padded what they could deliver from more common inadvertent biker boot hit without flinching. slip cover to protect this beautiful cab. Made in setups. Mesa really excels when it comes to wiring, and the USA for over 40 years, Mesa/Boogie cabs the PH112 is no exception. Heavy gauge wires, offer high quality, reasonable priced products Those folks in Petaluma definitely like to build clean layout, and an appropriate amount of for touring acts and weekend warriors, alike. things on the sturdy side. This has led to some slack all contribute to a fairly heavy cabs in the past, but they have bass enclosure that is embraced neodymium drivers… at least of the just as beautiful on the 12” variety. We reviewed the PH212 back in inside as it is on the issue #1, and were suitably impressed. The little outside. The Player brother PH112 is similar in many ways. The Control Network is heavy duty steel grille (available in black or unique in its ability to silver) is held in place by six screws, which pass allow the player to through heavy duty rubber grommets. The choose their own cabinet covering is fairly typical black tolex, crossover point, which though Mesa/Boogie offers a variety of can be set at 3kHz, different materials and colors (many for an 4kHz, or 5kHz. Very upcharge). The corners are made of Lexan (a cool! The PCN rear PCN Crossover Settings: Normal , Sheen , Bright

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Innovative show-stoppers like the M- them to sound non-musical to us – “flat” 2000 in the late ‘80s, the M-pulse Line in in a bad way, like something was missing. Q&A with the ‘90s, the WalkAbout head and Scout There’s a lot of truth in our feelings. combos, Big Block 750, full-featured Titan Unlike a linear power amplifier, a class-D V-12 and today’s ultra-responsive Carbine amplifier uses pulse width modulation to Dan Van Reizen M3/M6/M9 line of amplifiers were all switch the power output devices on and Dan’s offspring. The avid soul-surfer still off in an attempt to keep them running hits the ocean for inspiration every cool. You loose a little slice of magic By Tom Bowlus chance he gets, but Mesa/Boogie’s called harmonics every time the devices momentum is intense and it keeps him are in the “off” state. These slices of busy. With Dan’s constant flow of missing harmonics can’t be replaced by innovative ideas and a lot of unused the low-pass filter between the output tricks left in the bag, the future for bass devices and the speaker. The jagged little at Mesa holds much intrigue. edges of missing audio can only be filled- in and smoothed-out – but never In order to gain some insight into the replaced. Class-D has its place if you have man behind the bass at Mesa/Boogie, and a gig that requires a lightweight amplifier quite frankly to try and figure out what where tone isn’t the highest priority. We he might have in store for us next, I will probably offer an amplifier to fill this recently hooked up with Dan for some need and spend the time to get it to Q&A. sound as close to our linear amplifiers as possible. As for switch-mode power Q: I’ve noticed that all of your bass amps supplies, I feel they are best used in currently employ MOSFET output sections. class-D amplifiers. When did Mesa/Boogie make the move to MOSFETs, and what do you see as their Q: When did you first begin working with primary advantages? Randall, and when did you take over the primary design duties with regard to bass A: We started using linear power amplification? Dan Van Riezen began brainstorming MOSFETS in production around 1993. The products for Mesa/Boogie with lifelong primary advantage in comparison to A: Randy and I first started friend and Mesa toneboy, Doug West, vacuum tubes is size and weight. Some of brainstorming ideas that became back in 1983. He brought his considerable the other advantages or characteristics of products back in 1983. We both love the expertise aboard full-time in 1984 to the MOSFET include a very fast transient art in design. Randy has a great eye for create the TRIAXIS – a fully response, and an extremely tight low detail in design and has taught me to see programmable all-tube MIDI preamp for end. things in the same way. We felt that we guitar. The success of that immense could offer our own special spice of tone project bred the trust that prompted Q: Mesa/Boogie is one of the few major to the bass amplifier world with a new Randall Smith to hand over the keys to players who has not jumped onto the line of hybrid bass amplifiers back in 2001 the bass domain to the gifted young class-D bandwagon. Why is that? Do you with the M-Pulse 600, 360, and pioneer. have plans to introduce a class-D head? WalkAbout. The line has expanded quite a What about switch-mode power bit since then, and we are committed to While he worked on several more guitar supplies? bringing many more innovative bass products along the way, Dan has amassed amplifiers to life. an impressive list of achievements A: We’ve done extensive testing of class- heading up Mesa/Boogie’s bass division. D power sections and have always found Q: When I think of Mesa/Boogie, I think

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of tubes. What do you feel that tubes are differ from those of the M-Pulse line? with the fast yet warm linear MOSFET bringing to the table? power section, everything comes A: The goal was to design an amplifier together to create a beautiful sound. A: You’re right! Mesa/Boogie is the home with a very fast, articulate and clear of tube tone. When it comes to guitar, response that would allow the bass player Q: What are the chances of us seeing a vacuum tubes bring everything to the to tighten up the whole band when higher-powered WalkAbout model? table, including the hot sauce! When it playing live. The M-Pulse line only differs comes to bass, vacuum tubes become a in that it’s a smoother, rounder and A: The chances are very good, since I’ve choice. Of course, tubes offer a warmth somewhat softer – as in “less-pointed” – had a lot of requests for a model like that. and a feel that no other amplification tone that has the ability to fill in the gaps. device can deliver. Vacuum tubes are so It’s really a style choice. Q: What do you and Randall have in store naturally musical and pure. Many players for us next? have their favorite tube head for certain Q: The WalkAbout was one of the first gigs, and yet also have the need for a heads that convinced me that a relatively A: Don’t worry; we’ve still got a lot of hybrid or solid state design, as well. small, relatively lightweight (no class-D ponies in the stable. Between Randy and and no SMPS) head could not only sound myself, we have a combined experience Q: Can we expect to see a new bass head great, but also really perform in a live of more than 70 years doing this – and we design with a tube output section setting. Many players – myself included – both love what we do. When you couple anytime in the near future? consider it to be one of the best-sounding that with the great feedback we get from heads out there. Where does the magic the musicians at the shop and the players A: We have a couple of tube head come from in the WalkAbout? we hear from everyday, there seems no designs we’ve been working on that will end to the myriad of cool product ideas fill the needs of two different types of A: Thank you for the compliment! The left to tackle. Though I can’t share what is players. magic is in the whole package. From the on my bench right now, I will say that we input to the output, every part and each plan to fill the amplification needs of bass Q: When I first heard the M6 Carbine, I section is contributing to the next. The players for as long as there’s a bass left to was struck by how much faster, more vacuum tube preamp has great tone, the be played! clear and immediate it sounded, relative equalizer is very sweet, the Simul-State to the more warm, round M-Pulse line. tube driver has an amazing warmth, and How much do the different driver technologies (Simul-State versus Trans- Class) have to do with this difference?

A: The drivers have quite a bit to do with the feel. Simul-State is a tube driver feeding a MOSFET power section. The vacuum tube driver delivers a very warm smooth tone to the output section. Trans- Class is a solid state differential amplifier design that has an extremely fast transient response in comparison to Simul-State. They both feel and sound great for the right application.

Q: What were your design goals with the M3/6/9 line, and how do these goals Dan relaxes with the fruits of his labor.

bass gear 37 BGM_Issue5_123010_Layout 1 1/2/11 5:56 PM Page 38 BGM_Issue5_123010_Layout 1 1/2/11 5:56 PM Page 39 BGM_Issue5_123010_Layout 1 1/2/11 5:56 PM Page 40 Tall Sound from a Small Tower

Markbass F500

and

New York 604

T! TES Tbass gear

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By Vic Serbe indicator by the Gain control and a power controls. Any experienced bass player will indicator by the Master. Both the F1 and tell you the midrange is the most This rig is a perfect example of a company F500 also have the venerable Vintage important thing to have solid control over that combines both innovation as well as Loudspeaker Emulator (VLE) and Variable in a mix, at least when you’re talking a response to customer feedback. The Pre-shape Filter (VPF) controls. We’ve dynamics. It’s a delicate balance between F500/New York 604 rig has been strongly covered these two special filters before in the punch and definition you need, versus featured at trade shows in 2009, and the Little Mark II review, but in short, the sounding nasal or hollow. Markbass amps there’s a good reason for it. The F500 and VLE is a variable low-pass filter used to typically sound great with a lot of dual New York 604 rig is truly three of a “drop the ceiling” on high-end cabinets on the market these days, but perfect pairing. This rig is a great reproduction. The higher you turn this up, with these two controls, I can’t imagine example of a company that knows how to the lower the frequency where the this amp not being flexible enough to serve a hard-working gigging musician, cabinet sharply drops off at the high end. work just as well with literally any bass and in classic European form, with focus The VPF is the scoop control (some cabinet on the market. Things are a little on logistical ease. vendors implement a similar feature and crowded in the EQ with all these stacked call it an “enhance”). The higher you turn controls, but all things considered, it’s WHAT’S IN THE PENTHOUSE? this up, the more you scoop out the mids really not bad at all. Also, I believe these Where the F500 comes from is obvious to (centered at 380Hz), but it also boosts controls would be used fairly infrequently anyone familiar with the F1 bass amp, some lows and highs as well (centered at once set for a given venue or set of which has already established itself as a 35Hz and 10kHz), further accentuating cabinets. premier example of packing the most that scoop. The F500 adds a mute switch, power per cubic inch of space and per which is implemented as a push/pull knob Turning around to the back, the two are ounce of weight. Like the F1, the F500 is on the Master control. You pull this out to largely the same. They both have a tuner roughly the size of a hardback book, is mute the amp. I think I would have output, an effects loop, a DI with a rated at 500 watts into 4 ohms, and has preferred this be implemented on a small ground lift, and a pair of Neutrik combo the solid feel of a top-quality piece of button, but noting the real estate jacks that can accept either Neutrik gear. Both amps are based on a class-D restrictions on this amp, I can’t complain Speakon or older style ¼” monaural power amp section, combined with a high too much, and I’d really rather keep the plugs. I really like these combo jacks frequency Switching Mode Power Supply form factor the same rather than change because they simplify the back panel, as (SMPS). The main reason this combination it to support a mute control. The form well as leaving lots of cabling options allows for such a small and lightweight factor on this amp is, by far, one of its open. However, new to the F500 is a amp in its power class, is you don’t need greatest features. The F500 also adds a PRE/POST switch, which is used to govern that big heavy iron-filled power level control for the DI output on the where the DI taps the internal signal transformer anymore. While Markbass is back. This is a feature I personally missed chain. Most players who play in situations an industry leader in small lightweight on the Little Mark II, and I’m glad to see with a full PA choose PRE, so the power, their products are far from alone they added it here. production staff doesn’t have to deal with in the marketplace today. Several any EQ settings that are primarily for amplifier vendors are vying for this The EQ section is where the most stage monitoring. Conversely, most hugely popular market share, and there’s significant updates took place with players who play in more intimate plenty to go around. However, one thing respect to the F1, at least in regard to settings where their stage rig plays a role still sets the Markbass F amplifiers apart sound. Both the F1 and F500 have Low and in the audience’s experience choose POST, from the rest – the ultra-low-profile High controls, which are 16dB boost/cut so the audience gets the benefit of the design. It doesn’t have the smallest controls centered at 40Hz and 10kHz, sound the bass player chooses for the footprint, but the fact that it is so thin respectively. The F500 adds two semi- mix. seems to more than make up for that parametric controls in place of the Mid when considering putting it in a gig bag Low and Mid High controls on the F1 There is also a cooling fan on one side, with a bass. (centered at 360Hz and 800Hz, and the amp is drilled and threaded to respectively). The F500 has a Mid Low support rack mounts. The construction is Since we haven’t covered the F1 in a control that can sweep from 100-800Hz superb. The paint is perfect, the parts all previous issue, I’ll mention its features and a Mid High control that can sweep fit very tightly and evenly, and none of here to use as a foundation for contrast to from 700Hz to 6kHz. I’ve always felt the F1 the surfaces have screw heads that stick the updated features Markbass added was very well voiced and had great EQ out. The metal feels firm, indicating a based on customer feedback. Starting points selected for its controls, but there’s nice strong gauge of material. This amp with the front, both the F1 and F500 have just no arguing with the power and looks very clean and refined. It definitely Gain and Master controls with a clip flexibility of dual sweep-able midrange has the look and feel of quality.

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SUPPORTING THE PENTHOUSE this cabinet, the particular size and shape Markbass is no stranger to lightweight The New York 604 was officially launched still makes it just a little bit harder to cabinet designs, and were among the first at Musikmesse 2008, which took place in carry than some other comparable (1x12) to use neodymium-based speakers in March of that year. This cabinet is cabinets, as the New York 604 is towards bass cabinets. But this is the first time basically a cube shape, featuring four the larger end of the scale for this class of they’ve gone down the road of using a proprietary designed neodymium magnet cabinet. But it’s still very manageable, high count of smaller speakers like this. based 6” speakers and a horn-loaded nevertheless. For longer walks, I’d Markbass’s tagline for this product says proprietary 1” compression driver. The typically use a small cart for anything “Named after the big city where bassists speakers are the same custom B&C bigger than a 1x10 anyway, so this is kind often take the subway or a taxi to gigs! neodymium speakers used in the of a moot point with me. The New York This handsome little cube is like a mini Minimark and Micromark bass combos, 604 was designed to work well both as an 4x10, a great compact solution for but where the Minimark uses a Piezo extension cabinet for the Minimark bassists on the go…” Ok, so it might look tweeter, Markbass uses a compression combo, as well as a standalone cabinet like a small 4x10, but it’s not going to driver in the New York 604. The grill for their amplifier heads. When you lay behave like one for lots of reasons, material is a particularly strong, large- the Minimark on its side, it fits the New mainly based in physics. Probably the holed steel mesh. On the back, there are a York 604 fairly nicely. most sensible thing to do is compare it to couple of bass ports at the bottom and a 1x12 cabinet. It sports the same two of those wonderful Neutrik combo The fit and finish on this cabinet is radiating area, and the cabinet is in the jacks. On the top, there’s a single signature Markbass… in a word, excellent. same displacement and overall weight recessed handle and horn attenuator. All the carpet seams were tight and well class as most 1x12 cabinets. So the big Personally, I would have preferred the glued. There were no detectible bubbles question is, why go with a bunch of horn attenuator be on the back, as you or loose areas. The grill and corners fit smaller speakers instead of sticking with can’t adjust it with another 604 stacked perfectly. The hardware routes and the more commonly known recipe? on top, and it’s even kind of a hassle to fittings were also dead-on. I could find What’s the benefit? My initial gut feeling have to move a small amplifier to get to it absolutely no shortcomings in on this was “quickness.” I didn’t take the in single or top cabinet scenarios. construction, and it just felt like you could cabinet apart, but my supposition is that Admittedly, this is a very minor niggle, as toss this thing off the back of a truck and this cabinet has a ratio of voice coil to I would think you’d set this once and then not worry about it (though I did not cone area that is greater than a 1x12. In never mess with it again. But since most perform this test myself). I also have to other words, I’m betting it has more cabinets with attenuators today are make a couple aesthetic comments here. electrical energy per square inch of cone designed such that the control is always Eight speakers in such a physically small than a typical 1x12. That means I would accessible, I wonder what drove the stack just looks cool… very cool. Also, expect this cabinet to respond to decision to put this one on top like this. while I’ve generally warmed up to the transients faster than any 1x12, having a The handle is placed well with respect to yellow cone thing that is a signature particularly quick attack. the cabinet’s center of gravity, so it Markbass theme; I have to say I really like balances properly when carried. Despite the fact that these are all black. HOW DOES IT ALL STACK UP? the relatively petite overall dimensions of When discussing which cabs would pair up well with the F500 for a review, Peter Murray (International Promotions, Marketing and Artist Relations) mentioned that two New York 604’s work especially well with either the F1 or F500. I did most of my testing of the New York 604’s with the F500 for two reasons: 1) because I knew I was going to pair the reviews together, and 2) because I agree with Peter’s assessment. The rig just seemed to go together like peaches and cream. I haven’t seen the technical review results as I’m writing this, so it’ll be particularly interesting to see how my subjective comments match up with the lab test results.

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I generally play dual-pickup basses, because I expected it, but these cabinets separate them from the 1x12 cabinets I’ve ranging from some pretty modern have an immediacy to the sound I haven’t tried. Recall, I mentioned earlier it’s the sounding stuff, like an MTD 535, all the heard as much elsewhere. One thing I’ve same radiating area, so you might think way to a straight-up passive four-string always noted about the Markbass stuff they’d sound very similar. To my ears, the Fender Jazz Bass. I play a lot of different I’ve played through is a focus on punch. I 1x12 cabinets I’m most familiar with tend styles ranging from country, to disco, to noticed it with the Little Mark, and I to be a bit wider sounding, further funk, to rock, and even classic and noticed it with the F1. The New York 604 separating these cabinets as having their modern blues. Despite my ravings of the cabinets definitely follow suit, which is own identity. This is a good thing. The flexibility of the new EQ section, I rarely probably why they pair so well with their 1x12 market is already very well needed to use it. With the New York 604 amps. populated. It’s nice to have a fresh cabinets, I literally had all the EQ perspective in that cabinet class now. centered, no VLE, and little or no VPF. I set These cabinets have a very tight and the Gain to straight up (“noon”), and focused sound. They don’t have a lot of Overall, as a rig – also in typical Markbass adjusted the Master as stage volume emphasis on the very high end or the fashion – the output was surprisingly dictated. Only when connecting to some very low end. In fact, I’m curious to see in loud, especially for its size. I’ve read cabinets with a particular emphasis on the technical tests if these cabinets have some artist reviews on their website, and the low or high end, did I find myself a pretty sharp roll off below 100Hz, at least one artist commented that, while tweaking the mids, but when it was because they seemed to be particularly they own a pair of the New York 604’s, called for, those sweep controls were punchy down in that low-mid range, but they typically only brought one at a time wonderful. I generally started out without a lot of really deep stuff going on to a gig, because they simply didn’t need approximating the midrange controls to below that. In a live situation, that can be any more stage volume than one could essentially match the F1 as a point of a real blessing if you want a full sound supply. I can see that. One of the bands I reference, and I did find one case where I without dealing with all those chaotic play in, quite frankly, has a tendency to needed to tweak the Mid Low control to ultra-lows bouncing around all over the get too loud on stage. I had absolutely no best fit the cabinet, and another case place. The low-end profile didn’t surprise problem keeping up with this stack. I where I needed to tweak the Mid High me one bit, noting the small speaker don’t even think I ever got up to noon on control. This stuff really works! Outside of formula, but I did expect them to have the Master control, which is usually where the differences in EQ, the F1 and F500 are more of an emphasis on the high end due I assume an amp will start to run out of the same amp under the hood. This is to the smaller speakers, as well as the headroom. I don’t know where that point good news, because the F1 is a presence of a horn. One other thing I’ve actually is on this rig, because I never particularly punchy amplifier with a noticed about Markbass stuff is a very needed to push it that hard, but that’s a power-to-form-factor ratio that all other smooth high end. This is true of both good thing. ultra-portable bass amps are to be their amps and the other cabinets of judged by. The F1 I’m referring to here is theirs that I’ve played. The New York 604 THE BOTTOM LINE my own, so I’m very familiar with it, as cabinets also follow this theme. To my This amp sets a new standard for a well as how it works in lots of settings ears, the F1/F500 have a little bit more combination of a particularly small and and musical styles, and I like it a lot. I going on down low and up high than the powerful package, while maintaining a must say as much as I love my F1, the Little Mark, and with the focused tonal rich feature set. These cabinets are not F500 is even better, because it’s got all spectrum of these cabinets, that’s a going to replace your 4x10, but they that great sound, plus a marked match made in heaven. It’s no surprise to might replace your 1x12. Put together, improvement in its feature set. me that Markbass test results were as they might replace your current rig, they were, and that these cabinets pair so especially if you’re primarily a finger- So what about my theory behind the well with those amps. I also found the style player and portability is important small speakers versus 1x12’s? Maybe it’s focused sound of these cabinets to to you.

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BGM_Issue5_123010_Layout 1 1/2/11 5:57 PM Page 44 t

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ENCLOSURE GENERAL Material: All Steel Chassis (front: 4mm, Company: Markbass, Parsek Srl sides: 2mm, top: 8mm) Via Po , 52 Dimensions: 7.5 in (with feet) x 12 in x 10 in 66020 San Giovanni Teatino Weight: 5 lbs Chieti, Italy www.markbass.it PREAMP Country of Origin: Italy List Price: $1,179.99 Inputs: 1/4” Instument Input Approx Street Price: $799.99 Mode: Solid State Acquired From: Markbass Tubes: NA Dates: 2009 Input Impedance: 454K kOhms Locales: Central Illinois EQ Type/Features: 4 Band Semi-Parametric, Low Mid Test Gear (in-hand review): Epifani, Markbass, and Bergatino and Hi Mid have adjustable Cabs, MTD, Skjold, Fender, and Frequency, Vintage Loudspeaker Sadowsky Basses Emulator (VLE) Variable Preshape Filter (VPF) Compressor/Limiter: Limiter DI Output: Pre/Post EQ User Selectable Effects Loop: Yes Additional Features: Tuner Output TEST SUMMARY 1-5 (unacceptable to impeccable) POWER AMP on-bench in-hand Chassis 3.5 Features: 3 Mode: Digital Vents and Cooling 3.5 Tonal Flexibility: 3 Tubes: NA Finish / Handles 3 Ease of Use: 4 Outputs: 2 x Speakon Jacks / Sockets 3 Aesthetics: 3 Impedance Options: 4 and 8 Ohms Pots / Switches 3 Ergonomics: 3 Chassis Layout 3.5 Tone: 4 Power Supply/Transformer: Toroid Components Resistor/Cap 3 Value: 4 Cooling System: Fan PCB / Power Transformer 3 Line Voltage Options: 100V, 120V, 230V, 240V fixed at Solder / Dress 3.5 factory Internal / Overall Build 3.5 In-Hand Score Output Power Rating 4 Portability 4.5 3.42 average MEASUREMENTS Roadworthiness 4.5 Ease of Repair 3.5 On-Bench Score Freq Resp-Pre & Power Amp: 20Hz - 20kHz +/- 1.78dBu Warranty 3.5 3.53 average 4-Ohm 8-Ohm Quality Per Price 4 Power: 469 watts 249 watts Burst: 512 watts 307 watts Sonic Profile: THD(At MAX Power): 0.99% 0.99% Lows: tight and focused, sharply rolled-off in the ultra lows. Mids: punchy, especially through the low-mids. Input Signal: 1kHz 1kHz Highs: smooth and even; clarity without crispness. Voltage at DUT: 120.6 121 TONE-O-METER This cabinet is all about a low-mid CERTIFIED POWER punch and a smooth high end. 4 ohms 8 ohms 469 watts 249 watts BGM_Issue5_123010_Layout 1 1/2/11 5:57 PM Page 45 BGM_Issue5_123010_Layout 1 1/2/11 5:57 PM Page 46

Tom Lees’ weight and small dimensions, the after the effects loop. As such, a tuner chassis is sturdy and is precision plugged into either the tuner output or AMP assembled. Moreover, the circuitry effects loop will continue to function is logically laid out and is easily regardless of whether the mute is accessible by the removal of the engaged or not. However, the signal to LAB top panel. That said, the the power amp and DI are muted by utilization of a digital power engaging the mute function, which is a amplifier and surface-mount technology pull switch on the master volume knob MARKBASS (SMT) construction mean that this amp on the front panel. was not meant to be serviced unless by a F500 qualified service technician. The signal then flows into the equalizer. Despite the pedestrian representation of It has been said, that if you do not know Understanding the Amp the equalizer in the block diagram, this is where you are going, then any road will If you are familiar with the F1, imagine a diverse tone-shaping tool. Working get you there. Markbass engineers took adding a mute control, pre/post EQ switch across the front panel from left to right, the time to listen to a lot of people giving for the XLR out, semi-parametric mids the equalizer section provides treble and them directions and with the introduction and line-out level control, and you get bass shelving EQ on a single, concentric of the F500, Markbass makes it clear that the idea. As illustrated in the flow chart knob. Adjacent to the Low/High are Mid- they know where they are going and taken from the F500 manual, the input Low and Mid-High controls that each which road will get them there. So, is a signal passes through an input buffer, provide semi-parametric control of rework of the Markbass F1, complete with then flows in to the first gain stage, frequency and gain on a single concentric a bunch of new features, the right road to which is user-adjustable using the Gain knob. Adjacent to the Mid-High control is deliver the goods? knob on the front panel. The signal then the Markbass vintage loudspeaker flows to the tuner output and the effects emulation (VLE) control and variable pre- Construction loop, which can be configured for serial shape filter (VPF) controls. The The F500 is a clear example of how or parallel operation using internal equalization controls are discussed in modern philosophies and technologies jumpers. As such, regardless of whether greater detail below. The DI allows the can be leveraged to create a product that the effects are series or parallel, all user to select whether the DI output is crams a wealth of features into a small effects processing is post gain/pre-EQ. A pre or post-EQ by setting a switch on the and lightweight package. Despite its light mute switch is conveniently provided back panel. However, the DI also features

Preamp Power Supply

Power Amp

Fig. A Gutshot of the F500

bass 46 gear BGM_Issue5_123010_Layout 1 1/2/11 5:57 PM Page 47

Fig. B Schematic Block Diagram of the F500

an output control directly on the front reveals a few unique panel. The output of the equalizer section characteristics of the Fig. C All Controls at noon EQ vs. Optimally Flat feeds a master section that is controlled F500 EQ section. The -10dBu input signal swept 20Hz-20kHz by the master volume knob on the front shelving treble and Deviation +/- 1.78dBu Optimally Flat panel. The master section also boasts a bass controls allow new limiter design. We will look at some the frequency features of the non-user adjustable response to be limiter below. extended far greater than their “at noon” positions provide. The tradeoff is that the Q of the semi- parametric controls does not allow the frequency response to be smoothed out to ruler-flat across Fig. D Optimally Flat EQ settings the span from the bass and treble Fig. E Bass Sweep The Tone Stack shelving controls. -10dBu input signal swept 20Hz-20kHz I know a lot of players that enjoy their That said, the Markbass heads with the tone controls set observant reader at noon. For those that like a relatively may note that the flat frequency response, “all controls at scale on Fig. C is noon” is a good recipe, so long as you are +2/-5dB. I really not worried about full 20Hz – 20kHz zoomed in to performance. As illustrated in Fig. C , illustrate this effect. setting all controls at noon provides a In actuality, my nice, smooth response with a low bump optimally flat around 200Hz – 300Hz. response boasts +/- 1.78dB, compared to Now you may be looking at my “optimally the +/- 3.45dB flat” curve and think I was on crack when deviation measured testing. Well, I am sorry to disappoint, with all controls at but I was not. Our optimally flat noon. specification is currently “full range.” This Fig. F Mid Low Sweep -10dBu input signal swept 20Hz-20kHz

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The frequency sweeps of the equalization controls in Figs. E-H illustrate the power of having a combination of treble/bass shelving and sweepable mid bandpass filters. Much to the credit of the Markbass designers, the EQ measured extremely close to the published center frequencies. The VLE control appears to simply implement a variable low-pass filter, as illustrated in Fig. I . However, the VLE control does cover a reasonably wide sweep range. The frequency response of the VPF control is illustrated in Fig. J . This is one of those controls that I simply love. Why? Because a single knob controls several parameters at the same time. As the VPF control is Fig. G Hi Mid Sweep turned up, the depth of a notch around 400Hz deepens. Moreover, the frequency response to the treble side of the notch is boosted by an amount that is proportionally greater than the frequency response to the bass side of the notch. As such, you get mid-notching, treble-boosting and bass- shaping all in a single turn of a knob.

Output Power The F500 performed well in output power testing. Into 8 Ohms, we measured about 250 watts at just under 1% THD+N, 20Hz – 20kHz (121 Vrms wall voltage at load), with a burst of about 308 watts. At 4 Ohms, we measured about 460 watts just under 1% THD+N, 20Hz – 20kHz (120.6 Vrms wall voltage at load), with a burst of about 510 watts. Fig. H Treble Sweep -10dBu input signal swept 20Hz-20kHz When testing this amp, we subjected the amp to our BGM dynamic signal to explore the characteristics of the limiter and to see how the limiter affects the dynamic range of the input signal. Our BGM dynamic signal is a cyclical signal at 1kHz that modulates between 0dBu for 200ms and -20dBu for 600ms. For signals where the average steady state (the -20dBu component of our test signal) was well below the threshold of the limiter, the signal response of the amp was well-behaved, and the limiter did a nice job of allowing the amp to exhibit dynamic power bursts that smoothly converge to the rated maximum steady state output level. When the burst signal was cranked up to really push the limiter hard, an interesting result occurred. The dynamic peak Fig. I VLE -10dBu input signal swept 20Hz-20kHz power decreased. Moreover, it appears that the limiter is clamping down on the signal when it BGM_Issue5_123010_Layout 1 1/2/11 5:57 PM Page 49

transitions from 0dBu peak to the -20dBu, applying an envelope that takes just over 0.5 seconds for the envelope to release.

Without having the benefit of a more detailed schematic of the amp, my guess is that the limitations of the dynamic power and the “envelope” seen in Fig. L are a result of the attack and release times pre-programmed into the limiter. For bass, release times can be tricky. If the limiter releases too quickly, it is possible for the gain to change within the period of the bass signal causing distortion. On the other hand, excessive release times can clamp down for time lengths that sound unnatural. Fig. J VPF -10dBu input signal swept 20Hz-20kHz

Conclusion I really like the flexibility offered by the EQ controls in this amp. I appreciate that so much control is provided in such little real estate. I understand that to provide so much power, there had to be tradeoffs, such as stacking controls via the concentric pots. I am not crazy about the graphics labeling the controls, but that is just my personal preference. I also think that the DI level control could have been relocated to the back panel to use the precious real estate on the front for a different purpose, e.g., to either separate the treble and bass from the single concentric knob, or to have included a dedicated mute button instead of the pull switch on the master volume control. Also, the Fig. K Dynamic Response limiter appeared to do a really nice job of allowing a very wide dynamic range of input signals without driving the amp into hard clipping. However, when driving the limiter hard, there appear to be some artifacts, possibly in the hold time, which will affect the signal even after the signal level has dropped below the limiter threshold. In that regard, it may have been nice to repurpose the DI level control location for a limiter bypass switch or to provide some control over compression ratio, attack and/or release. Given the depth and diversity of the EQ, this might make sense to look into when the Markbass engineers head down the road with the F500.

Fig. L Dynamic Response Pushing the Limiter

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Tom Bowlus’ the business. This stuff is dense, In our tests, the New York 604 does not tightly knit, and softer to the measure out ruler-flat (or even reasonably CAB touch than other cab coverings. close to flat), but of course, that is not every It seems a bit strange to get so cab-maker's goal. This cab seems to have some excited about the carpet definite voicing going on, with a bit of a scoop LAB covering on a bass enclosure, but around 2kHz, but stronger peaks around 1kHz trust me, this is quality stuff. The and 5kHz. With all of those drivers throwing plastic corners seem almost pedestrian, by out sound waves that knock into each other Markbass New comparison, but they do function quite well and reinforce or cancel each other out, it is not York 604 Bass and facilitate secure stacking of multiple cabs. surprising that as you move off-axis, the measured results vary a bit more than they do Cabinet The four 6" drivers and the compression horn with single-driver enclosures. are held in place by four screws, each. I When it comes to Markbass products, it is not typically prefer lag bolts (with threaded metal We've come to expect great things from only expected that they will perform well, it is inserts) for mounting drivers to baffles, but Markbass, but it's their own fault, really, for also expected that they will make a fashion given their small size and light weight, the setting the bar so high. The New York 604 statement. No wallflowers, here, Markbass large screws will probably never cause any certainly lives up to its heritage. This enclosure products often make liberal use of their own troubles. The B&C 6NDL38 drivers are just as features top-tier components, plus excellent "brand" of some kind of yellow-orange hybrid fashionable when viewed from their color. This sometimes includes the color of the backside, though the rubber cones on their enclosures. Such is not the case surrounds do seem to be quite with the New York 604 reviewed here (nor, as it delicate. The SICA compression driver turns out, with the CL108 reviewed back in issue is a serious unit, but it does not #2). However, even with the more typical black appear to be exceptionally sensitive. drivers, this little wonder definitely packs more than its share of both performance and style The construction is top-notch, from into a fun-sized treat. the precision cabinet construction, to the perfect application of the carpet, With their concave dust caps and shiny cones, to the heavy gauge wiring (with B&C neodymium-based drivers have this enough slack for removing modernistic – dare I say "sexy" – look about individual drivers without pulling on them. Pack four of them and a (relatively) big the other connections). The interior horn onto a fairly tiny front baffle, and you featured a minimal to moderate certainly have one of the more memorable amount of insulating material. The "faces" in the compact cab world. The heavy rear connections come via two of the duty metal grill is attached by only four screws, excellent Speakon dual connectors, which also construction. Combine this with the unique but with clever construction, Markbass accept 1/4" inputs. The recessed top handle configuration, and the New York 604 offers up manages to allow for eight contact points to makes for an easy carry, but having the a distinctly different option for the player hold the grill firmly in place. While this cabinet tweeter attenuator on the top means that it looking for grand things from a small package. is covered in what we must refer to as carpet, may not be readily accessible if you have please note that we are not talking "rat fur," something stacked on top of the cab (like here. Markbass uses probably the best carpet in another cab, or a bass head).

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is, “Hey Mom, I want to play guitar.” If it Scaling the was up to her, she wanted me to play steel guitar.

VS: I also listened to an Emilio Castillo Tower interview where he said you were originally known as Frank Heuton?

RP: Well, my mother remarried, which of was like 1959, but all through school I was known by my original name, which was Frank Heuton.

Power VS: You went by Frank all through the ‘60s, but in the ‘70s you changed over to Rocco. What prompted that change? By Vic Serbe VS: Going back to the beginning, were RP: Actually, it was a singer that we had, Let’s start at the beginning... your mother and father musically gifted Rick Stevens, and he got hip to the fact Born March 7, 1951, Francis Rocco Heuton – as you are? that my name was Francis Rocco Prestia. later to become known as Rocco Prestia – And Rocco just kinda’ hit him in the head is one of the most influential electric bass RP: Nah, neither one of them were. and he said “Wow man, that’s cool, I’m players of our time. He’s one of the few Actually, nobody in the family callin’ you Rocco!” and it just kinda’ stuck. players to truly and uniquely redefine the whatsoever… immediate or extended… Since it was my name anyway, I was electric bass, and created an authoritative that I know of, anyway. pretty okay with it. fingerstyle funk style, all his own. His precise staccato style, often emphasizing VS: I understand your Mom hooked you VS: When you first joined the band with the 16th note feel, has influenced up with a Sears Silvertone guitar on your Emilio, you were about 14 years old, and I countless bass players – including yours 10th Christmas, right? understand the band was originally truly – and I’m sure that will continue for known as the Gotham City Crimefighters, years to come. He is a role model for the RP: (laughs) You did your homework, then The Mowtowns, before eventually importance of tightly integrating with the didn’t you? becoming TOP. And you were originally drummer and playing percussively. The hired as a guitar player with “great hair.” road hasn’t always been smooth, but VS: (laughing) Well, I try to hit on some However, I believe it was Terry Saunders Rocco, and Tower of Power (TOP) , have stuff that’s not as well known from who originally drove you to play the bass. come through it all in flying colors. Today, previous interviews to add interest. What was it about your playing that they’re as strong as they’ve ever been. Anyway, that purchase raises the prompted that move? Their latest CD release, Great American question in my mind, noting she was not Soulbook , strongly reconnects with their personally into musical performance, RP: (laughs) Ok, well first off, when I first deep roots in funk, soul, and R&B. I highly what inspired her to encourage you to joined the band, we were called The recommend it to anyone who loves those play? Extension Five , and then we went to the styles of music, and especially to TOP Gotham City Crimefighters , and then we fans. RP: Well, to the best of my recollection,

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went to The Black Orpheus , then The VS: Were you ever drawn to any other TOP ever consider calling it quits? Mowtowns , and finally Tower of Power . basses, like a J-bass, or a 5-string, or And yeah, I joined the band as a guitar another type? RP: Well when we auditioned at the player, and that story happens to be true Fillmore, in late ’69, Mimi’s family was about why they kept me because I had RP: You know, on the J-bass, I didn’t like moving back to Detroit, where they were good hair and all that. Terry Saunders was the way it felt. First off, I didn’t like the from. So the audition was kind of like, somebody that Mimi’s dad knew. Mimi’s neck on it. And it didn’t have the depth that was gonna’ be the break. If we didn’t dad was a bartender in one of the big and the bottom that I like. What I do do well at the audition, Mimi was going to hotels, and he had this guy, Terry sometimes, is use a combination of both go back to Detroit with his family. So we Saunders, who still plays in the bay area. pickups in a lot of the guitars I use. In the did the audition, but he actually did go He’s still around, and he would come and beginning I think the very first bass I ever back with them, before getting a call teach us all the latest stuff every week. bought was a Vox. saying “Bill Graham loved it, you guys You know, stuff by the Animals , the come back.” And that’s the way it kinda’ Stones, Paul Revere and the Raiders , and VS: Wow. stayed together. all that kinda’ stuff. To be honest, I couldn’t play the guitar to save my life, I RP: Well, like I said, we were into Paul VS: I can’t tell you how happy I am that think I knew three chords, and I didn’t Revere and the Raiders ... and then I happened! know them very well. That became very played an EBO for a short time – didn’t evident right away when he came to like that at all – and then back to Fender RP: Well, you know, me too! (Laughs) teach the band stuff. We didn’t have a again. I played Fender for years. Then I bass, so he said “You guys need a bass… went to Fernandez for about 7 years. VS: Moving on to David Garabaldi, my you play the bass.” (laughs) He got me a research shows he joined the band right bass from the local music store, and the VS: You know it’s interesting how Fender around 1970, so he was there for the first damn thing was bigger than me. It was continues to be the yardstick by which recording? like, everybody looked around when he other basses are measured, even the said that and said “what’s a bass?” Didn’t modern basses in some cases. even know what it was. [Note: “Mimi” is the band’s nickname for RP: Well, you know Leo, that’s where it Emilio Castillo.] all came from.

VS: I understand that was a P-bass copy? VS: Definitely. So, I guess you were about 17 by the time the band was TOP. Were RP: Yep. you the youngest in the band?

VS: Pretty much every bass I’ve ever RP: I guess I was, yeah. seen you with was either a P-bass or has a P pickup in it. What is it about the VS: The reason I asked is I read a sound of a bass with a P pickup that comment that the band went through a makes it your go-to bass? dry spell on gigs once band members’ ages were discovered as being under 21; RP: Well, it’s the warmth, the touch, the at least until the record deal came texture. through. During those difficult times, did

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RP: Yeah, he joined about three or four driving your playing style? RP: Well, it was certainly a reality check. months before we actually recorded. It was like “wow,” you know. There was RP: I was kind of headed in that direction definitely a lot of drama that happened at VS: You’ve mentioned before that you before David joined the band. David came that point. But once I accepted it, I never had an immediate connection with him. in; he was a very busy player. I came from really had thought about going back. I That’s obvious to anyone who’s ever more of a Memphis kind of R&B figured that was it, you know; this is what listened to you guys play, but were there background at that point. I think the style I am now. Wherever it goes it goes. any other drummers you connected with was already developing, and when David in that way? came in, it just solidified everything. And VS: I read that it came as somewhat of a it just went from there. I’ve been asked surprise to you when they finally did call RP: I connect with drummers pretty that before, and I don’t really have a you back in ‘84. What was it like to rejoin easily, to be honest. Maybe it’s the nature definite answer for exactly how it was. It the band after being away for that of the way I play. As far as like the just evolved and it was there. I never period? magical kind of connection that me and worked on it, I never thought about it, it Dave have, I wouldn’t say that I have had wasn’t anything of that nature. RP: Well, it was like going home. That that connection with any other drummer, was what it was like. It wasn’t a big where something that special came out of VS: Interesting. Continuing with the adjustment by any means. Everything it. focus on TOP, the discography list for this happens for a reason, the past was the band is thick with fantastic funk tunes. past. It was probably a little bit more of VS: I’ve read where you’ve said that the The TOP self-titled album from ’73 seems an adjustment for the members that were bass line for What is Hip – the 16th notes, to be the most successful album so far by there at that time for me to come back in, holding the same note – was Dave’s idea, a large margin, and could potentially hit than it was for me, actually. Like I said, it originally. And you weren’t even sure if it the million sold mark. Was there another was like coming home to me. would work, though it did. That led me to album that the band really felt would wonder what were the primary factors equal or even outperform that one? VS: That makes perfect sense, and I definitely agree with that decision, RP: Well, in general, we felt pretty good because for me, TOP just isn’t TOP without about most of them. I missed three Rocco. So what do you think are a few of recordings, but I felt the Urban Renewal, your most favorite TOP songs are? Back to Oakland , and Oakland Zone were all pretty good. RP: Can’t You See was a real fun tune to play, I dig that tune; Skatin’ on Thin Ice , I VS: Speaking of the missed recordings, always loved that tune. there was a period of time between ’77 and ’84 where you had parted ways with VS: Getting back to the personal side, I TOP; where you did some fairly different remember back in 2002, you had a pretty kinds of gigs, such as top 40, blues, and much life-threatening situation with your reggae. With TOP being the predominant health. A web site fired up, connecting to musical thing in your life for so long, over 5,000 other sites. Musical icons such what was it like to be playing outside of as Marcus Miller, Victor Wooten, Will Lee, TOP during that period. Paul Shaffer, and more stepped up to help out, etc. What was it like to go

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through that, and has it changed the way RP: (Laughs) If you do, I’ll look behind VS: When TC Electronic came along, of you approach life or your music? me and wonder who you’re doing it to. course they didn’t have your signature model available yet, so it was the RP: Well, the experience was very VS: Also, congratulations on your existing RH450 that they gave to you. overwhelming. That’s for sure… lifetime achievement award in the What were your initial impressions of especially the response from the world October of 2009. Did that come as a that amp? community, really. I didn’t go through surprise, or did you know that was any real life-altering things. Obviously, coming? RP: When they showed up, they had all my appetite for things that led up to that, these boxes and this little tiny amp. It that caused that to happen; all that RP: I did know about that in advance, but took me back a little bit, it’s like, “What changed, but as far as my outlook and it was a surprise, as well. That’s one of the hell is this?” Because I’d never seen stuff, I’m pretty straight ahead. I try to those things, too, that’s a little anything like it. It was a good experience keep myself right in the middle, not too overwhelming. I figured you had to be a to play it. We hooked it up at sound check certain age or something before you got and I went ahead and played it that night. one of those, and I wondered, “Am I Yeah, I was very impressed with it. This supposed to retire now?” (laughs). little tiny thing to have that much output. It was pretty amazing. The only thing that VS: Let’s talk about yourself and TC I found a little disconcerting is that it was Electronic. I understand they caught up very unforgiving. (laughs) So it took a with you during a European tour, and little bit to get used to on that level, but wanted to propose a relationship. What the potential for the relationship to go inspired that connection between TC forward was great. So that’s what we did. Electronics and yourself? VS: Obviously, the RH450 sounds very RP: The way I got connected with them is different from the Staccato ’51. How did I got a call from my manager. They made you typically set the EQ on the RH450 high, not to low, you know what I mean? the initial connection. while using it? (Laughs) But as far as getting your priorities straight, your belief in God, VS: You’ve been playing a while and RP: Typically, with any amp, I’m very things with me and my kids, making have been through several amp brands, basic. I’m a “bass and treble” kinda’ guy. decisions, being sure, focusing, and such as Ampeg, SWR, and Eden. Which I don’t use a lot of mids, and I don’t use a things like that. Yeah, though I don’t was your favorite before TC Electronic lot of effects and all that kinda’ stuff. I’m know if it comes from that, or just from came along with their ideas? just real basic. age. (Laughs) RP: I liked them all; I really did. Ampeg is VS: In another interview, you mentioned VS: I can certainly understand all that. I the only company that I actually never the customization process, which was share many of those things myself. I also actually worked with. The other very interesting. Tell us how that went. recently read where you and the rest of companies I actually worked with and the band were made honorary Kentucky helped develop the sound that I was RP: That was another pretty amazing Colonels in April of 2009. Does this mean looking for… the combination or tweak process. We met in L.A., and we did it at I have to salute you if I run into you at things here and there to get it where I SIR studios. It was just me and Uffe. That NAMM or something? wanted it, but I liked them all. in itself was pretty amazing. It was just

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the two of us. He hooks up a computer to RP: I certainly like the tuner being in stuff. You gotta’ get out and play with the head and he says “Okay, what do you there like that. That’s a big, big plus for other people. Be dedicated. Keep your want to do?” (Laughs) I said, well, “What me. But the sound of it is the biggest integrity. Treat others with the respect do you mean?” I was thinking it was thing. I can get deep into it on the bottom that you would want to be treated with, going to be a much larger process. end, and still have all that clarity, and all and communicate well. By that, I mean, Basically, what happened was, two or that punch. It’s just amazing. I’m amazed when you’re playing with others, that you three months of work got narrowed down by it every time I plug it in. It’s like with musically communicate in a way that is to a day and a half, you know, doing it other amps, sometimes, you know, I’m creative and is gonna’ help the process, that way. (Laughs) It was amazing, just just watin’ for the shoes to drop… And it as opposed to hinder it. amazing. I mean, I said, “I hear it like happens, you know? It’s happened in the I would also like people to know that this this,” or “I need a little more this,” or “I past. I haven’t had a problem… not from amp is really worth checking out, and I want this,” and he said “Well, just a day one. It’s pretty amazing. It’s reliable. think that bass players in general, no minute.” He did something on the It seems to be road-worthy. I mean, we matter what genre you come from, can computer and said “Okay, how is that?” travel probably just as much as anybody get what they want outta’ this thing, and (Laughs) And we just did it like that. else, maybe more. We’re a working band, it’s worth it to them to take the time. that’s what we do. VS: I saw the video where they handed you the first Staccato ’51. How has the VS: Speaking of which, what does the amp been doing for you since you got it, future hold for TOP? and do you typically run it without altering the settings at all? RP: Just to continue to do what we do. Try to open up into new markets. RP: It’s been doing wonderful! It Hopefully we get back in the studio and depends on the room. That changes do another studio album. Hopefully next things. It could be run flat, but for me, I year, we’ll see how that goes. We just add more bass and a little bit of treble. released this last album, and the DVD will be coming out. So as long as the chops VS: Wow. I have some personal and the fingers and everything hold up, experience with the Staccato ’51, and it is just to keep on doin’ what we’re doin’. natively voiced to already be voiced with a lot of bass, so you must have a really VS: That’s my hope as well! Rocco, I explosive sound on stage! thank you so much for your time. It’s been a genuine pleasure to speak with RP: It works for me. The only thing is to you today. I’d like to wrap this up with just make sure that I get enough in the one final question. If you were to draw on high end so it pops. Once I get that dialed all your past musical experiences, and in, I’m fine. pass on some advice to our readers, what would that be? VS: The amp’s got lots of really cool features and capabilities, but what do RP: Basically, to play… you know, get out you find like the most about the amp? and play. Don’t stay in the room in your house and just practice chops and all that

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T! TES Tbass gear

Roscoe Century Standard 5 and Roscoe Century Signature V BGM_Issue5_123010_Layout 1 1/2/11 6:00 PM Page 59

By Vic Serbe years, the basses overtook them in sales in the USA, and at a price point that could and became focus of his luthiery (though compete with models from other Keith Roscoe hasn’t been around for 100 a little birdie has told me they will be companies that typically utilize offshore years, but he has been listening carefully bringing some guitars back, which may participation with materials and to customer feedback for a long time, and even be available by the time you read construction. With the way things are the Century bass product line is the net this review). Interestingly, Keith’s wife is these days, that’s as honorable as it is result. I’ve been familiar with Roscoe a furniture designer, and they even had a difficult. Well, Roscoe pulled it off. The basses since around the time the 3000 joint venture into making cigar humidors reason the higher end models now exist, line of products was established, and I’ve for a brief period in the ‘90s. such as the Signature model, is because personally owned both an LG 3005 and an in designing this new instrument, SKB 3005 in the past and loved them Today, his product line consists of various changes were made that a lot of people both, but of course Keith didn’t start out flavors of three models; the LG, the SKB, have asked for in his existing products with those products. He started out like and the newer Century. Interestingly, (such as a longer upper horn for many successful builders did… as a even though the Signature model is a top improved balance on a strap.) But the musician that pursued an interest in of the line product just as the LG and SKB original goal was to distill an instrument repair, and then construction. products are, the Century line began with down as far as it could go to reduce the the Standard model. The original goals of price, but still maintain all the tone, Keith was a working guitar (not bass) the Century model were to offer a fully playability, quality, and feel Roscoe has player before attending Berklee back in hand-made instrument, made completely become known for. Roscoe Guitars sent us the late ‘60s, and then eventually returned to Greensboro, North Carolina (where he remains to this day). He opened his first repair and restoration shop in 1971, where he also sold used/restored guitars before later expanding to a full retail store. This store eventually became successful by the early/mid ‘80s, at which time he chose to sell off the retail portion of the business, but remained active with repairs, restoration, and his own instrument building. By the time the late ‘80s rolled around, he was fully devoted to just instrument building. As a guitar player, it should come as no surprise his initial focus was guitars, but after about 10

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great deal on Roscoe basses. The onyx bass was a large noticeably lighter than the natural bass, amount of but even the natural bass was under 9 some pretty pounds, which makes it a comfortable noteworthy instrument to shoulder. The neck profile pau ferro, and on Roscoe basses has always been one of decided to my favorites. It’s a very “fast” feeling switch the neck, due to its slender and shallow specification shape. The satin finish on both basses to it. The looked great, and the neck on the natural piece on our bass even had a bit of flaming in the test bass was maple. These are great looking and one of the feeling basses, period. best looking pieces I’ve All the hardware is USA Hipshot, and seen. It was worked perfectly. The preamps on the three basses, two bags, and one case for beautifully striped with an especially Standards were the standard Bartolini review. As such, we have plenty to talk deep rich color. The maple board on the NTMB918, with EQ points at 30Hz, about. onyx bass was notable in its own way. It 250/800Hz (on a push/pull pot), and had grain and color that was as consistent 6kHz. The pickups are standard Bartolini The Century Standard… as I’ve seen, which is a very good thing CB’s, but in custom shells to fit the Roscoe We received two examples of this model for a maple board to have. The Standard route. for review. One featured their onyx finish, series only offers a three-piece all maple which is a black finish with a white grain neck (as compared to their more The beauty of this instrument is in its enhancement. The other bass had a traditional maple/purpleheart/maple simplicity. The lack of shaping on the natural finish with a darker grain necks and of course the fancier “wedge” body, glossy and/or fancy body finishes, enhancement. The onyx bass had a maple necks at the higher end, such as the figured tops, neck configuration options, fingerboard and the natural bass had pau Signature model), but great care is taken fingerboard woods, and electronics, are ferro (aka morado). Interestingly, with wood selection and construction to what allow Keith to produce a completely “rosewood” was originally mentioned for make these necks stiff enough to support hand-made USA bass at prices more the maple alternative on fretted Century the wonderful B string Roscoe is known comparable to other manufacturer’s Standards, but after that information was for. These instruments ship with a single- collaborative efforts with overseas distributed, Roscoe got an especially action truss rod, which is standard for all participants. This feature alone sets Keith

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apart from most, if not all, the other giving it almost a roasted look. Finally, it precision that make it all worthwhile to players in this market segment. What’s also had the optional Aguilar preamp. The anyone with the kind of budget to important to keep in mind is that despite Aguilar preamp is slightly customized in support this kind of purchase. Everything lacking those options, this is still a top that Roscoe specified 250Hz for the low about this bass says “functional art,” and quality instrument, truly worthy of even mid option, whereas 400Hz is standard. it’s almost a shame to put it back in the the most discriminating bassists. This bass comes with the custom quad- case between gigs. coil Bartolini pickups that have been The Century Signature… standard on most Roscoe basses for many Other models in the Century line… We weren’t fortunate enough to get two years, which is also a step up from the It also bears mentioning that Roscoe of these in for review, but one was Standard model. Guitars offers a Standard Plus model. This enough! This bass had several options on is the same as a Standard, but for a it that were in addition to the upgrades The Signature was a bit heavier, at 9.5 modest increase in price, you can specify native to this model over the Standard pounds – which was noticeable, but still a figured top. It’s still the Standard’s non- model. The “wedge” neck is the newest not bad on a gig at all. The body is sculpted body, but the pictures we’ve and most innovative neck design for beautifully sculpted, making it even more seen make it really look quite nice, and Roscoe basses, and is a pretty major comfortable to play, and further very likely a worthy upgrade for a lot of feature of the Signature. It gets its name accentuating the flowing lines in the body folks wanting a pretty major visual from the fact that the center bar in the design. The deep gloss finish truly did improvement for a very modest fee. They neck is tapered to generally follow the justice to the highly figured bubinga used also have what’s simply called a Century taper of the neck itself, which creates a on the top and back, which had almost a model. This is just another step up from wedge effect with how the woods work reflective sheen to it. It also further the Standard Plus, where they open the together. This offers both aesthetic as accentuated the particularly impeccable wood and electronics options up some well as tonal benefits. It makes the neck workmanship that characterizes this bass. more and tweak a few other things, like stronger and stiffer, which is a good It’s clear they spend extra time on these, string spacing just ever so slightly (7/8 vs thing. There are two standard five-piece paying as much attention to detail as 55/64 at the 24th fret according to their configurations. One has a purpleheart possible. Even though this bass has a web site… to be honest, I’m not sure that center bar with purpleheart stringers, figured top and back, leaving a relatively would even be noticeable). Still a non- and then maple on the outer edges (with small amount of the body core wood sculpted body, though. various veneer laminations between). The exposed, they still also took the time to alternate configuration has maple as the apply the grain accent tint to the ash. center bar and wenge stringers. This bass had a customized version of the To be honest, the purpleheart wedge neck, with bubinga fit and finish was stringers instead of the usual excellent on all purpleheart. The neck on this bass also three of these differs from the other designs in that it basses, but the has a volute at the end where the Signature model headstock begins. This goes even further is just something to add strength to the design. to behold in person. It’s a This bass also sported a highly figured very expensive bubinga back that matched the top, a instrument, but bubinga fingerboard inlay instead of the each one is built usual pearl or abalone, and one of the with the kind of most unique birdseye maple fingerboards rare materials I’ve ever seen, with lots of darker regions, and extra

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The Accessories… They sent us the standard single gig bag, as well as the optional double gig bag and hard shell case. The gig bags in particular were a newer accessory for Roscoe, while I believe they’ve had the hard case for a bit longer. Previously, Roscoe would ship their basses in a lightweight rectangular zippered form-fit “soft case.” The hard case (made by TKL) directly replaces that one. It is well constructed with, a nicely padded interior that is custom form-fit for the Roscoe body shapes.

The gig bags were also very nice. They had large durable zippers for the main compartment, and while there aren’t a lot the same side, but share a common strong common tonal base: a cutting, of pockets on it, the pockets it does have exterior zipper. I’m sure this is a way to aggressive, well-defined, and very are very large and can accommodate a keep the additional cost to get one modern sound. fair amount of gear. The ample padding minimal. About the only criticism I have is felt firm enough to be durable and offer that I felt like I had to kind of help the The Signature model had the most plenty of protection. The double gig bag bass out of the double by pushing the distinct personality, being noticeably simply extends this specification to not zipper out of the way as I pulled the more aggressive in the mids than the only be larger, but have a nice padded instruments out. On a double zipper Standard models. In fact, I found myself divider between the compartments. The model, the zipper wouldn’t be quite as dialing in some low end more typically on double bag designers all seem to have intrusive on removing and reinserting the the Signature model to fatten it up some their own take on how access is to be instrument. The zipper is plastic, of for a more full sound – and maybe to provided to the compartments. My course, so body marking risk should be compensate for the extra aggression it favorite is the toaster style where both pretty much nill, so a very minor thing had. This is where the Aguilar preamp basses come out the same side, but have there, but a person more fussy about came in handy. The Aguilar preamps are their own separate zippers. The Roscoe their instruments might still feel a bit known for “a little bit going a long way,” bag is close to that. Both basses come out uncomfortable with it. and with the 18dB range on the bass EQ, this is definitely true. The Signature also Put To The Test… seemed to have a bit more sustain and Roscoe basses are clarity, which I attribute to its added known for an density over the Standard models (and aggressive biting possibly the bubinga top and back). tone, with a particularly strong B Between the two Standards, I found the string (on their 5 and slightly heavier bass with the pau ferro 6-string models, of board to have a bit more of a solid punch course). The Century to it, with maybe a touch more sustain, models are no and a slightly sweeter high end. I felt the exception. All three lighter, maple board equipped model to basses had a pretty have a bit more snap and zing to the high

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end, and maybe a slightly bouncier its impact to the look of the instrument, slightly better. Again, all these are very sound. These aren’t night/day but what this means is that a standard very minor. Most folks probably would differences, but enough that one could allen wrench can’t be used. Roscoe never notice them. This is only in the tell with both basses on hand for a direct supplies an allen key that’s been ground interest of being very detailed, and the A/B test. The Standard models were a down to fit, but if you ever lost it, you fact that I had to dig this much for little more evenly voiced, which actually wouldn’t be able to adjust the neck again imperfections simply means the basses suited my preferences best. This just goes until you made a new one for yourself (or really are just that good. to prove the point I made earlier that had one made, if you don’t have access to even the Standard models hold up a bench grinder). The other thing is the The Bottom Line against the best stuff out there as a bridge adjustment. For someone who These instruments represent a solid professional class, high quality likes particularly low action, they may improvement to an already great product instrument. find themselves running out of line from a well known and respected adjustment. I tend to like my action luthier in the business. The fit and finish The basses shipped with D’Addario XL medium low, and I had the saddles pretty was top shelf. The smartly organized Nickels, which did sound great, but I much bottomed out. Admittedly, this will product positioning from the Standard all eventually replaced them with stainless only affect a very small minority of the way to the Signature makes lots of strings, which are my favorites, as I like a especially persnickety players out there, sense, offering something for pretty little more zing up high in my tone. The and there are some simple things that can much everyone, and at the right price. basses responded well for me with the be done to compensate for this, but it’d You won’t get the same kind of big round string change, too. be nice to just have a bit of extra bottom from these that you would from a adjustment available for those who desire more traditional design, such as a Jazz From an ergonomics standpoint, these it. Finally, the frets were leveled properly, style bass (or similar), but if you want a basses excel. I’ve always loved how a but not crowned (this means they had flat bass that can cut the thickest mix like Roscoe neck felt and how a Roscoe body tops). This is really nitpicking, but I’d butter, have a strongly focused and tight fit me so nicely. The slender neck is a joy prefer to see the frets crowned. I think it low end, a biting midrange, and yet still to play, and all 24 frets are easily makes the bass feel better, especially have a sweet sounding slap tone, the accessed with the body shape and how when bending strings for a vibrato effect, Century basses from Roscoe should the neck is set into it. This is true for both and in theory, intonation should be definitely get an audition. models. The neck profile felt pretty much the same between them all. The longer upper horn also does a great job of allowing the bass to balance perfectly on a strap, making even the heavier Signature model an effortless carry for an entire night. The sculpting on the Signature’s body definitely also improved comfort above and beyond the Standard models in addition to improving its looks, so it’s very functional as well as attractive.

I have a few very minor niggles with the basses... very minor, though. The truss rod adjuster is accessible from a particularly small route at the heel of the neck. I’m sure this was done to minimize

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CONFIGURATION GENERAL Strings: 5 Company: Roscoe Guitars Style: Double Cutaway, Offset 518 North Spring St. Overall length: 45” Greensboro, NC 2740 Body Dimensions: 13.5 ”W x 19.5”L http://www.roscoeguitars.com/ Body Contouring: Substantial Country of Origin: USA Weight: 9.5 lbs Warranty: 2 years Listed Price: $4495 NECK Street Price: $4495 Options: Fretless; Various Body Woods; Various Fing boards, Scale Length: 35” Jazz-style, H um-free Bartolini Pickups Neck Width at Nut: 1.829” Accessories: Gig Bag($175), Double Gig Bag (+$225), Neck Width at 12th Fret: 2.547” Hard Shell Case($200) Neck Width at Joint: 2.781” Price As Tested: $5745 Neck Thickness at Nut: .881” Available Colors: Numerous Wood Choices Neck Thickness at 1st Fret: .794” Available Options: Bartolini, Audere or Aguilar Preamps Neck Thickness at 12th Fret: .904” Acquired From: Roscoe Guitars Neck Thickness at Joint: 1.019” Dates: October 2009 through February 2010 String Spacing at Nut: .033” to .039” Locales: Illinois, Ohio String Spacing at Saddle: .714” Test Gear: Bergantino AE210, Epifani UL410, Markbass F500, Fingerboard Radius/Neckshape: 14” / Flat D TC Electronic RH450, Mesa M9 Peghead/Bridge Break Angle: 11 deg / 4 deg Afterlength at Nut/Saddle: 2 1/8”–5 5/8” / 1”–1 3/8” Attachment: Bolt-on; 4 Bolts Pocket Gap: None TEST RESULTS Truss Rod Type/Access: Single Compression Rod (9/64) 1-5 (unacceptable to impeccable) Fret Count: 24 Fretwire: 98x44 in-hand on-bench Features 4.5 Overall Construction 4 ELECTRONICS Tonal Flexibility 3.5 Wood Choice 5 Ease of Use 4 Materials Choice 5 Pickups: Custom-Wound Bartolini Quad-Coil Aesthetics 4.5 Joinery 5 Pickup Location(s): 2.25, 5” from Bridge Ergonomics 4.5 Fretwork 4 Electronics: Aguilar OBP-3 (slightly modified) Tone 3 Fit and Finish of Adornments 4 Controls: Volume, Blend, Bass, Mid, Treble Value 4 Quality of Finish Work 5 Shielding: Paint and Foil Ease of Repair 4 Preamp Circuit Voltage: 18V Potential Range of Setup 4 Balance on Knee 4 CONSTRUCTION In-Hand Score Balance on Strap 4 4.00 average Overall Electronic Quality 5 Body Woods: Swamp Ash with Figured Bubinga Solder Joints, Wire Runs 5 Top/Back On-Bench Score Clarity 5 Neck Woods: 5-piece Maple/Bubinga/Purpleheart Noise 5 (graphite & steel reinforced) 4.53 average Shielding 5 Fretboard: Birdseye Maple Quality for Price Range 4 Body Finish: Poly SONIC PROFILE: Neck Finish: Urethane Sealer, with Nitro Finish Lows: Tight, punchy, and particularly focused Mids: Very aggressive, especially in the mids and upper mids, lots of growl HARDWARE Highs: Somewhat smooth in the low treble range, lots of sizzle up high Strings: D’Addario XL Nickels Gauge: .045, .065, .085, .100, .125 TONE-O-METER Attachment: At Bridge Aggressive slap tone and super Bridge/Color: Hipshot A-Style/Black punchy fingerstyle tone; controlled Nut: GraphTech (hand-carved) low end, and sizzly high end with a Tuners/Color: Hipshot Ultralight/Black nice smooth sheen for slides and tap, Knobs/Color: Metal/Black but without the less pleasant “clack” Pickguard: None of basses with a stronger lower-treble Control Cavity Cover: Plastic response. BGM_Issue5_123010_Layout 1 1/2/11 6:00 PM Page 65

Phil Maneri’s more interesting it is. There are out. The low-end punch is focused and a ton of soft curves everywhere. devastating. This is one of the finest BASS The top has contours by the sounding basses I’ve played. neck and in the horns. The truss rod access is beautifully The big sound of the wood is reinforced LAB sculpted and rounded. The nut by Bartolini pickups mated to an Aguilar is even made of wood laminates OBP-3. The electronics were properly and contoured, so it’s wider on the B shielded and cleanly routed. The Hipshot Roscoe string side and thinner on the G string bridge and tuners are really as good as it side. There is great detail everywhere. The gets for metalwork, and no better choice Century more you look, the more is revealed. Like could be made. The inlay in the neck is any great sculpture, the real beauty lies in very nice; the wood choices are Signature V subtle things that can’t be seen by quick complimentary and of very high quality. glances. No doubt, much of this is By Phil Maneri accomplish by pattern duplicators or CNC. I only have one issue. I’d like to see better However, they are a reflection of the grooming on the frets. With this level of Looking at scads of electric basses over thought and intention of the original detail I think the frets should follow. The the years, I’ve found it common for pattern, carefully carved by hand. fret tops were flat and the fret end bevel builders to take computer-cut lumber and is very rounded over, with little slap it together to make a less than stellar Sometimes, a builder has mad inconsistencies from fret to fret that could instrument, just to make a sale. Price woodworking skills and or great designs be excused on a refret to a vintage bass, points and marketing are more prominent skills, or does beautiful inlay, but can’t but not for something brand new. considerations than form and function. create something that sounds and plays Fortunately, the frets function just fine, The number of bass-shaped instruments really great as well. Often, I’ve seen and really that detail is cosmetic and that fall into this category are staggering. works that are beautiful to look at, but subtle at worst. Sometimes, I think much of the bass- don’t play any better than your average buying public assumes that is the state of off the rack production bass. This bass has This is an expensive bass, for sure. But the art. it all, though. Its usefulness as a tool is as the materials cost on this instrument is outstanding as it beauty as a work of art. very high, and the labor required for this The real art of making an instrument is a level of detail should not be cheap. It is rare commodity. Lutherie requires the The sound is huge. It has fine balance rare and harder to find, as our society acquisition of a whole mess of little skills from high to low, with smooth transitions becomes less and less interested in honed through lots of repetition, from upper register to low B. I’d love to working with scrapers, chisels and discovery, and the making and fixing of hear this bass through a stadium PA with sandpaper. If you are fortunate enough to lots of mistakes. Ideally, all of those little massive subs! This bass offers up a lot of be in this level of the market as a buyer, things add up over a lifelong learning tonal variation, and no matter where you this instrument must be on your audition curve, and hopefully this leads to a put the knobs, something good comes list. product that transcends its function and becomes art in and of itself. This Roscoe Century Signature V is one of those rare works of art.

What a beautiful, understated, but highly detailed work of art this bass is. At first glance, it appears to be your average “coffee table bass” with highly figured woods and interesting, but not radical, dimensions. But the closer you look, the

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CONFIGURATION GENERAL Strings: 5 Company: Roscoe Guitars Style: Double Cutaway, Offset 518 North Spring St. Overall length: 45” Greensboro, NC 2740 Body Dimensions: 13 ”W x 20”L http://www.roscoeguitars.com/ Body Contouring: Minimal Country of Origin: USA Weight: 8.2 lbs (onyx), 8.8 lbs (natural) Warranty: 2 years Listed Price: $2199 NECK Street Price: $2199 Options: Onyx/Natural Finish, Maple/Pau Ferro Fingerboards Scale Length: 35” Accessories: Gig bag(included), Double Gig Bag (+$50), Neck Width at Nut: 1.813” Hard Shell Case(+$75) Neck Width at 12th Fret: 2.537” Price As Tested: $2199 Neck Width at Joint: 2.768” Available Colors: Natural, Tobacco Sunburst, Red, Onyx with White Neck Thickness at Nut: .833” Grain Enhancement, Transparent Orange Neck Thickness at 1st Fret: .797” Available Options: Fretless (diamondwood fingerboard), Jazz-style, Neck Thickness at 12th Fret: .851” Hum-Free Bartolini Pickups Neck Thickness at Joint: .968” Acquired From: Roscoe Guitars String Spacing at Nut: .330” to .376” Dates: October 2009 through February 2010 String Spacing at Saddle: .729” Locales: Illinois, Ohio Fingerboard Radius/Neckshape: 15” / Flat D Test Gear: Bergantino AE210, Epifani UL410, Markbass F500, Peghead/Bridge Break Angle: 12 deg / 8deg TC Electronic RH450, Mesa M9 Afterlength at Nut/Saddle: 1 3/8”–5 5/8” / 1”–1 ” Attachment: Bolt-on; 4 Bolts Pocket Gap: None TEST RESULTS Truss Rod Type/Access: Single Compression Rod 1-5 (unacceptable to impeccable) Fret Count: 24 Fretwire: 98x43 in-hand on-bench Features 3 Overall Construction 4 ELECTRONICS Tonal Flexibility 3.5 Wood Choice 4 Ease of Use 4 Materials Choice 4 Pickups: Bartolini CB Aesthetics 3 Joinery 4 Pickup Location(s): 1 1/2”, 5 1/8” from Bridge Ergonomics 4 Fretwork 4 Electronics: Bartolini NTMB Tone 3 Fit and Finish of Adornments 4 Controls: Volume, Blend, Bass, Mid, Treble Value 4.5 Quality of Finish Work 5 Shielding: Paint and Foil Ease of Repair 4 Preamp Circuit Voltage: 18V Potential Range of Setup 4 Balance on Knee 4 CONSTRUCTION In-Hand Score Balance on Strap 4 3.57 average Overall Electronic Quality 4 Body Woods: Swamp Ash Solder Joints, Wire Runs 5 Neck Woods: 3-piece Maple On-Bench Score Clarity 5 (graphite & steel reinforced) Noise 5 Fretboard: Maple/Pau Ferro 4.29 average Shielding 5 Body Finish: Conversion Varnish Quality for Price Range 4 Neck Finish: Urethane Sealer, with Nitro Finish SONIC PROFILE: Lows: Tight, punchy HARDWARE Mids: Aggressive, thick, especially in the upper mids, lots of growly burp Highs: Smooth in the low-treble range, lots of sizzle up hig Strings: D’Addario XL Nickels Gauge: .045, .065, .085, .100, .125 Attachment: At Bridge TONE-O-METER Bridge/Color: Hipshot A-Style/Black Aggressive slap tone and super punchy Nut: GraphTech (hand-carved) fingerstyle tone; controlled low end, Tuners/Color: Hipshot Ultralight/Black and sizzly high end with a nice smooth Knobs/Color: Metal/Chrome sheen for slides and tap, but without Pickguard: None the less pleasant “clack” of basses with Control Cavity Cover: Plastic a stronger lower-treble response. BGM_Issue5_123010_Layout 1 1/2/11 6:01 PM Page 67

Phil Maneri’s The Bartolini NTMB trimpot is accessible through a hole in BASS the control cavity cover, so you don’t have to take the cover off to adjust the preamp output. LAB Very cool idea. They shrinkwraped around the entire output Roscoe jack assembly as it exits the shielded compartment, to keep the jack cable Century contacts from bending into the shielding Standard 5 and shorting out the jack when it is plugged it. That’s a very nice detail, and something I often have to install when By Phil Maneri instruments come in for repair with output problems. The low $2,000 bass price point is a pretty crowded room. Many of the basses in this The fret work on this bass has the same price range are using foreign labor. This issues as the Signature bass. Namely, the player is all US-built, from the tuning leveling of frets leaves a flat spot across machines and electronics, to the nut and the top of the fretwire that in my shop frets. That is hard to do in that price point gets rounded out so the take-off point of and keep everyone fed. This is a very the string remains in the middle of the good contender in this crowded room, fret, exactly above the fingerboard fret too. It is nothing like the Century slot. Wide flats across the top of the fret Signature bass recently reviewed, but you are inevitable with playing time, but it’s could buy 2.5 of these for the cost of that nice to start fresh with precise take-off bass, so they should be fairly far apart. points, and make them flat yourself after I’m pleased that Roscoe has found a way playing it for awhile. to make this price point work for them and the player. On the whole, this bass has a lot to offer at a very reasonable price.

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significant price increases, Music Man has Bigger and Badder taken a different path. Since last year, they have not only introduced two bold new body designs based on guitar Ernie Ball Music Man Big Al 5-String Bass models (the 25th Anniversary model is the bass version of the Axis guitar), they introduced a new 4-button switching T! By Ed Friedland system, the passive option, two new TES pickup configurations (HSS and SSS), as bass The folks at Music Man threw the well as coming out with three new Classic gear bass world another curve last models with 2-band preamps, along with year when they introduced the several other vintage-inspired features. Big Al bass, the man-sized That’s quite a lot of new product for one counterpart to their Albert Lee year even in the best of times, but to pull signature guitar. The Big Al’s it off these days takes serious balls. And, angular, retro space-age shape the R&D team at Music Man is hardly certainly drew strong responses relaxing by the pool. They have publicly – people either loved it or hated announced the development of a it (and many learned to love it). revolutionary new digital switching But then, the Al is brought to you system (code name: “the game changer”) by the people that created the that will allow total freedom of choice for Bongo bass, so are you multiple pickup instruments, and there is surprised? And like the Bongo, at least one more new production bass the Big Al’s tone has proven model in the works. seductive to even the staunchest traditionalists. Below the surface, All In The Family the Big Al brings some Ernie Ball/Music Man is a rare company in interesting electronic firsts to the musical instrument world in that they Music Man. The SSS model is the are still a family-run business with very first Music Man bass without the close ties to their customer base. It’s not classic humbucker (though single often you see the big dog of a major H is now an option), and it international company hanging out and features an active/passive switch chatting in forums with customers, but with a dedicated passive tone not a day goes by where Sterling Ball isn’t control (also seen on the limited posting to the EBMM forum under the run 25th Anniversary bass). Yes, name Big Poppa (don’t PM him!). Other the Big Al did not go unnoticed, members of Music Man family are equally and now Music Man has decided accessible here, and the result is an to go bigger and release it as a 5- interesting blend of marketing genius string. and genuine love-fest.

Huevos Grandes Somewhat affectionately dubbed “the While many manufacturers have knuckleheads,” the members of the EBMM dealt with the current economic forum provide instantaneous feedback climate by scaling back, sticking for EBMM’s product development, and a with proven performers, and more rabid group of diehards you are not

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likely to find anywhere. But the has taken away from its roots; the finished maple neck has the same connection goes way beyond the gear. absence of the familiar big humbucker is dimensions as the Sterling and (non- Over the years, EBMM has hosted several your first clue, but closer inspection Classic) Stingray 5’s: 1 ¾” at the nut events specifically for forum members, reveals there is more to the Big Al than fanning out to 2 ¾” at the 22nd fret. The and most recently, when a young man meets the eye. test axe has a rosewood fingerboard, but needed to sell one of his MM basses to maple is also available for fretted, as well help pay for cancer treatment, a Nuts And Bolts as Pau Ferro for lined or unlined fretless challenge led by Sterling Ball raised Last year the Big Al 4-string was necks. I’ve tested the Music Man thousands of dollars from the members introduced with an alder body, but now compensated nut enough times to say virtually overnight. While this has both 4 and 5-string models are being that it does indeed have a positive effect nothing to do with basses, it does give built with African mahogany. Tonally, the on intonation. While I have not calibrated you a glimpse into why the MM “fanbois” mahogany offers a strong mid-focus, but my results with a strobe tuner, playing up are loyal to the end. And, the fact that weight reduction was also part of the the G string while droning against the every year they crank out thousands of decision to switch. The electronics in this open D shows that the usually consistently well built, 100% US-made model are a bit heavier than other MM troublesome F# on the 11th fret is much basses ranging from classic to cutting basses, and at 1 ¾”, the body is slightly more in tune than my basses with non- edge has something to do with it too. thicker to accommodate them. However, compensated nuts. However, on the weight is a highly variable factor when review bass, the slots for the B and E Vintage Modern buying wood in bulk, and the review strings felt like they needed to be cut a To my way of thinking, Music Man first instrument clocks in at 10 lbs – not tad deeper. defined the quintessential “modern” bass exactly featherweight, but not tone with its powerful punch, and outrageous. The 5-bolt, gunstock oil- extended frequency response, while Fender has always personified “vintage.” But after 34 years, MM has legitimate claim to a vintage all its own. Leo Fender may have laid the foundation for the company, but when Ernie Ball bought Music Man in 1984, things really began to get interesting. A glance at their current bass catalog reveals 14 models – a considerable increase from the original lineup of the Stingray, and its long lost sibling, the Sabre bass. The Big Al is undoubtedly the biggest leap Music Man

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3 Coils in The Fountain at 29” (the same as the bass coil of a EQ points to bring out what I wanted from The three neodymium single-coil pickups standard P-bass). The bridge pickup is the different pickup configurations. This give the bass a very Strat-like angled with the pole piece sitting at method harnesses the power and appearance, but unlike the ubiquitous 31.31” by the B string and 32” at the G. The flexibility of the EQ, and maintains the Fender, the Big Al allows for hum-free neck pickup gives you a huge, open tone character of the instrument. Though for operation in all combinations due to the with lots of depth, while the middle those that prefer the “11” school of tone, phantom coil in each pickup. Neodymium pickup encroaches heavily on P-bass it is possible to fully pump the Al and get has become an increasingly popular territory. The bridge pickup is super tight, corpulent low-rider bass, gnashing mids, choice for pickup construction due to its and perhaps a bit thin if left flat, but with or a hyped top end for cutting slap. The highly magnetic nature. Alnico magnets a powerful 4-band EQ at your disposal, passive tones have a natural quality that are typically characterized as being warm it’s not hard to turn this one into a would place the Big Al well in rootsier and vintage sounding, while ceramic is bulldozer. styles of music, in spite of its George considered more aggressive and edgy. Jetson-like appearance. Having played several different brands of The switching system is very intuitive. neo pickups, I would say they have a hi-fi Each pickup has its own dedicated button, Lay Of The Land response with a sweet top end and well and the one closest to the bridge Big Al may look like an extremist, but it balanced mids and lows. operates the preamp. Push a button plays well with others. As the owner of down, you’re on. Pop it up, it’s off. The three Music Man 5-strings, the spacing The placement of the three single-coils, setting with all three pickup buttons off and neck dimensions felt right at home to and the flexible switching system opens gives you coils 1 & 2 (bridge and middle) me. It hangs like any other double up a whole new tonal palette for Music in series mode. Unlike the typical 5-way cutaway instrument, though the angle of Man. The neck pickup measures 26.25” Strat switch, the Music Man switching the top horn makes the strap button’s from the edge of the nut to the center of system gives you access to any hold a bit precarious if you have a loose the pole piece, while the middle pickup is combination of pickups, and combined strap hole – some Ernie Ball Super Locks with the passive/active option, there would be a smart move here. Access to are 16 different configurations – the 22nd fret is unhindered, and while the without touching the EQ. position of the neck pickup does get into the funk/pop zone, I found it possible to 4Q slap with minimal adjustment to my The 4-band EQ is essentially the technique. The overall feel of the bass is same 18-volt circuit found in the classic bomb-proof Music Man. The neck Bongo with concentric knobs for has an assuring stability, the notes are bass/treble and low mid/high mid, consistent throughout its range, and the with the addition of a low-pass filter fit and finish is what we’ve come to tone control for use in passive mode. expect from Ernie Ball – top notch. And, With the EQ flat, there is minimal the Big Al 5’s B string has the clarity and difference in volume and tone integrity that few others achieve at 34” between the active and passive scale. modes. With so much EQ and gain on tap, it’s easy to overdo it, but it So Many Tones, So Little Time certainly can come in handy if you’re With an instrument this loaded with playing through a sub-par amplifier. choices, it’s easy to fall prey to the My best results came from setting the tweaker instinct. Your first few gigs with amp gain to work with the Big Al’s this bass will be quite the learning passive level, kicking in the preamp experience. Even after playing the set flat, and then using the various similarly spec’ed 25th Anniversary model

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for 8 months, I still find myself flipping around, sometimes in the middle of a tune. And then again, there are nights where I never leave passive mode. There are some that might feel the Big Al offers too many choices, but remember… having the choice does not obligate you to exercise it. One could very happily use this bass on the middle pickup in passive mode like a P-bass and never touch the other 15 options. Of course, think of all the fun you’d be missing out on.

Having previously reviewed the Big Al 4, I have already gone through all the different settings on this bass, and you can view the results on Bass Whisperer TV (www.youtube.com/bassguitarmag) . Instead of repeating that process, I’ll talk about some of my favorite settings.

I’ve already extolled the virtues of the middle pickup – active or passive, close your eyes and you’d swear it was a Precision. The neck pickup solo has that “beating on a hollow log” sort of thump that sounds awesome with a pick and flatwounds, and also works great for a palm-muted approach for swing or reggae. The neck and middle together gives you a more articulate version of the “log” tone, with a thin coating of high end that is very useful for general fingerstyle purposes. All three pickups together gives you a very complex slap tone, though you can fill in the mids with catching looks, versatile tone, a killer B tone, naturally I’d boost the lows and the EQ and get a punchy fingerstyle tone string, and it’s built like a tank. You may highs, but also add some high mids to too. This setting would work well with be one of those folks that looks at the Al give it more directness. The middle and flats and muted picking to get a Dano-ish and immediately decides it’s not for you. bridge pickup in parallel mode is also a “tic tac” tone. The bridge pickup on its Not everyone will dig the asymmetrical great slap tone, very cutting, and perhaps own is very articulate and clear, and has body shape. But don’t let that stop you as close to the classic Music Man sound the potential to fill out the low end with from trying it. I think the Big Al’s tone this bass will get. But flip these two into help from the EQ. and feel just might make a believer out of series mode and you’ve got a punchy, you. direct fingerstyle tone that shoves its way Bottom Line to the forefront. The neck and bridge coils The Big Al 5 is yet another great addition together create a unique scooped slap to the Music Man family. It has eye-

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CONFIGURATION GENERAL Strings: 5 Company: Ernie Ball Music Man Style: Single Cutaway 151 Suburban Rd. Overall length: 45.5” San Luisobispo, CA.93401 Body Dimensions: 14 ”W x 19.5”L www.music-man.com Body Contouring: Minimal Country of Origin: USA Weight: 10.1 lbs Warranty: 1 years Listed Price: $1,975 NECK Street Price: $2,825 Options: None Scale Length: 35” Accessories: Hardshell Case Neck Width at Nut: 1.75” Price As Tested: $1750 Neck Width at 12th Fret: 2.424” Available Colors: Black, White, White Pearl, Sterling Silver, Sapphire Neck Width at Joint: 2.629” Black, Blue Pearl, Candy Red, Vin Sunburst Neck Thickness at Nut: .78” Available Options: Maple, Rosewood Fretted Fingerboard, Lined or Neck Thickness at 1st Fret: .78” Un-lined Ebony Fretless Fingerboard, Single Neck Thickness at 12th Fret: .924” H or SSS Pickup Configuration, Matching Headstock Neck Thickness at Joint: 1.18” Acquired From: Music Man String Spacing at Nut: .370” Dates: February 2010 String Spacing at Saddle: .68” Locales: Ohio, Austin, TX Fingerboard Radius/Neckshape: 12” / Wide Flat C Test Gear: Genz-Benz Shuttle 9.0 and Uber Bass 410, Peghead/Bridge Break Angle: 12 deg / 12 deg Genz-Benz Shuttle 6.0/12t; George L's, Afterlength at Nut/Saddle: 1.94”–7.14” / 1.17 ” Phil Jones Bass Cables. Attachment: Bolt-on; 5 Bolts Pocket Gap: None Truss Rod Type/Access: Wheel at Fingerboard End TEST RESULTS Fret Count: 22 1-5 (unacceptable to impeccable) Fretwire: 100x45 in-hand on-bench ELECTRONICS Dynamics: 4.5 Overall Construction 4 Dead Spots: 4.5 Wood Choice 4 Pickups: Single-coil Neodymium Magnet String to string balance: 4.5 Materials Choice 4 Pickup Location(s): 2.25”, 5”, 7.4” from Bridge Access to upper register: 4.5 Joinery 5 Electronics: Active Preamp, 4-band EQ Ergonomics: 4.5 Fretwork 5 Controls: Volume, Tone, Bass, Low-mid, High-mid, Left Hand feel: 4.5 Fit and Finish of Adornments 5 Treble, 3x2 Way Push Button Pick-up Aesthetic appeal: 4.5 Quality of Finish Work 4 Shielding: Paint Tone: 5 Ease of Repair 4 Preamp Circuit Voltage: 18V Value: 4.5 Potential Range of Setup 4 Balance on Knee 3 CONSTRUCTION In-Hand Score Balance on Strap 3 4.5 average Overall Electronic Quality 5 Body Woods: African Mahogany Solder Joints, Wire Runs 4 Neck Woods: Maple On-Bench Score Clarity 4 Fretboard: Rosewood Noise 4 Body Finish: Polyester(high gloss) 4.2 average Shielding 3 Neck Finish: Gunstock Oil and Hand Rubbed Wax Quality for Price Range 5 SONIC PROFILE: HARDWARE Lows – tight, focused, full Mids – detailed, punchy Strings: Regular Slinky Bass #2836 Highs – aggressive, clear Gauge: .045, .065, .080, .100, .130 Attachment: At Bridge TONE-O-METER Bridge/Color: Music Man/Chrome (stainless steel saddles) Nut: Ernie Ball Compensated Nut The Big Al 5 is a versatile bass Tuners/Color: Schaller/Chrome that can provide the sonic goods Knobs/Color: Plastic/Black for any type of music. Pickguard: White Plastic Control Cavity Cover: White Plastic BGM_Issue5_123010_Layout 1 1/2/11 6:02 PM Page 73

Phil Maneri’s they’d short out. This is very Neat trick with the Dodge Dart push good. The pickgaurd lifts off buttons. When no pickup button is BASS very nicely without any selected, the middle and bridge pickup connection to the are in series, and when you select pickups components, which makes from the buttons, they are added in LAB servicing easy and pickgaurd parallel in whatever configuration you swaps a cinch. However, the top of the like. Ernie Ball cavity is not sealed, making a full circle Music Man round the components. I’m not sure if I’m not a fan of the Compensated Nut. In something was left out or they intended my experience, moving the scale length Big Al 5 that, but in my experience, if you don’t on each string to such a minor extent complete the shield, it ends up working doesn’t really make it play more in tune In the ‘70s, I drove a Dodge Dart with a like an antennae, making any racket that with itself or anything else, and it can push-button transmission. This bass could be prevented by shielding worse make it harder to intonate in general. If immediately reminded me of that car than if it wasn’t there at all. Thankfully you are going to vary the scale on each when I opened the case. I also did a this bass is quiet as a mouse. Perhaps it string, it makes more sense to me to fan doubletake at the body shape and all has side-by-side hum-cancellers or the frets, like Dingwall. those pickups… Did I open the right case? dummy coils beneath each of the huge Is this an Ernie Ball Music Man? single coils in the cavity to keep it quiet. The Big Al 5 is a cool bass. One part It’s hard to imagine a true single coil this oddball, one part high tech, and one part Yep! And a cool one, at that. I plugged it quiet on its own. Dodge Dart. Can’t go wrong with that! in and messed around with it. That Dodge Dart is one great-sounding bass! Its I love the 3-pickup thing, even though it’s sharp-horned body is a departure from overkill on a bass. The treble side tilted the usual Stingray fare, and although I toward the bridge on the bridge pickup is don’t like it, several people who saw it probably a nod to the Strat look, but when it was on my bench did. I do like the practically speaking, the last thing you look of all the switches and knobs and the want is a G string pickup tilted that way three pickups. Very kitsch – like my Dart. to make it even thinner sounding. Thankfully, you have two other choices As usual from Ernie Ball, the construction for picking up the G string. leaves little to complain about. Their production line is top notch. They are very detail-oriented, unlike many other manufacturing houses. Their frets in particular always look great.

A word about shielding; here they did some really smart stuff, and one perplexing thing. They coat the cavity with shielding paint prior to the finish topcoat. This means you have a shield that is not exposed directly to hot lines in the cavity, where if they came in contact

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vendors are doing the retro thing and paying homage to the days and instruments gone by, providing the same kind of sound and feel, yet with modern advancements that allow us to enjoy that kind of vintage renaissance without paying the exorbitant vintage prices or suffering the typically associated reliability concerns. Maybe this isn’t that big of a deal to the younger players out there, but I’ve been around the block a few times, and this is a real treat for me.

2010 saw plenty of new or revised products for the bass community. I have to give it up for Markbass, once again. Just when you think they’ve set a pace that would be difficult to maintain, they come out with even more stuff. Does Marco ever sleep? They’ve come out with some nice new additions to their modular MoMark products, a new flavor of the Little Mark targeted at hard rock, the new Club series cabinets with the ability to sit back in wedge monitor fashion, the 4x8 New York 804 follow-on to the very popular 604 (4x6) cab, a new 2x12 and 8x10, the new Alain Caron Signature model stereo preamp and powered (700- watt) cab, and even some really nice new NAMM Photo Credits: Steve Burkhalter, Tom Bowlus, Vic Serbe and Josh Bubniak cases and bags – including a combo bag that can either hold two basses, or one get better for us bass players with weight bass and utilities (Bass Bag 24). Carvin NAMM 2010 concerns (and no, I’m not talking about has extended their lightweight amp head Revisited! my beltline!). I also love how some offering with the newer higher powered

Winter NAMM 2010 By Vic Serbe

Having attended Winter/Summer NAMM Shows for years, plus the 2009 Musikmesse, I keep wondering when things are going to get “old.” However, even limiting the conversation to the bass market, it never ceases to amaze me that there’s always something or someone new on the scene. The lightweight amp and cab market continues to explode like crazy. Coming from a man who’s got some lower back issues, life just continues to

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BX1500 and B2000 models. Once again, from this spring. Friday’s show was all Summer NAMM 2010 Carvin has raised the bar for what can be about Joel Smith, Brian Bromberg, Ric By Tom Bowlus offered at what price, and are probably Fierabracci, and Scott Ambush ( Spyro now the king of the road for how much Gyra , and of Ambush Basses). All these IK Multimedia wowed us at last year’s power can be provided in a sub-15 pound guys were fantastic, but Brian Bromberg Summer Show with the Stealth Pedal, a package. I can’t wait to see some of these in particular was just stunning. He started killer wah-shaped device that’s actually in for review! Plus, it was cool to “bump his set playing completely solo on his an interface for their full-blown into” Steve Vai in the Carvin booth. TC killer upright with kind of a Miles Davis All AmpliTube software (now updated to the Electronic continues to expand and Blues theme, and then just went into a even more potent version 3). The Stealth improve on their bass amps and cabs, but total jam with himself. Bass Quake also Pedal won a Bass Gear Magazine 2009 their new Polytune pedal was a darling of the show. Pete Skjold, a luthier whose products we’ve been following for a while now, finally had a booth of his own, and from what I hear, he had a constant stream of well known bassists to check out his stuff. 65 Amp threw a party at the Imperial Ballroom that just rocked. Ansir Music has an interesting idea to build instruments that have the neck angled in respect to the body of the instrument to improve playing comfort. Ampeg’s made- in-the-USA Heritage SVT rigs certainly got a lot of attention, and rightfully so! The Marco Fret Groove system, which provides both fretted and fretless characteristics simultaneously, definitely stood out. The Fender 50th Anniversary Jazz Bass and their new TV line of combos were staff favorites, for sure. And of course, it’s allows for some great camaraderie, such Summer NAMM Show Award, and it always a treat to see Gene Simmons as Carey Nordstrand, George Furlanetto, continues to be a potent tool for live and dominating the press in a conference and Pete Skjold (and most of the BGM studio use. Not content to rest on their about his new Cort axe bass. staff!) all enjoying drinks together at the laurels, though, IK decided to hop on the bar. How cool is that? iPhone/iPad bandwagon big-time and A Winter NAMM tradition which should be released their AmpliTube iGig – a mandatory attendance for any bass Despite the economy still being less than guitar/bass interface for the iPhone, iPod player heading to Anaheim is Bass Quake. favorable, the number of registrants at Touch, and iPad which works in This event has expanded to two nights the 2010 Winter NAMM Show increased by conjunction with a custom version of and is traditionally held at J.T. Schmidt’s about 2% from last year, to 87,569. Even AmpliTube that has been optimized to run microbrewery & restaurant. Thursday’s more significantly, there were 1,373 on these Apple devices. Check out our lineup featured Ray Riendeau, David exhibitors – including close to 250 brand video interview with Dan Boatman Dyson, Victor Little, Hadrien Feraud, new ones – which is the most the Show (featuring BGM’s Technical Editor, Tom Katsuji Moriaoka, and a special treat for has had in its entire 108-year history! Lees, on guitar!): me, Evan Marien. Not that those other According to a Gallup survey conducted http://www.youtube.com/watch?v=tlFpDl1 amazing players weren’t enough to blow on behalf of NAMM in 2009, despite the l0PU . my mind, but Evan is not only a well challenges in music education faced in recognized bassist, but he is also schools these days, public interest in Brian Barrett always brings the goods to someone who hails from where I playing music is at an all-time high. On the Summer NAMM Show, and the Low currently live, and is an alumni of the the whole, this paints a more optimistic End booth was a Mecca for bass lovers. He high school my son will be graduating picture than one might expect. brought several LEJ’s, a Benavente or two,

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some vintage instruments, and even a company, but it appears that all Lakland Ritter. One of the more intriguing luthiers and support staff will be offerings was the new Low End T- reatained. This is going to be a very bird. Orange had one of the bigger booths interesting story, which we will delve at the show (notably larger than what into much deeper in future issues of they had last year), and the Terror Bass Bass Gear Magazine . I have to add, (500-watt hybrid head) and new Terror though, that playing an alder/rosewood Stanley Clark tries an NS Design Omni Bass. Bass 1000 (you guessed it, 1,000 watts!) USA-made Joe Osborn (now known as a drew plenty of attention. I managed to “44-60”) was a transcendent get Orange’s own Damon Waller to experience! Leo also showed me an provide a compare and contrast between equally cool “Joe Osborn” that had been the all-tube AD200 Mk3 and the Terror made for Adam Clayton. Bass 1000. Check out the videos, here: http://www.youtube.com/watch?v=Rjar21 Newcomer Better Audio had some N8-iQ and interesting cabs based upon 6” and 8” http://www.youtube.com/watch?v=7rH30 woofers married up with planar 8wDLvc . tweeters. In addition to this 4x8, Better Audio featured two 4x6” bass enclosures GK always delivers, even when the crowds (straight-front, and one with the top are small (this was a fairly down year, as two drivers angled up), as well as small far as the Show goes). They had several “monitors” and some 4x6” guitar cabs. newish products on display, including the Ernie Ball brought only new models to MB200 and MB Fusion (both of which are the show. This included the Stingray now shipping). The GK mini-might MB112 Classic (which now come with either a also made its debut, and joined the MB115, flamed or birdseye maple neck, MB210, and MB212 in GK’s lineup of killer, standard!), the Reflex (a somewhat lightweight, powerful, affordable trimmed-down version of the 25th combos. And yes, it too passes the “pinky Anniversary SR HH), the Big Al 5-string test!” (which Ed Friedland reviews on page 68). Check out those flamed maple One of the real gems of the show was the necks! One of my personal highlights Lakland booth. They had some was getting the chance to meet with Bob phenomenal basses on display, and a Babbitt at the Asterope booth. Asterope rather interesting story to tell. Everyone is a relative newcomer to the high-end knows the Lakland name, but there are instrument cable market. Bob does some very interesting developments swear by them, and he had some other taking place in Chicago. Rumors had been very interesting tales to spin! Asterope floating of an external purchase of will certainly be included in our up- Lakland (possibly by some folks out in coming instrument cable roundup. California), but as it turns out, control TC Electronic didn’t have any new bass- shifted within the company. A group led specific gear to show us, but their new by Hanson Musical Instruments, Ltd. (who VoiceLive Touch was very cool! Basically, have been making the Lakland pickups it takes the power of the VoiceLive 2, since 2005, and who are located within and puts it in a package that is smaller, the same building as Lakland in Chicago) mounts easily on a mic stand, works by bought the company, and former Lakland touching with your hand (instead of COO and Global Sales Director John stomping with your feet), and is actually Pirruccello takes over as President of the less expensive! If you play and sing, this new entity, Lakland Guitars, LLC. Dan is definitely worth checking out! Lakin is no longer involved with the

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Always protect your hearing at NAMM! 65 Amp Apollo

Baer Amplification

Bobby Vega with his new Alleva-Coppolo signature model.

Wyn Guitars

Tom Bowlus flanked by two Sadowsky’s. Leo Lopez lifts a Lakland. BGM_Issue5_123010_Layout 1 1/2/11 6:06 PM Page 78

Tools, not toys, from GK Skjold Design Guitars

Fender 50th Anniversary Jazz Bass.

David Dyson jams with Pete Skjold.

Carey Nordstrand with his Nordy’s.

Watson Guitars

Trip Wamsley plays a Skjold. Silent Bass BGM_Issue5_123010_Layout 1 1/2/11 6:07 PM Page 79

One of these kids is not like the others...

GK makes some really light combos!

Vic Serbe plays a 50th Anniversay Jazz.

SWR Heaven.

Enfield Guitars Holy high heels, Batman!

Tony Levin talks with Tom. BGM_Issue5_123010_Layout 1 1/2/11 6:09 PM Page 80

Tom and Leo thought the sparkly bass complimented their shirts. Pierre Erizias

Tom plays a Pratt Bass.

Emerald Bass Guitars TC Electronic VoiceLive Touch

Awesome Warwick.

Orange OPC

Larry DeMarco and his new EH Pedals. Traynor Dyna Bass The Low End LET-Bird. BGM_Issue5_123010_Layout 1 1/2/11 6:10 PM Page 81

Yep, still light!

Bob Babbitt at the Asterope booth.

More basses from Low End.

AER Amp One Bass

Better Audio

Swell tube pedals.

Ansir Music Pratt 12-string.

Warrior Guitars Warwick

Ernie Ball Music Man Reflex. Warwick Ernie Ball booth. BGM_Issue5_123010_Layout 1 1/2/11 6:10 PM Page 82 BGM_Issue5_123010_Layout 1 1/2/11 6:10 PM Page 83 BGM_Issue5_123010_Layout 1 1/2/11 6:12 PM Page 84

2010 Winter NAMM

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By Tom Bowlus Having heard from so many people that 2010 was going to be a down year for the Anaheim show, I was pleased to find a great selection of delectable gear. These ten tasty morsels were garnished with Bass Gear Magazine 2010 Winter NAMM Show Awards: Baer Amplification – Valkyrie Bass Head The micro head movement is in full swing, and all-tube bass heads are making a comeback in some circles. Between these two phenomenons, the traditional class-AB head with a nice, heavy power transformer hasn’t shared much of the spotlight. Newcomer Roger Baer managed to snag some well-deserved attention with his “conventional” solid state head, Carvin the Valkyrie. This head is stable to 2 ohms, powerful (900/700/400 watts at 2/4/8 ohms), manageable weight (24 lbs), and offers the choice of full, clean solid state tone, or the added harmonic richness of tubes at the push of a button. While this is impressive enough, this head just sounds “right.” The Valkyrie is what a bass amp should be. www.baeramps.com Carvin – B2000 & B1500 Bass Heads Carvin blew us away with their B1500 workhorse head, and then raised some eyebrows and dropped some jaws with their lightweight BX500. Understandably, we were excited to see what they had in store for us last January. Hoping to find yet another compelling bass head, our expectations were exceeded by not one, but two high-power, lightweight heads. The B2000 is the class-D descendant of the B1500, putting out 2,050/1,300/700 watts at 2/4/8 ohms, yet weighing a mere 13 lbs. The full-featured BX1500 is a dual-mono design (750/450/300 watts per channel at 2/4/8 ohms), but can be bridged, in which mode it SWR cranks out 1,500/900 watts at 4/8 ohms. At less than $600 and 10 lbs, the BX1500 fairly challenges you to find a reason not to buy it! The only problem I see here is choosing which Carvin head to buy! www.carvinguitars.om SWR – Headlite Bass Head & amplite Power Amp SWR definitely did their homework before “going micro.” The headlite is a model in efficiency, cramming an amazing number of functions onto its diminutive front panel. What’s more, SWR rethought their trademark Aural Enhancer. The new Shift function makes this wonder knob doubly useful! The semi-parametric EQ gets a bit busy in its presentation, especially considering the chrome-on-chrome presentation, but on the whole, the layout leaves little to complain about and much to envy. Not only did SWR design a killer micro head, they really thought things through and designed an entire lightweight amplification system. One headlite not powerful enough for you? No worries, just daisy-chain as many Phil Jones amplite amps (and cabs) as you need! Need a way to transport your new mini marvels? SWR has you covered with their gig bag and optional rack-mount kit. www.swramps.com AAD – D-4000 Power Amp Phil Jones is most well-known to us bass players as a result of his Phil Jones Bass brand of amplification products. But his sister brand, AAD, has some really enticing products as well, such as this D-4000 power amplifier. This 1U rack-mount stereo power amplifier puts out 2,000 watts per channel (yes, that’s 4,000 watts in a 1U amp!), and weighs in at a svelte 21.6 lbs. Truth be told, Phil’s new combo, the BG-800 Roadcase, was also pretty darned impressive, and we did consider it for a BGM Show Award as well. But did I mention that the D-4000 puts out 4,000 watts in just one rack space!?! www.philjonespuresound.com

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Mike Lull – T5 T-Bass 5-String Bass Mike Lull has been making killer “Fender-inspired” basses for years. More recently he showed a new side and knocked us out with his homage to the Gibson Thunderbird, the 4- string T4 T-Bass. At the Winter NAMM Show, Mike took things “one louder” and introduced the 5-string T5. Being a Thunderbird player for years, I spent forever trying to find a 5-string bass that captured the feel, vibe, and tone of my beloved T-bird. I never really did find what I was looking for… until I talked with Mike and met the T5. The T4 definitely kicks butt in its own right, but Mike made a wonderful transition to a 5-string design with the T5. Any 5- string player who has had a love affair (explicit or not) with the Thunderbird at one time or another simply must check out a Mike Lull T5! www.mikelull.com Nordstrand Guitars – Nordy Classic vJ5 5-string Bass Carey Nordstrand made his mark in the exotic custom bass market, as well as in the pickup Nordstrand Guitars market, and then brought out the Nordy line, which was designed to be more vintage- inspired, and also more affordable. The initial vJ5 line (now called the “Modern”) featured 34.5” scale, 12” to 20” compound radius, and Nordstrand Big Single pickups (other options available). Some players asked for an instrument that was closer to vintage specs. In response, Carey introduced the Classic vJ5, which features 34” scale, 9” to 14” radius, and faithful-to-vintage pickups. A one-piece maple neck, with a “skunk stripe” for the truss rod, is a popular option. Pickups can be placed in the ‘60s or ‘70s locations, allowing a player to dial up which decade they would most like to emulate. Whether you are an ash/maple ‘70s J-bass fan, or whether you crave a ‘60s alder/rosewood vibe, Carey’s got ya covered! www.nordstrandguitars.com Wyn Guitars This past January, Hall E was very happening, and one of the biggest surprises was newcomer Wyn Guitars. The exotic woods and organic body shapes caught my eye as I Wyn Guitars walked past, but I have to admit, knowing nothing about them, I was skeptical as to how these basses would play or sound. Still, they looked so good, I had to stop and play one, or two, or all of them… These basses wowed the entire BGM staff. Each bass had tone with purpose, and they played like butter! I am always asked by folks I run into at NAMM Shows about what I have seen that’s cool. “Wyn Guitars” was one of my most frequent responses this past year, and luthier Radall Wyn Fullmer absolutely deserves this BGM Show Award. www.wynguitars.com Godin – Shifter Bass Rather than throw themselves into the melee of the big hall floors, Godin Guitars has followed Fender and Gibson’s leads by securing their own nice, orderly room upstairs. This year marked the introduction of a new bass model, the Shifter Bass, which features a 34” scale, 16” fingerboard radius, 1.5” nut, basswood body, choice of maple or rosewood boards, Godin and most distinctively, three big single-coil alnico pickups. These pickups feature low-pull, extra large magnets, and the tone is deep and rich, but with great clarity. The 5-way switch lets you dial in a huge range of tones. Definitely worth checking out! www.godinguitars.com TC Electronics – PolyTune Tuner Pedal Somewhat to my surprise, one of the coolest things I saw at the 2010 Winter NAMM Show was a tuner pedal! But this is not your father’s tuner pedal. The PolyTune is a polyphonic chromatic tuner, meaning that you can strum all of your strings at once and see the relative tuning (sharp, in-tune, flat) at once. Cool! See a string that’s out of tune? Pluck that string, and it seamlessly switches to a highly accurate single-note tuner. Even more cool! If you tune down, the PolyTune has you covered (down to seven steps!). While not a bass-specific device, the PolyTune is a high quality, well thought out, unique device which any bass TC Electronic player can appreciate. And it has a street price of only $100! An iPhone app is also available. www.tcelectronic.com. Ampeg – Heritage and Pro Neo Lines Ampeg showed a couple of new tricks in Anaheim. The Heritage line reflects a commitment to bring some of the high end manufacturing back to the USA. The first three products are the Heritage SVT-CL, Heritage SVT-810E, and Heritage SVT-410HLF (a Heritage B-15 is in the works!). The cabs feature custom drivers, the head features premium components and tubes, and all three get special esthetic treatment. They look great, they sound great, they’re made in the USA. ‘Nuff said (for now…). But the Pro Neo line also merits mention (and an award!). Ampeg jumped into the neodymium cab ring with both feet. The Pro Neo line is designed and built in the USA (by LOUD’s own EAW plant), and currently includes a 4x10, 2x10, and 1x15. The one-two punch of the Heritage and Pro Neo lines makes Ampeg Ampeg one of the outstanding bass stories of the Winter 2010 NAMM Show. www.ampeg.com bass gear 85 BGM_Issue5_123010_Layout 1 1/2/11 6:15 PM Page 86

2010 Summer NAMM

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By Tom Bowlus The Nashville Show presents a very different environment, and a more relaxed pace. This year, we found plenty items to pique our interest, but the following six vendors wowed us sufficiently to garner Bass Gear Magazine 2010 Summer NAMM Show Awards: SWELL Pedal Co. – All-Tube Boost/Drive Pedals Swell Pedal Co. Nashville’s own SWELL Pedal Co. had one of those booths that we found ourselves coming back to again and again. SWELL focuses almost exclusively on tube-based boost & drive pedals for bass and guitar. Their products are pretty much all the same size/layout, with the differences between models relating to the range of boost or drive the player desires. The bass pedal lineup includes the following: B-TOD v.2 (Transparent OverDrive), B-Max v.2 high-gain push-drive pedal, B-Valve v.2 mid-gain push-drive pedal, B-Drive v.2 low-gain push-drive pedal, B-Pro v.2 (basically, the B-Drive and B-TOD combined in one pedal), and the class-A XXL-Boost v.2 (designed for both bass and de-tuned guitar). All pedals are priced at $299.99, except for the XXL, which is $319.99. Whether you want to add some pleasant harmonic coloration to your rig, or whether you want to melt faces, SWELL has the pedal for you! www.swellpedals.com Warrior Instruments – Bolt-on Isabella 5-string Bass Warrior Instruments Warrior Instruments always has one of the nicest displays at any show, and this year was no exception. While all of their basses were very impressive, the new bolt-on neck Isabella really wowed us with its tone, feel, and response. In addition to the new neck, JDran also introduced a new preamp on this model. It is a custom Bartolini preamp with a unique midrange control. In theory, it seems similar to other 3-band Bartolini EQ’s with a 3-way mini-toggle for the midrange frequency and a cut/boost knob, but JDran tells us that this is something unique, and I will say that when you hear it in action, it definitely sounds different from other Bartolini midrange controls I have heard. All three positions on the mini- toggle yielded very usable, distinct “personalities.” I was very impressed by the sounds I was getting in all three settings, and the whole package added up to one killer, killer bass! www.warriorinstruments.com Erizias Basses Erizias Basses During a stop by the TC Electronics booth, while we were chatting with them about the VoiceLive, I suddenly heard this fantastic fretless bass tone coming from right behind me. I turned around and was introduced to Pierre Erizias and his magnificent basses. Pierre is a luthier from Montreal, where he has been building basses for over 14 years – though only recently has he hung out a shingle to the public. His lineup included some very affordably-priced J-basses (starting at around $1,200), as well as

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fully custom beauties. Pierre is a pro player, himself, and all of his instruments showed extreme attention to detail when it comes to playability. His setups were just great, and the tone that he was getting was just top-notch! These were truly some of the more inspirational basses at the show, and Pierre himself is a very compelling and enjoyable person in his own right. www.eriziasbasses.com Prat Basses You don’t hear many stories of an artisan who relocates from Barcelona, Spain, to Canton, Ohio. But I’m sure glad that it has happened at least once in history, because it means that as a fellow Ohioan, I get to lay (partial) claim to Oscar Prat. Oscar makes truly custom instruments, and he does so with zest and originality. All of his basses were beautiful to look at, and wonderful to play. From the ebony/paduk 4-string, to the super low-action 6-string, to the super comfy neck profile 5-string, Oscar presented multiple winning recipes. They weren’t all in line with my personal preferences, but I could tell what he was after with each instrument, and he definitely hit the mark every time! Although he is willing to build an active bass if the customer really wants it, Oscar prefers to develop tone via passive electronics, particularly those from Villex. Prat Basses offer a very wide range of instruments, and they played as good as they looked! Pratt Basses www.pratbasses.com

Electro-Harmonix – 44 Magnum Power Amp Electro-Harmonix has been making killer guitar and bass pedals basically forever. So what could they possibly bring to the table that was new and exciting? Well, several items, in fact, and though none of them were dedicated bass pedals, they were cool enough to grab our attention (and garner an Award!). In addition to the killer-sounding Neo Clone chorus pedal, note stop/hold Freeze sound retainer, and several other cool guitar pedals, Larry Demarco showed us the belt-clipable Headphone Amp (which is smaller than a Snickers bar!) and the 44 Magnum Power Amp. This little wonder is the size of a small pedal, but it’s actually a 44-watt power amp (a 22-watt version is also available). It does have an external power supply that is almost as big as the pedal, itself. While there is no reason that this should not work on bass, 44 watts really only gets you so Electro-Harmonix far. Still, this is such a cool little product, we just had to give them an award! www.ehx.com Taylor Guitars – V-Cable It may seem odd to see an acoustic guitar maker as the recipient of a Bass Gear Magazine Show Award, but any such feelings of inappropriateness evaporate once you lay eyes upon the killer tool which Taylor has unleashed upon the gigging public! For any player who switches between multiple instruments during a show, or who wants a volume control within easy reach, or who just wants to be able to mute their signal without having to walk over to their amp (or resort to unsightly pedals), the Taylor V-Cable is a “must have” item, for sure. This is one of those products that just makes sense the moment you lay eyes on it, and it really makes you wonder why no one has done this before. Basically, they put a potentiometer (you can choose either 250k or 500k) and an on/off switch Taylor Guitars at the instrument end of a high-quality cable. The connectors are made exclusively by Neutrik for Taylor, and the feel of this knob is very smooth, with just the right amount of positive feedback. This is a product that has merit far beyond the acoustic guitar application. www.taylorguitars.com

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The Speaker By Anthony Lucas

frequencies. This is the main reason for cabinet manufacturer has methods to Sealed vs. mounting a speaker on a baffle. The achieve their signature tone. Speaker Ported baffle also absorbs vibration created by performance and cabinet design are the speaker. If not mounted to a baffle equally crucial parts. Designers must Enclosures and simply placed on a solid surface, the prioritize what performance or sonic vibration created from the speaker’s characteristics they desire from a product movement may be louder than the sound and determine what aspects of the Are sealed or ported enclosures better for the speaker emits. A baffle that does not speaker and cabinet will make it a reality. bass guitar? What are the differences resonate with the speaker must be made Output level (or SPL), power handling, between them? In this article, I will from a solid and thick material. frequency range, and size and weight are compare the two most common types of all considerations. When one is improved, bass guitar enclosures and try to Shaping the low-end is the reason for other factors may suffer. The most highlight the benefits and shortcomings choosing a particular enclosure type. The difficult part is finding a middle ground. of each. It took me a while to decide what speaker’s cone response dictates the We want to have it all, but unfortunately, details to cover, and I soon realized it signature shape or sound of the enclosure it’s not always so simple. might require a book to cover the beyond 200-300Hz (figure 1) . Any speaker will produce sound in any cabinet, but Here’s how a sealed enclosure works. The concepts of cabinet design. It would take back of the speaker is completely sealed a couple of articles this size just to optimizing the relationship between the speaker and the enclosure is the key to off from the front. The air inside the introduce the terminology. For the DIY enclosure acts as a spring, which helps guys and players interested in obtaining good bass. In the early ‘70s, two engineers, named A.N. Thiele and Richard control the movement of the cone. When more knowledge, there is a wealth of the speaker moves out, the pressure information available online to learn H. Small, devoted considerable effort to show how specific speaker parameters inside is decreased. When the speaker more about cabinet design. There is a moves in, the pressure inside is increased. wealth of software available to help you define the relationship between a with calculations. Whether you find speaker and a particular enclosure. These information about car audio, home hi-fi, are known today as Thiele-Small (or T/S) A sealed cabinet is considered a punchier, pro audio or bass guitar, the principles parameters. They are a means of more accurate sound. Sealed cabinets are are basically the same. This article will be comparing speaker performance and much easier to design and build than used for the details I feel will help bass finding optimal cabinet conditions. ported enclosures and are typically players the most. smaller in size. There is also much more Speaker designers manipulate T/S room for error in design and construction First, let’s think about the role of the parameters when customizing a speaker because a small change to the internal speaker. A speaker produces minimal for a particular cabinet or when meeting volume doesn’t affect the lowest audible output in free-air (outside of a cabinet). certain design goals. I’ll leave the frequency significantly (Figure 2) . You Sound is produced from the front and the specifics about T/S parameters and how might often see the low range or note of rear of a speaker’s cone. These sound they are interconnected for another day. a cabinet’s specifications defined as F3 or waves must be separated to achieve But, for now know that trade-offs are F10. Mid-band response is basically an usable output. If not separated, the involved in every aspect. If you want average level of the speakers’ or cabinet’s output from the front of the cone is out- deeper bass, punchier bass, tighter bass, overall output within the usable of-phase with the output from the rear of more snap, pop, or whatever the frequency range. F3 is the frequency 3dB the cone and they cancel each other out. desirable adjective, something else will down from the mid-band and F10 is the This is further accentuated with lower be sacrificed to obtain it. Every amp and frequency 10dB down from the mid-band

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(see Figure 3) . Sealed enclosures have output, which increases bass output (or even when the tuning and size of the better transient response, which means SPL) above F3 (see Figure 3 again) . This enclosure is good for the speaker. If the the system will respond more quickly to a minimizes the movement of the speaker air travels through the port with too sudden change. This is one reason why cone, so mechanical power handling at much velocity, a noise often referred to as they sound punchier and more accurate. and above the tuning frequency is very “chuffing” may occur. Port placement can When you’re playing a run, it sounds good. The port is actually producing most be another issue. A lot of enclosures are more articulate with better note of the output at the tuning frequency and rear-ported, which can be effective. separation. Sealed enclosures also have the speaker’s excursion is minimal. Space is saved on the front, port noise is good power handling capability and Distortion is lower at this point due to less less of an issue, and it can create a more gradual frequency roll-off. cone movement. room filling sound. Room placement, however, is more of an issue. Poor room The disadvantages of sealed enclosures There are some disadvantages to ported placement can reduce performance. are lower efficiency and poor deep or enclosures. Transient response is poor Placing the cabinet next to a wall might extended bass output. The sealed design compared to a sealed enclosure. The restrict bass or it could make the bass will never play as low as the resonant result is decreased accuracy. Also, there’s sound too boomy. If you’re using the frequency of the speaker. It seems like less control below the box tuning, which cabinet as a stage monitor, a lot of the the easy answer would be to design allows the cone to move more freely. This sound will be going in the wrong speakers for sealed enclosures with low can result in damage to the speaker direction. resonant frequencies, right? That’s mechanically, a phenomenon known as certainly one part of the puzzle, but a over-excursion. We live in a day where power is relatively lower resonant frequency can negatively cheap and high power handling is a big impact other design and performance A poorly designed ported enclosure can selling point. Whether it’s the enclosure goals. Speakers with lower resonant cause all sorts of problems. Tuning the or the speaker, be aware that there are frequencies are typically low in output enclosure too high can also be a problem. other specs to consider before you make a and narrow in frequency range. Another This can create a ringing at Fb and result purchase. High power handling and lower disadvantage is higher distortion. in a one note wonder with inadequate output may not be the best bang for your Maximum cone movement occurs at the frequency range (Figure 5) . While buck. In contrary, a high SPL enclosure or resonant frequency of the enclosure (Fc). mechanical power handling is typically a speaker may not require as much amp to Basically, the speaker is working harder good advantage of a higher tuning, reach the desired volume levels. Factors where the cabinet is most demanding. remember that the enclosure is not for high SPL are the speaker’s SPL, power Dampening improves below Fc, so control helping the speaker below Fb. If there is a handling, and size, and a cabinet that is of the cone and mechanical power sudden peak at a lower frequency there well built and free from air leaks. handling of the speaker are good. could be a potential for over-excursion problems. The speaker’s cone will literally A parameter called EBP (calculated by Ported Enclosures jump out of the box. Low tuning can also dividing FS by Qes) is often used to Ported enclosures are also referred to as generate problems. A large enclosure is determine if a speaker is best suited for a vented, or bass-reflex enclosures. This required for a lower tuning. This can sealed or ported enclosure. An EBP close design requires a more scientific severely lower the speaker’s mechanical to 100 usually indicates a speaker is best approach, and there is less room for error power handling. Loose, rumbling bass suited for a ported enclosure. An EBP in design and construction. Ported with no definition may be the result closer to 50 usually indicates a speaker is cabinets allow for an extended bass sonically. You sacrifice the effectiveness best suited for a sealed enclosure. A response. The result sonically is more of the cabinet and the speaker (refer to speaker with an EBP 50-100 might work “rumble” and deeper bass tone. A port the three graphs in Figure 4) . The F3 of a well in both types of enclosures. This is (or vent) is used to tune the enclosure to smaller cabinet that is tuned too low will purely a general rule of thumb. Many a specific frequency (Fb). The surface area be very high. Sure, transient response and great designs violate this. and length of the port are crucial to the punch will improve, but at this point, it’s tuning. The Fb of the enclosure does not more effective to use a sealed enclosure. You will often hear me talk about change with speaker selection, but F3 modeling a cabinet. I use software to does. The port uses the speaker’s rear A port without adequate surface area can calculate or predict a speaker’s output to enhance the speaker’s front create unwanted noise at higher volume… performance in a given cabinet. It is an

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invaluable tool for cabinet designers and for recommending speaker components. The graphs used in this article are the result of one of those tools. Of course, anytime you’re dealing with TONE, there’s some voodoo or black magic involved. I’ve seen many successful designs that didn’t look so good on paper. There is definitely some art and science involved in the voicing and EQ of the amplifier. I also believe that sometimes you just get lucky and find that perfect combination of Figure 2 speaker voicing, cabinet, amp, and instrument and it just doesn’t matter if it works out technically. See you next time.

Figure 1 Green curve includes cone response. Red curve is same speaker, showing inductance roll-off without consideration of cone response.

Figure 2 Figure 3 1 cubic foot sealed enclosure versus 2 cubic foot sealed enclosure; no apparent change until –6dB. It takes four times as much amp power to gain 6dB.

Figure 3 Speaker in 0.9 cubic foot sealed enclosure (red) with F3 at 70Hz versus same speaker in 0.9 cubic foot ported (green) enclosure tuned to 45Hz with F3 at 54Hz. Notice gradual roll- off for sealed and steep for ported. Figure 4

Figure 4 Above shows optimal cabinet, Fb @ 50Hz, F3 @ 52Hz (green), big box/low tuning, Fb @ 30Hz, F3 @ 28Hz (orange), small box/low tuning, Fb @ 30Hz, F3 @ 58Hz (red). Displacement graphs from design above. Shaded areas represent over-excursion issues. Notice, big box/low tuning won’t handle 100 watts and small box/low tuning won’t Figure 4-1 handle 150 watts; optimal box is still ok.

Figure 5 Optimal cabinet, Fb @ 50Hz, F3 @ 52Hz (green) versus cabinet with high tuning, Fb@ 80Hz, F3 @ 65Hz (red), notice peak has narrow range and steep roll-off where you still need sound.

Figure 4-2

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In The Doghouse By Chris Fitzgerald

Meeting demands such as these seems to http://www.eaamps.com/index.php?p=cla EA iAMP have been the goal of the design crew of ssd&m=tech . Whatever the technical Doubler the Euphonic Audio iAMP Doubler, which details involved, the amplification focus manages to pack all of these features for double bassists is usually on If you were to ask a working double into a box measuring 2.1”H x 10.5”W x transparency, that holy grail of “my bass, bassist what features the perfect amp 5.4”D and weighing in at 2.5 pounds. only louder.” For me, to date, I find that I head might have, the list would likely don’t object to the sound of class-D contain many, if not all, of the following There has been a lot of discussion among power amps, as long as the preamp parameters: small, lightweight, powerful, musicians about the new micro amps on feeding it passes muster. And I’ve always piezo-friendly input impedance, two the market, many of which employ class- liked the sound of EA preamps in the input channels to accommodate mixing in D topology with switch-mode power past. The power rating of 550 watts @ 4 a microphone when desired, XLR input supplies (SMPS). There is a brief tutorial ohms and 310 watts @ 8 ohms is very jack for the mic, phantom power on the on the subject of different amplifier impressive in a box as small as this one. mic channel, a high-pass filter, a notch classes on EA’s website for those filter, adjustable phase control, built in DI interested in the technical details of the In spite of this, I have to confess that for the house system, and an effects loop power amp section. This goes a bit over when I first unpacked the box and pulled with a blend control. Oh, and if it’s not my head – so I try to stick to a sonic out the novel-sized Doubler to give it a too much trouble, could you throw in a assessment of the results – but for those try, I was a little suspicious. Would all of switchable EQ section so that I can switch interested, please check out the well- these functions work? And if so, would I between two different EQ settings on the written descriptions of different power be able to keep track of them and utilize fly, if I’m only using one channel? amp types at them on the gig? Could something this

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light possibly be powerful enough to do in optimizing the sound at the working beloved VL208 cabs because of the what I need it to do on the bandstand? My volume level of the band once I realized weight), so the results could easily be suspicions were allayed as soon as I that it was basically a very intuitive different with different cabs. Given that I plugged it into an EA Wizzy 10 in my control, – i.e. “when mixing signals, was limited to the Wizzy 10’s, the results music room and gave it a trial run. sweep this knob until you get the best were very solid. Using only a single cab Everything worked as advertised, and the sound, then leave it in that position.” resulted in a very natural, “hi-fi” sound sound was right there from the Different gig settings resulted in different that was very clear and not heavy on the beginning. After checking the pickup positions of the knob when used in this bottom. One of my grad students said sound, I hooked up a mic and tried the way, and it’s nice to have this fine tuning that compared to the rig I had been using second channel. Again, everything option when blending. on the same gig, the Doubler/Wizzy rig worked easily and sounded good. sounded “more like my bass does Satisfied after playing for a bit and When using only the pickup, the input acoustically” (to be fair, I don’t use a mic knowing that what sounds good at home section of the Doubler is extremely with the rig I had been using before). can sound very different on the versatile because of the way the input Using two Wizzy 10’s with the Doubler bandstand, I decided to forgo further stage is set up. As with many preamps, provided a lot more headroom and testing and take the Doubler out to some there is a sweet spot in the gain structure thickness to the sound, and didn’t seem gigs and see how it did in the real world. which, when in this range, produces a to tax the head at all in terms of heat. natural and relaxed sound yet still After figuring out how to dial-in a basic provides enough headroom in the power Summary: sound on each channel and combine section to be useful. For double bass, I’ve The Doubler is a wonderful little amp them, I was able to get a really natural found that the “transparent/natural” with a ton of features, especially sound out of both pickup and mic in every sound is often found when the preamp considering its size, weight, and price situation. Along the way, I had to remind signal isn’t as hot as I would expect to be point. My only complaint – and it’s a myself at various points that all of the optimal. The Doubler has plenty of juice minor one – is that the high-pass filter hazards of mixing a pickup (Fishman Full to handle this mode of use, but when a frequency isn’t adjustable above 80Hz, Circle) and a mic (Shure Beta 57a) on a gig more present, solid, slightly “aggressive” and at very loud volumes, I like to have had to be dealt with when using the sound is desired, that can be dialed-in as this option. Other than this, it’s hard to Doubler to the same extent that they well by adjusting the preamp as find much not to like with this new pint- would be with any amplification setup. explained in the manual using the LED sized (flask-sized?) entry into the micro Most important, that there is a point of level indicator. With a little amp market. I give it a hearty two thumbs diminishing returns with the microphone, experimentation, the input section allows up. beyond which any increase in volume of the player to choose from a very relaxed either the mic or the blend results in a and ambient sound (LED almost never Soundclips: hollow, washed-out sound that doesn’t lights) to an extremely present and solid (Doubler and a single Wizzy 10) do justice to either input source. The best sound (input LED lights on hardest Love For Sale results came from setting the master attacks). Having the LED as a gauge of http://chrisfitzgeraldmusic.com/mp3/ volume at about 3-4 o’clock (nearly all input signal is a welcome feature for any LoveForSale.mp3 the way up), then finding the highest bassist desiring this level of control – this (Doubler and two Wizzy 10’s) setting at which the mic sounds natural is a feature I wish every amp had. Solar and leaving it there. From this point, any http://chrisfitzgeraldmusic.com/mp3/ increase in volume came from raising the Overall, I was extremely comfortable Solar.mp3 pickup channel, and the mix using this using the Doubler on gigs once I had the (segue) Soul Eyes method was always as natural as possible features more or less figured out. I was http://chrisfitzgeraldmusic.com/mp3/ (i.e. using as much mic signal as possible) only able to test it with EA Wizzy 10 (segue)SoulEyes.mp3 without washing out the overall sound. speakers (two of these are all the The variable phase control came in handy speakers I have left after selling my

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Upright Perspective By Arnold Schnitzer

Getting Your FIT so below the treble-side bridge foot. I The fit of the soundpost where it touches usually start a soundpost fit-up by Bass Playing the back, and especially the top, is putting the post opposite the bass bar The Way crucial. This is important for both and one diameter below the bridge. I call tonal/response issues, and for the health this the “neutral” position. Keep in mind You’d Like of the instrument. It is especially that the bottom of the soundpost needs Part 2 important that the post fit securely to sit squarely under the top, with against the soft top wood, to avoid minimal tilt. In Part 1, I discussed the importance of creating a dent, or worse, a crack in the the fingerboard as the foundation of the fragile softwood top plate. Some luthiers In most cases I do not adjust a soundpost set-up. Now I’d like to get into the other (myself included) file a tiny relief bevel until I have first fit it well in the neutral major components of the set-up, and how around the soundpost ends, to help position. This spot works well, most of they affect the bass’ sound and prevent splitting of the post and abrading the time. After a little “playing-in,” the playability. of the top when the post is moved bass’ owner and I will determine if around. I have seen several soundposts adjusting is necessary. The post’s position The Soundpost fitted with a huge bevel, which reduces can be changed if the player wants more A simple softwood dowel held in place the contact, by about half; this can do or less of a certain type of tone and/or between the top and back plates by the nothing good for the tone or response, response. Rarely, do I adjust a soundpost tension of the strings, the soundpost is an and can actually cause a split in the top more than about 5mm in any direction. important structural entity, as it keeps table. Any bevel needs to be tiny or the The effects of soundpost repositioning the top from sagging under the treble- installer cannot tell if the soundpost are usually quite subtle, but sometimes side foot of the bridge (the bass bar actually fits. If a soundpost is fitted with eye-opening. I’d like to state here that performs this function under the bass- no bevel at all, it is important to remove soundpost adjusting is a bit of a “black side bridge foot). But it also performs any fuzz or splinters around the ends, art,” and that sometimes the results important roles in a string instrument’s because otherwise a nasty buzz may make no sense. I am convinced there is sound and response. Some luthiers result. some magic involved. believe the post serves to transfer vibrations from the top to the back; POSITION Here is my take on some basic guidelines others believe it is simply a stiffening rod, In general, the soundpost should be to bass soundpost adjusting: creating a pivot point for the top to located laterally (east-west) just about 1. For more bottom: vibrate around. I think both these opposite the bass bar. If the bass bar is away from the bass bar. theories have merit, and I also believe encountered 65mm in from the bass-side 2. For more punch: that moving the soundpost has an affect f-hole, the soundpost should be located toward the bass bar. on the swinging of the bass bar, the about 65mm in from the treble-side f- 3. For a more open, resonant sound: “engine” of the bass’ soundboard. There hole. It should be located longitudinally away from the bridge. are several other theories as well, but for (north-south) about ¾” to 1¼” diameters 4. For a tighter, more controlled sound: the purpose of this article, I’ll stick to the below the bridge foot (toward the toward the bridge. practical ramifications of soundpost tailpiece). If the soundpost is 18mm in fitting and positioning. diameter, it should sit about 14-22mm or

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I sometimes encounter a bass that Response issues are very often related to responds differently than is typical to the tension, or tightness of the post. soundpost position changes. Often, the Violinmakers rely on a simple axiom: a only way to find the “sweet spot” is via tight post equals a loose fiddle, and vice- time-consuming trial and error. This can versa. This is often true of basses, too. be really frustrating, and I personally can However, basses change dimensions so only handle about an hour of this before much (because they are so large and their my ears and patience go bye-bye. wooden parts vary so much with climatic conditions) that it is impossible to always You tinkerers out there, please keep this have the soundpost set with optimal in mind: most position changes will also tension. But when a bass is misbehaving, require re-fitting. That’s because the checking the soundpost tension can be surfaces to which a soundpost fits are the key to improving its response. To complex curves, and often irregular, as complicate this further, some basses well. This is a job for an expert, especially sound/respond best with a tight-ish post in an old carved bass. Doing the job right and others with a loose-ish post. An requires lots of light, proper tools, overly tight soundpost may manifest in a mirrors, and huge reserves of patience. bright, squashed sound. An overly loose I’m not saying a talented and well- post can make a bass sound flabby, wolf- equipped do-it-yourself-er should not y, and slow to respond. And then there tackle this job, but there are are the exceptions… consequences to doing it poorly. Installing a soundpost with its edge The soundpost must be in place during pressing into a grain of the softwood top bridge fitting and adjusting. In my next table can cause a serious crack! And a installment I will delve into the bridge soundpost should never be moved around and nut, the other major components in with the strings tuned up! If a “luthier” the set-up of the bass. starts knocking your soundpost around without first taking down the string Meanwhile, I anticipate doing a few Q and tension, get out of there fast! This A columns in the future, and would practice can tear shreds of wood out of appreciate hearing from you folks out your bass’ top, whether it’s carved or there who have problems with your laminated. basses, or just want to expand your knowledge regarding our noble TENSION instrument. Please send your questions Ideally, the soundpost should fit just to: [email protected] tightly enough to stay in position without strings on the instrument. But seasonal changes and short-term humidity swings can have a major effect on the post’s tension. Round-backed basses are better able to handle these variations, as the back is more flexible than a round-backed bass with stiffening back crossbars. Many flat-backed basses require both a summer and a winter soundpost to sound and respond their best.

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Philthy Talk By Phil Maneri

dimensions so I bought it. I knew at handed work were choking the top and Alsatian some point in the future a big repair job making it less responsive than it could Queen or two was looming. be. All the cleats were removed and we decided it was best to remove and Rebuild That time came sooner than I expected replace the bassbar with a thinner lighter when I fractured the rib on the treble side one that was keyed into the repaired I spent most of this summer without my upper bout near the neck while in crack cleats below. He created a main instrument the “Alsatian Queen”. It transport between gigs. It is damage beautiful lattice of diamond cleats on all is a 150 year old Double Bass made in that requires the top plate removal to fix. the reglued top cracks. He expertly fit a Germany or France depending on whom Although I’d planned to wait some years new bassbar. He created patches under you talk to. It’s first several decades in prior to doing that work while the top the edge of the FF’s that would shore up the 19th century were during the Franco was off for the relatively simple crack that delicate area as well. The top work Prussian war; hence the name. It has repairs, the rest of the rebuild work was intended to lighten the load on the lived a long history from its creation in needed to happen because you don’t top by removing unneeded bracing, Europe, most of which is unknown. It’s want to take the top off any more than reduce the size of the bassbar and had many stewards over its long life. It you have to. I am fortunate enough to strengthen previous crack repairs so as to has played lots of different music, live near Nick Lloyd whose work I feel is allow the plate to vibrate freer quicker including several years in the Toronto outstanding. His attention to detail, his and as such energize the rest of the box symphony and many years with a well skills and experience are very much those more efficiently. respected New York jazz player flying of a man of longer years. He set to work around the globe. It’s road worn and while I played gigs with my trusty but not Having finished up the top he then looks it. near as inspiring second bass. moved to the ribs. He repaired the area where I had crushed it with relative ease. It came to me in the summer of ‘08, after He immediately encountered the fallout The remaining rib areas had lots of a several months long shopping spree of one of a long string of repairs the repairs and many areas of thinness and where I auditioned several dozen basses instrument had undergone that was instability. After removing much of the in the US from the Midwest to the East heavy handed, inappropriate, or poorly previous repair work he created coast. I played many basses I liked in my executed. The top was glued on much to alternating grafts of thin wood price range but kept coming back to the tightly with heavy concentrations of hide reinforcement and glue soaked linen to Queen. I had several top notch luthiers glue, so the top put up a fight coming off. strengthen the ribs and prevent further look at it and render opinions. They all The edge of the top needed rebuilding to cracks. Laminations like this on the sides felt like it was a bass with good tone and meet the ribs and close properly. Much of serve to strengthen and unlike on the top solid plates, but with lots of over done it had improper grain orientation, as did or back plates do little disservice to tone. repair work on the inside that was many of the old crack repair cleats. The In fact one could argue they couple the choking a pretty excellent bass bassbar was being propped up by some plates better in a way that can enhance underneath. I liked the character of the right angle cleats made to heal the bass projection. After repairing a few cracks sound as it sat and the feel of the bar crack. That and lots of other heavy with fresh cleats on the back he closed

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in the E and G strings. Now the E string roars and shakes the box, the A and D have the power, punch and depth they had before and the G string is much livelier. The bass projects across the room in an astounding way. It’s much louder and deeper several feet away than right on top of it. In front or on top of the bass it is louder and more responsive with less effort required to generate sound from it. As The underside of the top plate crack repair it breaks in and get’s used to its new insides I’m sure it up the box, set it up and touched up the will open up even more. I finish. clearly have to adjust my playing to its new ease of The result is amazing. We all knew there use. My heavy handed was a sturdy loud rich bass in there. We approach will have to were surprised at how much was actually change…and it’s about time. in there choked down. Its overall voice remained the same. It remained fat and I was afraid of the changes punchy, with complex characteristics that before they were made. I are now more evenly distributed across didn’t want to lose the bass the bass. They were previously reduced I had come to love, that character that made me want it in the first place. The good news is that all the old stuff is still there plus more. It’s just a better bass overall. It’s still easy to amplify, and now it’s much easier to play and significantly more sturdy. I suppose I’ve made it impossible to blame my playing lapses on the instrument anymore.

Closeup of bassbar keyed into bassbar crack repair cleats

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Bass &Drums By Jake Jacobs

JJ: Is there a particular Hal Blaine bass part from a song that illustrated what you Interview think is the best sound Part 2 and feel for a song? HB: I think one of the best recordings that I can Last issue, Jake Jacobs began his epic recall is Dimension interview with drummer and studio 5ive (on the album musician extraordinaire, Hal Blaine. Hal Portrait , by The 5th has over 8,000 recordings in his Dimension ), which was discography, and was part of the written by Bob Alcivar. Wrecking Crew, an elite group of studio This is my all time choice musicians in the L.A. area who helped set of what a bass player the charts on fire back in the ‘60s (and should sound like. The going forward). Jake continues his bass player on that record interview with master drummer, Hal was Joe Osborn who I feel Blaine: is one of the unsung heroes when it comes to JJ : Did anything ever catch you by bass playing. Listen to surprise in the studio scene? him on this record. Another player that needs instrument. It doesn’t mean you are HB: As a matter of fact, there were a few some recognition is Ray Pohlman, who going to laugh on every record or cry on occasions that I was called upon to play was one of the great arrangers and one of every record. If I feel that the bass player the bass. There were a few situations the great electric bass players. He was is going down the wrong road, I will talk while I was overdubbing percussion parts, playing Fender before anyone was to them. Sometimes drummers can scare the producer would say that they had lost playing Fender. He was kind of “Mr. Rock bass players. You have to have a little a bass part. I volunteered to do it and and Roll.” It was Ray that was on the sensitivity to the musicians around you fortunately enough, I was able to do it… Beach Boys records, despite other and when something is wrong, you talk to only because I knew the intervals peoples’ claims. Carol Kaye was mainly them and give them encouragement in a between the strings. The only down side one of the guitar players on the Beach positive way. I always approach it as if we was that I also ended up with some Boys records, even though she claims that can approach the song with a certain serious blisters on my fingers which you she was the bass player on those songs. direction which will always result in a couldn’t believe. When Ray passed away, they asked Carol better groove and a better result. You to try bass because at the time she was have to be flexible. You have to be able to JJ: Was it all groove instinct on the tracks fooling around on the Danelectro bass. bend. recording? That’s really how she started on bass. JJ: So, mainly one of the main secrets for HB: Yes. Once in a while we would change JJ: What are some of the secrets you you as a recording artist was drawing a few things but the glorious part about learned in approaching the studio and upon your own personal experiences that working with Joe Osborn and Jimmy Bond live performances? inspired you to play your instrument? was that it was always a learning experience. HB: Your entire life experiences are what HB: Some of it was my experience with leads you to what you will do on your my personal life. This created certain

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things. Musically, some of it was certain gear…Chuck Berghoffer had that swagger. talking about was not the same type of chords that would just inspire me He was the “ultimate.” slap bass playing that today’s bass emotionally. players are playing. The “slap” technique JJ: Is there a specific sound or tonality, was actually pulling the string; snapping JJ: In listening to your tracks, it seems amp or gear that gets your attention in the string. like you were able to provide something regards to bass players? that the song needed. What was your HB: Yea, you know; slap the fingerboard approach? HB: The thing that I have learned through on 2 and 4, creating that “boom, slap, the years is that we all speak “midrange.” boom.” Today’s guys are playing thumb HB: You know, if it feels right, it’s going We don’t talk “low” and we don’t talk pops; it’s great if it’s not overdone, and to stand out. It’s all about the feel; it’s “high.” Arrangers like to make sure that even better when it’s in the right place. not about being exact. It’s about getting when they write, they try to write for the the right feel. When it comes to the song, instrument and its natural range. Every JJ: Did they flam with you? Was it a you have to play what the song is telling instrument has their great sound in their deterrent to hear that “back beat” you, not what you are trying to say or midrange area. That’s where I tune my sound? Did they follow you? trying to play. Listen to the story. Play drums… midrange. And that’s where bass what the story tells you. If it feels right, players know their range, as well. HB: No we didn’t flam. It just fit. you’ve got something good. If you are a serious player, you have to JJ: You didn’t adjust your playing when I also learned very early on that I could practice, know what you are doing, know you had that “back beat” from the bass play a “hook.” If I found a hook at the end your instrument… And if you have player? of an 8-bar phrase and it worked, I would mastery of your instrument, then repeat that hook every eight bars. everything will fall into place. You gotta HB: No. We just locked in. You know, it Somehow, that could become a hook. A know what you are doing. was great. We just locked it in. It was a perfect example of that was a Taste of blast, especially live, because we would Honey. The Tijuana Brass couldn’t get the JJ: So, the support you need from a bass just kick the hell out of it. Leon just came intro going, so we looked at each other player is knowing that they have the in and played. He knocked the audience and I tried with four hits on the bass mastery of their instrument? off their feet. drum and then a triplet fill and that became the “hook” for the song. Larry HB: I know that if they know their JJ: How did you get yourself and the bass Levine was engineering. They used that instrument, it will never fail. No matter player “into the zone” on a session? hook throughout the record. what music you are playing, they will be there because they know what they’re HB : Experience; that’s all it is. JJ: It just seemed as if the producers doing. They’re not going to get lost. They allowed you guys to let it happen, know what is needed. If drummers and JJ: So, your advice to bass players would instead of making it happen. bass players study all parts of music – like be to not only listen to every style, but harmony, conducting, arranging, theory also involve yourself in every situation in HB: Absolutely. and so forth – you’re going to be able to all formats of music? do it. JJ: What draws your attention to bass HB: Absolutely. players? Is it their tone, sound, their JJ: Tell me about your playing with Leon pocket, their time, their style, their Bagwell. JJ: It seems that you were actually technique…? inspired by the bass player who brought HB: Leon was a country boy. When I something to the song besides what was HB: It’s all of the above. There are certain started out with Tommy Sands back in the on the chart, and that’s how you bass players that have command of their late 50’s, I learned so much with Leon. He interacted with the bass player. instrument, know their instrument, know was a “slap” upright bass player with the musical genre, know they are studied, Eddie Edwards on rhythm guitar. Scotty HB: Exactly. You never knew what the know their changes, their technique. They Turner was another player who helped me bass player was going to do, and he know exactly know what they are doing. with rockabilly and country music. Those didn’t know what I was going to do. Drummers are the same way. You can just guys just helped me out tremendously. tell how they walk, how they shake your JJ: … and you didn’t even discuss it? hand, how they set up and their JJ: Now, the “slap bass playing” you’re

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HB: No way; we just did something and Listen to any of the stuff we did with and I just overpowered the session. Earl listened to the playback. Jimmy Webb - MacArthur Park , that came along with his reputation. He trilogy. You will hear some great bass introduced me to so many wonderful JJ: There seems to be a conversation playing. And there are certain records people, like HB Barnum. It was HB who about the drummer/bass being behind or with openings, like Mamas and Papas, 5th used and introduced me to Sam Cooke in front of the beat, or the drummer Dimension … You will hear some very when Earl was not available. When Earl being ahead and the bass player being distinct parts. Bones Howe (producer and couldn’t make something, he would behind, or vice-versa. This concept seems also a fine drummer himself) had so recommend me. The only time we really to be contrary to the way you guys were much to do with that stuff. He was a great got to work together was when we doing sessions. producer and he knew how to use the worked with Jan and Dean . This might “knobs” and adjust the sound because he have been one of the first times that HB: The way things happened with us - knew the dynamics of what we were double drummers had worked and especially with Joe Osborn, in particular - doing. And when the thing came down recorded together. we would play together, slightly behind dynamically for a particular part, Bones the beat. We just played a tiny bit behind was right there and adjusted the sound to JJ: Didn’t you guys work out identical the beat, and that would lay perfectly on make it happen. And thank goodness he parts? track. Somehow, rhythm sections have a really liked my style. We did some habit of rushing it. incredible stuff, including some of the HB: We would sit down and work out and Elvis stuff especially the ’68 NBC write our fills and drum parts to be JJ: Did you play with a click track? Comeback TV Special. identical. You would never know that there were two drummers on those Jan HB: Once in awhile we played with a click JJ: What would drive you nuts about bass and Dean records . Jan Berry (the arranger track, but not all of the time. We still players? from Jan and Dean ) would love to do this. played the same way. We didn’t play dead He was trying new stuff and wanted to center, or in front; just a little behind. The HB: You know, I don’t think I ever had see what would happen. key was to play together. It had to be problems with bass players, ever. I was relaxed, and obviously we enjoyed what lucky enough to start with players like JJ: Did you find a lot of animosity among we were doing. Ray Brown, Red Callendar, Joe the other musicians who were not part of Mondragon, Max Bennett, and especially the Wrecking Crew? JJ: Both of you played behind. It was a Jimmy Bond. They were incredible union. players, and again like myself, they had a HB: Not at all. If anything, I think there tremendous amount of experience. They was a little bit of envy, because we were HB: Yes, without a doubt. played in every type of situation and working and making money and probably venue. I always said when it comes to more money at making hit rock and roll JJ: I am running into a few players who playing live, it’s different than playing on records. There were several musicians are playing so on top of the beat that I tape. When you are playing live, the who would have nothing to do with rock- find myself fighting to keep it in the audience is really listening with their n-roll. groove. I don’t know how to approach eyes, because they are focused on what is them on this. happening on stage. It’s a whole different JJ: The Wrecking Crew was starting to thing in the studio. dominate the recording scene, but HB: You know, you just have to talk to weren’t acting in an arrogant way. them and tell them we’re not going to a JJ: There was a time that you had the fire. It has to be relaxed and you have to fortunate opportunity to work with Earl HB: I think the guys knew where they enjoy what you’re doing. Palmer – one of the main people in your stood. life that introduced you to the studio JJ: Is there a particular bass part that you scene in Los Angeles. This two-drummer JJ: There seemed to be a looseness recorded that really reflects what you approach was relatively new and a fresh about the Wrecking Crew and that was feel bass players should listen to as far as new thing. Do you think the bass player the glue that formed the Wrecking Crew. “this is the best type of example of had a difficult time locking in with you You guys were having fun, dressed playing on a record?” and Earl? differently from the “traditional” musicians in the studio scene, and you HB: Listen to any of the 5th Dimension HB: I don’t think there was a problem. were open to playing rock-n-roll, which records, which happens to be Joe Osborn. Without sounding arrogant, I think Earl the others did not. I think this is what

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attracted the producers to you guys. They JJ: You grooved with Carol Kaye. Was her you from the first note to the last note. wanted to have your magic and they technique different than the others? You have to be able to adjust. Sometimes, wanted to have that personality in the you have to be dead on. It all depends on studio. You had a different attitude in the HB: Her whole slant on the music what you are working on. If it’s a record, studio. business was that if it wasn’t swinging, it sometimes things can flex, but if you are wasn’t music. She will be the first one to on a movie date, you have to be dead on. HB: They would look at the fun “these tell you how she hated rock-n-roll. Being In the old days, things were just kids” were having, and in fact, we all had a female she always wanted to be known “spotted,” but today things have to be degrees in music, we all read music, and as the 1st lady of bass. She felt it had to exact. So the only way to deal with this is we were able to capture the magic. swing the way she felt the swing. Most of experience and practice. You have to learn how to relax with a click.

I don’t know anyone that’s better than Chuck Berghoffer or Neil Stubenhaus when it comes to getting the right feel when playing with to a click. They are masters of their basses. That’s why he’s the No. 1 call. Jim Kletner is another master and understands the song. Will Lee is a perfect example of a player that can play with anyone and in any situation.

JJ: It looked like in some of the pictures that all of the musicians were set up near each other, only separated by gobos.

Before very long, word went around. the musicians in the Wrecking Crew were HB: That’s because that’s the way Phil Producers and musicians wanted to come schooled, knew music theory, knew about Specter liked to record: the natural sound. around and watch the sessions to see how arranging, and were able to adjust to That’s why he had those signs that said this was all being done. what the producer wanted. I think that’s “back to mono.” Phil wanted the listener why we were able to record so well to hear the whole thing. I know that one JJ: The Wrecking Crew had so many together. of the things that I learned from Roy players and so many individuals. Was Halee – one of the great engineers – he there a group of day-to-day guys that JJ: Would you say that Joe Osborn was was the engineer for the Simon & formed the nucleus? your first call bass player? Garfunkel sessions – and Roy would walk around and listen to us playing, and HB: Yea, there was Glenn Campbell, Leon HB: Generally speaking, yeah. He was an wherever it sounded the best, that’s Russell, Tommy Tedesco, Joe Osborn, Lyle incredible force on records. where he would set up the mics. Now, Ritz (another great bass player), and when you have 70 to 80 musicians, and sometimes Ray Johnson (piano) and JJ: So what was your mix like in your you’re at one of those big calls, of course brother Plas Johnson. That was the “cans” playing with three bass players? you can’t do that because of leakage. But original nucleus. Little by little, other in those days, when the all of the strings people were thrown in with us. Some of HB: I rarely used cans in those days. I were swimming together and that them thought it was distasteful playing didn’t need them. I was set up right in the magnificent sound that was coming out with the Wrecking Crew. The Wrecking middle of the group of those sound tracks… that’s the way Crew started around 1962-1963. You know they were recorded. the “proof of the pudding” is that records JJ: Can we talk some more about the click that we did 40 years ago are still being track? JJ: Another situation that I have been played today. running into lately is how to get the bass HB: The click track is only a guide to get player just to play in the pocket. I find

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that when I lay down a solid pocket the with were mainly road musicians, and not listening to everyone, then you will all bass player is not wiling to play in the studio players. Not many of them had play together. If you are just concerned pocket and they start drifting, not willing studio chops, so they were listening to about your own volume, then you only to play a solid part and become really to the record because they wanted to play end up playing with yourself, and then it busy for the song. I have tried to talk to the records the way they were recorded. rushes and then all of a sudden everyone them but I have not succeeded. It’s even Listen, money is not the root of evil, but is saying “What is that guy doing?” This more difficult in a live situation because rather the root of good. If you want to saying is true, but less is more. Don’t get you don’t have that opportunity to talk hold your job and make the money, then in the way of the song or the singer. about the parts like you would in a studio play what is required. It’s all about the We’re talking studio here, because environment. I don’t know how to deal attitude. Learn your parts and play what playing live is different. When you’re on with this. How do you get these guys and the artist wants. You know you have to be stage, people are listening with their reel them in? a diplomat. eyes. When you are on recording sessions, they are listening to the lyrics. What is a HB: You must explain to these guys that JJ: Is there anything that you would like song? It’s a story. Listen to the lyrics and they must listen to themselves and to to “leave with us” in regards to your paint the backgrounds. listen to everyone else when they are approach towards music and bass listening to the playbacks. They need to players? There’s nothing better than when a bass ask themselves if their parts fit. player and a drummer go hand-in-hand HB: I have to say that it was a great ride. and create the pocket. There’s nothing JJ: But what if we don’t have the luxury I was so fortunate to work with some of better than when you fall into the right of hearing a playback? the greatest bass players, aside from all pocket. Whatever fits the song, because of the other musicians, who were great. you are trying to be an accompanist not a HB: I will tell you what I did. I was playing But it was such a wonderful thing to have soloist. If they want you to do a solo, then with a very famous singer and she a great bassist on the bottom of the go for it, but otherwise you can’t do that decided to hire a percussionist. I was told foundation for whatever song we did. when a singer is singing their heart out. that this player was a fantastic player That happened in movies and in from the studio scene in LA. It seemed commercials. One more thing; I wish you the best of that every time I was taking a fill (which I luck to all of you, and remember to play did on the recordings), this percussionist JJ: What would be the last piece of the song as a painter! would step all over my parts. Finally, after advice you can give to give to our readers listening to this time and time again, I when approaching sessions with JJ: HB this is the last question I have for stood up and said, “I have heard enough drummers and what advice you would you, and I was wondering if you could of this —- and I ain’t taking it anymore.” want to give to drummers when they are put into words in one sentence the best And he was gone. That was his last gig approaching sessions with bass players? advice for a musician. with us. I hope he learned something from it. I didn’t mean for him to get fired, HB: You know, the only thing I can say is HB: You know, we use to say, “If you but it’s a rude awakening; somebody had – and I have talked about this in the past smile, you be around for awhile; if you to do something and ask “What the hell – is the word “listen.” If everyone is pout, you out.” are you doing?” Rhythm section players have to be reminded that they are accompanists and if they want to overplay or get in the way of a track, then they should do their own show, record or program.

JJ: Most people who know you are aware of your recording background but they may not be aware of your live performance playing. What was one thing in how you could reel in your live players?

HB: Most of the players I was on the road Simon Phillips, Hal Blaine and Kenny Aronoff

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Manufacturer’s Comments

Ernie Ball Music Man I'd think of the pushbuttons as more like a Chrysler Imperial thing. Phil's comments about the three pickups and slanted bridge pickup I accept as personal taste, but the comments about the compensated nut are incorrect. First, it is not an Earvana nut, and in fact, they were found to be infringing on our patent in Federal court last month. Our patented nut is not a shortcut to the Buzz Feiten System, but is a more refined compensation of the guitar scale. The fanned fret concept is something very interesting, but altogether different for a different purpose. Dudley Gimpel BGM_Issue5_123010_Layout 1 1/2/11 6:16 PM Page 106

FUNDAMENTAL SUPPORT Low notes for nashville

By Vic Serbe tracking a project!

Every 1,000 years. That’s how often The first culmination of all this Nashville would see the kind of floods was a benefit concert which they saw in May of 2010. Nearly 14 inches took place on June 17th, 2010, of rain fell over the course of May 1st and just before the Summer NAMM 2nd, shattering previous records. The city show… a NAMM show that was declared a disaster area on May 4th, itself was in jeopardy as a and the flood claimed nearly thirty result of the flood waters. The precious lives along with the massive concert featured numerous property damage that resulted, including famous bassists such as Bob national landmarks such as the Grand Ole Babbitt, Bryan Beller, Adam Sean O’Bryan Smith and Vail Johnson trade some licks. Opry house. The damage tallied up at 1.5 Nitti, Doug Johns, Vail Billion Dollars, and that’s not including Johnson, and Roy Vogt. It was a great when we have resources at our disposal property damage inside the buildings, or success, and was followed up by a charity and are made aware of the hardships on even roads and bridges. That kind of auction in August 2010. To date, they’ve others. When we help the community, we disaster calls for a particularly provided many basses, amps, and help ourselves as a member of that substantial effort to help, and Low Notes accessories to people in need. community. We would all do well to for Nashville is an organization that has follow their lead and remember this. proven its mettle in doing so. Its charter Bassists are often thought of as generally Besides, it just feels good. is to help rebuild the lives of musicians supportive people, possibly stemming severely impacted by the flood, by from the fundamentally supporting role For more information on Low Notes for providing them with replacement of the bass, but anybody can have that Nashville, please visit their web site at equipment. They have success stories mindset and help their fellow man. Sean http://www.lownotesfornashville.org/. posted on their website describing cases and Lane have worked with others to set where they’ve done exactly that, working an example for how we should all act with Nashville Musicians Association and MusiCares to identify legitimate candidates.

The organization started from humble beginnings… a single tweet from highly respected Nashville session and touring artist Sean O’Bryan Smith, pledging iTunes profits to Nashville flood relief. Almost immediately, his close friend and fellow bassist Lane Baldwin followed suit, and shortly thereafter, Low Notes for Nashville was born. To put things in perspective, the rains came on May 1st, the tweet came on May 6th. By The end of the next day, they had a website and pledges of participation from greats such Front Row: Doug Johns, Gary A. Brown as Adam Nitti, Bryan Beller, Roy Vogt, and Second Row: Dale (Roy Vogt’s Drummer, Vail Johnson, Tim (Roy’s Keyboard player), Shane Roberts, Roy Vogt, Mahlon many others. Now that’s what I call fast- Hawk (kneeling), Steve Lawson, Kira Small, Bryan Beller, Lane Baldwin, Bill Bachman, Sean O’Bryan Smith, Dave Pomeroy, and Rich Krainak. bass 106 gear BGM_Issue5_123010_Layout 1 1/2/11 6:16 PM Page 107 BGM_Issue5_123010_Layout 1 1/2/11 6:16 PM Page 108

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