BassRoad music magazine for
lovers of bass guitars
January- April 2014
CR4 RADIUS Bass
Baudin Interview p24
Baassik
BY NS Design p8
Interview p28
Top 10 Basses by internet voting Fender Jazz Bass, Fender Precision Bass, Gibson Thunderbird, Musicman Stingray and more! p10
Pedulla Basses announce:
the
Justin MeldalJohnsen
Nuance
Interview and BIO p20
a new bass is going back to the late 70’s p5
Contents
05
Pedulla Basses announce The Nuance
07 08
Even Bassists Are Going Green
10 20 24
Top 10 Basses by internet voting
27 28
Our Favorites Music
September 2009 and Michael Pedulla introduces a new bass, the Nuance, the latest in a long line of basses from the US-based going back to the late 70s, when Pedulla started making the fretless Buzz Bass .
Anything is green now – either eco-green or just plain green-green.
NS Design Introduces the CR4 RADIUS Bass
So, Ned has been at it again. NS Design have just announced a 4 string sibling to sell along side their recently introduced CR5.
Fender Jazz Bass, Fender Precision Bass, Gibson Thunderbird, Musicman Stingray and more!
Justin Meldal-Johnsen Interview and BIO
American producer, songwriter, bassist, multi-instrumentalist and musical director.
Jean Baudin Interview
You might know Jean Baudin from his 11 string bass version of Super Mario Brothers, Jean is a multi-stringed extraordinaire and I asked him to answer some questions for your reading pleasure.
These are the songs where the bassist gets to show their full tallent. The best bass performances.
Pam ‘Baassik’ Jennet
I recently had the opportunity to jam with Pam “Baassik” Jennet, from NYC. As bassist of Lo Frequency, she has toured in Morocco, Tunisia, Algeria,Jordan, Lebanon and Syria. Here’s a glimpse of our conversation! This is golden for any new players out there.
BASS ROAD MAGAZINE
Hello Bass Readers!
The “Blues” is my name, does not refer to the genre of blues music (though I have nothing against it).
M
taught guitar player y mission is to enlighten people on AND will also explorie the differences in how the many female guitarist in the world and a male and female rebring more light to us hearses and what motivates. as a whole. I’d like to encourage those of us freelance guitarist out there that have and writer, I love only had male role all types of music and models in this particu- am constantly educatlar field. It’s a shame ing myself and trainthat amazing female ing in my craft. I aim players to travdon’t el the get more world „It’s a shame that shine. enterI’ve per- amazing female players taining formed massdon’t get more shine“ es and several searchempowes online for female ering people to move guitarist during my toward their wildest own musical journey dreams. I am a reliaand have mostly found ble, open and loving the focus to be on how soul – who’s word is “hot” she is as opposed her bond. I love all to how she delivers as types of music and peoa musician. With this ple. My friends tend site, I will to provide to describe me as edgy, resources for the self determined, unique.
A
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Pedulla Basses announce...
The Nuance S
eptember 2009 and Michael Pedulla introduces a new bass, the Nuance, the latest in a long line of basses from the US-based going back to the late 70′s, when Pedulla started making the fretless Buzz Bass . The Nuance was designed as an acounstic instrument, focussing on tonal subtleties. Says Pedulla: It has been fully field tested with a number of Pedulla Artists, including Tim Landers, Mark Egan, and David Buda. Tim Landers used the Nuance live and in the studio and sums up the sound as: “It exudes a boutique quality but with a much more useful array of tones.A bass that not only sounds fantastic on it’s own but remains punchy and distinct even through a dense mix, a winning combination for me!” The bass is handmade in the U.S.A. It’s stunning good looks come from the Maple Burl, Arbutis Burl, and Red Heart Quilted Maple tops. The back is soft maple, and it has a bolt-on-neck design, with a hard maple two-piece quartersawn neck – the material of choice for a neck on a high end bass these days. The fretboard (where it has them) has 22 frets and is a very nice ebony. From the wood combinations, you can probably taste the sound already. Clear and glassy with plenty of punch from two custom-voiced Bartolini humbuckers, and 9 volt active electronics featuring volume, pickup pan, bass boost and cut, treble boost and cut, and a midrange boost and cut switch.
O p t i ons : 4-string or 5-string. 5-string with either 17.5mm or 19mm string spacing. Maple Burl, Arbutis Burl, or Red Heart Quilted Maple top Black, chrome, or gold color hardware. Fretted or fretless.
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Burls are large rounded outgrowths on the trunk of a tree. Red Heart Quilted Maple is only found on old growth trees and has shades of pink running through it, as well as occasional spalting.
Nuance 6
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Even Bassists
BassRoad
Are Going Green
Anything is green now – either ecogreen or just plain green-green.
I
had a green bass (of the greengreen sort) for a while – a 5 string Status Graphite Bass – but have been at the more traditional end of the spectrum for a while, so Musicman’s latest little limited edition bass grabbed my attention. The Dargie Delight Limited Edition package includes a very green (as in green-green) Stingray. say green, but it is actually a two tone iridescent green finish called “Caramel Apple Delight” – the picture gives a feel, but you’ll have to see it in the flesh to capture the full glory of it! Definitely an eye catching paint job – rare on basses, but I’m sure you can point me to some other examples! The bass also has striking custom inlays on the neck which mark it out. Orders are only open for a few more days – August 13th 2009 – I’ve spotted that The Perfect Bass are shipping them out. The limited edition stretches to most of the other models in the Musicman range, so if you aren’t a Stingray kind of a person, there are other options available, but you’ve got to like it green!
I
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BassRoad
NS Design Introduces
the CR4 RADIUS Bass So, Ned has been at it again. NS Design have just announced a 4 string sibling to sell along side their recently introduced CR5. It is a headless bass (it is a Ned Steinberger design after all!) with a very distinctive NS Design head stock. The controls are deceptively powerful, those four knobs and two switches 8
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give you: Master Volume, active Treble cut/ boost, active Bass cut/boost, rotary magnetic/ piezo pickup blend, 3-position magnetic pickup selector switch and a 3-position piezo EQ switch. reicab in eicae et moluptibus estiur? Qui odic to con consectis et quis molorere excerib ustrumenit as quae cum quis eos etum vendendunt.Ectibus anduciliqui dolorpo. Hot features are: Fusion™ neck, Diradial™ body shape, NS tuning system, NS/EMG pickup system.
www.marshallamps.com
Top 10 Basses by internet
voting The Fender Jazz is almost the undisputed winner, it has the same incredible quality of the Precision but it has a more versatile sound. With its more trebly tone the Jazz (or J bass) stands out from the mix, making it the choice for Jazz players and those who want to play more melodically.
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1. Fender Jazz Bass
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TOP 10 BASSES
2. Fender Precision Bass
The P bass was the first bass to come from fender guitars, two pickups close to neck position gives a smooth tone that brings joy to the ears of any bassist into blues, rock or Motown. The bass has a warmer and deeper sound than the J and it is slightly less versatile. BASS ROAD MAGAZINE
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TOP 10 BASSES
3. Gibson Thunderbird
The Thunderbird is Rock ‘n’ Roll. The axe of choice for many rock players such as Nikki Sixx, John Entwistle, Gene Simmons and Josh Reedy. With its humbuckers and heavy tone this bass is a true monster (a heavy one too). The standard model has a cool sunburst finish and of course the iconic eagle on the pickguard. 12
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TOP 10 BASSES
4. Musicman Stingray
The Stingray is an awesome bass with a modern sound that suits all sorts of styles from pop to funk and all the way to metal. It is a great bass for slapping and this makes it the ideal choice for players such as Louis Johnson and Flea. The bass usually features a teardrop pickguard and a single large humbucker. BASS ROAD MAGAZINE
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TOP 10 BASSES
5. Rickenbacker 4001/4003
The Rick is another one of those iconic rock basses. It would have been higher on the list except that I find it to be a bit uncomfortable to play. It usually costs a fair bit to buy but is still one of those basses you dream of buying. Notable players include Paul McCartney, Geddy Lee, Lemmy, Geezer Butler and Cliff Burton. If you haven’t heard of any of those players then you’re on the wrong site!
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TOP 10 BASSES
6. Ritter Bass
The Ritter, as seen in one of my previous blog posts, is a really really incredibly good looking bass guitar. Expect high prices and crazy designs (not a bad thing!).
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TOP 10 BASSES
7. Fender Jaguar
I’m probably a bit biased because I own one but this is a cool bass. You can read about it in my first blog post. Awesome Japanese electronics make this bass more versatile than Johnny Depp. Notable players include me, JMJ and that guy from The AllAmerican Rejects.
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TOP 10 BASSES
8. Warwick Corvette
This is what the Warwick website says about the Corvette “If the entire line of Warwick basses is like a family at a party, then the Corvette is the latest in-law who ate all the food, drank all the booze and is now in the coat closet with not one, but two of the wait staff!”. Not sure if that’s true but the bass does look, sound and feel pretty snazzy.
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TOP 10 BASSES
9. Hofner Beatle Bass
You’ve seen this bass, you’ve heard this bass and you probably know that Paul McCartney plays this bass. If you didn’t, well now you do.
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TOP 10 BASSES
10. Gibson SG Bass
Also known as the EB-3 this bass isn’t as popular as its birdlike cousin, which might be because it’s not quite as heavy and tough. Anyway Jack Bruce from Cream plays it, isn’t that enough? BASS ROAD MAGAZINE
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Interview
Justin Meldal-Johnsen 20
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Interview
B
est known for his work as a musician with Grammy Award-winning artists Beck and Nine Inch Nails, as well as Air and M83. He served as the touring bassist for Nine Inch Nails in 2008 and 2009. He has been Beck’s longtime bassist and musical director, on and off since 1996 to present day. He has recorded with many other artists including Garbage, The Mars Volta, Dixie Chicks, Tori Amos, Dido, Charlotte Gainsbourg, Goldfrapp, Pete Yorn, Turin Brakes, Marianne Faithfull, Ladytron, and more. As a producer, Meldal-Johnsen has worked with M83, Paramore, Tegan and Sara, The Naked and Famous, School of Seven Bells, Neon Trees, Crystal Fighters, Young the Giant, Ken Andrews, Division Day, and more. You might know JMJ as the bassist for Beck or Nine Inch Nails or one of the many other acts he’s played with. The guy is a legend of the bass and has some amazing basses in his arsenal. Justin agreed to an interview so i hope you enjoy it!
Tell me a bit about yourself, what kind of music do you play, who do you play with?
I play bass, guitar and keyboards. Most recently in the live format with NIN, previously Beck, Air, Ima Robot, and others. I’m also a producer, and I’m currently working on the new M83 album.
Who are your major inspirations?
Brian Eno, Joe Strummer, John Lydon, Jah Wobble, Bill Laswell, Michael Gira, Mark Burgess, Graham Lewis, Peter Hook, Simon Raymonde, Robin Guthrie, Paul McCartney, James Jamerson, «Family Man» Barrett, Sly & Robbie, Lee Perry, Jeff Lynne, Robert Wyatt, Enoch Light, Joe Osborne, Chuck Rainey, Matthew Seligman, Tina Weymouth, many more.
What artist do you enjoy playing with the most? It’s a tie between Beck and Nails.
Why do you own so many basses?
Because it’s fun to collect them and they all get used for different sounds and approaches.
What is your favourite bass guitar to play? 1966 Fender Precision.
Whats with all the pedals? How many do you have?
What’s with them is that they help me achieve noise that I hear in my mind. I have upwards of 60.
How does it sound with all the pedals going at once?
Justin Meldal-Johnsen is an American producer, songwriter, bassist, multi-instrumentalist and musical director.
Great!
Where can people find your music?
Every Beck album since Mutations, Air 10,000Hz Legend, Ima Robot albums 1 & 2, Ladytron, Goldfrapp, Marianne Faithful, Dido, NIN live recordings, lots of other things.
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Interview
Most know you as a bassist, not as a producer.
My transition to producer has been under the radar for years because until the M83 record, I hadn’t done work that a large body of people would recognize. After that [project], I got calls from interested labels and managers. I’ve produced three records that are less than a year old now. Before that, I produced maybe eight indie records, including Ken Andrews of Failure, Division Day, Grace Woodroofe (with Ben Harper), and Holly Palmer. I’ve always exercised those muscles.
When did you begin exercising those muscles?
I’ve always tried to figure out songs and texture and space and arrangements. I’ve spent so much time on the other side of the glass that I couldn’t help but be entranced by the process of how to get a record going from start to finish. I’ve always had this peripheral interest in how to help an artist feel like they are being heard. I don’t know if that is an ephemeral concept.
Being a producer is an ephemeral concept. Does it take a certain kind of personality to produce, and what elements are required?
I have always been a good listener and foil for artists, from Beck to Trent Reznor to Air to other people I’ve played with. In that role, you gain trust. And within that trust, you’re plugged into the nuances of someone’s creative process. You hear and you see things that others don’t see. You begin to understand their aspirations. I’ve always tried to figure out how to help people get the most distilled version of themselves. That sounds high and mighty, but that’s honestly where it’s at when I first meet someone. “How can we get to the core of this for them? What were the failings for them in the past?”
How do you get to that core?
A lot of shooting the sh*t and gaining trust. And in doing that, the more willing they become to experiment. For a good producer, it’s creating a utopian world where the artist feels they can regain some of the freedom that they may have lost in the past. When I do that early on, I feel like I’ve got a fast track to finding out the dos and the don’ts.
That sounds political.
It’s not about another producer, it’s finding out where the
“I still feel young at this, like I have to prove myself. I have no problem with being scrutinized. “ artist’s records ended up versus where he or she was trying to get. There’s many variables in the process. If it involves where someone was last with a producer, fine, but making a record is a two-way street. You can’t always fault a producer. There are all kinds of cogs in the works that make an album not go where it’s supposed to go. And there’s lots of inter-relationship stuff that might not have anything to do with the producer’s skill. It may have everything to do with the A&R guy harping on the producer or distractions the artist had with management, ulterior motives of band members, or drama. I try to cut through all of that. I want artists to feel like they’re getting something a bit more fully realized. Artists are not going to be willing to experiment in the studio unless they feel like they’re acknowledged. 22
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Don’t your credits command respect?
No. I have a lot of caché as a musician, but as a producer, people feel they are giving me a chance. For instance, I was able to make Paramore feel comfortable by doing one song first as a trial run. Producers with a lot of experience don’t do that. But I still feel young at this, like I have to prove myself. I have no problem with being scrutinized. With a band like Paramore who has sold millions of records, that is fine.
What was your approach with M83?
With M83, it’s like, how close can you get to the sun without being burned? They’re always trying to push the boundaries of how bold, how epic, how grand, how bright, or how cinematic a song or an
Interview
audio form the moments when you feel most liberated as a child or when you feel most inspired by the world or the most touched by something ephemeral or spiritual. It was like trying to merge reality with the conceptual.
How did you put those thoughts into action?
We discussed old music, but after a while it was nothing more than us keeping that ethos in mind and continuing to create. One day we got huge poster boards and made two dozen of them and put them on this very high wall in the studio. We wrote the manifesto of each song and what it meant to us on the poster boards. We’d cut things out of newspapers or books and put those on the boards. Or tack photographs or poems or bits of culture and anything inspirational to the boards. Every song would have this collage.
That had a literal impact on the music?
We did it at a juncture where we were slowing down. As we added to the poster boards, they became the bibliography for the rest of the album. That kept us making music from a non-mechanical and more instinctive place. Sometimes Anthony would write out in the desert. We had the luxury of time to do that. We needed those moments, because without them you don’t get a fresh look. We spent a year making the M83 record.
You go the nth degree to get the artist to exercise their imagination.
album can get without becoming ludicrously overblown. One can only go so far with layering and orchestrations and spiraling ascending melodies until it becomes trite. So with this album, it was all about how to push things to the edge of that feeling of jumping off the edge of the Grand Canyon and flying.
How do you make that idea tangible?
I was inspired by records like [U2’s] The Unforgettable Fire, which was informed by the actual location of the recording. I am also inspired by records made at Compass Point, such as Roxy Music’s Flesh and Blood and Avalon, Bassist Justin Meldall the Grace Jones albums, Talking Heads’ al-Johnsen’s résumé Remain In Light, so many albums. Those records had great success getting people to disassociate from daily life. Or 10cc’s “I’m Not In Love,” or London Calling or Wire’s 154; they all had a ruthless separation from expectation and pressure.
What was your process with Neon Trees?
Anthony [Gonzalez] and I began with discussions about regaining one’s youth and that surprise of the world and the ambition of being young. Then we sat in a room full of synthesizers trying to out-inspire each other. We created jams and put up rhythms and played to them and co-created upon them.
You played a lot of instruments on Hurry Up, We’re Dreaming.
We both did. As the creature started to emerge, we felt that we had to do a lot of it with our own hands; otherwise, it would be compromised. I am not a guitar player, but I play the lion’s share of guitar on the record. There were a bunch of bad-ass musicians that I brought in, but only for very specific things. Otherwise Anthony and I went as far as we could to play it all. The album became very personal. It was a quest for us to figure out a way to put in
reads like the ultimate session player’s dream. His recording chops have graced the work of Beck, Air, NIN, Emmylou Harris, The Mars Volta, Macy Gray, Garbage, Goldfrapp, Black Eyed Peas, Pink, Kid Rock, and dozens of other artists. But unsatisfied with his gun-for-hire existence, Meldal-Johnsen recently infiltrated the studio as a stealth producer. He’s been part of major productions for years, and his big ears have finally extended to a place behind the glass. And he’s already racking up successes. Meldal-Johnsen produced M83’s 2011 electronic opus Hurry Up, We’re Dreaming, and Neon Trees’ pop rock chart topper, Picture Show.
It was different, because the stakes were higher. They’ve always regarded themselves as a band that has big ideas. They have a history that goes well beyond what anyone has heard, and they know a lot of cultural reference points that help them articulate what they want. We had a two-month window to indulge ourselves in using the studio as an instrument. It is a pop and alternative-rock album, but it’s certainly a far cry from what the normal expectation of an alternative pop band would have on their record.
You also engineered the album.
On everything I do, I am always engineering. I use engineers to do two things: to help me get drum sounds, and when at my studio, to help me run the computer. I am very clear on what I want from a sound or from an engineering approach. BASS ROAD MAGAZINE
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„When I was a kid, I first wanted to play guitar.“
notes of a piano.... I always wanted the range of the piano but on a fretted instrument.
How has your music evolved since you first began playing?
When I started adding more strings, I started to incorporate more tapping into my playing. I still like to play fingerstyle (and slap) but I feel I can take advantage of the range more with two-handed tapping.
How can people gain access to your music? I have lots of recordings available at www. jeanbaudin.com My album of solo pieces «Solace» is also available from iTunes and Amazon. I also have an instructional book on tapping called, «The Mechanics of Tapping» available from my website as well.
Any last words?
Thanks for the interview!
Who are your major influences?
When I was younger, Steve Harris, Fishbone, Bad Brains and Bach. Nowadays, I like listening to music that has just solo music... stuff like Art Tatum or Joe Pass.
What advice do you have for people who want to be a bassist?
Y
ou might know Jean Baudin from his 11 string bass version of Super Mario Brothers, Jean is a multi-stringed extraordinaire and I asked him to answer some questions for your reading pleasure.
How did you start and what inspired you to make music?
At first, I tried to play guitar but I had broken a finger that had set wrong, so I couldn’t do chords. A friend suggested I try bass because I wouldn’t have to play chords. I was inspired to play music because I liked the covers of Iron Maiden albums.
I think you just need an instrument to be a bassist. If you want to be a GOOD bassist, you need to put some time in and practice.
What can you tell me about your instruments?
I mainly basses with 9 or more strings. I have custom instruments from Ken Lawrence, Conklin Guitars and JP Basses. When I first started playing a 4-string bass my immediate reaction was «Where are all the notes?» - I’ve always felt the instrument was comfortable to play, wide string spacing, longer scale length, bigger frets but I never liked the fact that it had such a limited «speaking» range. It’s kinda like the bottom
“Awrite mate. Is that a six string bass you’re playing? That’s pure weird?” Yes. It is. Now please walk out in front of a bus. As someone who plays an extended range bass I get this type of “patter” a lot. And it’s boring. However, this artist really turns heads, drops jaws and stifles crap chat when others clap eyes upon his main instrument. Before I get into the meat of this I have to say that this is probably the most excited I have ever been about doing a showcase article as not only did I get the chance to interview someone who’s music I love but I got to interview someone who is such a huge influence on my own playing style. Introducing Jean Baudin. 11-string bassist. Yes. You read that right. ELEVEN. Jean has produced two solo albums, Solace and recent release Mechanisms, which have seen him create some truly expansive and epic tracks which sound like multi-instrumental pieces, when it is simply one gargantuan 11-string which is producing such beautiful soundscapes. With tracks such as ‘Transcend’ and ‘Albatross’ on Solace creating vast and delay-strewn works of art and glitchy, angular pieces like ‘Crustacean’ on Mechanisms, it
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BASS ROAD MAGAZINE is clear for the listener to see that Jean is not a run of the mill artist. He is a composer. Jean has become something of a viral hit as well with his bass videos garnering millions of views online, whether it is him playing his own solo pieces at NAMM or performing his cover of the Super Mario theme. I caught up with Jean and asked him; “Why an eleven string bass?” The main reason is I just didn’t want to be limited by the three octave range of a bass guitar. When I was a kid, I first wanted to play guitar. I had broken a finger when I was younger and couldn’t finger basic chords. A friend suggested I look into bass as I wouldn’t need to play chords. So, I got one and went at it – though, I realized quickly that the instrument had a very limited range. Not satisfied with leaving well enough alone, I met a guy who could make me a custom bass. We designed a 5-string bass with a high string and 34 frets. Eventually, I got a 6-string. Then I discovered Conklin Guitars who were crazy enough to make a 9-string. A few years after that, some string manufacturers were capable of winding thicker strings to go even lower and with fanned frets I was able to add a higher string. I had three 11-strings commissioned and one 12-string (with an extra high string). Compared to standard four-string bass, I have three lower strings (B, F#, and C#) and four higher strings (C, F, Bb, Eb). The 12-string adds a higher Ab above. The entire instrument is tuned in fourths like a traditional bass guitar. Now, Jean’s 11-string is roughly the size of a small child and has some of the coolest custom work I have ever clapped eyes upon. On his current 11-string you can see ‘Joust’ hand-carved into the next and some of his other basses are truly astonishing; his Pac-Man bass being my personal favourite. They are some of the most interesting and eye-catching basses that you could ever hope to see. As someone who does not have that much nous in the area of bass building Jean was eager to tell us about all the ins and outs of his instrument. Who made it? Can regular amplifiers cope with it? And to satisfy any tech geeks out there, what pedals does he use to produce the sounds that he does on the bass? I’ve owned a few 11-string basses so far but my main instrument was built by a luthier in Northern California named Ken Lawrence. When I first approached him with the concept, there was not yet any 11-string instruments
built and within the four years it took him to build it (Ken has a long waiting list and my instrument required a lot of special tooling) two other 11-strings were built and completed. The lowest strings definitely require special gear to accurately reproduce those frequencies, though I use the lowest strings with my band and not too much in the solo music. For effects, I use a Strymon TimeLine for delay, a Neunaber Technology Stereo WET for Reverb, a plethora of Iron Ether effects (filter, bitcrusher, fuzz, detuner) and a pedal I designed called Expressionator. I run a lot of pedals in stereo so I have two identical left / right Phil Jones Bass PB-300s. Having never actually seen a solo bassist perform with my own two eyes it seems like a very niche trade to ply for a musician. I am fully aware, through my own correspondence with Jean, that he is a session musician amongst other things as well as a solo
musician. With the U.S being something of a logistical nightmare for any musician who is wanting to branch out far and wide musically, I asked Jean just how many gigs he chooses to play as a solo act and how these are received. On top of that I wanted to discuss his work outside of being a solo artist. I actually play a lot more than I advertise on my site. Coffee houses, corporate events, street busking, I’ve even played a few weddings. I typically don’t promote casual / low-key gigs as I feel bad when someone drives a long distance for an event where I may only play 20 minutes, for example. Higher profile gigs – like a Solo Bass Showcase with Michael Manring, are few and far between – and playing with bands in clubs can be hit or miss. I’d like to tour, but haven’t found a way to make it financially feasible. I have a masterclass that I put together which my book “The Mechanics of Tapping” is based from. It introduces people to the concept of two-handed tapping and works it through absolute beginner to advanced techniques. You can read full bio of Jean Baudin on his official website: w ww.jeanbaudin.com
„I actually play a lot more than I advertise on my site.“
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BassOur Favorites Music
YOUR CHOICE!! Geddy Lee Winner Of The List!
Criteria: These are the songs where the bassist gets to show their full tallent. The best bass performances.
1 YYZ
5 Tommy The Cat
9 Jam
13 My Generation
2 The Real Me
6 Apostrophe
10 Karn Evil 9
14 Dance Of Eternity
3 The Lemon Song
7 Sound Chaser
11 N.I.B.
15 Coffee Shop
4 Anesthesia
8 Metropolis Pt. I
12 Thela Hun Ginjeet 16 Roundabout
Geddy Lee (Rush)
John Entwistle (The Who)
John Paul Jones (Led Zeppelin)
Cliff Lee Burton (Metallica)
Les Claypool (Primus)
Jack Bruce (Frank Zappa)
Chris Squire (Yes)
John Myung (Dream Theater)
Larry Graham (Central Station)
Greg Lake (ELP)
Geezer Butler (Black Sabbath)
Tony Levin (King Crimson)
John Entwistle (The Who)
John Myung (Dream Theater)
Flea (Red Hot Chili Peppers)
Chris Squire (Yes)
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Female Bassist - Interview:
Pam ‘Baassik’ Jennet I recently had the opportunity to jam with Pam “Baassik” Jennet, from NYC. As bassist of Lo Frequency, she has toured in Morocco, Tunisia, Algeria,Jordan, Lebanon and Syria. Here’s a glimpse of our conversation! This is golden for any new players out there.
When did you start playing and how did your journey as a musician begin?
My great-grandmother, who raised me, and my elementary school music teacher, Ms. Janet Dunston, encouraged me to play music. “Mommy” got me an acoustic guitar when I was ten. Around the same time, Ms. Dunston brought a new classical music curriculum to our school. Because of them, I played the violin, viola, guitar and trumpet. By high school, I was teaching myself acoustic guitar. But I loved the sound of bass. And since I had very small hands & fingers, I thought that it would be easier to play bass guitar. (My hands are really small. I can still wear children’s gloves.) So, I begged for the $60 for the bass. “Mommy” finally gave me the cash and I ran down to the pawnshop and got the bass. I still have it.
Describe your own personal rig (amp/ cab/effects/axe)
Right now, I’m using: Ibanez SR 505 bass (5 string)-My main bass these days and first stab at five string. Fender Precision (MIM/4 string). One of the standards. Schecter Stiletto Custom 4 string-I toured overseas with this. Nice lightweight bass. Ibanez AEB, which is a huge acoustic bass! I own a Mark Bass CMD 1×12 400w. Love that thing. Love the sound, nice and warm. Worse-
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BASS ROAD MAGAZINE
case scenario, I go direct and I’ll use a Sans Amp Bass DI box. Effects: I love effects and would have more if I could. I’m a pedal-head that could easily hang with Bootsy Collins; he has massive gear and pedals! I use a Korg Pitch Black tuner, Boss Bass Compression, Boss Bass Chorus.
Have you played in several bands? Approximately how many would you say?
Hmmm…. I would say five or six bands or artists.
How did you become part of Lo Frequency?
Well, the original bassist, eYe serene, was leaving the band for personal reasons. She remembered me from when we performed at a show with one of my old bands. (She performed alone; I was with my band at the time.) Being a pro, she didn’t want to leave the band without a replacement, so she recommends me and suggested that I meet Chen [Chen Lo], and the band to see if we fit. That was in 2008 or 2009. I’ve been with them since. What people don’t know about us is that we have a teaching curriculum. We teach about the history of Hip Hop and its roots. We have a program where we break up the participants
into groups and at the end, the participants have a new song that we all perform on the spot.
What has been your favorite or most exciting parts of your experience with Lo Frequency?
We were one of ten bands in the 2010 Jazz At Lincoln Center Rhythm Road: American Music Abroad program. We traveled and taught in six (6) different countries in North Africa & the Middle East. I had never traveled abroad before that, so I was really excited to do that.
What are the challenges you have?
As a musician: The music industry has changed and is still changing. So much so that the book is still being written. Finding paying gigs is another thing in NYC. It is who you know as well as how well you play and perform.
How many hats do you wear in life?
Baasik: I am the bass player/musician, carpenter girl, gear head. I’m the official food test dummy in my house; my partner of almost twelve years, Des, is a great cook. And she can handle my ‘musician-ness’.