BassPlayer 2017-01

Music 

& Tab 

Charles Bradley’s “Change for the World” 

Learn Nick Movshon’s Soulful Bass Line 

bassplayer.com 

® 

MeTAllica’s 

Robert 

Trujillo 

Mastering Riff 

Counterpoint & 

Ferocious Tones 

Etienne 

Mbappé 

Balancing Chops 

And Heart 

Brand X, 

Percy Jones 

Secrets of a 

Fretless Pioneer 

Ida Nielsen 

Time And Space 

JANUARY 2017 

A NEWBAY MEDIA PUBLICATION 

Reviewed 

Dudacus Tiberius ATTAck Bass 

Fractal Audio FX8 

LITTLE LABS Redeye 3D Phantom 

2016

Nice top. 

Round core. 

Boom. 

When our bass-playing experts found a way to wrap nickel-plated steel around a 

round core, they created one of the world’s most popular bass strings. GHS Round 

Core Bass Boomers offer the malleable, tactile experience you expect from a round 

core string. The nickel-plated steel adds extra core durability with a full frequency 

sound — with a soft, clear high end — that babies your frets. These are your power 

strings. These are Round Core Bass Boomers. From GHS. 

PLAY WITH THE BEST 

ghsstrings.com 

800.388.4447 

ELECTRIC GUITAR BASS ACOUSTIC CLASSICAL MANDOLIN BANJO BAJO DULCIMER PEDAL STEEL RESONATOR UKULELE AND MORE

600 Watts 

at your 

Fingertips. 

Victor Wooten 

Hartke Artist 

Introducing the Hartke TX600 Bass Amplifier 

This new 600-watt bass amp offers Hartke’s legendary tube 

preamp circuitry in a highly-portable enclosure that weighs in 

at just 7 pounds. The TX600 features a built-in compressor 

and unique tone stack EQ section that compliments a variety 

of playing styles. Loud, light and flexible, the TX600 is the 

perfect all-around bass head for the stage and studio. 

© 2016 Hartke | hartke.com

Sweetwater Is Your Premier 

One-stop Shop for Bass Guitars, 

Effects, Amps, and More. 

Sweetwater Charcoal 

Reel-to-reel T-shirt 

Darkglass 

Microtubes B7K Ultra 

Fodera 

Emperor II 5 Select 

Limited Run 

Gallien-Krueger MB Fusion 800 and Neo 112-II 

FREE PRO ADVICE 

We’re here to help! 

Call today! 

FREE 2-YEAR WARRANTY 

Total Confidence 

Coverage Warranty 

FAST, FREE SHIPPING 

On most orders, with 

no minimum purchase! 

(800) 222-4700 Sweetwater.com 

0 % * on purchases of select manufacturers’ products made with your Sweetwater Musician’s All Access 

INTEREST for 24 MONTHS Platinum Card between now and January 31, 2017 – 24 equal monthly payments required. 

*Offer applies only to single-receipt qualifying purchases. No interest will be charged on promo purchase and equal monthly payments are required equal to initial promo purchase amount divided equally by the number of months in promo period until promo 

is paid in full. The equal monthly payment will be rounded to the next highest whole dollar and may be higher than the minimum payment that would be required if the purchase was a non-promotional purchase. Regular account terms apply to non-promotional 

purchases. For new accounts: Purchase APR is 29.99%; Minimum Interest Charge is $2. Existing cardholders should see their credit card agreement for their applicable terms. Subject to credit approval.

THINK OUTSIDE 

THE STOMP BOX 

EXPRESSION OVERDRIVE. 

AMBIENT DELAY. 

Introducing the Ernie Ball Expression series effects pedals. 

From roaring overdrive to ambient soundscapes, 

experience unparalleled sonic control. 

Starting at $199. Available Now. 

ernieball.com

TABLE OF CONTENTS LINK FACE TECH PLAY LEARN 

CHRIS SCHWEGLER / ATLAS ICONS 

C ontents 

January 2017 | Volume 28, Number 1 | Bassplayer.com D B S T W 

26 Robert Trujillo 

The Trujillo era of Metallica reaches maturity with Hardwired … to Self Destruct, as 

Robert chases simplicity and gargantuan grooves. By Freddy Villano with Chris Jisi 

32 Bass Player LIVE! 2016 

Gear manufacturers and low-end heavies came together for another unforgettable 

bass bash in L.A. 

38 Etienne MbappÉ 

From Cameroon to Paris to stints with fusion luminaries and other stars, the man 

with the gloves brings it all together on his new solo record. By E.E. Bradman 

56 Charles Bradley’s 

“Change For The World” 

Nick Movshon warms up the contemporary R&B ballad with a strong sub-hook 

and tasty, sometimes surprising note choices. 

Cover photo: Javier Bragado 

Bass Player (ISSN 1050-785X) is published 13 times a year, monthly plus a Holiday issue to follow the December issue, by 

NewBay Media LLC, 1111 Bayhill Drive, Suite 440, San Bruno, CA 94066. Periodicals Postage Paid at San Bruno, CA and at 

additional mailing offices. Canadian GST No. R13288078, Customer No. 2116057, Agreement No. 40011901. POSTMASTER: 

Send address changes to Bass Player, Box 469069, Escondido, CA 92046. 

DEPARTMENTs 

Bass Notes 

Soundroom 

Woodshed 

12 COMMUNITY 

Lowdown, Dig My Rig, 

the Real World, Court of 

Opinion 

24 NEW GEAR 

Ear Trumpet, EarthQuaker, 

mymusicmasterclass 

66 THE INNOVATORS 

Rob Elrick of Elrick Guitars 

14 Percy Jones The return of 

Brand X—40 years later 

18 Ida Nielsen Keeping the 

purple flame alive 

22 BP Recommends 

46 DudACUS Tiberius Attack 

4-string 

48 Fractal FX8 Multi-Effects 

Pedalboard Mark II 

50 Little Labs Redeye 3D 

Phantom DI/reamp 

52 Jazz CONCEPTS 

Beatnik boogaloo 

54 R&B GOLD 

Motown and Jamerson hit 

the scene 

8 bassplayer.com / january2017

www.bassplayer.com 

Vol. 28, No. 1, January 2017 

Editorial Director Michael Molenda, mmolenda@nbmedia.com 

Editor Chris Jisi, bpeditor@nbmedia.com 

Consulting Editor Karl Coryat 

Senior Contributing Editors E. E. Bradman, Jonathan Herrera 

Contributing Editors Ed Friedland, John Goldsby 

Web and Contributing Editor Jon D'Auria 

Staff Writer Jimmy Leslie 

Art Director Paul Haggard 

Assistant Art Director Laura Nardozza 

Production Manager Amy Santana 

The NEWBAY MUSIC GROUP, Business 

VICE PRESIDENT, GENERAL MANAGER: Bill Amstutz, 

bamstutz@nbmedia.com 

GROUP PUBLISHER: Bob Ziltz, bziltz@nbmedia.com 

Advertising Director: Jon Brudner, jbrudner@nbmedia.com 

Advertising Director: Mari Deetz, mdeetz@nbmedia.com 

Advertising Director: Jeff Donnenwerth, 

jdonnenwerth@nbmedia.com 

Advertising Director: Jason Perl, jperl@nbmedia.com 

Advertising Director: Scott Sciacca, ssciacca@nbmedia.com 

Advertising Director - Labels: Chris Enriquez, 

cenriquez@nbmedia.com 

ADVERTISING director - NON ENDEMIC: Anne Triece, 

atriece@nbmedia.com 

PRODUCTION DEPARTMENT MANAGER: Beatrice Weir 

FULFILLMENT COORDINATOR: Ulises Cabrera 

OFFICE SERVICES COORDINATOR: Mara Hampson 

Advisory Board 

Kenny Aaronson, Jeff Andrews, Steve Bailey, Jeff Berlin, Brian Bromberg, Ron Carter, 

Phil Chen, Stanley Clarke, Art Davis, Nathan East, Mark Egan, Andy Gonzalez, Barry Green, 

Stuart Hamm, David Hungate, Anthony Jackson, Darryl Jones, Dave LaRue, Will Lee, Michael 

Manring, Christian McBride, Marcus Miller, Pino Palladino, John Patitucci, Josh Paul, Dave 

Pomeroy, Chuck Rainey, Rufus Reid, Steve Rodby, Billy Sheehan, Lee Sklar, Steve Swallow, 

Gerald Veasley, Verdine White, Gary Willis, Doug Wimbish, Victor Wooten 

Please direct all advertising and editorial inquiries to: 

Bass Player, 1111 Bayhill Drive, Suite 440, San Bruno, CA 94066 

(650) 238-0260; FAX (650) 238-0261; bassplayer@nbmedia.com 

Subscription orders, inquiries, address changes, and Back Issues: 

Bass Player, P.O. Box 469069, Escondido, CA 92046-9069. For 

quickest service, telephone: 800-234-1831 or (760) 291-1537. 

bassplayer@pcspublink.com 

List rental: (914) 925-2449, danny.grubert@lakegroupmedia.com 

For custom reprints & e-prints please contact our reprint coordinator 

at Wright’s Media: (877) 652-5295 or newbay@wrightsmedia.com 

Newbay MEdia CORPORATE 

President & CEO Steve Palm 

Chief Financial Officer Paul Mastronardi 

Vice President, Digital Strategy & Operations Robert Ames 

Vice President, Content & Marketing Anthony Savona 

IT Director Anthony Verbanic 

Director of Audience Development Meg Estevez 

Director of Development & Web Operations Eric Baumes 

Bass Player is a registered trademark of NewBay Media LLC. All material 

published in Bass Player is copyrighted © 2016 by NewBay Media LLC. 

All rights reserved. Reproduction of material appearing in Bass Player 

is prohibited without written permission. Publisher assumes no responsibility 

for return of unsolicited manuscripts, photos, or artwork. All 

product information is subject to change; publisher assumes no responsibility 

for such changes. All listed model numbers and product names 

are manufacturers’ registered trademarks. Published in the U.S.A. 

Follow Bass Player online at: 


PORTRAITS 

IN TONE 

dUg Pinnick. Unmistakable in every way --that voice, 

the songwriting, his style, and, of course, the dUg tone. 

Since the formation of King’s X in the ‘80s, dUg has 

been one of the most influential players to garner 

attention for the then hardly used, 12-string bass. 

dUg also devised his own method of using guitar and 

bass amps together to merge high-end distortion with 

low-end bass. The combination resulted in a sound 

as subtle as a freight train, yet ironically musical and sensitive. 

Just like dUg. 

And just like dUg, there is an unconventional structure 

to the design of his Signature Ultra Bass 1000 bass amp 

head. The intent is to use both channels mixed or the Bottom 

channel by itself. The Top channel handles distorted 

guitar amp tones and the Bottom provides a clean (yes, 

clean!) pre-amp and compressor for more conventional 

bass amp sounds. Mixed together, you get dUg. 

We are honored dUg chose Tech 21 to collaborate with in 

the creation of his own signature amp, the dUg Ultra Bass 

1000. For uncontrollable smiles and endless groove, get 

dUg Pinnick 

King’s X, KXM, Pinnick-Gales-Pridgen, Grinder Blues 

one of your own today. 

dUg Ultra Bass 1000 

 

DESIGNED AND MANUFACTURED BY TECH 21 USA, INC. 

WWW.TECH21NYC.COM

COMMUNITY LINK FACE TECH PLAY LEARN 

C ommunity 

LOWDOWN 

chris jisi 

Remembering Kid Logic 

I learned of Victor Bailey’s passing on the morning of Veterans dAy, nOVember 

11, while boarding a flight to Florida for a gig. Fitting because it reminded me of Victor relaying to BP the story of 

“Do You Know Who?/Continuum,” his brilliant biographical ode to Jaco, in which he put lyrics to Jaco’s “Continuum,” 

feeling that younger bassists were already forgetting the Florida giant. Victor wrote it on a cross-country flight in 

1999, the entire lyric coming to him in a bolt of inspiration. That’s the kind of gift he had, just like the story of how 

he was able to play the bass guitar—and even fill on it—the very first time he picked it up, in the basement of his 

musically rich Philadelphia household. It’s the kind of gift I wish I had, as I try to put the man and his music into 

words, while on this flight. The Victor I knew was focused, determined (he never once complained about the medical 

condition that would ultimately take him from us much too early), outspoken, and even a bit cocky in a positive 

way, with a powerful drive and passion to play the bass. No matter what sideman gig he had—and he had the best 

of the best—he would always say, “There’s so much more I can do that I don’t get to show.” Even with his catalogue 

of well-rounded, adventurous solo albums, he always felt he could go further. That constant reaching, coupled with 

a solid musical grounding, was how he was able to innovate on both the groove and solo sides. As for “Do You Know 

Who,” I had it as my message greeting on my old analog phone machine for years, and Victor would joke, “Sometimes 

I call your number just to hear myself playing”—inferring that you weren’t hearing him on the radio with any regularity. 

Not to worry, Victor, your singular musical output ensures the bass world will always know you and remember 

you. And I’ll be ready to write tribute lyrics to “Kid Logic,” should that ever change. Rest in peace, my bass brother. 

DIG MY RIG! 

As a bassist with the Orchestre Symphonique de Montréal, the 

double bass is my main gig. The electrics allow me to have fun with other styles that I love, including 

funk, rock, and progressive metal. I began performing on the octobass in the orchestra in October 

2016. The capos are activated by a system of hand levers and footpedals, just like the original 

instrument invented circa 1850. For an acoustic instrument, its power and richness is amazing. 

Double bass: Rafaelle & Antonio Gagliano (1850). Octobass: Jean-Jacques Pagès/Canimex 

(2010). Electrics, left to right: Fender American Deluxe P-Bass, Music Man Bongo 5, MTD 

6-string. —Eric Chappell 

Got a rig you think we’d dig? Send a photo and description to digmyrig@gmail.com. 


The Real World 

Brian Masek 

Home base Sioux Falls, South Dakota 

Occupation Computer programmer 

Gigs Brian Masek & Friends (original jazz/rock/fusion/blues), solo performances, Gail Pifer Big Band, backing up 

touring performers 

Basses Two Bossa OB-5 basses (main bass is maple/walnut, backup is ash) 

Rig Hartke HA3500 amp with Hartke XL 4x10 and 4x15 cabs, each with added 5" driver 

Effects Line 6 POD Pro XT Bass, DigiTech JamMan Stereo Looper Pedal, Boss Bass EQ, Alesis SR-18 drum machine 

(solo gigs only) 

Strings Elixir Nanowebs 

Heroes & inspiration Too many to list, and I’m inspired more by great songwriting than great playing. A few players I greatly 

admire are Ric Fierabracci, Rufus Philpot, Rocco Prestia, Paul McCartney, Anthony Jackson, Alex Al, and Hussain Jiffry. 

Contact brianmasekandfriends.com, facebook.com/bemasek 

How did you come to play bass? What’s a lesson you’ve learned along the way? What are your musical goals? 

I started on bass because my friend was a guitar 

player. I quickly got involved with the music 

scene playing in rock cover bands. I had always 

wanted to get into jazz, and in 2005, I decided 

to focus on that exclusively. My first jazz gig 

ended up being with Mike Miller (currently with 

Boz Scaggs), Tom Brechtlein (Chick Corea) and 

Steve Weingart (formerly with Dave Weckl) at 

a big jazz festival. Over the years, I’ve tried to 

catch up, fill in the gaps, play honorable gigs, 

and do the best that I can. 

No matter how much better other players may To continue to work to be a better player, fill in my 

seem than you, you can nearly always win many gaps of knowledge on jazz and theory, 

everyone over by being prepared. Knowing and continue playing with others who inspire 

the arrangements and having good feel and 

and push me to be better. 

tone means more to most people than being 

an amazing soloist. Do your homework and go 

after every opportunity, no matter how crazy it 

seems. Sometimes the rare opportunities work 

out, and when they do, they are amazing! 

Introducing Players Circle - Buy Strings, Get Points, Claim Rewards 

Enter to win 2,500 Players Points by visiting bassplayer.com/realworld And go to 

Playerscircle.daddario.com to join today! 

Court Of Opinion 

What are your New Year’s resolutions? 

I just want to be able to get up in front of people and play again. 

Currently fighting pancreatic cancer and don’t have the strength 

to stand and hold any of my basses, much less play. But don’t 

count this Vietnam veteran out. I will play again and I will play damn good! 

—Ron Shepherd 

Trump’s the president, racial tensions are high, Americans are 

rioting, our future’s uncertain: I feel compelled to write bass riffs 

for political songs. —Omar Dogknife Martinez 

To concentrate more on sightreading. Having the ability to coldread 

a piece of music is where it’s at. —Al Gates 

Aside from practicing material for gigs, leave time for more 

actual exploration and just free playing! The stuff I did as a 

younger player, when anything seemed possible. —Sean Fairchild 

Convince the band to drop the songs that require my fretted 

bass. 

—George Baker 

To retire after 40 years in food service to go back to my first 

love. I’m restringing my bass now. Then more practice. 

—John Montalvo 

I’m going to go back to the beginning and learn how to read 

music. I always taught myself by listening and never put any time 

into reading. So that’s the objective. —David Morrison 

Spend more time in the shed. 

—Jason Sanders 

I want to become as comfortable on upright as I am on electric. 

—Alex Trellu 

Get back to playing full time! 

—Rudy Johnson 

Spend more time listening and locking with the drummer. It’s a 

magical thing when the groove is tight, completely free of “extra” 

notes that we inherently feel make things better when they 

generally don’t. —Ben Harris 

Perfect my slap/pop technique. Work on my fret hand strength, 

dexterity, agility, and keeping fingers closer to the fretboard 

when not playing a note. Nail “For Whom the Bell Tolls” 100 

percent Cliff-style. Join a band. —Joey Mathieu Kelly 

bassplayer.com / january2017 13

LINK FACE TECH PLAY LEARN 

BASS NOTES 

B 

BASSNOTES 

BrAND X, MJ12 

Percy Jones Fretless Frontiers 

By Rick Suchow | 

“The gigs all went very well,” says Percy 

Jones of the recent reunion of his band Brand X, which performed 

a successful string of shows this past fall. “We hadn’t 

played together with this lineup doing this material since 

1977, so there was initially a sense of trepidation not knowing 

how the music would connect after 39 years. That was 

quickly dispelled after the first gig.” It was an event that the 

band’s many fans have long awaited, and there are more dates 

planned for early 2017. 

It’s hard to believe that four decades have passed since the 

Welsh bassist first emerged as an early fretless pioneer. Inspired 

by the playing of upright master Charles Mingus, young Percy 

filed down the frets under the G string of an old Gretsch semiacoustic 

long-scale bass, creating what he called a hybrid fretted-fretless. 

He eventually ditched it for a fretless 1974 Fender 

Precision, and with that he was off to the races. Developing 

a unique approach, Jones delivered chops-busting angular 

bass lines and peppered them with sputtering three-finger 

fills, double-stops, and sliding harmonics. 

Co-founding Brand X in 1975 with guitarist John Goodsall 

and others, the group pushed boundaries with its inventive 

instrumental music and garnered wide attention when Genesis 

drummer Phil Collins joined a year later. Brand X helped 

define jazz-fusion’s late-’70s heyday with well-received albums 

like Unorthodox Behavior and Morrocan Roll. After the group 

split, Jones continued on with a string of creative projects, 

including his group Tunnels and his 

1990 solo release Cape Catastrophe. 

Although he has increasingly veered 

into experimental music with recent 

releases, the past year has seen somewhat 

of a return to form for Percy 

with his latest quartet MJ12, which 

released its debut album this past 

summer, and the reunion of Brand X. 

How did the Brand X reunion 

come together? 

John, [drummer] Kenwood Dennard, and I had the opportunity 

to get together and play here in New York back in the 

summer. The results were quite good, and we also had the 

opportunity to do a short tour with the help of promoter 

Norman Bedford. We decided, initially at least, to do material 

from the first three Brand X albums, since they were deemed 

the most popular, and it was from the period when Kenwood 

played with us. When we started rehearsing the material, with 

a bit of memory jogging, it was quickly apparent that the old 

spark was still alight. 

How is it different now? 

I think our individual musicality is broader than it was 

back in the day. We’ve all played with other bands and projects 

and gained experiences, so it’s all more mature. Also, the 


i INFO 

LISTEN 

Percy Jones, Cape Catastrophe 

[1990, Gonzo]; MJ12, 

MJ12 [2016, Gonzo]; Brand X, 

Unorthodox Behavior [1976, 

Charisma], Masques [1978, 

Charisma]; Brian Eno, Another 

Green World [1975, Island] 

technology has changed enormously since the late ’70s. 

Now we have better-sounding PA systems, the whole 

gamut of digital technology, etc. Back then, the only digital 

gear I remember seeing was by Eventide. The process 

of getting recordings out there has changed with 

the advent of the internet. 

What was your personal highpoint in Brand X, 

musically? 

It was probably when Kenwood Dennard joined the 

band, because Phil Collins was always too busy with Genesis. 

We started gigging and touring, and that’s when I 

think the band became really coherent and tight. That 

was a good buzz for me, to be in a band that was really 

doing its thing well, I thought. 

Your new band, MJ12, grew out of a project you 

had with drummer Steve Moses. 

I’ve known Steve for a long time. Not long after 

I moved to New York in the ’80s, I was in a couple of 

bands with him, and then we went our separate ways. I 

started doing some solo gigs and put Tunnels together, 

and Steve went off playing with Alice Donut. We got back 

together just a few years ago and started doing these little 

improv gigs in Brooklyn, just the two of us, and we’d 

invite guests to come and sit in. In Brooklyn there are 

loads of really good players, so there was never a shortage 

of people. We were playing in really small dive bars 

and DIY places. I suggested to Steve after a while that 

maybe we should try writing some stuff and making it 

a little more structured, but without losing the improv 

aspect. So we started writing little bits and pieces, and 

EQUIP 

Bass Customized fretless 

Ibanez Grooveline 5-string 

Amp Euphonic Audio (EA) 

iamp 800 combo 

Strings DR Strings LowRiders 

(.045–.125) 

Effects Eventide ModFactor 

and TimeFactor 


BASS NOTES LINK FACE TECH PLAY LEARN 

B 

then two of the guys who subsequently sat in, David Phelps and 

Chris Bacas, eventually became permanent members. 

For the past few years you’ve been playing Ibanez basses 

with piezos. 

Yeah, the first bass they gave me several years ago was an Ergodyne, 

and it wasn’t so great [laughs]. It had a plastic body with 

both magnetic and piezo pickups. I eventually took off the magnetic 

pickup because I never used it; I just used the piezo, and I 

started hearing some possibilities with it. 

What were you hearing? 

More dynamics. Piezos are very responsive to how hard you 

play—they pick up the attack really well. A magnetic pickup will 

capture the high-end transients, but piezos will pick up a bit of 

a thump, like an upright bass, actually, so it’s a different kind of 

dynamic. The problem, though, was that I was getting clipping. 

I put a scope on the output of the piezo, and I was amazed that 

they were getting like 12 volts peak-to-peak off the pickups. The 

preamps just couldn’t reproduce that. The pickup was running off 

a 9-volt battery, so it can’t reproduce a 12-volt input, and there 

was no room for a second battery to bring it up to 18 volts. So I 

built some charge pumps and put them in there—a charge pump 

is a small chip and a couple of diodes, which essentially doubles 

the battery voltage. So that cured the clipping problem. 

What had you been playing before? 

Up to that point, I had been playing Wal basses, which I loved. 

They’re great instruments and I got a lot of good results with them, 

but I got to a point where I was getting a little tired of my sound, 

and I just felt like changing gear a little. So I asked Ibanez if they 

could make another version of the Ergodyne but with a wooden 

body, with a dense wood. They came up with a second one that was 

mahogany, a big improvement, so I played that for a while. Then 

they gave me two more with just piezo pickups, a bolt-on version 

and a neck-through version. And these sounded better again; it 

was just another increment in quality. 

Both are 5-strings, and you tune the low string to C 

instead of B. Why? 

When I played a 4-string, I would sometimes detune the 

E string down to a D or a C. For example, on the first Brand X 

record, Unorthodox Behavior, the bottom string is tuned to a C, 

so I sort of got accustomed to that interval. When I eventually 

shifted to 5-string, I just decided to make that bottom string a 

C rather than a B. 

Can fans expect any future live or studio Brand X releases? 

I think we’ll be doing some live CDs. A new studio album of the 

old material would be rather pointless, but when we eventually 

get to writing new material, it will definitely be in the cards. BP 

OVER 250,000 ITEMS 

FROM YOUR 

FAVORITE BANDS 

T - SHIRTS 

HOODIES 

JACKETS 

JERSEYS 

TANK TOPS 

SWEATERS 

LONG SLEEVES 

SHORTS 

BABYWEAR 

HATS 

BEANIES 

JEWELRY 

BACKPACKS 

BAGS 

POSTERS 

COLLECTIBLES 

TOYS 

FLAGS 

PATCHES 

PINS 

BUTTONS 

STICKERS 

WALLETS 

KEY CHAINS 

DVDS 

VINYL 

AND MORE 

 

For a free catalog, visit rockabilia.com, call or write:

© 2016 PRS Guitars / photo by Marc Quigley 

Gary Grainger Bass 

These basses were designed over 

several years with Gary Grainger 

and input from many other artists 

and sound engineers with the 

goal of creating a solid foundation 

that is versatile enough to deliver 

 

 

stage. The EQ section gives you 

unprecedented tonal control and the 

radiused pickups provide balanced 

string attack and a fat, clear sound. 

 

Grainger 4 and 5-string basses visit 

www.prsguitars.com


B 

BASS NOTES 

i INFO 

LISTEN 

Ida Nielsen, Turnitup 

[idanielsenbass.com] 

Ida Nielsen Funk Goddess 

By Jon D'auria | 

In the mere blink of an eye, Ida Nielsen 

went from being an aspiring bass player in her small 

town in Denmark to touring the globe as Prince’s sidewoman, 

gaining command of over 300 songs from his 

exhaustive catalogue and communicating them to massive 

crowds. Along the way, Nielsen absorbed countless 

music and life lessons while fine-tuning her aggressively 

precise slap and fingerstyle techniques, ultimately finding 

her musical voice under the guidance of one of the 

greatest innovators in the history of music. 

Following her six-year stint with the Purple One, 

Nielsen set out to create an album that would convey 

her big personality and deep musical aura. Perhaps not 

so coincidentally, she opted to sing and play all of the 

instruments herself. The result is Turnitup, a 14-track 

funk joyride with high-spirited vibes and enough bass 

magic to make low-enders repeatedly hit rewind, 

while also doubling as a party-anthem playlist for 

EQUIP 

Bass Sandberg California 

Ida Nielsen Signature 

4-string 

Rig TC Electronic Blacksmith, 

TC Electronic RS410 

& RS212 (x2) 

Pedals TC Electronic Polytune 

2, SpectraComp, and 

Sub ’N’ Up Octaver, DOD 

Envelope Filter 440 

Strings DR Strings Hi 

Beams 


...It’s ELECTRIC! 

You can FEEL it in the air… that moment 

when you and your bass really connect. 

With re-imagined designs, premium 

construction and exceptional playability, 

the new Mitchell bass guitars are the 

perfect conduit between inspiration, 

performance and emotion… it’s Electric. 

MitchellBassGuitars.com

BASS NOTES 


B 

non-musicians. Her old-school funk meets new-school soul style gives a tip 

of her cap to her departed mentor, who would, without hesitation, give this 

disc his stamp of approval. 

Tell me about the writing process of Turnitup. 

My writing changes from song to song and depends on whether I’m writing 

on bass or piano. I write a lot more melodically on the piano, while I write 

more of the funkier grooves on bass. I’m not a great piano player, so I mainly 

lay down chords and then create the melody on top of it. If I start with a bass 

line it might be one chord, because the focus is on the groove, which I never 

get tired of. 

What kind of bass tone were you going for? 

I wanted the bass to be loud and present, because there are classic funk 

records where you can’t hear the bass well in the mix. Generally, I wanted my 

sound to be powerful and to cover everything from the lows to the highs. I 

favor more of the old-school tone, like Larry Graham has. I wasn’t trying to 

sound exactly like him, but I wanted to get a bit of that flavor. 

There’s a feel-good, celebratory vibe to the album. 

It was the first time in a long while that I was able to do my own music, 

which made it a very enjoyable process. I was in a good mood the entire time, 

so I think the vibe of me being happy to express myself musically comes across. 

Having played with Prince for a while inspired me to make the bass a big part 

of the songs, while focusing on creating music that speaks to everyone. 

How else did Prince inspire this record? 

Prince comes through in a major way in my playing 

and in my songwriting. I learned so much from 

performing with him, being around him, and watching 

how he worked. I feel like this is my best album 

yet, right down to the mix, because of the impact he 

had on me and how he changed my work ethic. He 

taught me to never settle for anything. We spent a 

great deal of time together, much of it playing; he’s 

my primary musical inspiration. 

What’s the main musical lesson you took 

away from your time with Prince? 

Probably the key one was to leave space within 

the music. As a bassist, you tend to want to have 

ghost-notes and staccato notes in between the 

main notes you play, because it sounds funky when 

you’re playing by yourself, and it helps you keep 

time. But when everyone is playing together, it 

actually sounds funkier when you’re not playing 

between the parts, which is extremely difficult 

to do. That’s why everything he created sounded 

so tight—it was all about the space within the 

music. BP 

I’m totally digging the sound on stage; 

so much presence and no feedback 

problems at very loud volumes. I’m 

spreading the word on this great pickup. 

—Tony Garnier, 

Bassist for Bob Dylan 

RealistAcoustic.com 


Designed to deliver superior 

performance, Spector’s new 

Timbre Series basses feature 

Solid Sitka Spruce tops and 

premium Fishman electronics, 

making them the perfect solution 

for bassists seeking a resonant 

and reliable acoustic instrument. 

WWW.SPECTORBASS.COM

BASS NOTES LINK FACE TECH PLAY LEARN 

B 

Lee Fields 

BP RECOMMENDS 

Band Of Other Brothers 

City of Cranes [Ear Up] 

In Nashville, L.A. session ace and Jimmy 

Kimmel Live! keyboardist Jeff Babko assembled 

a crack lineup—Will Lee, drummer 

Keith Carlock, guitarist Nir Felder, and saxophonist 

Jeff Coffin—for his wide-ranging, deep-blowing nod 

to guitarist Pat Martino. Out of the gate, “Bar Fight” and “Miss 

Fancy Pants” ride the raw, organic boogaloo grooves of Lee and 

Carlock, while “Babko” and “The Cortado Ostinato” summon vintage 

Martino and electric-era Miles. Lee dishes out a from-theheart 

fuzz bass solo on Coffin’s darkly layered ballad “Down from 

the Clouds,” before the album reflects its rural surroundings via 

the Babko-written, Felder-featuring “Heartlandia,” Felder’s own 

“Nashville,” and Babko’s brilliant re-imagining of Joni Mitchell’s 

“Tax Free.” —Chris Jisi 

Lee Fields & the Expressions 

Special Night [Big Crown] 

If you’re making raw, straight-to-the-gut soul 

music like Lee Fields, a sense of melody in the 

low end is vital. With most of the bass on Special 

Night ably taken up by Nick Movshon (who 

doubles as the Expressions’ musical director), melody is front-andcenter, 

but so is the deep, loping swing that comes from Movshon’s 

years of laying down trenchant Afrobeat lines for Antibalas. The 

knockout “Never Be Another You” is a stunning mix of dub bass 

melded to Southern-fried soul, just one of many funky highlights 

on what might be Fields’ best yet. —Bill Murphy 

Miles Mosley 

Uprising [World Galaxy] 

Experimental upright phenom Miles Mosley’s 

debut solo album is as soulful as it is unpredictable. 

With help from his West Coast Get 

Down Crew, including celebrated saxophonist 

Kamasi Washington, the album jumps from Otis Redding-type 

blues to Marvin Gaye crooning, all rolled up perfectly with Mosley’s 

effect-laden arco and pizz lines. The lasting impressions of 

emotional and urgent tracks like “Abraham,” “More Than This,” 

and “Heartbreaking Efforts of Others” will catch the attention of 

mainstream ears. —Jon D’Auria 

New England 

Live at the Regent 

Theatre [King] 

Live at the Regent Theatre features abundant 

keyboards, multi-part vocal harmonies, 

well-crafted songs, tasty guitar playing, and 

powerhouse drumming. The platter includes New England’s 1979 

hit “Don’t Ever Wanna Lose Ya,” AOR gold that charted on the 

Billboard Hot 100 back in the halcyon days of “corporate” rock. 

Gary Shea undergirds the band’s ’70s melodic flair by laying 

an impregnable foundation built on titanic tones, nuanced note 

choices, and a rhythmic pulse that keeps the party percolating. 

—Freddy Villano 

A Tribe Called Quest 

We Got It From Here … 

Thank You 4 Your Service 

[Epic] 

After an 18-year hiatus and the untimely 

passing of co-founder Phife Dawg during 

the recording process, hip-hop legends A Tribe Called Quest have 

surprised everyone with their sixth and final album. Under a 

strong current of powerful, politically charged lyrics, DJ/beatmaker 

Ali Shaheed Muhammad provides the bottom using 

samples, key bass, and his beloved Fender Precision. The syncopated 

bass rumblings of the opening track, “The Space Program,” 

will get you hooked from the beginning on an album that has all 

the markings of an instant classic. —Jon D’Auria 


John Mayall 

Talk About That [Forty Below] 

It’s no mystery that John Mayall’s Bluesbreakers 

have a been a proving ground 

for some of rock’s greatest guitarists (Eric 

Clapton, Peter Green, Mick Taylor, et al.), 

but the list of bassists is no slouch, either. Greg Rzab has been 

with Mayall off and on since 1999, joining a dazzling crowd that 

includes Jack Bruce, John McVie, Andy Fraser, and many more. 

Rzab’s blues chops are firmly rooted in the canon (check the classic 

Jimmy Rogers shuffle “Goin’ Away Baby”), but cuts like the 

Meters-flavored “Gimme Some of That Gumbo” and the uptempo 

“Blue Midnight” showcase his wide-ranging two-fingered technique 

and feverish inventiveness. —Bill Murphy 

Patrick Pfeiffer 

Soul of the City 

[patrickpfeifferbass.com] 

Between penning educational books, teaching 

workshops, and focusing his efforts on furthering 

the bass community, Patrick Pfeiffer 

makes records. His powerful concept album pays homage to New 

York while merging an eclectic blend of jazz and world music and 

displaying Pfeiffer’s absolute mastery of many styles. Pfeiffer’s 

bass serves as the protagonist of an album that changes vibes on 

every track, the only obvious reoccurring property being his tastefulness 

and virtuosity. —Jon D’Auria 

Maâlem Mokhtar Gania/ 

Bill Laswell 

Tagnawwit: 

Holy Black Gnawa Trance 

[mod-technologies.com] 

New York-based magus Bill Laswell has 

long been a gold standard for producers seeking to add tasteful 

low end to non-Western grooves, and Tagnawwit shows why. 

Laswell’s supple, subtle support of Gania’s ancient Moroccan 

ritual chants is so sublime that even a bass break like the one 

on “Oulad Khalifa Maneen Shesh” perfectly fits the hypnotic 

vibe. Miraculously, Laswell’s Fender Precision never calls attention 

to itself, existing beautifully alongside Gania’s own basslike 

guimbri. —E.E. Bradman 

the world’s 

most epic guitars 

Discover the most 

famous, rare, and 

valuable guitars 

in the world— 

the stories behind 

them and the 

musicians who 

own them. 

Available wherever books are sold. 

GUITAR_bassplayer_one fourth vert.indd 1 

9/3/13 2:52 PM 


NEW GEAR LINK FACE TECH PLAY LEARN 

N 

NEWGEAR 

Ear Trumpet Labs 

Nadine microphone 

Designed specifically for upright bass, Nadine is a 

medium-large-diaphragm condenser microphone 

with feedback rejection and a secure mounting 

system that’s easily removable. 

Street $600 

Contact eartrumpetlabs.com 

Mymusicmasterclass.com 

Check out this treasure trove of videos on everything 

from odd-time signatures and multicultural concepts 

for bass to metric modulation and music business 

by a long list of badasses, including Andrew Gouché, 

Panagiotis Andreou, Jonathan Maron, Jimmy Haslip, 

Abraham Laboriel, Hadrien Feraud, Steve Jenkins, and 

Evan Marien. 

Price $9–$10 for five-day stream, $18-$23 to download 

Contact mymusicmasterclass.com 

EarthQuaker 

Dispatch Master delay, Speaker Cranker 

overdrive, Acapulco Gold distortion & 

Afterneath reverb 

EarthQuaker updates four of its classics with softtouch 

and relay-based switching, and the Dispatch 

Master and Speaker Cranker get rear-mounted 

input and output jacks for easier cable routing and 

pedalboard ergonomics. 

Street Dispatch Master, $195; Speaker Cranker, $125; 

Acapulco Gold, $125; Afterneath, $225 

Contact earthquakerdevices.com 


Robert 

Trujillo 

Metallica 

The Art Of 

Simplicity 

Robert Trujillo is calling from Guatemala 

City, Guatemala, the latest stop on Metallica’s current South 

American tour. Between gigs he’s doing press and answering 

questions about songs from Hardwired … to Self Destruct, the 

band’s latest CD. That isn’t so unusual—but this is Metallica, 

and Trujillo hasn’t even heard some of the final mixes yet. 

“I’m discovering the songs now,” he admits. “Some of the vocal 

stuff is different from when I last heard it. Right up until the 

last day of mixing, things are happening.” It may seem like a 

strange position to be in, but new material is a closely guarded 

secret for arguably the most successful heavy metal band of all 

time—even if you’ve been playing bass for them since 2003. 

Metallica formed in 1981 and spearheaded the thrash-metal 

movement with classics Kill ’Em All [1983, Elektra] and Ride 

the Lightning [1984, Elektra]. The band’s third album, Master 

of Puppets [1986, Elektra], is one of the most successful and 

influential pure thrash-metal albums of 

all time. Unfortunately, original bassist 

Cliff Burton—famous for his bell-bottom 

jeans, fuzzed-out-wah-infused bass solos, 

and virtuosic technique—was killed in a 

bus accident while on tour in Sweden in 

1986. That same year, he was replaced 

by Jason Newsted. Newsted’s style was 

more fundamental, but his root-noteheavy 

aesthetic is one of the ingredients 

that enabled Metallica to streamline its 

sound and achieve even greater commercial 

success. Metallica, often referred to as 

the “Black Album,” debuted at #1 on the 

Billboard 200 in 1991 and has since sold 

over 30 million copies worldwide. Songs 

like “Enter Sandman,” “The Unforgiven,” 

and “Nothing Else Matters” appealed to 

a wider audience, and Newsted’s chunky, 

Spector-driven tone is prevalent throughout. 

He left the band in 2001, citing private 

and personal reasons. 

In 2003, after recording St. Anger 

[Warner Bros.] with producer Bob Rock on 

bass, Metallica enlisted Trujillo, who had 

initially carved out a niche for himself in 

BY FREDDY VILLANO 

Photograph BY Chris Schwegler / Atlas Icons 

the ’80s as part of the Los Angeles-based 

crossover thrash band Suicidal Tendencies. 

He then launched the funk-metal 

act Infectious Grooves in 1989, before 

moving on to Ozzy Osbourne’s band in 

the ’90s. Since replacing Newsted in 2003, 

Robert has also launched Mass Mental, 

his collaborative musical ensemble with 

Armand Sabal-Lecco. And, just last year 

he released Jaco, a documentary film he 

produced about the life of Jaco Pastorius, 

in association with Passion Pictures. 

In terms of production, Hardwired 


assplayer.com / january2017 27

CS 

ROBERT TRUJILLO 

EDDIE MALLUK / ATLAS ICONS 

is one of Metallica’s best-sounding records, but it might also be 

the most bass-centric. Burton may have had more freedom to 

express himself, as demonstrated on songs like “(Anesthesia)— 

Pulling Teeth” [Kill ’Em] and “Orion” [Master], but never has the 

bass been as present within Metallica songs as it is on Hardwired. 

After the much-maligned mastering job on Trujillo’s debut, 2008’s 

Death Magnetic, bass players worldwide will rejoice over just how 

listenable this record is. For examples, check out his muscular, 

rhythmic counterpoint to rhythm guitarist James Hetfield’s furious, 

militant riffage on “Hardwired,” or the gargantuan groove on 

“Dream No More,” or Robert’s restraint on “Halo on Fire.” His performances 

on “Moth Into Flame” and “Atlas, Rise!” are clear and 

audible, strengthening the grooves and supporting the riffs with 

aggression, grace, and simplicity. Heck, there’s even a full 34-second 

chordal bass intro to “ManUNkind” and a distorted bass solo on 

“Spit Out the Bone,” both of which harken back to Burton-era 

Metallica. It’s as if the rest of the band finally realized they have 

one of rock’s toughest bassists in the fold, and that it’s wise to 

incorporate his personality and give him some room in the mix. 

“It’s taken eight years to do this,” says Trujillo. “It’s a journey 

we’re taking, and [for me] this is only the second step. There’s 

going to be another step, and I’m sure that next step is going to 

be even more involved in a collaborative sense.” Trujillo sounds 

genuinely ebullient about refining his approach into what he calls 

the “art of simplicity,” and he was extremely forthcoming about 

the triumphs, challenges, choices and techniques that inform his 

role in metal’s biggest band. 

How would you describe your role in Metallica? 

I always tell people that I’m like Joe Walsh in the Eagles. I’m 

here to support them. I’m here with my bass every day ready to jam. 

What were the most challenging aspects of working with 

them when you first joined? 

One of the most intimidating things is showing James an idea 

that’s a bit challenging. I remember showing him the “Suicide & 

Redemption” riff (Death Magnetic), and it was a little tricky. If he 

doesn’t get it within the first few minutes, he gets a bit impatient. 

I find this with a lot of people that I work with, whether it’s Jerry 

Cantrell [Alice In Chains] or James. It’s intimidating because these 

guys are masters of their craft. It can be a scary thing. 

How would you describe the writing process for an album 

like Hardwired? 

Everything we do revolves around jamming; that’s where a 

lot of the ideas blossom. We have a jam room [backstage], and 

before we go on every night, we play. But a lot of the riffs come 

from James. He’s the type of guitar player where, if he’s adjusting 

the tone knob on the amp, he’s going to come up with a riff. 

So we always document everything that comes from that. And the 

jams that happen backstage are recorded as well. 

You have a songwriting credit on Hardwired with 


“ManUNkind.” How involved are you in the process? 

It’s a weird thing. On this album I had plenty of ideas prepared, 

but James already had so much stuff. On Death Magnetic I didn’t 

have so many ideas, but I had more writing credits. Hardwired was 

really centered on James’ riffs. Initially, “ManUNkind” was something 

that I had prepared and envisioned as an instrumental. Then 

James and I jammed together, and it became this beautiful piece 

of music. As far as arranging goes, a lot of that process comes 

from Lars [Ulrich, drums] and James. I’m there to support them. 

You sound a little surprised that “ManUNkind” is on there. 

I only found out about it last week; I didn’t know. That’s kind of 

exciting for me. It’s beautiful that Lars included [my intro] in the song. 

It has a bit of a Jaco influence, like “Continuum” or 

“Blackbird.” 

It’s classic Metallica, but there is that Jaco ingredient. Anything 

that I create, I’m always pulling from my influences. On a 

lot of the Suicidal Tendencies music I’m playing fretless bass, like 

the fretless intro to “You Can’t Bring Me Down” [Lights … Camera 

… Revolution!, 1990, Epic]. There’s a lot of that in my writing. 

Is it a conscious decision to put those influences in there? 

I’m always reaching and connecting with people like Anthony 

Jackson and Jaco. All of the music with Infectious Grooves was 

inspired by Jaco—hands down. Along with Larry Graham, he was 

my #1 influence with that band. 

When you’re young, you’ve got lot of fire, and you try a 

lot of different things—there are no rules. 

Yes, and whether it’s good or bad doesn’t really matter. It’s 

that punk attitude. I wasn’t trying to learn Jaco songs note-fornote; 

I think I do that more now. But it wasn’t about that when I 

was composing back in the days of Infectious or Suicidal. It was 

more about taking the attitude and the technique and applying 

it to original ideas. 

How does that apply to a band like Metallica, which 

requires a bit more restraint in the bass parts? 

I always try to cater to the balance of the song and being simple, 

but at the same time, some of the intros, and some of the stuff 

that pops out in the mix, is all influenced by my heroes. A song 

like “Suicide & Redemption” is influenced by Anthony Jackson. I 

go there. I’m playing the low B, I’m playing something repetitive, 

and I’m doing it really heavy. That comes from him. 

Jackson, Jaco, and Graham seem like unconventional 

influences for a bass player in the world’s most popular 

metal band. 

Well, Geezer Butler is another huge influence. He has this sense 

of melody within a line that just always fits well within the chord 

progression or riff, so I always try to pull from him, too. It’s great 

when you can find that ingredient that works for you and apply it. 

Overall, your lines on Hardwired are fairly straightforward. 

As a bass player on this stuff, what was really fun and interesting 

was the art of simplifying and finding ways to create a pulse 

within the song, whether it’s fast or in-your-face and aggressive. 

Finding a certain rhythmic pulse that complements James Hetfield’s 

guitars—and also the drums—was something that was 

different from anything I’ve ever done in the past. That was the 

great thing about Greg [Fidelman, producer]: He helped me find 

the rhythms that were going to work against the guitars, so I’m 

not playing exactly what the guitars are playing. 

I was curious about that on the song “Hardwired.” 

It’s an interesting balance. On songs like “Hardwired” that’s 

where we actually started checking that out—going for a slightly 

different rhythm. It’s very subtle, but it creates strength in the riff. 

Normally in the past I’d go for mimicking the riff, and of course, 

One Of A Kind By 

Chris Jisi 

“It was just a raw musical moment that now lives 

forever in front of a great Metallica song,” says Robert Trujillo about his 

impromptu chordal piece that Metallica ended up using as an intro to 

“ManUNkind.” Example 1 approximates the first four measures. Indeed, 

you can hear the spontaneity as guitarist James Hetfield finds his way 

through the piece, initiating his melody line. Fortunately, the tape was 

rolling. “I think it works well because you have this peaceful opening that 

works like a musical dawn going into this powerful, swaggering song.” 

Robert used his Warwick Signature 5-string and played fingerstyle, with 

his thumb on the A string, index finger on the D, and middle finger on 

the G. Try to maintain an even pace to make the rhythms clear, and let 

all the notes ring. 

Flowing ballad 

= 62 

A Asus4 Am7 G/A Am7 G/A A 

Ex. 1 

Let all notes ring (especially open A’s).... 

0 111414 11 11 0 

12 1414 12 12 0 

10 1212 10 10 1212 10 0 

10 12 0 10 1212 10 10 0 

9 1212 9 9 

0 10 9 0 9 7 0 76 0000000 


CS 

ROBERT TRUJILLO 

STONEFIELDMUSIC 

on some songs, you play the same thing. But overall, 

I thought it was really interesting to break it 

down and find a rhythmic pattern that supported 

the riff by playing less. There’s a certain impact and 

power to that. 

Do you have an image in mind for what you 

want the bass to sound like within a song, or 

how you want it to react? 

I always try to envision a heavy punching bag, 

and I really think, more than any other time, we 

achieved that on Hardwired. Whether it’s the tone 

or the power of the instrument, it’s all there on this 

album. It’s present. In years past, even back in the 

day with Cliff, his presence was there and it was enormous, 

but the bass was sometimes buried. On this 

album it’s not buried; it’s right there with the other 

guys. And that makes me feel good for the future. 

What else did Greg Fidelman bring to the 

table as a producer? 

That guy is amazing; he loves bass and drums, 

and he supports the rhythm section. This is the 

best-sounding Metallica album, I feel, from the 

rhythm-section standpoint. The tones are crushing. 

The fact that there’s love for the instrument is 

really a beautiful thing. 

What basses did you use? 

We did a listening test where we had six different 

basses, and we recorded the same part of a 

song, like a blindfold taste test. You play through 

it several times, and then you listen back and try to 

figure out which instrument stands out, not knowing 

which instrument you’re listening to. There’s a specific 

Warwick 5-string that just took control of this 

body of music and owned it. The Warwick crushed 

it. Traditionally I’ve used a lot of other basses; I love 

Nash P-basses, and I love some of my old Fernandez 

basses, which were built by the old Tobias luthiers. I 

used a lot of those on Death Magnetic. But my Warwick 

5-string dominated this album. You can hear 

the subtleties of the low B. 

Is there a particular quality or character 

you’re looking to hear from the instrument 

when you’re doing these tests? 

At the end of the day, it’s what’s most important 

for the songs. I’ve done albums where I changed 

basses for almost every song. On the album I did 

with Jerry Cantrell, Degradation Trip [2002, Roadrunner], 

I was using everything from old Fender 

Precision Basses to Tobiases. I have a really amazing 

Tobias 5-string that I recorded a lot of the Infectious 

Grooves and Suicidal music with; it was my 

go-to bass. And that had a strong presence on Jerry’s 

music. But at the same time, I also used flatwound 

strings on a Danelectro. That music called 

for specific instruments. 

So what made Hardwired a one-bass record? 

Hardwired is much more in-your-face. I did also 

use an ESP bass for a few songs, because it had a 

certain “sub-grit” that was very present. But that’s 

the kind of quality that went into this record: taking 

the time to do these tests and figure out which bass 

was going to take command of the music. 

Do you generally prefer active pickups? 

It just depends on the song or the era. I have a 

really strong right-hand attack, and that plays into 

it. What happens sometimes with the P-Bass, with 

my attack, is the string will hit the pickup. If I hit 

too hard, I get this weird click or clank, and with the 

EMGs I don’t have that problem. Now, with the older, 

more vintage thrash songs, there are times when I 

prefer to play a passive P-Bass. If there’s more of a 

retro vibe, I’m going to pull out the P-Bass 4-string. 

Do you use two or three right-hand fingers? 

I do everything from one to four fingers. Sometimes, 

with faster double-picking, I rotate my 

index finger back and forth so it’s sort of like you’re 

LISTEN 

EQUIP 

i INFO 

Metallica, Hardwired 

… to Self 

Destruct [2016, 

Blackened] 

Basses Warwick Robert Trujillo Artist 

Series 4- and 5-strings, ESP Trujillo 

5-string 

Pickups EMG w/Bartolini preamps 

Amps Ampeg SVT-CL, Ampeg SVT- 

IIPRO, Ampeg SVT-810E 

Strings Dunlop Trujillo Icon Series 

(.045–.130) 


attacking down on the pad of your finger and then 

you’re coming back immediately with the nail. It’s 

like a rotation that serves as a pick technique. And 

to conserve energy on the index finger, I’ll switch 

to the middle finger and do the same thing. Sometimes 

I even throw in the ring finger, too. But it’s 

all to conserve energy. 

What made you develop that technique? 

Back when I first joined the band, I found myself 

running out of gas and cramping up. So I developed 

this technique to conserve energy and stay 

in the pocket. A lot of that double-fingerpicking 

works for me. 

Are you applying that technique to up-tempo 

galloping grooves? 

Actually, I developed a three-finger technique to 

keep up with the pace on some of the songs. When 

we play live, things get faster; it’s a natural occurrence 

with Lars and the guys. No disrespect—it’s 

just something that happens with all the energy. So, 

sometimes I’ll play a three-finger gallop technique 

that starts off with my ring finger and rotates. That 

way I can stay right in the pocket with James and 

Lars. But I had to learn all this. It was like I was lost 

when I first joined the band. 

As you’ve matured as a player, what do you 

find your greatest challenge has been? 

I’m always learning. When I did that album with 

Jerry Cantrell, I learned about the art of simplicity. 

Jerry is very specific about what he wants. He writes 

most of the bass lines, and he gets very specific about 

the feel the instrument. The presence needs to be 

felt, and the choice of notes needs to cater to what 

the guitar progressions are. There’s an art of simplicity 

with regard to specific notes and how they work 

with the note on the guitar and the vocal melody. 

Complementing the vocals seems like an 

important but sometimes overlooked aspect 

of rock bass playing. 

There have been times when I’ve prepared a bass 

part and we’re playing, and James is like, “That note 

conflicts with a note in the vocal.” So he’s thinking 

beyond just the guitar riff. I love being creative with 

players who challenge me. 

Any advice for our readers? 

I’m blessed to have worked with Mike Muir [Suicidal 

Tendencies] and Jerry and Ozzy Osbourne. 

It’s important to play your instrument and be prepared, 

but there’s another side to all this. You have 

to get along with people and be able to balance personalities. 

BP 

Q&A With 

Tye Trujillo 

Tye (right) with Lemmy 

Robert’s son Tye is only 12 years 

old, but he’s already turning heads with his 

bass playing. He’s in a band called the Helmets, 

which Robert mentors. We chatted with Tye 

to find more about this young gun. 

Who are some of your influences? 

I like Armand Sabal-Lecco, Cliff Burton, 

Justin Chancellor from Tool, and Geezer Butler. 

What is it you like about their playing? 

I like how Armand can play almost every 

style. I like Justin’s pick technique. And I like 

how Cliff Burton used distortion; it’s like a 

guitar. And I like Geezer’s bass fills. 

Do you play with your fingers or a pick? 

I do both. It just depends on the song. 

Your main bass is a Fender Precision. 

What do you like about it? 

It has cool bass sounds, but you can change 

it up on different songs. It’s versatile. 

Do the Helmets perform covers or 

originals? 

We play cover songs, but we’re trying to 

write more originals. 

What’s next for the Helmets? 

We’re trying to get in to record. We have 

some gigs in March, but we’re taking a little 

break to write enough songs for an album. 

If you had to name one thing that 

makes you proud to play bass, what 

would that be? 

I like that you can change the mood of 

the song. If you play a different note against 

the guitar chord, you can change the mood 

and the feel. 

bassplayer.com / january2017 31 

WW_CS_3114_2,375x9,75_USA.indd 1 31.10.16 10:06

This page: 

(Top row, from left) Hadrien Feraud gets down in his clinic; a nonet of nifty basses at the Yamaha booth; notorious: John Taylor and Ben Kenney. 

(Middle) Billy Sheehan, Hadrien Feraud, Gerald Veasley, dUg Pinnick, drummer Ray Luzier, Steve Bailey, Rex Brown, and guitarist Tommy Baldwin 

jam on “Going Down,” in honor of BP Lifetime Award recipient Tim Bogert. 

(Bottom row, from left) Bayou brothers: George Porter Jr. and Randy Jackson; Winery Doggin’: Billy Sheehan and guitarist Richie Kotzen perform 

at the BPL All-Star Concert; purple reign: Prince tribute panel members Alex Al, Tal Wilkenfeld, Andrew Gouché, and Hagar Ben-Ari. 


This page: 

(Top row, from left) Stage door hang: Rex Brown, Billy 

Sheehan, Steve Bailey, Stanley Clarke, Tal Wilkenfeld, George 

Porter Jr., and Jerry Jemmott at MI; well-strung: The Bass 

Strings Online booth. 

(Middle row, from left) Talas about it: Billy Sheehan holds his 

BP Lifetime Achievement Award; Vanilla smile: Tim Bogert 

holds his BP Lifetime Achievement Award; Meter reader: 

George Porter Jr. holds his BP Lifetime Achievement Award. 

(Bottom) Good credits: Freekbass plays out the Stonefield 

Basses film short. 

Bass 

Player 

LIVE! 

2016 

A Little Bit 

NOLA, A Little 

Bit Rock & Roll 

Bass Player LIVE! returned to 

Los Angeles for its ninth consecutive year. This 

time, it brought the distinctive flavors of New 

Orleans and fine California wine, as the 2016 

edition was headlined by the presentation of BP 

Lifetime Achievement Awards for Meters legend 

George Porter Jr., rock virtuoso Billy Sheehan 

(who brought along his Winery Dogs bandmate, 

guitarist Richie Kotzen), and rock trailblazer Tim 

Bogert. SIR on Sunset Boulevard and the nearby 

Musicians Institute were once again the settings 

for the world’s biggest, most intensive, most gearpacked 

and star-studded annual bass hang. 

Kickoff at SIR on Saturday morning, October 

22, featured exhibitor spaces from Aguilar, Ampeg, 

Bass Mods, Bass Strings Online, BeatBuddy, D 

Lakin Basses, D’Addario, Darkglass Electronics, 

Dudacus, Dunlop, EBS, Eden Amplification, ESP, 

F Bass, Form Factor Audio, GHS, Hartke, Hofner, 

Hoshino/Ibanez, Kala U-Bass, Laney, Mayones 

Guitars & Basses, Mana Basso, Mesa/Boogie, NS 

Design, Red Witch, Roland/Boss, Spector, Stonefield 

Basses, Tech 21, Tensor, Trickfish, 

Tsunami Cables, and 

Yamaha. Meanwhile, the day’s 

spate of eight clinics included 

Steve Bailey; Janek Gwizdala; 

a rock panel featuring 

dUg Pinnick, Rex Brown, and 

Glenn Hughes (making his 

BPL debut); Hadrien Feraud’s 

trio; John Taylor (interviewed 

by Ben Kenney and BP’s Jon 

D’Auria); Sekou Bunch and his 

kick-ass quintet; a producer panel boasting Mike 

Elizondo, Larry Klein, and Justin Meldal-Johnsen; 

and a session panel with Bob Glaub, Chris Chaney, 

Sean Hurley, and Kaveh Rastegar. 

Sated attendees next headed northeast to the 


F 

Bass Player Live! 

Aguilar 

president Dave 

Boonshoft 

cheers on 

George Porter 

Jr.’s BP Lifetime 

Award after 

speaking on 

behalf of the 

funk legend. 

theater at Musicians Institute for the annual Saturday night 

BPL All-Star Concert. Aguilar president Dave Boonshoft and 

producer Jonathan Shank began the festivities with a few words 

about George Porter Jr., before Randy Jackson spoke and presented 

the funk forefather with his Lifetime Award. Porter then 

performed a pulsating set featuring his trio (with keyboardist 

Michael Lemmler and drummer Terrance Houston) and guest 

bassists Tal Wilkenfeld and Jerry Jemmott. An interlude featured 

a short film on Stonefield Basses introduced by Stonefield 

president Tomm Stanley and Freekbass, with Freekbass returning 

to play off the clip. For the concert’s second half—Billy Sheehan’s 

segment—Stanley Clarke emerged to speak about Billy 

and present him with his award. Sheehan’s trio with guitarist 

Richie Kotzen and drummer Michael Bennett then rocked the 

house, and at the conclusion, Sheehan brought on senior Ampeg 

product specialist Dino Monoxelos. The two lauded Tim Bogert, 

best known for his groundbreaking work with Vanilla Fudge, 

Cactus, and Beck, Bogert & Appice. Tim was unable to appear 

to accept his Lifetime Award due to illness (Monoxelos delivered 

it two days later to a grateful Bogert). To close the night, 

Steve Bailey revived his BPL-jam MD role, leading Sheehan, Korn 

drummer Ray Luzier, guitarist Tommy Baldwin, dUg Pinnick (on 

lead vocals), Rex Brown, Gerald Veasley, Hadrien Feraud, Brian 

Bromberg, and Sekou Bunch though a pair of Bogert-related 

(From top) Beatlemania 

and beyond: the 

Hofner booth; School 

days: Stanley Clarke 

presents Billy Sheehan 

with his BP Lifetime 

Achievement Award; 

one neck, four hands: 

Tal Wilkenfeld sits in 

with George Porter Jr. 

on “Africa” at the BP 

All-Star Concert; 

a dozen deep-end 

delights in the ESP 

booth; studio savants: 

Sean Hurley, Bob 

Glaub, Chris Chaney, 

and Kaveh Rastegar in 

the Session Bass Hang 

clinic. 

(Above) Green room 

gab: Larry Klein, 

Bob Glaub, Armand 

Sabal-Lecco, Steve 

Bailey, Justin 

Meldal-Johnsen, 

Chris Chaney, and 

Mike Elizondo. 

(Right) Who’s the 

boss?: Anna Sentina 

at the Boss booth. 


THIS CAN REBUILD A COMMUNITY. 

At the D’Addario Foundation, we believe the most effective 

instrument for creating lasting, positive change for children 

and their communities is music education. That’s why we 

work with over 200 successful, diverse community-based 

programs to help bring music to kids who may never have 

access otherwise. And 100% of your donation to the 

D’Addario Foundation goes directly towards giving music 

education to children. So every dollar you give makes a real 

difference. Learn more at daddariofoundation.org

F 

BASS PLAYER LIVE! 

(Above) Rock panel 

gods: Rex Brown, 

Glenn Hughes, and 

dUg Pinnick. 

(Below, left to right) 

Thunder row: dueling 

SVTs at the Ampeg 

booth; oh, Canada: the 

F Bass booth. 

closing tunes (“Going Down” and “Superstition”). 

Sunday morning, October 23, found attendees 

flocking back to SIR for more gear guidance and 

the day’s lineup of clinicians: Juan Alderete and 

Jonathan Hischke, Freakbass, George Porter Jr., 

Gerald Veasley (making his BPL debut, with percussionist 

Leonard “Doc” Gibbs), Billy Sheehan, 

Oskar Cartaya and his show-stopping nine-piece 

ensemble, the Tim Landers trio, and a Prince tribute 

panel with Andrew Gouché, Alex Al, Tal Wilkenfeld, 

and Hagar Ben Ari. Walking the hallways both 

days also meant rubbing shoulders with such lowenders 

as Nate Watts, Paz Lenchantin, Andy West, 

Steve DiGiorgio, Scott Reeder, Matt McJunkins, Neil 

Stubenhaus, Phil Chen, Tanya O’Callaghan, Mike 

Merritt, Jimmy Earl, Jerry Watts, Bunny Brunel, 

John B. Williams, Norm Stockton, Michael Valerio, 

Brandino, and many more. 

As the mainstay fall bass event drew to a close, 

the 700-plus who gathered for the weekend were 

left to ponder their favorite gear and bass hero 

encounters, while looking forward to Bass Player 

LIVE! 2017. BP


Etienne 

Mbappé 

The Gloved One 

With its dazzling chops and pan-global influences, 

Etienne Mbappé’s How Near How Far [Abstract Logix] could easily have been 

just another self-indulgent blowout from a fleet-fingered virtuoso intent on 

flaunting his post-Jaco bona fides. But although the 11-track disc is packed 

with features commonly associated with the bombastic side of fusion—including 

complex arrangements, odd time signatures, tight unison lines, extreme 

dynamics, and serious soloing—How Near How Far also offers a few dishes 

missing from so many similar feasts: mature restraint, deeply felt emotion, 

and a youthful sense of adventure. 

Perhaps Mbappé’s travels around the world have exposed him to so many 

flavors that his music organically combines them all. Born in 1964 in the central 

African country of Cameroon, Mbappé arrived in Paris at age 14, and 

after a stint in music school, he started his first band at 17 and began playing 

bass at 20. His timing was fortuitous: Paris in the 1980s was a crossroads 

of African sounds and a hotbed of world music, and young Etienne was 

in the mix and on the scene, playing and recording with acclaimed French 

fusion band Ultramarine and superstars like Manu Dibango. On tour with 

Malian singer Salif Keita, Mbappé met Joe Zawinul in Los Angeles, which 

led to gigs with Steps Ahead and two years with the Zawinul Syndicate. This 

led to playing in John McLaughlin’s 4th Dimension, a gig Mbappé has held 

since 2009. Along the way, he has maintained a high-profile sideman career 

(Ray Charles, Robben Ford, all-star group the Ringers) and a busy calendar 

with his group Su La Také while achieving notoriety for the silk black Pipolaki 

gloves he wears to keep his strings bright. 

How Near How Far introduces the high-powered six-piece Mbappé calls 

the Prophets, whose mission is to make music without borders and barriers. 

Unsurprisingly, the spirits of McLaughlin and Zawinul infuse the album, especially 

in its globetrotting mix of harmonic and rhythmic flavors, and despite 

the abundance of technique, one senses just as much warmth and humor, as 

well as a distinctly French soulfulness. There’s something for everyone: killer 

string and horn arrangements and cool bass/piano unison lines (“John Ji”), 

Africa-India fusion, with electric violin reminiscent of Jean-Luc Ponty (“Bandit 

By E.E. Bradman 

Photograph by Umberta AppA 


F 

ETIENNE MBAPPÉ 

Queen”), gorgeous fretless bass with spot-on intonation 

(the title track, “Assiko Twerk,” and “Mang 

Lady”), awesome horn parts, complex dynamics, and 

uptempo walking (“Bad As I’m Doing”), pocket funk 

(“Make It Easy”), and even a ballroom-ready tango 

in 7 (“Milonga in 7”). Mbappé is clearly having fun 

with this band of badasses; his playing overflows 

with heart, and his support of the soloists is inspired 

and involved. Somehow, he manages to never sound 

hyperactive and showy, just grooving, fully present, 

and firing on all cylinders. When How Near How Far 

fades out with Mbappé’s deep vocals on a plaintive 

ballad, “Musango Na Wa,” it’s a fitting closer that 

sweetly balances the album’s abundant firepower. 

We caught the 56-year-old between shows with 

the Prophets and McLaughlin to ask about singing 

and playing, odd times, his bass-playing son Swaeli 

Mbappé, those gloves, and where it all started, in 

1970s Cameroon. 

In previous interviews, you’ve mentioned the 

first generation of great Cameroonian bass 

players such as Jean Dikoto Mandengue, Vic 

Edimo, Manfred Long, Rido Bayonne, Aladji 

Toure, and Bob Edjangue. What impact did 

they have on you? 

Huge. Massive! These great masters are our gods 

in Cameroon. I knew them before I had ever heard 

of Jaco Pastorius, Stanley Clarke, or James Jamerson. 

They influenced several generations of Cameroonian 

bass players in a school without walls, by oral 

transmission from the oldest guys to the youngest. 

Do you consider “oral transmission” better 

than music school? 

The best way is to learn through both methods. 

If you have a chance to go to music school, it can 

be very important. Learning by oral transmission 

develops your instinct. 

When you got to Paris, you studied upright 

bass for three years. How did it inform your 

bass approach? 

Upright is a totally different instrument than 

electric bass. Studying classical upright for three 

years taught me, first of all, to be familiar with bass 

clef. I also learned upright fingering, and using a 

bow was so unusual. I loved it! 

You also studied classical guitar. Do you recommend 

that bass players play some guitar? 

It’s always good to play a chordal instrument. 

Guitar is the first instrument I learned to play. I 

never had a chance to study piano, so guitar is the 

only chordal instrument I play, even though I can 

play some nice chords and changes on piano today. 

How did your time in music school help you 

with the complex music you play today? 

When I arrived in France at the end of the ’70s, 

I knew very little about music. The time I spent 

studying music taught me the most crucial elements 

about jazz and pop—things like reading charts and 

knowing a little about classical composers such as 

Bach, Beethoven, Vivaldi, and Mozart. The music I 

play today is a mix of my African background and 

roots, what I’ve learned, and my diverse influences. 

How was it to be on the scene in Paris in 

the ’80s? 

Those were great years. I was privileged to play 

what we now call world music with so many inspired 

musicians—recording, rehearsing, playing concerts 

until early hours in the morning, touring the 


F 


world, bringing joy and happiness to people with such creative music. Amazing! 

What made you decide to start the Prophets after Su La Také? 

I wanted to get away from strict verse-chorus-verse-chorus-bridge-solochorus-ad 

lib-fade out format. I was looking for a new challenge, and wanted 

to get back to instrumental music, with more freedom and longer improvisations. 

But there will definitely be more Sur La Také albums. I still love writing 

songs and singing. 

One of the highlights of Su La Také is your harmonies with Cate Petit. 

How did you develop your ability to sing and play? 

It’s not easy to play bass and sing at the same time. When the bass line is 

very different from the vocal line, I have to practice a lot. I do it pretty naturally, 

though, and I have my own tricks [laughs]. But being a lead singer is a lot 

more pressure than just being a bass player: You have to go to sleep early to save 

your voice, make sure the band is not playing loud, etc. 

Do you learn John McLaughlin’s music by ear or by reading charts? 

Both ways. When tunes are sometimes really tricky and fast, I need charts 

to understand the time signatures and get all the notes right. 

What have you learned from the legends you’ve worked with? 

Being among these masters has been a real blessing. McLaughlin and Zawinul 

totally changed the vision of jazz by adding sounds, scales, and spices from 

different parts of the world, which made the music more interesting. What I’ve 

learned from both of them is that there are no limits to music. Stick in what 

you think is good. Do it with honesty and humility, but do it. They also showed 

me the value of discipline and hard work. 

You’ve worked with some of the world’s greatest 

drummers. Do you change your approach 

to fit each drummer? 

I never change my approach. I am just aware of 

the environment, and I play what the environment 

tells me to play. 

You aren’t afraid to dig in behind soloists. 

It is totally purposeful. I love the freedom of not 

playing the same bass line every night when there’s 

a solo going on, and I love creating new lines that 

can give soloists fresh ideas. 

Have you had a chance to check out Aladji 

Toure’s book, Les Secrets de la Basse Africaine? 

Yes. It explains many nice grooves, and it’s a great 

overview of some classic African rhythms. 

What differences have you noticed between 

the many African and Indian rhythms you’ve 

played? 

Both traditions have so many rhythms, but there 

aren’t as many odd time signatures in Africa. 

What advice would you give a bass player 

struggling with odd times? 


F 


The more you play odd times, the more you get 

familiar with it. Sometimes it’s good to create your 

own internal loop instead of counting. Some odd 

numbers are really tough, though. 

The arrangements on How Near How Far 

are exquisite, and the trumpet/tenor/violin 

instrumentation is unusual. What’s your writing 

process? 

I write on bass or guitar. When I built the band, I 

was hearing a section that mixed horns and strings, 

and that’s why I got tenor sax, trumpet, and Clement 

Janinet on violin. His violin sounds like no other— 

a cross between North Africa, West Africa, and the 

Middle East, with Arabian, Andalusian, Indian, and 

Eastern European influences. He is the only one I 

know who sounds like that. In the middle of the 

horns, he gives me that tasty, colorful, spicy tone I 

was dreaming of. 

What advice do you have for composers 

who want to integrate many influences without 

sounding clinical and artificial? 

No special advice. I love music that surprises 

me, and I am blessed to travel all around the world 

playing music, meeting different people, tasting a 

lot of different food, seeing a lot of different colors, 

and hearing a lot of different music that sometimes 

blows my mind. When I’m back home, my head is 

full of all this beauty, and that inspires my creative 

process. A blowing wind could be an inspiration, as 

well, if it talks to you and you can hear it talking. 

But what works for me may not work for others. 

You’re well known for playing basses by 

Marleaux, Noguera, and F Bass. What do you 

look for in an instrument? 

Great, big, smooth, round, precise tone is what 

I’m looking for. 

Do you also play Warwick and Lairat instruments? 

Yes I do. Seven of the 11 tunes on How Near How 

Far were recorded with a Warwick StarBass II Single 

Cut. The sound is massive and very precise. I love it. 

Gloves keep your strings bright, but do you 

prefer the tone of gloves on strings? 

I’m so used to these silk gloves. They’re totally a 

part of my sound now. When I play without them— 

when I’m called for a jam, for example—it sounds 

to me like I’m playing with a pick. I prefer my tone 

with glove on strings. 

Are you still using DR Strings and EBS amps? 

Yes. DR Strings are the best in the world. I’ve 

been playing EBS amps forever, and they’re a big 

part of my sound. 

Do you have a regular practice routine? 

Not really. I just grab a bass and let my fingers 

go. Sometimes they do scales, sometimes they play 

a spontaneous line that could end up being a tune 

or an idea for a song. I just let them do whatever 

they feel like doing. 

What are some of the best ways to practice 

intonation on fretless bass? 

Play softly, and focus on your vibrato by playing 

slow melodic lines. 

What advice did you give your son Swaeli 

when he decided to get serious about bass? 

I taught him the basics and essentials on bass 

and guitar, and I told him to be himself, no matter 

who his dad is. That’s what he has done. He is brilliant, 

so talented. Definitely one of my favorite bass 

players today! BP 


Got Funk? 

Step up your 

funk chops and 

enhance your 

playing with 

8 interactive 

lessons on 

iphone, ipad or 

online for 

only $14.99! 

The first lesson 

is FREE! 

Single lesson purchase available 

Get our latest instructional bass product 

How To Play Funk Bass – Learn to play anytime, anywhere! 

guitarworldlessons.com/howtoplayfunkbass 

or download Guitar World Lessons from the App Store now

SOUNDROOM LINK FACE TECH PLAY LEARN 

S 

Soundroom 

Dudacus Tiberius Attack Bass 

By TARIK RAGAB | 

And now for something completely different. 

In most things, popularity breeds imitation, and the 

results become indelibly part of our collective consciousness, 

sometimes stifling innovation in the process. The complacency 

behind accepting a dominant paradigm creates the conditions for 

unquestioning dogma, yet pushing against this trend inspires 

us to pursue creativity. And, as artists, we strive to challenge 

the status quo. That ambition is what fueled Dudacus Basses 

founder Steven Baxter to start his company four years ago. 

Growing up in Brazil in the ’60s and ’70s meant missing out on 

the instruments commonly available in the U.S. Instead, brands 

like Teisco, Vox, and Rickenbacker—which originated in Japan 

and Europe—offered sharp contrasts from the American-made 

electric basses and guitars of the time. With their odd shapes 

and electronics, European and Japanese instruments set themselves 

apart in a saturated market and thus enjoyed quite a bit 

of success in their heyday. These outside-the-box designs were 

the impetus for Baxter to create a line of instruments with 

features as distinctive and innovative as the instruments that 

inspired him growing up. 

The creativity and imagination behind the Tiberius Attack 

bass is palpable at first sight. The overall look is a kind of hodgepodge 

of the classic and obscure. The body and neck read like a 

confluence of ’70s-era Rickenbacker instruments, a ’69 Teisco 

Spectrum guitar, and a Höfner violin bass. His custom-designed 

ƒ-hole complements the Höfner aspect and is reminiscent of a 

Rickenbacker 330 JG guitar. The two-piece chambered alder body 

has a starburst flame-maple top. The herringbone-patterned wood 

binding jumps out with a look that’s usually seen only on acoustic 

guitars. The 34"-scale bolt-on maple neck has an adjustable 

trussrod and an ebony fingerboard with mother-of-pearl block 

inlays. The 2+2 headstock is also a nod to the classic Rickenbacker 

4001 with its own take on the asymmetrical shape. The back of 

the body and neck are painted with a unique glitter finish that 

Steven calls “Galactic Starlight.” The Schaller adjustable bridge, 

chambered body, and light-duty tuning machines contribute to 


S 

SPECIFICATIONS 

Tiberius Attack Bass 

Street $2,700 

Pros Lightweight; evenly balanced; lots of 

tone options; stylish 

Cons High price point 

Bottom Line A great bass for funk/fusion 

or rock that’s equal parts quality and style. 

the Tiberius Attack’s light weight and good balance. 

The pickups on our tester were two MM-style Seymour 

Duncan Humbuckers, but they can be substituted 

optionally with Bartolinis or Aguilars. You 

can also switch seamlessly between active and passive 

modes with the neck volume knob’s push/pull 

switch. There’s an easy-access cavity on the back 

for quickly changing your battery. 

The Dudacus utilizes an Aguilar OBP-3 with an 

active/passive tone circuit and 3-position pickup 

switch. The EQ knobs have center detents to indicate 

a flat setting. The Attack Bass has a wide range 

of tones, yet even at its darkest it retains a great 

deal of punch and treble response, partially due to 

the bridge pickup being much closer to the bridge 

than Baxter’s previous designs (hence its name). The 

Aguilar preamp also contributes significant gain, 

with the bridge-pickup control having a pull-out 

boost to change the filter’s center frequency. The 

bass’s midrange flexibility is great for fingerstyle 

16th-note funk-fusion lines, as well as for rockers 

who like to use a pick. With all of the tone options, 

this bass lends it self to a diversity of styles. The 

Dudacus’ wide string-spacing and neck made it 

great for slapping or picking, and the low action 

was ideal for fusion and jazz soloing. 

Each bass is handmade from start to finish 

entirely by Steven Baxter in Cambridge, Massachusetts, 

and his craftsmanship and attention to 

detail come across. More often than not, conformity 

is the easy path, but the road less taken can 

lead to rarer things; with big risks come big rewards. 

If we never move beyond our comfort zone, stick 

our necks out, and try new things, then we will 

never grow. For this reason I truly appreciate the 

spirit of individuality and innovation that Baxter’s 

vision for Dudacus represents. No one ever said 

you have to reinvent the wheel, but it would be a 

pretty boring world if no one tried. BP 

SPECS DUDACUS 

Construction Bolt-on 

Body Alder 

Neck Maple 

Fingerboard Ebony 

Frets 22, medium 

Bridge Schaller adjustable 

Neck width at nut 41.3 mm 

Tuners Custom lightweight 

Pickups Two MM-style Seymour Duncan 

humbuckers running through an Aguilar 

OBP3 preamp 

Scale length 34" 

Weight 9 lbs 

Made in U.S.A. 

Contact dudacus.com 


SOUNDROOM LINK FACE TECH PLAY LEARN 

S 

Fractal Audio Systems 

FX8 Mark II Multi-FX Pedalboard 

By E.E. bradman | 

Fractal Audio first made a splash 

in 2006 with its Axe-Fx preamp/signal processors, 

which made good on the company’s mission to 

reclaim the promise and potential of digital effects 

in a landscape dominated by analog pedals. The 

company released its first pedalboard effects-only 

processor, the FX8, in April 2015; our review unit, 

a Mark II released in September 2016, boasts an 

all-black aircraft-aluminum bezel and end panels, 

improved top-panel silkscreen design, an 18dB 

instrument-input pad option, and an even lower 

noise floor. 

The FX8 overflows with possibilities: Each of 

its 128 presets is a self-contained “pedalboard” 

with up to eight effects, each called a “block.” 

You can choose an X or Y version of each block, 

which means twice as many sound settings from 

the same eight blocks. Each preset/pedalboard 

also contains eight easily accessible variations, 

called “scenes,” which makes it easy to turn multiple 

effects on or off with a single tap. There are 

so many effects and so many ways to tweak and 

arrange them that I decided to focus on five basic 

questions: How does it sound? How easy it is to 

use? How easy is it to tweak? How much can I do 

without bending over? And is it worth $1,250? 

First Impressions 

The 11.5-pound FX8’s switches feel solid, and the 

screen is just big enough and offers adjustable contrast. 

A protective bar helped keep my boots from 

hitting knobs or messing with the screen. The 

moment I plugged in my Elrick Gold-series 6, the 

pristine quality of the audio coming out of my Jule 

Monique preamp and powered Bergantino IP112 

with HT112ER 1x12 cabs shocked me. (The FX8 

features true bypass with analog relays to switch 

all processing completely out of the signal path.) 

Like a lot of bass players into multieffects popular 

with guitarists, I wondered whether I should 

try setting a global, bass-friendly EQ curve, but I 

realized quickly that the sound quality was so clean 

and each effect so flexible that I could dial in individual 

EQ curves depending on my intended tone. 

Loading, changing, and saving presets was easy, as 

was kicking on and off X and Y options for every 

effect and stomping through the eight scenes of 

each preset/pedalboard. The 92-page manual did 


a pretty good job of explaining the unit’s options, 

but I decided that the best way to understand the 

FX8 was to recreate my analog pedalboard. 

Diggin’ In 

One of my main projects is a flexible drums/bass/ 

synth trio that’s all over the map—we play whatever 

strikes us, from ECM-ish “jazz” and ’80s 

funk to drum & bass and cinematic soundscapes. 

It’s a perfect opportunity to use pitch shifters 

and delays to fill in guitar-range frequencies on 

top of my bass lines. I use a poor man’s bi-amp 

setup: I send the signal from my Boss TU-2 tuner’s 

output to an octaver, looper, and volume 

pedal and then out to my Jule/Bergantino rig, 

and I send the TU-2’s bypass through the rest of 

my effects—currently an overdrive, chorus, delay, 

pitch shifter, wah, and second looper—and out 

to a second volume pedal that goes to an Epifani 

Piccolo 600 head and Euphonic Audio VL-108 

1x8. There’s lots to love: I always have pure bass 

tone, I have a separate EQ for most of the effects, 

I have complete control over the wet/dry blend, 

and I can loop either signal path (or both). The 

one bummer? I can’t enjoy the awesome sound 

of a delay, chorus, or pitch shifter in true stereo. 

Which is where the FX8 came in. 

I began by plugging the FX8’s left output into 

my Jule/Bergantino stack and the right output into 

the Epifani/EA, using volume pedals for each. The 

results were instantly glorious. (The FX8 functions 

just fine in mono, but if you aren’t in stereo, you 

aren’t enjoying everything the FX8 has to offer.) 

Replicating my effects was a breeze. Initiating a 

blank preset and setting up the signal path took 

no time at all, as did attaching an expression pedal 

and choosing X and Y options for effect: two very 

different octaves, two types of chorus, and so on. 

It was intuitive enough for me to begin setting 

up scenes for each preset, giving me fresh options 

without having to change presets. I didn’t need 

to use “blocks” for a looper and tuner because 

they’re assigned to the unit’s F2 and F3 switches, 

respectively. 

Stereo Fun 

Once I was hearing things in stereo, I wanted to 

choose which effects came through the right channel, 

the left channel, or both. Before I could get 

too lost in I/O options, one of my bandmates proposed 

a solution so basic I wondered why I hadn’t 

thought of it: using the pan control on each effect. 

This worked in some instances, allowing me, for 

example, to put an octave through the Jule/Bergantino 

stack, a synth through the Epifani/EA, 

and a ping-pong delay in both. But it soon became 

apparent that if I wanted to explore those options, 

I had to put some serious thought into running 

effects in parallel (next to each other) or series 

(one effect into another) and in mono or stereo. 

It took some patience, experimentation, and planning 

to get it right, but when I nailed it, the results 

were breathtaking. 

The real fun began, however, when I installed 

the FX8 librarian, FX8-Edit, and hooked up my 

computer to the unit with a USB cable. The graphic 

interface was a game–changer. Suddenly, it was 

easy to visualize everything and to make changes. 

Best of all, there was no latency: The moment I 

made a change on the software, it was reflected 

on the pedalboard. 

How does the FX8 sound? Amazing. The reverbs 

and choruses are stunning, and the octave dividers 

are growly. The EQs made it easy to dial in low 

end, but I didn’t need it. The synths were wild; the 

FX8’s sequencer/arpeggiator opened up new possibilities, 

and its overdrive/fuzz/distortion emulations 

were capable of doing anything I asked. And 

everything was crazy flexible. Did I miss the pitchshifter’s 

algorithms? A bit. With time, though, I 

could probably replicate a big chunk of the particular 

magic I like. And using the looper—which 

offers up to eight minutes in mono or four in 

stereo, as well as reverse and half-time options— 

was a piece of cake. 

The FX8 is deep. Even without going into its 

pre- and post-effects or MIDI options or TRS relays 

or using the recommended Humbuster cables or 

checking out other users’ FX8 patches, it was still 

mighty impressive. Like all great gear, the FX8 

inspired me to push the envelope and be more musical. 

For the price of a stout collection of first-class 

pedals, a roadworthy pedalboard, and a case for it 

all, the FX8 offers infinitely tweakable options that 

can be saved, backed up, and thrown into the overhead 

compartment on your next flight. All things 

considered, it’s worth every penny. BP 

Fractal Audio 

SPECS 

S 


FX8 Mark II 

Street $1,250 

Pros Great sounds, tons of options, FX8- 

Edit software 

Cons No headphone jack 

Bottom Line Highly customizable hi-fi 

multieffect in a road-tough box. 

Effects Chorus, compressor, delay, drive, 

enhancer, filter, flanger, formant, gate/expander, 

graphic EQ, megatap delay, multidelay, 

tremolo/panner, parametric EQ, 

phaser, pitch shifter, reverb, ring modulator, 

rotary, synth, volume/pan, wah 

Finish Powder-coated steel chassis with 

anodized aluminum faceplate 

Display 160x80 dot-matrix graphic LCD 

Dimensions 16.35" x 3.96" x 10.00" 

A/D conversion 48 kHz @ 24 bits 

Dynamic range (A/D & analog outputs) 

>110 dB 

Frequency response (A/D & analog outputs) 

20Hz–20kHz, +0/–1dB 

Input voltage 100–240 VAC, 47Hz–63Hz 

(universal input) 

Power consumption


S 

SOUNDROOM 

Little Labs Redeye 3D Phantom 

By Jonathan Herrera 

Over the past year or so, I’ve 

been shifting a lot of my focus toward my Bay 

Area recording studio, Airship Laboratories. It’s 

not only been creatively invigorating, it’s also 

pushed me to dive headfirst into a new world of 

gear. A recording studio is essentially an elaborate 

gear habitat, each piece contributing its 

share to the (hopefully) thriving ecosystem. 

And much like in an ecosystem, the whole food 

chain plays an important role, from the glamorous 

apex preamps and mics to the lowly cable 

snakes and monitor stands. Unlike live, there’s 

also nearly limitless ways to take a bass tone into 

uncharted territory, the limit being only your 

imagination and ingenuity. One of the coolest 

assets in that journey is a reamp box, and the 

Redeye 3D Phantom is one of the best. 

For those who don’t know, reamping is the 

technique wherein a recorded bass signal (usually 

tracked with a direct box or preamp) is sent 

out of the recording device and into an amp or 

other piece of gear. In this way, a recording engineer 

is able to use the direct sound as the basis 

for experimentation, long after the part was 

tracked. The reason a purpose-built box is necessary 

is that amplifiers are designed to accept 

a high-impedance instrument-level signal, but 

the output of a DAW or tape machine is a lowimpedance 

line-level signal. To ensure that the 

amp reacts appropriately, an engineer must fool 

it into thinking it’s receiving a live bass signal. 

The same goes for stompboxes and any other 

instrument-level gear. 

Little Labs is renowned among engineers 

for its elegant and affordable solutions to many 

vexing little studio challenges. In that tradition, 

the Redeye 3D is an extraordinarily versatile 

device. First, it is built like a proper professional 

piece of gear, with custom transformers handling 

impedance conversion (they’re modeled 

after UTC transformers, famed among studio 

gear geeks) and hi-fi, rugged parts throughout. 

Via front-panel buttons, the Redeye can be used 

as a passive DI, an active buffered DI with a nice 

and high 10MΩ input impedance to avoid loading 

passive pickups and attenuating highs, and 

as a reamp box with real-time switching between 

a direct and reamped sound, if desired. In active 

mode, power comes via 48-volt phantom. The 

Redeye also allows users to lift the signal ground 

to reduce noise and to flip the reamp signal’s polarity 

to ensure phase coherence. In short, it does 

everything—and more—that one could expect 

from a box the size of a small external hard drive. 

I immediately put the Redeye to use in my 

studio. I was able to bring new character and vibe 

to a dozen or so sessions, sending my bass tracks 

out to a host of amps in my live room and experimenting 

with mics and mic placement. I also could 

more easily interface my bass with a variety of outboard 

gear that expects to see a mic-level signal at 

its input, such as mic preamps and compressors. 

In short, the sub-$300 Redeye 3D injected more 

fun into my recording workflow than just about 

any other piece of gear I own, including some that 

are mind-blowingly expensive. 

If you do any recording, you most certainly 

should give the Redeye a try. As a basic direct 

box, it’s excellent. It offers a slightly colorful, 

transformer-kissed sound that elegantly captured 

my bass’ nuances, especially when I needed to 

make use of the buffered input to extract maximum 

fidelity from my passive instruments. 

At the price, its DI capabilities alone make it a 

good value. That it doubles as a top-shelf reamp 

box with a special color all its own makes it a 

must-have. BP 

Little labs 

S 


Redeye 3D Phantom 

Street $290 

Pros Excellent-sounding DI and reamp; 

ruggedly made from top-notch parts; 

remarkably versatile 

Cons None 

Bottom Line Given the price, it’s hard not 

to make this a de rigeur buy for any bass 

player with recording ambition. 

Made in USA 

Contact littlelabs.com 


W 

WOODSHED LINK FACE TECH PLAY LEARN 

WOODSHED 

Jazz Concepts 

That Beatnik Vibe 

Ben Tucker: Comin’ Home Baby 

By John Goldsby | 

In the new Amazon series Crisis in six sCenes, 

Woody Allen frames his meandering plot with classic jazz hits from the ’60s: 

“Moanin’” played by Art Blakey with Jymie Merritt on bass, “Topsy” played by the 

Jimmy Guiffre Trio, and “Comin’ Home Baby.” Bassist Ben Tucker composed and 

performed “Comin’ Home Baby” with flautist Herbie Mann on Live at the Village 

Gate [1961, Atlantic]. Over the past 60 years, Tucker’s tune has been recorded 

often by both jazz and pop artists. The beauty of his composition lies in the sexy, 

hypnotic, double-stop boogaloo bass groove. On Live at the Village Gate, Tucker 

joins Mann’s band alongside Ahmed Abdul-Malik—Mann’s regular bassist at the 

time—for a two-bass romp that draws the listener into the smoky, dank zeitgeist 

of Greenwich Village in the ’60s. 

Bob Dorough later put lyrics to the bluesy melody, which became a hit for vocalist 

Mel Torme [Comin’ Home Baby!, 1962, Atlantic] and Michael Bublé and Boyz II 

Men [Call Me Irresponsible, 2008, Reprise]. A strong bassist, Tucker eventually found 

a more profitable niche in the world of songwriting, music publishing, and radio. 

Bassists usually only make money per note—when we play, we get paid. Hit 

songwriters make money while they sleep. Tucker also played with and wrote 

songs for Marian McPartland. In his book, Shall We Play That One Together? The 

Life and Art of Jazz Pianist Marian McPartland [2012, St. Martin’s Press], Paul de 

Barros writes, “The real money in the music business, as Ben Tucker discovered, 

was getting one’s songs published, played on the radio, and/or recorded by others.” 

Tucker’s career as a first-call bassist in the ’60s was admirable. He made his 

mark playing in bands and on recordings with jazz heavyweights like Quincy 

Jones, Mose Allison, Billy Taylor, Pat Martino and Grant Green. In the early ’70s, 

his bass playing took a back seat to a business career after he purchased two radio 

stations in Savannah, Georgia. Ben Tucker passed away in a car accident in 2013 

at age 82. His groovy bass playing and hip melodies still enthrall jazz fanatics and 

Woody Allen fans. 

Example 1 shows the bass line that Tucker plays on Herbie Mann’s Live at 

the Village Gate album. “Comin’ Home Baby” is a 12-bar blues form with a couple 

of interesting harmonic twists. The tonic chord is G minor. In bar 5, the harmony 

moves to an Fsus, which you could think of as a C minor chord with an F in the 

bass. In bars 9 and 10, the bass line moves chromatically from Bb back down to G 

minor. Compare this chromatic movement to the harmony of songs like the jamsession 

standard “On Green Dolphin Street” and the rock anthem “I’m a Man” 

from the Spencer Davis Group. Tucker’s melody—based on a G blues scale—snakes 

smoothly through the harmony. 

The term double-stop means two notes played simultaneously. Play the double-stops 

slowly at first and make sure that each pair of notes is in tune. A perfect 

5th double-stop sounds full, round, and sonorous when you play it in tune. 

When the perfect 5th interval is out of tune, it sounds like a sick cow. Make sure 

you can hear the difference. 

GOLDSBY 

CONNECT LISTEN 

i 

INFO 

Check out John’s new video 

lesson series, The Upright Bass 

Handbook. More info at truefire. 

com and johngoldsby.com. 

Herbie Mann, Herbie Mann Live at 

the Village Gate [1961, Atlantic]. 

Additional Ben Tucker recordings: 

Grant Green, Green Street [1961, 

Blue Note]; Mark Murphy, That’s 

How I Love the Blues [1963, 

Riverside]; Marian McPartland, 

Bossa Nova + Soul [1963, Time 

Records]; Pat Martino, Strings! 

[1967, Prestige]; Billy Taylor, 

Sleeping Bee [1969, Prestige]. 

• Ben Tucker’s composition and 

playing capture the beatnik sound 

of Greenwich Village in 1961. 

• Marian McPartland plays 

Wurlitzer electric and acoustic 

pianos on this version of “Comin’ 

Home Baby,” Ben Tucker’s funky 

jazz hit. 

• Get represented! Ben Tucker 

brought home substantial 

royalties with his hit “Comin’ 

Home Baby.” Learn more about 

joining a PRO (performance rights 

organization), registering your 

compositions, and even starting 

your own publishing company. 

bassplayer.com/january2017 


To lock in the groove, honor the eighth-note 

rest on beat two of each bar. Also watch for the rests 

that happen often on beat four. These rests create 

space for the drummer’s backbeat, and makes the 

listener bob her head and do that cool, nonchalant 

finger-snapping thing that beatniks did in the 

’60s. On the Village Gate recording, Tucker starts 

the bass line—it was his tune, after all—and then 

Abdul-Malik joins with high harmonic accents. 

When the bass solo begins at 5:50 into the 

track, Abdul-Malik switches to the bass line and 

Tucker takes the lead. Example 2 shows the 

fifth chorus of his solo, beginning at 7:00. Tucker 

quotes the melody in the first four bars. In bar 5, 

he plays a repeated riff from the note C. In bars 

7 and 8, Tucker throws off a nice blues lick with 

a left-hand pull-off. The last eighth-note of bar 8 

pushes into bar 9. Be sure to push the anticipated 

eighth-notes in bar 9, but don’t rush. Dragging 

might be a drag, but rushing is for squares. 

In bars 11 and 12, Tucker finishes the chorus 

with a G7 lick, landing on the 3rd (the note B) in 

bar 12. Maybe he meant to play a Bb because the 

rest of the tune always has the G minor sound in 

that spot. But Tucker can play any beatnik note 

he wants, because it’s his tune and solo. Long 

live the ’60s! BP 

Swinging 

eighth-notes 

= 158 

Gm7 

Fsus 

Ex. 2 Ex. 1 

7 

7 

5 

7 

5 

7 

5 

7 

5 

7 

5 

Gm7 Bb A Ab Gm7 

7 

5 

5th solo chorus: 

7:00 into track 

5 

5 

Fsus 

7 

5 

5 5 3 

Gm7 

7 

5 

3 6 7 

(5) 

5 

7 

5 

5 

9 

7 

5 5 3 

10 

8 

(5) 

5 

10 

8 

5 

7 

5 

9 

7 

3 7 5 3 

5 

7 

5 

7 

5 

8 

6 

5 (0) 5 

Gm7 

6 

4 

3 

PO 

3 

5 

3 

7 

5 

7 7 5 3 0 

5 

3 

7 

5 

5 

3 

7 

5 

5 

3 

7 

5 

5 5 5 

3 5 

3 

5 

3 

6 

4 

1 

9 

Bb A Ab G7 

5 

3 

3 2 2 

2 

0 

2 

1 

1 

(3) 

(4) 

5 3 

5 

2 0 

3 1 2 5 


WOODSHED LINK FACE TECH PLAY LEARN 

W 

R&B Gold 

Motown: The Early Years 

By Ed Friedland | 

When you think “Motown,” iconic songs like Marvin 

Gaye’s “Heard It Through the Grapevine” or the Supremes’ “You Can’t Hurry Love” 

come to mind. The record label’s signature sound featured polished, well-produced 

vocals and backgrounds over a hard-grooving rhythm section, with songwriting 

that easily crossed over to the pop market. But it didn’t necessarily start that way. 

Berry Gordy founded Tamla Records in January 1959 after several years in the 

industry as a songwriter (he penned the Jackie Wilson hit “Lonely Teardrops”), 

and the earliest releases were fairly conventional for the time. However, as the 

fledgling label grew, glimpses of genius began to appear, and the paradigm-altering 

bass contributions of James Jamerson can be heard in their nascent form. 

The first single released by Tamla was “Come to Me” by Marv Johnson, a 

classic I–VI–IV–V progression played with a gospel-influenced even-eighthnote 

feel. Even at this early stage, Berry must have understood the power of a 

strong bass line, as he has the upright bass tripled with bass vocals and baritone 

sax. While Jamerson did start recording for Gordy in 1959, this session 

was said to be anchored by “Professor” Joe Williams on bass. However, a conversation 

with Andy Skurow, vault manager, reissue producer, and Motown historian 

at Universal Music Group revealed that James Jamerson is in fact listed 

as the player on this track in the liner notes of The Complete Motown Singles Vol. 

1. While he admits that Motown didn’t really get its personnel record-keeping 

solid until mid 1962, this info comes from the official source. Listening to the 

song, there is nothing to suggest it’s him either way. The performance is solid 

if not exceptional, but it was a period of rapid growth for the young player. 

The bass plays a typical rhumba-type triad line hitting on beat one, the “and” 

of beat two, and the downbeats of three and four, which I introduced in an earlier 

column as the tresillo rhythm. The baritone sax, however, uses an eighth/ 

quarter/eighth syncopated figure on beat three that anticipates the downbeat 

of the next bar. It’s kinda funky. Doubling the sax is a bass vocalist (singing 

“bum, bum, bum, bum”) placed very high in the mix. While these discrepancies 

cause some slop, the blend makes it sound like the upright is 

playing a much busier part—perhaps foreshadowing things to 

come. Example 1a shows the upright line, while Ex. 1b is the 

i 

baritone-sax part—by today’s highly sanitized pop production 

ethos, it’s hard to imagine something like this making it on to 

a record, but by the end of the track, all three bass instruments 

have congealed into a unified groove. 

While the first Tamla/Motown track Jamerson played on 

has been subject to question, in his groundbreaking book Standing 

in the Shadows of Motown, Alan “Dr. Licks” Slutsky states 

that “Way Over There” by the Miracles is the first significant 

track that can be definitively credited to James. An interesting 

point about this song is it was recorded and released several 

ED FRIEDLAND 

INFO 

Ed Friedland is 

currently touring 

with Grammy 

Award winners 

the Mavericks, 

and living outside 

of Nashville, 

Tennessee. 

edfriedland.com 

times. They are identified primarily by the instrumentation: The first version is 

without strings, while the second has lush orchestration. The first version is a 

rougher performance with audibly out-of-tune rhythm guitar, poorly recorded 

bass, and an overall lack of polish to the mix. But from a bass-playing standpoint, 

the track is a formative moment in Jamerson’s career, and it gives us 

a glimpse into his developing concept when compared to his second shot at 

the tune. The song is a simple I–VIm vamp in Ab, except the original version 

has a brief interlude at the 1:52 mark where the bass plays the 5th under 

the I chord before going to the VIm. The second version replaces it with an 

orchestrated string break over the normal progression before the outro vamp. 

Example 2a shows the basic pattern James plays over the vamp, a Latin 

rhythm that was in common use. As you listen to the track, you can hear James 

altering the pattern, but not in the thematic way he would eventually master, as 

he was still searching for the part. Example 2b simplifies the pattern in the first 

bar with a half-note—the space feels good, but he only does it once. He experiments 

with a half-note in the second bar of the phrase (Ex. 2c), but once again, 

he does not repeat it. Example 2d is a busier variation that introduces the idea 

of the repeated Eb note; he does this a few times, but eventually drifts back to the 

original idea in Ex. 2a. Still, it is interesting to note its similarity to the rock-solid 

pattern on the second version of “Way Over There” (Ex. 3). No longer fishing for 

his line, Jamerson approaches the part with a firm attack and authority, providing 

the rhythmic drive he became famous for. Examining the two parts, there are 

many similarities, but the extra pickup note on the “and” of beat three makes a 

surprisingly big difference in the line’s effect. The repeated Eb gently breaks the 

mold of a typical upright part, and with Gordy’s improved production, the bass 

sits front-and-center in the mix, pumping the thump for perhaps the first time 

on a Tamla/Motown record. The "strings" version of "Way Over There" was also 

remixed for the 1961 album Hi! We're the Miracles, as well as a remix for a compilation 

called Ooo, Baby Baby. 

James Jamerson’s history at the label is epic, and there are 

many gems, groundbreakers, and blown minds ahead as we look 

deeper into the work of this giant of the bass. In addition to Dr. 

Licks’ book, it is mandatory that you watch the film adaptation. 

This part-dramatized, part-documentary film features many of the 

then-surviving members of the Funk Brothers, the fabled group 

of players that made up Motown’s session crew, of which Jamerson 

was the undisputed King of Bass. In addition, check out my 

book The R&B Masters; The Way They Play [Backbeat Books], which 

features a chapter on James and his contribution not only to our 

instrument, but to the world of R&B Gold. Special thanks to Paul 

Damien Barker at the Motown Museum, and Andy Skurow, for 

their invaluable help. BP 


= 148 

F 

Dm 

Ex. 1a 

5 

Bb 

3 3 

2 5 

3 3 

2 5 

C 

0 0 3 

2 

0 0 3 

2 

1 1 

0 3 

1 1 

0 3 

3 3 

2 

0 

3 3 

2 

0 

sim. 

Ex. 1B 

5 

8 8 

7 

5 

8 8 

7 

5 7 5 

0 0 3 

2 

0 0 3 3 

2 

3 

1 1 

0 3 

1 1 

0 3 5 3 

3 3 

2 5 

3 3 

2 5 

2 

5 

= 117 

Ab 

(a) 

Fm Ab Fm 

(b) 

Ex. 2 

1 

0 1 1 

1 1 2 3 3 1 3 

1 3 3 1 3 

Ab Fm Ab Fm 

(c) 

(d) 

0 

1 

1 1 2 3 3 

1 1 

1 1 1 2 3 3 1 3 

0 

Ex. 3 

1 

1 1 1 2 3 3 1 3 

0 


TRANSCRIPTION LINK FACE TECH PLAY LEARN 

? 

TRANSCRIPTION 

Charles Bradley’s 


Nick Movshon’s Complete Bass Line 

By CHRIS JISI | 

ClaSSIC R&B, that baSS-driven amalgamation of impassioned 

vocals, syncopated rhythms, and shifting minor chords, is alive and well 

at Diamond Mine Recording in the Manhattan-shadowed Long Island City section 

of Queens, New York. Owned and operated by guitarist Thomas Brenneck, 

multi-instrumentalist Leon Michels, drummer Homer Steinweiss, and bassist Nick 

Movshon, the crew is responsible for vocalist Charles Bradley’s latest acclaimed 

album, Changes [2016, Daptone]. The New York-born Movshon has already established 

deep rhythm roots on recordings with Antibalas, Sharon Jones & the Dap- 

Kings, and Dr. John, and—as Mark Ronson’s first-call feel-maker—with Amy 

Winehouse, Quincy Jones, Adele, Bruno Mars (“Locked Out of Heaven”), and 

Ronson’s 2015 solo smash, Uptown Special [RCA]. For Changes, Movshon steps 

up with a song-defining sub-hook on the pleading ballad “Change for the World.” 

The session for the track took place at Diamond Mine in November 2014, 

and featured Movshon, Steinweiss, and Brenneck cutting live. Added later were 

Bradley’s vocals, background vocals, horns, and organ. Offers Movshon, “With 

Charles, usually we send him a finished track and he writes the melody and 

lyrics, and then he comes in and records with Thomas. As I recall, we got to the 

studio, wrote the song, ran through it three or four times to solidify our parts, 

and then we did two or three takes—and I believe the album version is the first 

take.” Movshon plucked his ’69 Fender Precision sent into an unmiked Ampeg 

B-18 and a Countryman DI. “We liked the amp leakage into the drum mics, so 

you’re hearing some room sound.” From there, his signal chain was a Psidex 

tube preamp, an Altec 1567A tube mixer, and a dbx 161 compressor. Known 

for his use of vintage basses, amps, and strings, he allows, “The strings on my 

P-Bass are a mixed set of 40- to 50-year-old flatwounds—three Pyramids and 

a Fender on the D string. I’m the only bassist I know who trolls eBay for old 

strings to use,” he laughs. “I’ll find sets that match in gauge and feel, and I’ll 

come up with a combination of strings that sound good and consistent—this 

set has been on for five years.” 

The track begins with a drum fill into an instrumental intro that later becomes 

the chorus. “The bass line just happened and seemed appropriate to what we 

were writing. I had been listening to George Porter Jr. with the Meters and to 

Howlin’ Wolf’s electric record [This Is Howlin’ Wolf ’s New Album, 1969, Cadet], 

with Louis Satterfield and Phil Upchurch on bass, which probably had an impact. 

Actually, I came up with the verse bass line [letter A] first, and the rest of the part 

spun off that.” The intro/chrous line establishes a few parameters: the general 

pattern of eighth-notes on beats one and three and 16th-notes on two and four, 

and the key use of long and short notes (with short notes often on the downbeat). 

Also of interest is the unorthodox chord movement of II–I resolving to 

the III chord (Bbm–Ab–Cm). “At this point, we’re 

so well-versed in vintage R&B chord progressions 

that we try to move away from them, consciously 

or unconsciously.” 

For the first verse, at letter A, the aforementioned 

intro/chorus rhythmic and note-duration components 

continue in what is a more melodic bass part. 

(Indeed, Bradley does as much talking as singing in 

counterpoint to it.) Letters B (first chorus) and C 

(second verse) mirror the intro and letter A. Letter 

D begins as another chorus but veers off with an 

instrumental interlude in the final four measures, 

making it more of a bridge in Movshon’s mind. “We 

often shy away from middle-eights [another term 

for bridge] because they’re predictable, so this is 

our undercooked version of a bridge!” Letter E’s 

out chorus begins with no drums, creating a fourbar 

breakdown before the drum fill-led full-groove 

return in bar 54. Loosening up in the fade, Movshon 

tosses in some E naturals in bars 63 and 65, where 

he matches a drum fill on the last two beats. “That 

major 3rd against a minor chord is something you 

hear a lot on soul records, from James Brown’s bassists 

to James Jamerson—whether it’s functioning 

as a leading or passing tone, or ghost-note, or the 

ingenious ways Jamerson used them, including open 

strings in flat keys.” 

Movshon, who has most recently spent his time 

outside of Diamond Mine touring as a member of 

the Arcs (with Black Keys guitarist/vocalist Dan 

Auerbach) and tracking with Mark Ronson for Lady 

Gaga’s latest, Joanne, advises, “Be sure to play the 

part in the middle of the fingerboard, like I did. Also, I 

plucked the strings just below the neck—I keep all the 

covers on my Precision and Jazz Basses, and I pluck 

in front of them. Feel-wise, the choruses are in the 

pocket to a little pushed, but for the verses Homer 

and I are sitting back. Be mindful of your melodic 

role, but stay locked into the groove, and have fun.” 


assplayer.com / january2017 57


? 


R&B ballad 

5 

9 

= 74 

A 

Intro 

Bbm Ab Cm Bbm Ab Cm 

8 

PO 

8101186 

4 6 8 6 6 8 8 10 10 10 10 10 10 (8) 8 PO 

8101186 6 4 6 8 

6 6 8 8 

10 10 10 10 10 10 10 9 9 

Bbm Ab Cm Bm Bbm Ab G7 

8 8 81011 6 

Transcription by Chris Jisi 

4 6 8 6 6 8 8 (10) 8 10 10 10 8 

10 10 

9 9 


4 6 8 6 6 3 3 3 3 

Fm Bbm7 Fm Bbm Fm 

12 12 12 12 12 12 12 12 

8 

10 13 10 8 10 8 6 

6 6 8 6 8 6 8 8 

8 

10 10 

8 

10 13 10 8 10 8 6 

6 6 8 6 8 6 8 

8 

8 

10 10 

13 

Bbm Fm Bbm Fm 

8 

10 13 10 8 10 8 6 8 

6 8 6 8 6 8 

8 

8 

10 

8 

10 13 10 8 10 8 6 

6 6 8 6 8 6 8 

8 

8 

10 10 

17 

Bbm Fm Bbm Fm 

8 

10 13 10 8 10 8 6 8 8 6 8 

6 8 6 8 

8 8 8 (10) 10 

8 

10 13 10 8 10 8 6 8 

6 8 6 8 6 8 

8 

8 

Change For The World — Words and Music by Thomas Brenneck, Homer Steinweiss, Charles Bradley, David Guy, Nickolas Movshon, Nicole Wray 

and Leon Michels. Copyright © 2016 BMG Platinum Songs, Music Of Big Deal, Extraordinaire Music, BMG Gold Songs, Songs Of Big Deal, Extraordinaire 

Songs and (Publisher Unknown). All Rights for BMG Platinum Songs, Music Of Big Deal, Extraordinaire Music, BMG Gold Songs, Songs Of 

Big Deal and Extraordinaire Songs Administered by BMG Rights Management (US) LLC. All Rights Reserved. Used by Permission. Reprinted by 

Permission of Hal Leonard LLC. 


21 

B 

Bbm Ab Cm Bbm Aflat Cm 

8 

PO 

810118 6 

4 6 8 6 6 8 8 10 10 10 10 10 10 8 81011 6 4 6 8 6 6 8 8 10 8 10 10 10 8 

10 10 

9 9 

25 

Bbm Ab Cm Bm Bbm Ab G7 


4 6 8 6 6 8 8 10 8 10 10 10 10 10 10 10 9 9 


4 6 8 6 6 10 12 12 12 12 12 12 12 

29 

C 

Fm Bbm Fm Bbm Fm 

8 

10 13 10 8 10 8 6 

6 6 8 6 8 6 8 

8 

8 

10 10 

8 

10 13 10 8 10 8 6 

6 6 8 6 8 6 8 

8 

8 8 

8 8 

33 

Bbm Fm Bbm 

Fm 

8 

10 13 10 8 10 8 6 8 8 6 8 

6 8 6 8 8 

6 8 

10 

8 

13 10 8 5 

8 6 7 8 

6 8 6 8 6 8 4 6 7 8 8 

6 

37 

Bbm Fm Bbm Fm 

8 

10 13 10 8 10 8 6 8 8 6 8 

6 8 6 8 

8 8 8 10 10 

8 

10 13 10 8 10 8 6 8 

6 8 6 8 6 8 

8 

8 

41 

D 

Bbm Ab Cm Bbm Ab Cm 

PO 

8 

11 8 6 6 

4 6 7 8 8 10 10 10 10 10 810 9 9 

8 8 8 10 11 6 6 4 6 8 

6 6 8 8 8 

10 1010 10 10 10 10 10 10 9 9 



? 

45 

49 

53 

Bbm Ab Cm Db Cm 

8 8 

PO 


4 6 8 6 6 8 8 10 10 10 10 10 10 10 10 10 10 

11 11 11 11 11 10 10 10 10 10 

Edim Bbm Ab Cm Bbm Ab 

E 

7 7 7 7 7 7 7 7 7 

8 

PO 


4 6 8 6 6 8 8 10 10 10 10 10 9 8 8 810118 6 

PO 

Cm Bbm Ab Cm Bbm Ab 

8 8 8 10 101010 10 10 10 10 9 8 8 810118 6 

PO 

4 6 8 6 6 

4 6 8 6 6 8 8 10 8 10 10 (10) 10 10 9 9 8 8 81011 6 6 4 6 8 

6 6 

57 

Cm Bbm Ab Cm Bbm Ab 

8 8 10 10 10 10 10 10 10 10 10 10 

8 8 

PO 


4 6 8 6 6 8 8 

10 10 8 

8 8 8 

PO 

8 8 810118 6 6 4 6 8 

6 6 

61 

Cm Bbm Ab Cm 

8 8 

10 10 8 

10 

10 10 8 8 PO 

8 1011 8 6 

4 6 8 6 6 8 8 

10 10 8 

10 

8 

7 7 

64 

Bbm Ab Cm Bbm Ab 

8 8 

PO 

8 1011 8 6 

4 6 8 6 6 8 8 

10 10 8 

9 9 10 9 11 10 9 8 8 8 1011 8 6 

4 6 8 6 6 

PO 


To advertise in 

Bass Player's 

Spotlight 

or 

Showcase 

CONTacT: 

National Specialty 

Sales 

Representative 

Jon Brudner 

jbrudner@nbmedia.com 

(917) 281-4721 

BILLY SHEEHAN SIGNATURE MODEL 

Shredneck 

Available now 

Billy Sheehan Signature Shredneck models feature a maple 

fingerboard with a fingerpicking route with white pearl 

pickguard material on the headstock/body. The Distinct 

styling of these necks are modeled after his signature style 

and look. 

MSRP: $149.99 

www.shredneck.com 

PRODUCT SPOTLIGHT 

Shoulder Pain? 

Reduce or Remove the shoulder weight of your 

Bass with Slinger’s Ergonomic Guitar Straps 

Bass SHOWCASE 

Don’t miss your cue... 

with the VoxGuard VU ! 

SamAsh_BP_8thH_SEP16.indd 1 

9/8/16 3:03 PM 

Ergonomic Models: 

HIP STRAP 

SLING STRAP 

HARNESS STRAP 

COMFORT STRAP 

www.primacoustic.com/voxguard 

The “Hip Strap” 

waist guitar strap 

www.slingerstraps.com 

Made in the U.S.A. 

bas508088_1016_r3.indd 1 

bassplayer.com / january2017 61 

7/25/16 5:34 PM

Bass SHOWCASE 


assplayer.com / january2017 63 

Bass SHOWCASE

LuthiersAccessGroup / BassBuilders 

Duvoisin 

Fat Standard 

Marleaux Le Fay Paul Lairat Aquilina Kenneth Lawrence Combe 

Performance Duvoisin Maruszczyk MBJ Fibenare 

Glockenklang STR 

Bass SHOWCASE 


800-545-8813 

www.basscentral.com • sales@basscentral.com 

BASS CENTRAL is now The Exclusive International Source 

for DAN LAKIN’s new design, D. LAKIN BASSES! 

Bass SHOWCASE 

500 BASS GUITARS IN STOCK! 

• Alembic 

• Dingwall 

• Elrick 

• ESP 

• F Bass 

• Fender 

• Fodera 

• G & L 

• Godin 

• Groove Tools 

EUB’S 

• Azola 

• BSX 

• Hofner 

• KSD 

• Ken Smith 

• Lakland 

• Lakland Skyline 

• MTD 

• MTD KZ Series 

• Mike Lull 

• MusicMan 

• Pedulla 

• Eminence 

• Kydd 

• Renaissance 

• Roscoe 

• Sadowsky 

• Spector 

• Status 

• Warwick 

• Xotic 

• Yamaha 

• Zon 

• NS Design 

GUITARS 

• Musicman • Fender Custom Shop • Alembic 

EFFECTS PEDALS 

• Eventide 

• Dark Glass 

• Sans Amp 

• EBS 

• MXR 

• Pigtronix 

• Radial 

• Suncoast 

Preamps 

STILL IN THE BOX! 100’S OF 

AMPS, CABS IN STOCK! 

• AccuGroove 

• Acoustic Image 

• Aguilar 

• Alembic Preamps 

• Ampeg 

• Bag End 

• Bergantino 

• Demeter 

• EBS 

• Eden 

• Epifani 

• Euphonic Audio 

• Fender 

• GK 

• Hartke 

• Kemper 

• Mackie 

• Mesa Boogie 

• Orange 

• Phil Jones 

• QSC 

• Schroeder 

• Sonusphere 

• Tech 21 

• TC Electronics 

• Valve Train 

#1 DEALER / LARGEST STOCK OF: 

• MusicMan 

• Warwick 

• Lakland 

• Spector 

• Alembic 

• Fodera 

• MTD 

• NS Design 

• Eden 

• Dingwall 

AND MORE! 

GREAT PRICES! LESSONS! 

EXPERIENCED STAFF! 

WORLD’S LARGEST INVENTORY!!! BUY/SELL/TRADE 

WORLDWIDE SHIPPING • QUALITY BASS GEAR 

basscentralblog.blogspot.com • Look for us on Facebook 


D 

By Jim Roberts 

Rob Elrick 

Jim Roberts was 

the founding editor 

of Bass Player and 

also served as the 

magazine’s publisher 

and group publisher. 

He is the author of 

How the Fender Bass 

Changed the World 

and American Basses: 

An Illustrated History 

& Player’s Guide (both 

published by Backbeat 

Books/Hal Leonard). 

These days, making a living 

by building basses isn’t just a matter of 

finding the right materials and having 

the skill to shape them into instruments. 

Communicating with current and potential 

customers is equally as important— 

and social media is playing a large and 

growing part in doing that successfully. 

“It has made things quite a bit more challenging,” 

says Rob Elrick of Elrick Bass 

Guitars. “There has been a shift in the 

consumer demographic toward millennials. 

You have to always be in front of 

them—repetition is what delivers the 

message.” 

Rob has been building basses since 

1992. Trained at Berklee, he was a working 

musician before he began to make 

instruments. “Early on, I was supporting 

the business by playing gigs—which 

was kind of the opposite of my original 

intention,” he says. “But after a number 

of years, it became clear that the business 

was going to demand more of my attention.” 

Unlike part-time luthiers who see 

bass building as a good hobby, Rob is fully 

committed to his craft. “The bass guitar 

has been the center of my life for so long 

that it has become a lifestyle. I have constructed 

a life around it that began first 

as a musician and evolved over time to 

include luthiery and the founding of my 

company. Bass is what I do.” 

Rob has built more than 1,200 basses 

since opening his shop in Chicago, doing 

all of the work himself without the CNC 

machines and other automated devices 

currently used by many luthiers. “The 

term ‘handmade’ is kind of cloudy,” he 

says, noting that it’s often applied to 

instruments with primarily machinemade 

components. “My instruments 

are not handmade instruments; they 

are hand-carved instruments. There is 

a distinction.” 

In addition to the basses that Rob 

builds, there is the Elrick Expat series, 

instruments made to his specifications 

by partners in the Czech Republic, 

introduced in 2008. “It’s not a secondary 

line; it’s a supplemental line,” he 

explains. “It’s for people who expect a 

certain standard of quality at a price 

that’s a bit more approachable.” For the 

Expats, Rob chooses the materials, sets 

production standards, and does the final 

setup himself. 

Elrick offers made-in-USA basses in 

both bolt-on and neck-through configurations, 

double or single cutaway, with 

a wide range of materials and options. 

The figured woods chosen for body tops 

are often spectacularly beautiful, and the 

craftsmanship is impeccable. Although 

the aesthetics are what you notice first, 

Rob emphasizes that building instruments 

to suit his customers’ musical needs is 

what motivates him, whether they want 

a classic 34”-scale 4-string or something 

more exotic—such as the Elrick e-volution 

Gold Series SLC 6-string that he 

made for Steve Lawson, reviewed by E.E. 

Bradman in BP’s November ’16 issue. 

Rob’s latest project is a limited-edition 

instrument to celebrate his company’s 

25th anniversary in 2017. Available 

as a 4-, 5-, or 6-string, it is planned as 

a single-cutaway neck-through with a 

swamp-ash body and multi-laminate 

neck. “The anniversary bass will have a 

buckeye top,” says Rob. “I’ve been saving 

some one-piece buckeye tops, which are 

extraordinarily rare. The fretboards will 

be bird’s-eye maple with a special inlay 

pattern consisting of the flowers and 

leaves of the primary woods.” Custom 

Aero pickups with matching wooden 

covers and rose-gold hardware will complete 

the package. 

When he’s not searching for topquality 

materials or hand-carving an 

instrument, Rob has been focusing on 

raising his company’s level of consumer 

engagement. Although his instruments 

were previously available only through 

authorized dealers, the changing nature 

of the market has required more direct 

communication with bass players for 

custom quotes and sales. “Standing out 

from the crowd has become difficult, 

because the crowd has become so large. It 

was hard to get a foothold in the market 

25 years ago—I can’t even imagine how 

you would do it now.” 

Regardless of how he reaches his customers, 

Rob says that he remains committed 

to building “an instrument for 

players—a good, practical, functional, 

working bass. I tried a lot of things early 

on until I found the place, with experience, 

where things work the best. And 

honestly, I think that the instruments 

that perform the best are relatively 

simple. That’s where I’m at.” 

For more about Elrick basses, go to 

elrick.com. BP

BassPlayer 2017-01

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?