Views
6 months ago

BassPlayer 2017-01

BassPlayer 2017-01

BASS NOTES LINK FACE

BASS NOTES LINK FACE TECH PLAY LEARN 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 20 bassplayer.com / january2017

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

2017-01-22%20The%20Informer
A Decade Of Sound - Sound City 2017
Issue 83 / November 2017
01 2011 Speciale Mediattack Primavera.pdf
4.52am Issue: 046 10th August 2017 - The Hyena Kill Issue
Issue One – PDF – 19 MB - The Guitar Note
Understanding Nicholas Payton - David R. Adler
BeatRoute Magazine AB print e-edition - March 2017
anniveRsary
Volume 22 Issue 5 - February 2017
Issue 01 | February 25,2013 | critic.co.nz
01 cover_JAN10.indd - Out In The City
01 Cover_September2011.indd - Out In The City
01 Cover_August12.indd - Out In The City
Take-Note-3-February-2017
2CD/CD/LP+CD - Tuba Records
BeatRoute Magazine AB print e-edition - April 2017
Issue 38 / October 2013