Bass Frontiers Staff Contributor Ty Campbell

It is evident that bass amp manufacturers have recently been focusing a lot on making the normal heavy, back straining and massive amplification a thing of the past. Ampeg is no exception, and at last years Winter NAMM they introduced a new line of bass amps made with a heavy influence of a past legend, the B15 Fliptop. Visually, everything is almost identical from the original fliptop in exception for the head, which is a smaller, lighter and a more compact version.

The design of the amp is beautiful, like the B-15 the head is hidden until “flipped” into action. When it is flipped and ready to be transported it looks exactly like a speaker cabinet, with everything safely inside ready for the next gig or session. I have also used the inside as a storage container for a few small things, of course making sure I take them out when I fire on the amp. The checkered fabric wrap that Ampeg chose for the look of the cabinet is very handsome, and looks as good sitting in the corner as a decorative piece as it does on a stage in its purple/blue glowing glory.

The power of the amp would be a little underwhelming for someone looking to gig in any situation besides a smaller bar show. Although there is the great addition of a XLR Line out on the rear of the amp, I for one need a little stage “rumble” to get me going. One thing that I was really impressed with was the overdrive that was apparent when I cranked the gain. It was not harsh or brittle, it was full on beautiful bass fuzz of the likes of The Black Keys. So for session work I found the PF500 to be incredibly versatile, covering all ends of the spectrum of my needs. I should mention that the fan is pretty loud, so you would have to separate the cab from the head when recording. The PF500 includes the normal (and reliable) Ampeg 3 band EQ, 5-position mid control and ultra-hi – ultra-lo switches. Being an Ampeg guy myself, I was glad to see such familiar controls and was able to easily get the sound I was needed without much searching.

I should also mention that the line out on the back of the amp has some very useful parameters. Those being; post-pre EQ, 0dB-40dB output and a ground lift. Essential controls that are left out of a lot of amps. Next to the line out is a tuner output that just serves as an amp “thru” and keeps your signal chain nice and pure to the amp.

For the casual player, the amps front has an input for “audio” and an output for headphones. So if you are wanting to rock out to some tunes in silence as your baby sleeps in the next room, you now have that option within an Ampeg all-in-one package!

Overall I think that the PF500 and PF-210HE stack is a really cool product. It serves its purpose as a low wattage, but toneful package from Ampeg. If you are looking to melt some faces with volume on a stage this is not the right amp for you. But if you are looking for a light weight all in one package that has the flexibility of several genres of music in a recording or small gigging environment, this is for you.

Review by Ty Campbell
Bass Frontiers Contributor

Bass Aerobics by Jon Leibman, as it states on the cover, is a 52 week, one-exercise-per-week workout program for developing, improving, and maintaining bass guitar technique. Yes, there are 52 exercises, and each exercise covers 2 full pages.

Bass Aerobics has 5 chapters, which cover a wide swath of information. Chapters 1 and 2 cover chromatics, scales, and arpeggios. Chapter 3 gets into string crossing exercises, and chapter 4 covers slapping and popping. Chapter 5 is the advanced bass chapter, and covers everything that you learned in chapters 1 – 4. All 5 chapters build each and every exercise around a groove for a particular style. Bass Aerobics gives you a lot to advance any level of playing to the next level. Even after you complete Bass Aerobics, you can still use the exercises going through them as often as you wish.

Bass Aerobics covers a lot of styles including rock, reggae, jazz, blues, funk, disco, and more. Techniques used are plentiful including string crossing, playing off beat, rhythmic variations, articulations, hammer-ons, etc. To add to all this, the grooves cover all key signatures.

There is a CD included which provides demos and play along grooves, guitar and drums on the left channel, bass on the right. The CD track listing is listed in the front of the book with the coordinating exercise, which is really helpful.

If Bass Aerobics were a video game, the replay value would be extremely high and can be done over and over again. This book will definitely increase your groove library, and improve speed and dexterity. Bass Aerobics should be a necessity for every bass player out there and is endorsed by many great notable bass players. This book is amazing to say the least, as are all of Jon Leibman’s books. Bass Aerobics is available at http://www.forbassplayersonly.com/ and Amazon for $17.99

Roy Vogt’s Teach Me Bass Guitar, also known as TMBG, is a quite unique product, if not an all out venture into the fabulous world of learning bass. The packaging for this product is exceptional, with ease of access to each DVD. There are a total of 10 DVD’s (covering 20 lessons), and a pdf book is included on one of the DVD’s so that you can either view it on your computer, or print each lesson out individually. When ordering, there is also an option to order the book in print, for those that would like to do so. There is an included code so that you can register on Thunder Row, but more about that a little later.

Getting into the lessons, TMBG is suited for any range of expertise from absolute beginner to even some of the more advanced bassists out there. Starting with lesson 1, TMBG covers the names of the strings, hardware, tuning, picking styles, right-hand and left hand technique, fingerings, thumb position and pivot, using a metronome, warm-up exercise, learning the notes of the musical alphabet, sharps/flats, positions on the neck, and names of notes and where they are on the neck, and all the way through lesson 20, which covers 4,5,6, and 7 strings basses, eq, effects, and caring for your bass.

Each lesson also has an on-screen fingerboard displaying what Roy is playing during the lesson and the position of the neck he is playing on. After almost each lesson, there is a jam session with the band on what was covered in the lesson. Most of these are done with Roy playing the tune slowly at first, then it’s your turn playing with the band sans Roy. The tune is then done in the same method again, but at a faster speed. Everything concerning bass in between lesson 1 and 20 is covered in TMBG, this includes, learning notes in different positions, note types (quarter, eighth, etc) scales, triads, blues, swing, shuffles, jazz concepts, soloing, funk, slap, chords, tapping, warm-up exercise, cool-down exercises and much more. Lesson 16 through lesson 19 is where the working pro toolkit comes into play. The working pro toolkit covers sight-reading, standard progressions, Nashville number system, and world music, among quite a few other things that are definitely necessary for the working pro bassist.

Another nice feature of TMBG is the loop library. Each lesson is done in sections, and if you are having problems with a certain section of the lesson and want to go over just that particular part, well, it will be in the loop library. Each section of the loop library has it’s own unique title which refers back to the section of the lesson. As it may take a while for someone just starting out to get through an entire lesson, the loop library comes in real handy. More advanced players may want to use the loop library to just jam along with band.

Ok, now, let’s talk about Thunder Row. Thunder Row is the online companion to TMBG. Thunder Row is your one-stop-shop for all things about learning bass with TMBG. Stuck? Post a question or better yet, a video. Answers will come to you quite efficiently. You can even submit questions to Roy himself. That’s not all, there are giveaways, articles, a place where you can post your gigs, classifies, hints, tips, tricks, and even a section for each lesson.

TMBG is an exceptional product. This is totally a self paced product and for a total beginner, it could take upwards of 2 years to learn everything in TMBG. Keep in mind that in order to achieve the things you want, you will have to practice. TMBG gives you all the tools you need to become as good as a bass player as you would want to be!

Teach Me Bass Guitar can be purchased at http://www.teachmebassguitar.com or Amazon.

Ty Campbell started playing bass at age 13 in the high school jazz band and local bands in and around Columbus, Ohio. He attended Capital University majoring in Jazz Performance for 2 years. He attended the Recording Workshop in 1994 and was in the top ten for his class. Ty and his lovely wife Susan have lived in Nashville since 1997. Ty has done extensive touring with various groups throughout the US. When he is not rocking out with ‘Shareen and the Kings’ or running sound at the Ernest Tubb Midnite Jamboree, you can catch him sitting in at the Nashville Palace with the Larry Hamilton Group or subbing with other groups in and around Nashville.

The first thing I noticed was how well constructed this bag is and the room it has is unmatched. I had no trouble getting what I needed for an overnight trip in there along with what simple gear needs I had. This thing even has a plush 15” space for my laptop, which is essential these days. I particularly liked the side locker door style access panels! The removable soft shelf panels are very nice so you can use it as a big open space or section it off according to your personal needs. Another fantastic feature was the pullout weather cover. Although I didn’t need to use it, it was very good to know that in case it rains, you can cover your much treasured tools and your awesome bag from the elements. All in all, I got my clothing, shoes, small gear, and toiletries all in this ONE bag.

The bag has stowaway airmesh backpack straps AND an adjustable hip belt to offset heavier loads. It appears they thought of everything when designing this bag! I enjoyed having this bag on this trip and the musicians I traveled with all wanted to know where they could get one!! Out of all the products we review and see here at Bass Frontiers, this one is a must for ALL musicians.

(Editor’s Note: Be sure and check out our article by Managing Editor, Matt O’Donnell, entitled The Real Book: A History & Commentary)

There are generally two kinds of bass books available, one praising a certain player’s style and technique. The other gives the bassist information needed to gain a deeper understanding of the craft of bass playing and better musicianship. Of course, there are books that cover both subjects with varying degrees of success.

Then there is “The Real Book;” well known for many years and useful for the bassist on paying gigs. While some dedicated to the art of jazz look with disdain on this book, it is a wonderful companion for the working musician. This book allows musicians unfamiliar with many of the standards to play them on a gig.

In the 1970′s, I discovered while freelancing, that the better paying gigs and healthier working conditions were not always in the smoky bars, even though I had a blast, but they were doing conventions, dinner clubs, and private parties. This book really helped me fill my date book, and I noticed that many other players had this book on their music stands also. I had been listening to jazz and had already been working as a pro in R&B, rock, country, and fusion bands, but this was my first taste of playing the standards; tunes first heard in the hit movies and musicals of earlier decades.

“The Real Book” was an indispensible work tool. It allowed me to sub and play with various groups that played standards and light jazz. In those days I was learning what notes were in a chord and was thrilled to be using a new skill on the job. I was impressed that you could take the tunes and play them straight up and safe, or with variation, intensity and improvisation. The book provided a very cool and flexible vehicle for all skill levels, and I met some wonderful musicians who were phenomenal and very generous in moving me along in my development as well.

With a Bass Clef version, you get the melody to play the ”head.” Although you may not be called to play melody on the gig, you would have that option if you needed to. You get a deeper understanding of the tunes and it can be fun to play melodies on bass. The player can use this book as an educational tool in tandem with a good book on chords. I do express caution that understanding the function of the chord is much more ” real world” than just learning the notes in the chord. This book will not teach chordal playing, but it provides a wealth of wonderful material to play. Having a guitarist and/or pianist in a casual jam will be invaluable to get you into some timeless music and stretch your ears and fingers.

For bonus points, you can find recorded versions of the standards to listen to which will introduce you to some wonderful upright players of the 40′s, 50′s and 60′s. You will hear playing that is the foundation of much of today’s music, as well as, developing that ” deep well’ of understanding of what came before us. Studying great music enhances the skills and the artistry of the musician regardless of the style being played.

The book is produced in a large spiral format that allows the pages to lie flat on the music stand and all tunes are in alphabetical order for quick and easy location on the gig. It is very legible and even the two-page tunes open to face one another. In this edition, Hal Leonard has produced a work that is re-arranged and re-transcribed and most importantly, fully licensed in this age of intellectual property abuse.

“The Real Book” will be around for some time to come because it is an important resource for the free lance bassist. As a full time Nashville session bassist and private tutor for pro and semi-pro students in Music City, using this book years ago provided foundational skills as a musician that I pass on to my students today.

Jazz Improv Studies Volume 1 is the first in a 4 part series. This is, by far, not your typical play along series. This series is very well thought out and will keep you busy for quite some time, while helping to expand your musical approach to it’s fullest. The series works great with both upright and electric bass.

I should also note that the series is available for other instruments as well. Volume 1 starts out with a brief introduction, suggestions for playing the etudes, articulation, and some very articulate exercises for thumb position on upright bass.

There are 10 etudes in Volume 1. These include “I Got Rhythm”, “Perdido”, “Take the “A” Train”, and “Honeysuckle Rose” among others. Each etude starts out with a brief introduction explaining the tune and common similarities with other tunes. Each tune follows the format of going through scales, arpeggios, and improvisation. None of the three are done in a typical fashion and even passing tones are thrown in with the scale and arpeggio styles.

I have included some samples from Volume 1 below for “I Got Rhythm”. Example 1 is the brief introduction. Example 2 is a scale sample, Example 3 is the arpeggio sample, and Example 4 is the improvisation sample.

The book and CD together are $17.50 and can be ordered from Chas Collins Publications or by calling (845) 680 – 6880.

This is a great EP, from the start and clear through the last tune. The first time I put in the CD, I was struck with the thought that these guys and gal have been drinking the Beatle juice (no..not the movie!) and I definitely mean that in a good way. Good simple driving R&R with catchy guitar riffs, lyrics that run through your head and make you want to sing along while driving down the road, bobbing your head. I think just about anyone can relate to what the lyrics are portraying.

The lap steel solo in “Are You Hungry” is simple but catching, keeping it’s true form to the song. This holds true for the rest of the EP, from the driving bass and drums, to the slightly distorted vocals on a couple of the tunes, which fits appropriately. It’s nice to hear some good basic R&R and TELSTAR does it well.

Personally, The EP left me wanting more…..more songs that is, and I cannot wait to hear more good music from them and check them out live. You can check some of their vids out on youtube and the Hot Knives EP is available on Amazon and iTunes.

Ty Campbell started playing bass at age 13 in the high school jazz band and local bands in and around Columbus, Ohio. He attended Capital University majoring in Jazz Performance for 2 years. He attended the Recording Workshop in 1994 and was in the top ten for his class. Ty and his lovely wife Susan have lived in Nashville since 1997. Ty has done extensive touring with various groups throughout the US. When he is not rocking out with ‘Shareen and the Kings’ or running sound at the Ernest Tubb Midnite Jamboree, you can catch him sitting in at the Nashville Palace with the Larry Hamilton Group or subbing with other groups in and around Nashville.

Through his growing connections to the bass scene in Brazil, master bass instructor Jim Stinnett has found one of those talents in Thiago Espirito Santo. Thiago was born and nurtured into being a musician. His father is Arismar do Espirito Santo and his mother is Silvia Goes. Thiago has already landed credits with some of the best names Brazilian music has to offer, including Hermeto Pascoal, Toninho Horta, Helio Delmiro, Filp Machado, and Chico Pinheiro. Although he has a previous solo release to his name, his new record, The Jazz Tradition, is truly his coming out party.

Thiago is seriously one of the best jazz musicians that you will ever hear, but thank God he plays the bass! Most people will immediately make comparisons with Jaco, due to his fretless Jazz Bass playing, but there is so much more to Thiago than that. His intonation on the fretless bass is incredible, his melodic content is sophisticated and mature in its phrasing, and he has the chops to make it all happen. The Jazz Tradition is a collection of standard jazz tunes as well as originals, all of which feature explosive playing by Thiago, as well as the talents of fellow bassists Todd Johnson, Grant Stinnett, Jim Stinnett (playing double bass here), saxophone colossus Dino Govoni, and the rhythm/feel master Dom Moio on drums.

“No Big Deal”

One thing that I find really amazing about The Jazz Standard is that Thiago’s original songs hold steady ground against the standards included like On Green Dolphin Street, Body & Soul, and Days Of Wine & Roses. The opening cut, No Big Deal, is a melody built on the standard “rhythm changes” chord structure, but the melody instantly made me think, “Hmm…I wonder how Miles, Sonny, Trane, or Wayne never came across this muse!” The waltz, Fize (a tribute to Thiago’s mother), is an incredible tune as well. There’s a bounty of emotion in it, and there’s no one who can relate it better than Thiago on an instrument as expressive as the fretless bass.

Dom Moio and Thiago lock up perfectly throughout The Jazz Tradition. Dom is one of the premier drummers out in the field, especially in terms of knowing how to play things appropriate to what’s going on around him in the melody, chords, and solos. Simply put, he listens better than anyone I’ve ever heard.

Thiago does include two covers of Jaco Pastorius’ music on The Jazz Tradition. I noted earlier that he definitely has more in his pack than Jaco did, but it’s clear that Thiago truly learned a lot of things in the study of Jaco. What is incredible about both of these covers (Three Views of A Secret and Liberty City, by the way) is that Thiago plays all of the parts himself, including parts that Jaco never played on the bass, as far as anyone knows.

The rest of the supporting cast really does justice to everything about Thiago’s musicianship, as well. Trained thoroughly in jazz and classical styles, Jim Stinnett has, for a long time, been an incredible force on the string bass. Great tone, great note choices, and fantastic time feel. Todd Johnson is a chord texture master, able to color any song how he wants to convey the right emotion. We’ve been over Grant Stinnett’s continuing rise as a musical mad scientist. And Dino Govoni, if we invented a time machine, could probably have taken Lester Young or Coleman Hawkins in a cutting contest any night of the week. Early and late sets.

Really, you need to hear the music on The Jazz Tradition for yourself. There’s so much that any bassist can enjoy on this record, let alone how much any bassist can learn from this record. Thiago will be a household jazz music name very soon. Get on the train early!

The Jazz Tradition is available for download from Stinnett Music now. You can visit Stinnett Music by clicking here.

As I said, bass players LOVE them some Eden gear, and this piece should come as no exception. This box gives the player a ton of control over their sound, which is great because in the situations where you might only be using a DI signal on a gig, you’ll want to be able to tweak what you’ve got coming out so that you sound the best and perk up some ears.

The WTDI has a single 1/4″ input, with two outputs, one XLR balanced out and the other a 1/4″ unbalanced out. One feature I was really happy to see was a ground lift switch, so that you don’t have to look around and shrug your shoulders when the sound guy asks if you can do anything about the hum.

As far as the EQ sound goes, you get your 3 basic bass, mid, and treble controls, each of which have a boost/cut amount of 15dB. In addition, the box has a bass boost that follows the Fletcher-Munson curve (You can read exactly what that is, in brief, here. Essentially, humans don’t hear low frequencies at softer levels. This helps.). There is also a mid shift switch. It alternates between 550Hz and 2.2KHz for your mid signal. Very helpful.

Past the EQ, you’ve got your basic gain knob and master volume knob. Beyond that, you get a VERY handy compression knob that is subject to the input gain level. If you ever decide to get working on effects and outboard gear, as a bassist, the first thing you want is good compression. This knob can squash some unruly peaks, but never quite sounds like it’s beating your tone down. I really, really liked that.

Then there’s the “Enhance” knob. In the literature included with the box, it is also referred to as “The Magic Knob”. This knob helps dial in the very specific sound that hoards of bass players have come to rely on from Eden. It’s what you would dial in when you plugged into an Eden head or combo. They’ve just made it really really simple. The knob, all at the same time, boosts the really low bass frequencies, the upper mids (simultaneously cutting the low mids), and highs. This way, you get that stomach rumbling bass sound, but get punch and cutting clarity all at the same time. On funk/r&b gigs, as well as pop/country gigs, I found that this was all I needed. I left the 3-band EQ at zero, and turned this puppy up to about 60-70%. Worked like a charm. They should make a smaller cheaper version for me that just has the bottom row of knobs!

Overall, if you’re in the market for a DI preamp, you should give the Eden WTDI some serious consideration. I found that with both passive and active basses, this really helped give me a serious, professional sound on a few small and medium stages. In addition, I was using it both with output to an amplifier and without. My sound in the front of house was great no matter what.

The Eden WTDI is yet another fantastic product out of a bass amplification juggernaut.