In this issue:  Buying the Perfect Amplifier: Part One | Chords | Survival of the Grooviest | Advantages of Playing the Same Bass All the Time Versus Using Multiple Basses | 
The Diatonic Pentatonic Chromatatonic Alternate Rake

Buying the Perfect Amplifier: Part One

In the Beginning

by Lane Baldwin

It's the same for all of us, from the newest beginner to the most seasoned pros. It really doesn't matter who you are; if you play bass, you need an amplifier. And you need a really, really good one. Obviously, a beginner doesn't need the same amp as a pro, even if all the advertisements try to convince you that you do. Whoever you are, however, you will benefit from having the best amplifier for your needs, instead of whatever the sales dude (or dude-ette) seems to prefer this week.

Before you plunk down your hard-earned money (or even your parents' money!), take the time to carefully consider your purchase. What I intend to do in this series of articles is very similar to my series on commissioning a custom bass. In this part, I'm going to offer an introduction to the series. The second part will cover technical stuff; the third, controls; fourth, how to audition amplifiers. Finally, we'll look at how to deal with the salesperson.

Before we get to all that, let's take a look back at my own gear history for a few paragraphs. Consider it an object lesson in How to Waste Money in X Easy Steps. Believe me, I wasted a ton of money in the first couple of decades of my career.

In the summer between 7th and 8th grades, I got my first bass and fell in love with big, fat low notes. Forget the basses for now, and let's concentrate on the amps, of which there were many. The first one was a guitar amp that the store owner swore was a bass amp. It lasted two months. Over the next five years, I went through at least 8 amps, followed by five or six more during my time in the Navy. One of those was an Ampeg SVT once owned by Doobie Brothers bassist Tiran Porter. Absolutely no offense to Tiran (whom I studied heavily back then), I hated that amp, and sold it within a few months, going back to the Yamaha combo I still owned.

When I finally sold it, I bought an A.M.P. BH-420 and a pair of XB-15 cabinets, one of which was a factory prototype with a horn in it. This was the closest I would come to my Perfect Tone for some years. Unfortunately, that amp was stolen along with the remaining cabinet. (I sold the hornless cab to Scott Ambush. Google him; it's worth it.)

Following the A.M.P. was a series of high-priced rigs, including three or four rack set-ups I eventually sold to others. I can't even remember all of them, there were so many. There was also a Seymour Duncan bi-amped head driving a pair of single 15 cabs for the low end, and a 210 and an 8-by-5” array for the top. Every one of these rigs was a beast, and lots of players drooled over them. But none of them came close to the tone I wanted.

Then one day, when I was living in Maryland, just north of Washington, D.C., I happened into the local store and was introduced to Eden Electronics. I was hooked in about a minute. As soon as I could put the money together, I bought an Eden rig and the rest, as they say, is history. I had finally found my Perfect Tone. It wasn't long after that I commissioned my Perfect Bass – a Spector NS-6P custom. Within a year, I was endorsing both companies, and I still do to this day.

Since I made the switch to Eden, I've used nothing else. I don't need to, because I found my Perfect Tone. Even though I continue to evaluate pretty much everything that comes out on the market, there's just nothing to compare. And so I stopped swapping amps, losing money on every transaction. It's true that I've purchased more gear, because I don't think you can ever really have too many amps, especially if you need different rigs for different situations – one for home practice, another for rehearsals, yet another for most gigs, and a big ol' stadium rattler for festivals and the like.

As I said above, I am an Eden endorsing artist. However, even though they may not like me to tell you this, I don't automatically recommend Eden to everyone. When I talk gear, I always point out that my Perfect Tone may not be the same as yours. Certainly your playing style is different, your bass is different, your hands are different. And, to be blunt, you may think my tone sucks. But it works perfectly for me, and has helped me get quite a few gigs over the years.

And that brings me to Important Point #1:

Just because your favorite bass player uses Brand X doesn't mean you should.

You may just love Flea, and want to sound like him. That's cool, but it doesn't mean you have to buy the bass he uses, or the amp. What you really want is the combo that gives you the sound you want when you play.

The first and most important thing for you to get into your head before you go shopping is that you should listen to everything. Don't limit yourself to only what your hero plays. In fact, I often suggest that you listen to everything BUT what your hero plays. Then, and only then, should you demo your hero's rig. If it still sounds better to you than everything else, go ahead and buy it. But only after you've listened to everything else you can find.

The second most important thing is to understand exactly what you're buying. That means you need to have a basic understanding of some of the terminology you'll encounter, as well as a basic idea of what all those controls do, and why you need them or not. We're going to go over all of that in future installments, so don't get all stressed out quite yet.

For now, here's some homework for you. Answer these basic questions so you'll be ready when the time comes to purchase your new killer rig:

• What is your Perfect Tone? Is it all bottom, worthy of a reggae band? Or is it tight and bright to cut through a wall a metal guitars and drums? Perhaps you want a killer smooth jazz or funk tone. Whatever it is, decide now.
• How much money can you afford to spend? It may seem premature, but it isn't. Determining your budget first will help you avoid drooling over rigs you have no chance of purchasing. If your parents will be helping, find out ahead of time how much they'll chip in. Getting this nailed down will help you avoid any screaming matches once you've found your baby.
• How big a rig will your transportation hold? Look, if you're driving an econobox, you'll need to make certain you can carry your rig. Likewise, if you're signed on to a touring band and only have a certain amount of space in which to carry your rig, you need to deal with that. (I once had to purchase a 210 bass monitor cabinet just so I could fit my rig in a van for a 12-week tour, because my 410 cab wouldn't fit.)
• What will you use the amp for? If you need a small- to medium-size combo, don't look at touring rigs. Is this going to be your one and only rig, or will it serve a specific purpose?
• Do you plan to expand your rig in the future? If so, you'll want to make sure you'll be able to do it when the time comes. There's nothing worse than buying another cabinet or two only to find that you'll fry your amplifier if you try to add them to the rig.
• Go listen to some of your favorite bands live. Forget the records, OK? Until you've been there, you have no idea what $20,000 worth of outboard effects can do to improve your tone. You'd also be surprised by how many tracks are recorded without any amp at all, or with the killer retro rig the studio happens to own. (All my tracks for the last 15 years or so have been recorded through an Eden rig, but often you wouldn't know it. Besides, that's a whole ‘nother Oprah, anyway.) So…listen to the bass tone in a live setting.
• In conjunction with the point above, try to get a look at how the bass player sets up his amp. What does he do with the EQ? Does he use effects and, if so, which ones? It's important to understand exactly where that tone is coming from.
• Talk to other players about their rigs. If at all possible, talk to the pros in your area, or at least the really busy semi-pros and weekend players. Which rig they're using isn't as important as how and why. Ask as many questions as they'll let you.
• Ignore the ads. Yeah, I said it, and I mean it. The ads want to sell you stuff. They'll tell you anything in order to do that. They'll promise you fame, fortune and girls (or boys) if only you buy their amp. Folks, it isn't true!
• Ignore the forums, too. You'd be amazed at how many allegedly knowledgeable people have axes to grind. I include myself in this, because I believe that Eden is the best of the best. And while it may be – for me! – it may not be for you. There are bajillions of folks out there that either love one company above all others, or hate a company because they – or the friend of a friend of their third cousin – had a bad experience. Later in the process we'll talk about how to use forums to gather information. But for now, avoid them like the plague!

Between now and the release of the next installment in this series, spend as much time as you can on the homework. Next time around, I'll do my best to translate engineering and Geek Speak to English for the rest of us. Until then,

Keep Thumpin'!

Lane on Bass…

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About the Author

A bassist for forty years, Lane Baldwin is a multitalented musician (electric and acoustic basses, guitars, and baritone guitars, and a gifted vocalist, songwriter, producer and clinician. A former protégé of legendary Carol Kaye and Blues icon Johnny B. Gayden, he has toured the world and recorded with dozens of artists, including members of the Legendary Blues Band, Buckwheat Zydeco, Jimmy Thackery trio, Dizzy Gillespie band, the Association, and Bob Dylan band, to name a few. The 2008 release, Dig the Hole - Lane's with his band Deeper Blues - continues to receive international acclaim as one the best Blues albums in decades. In addition to writing for Mel Bay, Lane has written for Bassics Magazine and numerous web sites, including serving as managing editor for Eden Electronics. Learn more at laneonbass.com and deeperblues.com.