Bass Guitar Magazine

[BigBeefChief]

[quote name='BottomEndian' post='504758' date='Jun 3 2009, 03:41 PM']And I don't really know anything about...Janek Gwaz... Gwezz... Gwizzleybear... yeah, him.[/quote]


You must have heard Crockett's Theme surely?

[EBS_freak]

[quote name='steve-soar' post='504151' date='Jun 2 2009, 08:09 PM']I think what these two guys have done is very savy and they are also very talented. They have promoted their album very cleverly with the bass player angle in BGM and from what I can gleen, they have done the same with other outlets of potential publicity.
It's not my kind of music but it is very good and the musicianship is excellent. I logged onto the site not knowing what to expect and was suprised at the Dave Gilmore-esque vocals and great guitar playing.
[url="http://www.swansinflight.com/"]http://www.swansinflight.com/[/url][/quote]

Check out the name Montgomery-Swan in the front of the magazine... it will become more clear as to what's going on.

[xilddx]

[quote name='steve-soar' post='504151' date='Jun 2 2009, 08:09 PM']I think what these two guys have done is very savy and they are also very talented. They have promoted their album very cleverly with the bass player angle in BGM and from what I can gleen, they have done the same with other outlets of potential publicity.
It's not my kind of music but it is very good and the musicianship is excellent. I logged onto the site not knowing what to expect and was suprised at the Dave Gilmore-esque vocals and great guitar playing.
[url="http://www.swansinflight.com/"]http://www.swansinflight.com/[/url][/quote]

Christ, I just listened to a bit. I thought it was awful, bad words, boring blues rock, singer trying to emote far to hard without thinking why and sounding like a pub rock tryer with weird enunciation. Great playing? Not bad but what was the point? Completely Zep and Floyd derivative processed cheese. IMVHO of course. Edit: The V, naturally, stands for Valuable, not Very

Edited June 3, 2009 by silddx

[Alun]

[quote name='EBS_freak' post='504819' date='Jun 3 2009, 04:30 PM']Check out the name Montgomery-Swan in the front of the magazine... it will become more clear as to what's going on.[/quote]

Exactly. And to me it is a real misuse of their position. Maybe it's just me

[wateroftyne]

[quote name='Alun' post='505057' date='Jun 3 2009, 09:13 PM']Exactly. And to me it is a real misuse of their position. Maybe it's just me [/quote]
Yes.. it is a bit embarassing, that.

Another thing I've spotted. The laddie that's on the course and does the diary about it... he talks this month about the classic rock bit of the course... JPJ and The Ox, and how relatively simple the music is. Then, with no apparent explanation, he goes into a description of different types of harmonics... and then back to classic rock.

Wierd.

[Mike]

I think Janek's column is worth the price alone. Fantastic stuff. I really hope he keeps up the interesting melodic solo ideas.

[xilddx]

[quote name='Mike' post='505072' date='Jun 3 2009, 09:36 PM']I think Janek's column is worth the price alone. Fantastic stuff. I really hope he keeps up the interesting melodic solo ideas.[/quote]

I suppose I agree, but it seems so incongruous with the rest of the magazine as to look pretentious. However, put it in BP and it will feel like the rest of the magazine does - PROFESSIONAL.

[Guest JanekGwizdala]

[quote name='EBS_freak' post='501100' date='May 29 2009, 11:45 AM']The TC amp review was quite an interesting read because after I tested one at length, it left me kind of cold. OK, everybody has their own preferences - I know that there are as many people who hate EBS amps as love them (I'm not that short-sighted) - so I do try to view things with an open mind... To me, it seemed to be lacking in grunt and power. Certainly, when I dug in, it didn't have the headroom that I was hoping for. It was pleasant enough, extemely portable - but the head came across as quite fragile and it certainly didn't seem to be an amp that provides a big sound on stage. For example, in a rock situation, does it hack it? Was it reviewed in such a situation? OK, we know that all tools aren't fit for all jobs but if that's the case, why is it not stated? Who is this amp aimed at? For what type of environment?

Whilst I have nothing but upmost respect for Janek and Ben Epstein (really great guy), they aren't using it in a situation that is comparable to the average reader. (Doesn't Ben use inears so the sound onstage from his amp is of less importance?) Are these guys playing the majority of their gigs where the amp is the only source of bass? I don't think so. How does this amp perform in a real world situtation experienced by most of the readers, where the amp is the back line - with no PA support? Does it cut it as a 5 star amp then? Maybe it does - but the magazine doesn't really address that - and hence my confidence in 5 stars across the board is not that high. It's OK going on about the features of the products being reviewed but it's no use at all if the thing can't hack it out of the bedroom/studio/whatever...

Whenever I read a review, these are the things that are going through my head... and these are the questions that are seldom answered.

PS - the optional footswitch. How much is it?[/quote]


I didn't quite "get" the TC head when I first tried it in LA back in November. I was in a tiny booth at the back of the BassPlayerLIve event and didn't really get a chance to crank it, and certainly had no chance to play it with a band. I tried it again at NAMM in January when they launched it officially and got to really play it pretty loud and was totally knocked out by it.

The only reason I'm posting this on the thread is because, contrary to what is quoted above, I think I probably do use it in just the same way as an average BGM reader, or BC poster. It's pretty fresh in my mind how versatile the amp and cabs are because I use them to practice at my house every day (pretty quiet) I just played an all out rock show at the Roxy last sat night (totally screaming loud with very little monitor action...DOH!) and then went straight to a gig at someones house for Freddie Gruber's birthday party. Freddie is one of the most legendary drums teachers alive today, and the party was a perfect example of having to play in a number of situations, with no monitors, and a ton of different styles. Playing with totally straight ahead drumers, rock guys, quiet guys, loud guys.... and we're talking Steve Jordan, Peter Erskine, Dave Weckl, Clayton Cameron... etc etc...

The amp was like a silent warrior throughout the night. From the balls to the wall rock show, to the totally up and down late night gig, and then back to my house the next day shedding for hours.... it's perfect. And there was something posted about the head looking fragile..... I now travel everywhere with it in my hand luggage on tour. I've done something like 100,000 miles flying this year so far, and played all over the world, and besides a few scratches, it's in perfect working order.

I was talking to Gary Willis in Barcelona about the headroom and the power of the amp as he was checking it out. For me it's been great so far, but if I were to run out of head room I can just daisy chain another RH450 to the one I already have and double my power output. And the amp would still come in at 8kg with two of them!

Anyway, I might be a signed artist with TC, but I'm not paid to talk to people about the amp or to promote it at all. I hate gear, I hate questions about gear, and I think that if you don't have it in the fingers, then you just don't have it at all, and no matter what gear you play through you should be able to sound like yourself. And the TC gear just took all the thinking out of the equation for me. You plug it in, you leave it totally flat, and you play, and you sound like yourself. It has some preset features I believe, but I've yet to use a button on the device besides the on/off switch.

I also know that I won't be having back problems from carrying gear around which is a massive consideration for everyone right?

I totally played some EBS cabs in the UK last year that were rocking too, and very light. I dug that about them very much. I think the sound was a little bright for me, but really, it's all about the fingers. That's where the control is at I think.

Easy,

Janek

[EBS_freak]

[quote name='gwizmon' post='506029' date='Jun 5 2009, 01:28 AM']I didn't quite "get" the TC head when I first tried it in LA back in November. I was in a tiny booth at the back of the BassPlayerLIve event and didn't really get a chance to crank it, and certainly had no chance to play it with a band. I tried it again at NAMM in January when they launched it officially and got to really play it pretty loud and was totally knocked out by it.

The only reason I'm posting this on the thread is because, contrary to what is quoted above, I think I probably do use it in just the same way as an average BGM reader, or BC poster. It's pretty fresh in my mind how versatile the amp and cabs are because I use them to practice at my house every day (pretty quiet) I just played an all out rock show at the Roxy last sat night (totally screaming loud with very little monitor action...DOH!) and then went straight to a gig at someones house for Freddie Gruber's birthday party. Freddie is one of the most legendary drums teachers alive today, and the party was a perfect example of having to play in a number of situations, with no monitors, and a ton of different styles. Playing with totally straight ahead drumers, rock guys, quiet guys, loud guys.... and we're talking Steve Jordan, Peter Erskine, Dave Weckl, Clayton Cameron... etc etc...

The amp was like a silent warrior throughout the night. From the balls to the wall rock show, to the totally up and down late night gig, and then back to my house the next day shedding for hours.... it's perfect. And there was something posted about the head looking fragile..... I now travel everywhere with it in my hand luggage on tour. I've done something like 100,000 miles flying this year so far, and played all over the world, and besides a few scratches, it's in perfect working order.

I was talking to Gary Willis in Barcelona about the headroom and the power of the amp as he was checking it out. For me it's been great so far, but if I were to run out of head room I can just daisy chain another RH450 to the one I already have and double my power output. And the amp would still come in at 8kg with two of them!

Anyway, I might be a signed artist with TC, but I'm not paid to talk to people about the amp or to promote it at all. I hate gear, I hate questions about gear, and I think that if you don't have it in the fingers, then you just don't have it at all, and no matter what gear you play through you should be able to sound like yourself. And the TC gear just took all the thinking out of the equation for me. You plug it in, you leave it totally flat, and you play, and you sound like yourself. It has some preset features I believe, but I've yet to use a button on the device besides the on/off switch.

I also know that I won't be having back problems from carrying gear around which is a massive consideration for everyone right?

I totally played some EBS cabs in the UK last year that were rocking too, and very light. I dug that about them very much. I think the sound was a little bright for me, but really, it's all about the fingers. That's where the control is at I think.

Easy,

Janek[/quote]

Hey Janek - thanks for dropping by. OK, that's a really useful bit of background information there and I appreciate that you took the time to write that out. It's great to have the real lowdown straight from the horse's mouth so to speak. I totally agree about getting too hung up on gear... best find something you like and get on with it and let your fingers do the talking I guess!

It would have been cool to have seen some more useful information like the above in the magazine and it would have been cool if it had been in with the review in the magazine - but I do appreciate that you probably had very little input into that particular review. Hopefully a great deal of the BGM readership will get to read your post.

Freddie Gruber's birthday party certainly sounded like a blast... man, bet there was some serious music/magic (amongst other things) going down that night! Talk about taking your pick of drummers!

Just out of interest, as I'm guessing you had a choice of cabs from which to choose, which did you choose? The 10s, the 12s or a mixture of both?

PS - how much is the optional footswitch?! He he.

PPS - well done Janek, you just gave the review some credibility!

[birdy]

Yes thanks for commenting Janek. I know you were put off posting on this forum due to some negative vibes but I think the majority on here welcome your input and advice.

Steve

[risingson]

[quote name='gwizmon' post='506029' date='Jun 5 2009, 01:28 AM']I didn't quite "get" the TC head when I first tried it in LA back in November. I was in a tiny booth at the back of the BassPlayerLIve event and didn't really get a chance to crank it, and certainly had no chance to play it with a band. I tried it again at NAMM in January when they launched it officially and got to really play it pretty loud and was totally knocked out by it.

The only reason I'm posting this on the thread is because, contrary to what is quoted above, I think I probably do use it in just the same way as an average BGM reader, or BC poster. It's pretty fresh in my mind how versatile the amp and cabs are because I use them to practice at my house every day (pretty quiet) I just played an all out rock show at the Roxy last sat night (totally screaming loud with very little monitor action...DOH!) and then went straight to a gig at someones house for Freddie Gruber's birthday party. Freddie is one of the most legendary drums teachers alive today, and the party was a perfect example of having to play in a number of situations, with no monitors, and a ton of different styles. Playing with totally straight ahead drumers, rock guys, quiet guys, loud guys.... and we're talking Steve Jordan, Peter Erskine, Dave Weckl, Clayton Cameron... etc etc...

The amp was like a silent warrior throughout the night. From the balls to the wall rock show, to the totally up and down late night gig, and then back to my house the next day shedding for hours.... it's perfect. And there was something posted about the head looking fragile..... I now travel everywhere with it in my hand luggage on tour. I've done something like 100,000 miles flying this year so far, and played all over the world, and besides a few scratches, it's in perfect working order.

I was talking to Gary Willis in Barcelona about the headroom and the power of the amp as he was checking it out. For me it's been great so far, but if I were to run out of head room I can just daisy chain another RH450 to the one I already have and double my power output. And the amp would still come in at 8kg with two of them!

Anyway, I might be a signed artist with TC, but I'm not paid to talk to people about the amp or to promote it at all. I hate gear, I hate questions about gear, and I think that if you don't have it in the fingers, then you just don't have it at all, and no matter what gear you play through you should be able to sound like yourself. And the TC gear just took all the thinking out of the equation for me. You plug it in, you leave it totally flat, and you play, and you sound like yourself. It has some preset features I believe, but I've yet to use a button on the device besides the on/off switch.

I also know that I won't be having back problems from carrying gear around which is a massive consideration for everyone right?

I totally played some EBS cabs in the UK last year that were rocking too, and very light. I dug that about them very much. I think the sound was a little bright for me, but really, it's all about the fingers. That's where the control is at I think.

Easy,

Janek[/quote]


Cool post, although about the gear thing... I agree that there really is no substitute for being a good player and good technique, but good gear used by a good player will sound miles better than a good player playing bad gear. I guess that's probably completely obvious, but there is nothing more frustrating for me than playing bad gear... it just takes the thrill right out of playing.

[Guest JanekGwizdala]

[quote name='liamcapleton' post='506055' date='Jun 4 2009, 09:59 PM']Cool post, although about the gear thing... I agree that there really is no substitute for being a good player and good technique, but good gear used by a good player will sound miles better than a good player playing bad gear. I guess that's probably completely obvious, but there is nothing more frustrating for me than playing bad gear... it just takes the thrill right out of playing.[/quote]


totally dig what you're saying, and I too hate playing through crappy gear.... but the reality of touring and playing live in general is that you're going to have to play some crappy gear sometimes...... I take it as a massive challenge to make it sound great, and that can turn into a lot of fun, and a great learning experience too.

Easy,

Janek

[Guest JanekGwizdala]

And as for BGM, i think Nick is doing a fantastic job of taking over as editor. I've been fortunate enough to meet with him a couple of times when I've been on tour in the UK, and he's a really great bloke who has the best intentions for the magazine. I'm proud to be a part of the organization, and get to have a column published in each issue.

Advertising is a part of not just print media, but any media. So I don't see why people are so outraged at that kind of content in the magazine. Have you opened a copy of an international publication such as Vogue? Elle? Cosmopolitan? Sports Illustrated? Maxim? you have to work your way between 15-30 pages into some of these "magazines" before you actually get to some content that isn't advertising based.

It would be really cool if people found a few things they liked about the magazine and made some suggestions on how to expound upon them.

There are down sides to every piece of printed material I think because it's a public forum of sorts, just like this one. You're catering to so many different and diverse tastes that you just can't please everyone.

And so far the magazine hasn't shut it's doors and declared bankruptcy, so there are certainly people buying it and enjoying what they read. I heard a rumor that it was getting international distribution as well which would put it up there with BP magazine etc etc. I think Nick is going to be great to the mag, and for promoting the instrument and the music for generations of musicians and music fanatics to come.

I would certainly welcome ideas from people about topics to cover in my column as I'm sure any of the other writers for the magazine would too.

With the next issue for instance, I've started making a podcast to go with the material I'm covering in the magazine so that not only are there written musical examples, but there are audio examples, played on the bass, for free in the podcast. And out of about 30 mins in each of my podcasts, I think about 15 secs at the end might be devoted to advertising...... and that's only sometimes.....

I think I read on here that people would like to see more complete transcriptions in each issue..... I know that a big problem with transcriptions in the past has been copyright, and it can cost the magazine an absolute fortune to get clearance and usage rights for the transcription of a popular song. I managed to sneak on complete one into my first ever column for the magazine, but I had to call up pat metheny and ask him personally if I could use it. That's not always possible when it's Michael Jackson or Prince that own the rights to a song....

So try and bare with the magazine, I know everyones thoughts will be heard, and try and post as much positive stuff as you possibly can and I'm sure you'll find things changing faster than you thought possible.

Easy,

Janek

[Eight]

[quote name='gwizmon' post='506070' date='Jun 5 2009, 05:57 AM']It would be really cool if people found a few things they liked about the magazine and made some suggestions on how to expound upon them.[/quote]
For me that's not so easy - I think everyone does a great job with technique columns and the Lowdown, so can't really suggest how to take them further. I would just be happy to see them continue as they're going.

[quote]I think I read on here that people would like to see more complete transcriptions in each issue..... I know that a big problem with transcriptions in the past has been copyright, and it can cost the magazine an absolute fortune to get clearance and usage rights for the transcription of a popular song.[/quote]
Well I've made comments about the transcriptions on numerous occasions so had better say something now.

I can appreciate the copyright situation is a pain. And whilst I've pointed out that Guitar World have managed 4 or 5 complete transcriptions for guitar and bass, every issue since memory began. I wouldn't be surprised if they're a much bigger mag and have more financial resources to deal with copyright fees.

But I think it's a matter BGM should take seriously. A lot of players (particularly newer players like me) like them. And when you do so few, it can lead to disappointment when readers aren't interested in the one you've picked. So I regularly post that I'd like to see two done from contrasting genres. The only transcription in BGM that I can remember getting excited about was The Real Me - and it was too hard for me at that point.

[Stuart Clayton]

[quote name='Eight' post='506185' date='Jun 5 2009, 10:48 AM']For me that's not so easy - I think everyone does a great job with technique columns and the Lowdown, so can't really suggest how to take them further. I would just be happy to see them continue as they're going.


Well I've made comments about the transcriptions on numerous occasions so had better say something now.

I can appreciate the copyright situation is a pain. And whilst I've pointed out that Guitar World have managed 4 or 5 complete transcriptions for guitar and bass, every issue since memory began. I wouldn't be surprised if they're a much bigger mag and have more financial resources to deal with copyright fees.

But I think it's a matter BGM should take seriously. A lot of players (particularly newer players like me) like them. And when you do so few, it can lead to disappointment when readers aren't interested in the one you've picked. So I regularly post that I'd like to see two done from contrasting genres. The only transcription in BGM that I can remember getting excited about was The Real Me - and it was too hard for me at that point. [/quote]

Just to clarify, we - or more specifically Nick - do everything we can to get a transcription in every issue. This current issue is the first for a while not to feature one, and that is only because we had planned to do a Killers transcription, but the licensing turned out to be impossible to sort out.

Arranging copyright permissions is very time consuming and sometimes fruitless, something I know from long experience of writing and publishing transcription books.

Stu

[EBS_freak]

[quote name='Eight' post='506185' date='Jun 5 2009, 10:48 AM']For me that's not so easy - I think everyone does a great job with technique columns and the Lowdown, so can't really suggest how to take them further. I would just be happy to see them continue as they're going.


Well I've made comments about the transcriptions on numerous occasions so had better say something now.

I can appreciate the copyright situation is a pain. And whilst I've pointed out that Guitar World have managed 4 or 5 complete transcriptions for guitar and bass, every issue since memory began. I wouldn't be surprised if they're a much bigger mag and have more financial resources to deal with copyright fees.

But I think it's a matter BGM should take seriously. A lot of players (particularly newer players like me) like them. And when you do so few, it can lead to disappointment when readers aren't interested in the one you've picked. So I regularly post that I'd like to see two done from contrasting genres. The only transcription in BGM that I can remember getting excited about was The Real Me - and it was too hard for me at that point. [/quote]

I don't think the transcriptions in the magazine are the issue - they are probably one of the strongest points. Janeks columns are always a good read. In fact, all the contributors columns are very good in my opinion (not that my opinion means a great deal). As Eight says, a good set of full transcriptions would be really beneficial... some of the transcriptions in BP have been real big hitters of late. Stomp in the last edition - great choice - and fairly mainstream so has wide appeal. Pat Metheny transcriptions are cool - but ultimately of limited appeal to the readership. I bet more people (as a percentage of the total readership) will work through a transcription like Stomp than a more select transcription. I love them all - but I know there would be people who wouldn't even look twice at a transcription unless it was fairly mainstream. Maybe getting the balance right would be something for BGM to address. Again, copyright fees are always going to be the biggest limiting factor in this - I guess this is why Dave Marks does style files - to escape the fees associated with reproducing music exactly.

For me, it's the gear reviews that always grate. They lack depth, substance and to some extent credibility. Why should I believe a word that BGM says? What is the evidence that they (the authors) [i]really[/i] know what they are talking about? Without fail, there are always coments on here that manage to pull the reviews apart - basically due the authors using meaningless words to describe whatever they are reviewing... and in a lot of cases, some very obvious flaws with the product are just plain omitted or glossed over.

To be honest, I would like to see the rating system disposed of completely. I don't think it really means anything... I would rather have some meaningful words written in a well structured, informative artice, with a decent summary and pros and cons section.

[Eight]

[quote name='Stuart Clayton' post='506268' date='Jun 5 2009, 12:23 PM']Just to clarify, we - or more specifically Nick - do everything we can to get a transcription in every issue.[/quote]
I think I probably phrased my last paragraph wrong - didn't mean to suggest that you or anyone at BGM didn't try hard enough to get transcriptions. But it might have come across that way. I suppose I was just trying to say, when you're looking at ways to improve the mag don't leave them out. Keep up trying to get 'em - and if you can get more than one in an issue then that would be even better.

But this is just my opinion, and my opinion of what I think other people like me would appreciate. I'm not always right (or so I'm told )

[Rich]

The problem with the meaningless word in reviews thing is... well, just [i]how[/i] do you describe a sound or tone? What actual adjectives can you use to describe the sound a Jazz makes, or a P bass or a Stingray? It's got to be difficult. It's easy on a CD, you just play the damn thing... but in print? I like to think I'm reasonably good with words, but I wouldn't have a clue where to start.
For me, the main problem with reviews isn't the descriptions per se; it's the occasional factual errors, and the lack of teeth (as others have mentioned). But again, I guess it must be difficult to do without alienating the manufacturers.

[dlloyd]

[quote name='EBS_freak' post='504819' date='Jun 3 2009, 04:30 PM']Check out the name Montgomery-Swan in the front of the magazine... it will become more clear as to what's going on.[/quote]

I haven't bought BGM in a while, so I googled the name.

I found out that:

He's publisher of BGM as well as several other magazines.
He's in a band called Swans in Flight.
He has a history of threatening legal action against internet discussion forums when his name is mentioned in a negative light.

[url="http://rib.net/forum/showthread.php?t=8968"]http://rib.net/forum/showthread.php?t=8968[/url]

I suggest we tip-toe away from this topic.

[wateroftyne]

[quote name='dlloyd' post='506389' date='Jun 5 2009, 02:37 PM']I suggest we tip-toe away from this topic.[/quote]

I think what went on there was a little more litigous than the discussion about quality control in BGM we're having here...

[EBS_freak]

[quote name='wateroftyne' post='506391' date='Jun 5 2009, 02:42 PM']I think what went on there was a little more litigous than the discussion about quality control in BGM we're having here...[/quote]

Perhaps I shouldn't have mentioned it...

[xilddx]

Mr Montgomery Swan,

Your album's [u]really [/u]boring.

[dlloyd]

[quote name='wateroftyne' post='506391' date='Jun 5 2009, 02:42 PM']I think what went on there was a little more litigous than the discussion about quality control in BGM we're having here...[/quote]

I mean specifically in terms of making a link between his position as publisher and the coverage of his band. It's entirely possible it's all a 'coincidence' and there's no conflict of interest that might affect the credibility of the magazine...

[xilddx]

[quote name='dlloyd' post='506461' date='Jun 5 2009, 04:23 PM']I mean specifically in terms of making a link between his position as publisher and the coverage of his band. It's entirely possible it's all a 'coincidence' and there's no conflict of interest that might affect the credibility of the magazine...

[/quote]

Not with an album that sounds like that there isn't.

[urb]

Hey guys

I just wanted to say I'm keeping up with this thread (just) and have been passing bits of info onto Nick, and hopefully the feedback you've all been given will result in more new ideas filtering through into the mag. I agree with the general comments about the gear reviews, so if there's a way to make them more credible then I think that's worth pursuing. To be honest I'm so busy with other stuff all this is really in the hands of Nick and the publishers, but I'd love to see it keep improving too.

Cheers

Mike