Contents

Issue 57 August 2010

20 MARK KING
We talk to one of the UK’s
biggest bass exports about the
30th anniversary of Level 42.
Plus: learn how to play Mark’s
hard-hitting slap technique in
this month’s Style File.

Regulars Interviews
08 THE LOW DOWN
Keep up with all the latest new gear and 40 JEFF
industry news…
BERLIN
Bass legend Jeff
14 BASS TO THE FUTURE: Berlin discusses his
CHRIS WEBB latest solo album,
Introducing bassist Chris Webb. High Standards.

16 TAKE FIVE: PHIL MANN

Phil Mann reveals his favourite bass albums.

18 BASSICALLY SPEAKING
We talk to bassists Karl Dixon, Joey Vera, Tom
Doyle, Dave Molland, Tom Murphy, Andrew
Jones and Dean Croney. 28 KYLE EASTWOOD
Back with his second album as a leader, we
chat to revered jazz bassist and eldest son of
Hollywood star Clint Eastwood.

34 THE ALLSTARS COLLECTIVE

Mike Flynn tracks down Allstars bass dons
Randy Hope-Taylor, Winston Blissett and Neville
Malcolm.

42 SCOTT FIRTH
Scott tells us about his fusion-led project, USONIC,
whose new album, Evolution, is out now.

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 Gear Reviews
44 MUSIC
MAN CLASSIC
COLLECTION
STINGRAY
Hankering after a reissue of
the original StingRay? This
new model offers a way back
to Leo Fender’s 1976 design.

52 EDEN WXT500
We take a closer look at this updated
version of Eden’s WTX260.

Bass Techniques

FILE: MA
STYLE examin RK KING
slap technique
es the hard-hitting
Stuart Clayton star.
of this month’s cover technique to slapping
out drum patterns
on a tabletop: by alternating
faster and more complex
the bass during the
early days it is possible to play alone.
Mark King took to between the two hands be possible with just the right hand
The approach that skills as a drummer. rhythmic ideas than
would
to the slap technique,
as
based on his existing by adapting the look at Mark’s approach
of Level 42 was largely mind to the instrument In this lesson we will of his playing.
Mark applied his rhythmic by Larry Graham and still in its infancy) well as some of the
other key aspects
his
slap technique (pioneered Mark has often likened
percussive approach.
into a two-handed
between the
the notes even in volume
Exercise 1 two hands. Try to keep
BasstheTechniq
pattern played equally
between ues
is a simple percussive
The following exercise when practising.
sure to use a metronome
two hands, and be

Dave Marks
: rhythM Ma
Playing in 3/4 tters
An introduction
to playing in 3/4
time
the slap
Welcom to Rhythmto carefully follow
the rhythm using syncopations. Beesure Matters,
Exercise 2 next stage is to vary which is here to my new column,
relatively easily. The help your ‘inner
on the bass guitar better understa musician’ develop
This can be adapted
guides between the
staves here. Dave Marks next 12 months,
vocabulary’ by
nding of time and
we’re going to
rhythm. Over the
expand your ‘time
a

playing grooves
Dave Marks is a other than 4/4. in time signature
busy freelance s
bassist living and At least 90 per
working cent of the music
out of London. the radio and on that we hear
His playing the same time
commer cial albums is written on
and recording signature, and in
credits span a many different although there
wide rage of bands feels and grooves are
and artists, in 4/4, so many that we can create
including Larry players
Carlton, Albert an incredible wealth simply stop there! There is
Lee, Carl Palmer, you can play in of music to be
Paul Carrack enjoyed when
and many others. time signature the
this could beline sounds complex, but asthan
s other 4/4, and
This a great way of busting
At the 16th-note-f bassline can be created.

Regulars
unlockin out of a rut or

Gear
minute, hiseel g some new creative
Exercise 3 s and pull-offs, a complex
time is overly complex.
spread betweenfast or doing anythingyou’re writing ideas
By adding in popped
notes, hammer-on
hand is moving particularly pounding basslines or improvis for you, whether
the two hands, neither out 8th note rock First up, let’s make ing.
notes are split between with the
understa sure you have
a
Rick Parfitt Jr. band, nding of what clear
playing a time signature
deep soulful grooves is.
for Ola
Onabule and depping
for
Thriller Live on
the West End.
Aside from his Time Signatures:
teaching and Rhythmm
full playing,
Because music What They Mean
occurs through
atters music out we use time, we need
masterclass schedule ‘bars’ to divide the time
maintains a heavy
, Dave ‘pulse’ of the music, , and each of these ‘bars’ has up into managea
ble chunks. When
ie how many beats a certain number we write
web In this example per bar and what of beats. The time
presence, blogging of 4/4 time, we note value each signature shows
on his count 4 quarter beat has. us the
own site and keeping notes per bar.
his
Youtube channel
stocked up
with fresh content.
www.darks.com

In this example
of 4/4 time, we
in association count 4 quarter
with notes per bar.

48 REES
Magazine
72 Bass Guitar 09/07/2010 13:40

74
Mark King_1nw.indd

BIG-F-LIGHT
Dave’s column
is brought
to you in associatio
n with
RhythmMatters

www.rhythmma
tters.co.uk
This month’s column

Built to travel, but with

will deal with 3/4
time. In 3/4 time,
we count three
quarter notes per
bar.

a full-scale length, we 82 Bass Guitar

Dave Marks_1nw
-1.indd 74
Magazine

inspect this handmade

Techniques
09/07/2010
13:55

bass from UK builder,

Clive Rees.

56 SOURCE AUDIO SOUNDBLOX 74 STYLE FILE

PRO MULTIWAVE BASS Learn Mark King’s slap technique
DISTORTION
This impressive 76 ANDREW MCKINNEY
overdrive from Tuition Tip: Reading Notation
60 THE WOODSHED
Source Audio boasts
We take a trip behind the scenes at
six user presets and 78 JANEK GWIZDALA
Ashdown Engineering.
a seven-band EQ. Modern Bass Improvisations

68 ESSENTIAL EFFECTS 80 FRANC O’SHEA

60 SONUUS The esteemed Boss OC-2. Bass Beyond: The Tempered Scale
B2M BASS
TO MIDI 70 ON REVIEW 82 DAVE MARKS
CONVERTER We preview the latest bass-related CD releases Rhythm Matters
This compact gadget from the likes of Stanley Clarke and Jeff Berlin.
looks to break new
86 JAMIE WILKINS
ground in MIDI 71 BUT THIS GOES TO 11… ICMP Scholarship Diary
performance. Voltage & current.

Bass Guitar Magazine 5

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