[EDIT: This post was supposed to go live last Sunday September 3rd…This means were one week behind my initial plan to release these series of blog posts every Sunday for four weeks…Sorry!]
Q’s: How can I get a nice round tone? Are there any differences playing with thumb, index- and/or the middle finger? Anchor your hand, fingers or arm? Dynamics?
In this lesson the focus is techniques for your plucking/picking hand. You might wonder why I have decided to call it plucking/picking hand…
The answer is simple, I want both left and right handed players to feel at home and welcome to use this ebook so I went for plucking/picking!
There are many ways to get the strings on a ubass to vibrate and make a sound.
In lesson 2 some of the most common ways are described. Besides showing how to play with your index/first and second finger with lots of pictures and video I also show how to get a warm and fat low end response playing with your thumb. I urge you to consider playing with your thumb even when the obvious choice would be your index/middle fingers. You might like the sound of your thumb even more!
My parents bought my first ubass at a music store in Honolulu, Hawaii while visiting the islands. I had not been able to try one beforehand. It only took me a very a few moments getting acquainted with the short scale length and rubbery strings. After that I have gotten more and more in love with the feel and sound of the ubass. Hope you have or will get the same feeling for these amazing instruments! Read more about my first encounter here!
In a series of four short blog posts I will write about the different lessons in my first Lesson Pack: ”Learn to play the Ubass – basic techniques” (One lesson at the time every Sunday for four weeks!)
Lesson 1 – How to hold the Ubass
The first lesson gives you suggestions about different ways to hold the Ubass.
Since the body and over all length is so much shorter than a regular electric or acoustic bass guitar you really need to find a way to accommodate this.
In the lesson I go through different ways I hold the ubass. I have found out a couple of alternatives that can be nice to switch between or at least use as a starting point when you develop your own ”holding style”. I will let you know what has worked best for me and why.
Even though you have been playing regular bass for a long time I think this lesson will help you to get a good ”grip” on your ubass playing regarding how you can hold it to get the most out of your ubass music making!
Stay tuned: Next Sunday [September 3rd] it’s time for ”Lesson 2 – basic plucking/picking hand technique”
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My parents bought my first ubass at a music store in Honolulu, Hawaii while visiting the islands back in 2010. I had not been able to try one beforehand. It only took me a few moments to get acquainted with the short scale length and rubbery strings. After that I got more and more in love with the feel and sound of the ubass. Hope you have or will get the same feeling for these amazing instruments! Read more about my first encounter here!
Long overdue here’s finally a short travel log about my trip to the 2017 Winter NAMM Show in Anaheim, CA
I have been to a couple of music trade shows in Europe as a visitor but this was my first trip to the Winter NAMM show in Los Angeles. It was also the first time working closely with Kala. My main focus was to release and letting people know about my first Ebook/ePub in my Learn to play the Ubass series.
I started working on the ebook back in 2013 and it has slowly taken its form. The basic idea and the text was ready after about a year but working on how to present it, all the movies and the graphics and navigation took quite a while to finalize. You can read more about the Ebook/ePub and where to find it here.
After a +10 hour flight from Stockholm ARN I landed at LAX and took a bus to Anaheim where I met staff from Kala. I settled in and started to plan the next coming days.
I arrived on Monday, January 17 with the show starting on Thursday that week. I helped out a bit loading in some stuff and setting up the booth. The booth was fantastic with a really well throughout design that got a lot of compliments from many visitors and booth neighbors.
Load in and set up of the Kala Booth
Once the show started I met a lot of great people, both visitors, other companies and press. Besides talking to some online magazines myself I was also fortunate to get help to set up some meetings and interviews both from Kala and other friends in the music business. It was, for example, crazy to see Nathan East being interviewed in the exact same spot a day before I got an interview from the same online community! 🙂
You can find the news coverage and interviews here.
The Ubass got a lot of attention at this Winter NAMM show. 8 years after the first Kala Ubass was released its still a ”show stopper”! Many musicians, including lots of bass players of course, came by and was floored by the small footprint bass with the huge sound. It’s so great to see the happy smiles on the faces of the first time players
The California solid body Ubasses was revamped with slightly bigger and rounder bodies as one of the main differences. Check them out here.
I also got to try out the prototype Paddle Bass by Kala. A great one string bass for a quick and refreshing way into the wourld of bass playing! Link to Bass Musician Magazine article.
All in all my first NAMM show was a very nice experience. And although it’s quite exhausting being on the show floor with the intense sound and constant stream of people I hope to return and continue my ”IRL” networking across the pond as soon as possible!
A big thank you to all the staff at Kala and the wonderful Kala and Ubass artist I got to hang and work with!!!
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I read a Kala Ubass review in Bass player magazine back in 2010. At the same time my parents happened to be on vacation and they helped me to buy my first ubass at a music store in Honolulu while visiting the islands of Hawaii. l had not been able to try one beforehand but it only took me a few minutes getting acquainted with the short scale length and rubbery strings. After that I have gotten more and more in love with the feel and sound of the ubass. Hope you have or will get the same feeling for these amazing instruments! Read more about my first encounter here!
I’m very exited to finally be able to share this song! I have worked on my album project on and off since 2012 and this tune especially has been very important to me. It has seen its ups and downs, I have had copyright issues and other problems that have delayed the release but now it’s ready to share with you!
First a bit of the back story…
My love for Brazilian music started in the early 90’s. I studied music at different music schools in Sweden and was turned on to the lovely and colorful music of Brazil. The melodies, rhythms and harmony, everything fits together so nicely and makes a music so complete and wonderful to my ears and heart.
In 2010 I got to know Nelson Faria and his family when he first came to Sweden to be a guest professor at the Orebro University. I got to play and study with him and more amazing musicians/teachers from Brazil.
I was the recording engineer of the first Tavares – Faria Duo record ”Na Esquina De Mestre Mignone” that can be found on cdbaby.com. During the recording sessions we had some time left and did a quick recording of one of my favorite Brazilian songs, Dindi. I overdubbed a bass part with my fretless spruce Kala Ubass
I started to record songs in 2012 for my first album featuring my first Kala UBass.
I decided to have jazz and Brazil music as a focus and ”Jag vet att vi ses snart igen/Manhã De Carnaval” is one of the songs I have recorded. I have already pre-released a few other songs from this project on bandcamp.com please go there and have a listen if you haven’t already.
I think the version of ”Jag vet att vi ses snart igen/Manhã De Carnaval” is really special because of the bi-lingual duet I perform with the amazing Brazilian vocalist Ilessi. Please check out her music on Facebook. I met her when she was in Sweden as a part of an exchange program between one of the Universitys in Rio de Janeiro (UniRio) and the University of Orebro here in Sweden. I studied at this University back in the 90’s and have also worked there as a teacher.
Illessi recorded her vocal part at Estúdio Tenda da Raposa in Rio de Janeiro engineered by Carlos Fuchs. The rest of the song is recorded here in Sweden by me. Both in my studio and at a friends house. I’m very happy and proud of my fellow musicians in this recording. They have all contributed in such a great and musical way.
Big, big thanks to Ilessi, Tommy, Daniel and Lasse!
I really hope you will love our version and that you can feel the all the love put into this project. I’m so glad it can finally see the light of day!
Please have a look at the video that features this song and feel free to share it around!
The song can be bought at several digital outlets as (Apple iTunes, cdbaby.com, Google Play…) and can also be streamed (Spotify, Tidal, Google Play, Pandora, YouTube Music). Some of these services might not be available in your country but someone of the hopefully will!
Personel on the recording of ”Jag vet att vi ses snart igen/Manhã De Carnaval”
Magnus Sjöquist, vocals and kala ubass
Tommy Nilsson, accordion
Daniel Björnmo, acoustic guitar
Lasse Fhager, percussion
Buy (or stream) the song from any of these services:
Ariane Cap, Michael League and me after Bash Bass 2017 during NAMM 2017
Discussing music with Mr League
The pictures above are from my trip to the NAMM show in Anaheim, CA back in January. I will do a featured blog post about the show but haven’t had the time to do that yet but it will come! So why are these pictures in this post about a ubass sighting? Well, Mr Michael League was one of several featured bass players at this years Bass Bash. He played with one of his bands FORQ. They played a great set and it was great to once again hear Michael play. I was at a show in Stockholm back in 2015 when he was there with his most famous band Snarky Puppy. I have featured Snarky Puppy before in a Ubass Sightings blog post.
This post will feature yet another of Michaels bands, Bokanté! This band has a really nice lineup with three guitar players, three percussion players, a pedal steel player and a lead vocalist…and a (u)bass player of course!
The word bokanté means “exchange” in Creole, the language of vocalist Malika Tirolien’s youth growing up on the Caribbean island of Guadeloupe. Now living in Montreal, she stands among 8 musicians from 4 continents, each one accomplished in their own right and well versed in music far beyond that of their point of origin. Two-time Grammy award-winning guitarists Michael League, Chris McQueen, and Bob Lanzetti (all from Snarky Puppy), percussion legend Jamey Haddad (Paul Simon, Sting), pedal and lap steel virtuoso Roosevelt Collier (Lee Boys, Karl Denson), and unplaceable percussionists André Ferrari (Väsen) and Keita Ogawa (Banda Magda, Yo-Yo Ma) come together to create a diverse ensemble rich in groove, melody, and soul.
In the song ”O La” you can hear and see that the low end is handled with a fretted acoustic/electric ubass with some help from the baritone guitar Michael is playing. He usually plays bass in his bands but in Bokanté he plays both bass/ubass and baritone guitar on the studio album ”Strange Circles” that will be released in June 2017. [Pre-order available here] On the live shows he will play the baritone guitar exclusively. He recently said in an interview for Scotts Bass Lessons that he wanted to have the chance to play with some of his favorite bass players. On the upcoming tours the bass chair will be filled by different bass players. See and read more here.
Please have a listen…and a look. I hope they will come to Sweden someday soon so I get to hear them live!
PS. One of the percussionists (André Ferrari) is from Sweden. He’s also featured in the video I referred to in the beginning of this post!
PS2 Please check out Ariane Cap (she’s in the picture at the top of the post) and the great book she has written about music theory with a bass player focus!
Some quotes about Bokanté:
“One of the more versatile groups on the planet right now”
“A barnstorming, groove-centric instrumental act with a rabid fan base… if the name doesn’t ring a bell, it’s probably just a matter of time”
-The New York Times
“Big, rich and funky.”
“Stands out with a furious commitment to defying musical categories.”
“Sounds like one spotless collection of intricate musics performed by just one very skilled, albeit extended, band.”
“Thinking person’s feel-good music.”
“A big, happy band of skilled musicians whose tunes are both complex and easy to dance to.”