I hereby proudly present some new music composed with and for solid body UBasses!
“Reflections” (Magnus Sjoquist) started out as a chord progression. The descending chords are played with a simple triplet rhythm throughout. Over this sequence of chords I started to improvise and captured a take. My initial goal was to pick and choose parts of this improvised recording into a crafted melody. When I revisited the recording later my goal changed. I decided not to mess with it at all and keep it as is. Instead of picking out parts what you hear is that first improvised recorded play-through.
When coming back to this demo later I wanted to flesh out the arrangement and started by adding a shaker and Udo percussion parts.
It wasn’t enough so a string arrangement was made and my old 1950’s Czech upright has a little cameo twice.
The melody and chord parts are played on my custom Kala solid body UBass tuned EADGC and as a final addition my Kala solid body fretless 5, also tuned EADGC, is used for the intro and outro melody.
I hope you will enjoy listening to (and watching, If you read this on YouTube) my new composition: “Reflections”!
It’s time for a new interview in my Ubassists of the world – series! I started doing these back in 2014 (!) and did a few of them for a couple of years. Now I have a new one for you and you can choose to read it or see it…or both!
The written interview isn’t a transcript of the video interview so there will be some stuff thats different so I recommend that you both read and watch!
Background of ubassist Håvard Mathisen Tanner
I am a Norwegian bass player based in London. I started out playing classical music when i was a kid, and only played classical for a long time, however during high school I started with bands, and soon I was touring all around Norway. I moved to London to study music and did a bachelor’s degree in bass performance and production at LCCM (London Centre of Contemporary Music), and a masters degree in jazz performance at Guildhall School of Music and Drama.
My Main band is Swing’it Dixieband, they are based mainly in Norway but also London. Swing’it play 20s jazz with a bit more energy and humor. we play all over Europe and are going to USA in February next year. In 2018 we came all the way to the semi finals in Norway Got Talent.
In London I play with the band Robohands, but do mainly freelance work, gypsy jazz, symphony orchestras, studio sessions, etc…
I’ve done recordings for Sony Music Norway/Columbia Records with my previous band MHOO.
Recently I represented Norway In The Earth Orchestra by George Fenton recording at Abbey Road Studios for Universal Music UK.
Q and A
Why Ubass? I was mainly a double bass player, and when I started to travel a lot with my band Swing’it dixieband it became a lot of hazzle to borrow and rent double basses (since my double bass is in London). The Ubass wasn’t only small enough to fit as hand luggage it also sounded amazing!
Where did you first hear about Ubass? I heard about Ubass online (talkbass, YouTube videos from the NAMM show), this was fairly soon after it came out, but it took quite a few years before I managed to buy one myself.
How long have you played the Ubass? I started using the Ubass about 3 years ago. The first year I borrowed a mahogany fretless from a friend, then a year after I bought my own spruce top fretless.
How do you use your Ubass? (different settings and styles/genres..) I use the spruce top fretless Ubass, and the strings I currently use is Galli black nylon. I’ve been playing around 50-60 gigs with these strings over the summer and I really enjoy the sound and the feel of the strings. I run it through a Fishman platinum pro EQ, since the Ubass has such dense frequencies the low cut and EQ makes it very easy to shape the tone you want. And lastly I usually run through different Markbass amps, I really like the clarity the amp gives me. But recently I’ve bought a small acoustic amplifier (Guitar Sound Systems 06b400) just to use with my double bass and Ubass. I’ve started using the new amp and the Ubass sounds very double bass like, the amp is very clear sounding. And this gives a very honest acoustic sound.
One aspect I should mention is that it took me quite a while to get a comfortable swing feel similar to the double bass. On double bass you would use your whole arm, shoulder, and body to get the tone and feel, your swing feel is in your body! However on the Ubass you have to play very light because of the light tension in the strings, I recently switched to Galli Black nylon strings, these strings have more tension so you can play a bit harder, but also they are not sticky, much smoother to play on, and if you play outside they are less affected by changes in humidity, like the older Thunderguts and Pahoehoe strings. Another aspect is your wrist. It’s easy to get an angle over the body of the Ubass, so I always try to bring the bottom of the Ubass back and my arm forward, this makes it easier to have a straight wrist and to prevent any potential tendonitis.
I’ve been using the Ubass mainly as a replacement for my double bass in a 20s jazz band (Swing’it), we play a lot of festivals, events, weddings and jazz clubs, I’ve even used it when we played live TV on Norway got talent! Swing’it are releasing an album next year, and the majority of the songs are recorded with the ubass!
I’m very pleased with how the Ubass sits in the mix and the live sound on stage, it has the woody open tone of the double bass and the punch of the electric bass.
I’ve also used the Ubass live with another band called Robohands, which is a smooth jazz/funk band with influences of hip hop.
Can you recommend others to start playing Ubass? Who can benefit from adding a Ubass as a new musical tool? I would definitely recommend others to try out the Ubass, especially if you are struggling with back pain from carrying gear or the physical aspects of playing. The Ubass has a much lighter touch, and weigh next to nothing! If you are a double bass player and need a small easy to travel instrument, then I would definitely recommend the Ubass as an option.
– ”Is there always a “sweet spot” on the fretboard where you should play a bass figure or part”? – ”The answer is yes” (in my opinion!)
I have played ubasses since 2010 (and electric basses since the early 80s) but during my years as a ubassist it has been ~90% focus on fretless ubass models.
Well, one reason is that my first ubass was fretless and I played it almost exclusively for the first three years. I guess I choose the fretless model because I wanted to emulate the upright bass and as you probably know it doesn’t have frets.
In 2013 I started to play fretted solid body ubasses too but I have been playing fretless acoustic/electric ubasses a lot more.
So why did I tell you this?
In July (2019) I bought my first fretted acoustic/electric ubass. I have been looking for an early model without the built in preamp to compliment my 2010 spruce fretless that also i ”pre-amp-less”.
I have of course been playing fretted acoustic/electric UBasses but never owned one until now.
It came with the original black synthetic polyurethane Pahoehoe strings. These strings has such a nice tone and it’s not hard to understand why they are loved by many ubassists.
…BUT…those Pahoehoe strings are actually harder to play on a fretted then a fretless ubass, at least in my opinion! I have written about this before in my 2019 Buyers Guide post […and also here: Post 1, Post 2]
If you mis-fret, playing on the fret-wire, using the Pahoehoe strings on a fretted ubass you will probably get a strange not-so-pleasant sound. If you “mis-fret” on a fretless ubass you will play out of tune.
So why is ”out of tune” not as bad as the fret noise on a fretted ubass?
It all comes down to the nature of the polyurethane strings. These strings have a warm tone and because they are made from “solid” synthetic rubber they tend to have a quite short decay; you play a note and it fades away quite fast. If you play a little out of tune the “mistake” will quickly disappear!
You need, of course, to be “in-the-ballpark” of the desired note but you will quickly be “forgiven” if you don’t hit the note spot on! On a fretted ubass everyone will hear if you “mis-fret”…
This is why it is very important to have a clean playing technique and also know where a bass part or riff will sound the best on your particular ubass.
These suggestions are good for all ubass players, both fretted and fretless!
First up – map the fretboard
The goal here is to map out where the different notes are located on the fretboard so you can move around easy and navigate through chord progressions and riffs. This also makes it easy to move a bass riff or shape to different locations/boxes on the fretboard.
Count your options – How many notes of the same pitch (and octave) are they on the fretboard?
1. Start with an open G-string
2. The next available G is on the fifth fret of the D-string
3. The third G is on the 10th fret of the A string
4. The forth G is on the 15th fret of the E string
Can you see the pattern here?
Rule of thumb
If you take any note on the G-string, move to the D-string and five frets higher you will find the same pitch and octave. Continue to the A-string and five frets higher…
How many notes you’ll find will differ a bit depending of what note (what octave of the chosen pitch) you choose to map out. It also depends on how many frets you have. Typically the acoustic/electric ubasses have 16 frets (and most solid body ubasses 24).
We will focus on 16 fret models here.
[Cue drum roll…] The right answers for G pitch is:
G (1), g (4), g1 (1), g2* (1) (For info on the different octaves please check out the movie below!)*) Harmonic ”over the sound hole”
This gives you quite a few options, especially with g!
Knowing the above will help move bass parts and riffs around the fretboard.
But how can you tell where a bass part or riff will sound/work best on the fretboard?
This is where your work and ears come in!
I can explain how I think and work out where to play different parts but it’s really up to you to map your fretboard and find a workable plan for your ubass playing!
Example Bass Part
Here’s a simple bass part that I have mapped out on different places on the fretboard. Where you choose to play it should come down to two main things:
Where on the fretboard the bass part/riff sounds the best (in my opinion the most important thing to keep in mind!) In the included example there are, in my opinion, definitely notes that don’t sound perfect in some of the positions. I would probably discard that position ”in real life” for the sake of getting the most consistent tone as possible. All three positions are however included so you can hear, compare and find out what you think is best for you!
Where on the fretboard the bass part/riff is most convenient to play regarding what you played before and what you will play after the bass part/riff
This will of course require some work but here’s some suggestions how what to do:
Listen to a song that you thing has a great bass part and sound
Try to figure out where the bass part or riff was played on the fretboard
If possible see if you can find a YouTube video of a live performance of the song. This can be hard especially since bass player probably isn’t going to be featured as much as the singer or lead instrumentalist… Try to choose a singing bass player since this will probably give you more ”bass-playing-in-view” time!
Try to play the bass part the way you believe (or saw) it was played
Does it sound good there or can you find a place where it better?
I will explore this further in upcoming lessons and ebooks!
Time for a new Summer Ubass Video! Making a outdoor Summer video is now almost like a little tradition! 🙂
For the second time it is filmed in Jämtland, Sweden. I really love this region and have spent quite a lot of time there. Last year I did a version of the super classic song Summertime. Check out the blogpost and video here.
This year I decided to really pay homage by doing a version of Jämtlandssången, the official song of the region. It is also the first song I played on my new/old mahogany ubass. I found it in a music shop in Östersund the biggest town of Jämtland. This ubass is an early model without the built in preamp. I have looked for an early fretted mahogany model to compliment my first ubass, the spruce fretless I got in 2010.
I did a quick arrangement playing mostly melody together with a quite simple bass part. I added some more chord tones in some places to make the harmony come through a bit more. When I got back home to my studio I decided to add a string arrangement to spice it up a little. The strings are recorded with the Strings-instrument-plugin inside of Logic Pro X. Besides the video of me playing the mahogany ubass I added some video footage from 2013 (!) Yes, that’s right I got the original idea of doing a tribute video to Jämtland back in 2013 but I never finished it… That’s why the other footage in the video features my first spruce ubass.
I hope you will enjoy this little video. If your interested in knowing how I arranged this please make a comment below. If there is interest I can make the arrangement available with a little lesson on how it all works! If you want to do this to another songs and melodies please include the titles in the comments too. That way I can include more melodies in future solo ubass arrangement lessons!
Out of the blue my dear old friend from my music study days in Jönköping, Sweden called me up and asked me if I wanted to SUB for the SOUSAPHONE player in the Dixieland/trad jazz band ”Hejåhå med Peter”. He called last Thursday and the gig was that weekend!
The regular tuba/sousaphone player wasn’t able to make the show. My friend thought about me because I live quite close to the racing track and he thought it would be cool to try using a ubass instead of the tuba/sousaphone. When I was between 13-19 I played a lot of trumpet but tuba is another ball game and I have only tried it a couple of times.
They did bring a sousaphone and I got to try it. I will try to borrow a tuba or sousaphone because it’s such a fun instrument to play. Since I have my trumpet technique somewhere in the back of my head, and already know the function of the bass and how to play basslines, it would be a great addition to my bass tool palette! If I can at least borrow one and put in some practice it would be so great to once again play with the band – with me on sousaphone!
But this time it was ubass I added to the mix. The first obstacle was to find a suitable mobile amp setup that would be easy to move around and had a powerful enough sound to blend nicely with the rest of the band. The band has a classic dixieland setup with clarinet, trumpet and trombone as lead instrument, banjo and washboard (cow bells, woodblock and cymbal).
My first thought was to only use my Phil Jones Double Four. That amp can be played powered by an external battery. I don’t have a battery yet so I still needed to connect to a power outlet in order to make it work. The gig was outdoor and although the Double Four has a great sound with a fantastic low end response the volume I can get out of it is a bit to low when used outside. I decided to use a combination of the Double Four and my old ”vintage” Gallien Krueger combo amp, that I bought new back in 1987. That way I could use the preamp and main sound of the Double Four and use the GK as a slave amp to get some more power and volume. As you can see in the video below I had some trouble finding power everywhere. But most time it worked out nicely!
I put the amps on a cart and together with my friend we came up with a great way to incorporate a long extension power cord that was easy to use at the different locations where we played throughout the weekend.
Mr Michelin loves ubass!
Minis + ubass = true love
A classic Swedish Volvo had to be included
There were a lot of great cars at the show
I played through a Bose L1 at one time during the weekend
So what do you need to focus on to sound somewhat close to a brass instrument while playing the ubass? First of all you need to play quite short and staccato-like notes. Almost the opposite as when you play ”newer” jazz (1940-) where a long legato sound is preferred.
Because of the interactive weaving lines from the melody instruments (clarinet, trumpet and trombone) it’s also best to keep the bass lines super simple. That way you won’t get in the way of the interactive in the moment harmony they produce. The chordal instrument (banjo) should also play simple triads with the appropriate dominant seven chords where applicable.
For me this means playing a staccato root fifth motions with the occasional chord or approach notes here and there to build up for a new section or chorus.
Besides using my ”cart rig” I used a Bose L1 PA that was available at one location. In video below you can hear and see what it all sounded and looked like.
It was pure joy playing with these guys. It’s always very rewarding when you get to play music with musicians that have taken time to get inside a certain genre. Besides playing in ”Hejåhå med Peter” the three lead melody instruments plays together in Gentlemen and gangsters a trad jazz group that regularly performed in Sweden, Europe and Asia.
We played a variation of classic jazz tunes with original or new lyrics and some ”Dixieland-ised” Swedish children songs too. Great fun!
Welcome to a fantastic race weekend for the whole family with lovely race cars and nostalgic feeling of the old days! Historic racing for pre historic, formula, standard, GT and sports cars. Club & car exhibitions, TT motor cycle show, retro and vintage feeling on the track.
My focus for this visit was to make some videos with the Kala video crew and also talk about Winter NAMM that was just around the corner. I brought my two custom solid body ubasses with the prototype E-A-D-G-C string sets. I did some videos with them alongside the new Kala Journeyman ubass and a 5-string California koa solid body ubass with regular B-E-A-D-G tuning.
Me and my wife really had a wonderful time in lovely Petaluma situated about an hour drive north of San Francisco. The town has a lovely downtown area and a beautiful countryside. We spent some time in the Helen Putnam Regional Park and caught a lovely sunset over the rolling green hills.
I also had the privilege visiting the home of Kala Brand Music president, Mike Upton, and we had a nice little jam in his living room!
Winter NAMM 2018
We flew down to Anaheim January 24 one day before the four day music trade show would start at the Anaheim Convention Center. From the NAMM.org homepage:
”The 2018 NAMM Show gathered the music, sound and event technology industries for the largest show in NAMM history, welcoming 115,000 registrants, more than 7,000 brands, exciting events and triple the industry education.” https://www.namm.org/
Pre-NAMM-day (January 24)
I went to pick up my name badge and got to see the wonderful Kala booth. It was a lot bigger then last year. Really spacious and beautiful with a genius and practical design!
Day 1 (January 25)
From the get go there was a steady stream of things happening. Musical highlights was standing a few feet away to one of my musical heroes, the fabulous organ player Joey DeFrancesco, when he played some super lovely organ jazz at the Visconti Organ booth. I told him about that lovely concert I heard him perform in Stockholm many years ago. YES!
He came to Stockholm in October. I saw the show with some friends. Did he have a bass player with him…no…was it still great… YES!!!
The evening was spent at the Bass Bash a special bass event, a great hang! The year before I brought a Kala Ubass there for the ”raffle”. This night I heard performances by Abe Laboriel (Open Hands) and the John Patitucci Guitar Quartet with the amazing Nate Smith on drums (Side note: In this video I play to loops from thelooploft.com played by Nate Smith!)
Laboriel and Patitucci both received Lifetime Achievement Awards from Yamaha this night!
Day 2 (January 26)
It was great to once again, if super brief, say hi to one of my mentors, Victor Wooten. I attended one of his camps outside Nashville back in 2011. Anthony Wellington was one of the many great instructors at the camp. Joe Craven was a guest at the camp. A super talented multi instrumentalist. So great to meet him again! Also got to meet Christian Fabian, a great bass player born in Sweden but now lives in NYC.
I also met some great musician friends! Please check out Ariane Cap she’s a great bass player and educator (I met her at that Wooten Camp back in 2011) I also met Sam Montooth a great singer, bass player, teacher based, as well as Ariane, in the LA area.
One of my Ubass ”papas” Bakithi Kumolo is always such a great hang. We had some nice talks and jams at the Kala booth. He performed at the Bass Bach on the second day of NAMM and almost played my solid body ubass! 🙂
I also met some new friends and they were also Bakithi admires!
Day 3 (January 27)
Some highlights this day was seeing good friends Ariane and Wolf. We had a nice little lunch away from the crazy show floor.
I got to meet Kala Ubass Artist Nik West. She had her signature ubass on display at the booth.
The duo Go West demoed at the booth. So did Corey, Andreas and myself.
I don’t have any pictures but have to mention the wonderful Jule amps the Jule Potter makes!
I would finally be able to meet Richard Mari Cocco Jr, (president) and Eric Cocco (vice president) for the great string maker LaBella
I got to meet great friend and ubass player Greg Gohde too! While walking outside after a long day we heard som crazy energic funky music performed by Kyotaro and Rikuo, a Japanese rhythm section duo. We closed out the day with some great food at the Disney Resort.
So it’s time for the final show day!
Bakithi came by the booth again so did bass player/actor Sekou Bunch. He did some great jams. I will probably share some of that later! Divinity Roxx, former musical director with Beyoncé, came by too.
The new Jorneyman ubass is one of three new ubasses in a new entry level line. These models are offered in fretted versions and will hopefully be available in fretless versions too later on. I played all three of these and they are a great addition to the existent line of ubasses. https://kalabrand.com/blogs/u-bass-news/namm-2018-new-u-bass-preview
This concludes my travelogue around this wonderful Ubass Adventure!
A short background to my version
The classic song is, as you probably know, from the opera Porgy and Bess, by George Gershwin. It was first performed in Boston in 1935 before it moved to Broadway, New York.
Twenty-six years later… I guess it’s about time to do another song from the classic opera ”Summertime”, by far, the most classic and recognizable song from Porgy and Bess. It has been performed by countless of musicians across the globe since 1935 and onwards.
My version is quite short. I present the melody twice, first instrumental with the melody played on my Kala California acoustic-electric fretless Ubass. Then sung and harmonized the second time around. All vocals by yours truly. 🙂
Recently I started to use a acoustic pickup by Ehrlund microphones to enhance these percussive sounds. Before playing with this technique only really worked in the studio, where I could use a separate mic to pick up the percussive sounds, or in a small intimate live setting where the audience is near the performance.
The pickup is blended with the built in piezo and this makes it possible to play bigger venues and the percussive parts can be heard alongside the tapped bass part. More about this in a later blog post!
Besides the core parts of bass line/percussion played and recorded live on a small dock by the lake Storsjön in Jämtland, Sweden I added vocals and, for the first time in any of my videos, ukulele parts!
I hope you will enjoy my version of the Gershwin classic!
This song is a traditional folk tune from Gotland, Sweden. Eva and I started playing it as a duo on our trip to Brazil back in 2015. We wanted to bring some examples of traditional Swedish folk music on our trip. To make it work in a ubass and vocals setting I played the bass part through a delay pedal. I thought the extra rhythmic motion we got using this technique really helped us capture and deliver the haunting melody in a great way. I use a combination of arpeggios, chords and regular bass lines in my bass part.
In the trio version Daniel Björnmo adds an extra layer of color with his world class guitar playing. The added grit with close cluster like harmony through distortion pedals makes the song even more ethereal and haunting, I think. The ubass have some added modulation and octave up effects blended together with the delay.
This is a live in studio recording but we also added some percussion parts. I played some suspended cymbal swells.
You can also hear what we call ”the submersed gong”. This is a gong gong that we recorded as it is put under water after it is played. This bends the sound in a very nice way. I first heard this on records and live with one of my musician heroes, Indian percussionist, Trilok Gurtu.
We really hope you will enjoy our version of this Swedish’s folk song!
For the best listening experience please listen to this song with good headphones or speakers that can reproduce a wide frequency spectrum!
Let’s take a look at the Phil Jones Double Four combo amp
Background In 1987 I bought a new amp, a Gallien Krueger 200MB. I used this amp for a lot of different gigs sometimes with a extension cab but for most part as a standalone amp. The MB250 was a small combo amp that was a real breakthrough product back in 1987. Small but powerful and well built. I still have this amp! I have changed the speaker once since the surround of the original speaker dried and fell apart. However once you open the enclosure once it’s really hard to get it air-tight again. The construction is built upon a closed box to get the sound. I have used this amp mainly as a backup only for the last 8+ years. When I planned a trip to Brazil in 2015 the need for a new really small and travel friendly amp grew. I started to look around, getting different recommendations from friends and online searches, found the Phil Jones Double Four and decided to try it out.
Description The Double Four is a 70 watt (all digital, pre- and power amp) with two four inch speakers (hence the name). It features a specially developed innovation called RALFR®, a special reflex port that greatly enhances the bass response. Besides basic amp controls there is an AUX-input (for your smartphone or more…) with a level control, headphone and Line out. You can use it in either a vertical or horizontal mode. Read more about the amp here.
Although the amp is all digital it sounds very warm and organic and brings out the core tone of everything I put through it, and it weighs in at only 4 kg! It is loud enough for rehearsals and smaller venues. More info below!
Gig-stories This little amp has been working hard for me. As I mentioned in the background the initial goal of the amp was to bring it with me to Brazil in 2015 when I visited the capital city Brasília to check out different music schools. I met a lot of wonderful and lovely people on the trip.
The amp was really a great companion to me and my Kala acoustic/electric ubass. I used the ubass with the amp on outdoor restaurant gigs, at a small pub and at the different schools me and my colleague visited, played concerts and held workshops at.
Back in Sweden I have used the small and powerful combo for a lot of rehearsals and small gigs. It has been a great way to always have a great sound wherever I go. The people I have played with have always been overwhelmed and surprised about the small amp with a big sound. It has worked well with ubasses, electric basses and upright bass. Although it’s small and “only” 70 watts i has even worked as the only amplification in acoustically big sounding rooms like stone churches together with guitar and vocals.
Live in studio recording with vocals, guitar and accordion.
Miking the rear port and blending it with the DI signal from the ubass.
Let’s listen to some examples of how the Double Four sounds with ubass in different genres and situations.
Tango (See info above on how this was recorded!)
Acoustic Hiphop (Recorded with a single mic Zoom recorder)
Bossa Nova in Brazil
Recorded through the PJB Double Four
Recorded a a rehearsal with a Zoom H6
This Summer I also made a ”iso-amp-box” for ”silent recording” with the Double Four.
I made this box for recording dates where I need to get a miked amp sound in the same room with other musicians. Very little sound is heard outside the box and not much sound will get into the box. It can be used for the actual recording or to get a great and organic headphone sound when tracking.
I will do a dedicated blog post about how that works (and sounds) later!
If you’re looking for a small and ultra portable amp with a warm and natural sound you should definitely add the Phil Jones Double Four to you check-out-list. Playing my Kala Ubass with the PJB DoubleFour is a match made in heaven – a wonderful and small footprint with a big warm sound – a great combination for sure!