Bottom-End, Writings and Reviews from Music Producer Pete Strobl

“Hello, my name is Pete and I’m a guitar-a-holic.” Every time I get my hands on a beautiful guitar or bass I imagine myself saying those words as I introduce myself to a roomful of like-minded addicts in some sort of twelve-step program for gear junkies. My addiction goes back to about age 3 or 4. My dad had a Sears Silvertone acoustic guitar and I thought it was the most beautiful thing ever made by the hand of man. And when the guitar was put away, I would stretch rubber bands across a cigar box and pretend that I was making music. And from that time to this very moment, I have led the life of a sex-addict working as an oil boy on a photo shoot for sunscreen products. For most of my life, I have been surrounded by beautiful instruments.

During my years at Shangri La, I had the opportunity to have some of the finest instruments in my hands on a daily basis. The studio owner had very wisely invested in a marvelous collection of vintage guitars and basses and I looked at that collection as my personal Golden Gate Bridge. Because the bridge is so massive, it is under constant maintenance. As soon as the crews finish repainting at one end, they go back and start all over again. Every one of those instruments was in perfect working order because a part of everyday was devoted to cleaning, restringing, intonating and making minor repairs. Every day was an orgy.

I learned a great deal about vintage instruments…how to date them accurately, the desirability factor of various makes, models and years…all the usual bullshit that fills the air at vintage guitar shows. But the most important thing I learned is that there are great guitars that can be had for the price of a good flight case…and there are priceless guitars that can be real dogs. A vintage guitar can be worth a boatload of cash to a collector, but that doesn’t necessarily make it a great musical instrument. The guitars I’m going to concentrate on here are solid body electrics. Jazz guitars, flat top acoustics and semi-hollow body guitars are an entirely different matter.

As a player, I don’t get overly excited about words like “dead mint”, “ten out of ten” or “complete with original hang tags.” Great guitars have usually been played…a lot. I’ve handled some guitars of museum quality that were dogs the day they came out of the factory. There is a mythical reverence for the hand work that went into the construction of Fender guitars and basses of the 50’s. The fact is that those instruments were built to be affordable. Anything done by hand was done so because machines were either too expensive or had yet to be developed. One characteristic of hand work that escapes logical consideration is the variable level of quality control. The Fender factory of the 50’s shouldn’t be equated with a one-off boutique lutherie. These guitars were not hand carved by master craftsmen, they were assembled from pre-fabricated parts. And every once in a while, the perfect neck would find the perfect body and a fantastic guitar would be born. Many times those few great guitars would end up in the hands of great players.

This was In the days before musicians found it impossible to play a show without ten guitars on stage. Guitars and cases were thrown into car trunks, pick-up trucks and luggage bins with little regard for the cosmetically-obsessed collector of the future. There are plenty of stories of the “Holy Grail” being found tucked under a bed for 30 years in its original case complete with tags. Some of those guitars might turn out to be really great instruments. But maybe they were tossed under the bed because they didn’t sound good or played like shit. The sad fact is that once those guitars are found, they rarely get the chance to prove themselves because the inflated price of “dead mint” vintage guitars almost insures that they will end up as trophies hanging some doctor’s or lawyer’s wall.

Yes, vintage guitars are wonderful artifacts of a magical era in pop music. But when it comes to solid body guitars built on an assembly line, it isn’t unusual to play ten vintage beauties before finding an instrument that is everything it should be. The fact is that there are only so many old guitars. They don’t build ‘54 Strats anymore. I’ve played four 1954 Stratocasters. Two were dogs, one was pretty nice and one was an exceptional guitar. Hint, the winner did not have the original tags. I’ve also been intimate with a half-dozen “Black-guard” Telecasters ranging from unbelievably mint to something that looked like it was dragged behind a tractor from gig to gig. The mint ones were stiff and unresponsive, which is probably why they were still mint. The old beater was probably one of the three best guitars I’ve ever played.

Because there are so few old guitars left, guitar manufacturers are now marketing replicas of some of the more desirable models at what I consider absurd prices. I actually bought a masterbuilt ‘54 Stratocaster myself. But I had to look through fourteen of them before I found one that was exceptional. Yes, they’re pretty, but what makes them worth the price? They’re still made out of wood and have a bit of hardware screwed on. If the “way they used to make ‘em” is so special, why don’t they make ‘em like that now? well, I got news, They do. And I think that the standards of today’s assembly line built instruments are far superior to what was being done in the “old days.” The Fender “Hwy 1″ guitars and basses are much better that the shit they were cranking out in the 70’s…at a fraction of the cost. ( I just checked E-bay…there is an early 70’s precision bass listed at $2900.00! Insane)

The bottom line is that I don’t get too excited about ultra clean vintage instruments anymore. I say let the collectors shell out the bucks and hang them on their walls. There is no shortage of great playing, great sounding guitars out there. Go to a guitar shop, put on a blindfold and play twenty or thirty guitars. You might surprise yourself.

Have you ever taken your guitar out of the case, played a few of your hippest licks and been disgusted with the way it feels in your hands? Many times, you may be in a rush and put it out of your mind. Many times you just get used to it, play around the stiffness. A guitar needs love and affection. That’s why it was designed to be played with your hands. It needs attention and if you give it the proper care, it will love you back more than you can imagine.

So, what to do. Change strings? Maybe you have taken the time to change strings only to find that your guitar still feels tired. Here is a tip I learned from my friend Jamie. You may have read about him in a previous blog entry entitled, “If You Know I Was There, I Did a Shitty Job” way back in April of 2006. You’ll find it in the archives.

Every time I change strings on a guitar or bass, I take a little extra time to clean the neck and fret board. You can go nuts, mask off the finger board and polish the frets with metal polish but that takes time and if you are not careful, you can leave residue on the wood. A quick and very efficient method for doing the same job with a minimum of effort requires one tool which you probably already have handy.

After you remove the strings, Take a pencil eraser…yes a pencil eraser, the pink end that you don’t write with, and hold it perpendicular to the fret board. Run the eraser the length of each fret 4 to 6 times, back and forth. Now feel the fret and compare the way it feels with the next one. Amazing isn’t it? Cheap, fast, no muss no fuss. And when you string your guitar, you’ll be surprised at how nice it feel to bend a note.

Of course, if you have time, you should always clean the fret board and give it a little lemon oil as well. But just a good erasing will make frets feel like new.

And now my review of another artist from Sellaband, the seemingly ethical alternative to the “old school” record business.

Kontrust is a band out of Vienna, Austria. I listened to the three tracks posted on the Sellaband web site and my only question is, why is this band not already being ripped off by a major record company? This is a REALLY good act! I would love to be in Vienna for their show on June 30th to see for myself if they are for real.

The songs are interesting and performed with vicious commitment. These are excellent musicians who deliver tracks with a very mature and aggressive precision. The lead vocals are masterfully performed and there is just enough grit to let you know that this is Rock with a capital ‘R’ although the meticulous musicianship is hard to hide.

Now keep in mind that the tunes on the web site are mp3’s and they just don’t sound big enough for my taste. This band should be taken in large, loud doses…really loud doses. With the proper production facilities and equipment, and with adequate financial support, Kontrust will turn some heads. They certainly turned mine.

Now go clean your guitar!

I was recently asked to write an article under the title, “How to Play the Bass.” Personally, I think that a better title would be, “Why to Play the Bass.” The twisted motives behind the “why’s” make juicier reading than the “how’s” anyday of the week. Well, I wrote the article and aimed it at the rank beginner but decided to spare the prey for another day (due to a gray area concerning rights of ownership). I will not, however, hesitate to bore readers of this blog with the aforementioned article. Maybe soon I’ll get into the “why’s” as well. A few people still have to die or move to Tibet before I can mention names though.

How to Play the Bass

The electric bass is a fairly new instrument developed and introduced in 1951 by Leo Fender. The electric bass or bass guitar was instantly popular among musicians who were playing bigger venues at louder volumes. It was much smaller and more durable than the string bass and became the bass of choice for many traveling bands.

Learning to play a musical instrument is much like eating good food. The process is best enjoyed one sensible mouthful at a time. Many young musicians bite off a huge mouthful, become frustrated, and put the instrument in the closet. I intend to keep things very simple and hopefully this article will inspire you play and enjoy the bass.

The first thing to do is to understand the function of the bass. The bass is part of the rhythm section of the band and cooperation with the drummer is of utmost importance. Listen to almost any song and you will hear and feel the interaction between the bass and drums. You will also find that the bass plays very simple parts but with a great degree of rhythmic accuracy. This interaction between the drums and bass is called “the groove” and it is the single most important factor in popular music.

Let’s get physical. Sit on a comfortable stool or armless chair and hold the bass in playing position. Make sure that your feet are free to move, you’re going to need them. Now count out loud, “one-and, two-and, three-and, four-and.” Don’t be self-conscious, every good musician started by counting out loud. Tap your right foot as you say “one” and “three.” Tap your left foot as you say “two” and “four.” Lean into each step as you count. The average pop song is under three minutes long so just count and tap for three minutes as the groove starts to take shape.

Let’s break some musical barriers and concentrate on one string at a time. Play the lowest, fattest string on the bass. For right now, stroke or pluck the string with your finger, your thumb or a guitar pick. Whatever you use, try to make the string sound big and full. Let it ring and feel the low vibrations coming through the body of your bass. If you develop an appreciation for the way the bass feels, you can always practice with or without an amplifier.

Now, let’s add playing the bass to our counting and tapping. Play the lowest string every time you say “one” while tapping your right foot. Take your time and be sure to feel the bass vibrate against your body. Now add a bass note every time you say “three” while tapping your right foot. As simple as this seems, playing long notes for three minutes at a time is very valuable practice and will help you to be a better musician.

By now, your counting and tapping should be feeling natural so let’s add another bass note. Play a note as you say the “and” that comes between two and three. Your right foot will be up. If we use CAPITAL letters to indicate bass notes, your count looks like this: ONE-and two-AND THREE-and four-and ONE-and two-AND THREE-and four-and etc. Once again, take your time, count out loud and do this for at least three minutes. Remember that feel is everything.

After you can play/count/tap this pattern naturally, you can add your left hand to the equation. The bass neck is similar to the guitar but it is a larger scale. Many bass parts can be played using only the index and little finger of the left hand. Put your left index finger on the lowest string between the fourth and fifth frets. With your thumb on the back of the neck, put pressure on the string and play it. Try to make the note last by maintaining the pressure. This might hurt a bit at first but with repetition and practice, your note will sound big and full. Now, without moving your hand, put your little finger on the lowest string between the sixth and seventh fret. With your index finger still in position you should have a good grip on the bass. Apply pressure and play the note. Now go back and forth between these two notes and make each one sound good.

Let’s put all of this together. Start your counting and foot-tapping. Remember to count out loud. Play the same pattern you played before. ONE-and two-AND THREE-and four-and. Now, each time you say “ONE” you will play a new note. Play the open string, then the note with your index finger and then the note with your little finger. Repeat this for the length of a pop song.

If you did everything in this article, you should have a good idea of what goes into playing the bass. If it appeals to you, dig in. There are thousands of sources for technical information but the most important source is you. Listen and Feel.

I have a thing about Laziness. It’s the same attitude I have toward other human conditions like say, stupidity or addiction. To put it into Twelve step terms, I can love the afflicted person, but I hate the condition. I’m about to go off on a tangent here so if you don’t want to read my version of self-evident truth, you are excused to turn on the TV and fill the void with bullshit.

Alright then, here is my rant on laziness. My theory rests squarely on the foundational fact that water seeks a level at which it will be at rest. Humans are seventy percent water. Physically we are, by definition, sedentary organisms. By using our minds, we can counteract our physical condition and act or react to our circumstances as required in order to improve the situation and once again find a spot where we can lay at rest. In other words, we do our best work in emergency situations.

Say that you are watching a show on TV. You’re comfortable, there is a cold beer within reach, a bag of Chee-tos on your lap and a package of Ho-Hos next to you for dessert. You have no intention of moving when suddenly your ass bursts into flames! The emergency causes you to react and suddenly you become inventive. You discover by intuition that with a minimum of effort the flames can be extinguished with your beer. And as a thinking being, you will file this episode away under “emergency uses for beer.”

If you think that the world of science is laboring away to discover new ways to make your life easy, stop kidding yourself. The vast majority of our daily conveniences were first developed as emergency measures. From table salt to video games, advancement in technology has been driven by two goals. 1. How to keep from getting killed so as to have the time to sit in front of the TV with beer, Chee-tos and cookies, and 2. How to kill everyone who is trying to disturb us from sitting in front of the TV with beer, Chee-tos and cookies. That’s it in a nutshell.

The Space program was not developed to provide amusing video clips of astronauts eating blobs of floating food paste. It was developed for the same reason that the armed fortress was developed, to gain and hold the high ground against the enemy. As time passes and enemies become harder to invent, the more harmless technology of these developments filters down to the general population in the form of entertainment trinkets similar to the bucket full of shiny crap that ransomed the island of Manhattan from the original inhabitants.

As a musician, I have spent a lifetime using things that record and store the events that in ancient times would have existed only in the memory of those present at the time of performance. Magnetic tape, compact discs, floppy discs, memory chips, hard drives and all of the associated amplification and processing equipment were originally invented and developed for military use. Our table salt was originally used not to make popcorn taste better, but to preserve food so it could be transported over long distances to feed the armies while on their mission to kill everyone who was perceived as a threat to the right of the people to sit in front of the TV.

Pete, What the fuck are you talking about, you may well ask. Here is the thing. Being good at something, being good at anything requires hard work and practice. I accept that hard work and practice go against the grain of our natural disposition. Again, we only act decisively when faced with an emergency situation. So, in order to work hard and practice, we must invent a state of emergency. We must develop a sense of fear…fear of failure, fear of losing everything. Yes, almost any basketball player can make a freethrow…sometimes. Almost any teen-aged guitar rod can play a blues lick convincingly…once or twice. Almost any American Idol hopeful can sing a high note…occasionally. But the player with a freethrow percentage in the eighties, B.B. King and the diva of the Met all have this in common. They worked hard and practiced as if their very lives were held in the balance. They developed their talent in a state of emergency. Their pain of failure was as real as if they were sitting in front of the TV and suddenly their ass burst into flames.

Occasionally, I may have a student ask me, “How much should I practice?” The mere asking of the question indicates a lack of fear and an inability to invent the state of emergency required for whatever success might lie ahead. To that student I say, “Practice as much as you think is necessary.” But under my breath I say to myself, “Go get yourself a beer, some Chee-tos and cookies and park yourself in front of the TV. And when your lazy ass bursts into flames, you may be able to answer that dumb-ass question for yourself.”

Declare a state of emergency…practice and work hard you lazy bastards!

This is the story of the bass that got away. That’s bass as in “ace” not “ass.” This is not a fishing story, although the story does start on a river somewhere in the wilds of Indiana.

During the late eighties, I was working somewhere between 150 to 200 dates a year, most of them fly dates. We would go in and come out before anyone got hurt. At the time, I was playing my 1964 Fender Jazz bass and every trip my thoughts went to the unmentionable consequences of possibly losing or damaging the venerable old girl. Well, the unmentionable almost happened one day.

We landed at the Purdue, Indiana regional airport . My bass, along with some luggage belonging to the other passengers had not fit into the small plane, but I was assured that the missing pieces would arrive from Chicago and be brought to the venue in time. The car that was to take us to the gig was late so, to entertain myself, I hid the keyboard player’s bag and had him paged to recover it at gate five. Then I had a pleasant hour watching him walk back and forth in the tiny terminal, searching for gate five. There were no gate numbers as there was only the one gate and designating it by number seemed pretentious. This has nothing to do with my bass, but the story serves to illustrate the sophisticated nature of our surroundings.

When we arrived at the gig for soundcheck, I had a foreboding feeling. The “venue” turned out to be a barge fitted out as an old-fashioned showboat. The soundcheck and show would both take place with the barge…and us, being towed up and down the river behind some sort of stinky popeye looking scow. Even If the bass was delivered to the hotel, it would not make it onto the barge/showboat in time.

I panicked. We decided to forego soundcheck and repaired to the bar when the bass player in the opening band stepped in and saved the day. He asked me what kind of bass I play and when I told him, he told me that he also played a Fender Jazz and that I was welcome to use his. He apologized for the fact that it wasn’t a “vintage” instrument but I was relieved that the show could go on and thanked him for his kindness. Then it was drinks all around til showtime and a good time was had by all…until I watched the opening band and discovered that the bass player was LEFT-HANDED!

That was probably the longest show of my life! I played his bass allright, right-handed with the strings upside down. Talk about keeping it simple. I immediately decided that I needed a bass to take on the road that I didn’t worry would get lost or stolen.

When I got back home, I went about the business of building a bass that would fill the bill. I wanted a Fender style body but decided on neck-through construction as this would probably be more stable with the bump and grind of traveling. I found a blank “second” at Performance Guitars for very little dough. I already had a great set of pick-ups that Seymour Duncan had been kind enough to let me try and had enough hardware around the house from other projects to finish the job. Instead of shooting the guitar with lacquer, I spent evenings rubbing boiled linseed oil into the wood with steel wool while watching Twilight Zone re-runs.

Well, when I got the bass together, I instantly fell in love. It felt, played and sounded very much like an old well-worn bass but with one exception. I had decided to build a five-string but with a right hand string spacing much like that of my old Fender. Turned out to be a sweetheart.

I put some real miles on that bass and was happy that the old Jazz was now safe at home while I was out gallivanting. One night at the Miami airport we were told that our flight would be delayed due to bad weather in Dallas where we were to connect to our LA flight. I was able to get the band on a direct flight home but our luggage had already been loaded. The agent assured me that our luggage would be in LA by morning and would be brought directly to our homes.

Upon landing in LA, I registered a “lost luggage” claim as instructed by the agent as this would facilitate the pieces being delivered. The next day, as promised, the airline called to say that four pieces were on their way to my house. When the delivery came, the driver put two clothes bags on my doorstep and asked me to sign an invoice for four pieces. When asked, he claimed that this is what was put on the truck and that was all he was to deliver. The worst had happened, and I knew that I would never see that bass again.

After complaining, screaming, begging and charming a path through every poor bastard with a phone that worked for Northwest Airlines, I ended up settling for a sum of money that would allow me to build a replacement which turned out to be the “Man’s Bass” described in an earlier blog entry. But what started as a cheap bass for the road turned out to be a friend I lost forever.

I wish I could say that I hope whoever is playing her now is treating her well and making beautiful music…but I can’t…I’m not built that way. I hope that the fuckhead who stole her tripped on the curb as he ran across the street and the anvil case caught him full in the nuts causing him to fall out of the line of sight of the septic tank clean-out truck that barely shuddered as it rolled over his skull, forcing his brains through his nostrils.

And that is the bass in the picture above…the one that got away.

Well, I’ve been playing around with this Line6 Podxt for a bit and I have to say that the fun factor is looming large. I really love the sound of a good guitar and great amp so most of my tweaking has been in the way of pretending that the Pod is what the display says it is, and tweaking the knobs accordingly. Consequently, I have a few thoughts.

First off, there isn’t a piece of gear that will make a crap guitar sound like Jimi Hendrix. And sadly, there are plenty of young players with crap guitars out there who are misleading themselves into thinking that the Pod, or something like it, will turn their crap guitar into something that it is not. Given the choice between spending my dollar on a Pod or a decent guitar, I would start with the guitar. I’m playing an Mark Knopfler signature Strat,, a masterbuilt ‘54 Strat and a Gibson ES 135 with killer pick-ups. For bass I usually play old Fenders. I know that what I’m putting into the Podxt is the right shit, so If the result is crap, I would know where the fault would be.

Attempting to compare the Podxt head to head with a vintage amp is Fruitless and doesn’t serve any purpose that I can think of. The first thing that comes to mind is that if you have a vintage Vox AC30 to compare it with, throw the fucking Pod in the corner and rock the AC30 for chrissakes! No, the pod can’t compare with the dynamic tactile sensation of standing face to face with a vintage half-stack or a pair of well-oiled SVT cabinets. But that isn’t really the point, is it.

There is a huge difference between playing a gig that requires the pantleg-flapping, intense volume and sound pressure of a pair of Acoustic 360 bass rigs on the one hand, and a session where an accurate bass sound that sinks right down into the mix is what is needed. The first can be physically exciting although sonically inaccurate. The value is a matter of the moment. The second has to be right…forever. What the Podxt does for me is put a sound into my computer that gets pretty damned close to what an amp and a mic in a room would deliver to a recording console. It is, after all, a simulator.

But now, back to the fun factor. I have been very lucky. I have had my hands on a shit-load of great amps…and I mean GREAT amps. I know how they work and I know how to turn a knob ever so slightly to make a good Tweed Bassman sound amazing. I know that a Blackface Deluxe sounds different on the floor than it does on a chair. And I know that no two Vox AC 30s sound exactly alike although I have yet to hear one I didn’t like. I love to tweak amp knobs to get that extra little magic.

And thats what I dig about the Podxt. If you know the amp that is being modeled, you can really have some fun. The Pod actually reacts to very subtle knob movements much like the amps we all worship. It also responds surprisingly well in two other areas that are difficult for many younger players to grasp. Many players step on some kind of pedal to play a solo without ever taking advantage of the controls on the guitar. I like to dial in a nice, aggressive sound and then roll back the guitar volume to clean up the sound. It just sounds more naturally dynamic and I think the guitar sounds better when you let it do some of the work.

The other thing that the Podxt does quite well for a simulator is respond to playing dynamics. A great amp will allow you to caress a gentle part and then jump on a chunky rhythm riff without any knob twisting. The Pod does a pretty good job of simulating these player controlled dynamics.

I’m having fun with this thing. It’s different, that’s for sure. But in a small room with a Mac and NHT powered monitors, getting a guitar sound could be a whole lot worse. Now if they could just make it smell like a ‘65 Twin…yeah, YOU know what I’m talking about.