New York State of Mind

ONE OF THE THINGS THAT MAKES NEW YORK SO INCREDIBLE is its sheer density of interesting, creative people. It’s as evident in the music as it is among the people making the tools for those musicians. I recently headed east to visit a bunch of the top bass and amp builders in the biz. One thing I learned: when it comes to bass building, tiny little Woodstock gives the Big Apple a run for its money! The shot at left was from heck of a memorable dinner with some of the brightest bulbs in bass. There’s many more cool pix from my week-long sojourn to check out. Just got to our blog www.bassplayer.com.
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ONE OF THE THINGS THAT MAKES NEW YORK SO INCREDIBLE is its sheer density of interesting, creative people. It’s as evident in the music as it is among the people making the tools for those musicians. I recently headed east to visit a bunch of the top bass and amp builders in the biz. One thing I learned: when it comes to bass building, tiny little Woodstock gives the Big Apple a run for its money! The shot at left was from heck of a memorable dinner with some of the brightest bulbs in bass. There’s many more cool pix from my week-long sojourn to check out. Just got to our blog www.bassplayer.com

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I think it’s great actually that people are getting interested in musicianship as such again – especially the guitar players, you’d be amazed by how fast they are, and their technique and everything. And some of them, you give them a few more years and I think someone will probably come up with stuff even better. So I think it’s a good thing. People start out playing a lot of technical stuff and then after a while they’ll probably slow down a little bit and just use whatever musical abilities they have to go to the next level.

Ryan Martinie of Mudvayne

 It's the relationship. It's not about how good or how fast or how many inversions I can play. It's the relationship that my parts bear to the other things that are happening within the song and whether it's musical or not, whether it serves a purpose or not.

Byron Stroud of Fear Factory

I find a lot bass players – especially [bassists who] played with Devin before me – they're like guitar players that play bass, or just come along and start playing bass. I think I brought a different thought process to it. I came in as a bass player, and musically that's about it. But I bring in a lot of [the] business side of things too. A lot of bands, especially with Strapping, didn't have any kind of business direction, and I came on board and definitely helped with that.

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“BASS IS WHAT MADE ME WHO I AM,” PROCLAIMS JERRY “WONDA” Duplessis—a weighty statement considering the extraordinary path he has traveled from his humble Haitian village to Grammy-winning producer, songwriter, and co-owner of a top New York City recording studio, Platinum Sound. Cousin of one of pop’s most eclectic poets, Wyclef Jean, Duplessis has worked with a wide array of chart-toppers. This includes collaborating with “Clef” to co-write, produce, and play bass for such hits as Santana’s “Maria, Maria,” Whitney Houston’s “My Love Is Your Love,” Mary J. Blige’s “911,” Shakira’s “Hips Don’t Lie,” “Million Voices” from the film Hotel Rwanda, and the Fugees’ breakout classic CD, The Score. As Wyclef’s musical director and bassist, Duplessis really gets to stretch on his Pensa 5-string. During a typical marathon show, Jerry can be heard issuing imposing reggae lines that pivot provocatively between straight and shuffle phrasing, adding upper-register melod