Bass Gear

The Zon Sonus Custom 5-string has been my main bass since June 2006. This project actually began as a customized Zon VB fretted 4-string with a quilted walnut top in April 2004, but a couple months after submitting my downpayment, I located a bass that had the most unbelievable wood top I had ever seen. The wood was called "water-cured" or "black" redwood burl. It's an extremely rare type of wood because it doesn't exist naturally in forests.

There are several lumber companies in the United States that harvest highly-prized lumber such as black redwood and do so in an environmentally-conscious fashion without eroding the environment because their source isn't old-growth forests. Instead, they search the depths of America's lakes and rivers for these treasures.

Prior to railroads, waterways were used as the primary means of transportation to the mills. After trees were cut down, the logs were tied to rafts and floated to the mills for processing, and during transit, some logs became waterlogged and sank. Rather than try to recover the "sinkers," it was much easier for mills at that time to just cut additional logs.

Black redwood is harvested from redwood trees that fell into streams or lakes where they remained submerged in icy cold water for decades and in some cases for well over 100 years. While being immersed in water for such a long period of time, bacteria ate away at the substances in the wood, and that caused certain changes to take place on a cellular level. Most or all of the naturally-occurring resins in the wood were washed out and then replaced with dissolved water minerals. This piece of black redwood has a unique appearance and actually looks more like a highly-figured piece of quilted walnut because all of the "red" was washed out of the original redwood and replaced with water minerals.

Thankfully, I found a picture of black redwood before the building process of the VB4 started so I sent Joe a picture of the wood, and he made some phone calls. After about 9 months of searching, he found a piece of black redwood. The only problem was that the piece he located was too big to use for a VB4 body. Actually, we could have used the wood, but so much of it would have been wasted. He was really adamant about not using the piece of black redwood he found for a VB4, but he said it would be perfect for a Sonus Custom 5-string which was going to be the next project we started after completing the VB4. We went back and forth over the phone a couple times before I agreed that we should put the Sonus Custom 5-string project in front of the VB4. I've always had plenty of 4-string basses so this actually turned out to be a good decision. I hadn't owned a 5-string bass since 1995, and I had a bunch of solo bass ideas that I wanted to try on a 5-string because they were physically impossible to do on a 4-string bass.

Since we had a good-sized piece of black redwood to work with, I decided to use what was leftover from the black redwood body blank for a headstock laminate and a raised ramp that is positioned between the two pickups.

After we found the gallery-grade black redwood top, we needed Bartolini to create a prototype set of pickups that were voiced similar to the multi-coil pickups that I had installed in my Sonus 4-string in 1999 without actually being multi-coil pickups. Ever since I replaced the original single-coil pickups in my Sonus 4-string with multi-coils, they have been my favorite pickup configuration. Multi-coils produce a very focused, articulate sound. They sound much more "high-end" than typical single-coil pickups found in vintage basses. From an engineering perspective, building multi-coil pickups poses a number of problems, and the biggest issue involves string-to-string volume consistency because it's difficult to wind four independent coils and make each one deliver just as much output as all of the others. When my Sonus 4-string had multi-coils installed in it, the E-string was always slightly louder than the other three strings, and I always needed to modify my technique because I had to be careful not to articulate the E-string too much. Designing the pickups proved to be a major setback in the completion of this bass, but after over a year of waiting, Bartolini finally delivered.

This bass was originally designed to contain a set of the narrow-shaped Bartolini soapbar pickups, but after serious consultation with Zon, we decided to install a set of the wider-shaped soapbar pickups for two reasons. First, the wider soapbars would give us more options in terms of pickup design. If, for some reason, I didn't like the prototype pickups that Bartolini was making specifically for this bass, it would be easier for us to keep trying different pickup configurations with the wide soapbars. As an additional benefit, I could utilize the pickups as an extended ramp. When the surface area of the two wide soapbar pickups is combined with the surface area of the black redwood ramp, that provides approximately 5 inches of ramp from the bridge to the neck.

The elevated wood ramp design is often referred to as the "Willis ramp" because bass virtuoso Gary Willis is credited with its development. Willis is a world-renowned fretless player, and he created the raised ramp in the 1980's to force himself to play with a light touch and to keep from digging in too much. He installs his ramps between the end of the fingerboard and the single pickup on his instruments, but that particular design would not work well for someone like me who utilizes a lot of slapping and plucking techniques on a fretted bass. I decided that it would be a good idea to place the ramp between the pickups because that was wasted space otherwise.

The phenowood fingerboard on this bass is darker than most phenowood boards found on other Zon basses because I specifically requested that the wood more closely resemble the color of ebony.

I tune this bass E-A-D-G-C. I've only owned a couple of 5-string basses over the years, but each one of them was tuned with a high C-string as opposed to the typical low B-string. I've never had any use for a low B-string in any of the music that I have ever played. In fact, most of the 5-string players that I know today don't use their low B-string for anything more than a thumb rest. For me, a low B-string just gets in my way and causes more muting-related problems. If I want to go lower than standard tuning, I'll just simply utilize the Hipshot Xtender key which I have installed on all of my basses.

There are several advantages to playing a 5-string bass and tuning it with a high C-string. First, 5-string basses minimize the amount of horizontal shifting that a bassist is required to do when playing something up to and beyond a two-octave span on a 4-string fingerboard. In other words, the added string permits you to play more vertically as opposed to forcing you to play horizontally as is the case on 4-string basses. Second, the problem in tuning a 5-string bass with a low B-string is that the notes always lose definition on the low B-string especially as you ascend to higher positions on the neck. For example, play the low G at the 3rd fret of the E-string and compare how that sounds to the same G note at the 8th fret of the B-string. Even an untrained ear will be able to hear the difference. This has nothing to do with the design of the bass itself because you could apply this test to a $500 5-string bass or a $5,000 5-string bass and the results are still going to be the same. This tonal difference is due to the physics involved with string vibration and where you fret notes on the fingerboard. Finally, the high C-string facilitates the ability to play chord voicings with greater clarity which would be physically impossible to play with a low B-string, and the high C-string also has more to offer in terms of soloing applications.

This bass practically plays itself. The overall setup of Zon basses is the best in the business, and the fretwork is second-to-none. Unfortunately, a lot of the amazing wood grain is lost in a web-quality picture. You really have to check out the black redwood top in person in order to capture all the intricate details found in the wood.

To learn more about Zon basses, CLICK HERE TO READ MY INTERVIEW WITH JOE ZON.

Zon Sonus Custom 5 Specifications
Body: Two-piece swamp ash with gallery-grade black redwood burl top and polyester gloss finish
Neck: Composite, bolt-on design with flat urethane finish
Fingerboard: Phenowood with 24 frets and side dot markers
Headstock: Gallery-grade black redwood burl laminate
Nut: Graphite
Scale length: 34"
Pickups: 2 Bartolini prototype, linear single-coil
Electronics: 9-volt ZB-4.3 active system made for Zon by Bartolini with master volume, pickup blend, concentric bass/treble, and midrange control with selectable 3-position midrange frequency switch at 250Hz/400Hz/700Hz
Bridge: Zon machined brass
Tuners: Gotoh GB7 with Hipshot Xtender on E-string
Hardware: Black
Other: Gallery-grade black redwood burl ramp between pickups
Weight: 9 lbs.

From December 1993 - June 2006, this Sonus 4-string served as my main bass guitar. I've invested thousands of hours of practice and gigging time on this bass. Weighing just a few ounces over 6 lbs., this is the lightest bass I've ever owned or played.

This Sonus barely resembles its original form as it was delivered to me in 1993. The only original parts still on this bass are the swamp ash body and the strap buttons. From 1993 - 1996, it was a fretless bass guitar because I played fretless bass exclusively during that period. In 1996, I replaced the fretless neck for one that was fretted. In 1999, this bass received a more extensive upgrade. I was playing so much between 1996 and 1999 that the frets had been worn down to almost the fingerboard, and the neck had several dings in it so Zon put on a new fretted neck. This would be the final time Zon would replace the neck because they stopped building phenolic fingerboards. Zon installed new Bartolini electronics and a set of Bartolini multi-coil pickups which were being used in the Sonus Special basses at that time. The original Wilkinson bridge was replaced with a heavier Zon bridge, and this Sonus also became the first ever Zon to have the 3-band mid-frequency switch and control installed in it which has since become an upgradable option on all Zon basses. The electronics configuration in this bass became the standard setup in the Sonus 519 model.

In the Fall of 2005, this Sonus received a major overhaul. This time the frets were recrowned, the neck was sprayed with a flat urethane finish, and the bass received a new paint job with a high-gloss polyester finish. There were spots on the body where the finish had been worn down to almost the bare wood. Zon replaced the bridge due to a G-string saddle that would no longer raise or lower and installed a brand new pair of Bartolini prototype, linear single-coil pickups which were based on the multi-coil design. These linear single-coil pickups are the narrow soapbar version of the same pickups that are also housed as wide soapbar pickups in my Sonus Custom 5-string bass.

Today, this Sonus 4-string is used primarily for experimenting with altered tunings, but I also utilize this bass for teaching as well.

Zon Sonus 4 Specifications
Body: Two-piece swamp ash with translucent red and polyester gloss finish
Neck: Composite, bolt-on design with flat urethane finish
Fingerboard: Phenolic with 24 frets and side dot markers
Nut: Graphite
Scale length: 34"
Pickups: 2 Bartolini prototype, linear single-coil
Electronics: 9-volt ZB-4.3 active system made for Zon by Bartolini with master volume, pickup blend, concentric bass/treble, and midrange control with selectable 3-position midrange frequency switch at 250Hz/400Hz/700Hz
Bridge: Zon machined brass
Tuners: Gotoh GB7 with Hipshot Xtender on E-string
Hardware: Black
Weight: 6 lbs.

First introduced in 1960, the Fender Jazz bass has set the standard for bass tone and design for the past 50 years. My Zon Sonus basses are Jazz basses featuring a more contemporary look. When Zon introduced the Sonus series in 1992, they marketed it as "the Jazz bass of the '90's." Many other prominent bass builders have continued the Fender tradition by retaining the classic look, feel, and tone of the Jazz bass through similar body shapes, neck profiles, and pickup configurations. While many luthiers today are creating amazing boutique basses costing over $5,000, no other bass has been featured on more hit recordings or used more for live performances than the Jazz bass. Watch any award show or late night program on television where a live band is playing and you will find that Jazz basses or Jazz bass replicas are used over 90% of the time.

In my opinion, the Fender Marcus Miller Jazz bass is one of the finest signature model basses being manufactured by any bass guitar company, regardless of price point. For less than $1,200, this is a bass capable of producing the entire tonal spectrum. The Miller Jazz bass works well in any style of music, and for slap bass playing, you simply won't find a better sounding instrument.

Shortly after purchasing this bass, I made a few minor cosmetic modifications to it. First, I replaced the original tuners with Hipshot American Classic tuning keys and installed a Hipshot Xtender on the E-string. The large white pearl block inlays on the fingerboard make this bass a great instrument for teaching, and since I often use this bass for instruction, I removed the chrome pickup cover so my right hand would be easier to see when demonstrating different right hand techniques. I had a pair of customized pickguards made to replace the original set of three. Because I removed the chrome pickup cover, I no longer needed the two screws to hold it in place, and I decided to remove the extra screw that was located between the neck pickup and the neck of the Miller model. Instead of having 13 screws in the main pickguard, the custom pickguard now has 10 which is actually the standard number of screws for a typical Jazz bass. Rather than two separate plates over the tone control and battery compartments, I had them combined into a single plate which required four less screws. As a result, the bass has a slightly cleaner look to it since there are a total of seven fewer screws present on the front of the instrument. Finally, I replaced the original black plastic Jazz bass knobs on the tone controls with black knurled knobs, similar to the chrome knobs on the volume controls.

Fender Marcus Miller Jazz Specifications
Body: Ash with polyester gloss finish
Neck: Maple
Fingerboard: Maple with 20 frets and white pearl block position inlays
Nut: Synthetic bone
Scale length: 34"
Pickups: 2 vintage jazz bass single coil
Electronics: Active with neck pickup volume, bridge pickup volume, bass, treble, active/passive mini toggle switch
Bridge: Leo Quan Badass II
Tuners: Hipshot American Classic series with Xtender on E-string
Hardware: Chrome
Other: 2 custom pickguards
Weight: 9.5 lbs.

The SWR tradition of innovation began in 1984 when founder Steve W. Rabe developed an entirely new concept of bass instrument amplification. Responding to advice and suggestions from the leading L.A. recording bassists of the day who wanted their live sound to resemble what they heard in studio playback monitors, Rabe developed a full-range, hi-fi bass system that allowed players to dial in any tone they wanted with the accuracy of a studio mixing console. Fender acquired SWR in 2003, but SWR remains faithful to its full-range, high-fidelity, and ultra-clean sound. In 2008, SWR collaborated with Marcus Miller, one of the most influential bassists of his generation, to create the ultimate tool for bassists, the Marcus Miller preamp. Working closely with SWR engineers, Miller painstakingly customized the feature set of this preamp to accommodate his own distinctive array of tones while considering the needs of other bassists of all styles. The result is simply one of the most versatile bass preamps ever developed.

I purchased my first SWR bass rig in 1990, the classic SM-400 amplifier along with a Goliath II 4x10 speaker cabinet. The SWR Grand Prix preamp served as my primary preamp from 1994 until the release of the Marcus Miller preamp in 2008. It represents state-of-the-art engineering in design, features, and sound. With the Grand Prix, I can cover any live performance or studio application. It provides the performance, tonal flexibility, and portability required for every style of playing. I've tested practically every unit SWR has manufactured over the years, and I still feel that the Grand Prix is one of the best pieces of gear SWR ever produced. The Grand Prix preamp together with the Stereo 800 power amp are the ultimate combination for any bassist seeking the SWR sound in a powerful but modular system. Unfortunately, SWR stopped manufacturing this unit in 2001.

The SWR Stereo 800 power amp has been the power behind my tower since 1994. The Stereo 800 was designed in conjunction with the Grand Prix preamp in the early 1990's. It produces enough power to amplify multiple cabinets even in the largest of venues. From my SWR Marcus Miller preamp, I send a signal to the right channel of the Stereo 800, and another signal is delivered from my SWR Grand Prix preamp to the left channel of the Stereo 800. The signal from the right channel of the Stereo 800 is then sent to one of my Aguilar GS 410 speaker cabinets while the signal from the left channel of the Stereo 800 runs to another GS 410 cabinet. This enables me to produce a true stereo signal with independent control over both preamps and speaker cabinets. Like the Grand Prix preamp, SWR ceased production of the Stereo 800 in 2001.

I've been using Aguilar GS 410 speaker cabinets since 2007. I run two of them in my stereo bass rig, and they can easily handle the power and wide frequency response produced by my amp. Each of them are capable of handling 700 watts and feature four 10" cast frame woofers made by Eminence to Aguilar's specifications, top and bottom front ports, a phenolic tweeter, a variable tweeter level control, neutrik speakon and 1/4" inputs, seven-ply, void-free Philippine mahogany construction, a wide 40 Hz to 16 kHz frequency response, and removable caster wheels. Although it is a relatively heavy cabinet that weighs nearly 100 lbs., its compact design allows for easy transportation and storage. The GS 410 responds very quickly for a tight, articulate, and full-range sound which permits it to respond well to all of the contemporary bass playing techniques including fingerstyle, picking, slapping, and tapping in every live performance application. It works well for solo bass gigs as well as for playing within different band configurations in large venues at high volume levels where the bass is often muddied or lost in the mix. I've played through and owned dozens of speaker cabinets including 4x10's, 2x12's, 2x10's, 1x15's, and 8x8's, but I haven't found a better sounding cabinet than the GS 410.

To learn more about Aguilar Amplification, CLICK HERE TO READ MY INTERVIEW WITH DAVE BOONSHOFT.

Raven Labs was started by Steve Rabe, the founder of SWR Amplification. From their 1998 to 2005 production run, Raven Labs manufactured a series of professional outboard gear for musicians and engineers including DI's, mixers, preamps, equalizers, and effects that have become revered for their high-quality, durability, and superb tone-shaping abilities. The MDB-1 is a combination mixer/direct box/buffer in one small unit that enables the user to set the levels of up to signal sources simultaneously. You never have to fumble with the volume knob on an amp or the fader on a recording console to compensate for signals with various gain stages. This little box offers super low noise, low distortion, and a frequency response from 10Hz to 60kHz. Like most other Raven Labs products, the MDB-1 can be run on either an AC adapter or two 9-volt batteries. The MDB-1 is great for gigs that require the use of multiple basses because I can plug in and mix all three of my instruments without worrying about signal loss, and at the same time, the MDB-1 allows me to send two signals to my stereo bass rig. I send a signal from the line out of the MDB-1 to my SWR Marcus Miller preamp and another signal from the auxiliary send of the MDB-1 to my SWR Grand Prix preamp. As of Rabe's retirement in February 2005, all development, production, and shipment of Raven Labs products ended.

The Raven Labs True Blue EQ is a 5-band semi-parametric EQ designed to enhance the essence of your sound while maintaining true signal integrity. Most EQs use active series circuits that can muddy signal, cause phase shifting, and other undesired anomolies. With the True Blue EQ, boost or cut is achieved by adding or subtracting the original signal to itself in a parallel arrangement. The bandwidths in the boost mode were chosen for musicality and are a function of frequency. The bandwidths in the cut mode are narrower thus creating a notch filter affect. This design philosophy makes the True Blue EQ the ultimate choice for unmasking hidden qualities, reducing feedback, dealing with hot or dead spots on instruments, correcting room acoustics, remote recording, and putting that certain air into your sound without drastically altering it. Back in the 1990's, SWR founder Steve Rabe created a 9-band semi-parametric EQ called Mr. Tone Controls. It was a single-space rackmount unit that was a special order, boutique item. SWR never advertised or stocked the Mr. Tone Controls EQ in shops. Today, they are extremely rare because few of them were ever made. I've only seen a couple used units for sale since the late 1990's. The Raven Labs True Blue EQ is the direct descendant of the SWR Mr. Tone Controls EQ. The True Blue EQ features 5 bands of EQ that span across a frequency range from 30Hz to 10kHz. Each band has its own level and frequency controls which provide up to 15 dB of cut or boost. After over two years of searching the internet on a daily basis for a used unit, I finally found a near mint condition True Blue EQ. With the True Blue EQ engaged in my signal chain, my tone becomes high definition. Instead of sounding like a canoe paddling around on a pond, my bass tone becomes a tank flying down a mountain! I use it in the effects loop of both my SWR Marcus Miller and Grand Prix preamps. Like the Raven Labs MDB-1, this is one of those pieces of gear I can't believe I ever got by without.

For over 30 years, Furman has been the leader in AC power management solutions for audio, video, and broadcast professionals. Furman's advanced SMP+ circuit absorbs, clamps, and dissipates any offending surges or spikes to save your gear without sacrificing any parts. With their proprietary Linear Filtering Technology (LiFT), Extreme Voltage Shutdown (EVS), and high current TVZ-MOV components, Furman's technology offers the world's most advanced electrical surge and spike protection available. Every piece of gear in my bass rig is plugged into the PL-Plus II, and with its rear BNC connector, I illuminate the back of my rack with the Furman GN-LED gooseneck light.

Raven Labs MDB-1 Mixer/Direct Box/Buffer
Raven Labs True Blue EQ
Furman PL-Plus Series II Power Conditioner
SWR Grand Prix Preamp
SWR Marcus Miller Preamp
SWR Stereo 800 Power Amplifier
2-Space Locking Rack Drawer
2 Aguilar GS 410 Speaker Cabinets

I have been using D'Addario bass strings exclusively since 2006. ProSteels are D'Addario's brightest and most magnetic bass strings. A specialized alloy delivers harmonically rich and brilliant highs coupled with deep, tight lows which produce unsurpassed clarity, powerful sustain, and grand piano-like tone. I usually keep a set of D'Addario piccolo strings installed on my Sonus 4-string bass for solo bass playing in altered tunings.

I use the following sets:
EPS190 Custom Light - .030, .040, .060, .080, .100
EXL280 Piccolo - .020, .032, .042, .052

I've been using Bartolini pickups and electronics since 1993. I feel that they are the best pickups and electronics being made today. Prototype Bartolini linear single-coil pickups are installed in both my Zon basses. Although having any kind of Bartolini custom pickup designed typically takes between 6-12 months and sometimes even longer than that, the end results are always worth the wait.

Specializing in high performance instrument, microphone, and speaker cables for both live and studio applications, Evidence Audio was founded by Tony Farinella in 1997. As one of the most critical components placed in the path of an audio signal, cables can degrade tone by adding unwanted coloration, obscuring definition, and compressing dynamics. Even the best cables influence the sound to a certain extent, and since no cable can actually improve tone, the primary goal of Evidence Audio has always been to produce transparent cables that don't impart their own sonic signature on the sound being generated. Rather than creating products based on marketing hype, Evidence Audio has conducted years of research in cable theory and design to formulate an award-winning series of cables. Unlike most instrument cables that are constructed with stranded wire, at the foundation of Evidence Audio's cables are solid core conductors which preserve clarity, nuances, and articulation. Evidence Audio cables are engineered to faithfully transmit the characteristics of all instruments as signal is passed from its source to its output destination, but they are especially suited for handling the speed, power, and resolution required of bass amplification. Instrument cables are probably the single most overlooked piece of equipment in a bassist's signal chain, and practically everyone I know will plug their basses into an amp using any instrument cable they can find. I'm always amazed at the number of bassists who are playing high-end basses worth $5,000 - $10,000 and plugging their instruments into expensive bass rigs using a $10 cable. What is the point of spending thousands of dollars on bass gear and then have your signal compromised with a cheap cable?

To learn more about Evidence Audio, CLICK HERE TO READ MY INTERVIEW WITH TONY FARINELLA.

The Comfort Strapp is unlike any other strap I've ever used. Its composite design will relieve at least a couple pounds of any bass you play and is especially useful with heavy instruments. I keep a Comfort Strapp permanently attached to each bass I own.

The Mackie 1402-VLZ3 Pro mixer is one of the best-sounding mixers in its class and the central hub for my entire studio. Practically every piece of gear that I own gets plugged into this mixer, and the audio signals are then routed to either my computer, stereo, or the microphone input of my Sony HC9 camcorder for video production. It's the ideal compact mixer for home and project studios seeking superior performance in an economical, small-footprint package. The 1402-VLZ3 Pro comes equipped with Mackie's XDR2 studio-grade preamps for ultralow noise and high headroom performance. The 6 XDR2 mic preamps can handle inputs from a whisper all the way up to a scream without any added coloration. It also has 6 mic/line level input channels, 4 stereo line level input channels (balanced), XLR stereo main outs, phantom power, and powerful RF rejection. Other features include 2 auxiliary sends, 2 stereo auxiliary returns plus effects to monitor, 3-band active EQ on each channel, a lo-cut filter on the mic channels, balanced stereo control room and alt outs, a headphone jack, steel chassis, faders, and much more.

The Mackie MR8 and MR5 studio monitors provide professional quality sound at an incredibly affordable price. These active monitors are ideal for stereo or surround sound applications in project studios. The rugged cabinet houses an 8" (MR8) or 5" (MR5) steel-frame woofer along with a 1" tweeter to produce a full frequency response. The rear panel of these monitors contains XLR, TRS, and RCA inputs which allow you to connect to practically any signal source. High and low frequency filters as well as a level control are also provided for fine tuning your sound to the acoustic characteristics of the room. The rear bass port is tuned to deliver superior bass performance without vent noise, distortion, or pressure. Every audio component in my studio is plugged into these monitors.

The Rode Procaster is a professional dynamic microphone that is specifically designed for voice reproduction in the broadcast environment. Featuring a tight cardiod polar pattern, a high pass filter, and a frequency response that is tailored for voice, the Procaster is perfect for every application where a great sounding microphone with low distortion and superior ambient noise rejection is required. Its internal pop filter reduces plosives, its internal shockmount minimizes handling noise, and its all-metal construction makes it one of the most rugged microphones available. The Procaster is used to record my voice for all correspondence lessons and online bass courses.

The Sony HC9 captures genuine 1080i high definition video on miniDV cassettes and is one of the best-rated miniDV camcorders available. All video bass lessons are recorded with this camcorder and exported to my computer via firewire where they are edited using Sony Vegas.

Finale is the world's best-selling music notation software for creating, editing, and printing sheet music. Every free lesson and correspondence lesson consisting of standard notation and tablature that has been posted on this web site and the IIB was created with Finale music notation software.

Band In A Box is an award winning accompaniment program. With Band In A Box, you can enter different chord changes, pick a style and tempo, and Band In A Box automatically generates a full backing arrangement of piano, bass, drums, and guitar which you can then utilize for creating bass lines and improvising solos. Band In A Box is also a powerful tool for composing and developing musical ideas because it provides instantaneous feedback. Once you have finished your product, you can burn it directly to an audio CD or output as an MP3 to distribute online. Band In A Box was the first music program I purchased in the early 1990's, and I still have my first version on 5.25" floppy discs. It is the single most important computer program I've used in my studies. If you are like most musicians who don't always have the opportunity to practice with a live group, Band In A Box is the next best alternative for simulating a real band.

Transcribe! is the world's leading music transcription software. With Transcribe!, you can easily transcribe solos and bass grooves from your favorite recordings by slowing down the tempo without changing the pitch. Set loop points to capture small excerpts or even loop complete tracks over and over at a slower speed, and increase the tempo in steps until you can play note-for-note alongside the original performance. You can edit tracks and then export them at a slower tempo for practicing passages that are just too fast to play. I also use Transcribe! for transcribing IIB interviews.

I've been using Sony Vegas since 2005 to record all of my voice instruction and render all of my MP3 play-along tracks. With hundreds of effects, filters, and transitions to choose from, Sony Vegas allows me to produce professional-quality instructional videos.

The GS402B floor stand and GSP39WB wall hanger feature Hercules' patented, self-locking Auto Grab system that securely holds your bass in place using its own weight. The AutoSwivel system of the GSP39WB works well for hanging any bass with an asymmetrical headstock vertically on a wall because it can rotate 30 degrees to the right or left. The compact GS402B mini stand is portable enough to fit in almost any gig bag or case, and these stands work perfectly for displaying your instruments.