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Dear Jonathan Herrera (friendly suggestions for BP)

#83
chop_1992 said:
Jonathan Herrera is a great bass player himself. In fact, most everyone who writes for Bass Player is really just a bass player who likes to write. We are all trying to present the bass in a way that serves the 60,000 or so readers by sharing information, research, hot tips and current trends.

The whole magazine industry is going through changes, but that does not mean that the information in BP is any less valuable today than it was 15 years ago. I've been writing for BP since the first issues in the early '90s. At that time, my Woodshed columns were about 1000 words, and they are still about 1000 words in the recent issues. The current editorial staff even allows me a little more space for musical examples than I had in the early '90s. A main feature for the magazine back then was about 3000 to 5000 words, which is the same length for feature pieces today.

I think my current profile of Scott LaFaro runs about 5000 words, and includes information from a myriad of sources. I also have a funk Woodshed in the current issue profiling some of Herbie Hancock's bassists (Butch Warren, Buster Williams, and Paul Jackson Jr.), and a brief interview with Benny Rietveld. Check those out if you have not already!

If you subscribe, or even just browse the magazine at the newsstand, I would love to hear your comments, constructive complaints, or suggestions.

Let me know what you think.
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John -

Your column is one of the primary reasons that I get the mag! It is always informative, and gives me plenty to work on when I start transcribing into all 12 keys. The magazine would be an absolute home run for me if they included more instruction and music, and less about gear. While I appreciate the gear reviews, I can get all of that information in Talkbass, HC Bass Forum, etc.

Keep up the good work!

Ed
 
#84
I was sad to see Bill Leigh go (not because I dislike Jonathan). I'm sure Jonathan and everyone else were quite sad as well.

General trends I have noticed and not been super thrilled with:

*As the magazine thins in page numbers, a few things are cut, but one of the biggest to me is the vacuum that seems to be happening in the WoodShed section. I know there are still articles in there but they seem to focus more on just copping another player's style. On the other hand, lots of music writers have already done tons of books on theory. Yet... there is something about getting a unique chunk of somebody else's opinion on teaching a subject, like jazz changes or cadences or what have you. John Goldsby is one of my favorite BP writers for WoodShed stuff, he typically does a great job.

*I think some of the reviews done in BP are just freebies. I recall the 2008 Fender MIA Jazz/Precision dual review, and both instruments got editors awards basically for being minor updates to what had already existed for years and years. Did anyone really need that review? I don't think so personally. There are many more interesting things to look at. In addition, a lot of the new bass reviews focus on basses that directly mimic Fender. Nothing wrong with that, but it gets tiresome every month seeing what the "newest Jazz Bass" is like rather than what another builder or manufacturer is up to who does not copy so heavily.

*Sometimes the reviews also just feel like editorials with a smidgen of info that players could get on MF on their own... etc. "I really dug the way this or that felt, also it had a tone knob!" sort of thing.

*I know the small sections about technique tips are not meant to be "earth shattering" but, for instance, the bit about playing with one finger like an alternating pick player to play fast lines just seemed elementary to me. I'm self taught and I figured this out perhaps within the first year or so of playing. Sharing this minor kind of insight is almost insulting compared with what else could be discussed (consider the negative comments on a YouTube video about Stanley Clarke that discusses the very same technique--I don't have the link). Rather than writing about small-scale technique innovations like that, it may be better to step back and analyze how and why players make these innovations and how new players can start to come up with their own ideas about what might enhance their technique in certain contexts, while avoiding "energy wasting" or dangerous techniques.


I've been reading since 2007, actually. I was really pleased with the magazine back then but it's quickly deteriorated for me. Nonetheless the focus and the major articles tend to be pretty cool, like the recent Jamerson article or the Paul Chambers article. On the other hand hearing what's going on with a bass player from a flavor of the month band is not all that exciting for me.

I know being the Senior Editor means making a lot of tough choices. No judgement here, Mr. Herrera! Just some thoughts for chewing on if you wish.
 
#85
Commreman said:
John -

Your column is one of the primary reasons that I get the mag! It is always informative, and gives me plenty to work on when I start transcribing into all 12 keys. The magazine would be an absolute home run for me if they included more instruction and music, and less about gear. While I appreciate the gear reviews, I can get all of that information in Talkbass, HC Bass Forum, etc.

Keep up the good work!

Ed
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Thanks, Ed!
 
#87
I've been a subscriber since the beginning and still happy to see the magazine in my mailbox each month, but, I really wish the articles would get more in depth. When you interview these artist just let the recorder go, and while I know print is expensive these days, let the rest of the interview be published on your web-page. You could even give out a code for subscribers to have access to the longer archives.


p.s. The sale of CD ROMs or DVDs of all past issues would sure clear up a lot of space in my music room;)
 
#89
IbanezATK said:
Didn't mean to be offensive, but I have a real issue with the elitist attitude that you don't deserve to play if you can't read music. I pay the same for the magazine as you do.

I can compose a really long list of musicians in every genre who can't read a note and are highly acclaimed.

I'll just toss out a few... Jimi Hendrix, Eddie Van Halen, Jimmy Page, Stevie Ray Vaughan, Thom Yorke, Eric Clapton, Lindsay Buckingham... sorry that was more than a few. If you want another hundred or so I'll be glad to type them out for ya :)

Again, no offense, you are certainly entitled to your opinion.
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Maybe printing the standard notation on a separate page than the TAB would be a good compromise.

The Tab is distracting for me personally...Kind of like "sub-titles" running during a movie...

(I still don't understand why a Musician that can read Music is automaticlly considered an elitist jerk nowdays...just goofy to me.)
 
#91
Yes . . . the story goes: That photo was licensed from a well-known company that deals in historical photos. BP licensed a photo that was supposed to be Paul Chambers, and it indeed turned out to be PC's cousin, Doug Watkins. When I first saw the cover, I actually thought it was P.C., but after looking at the cover a few more times, I realized that the man on the cover just was not who he was supposed to be.

The art department for all of the magazines of the Music Player Network licenses a lot of photos, and this was the first time that such a glaring mistake had gone to print. So, the issue will be a collector's item for that very reason . . . and of course for the fabulous, never-before-seen-in-print content in the article itself ;)
 
#93
John Wentzien said:
Maybe printing the standard notation on a separate page than the TAB would be a good compromise.

The Tab is distracting for me personally...Kind of like "sub-titles" running during a movie...

(I still don't understand why a Musician that can read Music is automaticlly considered an elitist jerk nowdays...just goofy to me.)
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back in high school a guy i knew said he was going to learn the sax,but eschew all methodology and do it entirely on his own.....no teachers,books,records,dots,anything.......it amazed me at the time how many thought it was a good idea....

for a time going against the conventional wisdom was bold,and even necessary in a lot of areas.......but it took time and reflection for many to realize that much of the conventional wisdom was indeed wise...

i doubt if too many worthwhile gigs were ever lost because someone "could" read dots
 
#94
bongomania said:
How about this then: my idea and suggestion for enhancement is that BP put all of those same old tired critiques to bed by actually making those changes! They wouldn't be the "same old tired critiques" if they weren't also direct, obvious paths for improvement that a large number of readers would appreciate.

It's like a restaurant that goes from serving large portions of good food to serving small portions of mediocre food, to save money. The people who used to eat there stop going, and they complain about the portions and quality. The restaurant says "we have to cut back on the portions and quality in order to stay in business" but they choose to ignore that they are driving away their customers. With no customers they won't stay in business either. Over time the portions get even smaller and the food even less appetizing, as the restaurant struggles to pay its bills. People continue to complain over on "TalkRestaurant.com". Then somebody says "quit re-hashing the same old tired critiques."

The thing is, we can tell them how to improve their hollandaise sauce, or we can tell them why people are not coming to the restaurant anymore, and what they can do about it.
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^ THIS. This is a splendid analogy. Although I am sure some genius will fail to see the connection and say something brilliant like " what does that have to do with this topic, ? B.P. ain't a restaurant. This is like comparing apples to oranges".
 
#97
John Wentzien said:
I still don't understand why a Musician that can read Music is automaticlly considered an elitist jerk nowdays...just goofy to me.
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He didn't say people who read are elitist jerks. It was pretty evident that it was the "No tab", or, in other words, "take away the ability of those who can't read to get anything out of this lesson/transcription" comment that was being referred to as elitist.

Being able to read music doesn't make one an elitist jerk. But, how can arguing that some numbers printed on a 4/5/6 line staff should be eliminated because they're "distracting" to some people be construed as anything besides elitism? Really, you think it's better to alienate a ton of guys because you can't ignore numbers and lines?
 
#98
My opposition to tab has nothing to do with "elitism" nor with distraction. Tab takes up space and ink. If you eliminate tab you get twice as much music in an issue. Those considerations are part of why most specialty magazines are smaller than they used to be. There are ways to indicate fingering within standard notation so it's not really needed. And it's ludicrious to use tab to explain harmony.

John
 
#99
Sweet...Doug Watkins deserved a cover ;) although I never would have noticed.

chop_1992 said:
Yes . . . the story goes: That photo was licensed from a well-known company that deals in historical photos. BP licensed a photo that was supposed to be Paul Chambers, and it indeed turned out to be PC's cousin, Doug Watkins. When I first saw the cover, I actually thought it was P.C., but after looking at the cover a few more times, I realized that the man on the cover just was not who he was supposed to be.

The art department for all of the magazines of the Music Player Network licenses a lot of photos, and this was the first time that such a glaring mistake had gone to print. So, the issue will be a collector's item for that very reason . . . and of course for the fabulous, never-before-seen-in-print content in the article itself ;)
Click to expand...
 
#100
In a prior life, I was the editor-in-chief of several technology industry trade magazines. Relating that experience to Bass Player Magazine, I these observations come to mind:

Generally, I find the intellectual "sharpness" of BP story ideas to be mediocre. I can almost predict what will be in an article without reading it.

Starting with the editor, story assignments and ideas should explore new areas. Look at issues, not just products. For example, how about looking at the resurgence of 15" cabs. How does the DIY 2-way and 3-way driver cab offer a player more tonal capabilities than a single-driver cab? When choosing a cab, what factors should a player consider? How can speaker excursion affect tone, and how does that factor into the wattage capability a player needs to maintain? How can a player evaluate a cab's ability to radiate sound rather than project it straight out from the direction the driver(s) is/are pointed? What strategies should a player use for micing a cab - for live sound, vs. for recording? Etc. etc.

Instead of doing the predictable "review" of a piece of gear, explore HOW the gear could be used. For example, what should a player look for in evaluating octavers? How is one better or worse than another? How does a player use an octaver in different playing situations? What kind of music will an octaver be more useful for? Provide recordings of each octaver's tone for online evaluaton. Etc. etc.

Instead of letting player interviews run all over the map, the editor should direct the interviewer to explore specific angles and make sure enough information is revealed to make an interesting read. Have the famous player explain the process of how he or she got interested in playing bass. How did the player learn how to play? How long did it take? What did the player find was more useful in terms of practice methodologies? Was an instructor used, and how did that help? How did the player learn how to play in a band situation? What tips does the player have on relating to the drummer? To the rhythm guitar? To lead instruments? How does the player learn or create new music? Does the player still practice regularly, and if so, what methodolgies do they use? What information can this famous player provide that will be useful to a beginner, an intermediate player, or an expert? Etc. etc.

Again, the shortcomings of the magazine reflect the EDITOR, who must lead and provide specific direction and follow-through. Otherwise the product will be flat. It's not just about the money (or lack of same) used to run editorial operations. We all understand money is tight. But use it wisely. Otherwise, BP Mag. will slowly continue its path of shriveling reduction - both in page count and in quality of content. You cannot control the money, but you can control the intellectual value of content. Ball's in your court, Mr. Herrera. Good luck, we're rooting for you.
 

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