The Fundamental - NYBW Bass Magazine

“Where bass, ideas, and craftsmanship converge.”

Welcome to The Fundamental — a bass-centric dispatch from the front lines of music, craftsmanship, and culture. This is where New York Bass Works steps beyond the workbench to share the artists, ideas, and innovations that are moving the needle.

We come across a lot — players doing groundbreaking things, gear that actually lives up to the hype, and conversations that stick with you long after the gig. The Fundamental is our space to shine a light on all of it.

Interviews, product finds, field notes, and the occasional strong opinion — it’s all fair game. Whether you're deep in the jazz world, chasing low-end tone perfection, or just curious about what’s shaping the modern bassist’s landscape, this is your place. No fluff. Just substance. Just the fundamental.

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This Right Here!

A New Day for Bass Synths? The MXR Bass Synth Pedal Might Be the One

By David Beasley @ New York Bass Works

It’s rare these days to be truly surprised by a gear release. Between leaks, pre-release chatter, and the steady churn of rumor mills, most of us have seen (or heard) it all before launch day. But credit where it’s due: the team behind the new MXR Bass Synth pedal kept things airtight — no leaks, no loose lips. In today’s digital landscape, that alone is impressive.

So when the curtain lifted — and Ian Martin Allison of Scott’s Bass Lessons dropped an instant-classic demo — it felt like a genuine moment. Not hype. Not vapor. A real-deal synth pedal for bassists, designed with actual bass players at the center of the process.

For players like me — who’ve long dreamed of thick, inspiring synth tones that don’t require a master’s degree in MIDI routing — this is huge.

A Long Road to This Moment

Over the decades, a few pedals have tempted me with promises of synth magic. The Akai Deep Impact was one. A unicorn in the bass world, that pedal became harder to find (and justify) as prices soared. I held off — worried I’d be let down. By the time I was ready, the opportunity had passed.

I took a different route instead — picking up a Roland GR-55 system, hoping it would finally give me the earth-shaking synth sounds I’d been chasing. But triggering synth tones on bass that actually sound and feel the way you imagine them? That, at least for me, proved elusive. The gear was smart. The tones were in there somewhere. But the connection? Not quite.

Ironically, my disappointment in that setup led to something more personal — a custom, MIDI-capable NYBW 5-string tenor guitar. It opened up a whole new sonic language. But that’s a story for another day.

Why the MXR Bass Synth Hits Different

What sets this new MXR pedal apart is more than the tech — it’s the intent behind it.

This wasn’t a product that materialized out of a corporate vacuum. It was shaped by people who live and breathe the instrument. Key among them: Darryl Anders (of MXR and AgapéSoul) and Ian Martin Allison (whose name you already know if you’ve been anywhere near the bass world lately). These guys aren’t just endorsers. They’re contributors — serious players offering meaningful input on what works, what doesn’t, and what we actually need on our boards.

Too often, bass gear is released half-baked. You can tell there was potential — maybe even brilliance — but something got lost on the way to the factory floor. The end result feels more like a missed opportunity than a game-changer.

Not this time.

This pedal feels like the beginning of a new era — one where companies actually listen to serious bassists, and execute accordingly. Where ideas are refined in the hands of working players before they hit the public. And where the result is something that inspires you the second you plug in.

Check the Demo, Check Your Wallet

If you haven’t watched Ian’s YouTube demo yet, do yourself a favor. It’s not just a pedal rundown — it’s a masterclass in musicality, tone-shaping, and how synth textures can live naturally in a bassist’s world. Chances are, you’ll be checking your couch cushions for spare change within minutes.

I know I’m looking forward to adding it to my board.

Big props to Jim Dunlop, MXR, Darryl Anders, and Ian Martin Allison for getting this one right. If this is what the future of bass gear looks like, we’re here for it.

Watch the video here

Back to Bass Boot Camp: A Homecoming in Philadelphia

This August, New York Bass Works returns to Gerald Veasley’s Bass Boot Camp in Philadelphia, PA—reconnecting with a vibrant community that has long felt like extended family. After making the difficult decision to skip last year’s event due to the threat of severe weather, we’re thrilled to be back among the dedicated bassists, artists, and friends that make the Philly scene such a vital part of our journey.
This year, we’ll be bringing a curated lineup with an emphasis on our 4-string instruments—tools designed to inspire creativity and deliver uncompromising performance. We’ll also have select 6-string models available, including a few remaining pieces from our Legacy Series and the ongoing New Stock Drop sales campaigns. If you've had your eye on one, this might be your chance to experience it in person.
We’re especially excited to introduce Tom Robotham of Trudeep Bass, who will be making his official debut at the camp. Tom’s work is visionary, with a sound and presence that are sure to turn heads. This is a must-see—and more importantly, a must-hear. We can't wait to see the reactions as players encounter these instruments for the first time.
Adding to the anticipation is the event’s relocation to a new Hilton property, which promises to elevate the entire experience. The upgraded venue offers improved space, facilities, and opportunities to connect more deeply with attendees—something we value immensely as a builder committed to personal interaction and feedback.
Whether you’re a longtime friend or a new face, we look forward to seeing you at Bass Boot Camp 2025. Come try something new. Come say hello. Come be part of something special.

Return Of The Four

At first glance, our renewed focus on the 4-string bass might seem counterintuitive. New York Bass Works came of age during a time when extended range instruments—5's, 6's, and beyond—were fueling a renaissance of bass design and technique. We were part of that movement. We contributed to it. And we still stand by the instruments we built in that era.

But meaningful progress doesn’t always mean going farther—it sometimes means going deeper.

As we paid closer attention to the broader musical landscape—not just in niche corners, but across mainstream stages—we started to notice something. In live television performances, network appearances, award shows, late-night gigs, and national tours, the 4-string bass was everywhere. Whether it was indie rock, neo-classic R&B, country, or pop, the instrument holding down the low end was usually a 4. And more often than not, it was a P-style.

That gave us pause.

While we were focused on the boutique market’s appetite for highly spec’d 5-strings and extended-range builds, a quieter truth had taken hold: the music reaching the widest audiences was still rooted in the fundamental. The 4-string had never gone away—it had simply stopped trying to be something it wasn’t.

One player helped crystallize that for us.

David Baker, a prolific session and live player based in London, had long relied on a cherished 1963 P Bass. It was his forever instrument—road-tested, soul-soaked, and part of his musical identity. But as his schedule ramped up and EU touring became more frequent, he began to feel uneasy about traveling with such a valuable piece of history. The instrument meant too much to him to risk in cargo holds and green rooms.

He came to us with a simple request: “Can you build me something that makes me not miss my ‘63?”

At the time, we had talked about offering a P-style, but we hadn’t yet seen the urgency. Mr. Baker helped us see it. Through a series of phone calls and deep conversations, he came to believe that NYBW was up to the task—not just to replicate a P Bass, but to capture its soul and function with modern sensibility.

This is where our history mattered.

David Segal didn’t come at this as a parts assembler or retro stylist. He understood how the sausage was made—what made vintage instruments tick, where their brilliance lay, and where they consistently fell short. That knowledge allowed us to reimagine the P not as a museum piece, but as a working tool for modern players who need that same emotional connection—without the baggage.

David Baker's instrument was the beginning of something bigger.

At the same time, we were watching the vintage market climb. Instruments from the 1960s now routinely sell for $20,000 or more. And in many cases, that value isn’t just about age or scarcity—it’s about a connection to something timeless. These instruments carry history in their wood, songs in their finish, and a kind of soul that defies explanation.

We respect that deeply.

But we also recognize that many of those basses—beloved as they are—were never intended to become what they are today. They were tools of the trade, built in an era of evolving mass production. Their magic was, in many cases, a beautiful accident—born of time, use, and imperfection.

We asked a different question:

What if that same soulfulness could be designed from the outset—on purpose?
What if the “forever instrument” didn’t have to come with 50 years of wear—or a five-figure price tag?

That brings us to one of the most striking moments in this journey.

When Dane Alderson, the virtuosic bassist for the legendary jazz fusion group Yellowjackets, added one of our RSVP4-22 instruments to his arsenal, something extraordinary happened. Known for his masterful command of the 6-string, Dane took that 4-string P-style bass straight to the world stage—on tour and in the studio—with no hesitation.

He didn’t just adapt.He owned it.

In a band historically associated with extended range bass playing, Dane flipped the script. With nothing but a 4-string and his hands, he wowed audiences around the globe, breathing fresh life into the idea of what a P bass could be. He reminded us all that the instrument’s power isn’t in how many notes it can produce—it’s in how deeply it can groove, how much ground it can cover, and how emotionally it can connect.

You can hear Dane and his NYBW RSVP4-22 live here and on the Yellowjackets’ latest recording, “Fasten Up.” The title track is a P bass tour de force.That’s not nostalgia.That’s evolution.

Our modern 4-string instruments don’t chase the past, but they carry it. They don’t mimic—they respond. And they’re shaped by everything we’ve learned from decades of innovation, voiced with today’s music in mind, and built for the working player who demands musicality, comfort, and integrity above all.

The 4-string isn’t a limitation. It’s a foundation. And when it’s built right, it doesn’t hold you back—it brings you home.

This isn’t about going back. It’s about going forward, with intention.

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