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Before I hit record for this episode, I was playing around with a harmonizer sound and found myself right back in the music that first made me want to become a musician.

A phrase, an interval, a particular sound, and suddenly I’m thinking about Michael Brecker, John Patitucci, and records I was listening to thirty years ago.

What struck me was how much I still need that connection. Having heroes isn’t something I’ve grown out of. Going back to those recordings reminds me how much I love the work, and gives me energy to keep finding out what’s possible in my own playing.

A lot of this episode is about carrying that inspiration forward: taking the intent, curiosity, and commitment you hear in someone else’s music and bringing it to your own.

There’s plenty of bass playing throughout, alongside a few other things I wanted to share.

Revisiting old transcriptions

I still write down pretty much everything I transcribe. Sometimes I don’t have enough time to work an idea into my playing properly, and I want to be able to return to it.

That return can be the best part. Something I transcribed years ago can reveal a completely different set of possibilities now that I have more experience, more vocabulary, and a better understanding of the harmony around it.

Hearing what I’m actually playing

A broken amp during the recording of Night Watch in Argentina forced me into a monitoring setup I’d spent years avoiding.

Recording direct with in-ear monitors felt uncomfortable at first. Everything was so immediate and exposed. But it helped me hear my sound more accurately, and ultimately changed how I approach recording and working with stereo effects.

In this episode, I also play through some harmonizer, reverb, and texture ideas as I get my pedalboard ready for Minnesota.

A new book for Black Friday

I’m putting together a short book built around the exercises and ideas that have helped me make progress over the couple of years.

The aim is to include thirty-plus previously unpublished exercises, with standard four-string tuning as the foundation.

I’m planning to offer it as a free bonus with a qualifying book purchase for Black Friday. The exact offer is still taking shape, but I’m excited to share this look inside what I’ve actually been working on.

What should Ian Martin Allison and I get into?

I’m heading to Minnesota to spend a day making videos with Ian, and I’d love to bring some of your questions with me.

What would you like us to discuss or demonstrate? Is there something you’d like to hear both perspectives on, or something you’d like us to play?

Leave a comment below. Suggestions for future solo podcast episodes are welcome!

Books and links

• The recent post about listening, inspiration, and my transcription list• The Bass Player’s Guide to Pentatonics—where I recommend starting with my books: • Chordal Harmony• How to Transcribe• Private lessons

Thanks, as always, for spending some of your insanely precious time listening and hanging out with me.

Janek

A student asked me a question in a private lesson yesterday that I don’t think anyone had asked me quite that way before: “How do I listen to your music?”

Some of my albums connected with them immediately, but others left them wondering why they had little similarity to previous releases. That question became the starting point for this episode: a conversation about harmony, simplicity, and why I’m drawn to making something different each time I record.

There’s quite a lot of playing in this episode! I start with a simple ii–V idea and explore how a small harmonic detour can delay the resolution and open up new ways to eventually get to the tonic. From there, we get into chord inversions, voice leading, ostinatos, and some of the short solo bass pieces I’m developing.

I also talk about the expectations we bring to our favorite artists. Marcus Miller, Miles Davis, and Meshell Ndegeocello offer different examples of how a musical identity can develop, and how our attachment to a particular record can shape what we hope to hear next.

In this episode:

* Reimagining familiar ii–V–I harmony with an additional ii–V.

* Using inversions and closely spaced notes to give simple chords more character.

* Putting a repeating figure above the melody instead of underneath it.

* Turning improvisation and practice-room discoveries into compositions.

* Employing restrictive practice to find more possibilities within what you already know.

* Chick Corea’s Children’s Songs and the appeal of short musical forms.

* Balancing influence, artistic honesty, and audience expectations.

* Why time and sound remain the foundation, however complex the harmony gets.

Which influences can you hear in my playing? If a phrase reminds you of a particular musician, solo, or record, leave a comment. I’d love to hear what you recognize before digging into those transcriptions in a future episode.

Books Discussed in This Episode

Book a Private Lesson

More soon,

Janek

Does inspiration come before the work, or does the work create it?

A Jimmy Carr quote I heard while making breakfast this morning set this episode in motion. It reminded me how often musical ideas arrive simply because I’ve sat down and spent time with the instrument.

I share what that process looks like right now: working on a Brahms waltz for a potential duet with Daniele Camarda, exploring triadic movement around the bass, and following a chord progression that develops spontaneously during the episode.

We also get into a practice approach that has helped me keep improving after more than 30 years of playing: spending less time on an idea each day, but returning to it consistently for longer than I initially think necessary.

In this episode:• Why your goals should determine what you practice.• A focused 10-minute starting point for your practice routine.• The difference between understanding an idea and internalizing it.• Keeping a list of things to learn without chasing every new distraction.• Triads, inversions, and their application to bass lines and chordal playing.• Voice leading, passing chords, and developing ideas with a looper.• Using recordings and voice notes to preserve musical discoveries.• How returning to private teaching has sharpened my own focus.

I’m also considering a comprehensive book on triads—their inversions, applications, and musical context. I’d love to hear what you’d want from a resource like that.

And for anyone who stays to the end: a brief look at the humble footstool that travels everywhere with me.

If you’d like help identifying what to work on and building a practice routine around your goals I’m now offering Private lessons.

If you would prefer something with a little less commitment, but that packs a huge punch in terms of information, check out all my Books and learning resources.

More soon,

Janek

All my pedalboards start with a sound in my head and from there I slowly start to decide what I might need to create all the elements of the board, and where each piece belongs in the signal chain.

This week I play through my current setup, from the MXR Vintage Bass Octave, Mantic Hulk, and FMeron at the front of the chain to the HX Stomp, stereo effects, looper, and DI that follow. I explain why I use a hybrid of individual pedals and multi effects, and why the Stomp is both a complete travel rig and the point where my board splits into stereo.

Some choices are still up in the air. I’m getting to know the Chase Bliss Bad Mood, comparing it with the Stereo Mood, and questioning whether the Generation Loss MkII is the right way to find a texture I’ve missed since using the Dark World. If I bring a fuzz or bit crusher back onto the board, something else will have to go, and that could well be the Gen Loss at this point. 😭

Those choices come into focus when I think about the music ahead: a possible bass duo recording rooted in classical music, and a very different, improvised session with Jojo Mayer. One might need little more than a preamp and reverb. The other could take me deep into synths, loops, and cinematic sound design.

I also revisit my old classical guitar books and the notes my teacher Peter left in them. His reminders about light, shade, and phrasing still shape how I play over 35 years later, and it’s incredibly emotional seeing those notes and scribbles in the margins after all these years.

In this episode: choosing pedals by sound and playing feel; building a mono-to-stereo signal chain; using the HX Stomp alongside individual pedals; the sounds currently competing for space on my board; and adapting one rig to two very different projects.

Check out these links to stuff I mention in the episode:

HX Stomp presetsPrivate lessons

More soon,

Janek

With the 10th anniversary of American Elm this year, I recently started contemplating the idea of a remix/remaster with not only some new material that never made it on the first release, but also some video footage since I release no visual representation of the album at the time.

While I was digging through hard drives this week on the hunt for all that old material, I came across a duo album I made in 2018 with guitarist Gabriel Santiago that never saw the light of day.

Despite the performances being great on the session, there were some technical issues with the audio files that left me pretty deflated at the time and convinced I could never release the material.

I chalked it up to bad luck and tried to forget about it and move on.

It turns out, not all the audio files were ruined, and even those that had some nosie on them may well be salvageable in today’s technologically advanced framework that we edit music in.

Suffice to say, the files have been sent off to Juan Pablo in Argentina, and there’s a good chance a new album will be popping up in the not-to-distant future.

Elsewhere in the episode, I talk about:

• The possible tenth-anniversary edition of American Elm• How these discoveries could result in two more releases before the end of 2026• Why I rarely listen to my albums once they’re finished• The danger of becoming attached to your most popular work• What I’m learning from teaching private lessons again• Potentially releasing more footage from the Quiet Places sessions with Peter Erskine and Nir Felder• My completely unprepared first encounter with the Chase Bliss Bad Mood pedal• Producing and encouraging other artists not to leave important music buried• Building a future around fewer, but far more meaningful, live performances

Ultimately, this episode is about getting out of my own way: becoming less attached to imperfections, more comfortable with vulnerability, and more willing to let the work exist.

Because sometimes the difference between an abandoned recording and a beautiful album is eight years, better technology, and a little more perspective.

LINKS

Private one-on-one lessons

Listen to Quiet Places

Music, books, and educational material

Watch the podcast on YouTube

If you’re already subscribed to my substack, you’ll have read a little about what’s in today’s episode yesterday already. Go straight to the video if that’s the case, and get stuck into the practice routine I’m sharing today.

For those new to the podcast or to my substack….

The longer I play music, the more value I find in returning to simple ideas.

This episode begins with one major-scale exercise pulled from a practice video I recorded nearly eight years ago. It’s a straightforward shape, but it contains an enormous amount of useful information: fretting-hand technique, articulation, fretboard knowledge, major-scale harmony and the ability to feel equally comfortable in every key.

I demonstrate the exercise in several positions, discuss the fingering and pull-off mechanics, and explore ways of introducing rhythmic variation. Then I show how quickly a technical pattern can escape the practice room and become something musical through inversions, suspensions, tension, resolution and spontaneous harmonic movement.

But the episode is also about something larger: deciding where our time should go.

After 30 years of traveling to play music, I’m thinking carefully about the balance between touring, recording, teaching and family life. I still intend to record extensively. and my goal is to release at least three albums a year—but accomplishing that means becoming more selective about the work I accept and more protective of the time I have at home.

That thinking has led to two new ideas.

The first is the launch of my private one-on-one Zoom lessons. There is now a limited selection of one-hour sessions available each week, with options to book either a single lesson or a discounted package.

These lessons don’t have to be limited to scales and technique. We can work on improvisation, practice strategy, finding direction when you feel stuck, preparing for professional situations, navigating the music business or simply getting better results from the limited time you have with your instrument.

We live in an era of unprecedented access to musical information. What most musicians still lack is personal feedback: someone they trust who can look at what they’re doing, identify what is working, uncover what isn’t and help determine the most productive next step.

The second idea is a small-group, one-day music intensive. I’m imagining approximately six hours of teaching with two instructors, a maximum of around 40–50 attendees, a good shared lunch, opportunities to meet other musicians and potentially a closing performance. It would offer more depth and interaction than a conventional clinic without requiring the expense and logistical commitment of a residential music camp.

I’d love your input:

• What would make an intensive like this impossible to miss?• What have you disliked about clinics or music camps you’ve attended?• Who would you like to see joining me as a guest instructor?• Which city should we bring it to?

Ian Martin Allison, John Patitucci and Henrik Linder are among the musicians I think could be fantastic collaborators, but nothing is fixed and your feedback will help shape the idea.

In this episode

• The simple exercise I still practice after 30 years• Developing confidence in every key• Technique, articulation and fretting-hand mechanics• Making repetitive material more engaging• Turning a scale pattern into actual music• Balancing professional music with family life• Why I’m becoming more selective about touring• Launching private one-on-one lessons• Information versus meaningful personal feedback• The idea behind a new one-day music intensive• Why experienced musicians still need trusted advice

Links

Book a private lesson

Browse my books, music and educational materials

Watch the episode on YouTube

More soon,

Janek

After almost a month of packing, moving, unpacking, and barely touching the bass, I'm finally back in the studio, and my chops definitely aren't where I need them.

With a weekend at Birdland with Steve Smith and Vital Information coming up, it would be very easy to panic and spend every available minute working on the music for the gig.Instead, I'm trying something different.I've been going back to classical music (Brahms in particular) and experimenting with arranging music I love for solo electric bass. Rather than immediately putting pressure on myself to be "gig ready," I'm using completely unrelated music to reconnect with the instrument, rebuild the mechanics of my playing, and get my ears and imagination working again.

Make sure you’re signed up to this substack newsletter so you get every podcast episode, all the news about new music recordings, and all the lessons and behind the scenes information I share from my little world of bass and music.

In this episode, I work through part of Brahms' Poco Allegretto from Symphony No. 3 and start asking some of the questions that might eventually shape an entire solo classical bass album.How much of the original harmony should I keep?Should I reharmonize it?Do I play the melodies completely solo, or use loops?Should there be improvisation?Could classical repertoire live alongside original music and more ambient, experimental sounds?And how far can I push the orchestration when I'm trying to make all of this work on a five-string electric bass tuned E–C?We also get into one of the harmonic exercises I've been using to get my hands moving again: taking V–I resolutions and breaking triadic ideas into groups of five using 2+3 and 3+2 patterns. It's a simple concept that opens up a huge amount of melodic and rhythmic material. You can find it in my book From Practice to PerformanceThis episode ended up becoming a pretty accurate snapshot of where my musical brain is right now. I start with Brahms, move into dominant harmony, disappear into ambient sounds and effects, and somehow end up seriously thinking about what a solo classical electric bass record could become.There's also a little history behind all of this. Before bass became my instrument, I was heavily involved in classical guitar, working through the UK grade system to Grade 8 and playing solo classical guitar and in ensembles. A lot of the chordal and right-hand techniques I use on bass today actually come directly from that period of my life.I'd love your input on where I take it.If I make a solo classical electric bass album, would you want the visual side to be an important part of the project — filmed performances in a beautiful space — or would you rather put on headphones, close your eyes, and experience it purely as a record?Let me know in the comments.Also in this episode: the new studio is slowly coming together, the blue couch has returned, the new transcription book is finally in stock, and I found a photograph from my first semester at Berklee in 1998 featuring a fellow bass player you might recognize...More soon, Janek

The Complete Bass Mastery eBook Course

The Three Pillars of My Musicianship

This feels like a great way to end an era of the podcast.

We’re moving this weekend, the studio is being packed up, and this is the final time I’m sitting down in front of the camera here before everything moves to the new house and a completely new studio.

It felt appropriate that this episode ended up being about something pretty fundamental: the three pillars that have underpinned almost everything I’ve done as a musician for the past 30 years.

But I only really started thinking about them this way quite recently.

While signing and packing copies of How to Transcribe this week, I noticed how many people had bought it alongside Bass Player’s Guide to Sight Reading. Sitting next to those was The Bassist’s Book of Scales and Arpeggios, and suddenly this very obvious connection appeared.

Technique. Reading. Transcription.

Those three things have been with me throughout my entire career.

Technique

Scales, arpeggios, harmony, theory and the physical facility to actually execute the ideas I hear.

I’m not practicing technique because I simply want to play fast. Even after more than 30 years of playing, there are still enormous areas of my technique and musicianship I want to improve that have nothing to do with speed or trying to impress anyone.

Reading

Reading gives me faster access to music.

And despite having done it professionally for decades, it’s not some innate ability that appeared fully formed when I pick up the bass. It’s a skill I’ve worked incredibly hard on and one I still have to maintain.

So for this episode I decided to test it.

I pulled out two exercises from Bass Player’s Guide to Sight Reading that I haven’t played in years, spun up the play-alongs and took a shot at reading them cold while I was filming.

I also break down what’s actually going through my head while I’m reading: scanning ahead, anticipating fingerings, deciding where on the instrument to play something, thinking about tone, remembering mistakes that might need fixing after the take and — hopefully — getting comfortable enough with the notes that I can stop thinking exclusively about reading and start thinking about music.

Transcription

This might be the deepest pillar of all.

Almost all of the vocabulary you hear when I play comes from decades of listening, transcribing, absorbing and repeating music.

Transcription isn’t just about writing somebody else’s solo on a piece of paper. It’s about immersion. It’s how I’ve learned languages within music, developed vocabulary and continually found new inspiration.

It’s also probably the pillar I’ve neglected the most recently, and one I want to spend more time with again.

The Work Never Ends

One of the things I love most about the greatest musicians I’ve been fortunate enough to know is that none of them seem to think they’ve arrived.

The people whose playing seems almost impossibly developed still have lists of things they want to practice, sounds they want to explore and areas of their musicianship they want to improve.

Those lists make up several lifetimes worth of work, and the common thread I’ve noticed among so many of my musical heroes isn’t simply their ability.

They love the work.

In This Episode

* The three pillars that have shaped my musicianship

* Why technique isn’t about simply playing faster

* What reading music actually gives you

* Why sight-reading is a skill I still actively maintain

* Attempting to sight-read my own exercises years after writing them

* Testing myself on a piece in 7/4

* What I’m thinking about during a professional reading session

* Why one or two takes matter in the studio

* Thinking about sound and phrasing while reading

* How transcription develops musical vocabulary

* What I want to work on next

* Why great musicians never run out of things to practice

* Why loving the work might be the most important part of all

The Complete Bass Mastery Bundle

I’ve also bundled the three books that inspired this episode together for the first time:

The Bassist’s Book of Scales and ArpeggiosBass Player’s Guide to Sight ReadingHow to Transcribe

Together, they represent these three different but interconnected areas of musicianship: technique, reading and transcription.

Each book also includes its accompanying video masterclasses and play-along materials, so this is really much closer to a complete course than simply a collection of three ebooks.

And with that, it’s goodbye to this studio.

Thank you to everyone who has watched and listened to the podcast from this room for the past two years. The next time you see me, hopefully within the next week or two, it’ll be from the new space.

More soon,

Janek

After more than thirty years of playing, practicing, recording, and touring, I still catch myself making this one annoying mistake when it comes to my practice time.

The encouraging part is that when I do catch myself doing it, it often leads to the biggest breakthroughs, or at least some semblance of direction to take my process in that feels positive.

In this week’s episode I talk about a pattern I noticed in my own playing: I naturally tend to create lines and harmonic movement that descend. Not always, but often enough that it has become one of those unconscious habits that bums me out when I realize I’m doing it.

For the coffee drinkers there, you’ll know I’ve been spending the past couple of years exploring Neo-Riemannian triad transformation theory, a frighteningly academic name for an incredibly elegant way of thinking about major and minor triads. Rather than feeling like I’m forcing the issue when it comes to creating a harmonic landscape to make music in, I’ve found myself becoming fascinated by how much emotion and movement can come from moving just one or two notes at a time.

In this episode I work through that process in real time.

There isn’t a polished lesson plan or a finished composition waiting at the end. Instead, you’ll hear exactly how I experiment, where I get stuck, how I solve problems, and how a simple practice idea gradually starts becoming music.

Along the way I also talk about:

* Why listening back to your own playing is one of the most valuable practice tools available.

* The creative freedom that comes from recognizing repetitive habits before they become limitations.

* Performing recently with Peter Erskine, John Beasley, and Bob Sheppard, and how preparation creates the confidence to truly listen on stage.

* My ongoing effort to simplify my studio, part ways with hundreds of pedals, and create an environment that encourages making music instead of collecting gear.

As always, thank you for spending part of your week with me. I appreciate every listen, every comment, and every thoughtful conversation these episodes continue to create.

More soon, Janek

P.S. With the launch of “How to Transcribe” last week, we’ve created a new digital bundle that I think serves as a comprehensive path to truly mastering the fundamentals of music and musicianship: Ear Training, Reading and Technique.

This week I’m delivering on a promise from the last episode: a complete walkthrough of my new stereo pedalboard.

After years of touring with much larger setups, I’ve downsized to a rig that gives me incredible flexibility while still producing the huge ambient sounds I’ve been chasing for years. I break down the entire signal chain, explain why each pedal earned its place, and demonstrate how I build everything from subtle harmonic textures to massive cinematic soundscapes.

Along the way I also talk about:

* Why I changed from my previous touring rig

* The advantages of running a stereo setup

* Boutique pedals versus multi-effects units

* Creating ambient loops and evolving textures

* Using effects as creative tools rather than distractions

* Why expensive gear isn’t always necessary to make inspiring music

I also share a quick update on my new book, How to Transcribe, the recent release of Quiet Places, and the excitement (and chaos!) of preparing for a house move while getting ready for upcoming performances.

Whether you’re a bassist, guitarist, producer, or simply fascinated by creative music technology, I hope this episode gives you some ideas for your own musical journey.

As always, if you have questions about anything I missed, leave a comment and I’ll cover them in a future episode.

More soon,

Janek

Bass players, coffee drinkers, ladies and gentlemen, the podcast is back!

Full disclosure: I used chat gpt to generate the description of the podcast below based on a transcript of the episode. I’m still not sure how I feel about the whole AI thing in general, but I realized it saved me a ton of legwork today with something I’m not particularly good at (writing descriptions of things), and provides some information that might help you better understand what the episode is about and bring a little more value to you without accusing me of selling my soul to Sam Altman.

I want to make it very clear that I have never used AI in the creation of music or of any of my books, and never will. That, to me, is a very clear line that should never be crossed.

I would like your honest feedback on this, and to know whether youtube descriptions are a tolerable use-case for the technology since it allows me way more time to focus on practicing, playing and recording real music and video lessons to share with you all.

Here goes…

In this episode I catch you up on everything that's been happening, from touring with Steve Smith's Vital Information, to moving house here in Southern California, finishing my brand-new book How to Transcribe, and preparing for the release of my new live trio album Quiet Places.I also spend a good portion of the episode exploring one of the most inspiring harmonic concepts I've encountered in years: Neo-Riemannian triadic transformations. It's a simple idea built around major and minor triads, but it's completely changed the way I'm thinking about harmony, improvisation, voice leading, and creating melodic movement in my bass lines.We also talk about:• Why transcription is really about ear training• How immersion and repetition accelerate musical growth• Touring with a minimalist pedalboard setup• The Walrus Audio Mantle in real-world situations• Preparing mentally for performances with musical heroes• Building freedom through harmony instead of memorized licksIf you're interested in becoming a more musical improviser (not just learning more scales) this episode is for you.If you'd like to see a full rundown of my current touring pedalboard, leave a comment below. If enough people ask, I'll make a dedicated video.

Thoughts?

More soon,

Janek

After years of building one of the most extensive bass pedal collections imaginable, I’ve made a big decision… I’m letting almost all of it go.

In this episode, I talk through why I’m selling over 200 pedals, what triggered the shift, and how simplifying my setup is already changing the way I make music.

This isn’t just about gear, it’s about creativity, focus, and letting go of the “collector mindset” in favor of something much more intentional.

Owning more gear doesn’t necessarily make you more creative. In fact, it can do the opposite. I reference the Generation Loss Mkii as a key component of the process. It’s about removing friction, reclaiming focus, and getting more out of less.

More soon,

Janek

The podcast returns to its own channel with a 2026 reset: a clearer lane for each part of my output so the main YouTube channel can stay focused on harmony/theory-based lessons, while the podcast and live/performance content live on their own separate channels. I outline six recording projects I'm aiming to track across the year, share a packed touring schedule (US, Japan, Europe, Asia), and talk through a more realistic approach to tour gear—from compact boards to MIDI control, flight cases, and what I actually use on gigs.

In this episode

Why the podcast is back on the podcast-dedicated YouTube channel

The 3-lane restructure for 2026:

Main channel = harmony/bass lesson content

Podcast channel = long-form conversation + gear talk

Clips channel = live performance, studio, behind-the-scenes

The “why” behind the shift: reduce stress, increase clarity, serve each audience better

The six album/projects Janek is planning to track in 2026

Touring: how the volume is increasing in 2026 and what that means with family life

A candid look at saying “yes” vs “no” as a working musician, and how that advice changes by age/career stage

Gear logistics: what’s realistic to fly with, compact boards, and why “small but powerful” wins on the road

Compact rig idea: Walrus Mantle + HX Stomp

Testing rigs on warm-up gigs before international runs

New Gator / Vertex case system and a compact board build plan

MIDI control with a Morningstar MC4

The honest truth: on many gigs, only a fraction of the pedalboard gets used

How the harmony/triads videos unexpectedly clicked, and why that success triggered the restructure

The role of Substack: the hub where people can choose what to watch/listen to

Links Mentioned in the Episode

- Main Channel Triad Video 0 and Triad Video 1

- Clips Channel

- Podcast Channel

- SBL MIchael Jackson Cover

The latest short run of basses with RKM, in three new colors, is here! Check out all the specs below and use the contact email at the bottom of the description to enquire about ordering one today.

We also get into triads on dominants chords and a recap of the comments section of the now infamous Mantle video from a couple of weeks ago.

RKM CUSTOM 5JG Collab 2Scale: 33”No. Frets: 24No. Strings: 5Distance between strings: 17mmBody wood: Mahogany selected 2 pieceNeck: Hard rock Maple w/ carbon fiber reinforcementFretboard: Birdseye maple / Gaboon Ebony (fretted / fretless)Position markers: Luminlay Side dotsPickups: Nordstrand NP5F/NP5Fa (bridge/neck)Preamp: TRICKFISH IPA 3 band 18VTuners: Hipshot Ultralite w/ Bass XtenderBridge: Hipshot Style A 17mm brassStrap buttons: Dunlop StraplokGigbag: MONO Stealth blackOptions available:Body color:Dark Green / Dark gray / Surf BlueStyle:Fretted / Fretless with reference lines / Fretless clean fretboardTuningEADGC / BEADGOrder via email here: batch2@rkmbasses.com

More soon,

Janek

We're taking a look into the new Bass DI and preamp from Walrus audio in collaboration with Ian Martin Allison. Spoiler alert... It's a beautiful piece of gear, and the minor meltdowns about the price happening in the comments below the launch video are a little puzzling.

For the most part though, the feedback is hugely supportive and positive which is both great, and greatly deserved.

Hopefully this Episode gives you some perspective, some sounds, and a few things to think about when choosing the right gear for you.

Besides sending me the unit to try, Walrus Audio are not a sponsor in any other way. I’m never paid for my opinion, and Walrus have no say in what I present to you. As you well know, I just like to make cool sounds with cool stuff.

More soon,

Janek

Following on from our most recent discussion on the subject, I get a little deeper into the weeds on the state of streaming, the music industry as a whole, and some of the ethical decisions we face when considering how to release our music and share it with the world.

I have gone back and forth on the subject for many years, and endeavor to update my thinking on it as and when the information changes.

It’s currently less of a negative thing than a positive thing for what my long-term goals are as an artist, and that’s what I get deeper into detail about in this episode. Far more so than the latest article published in my newsletter.

More soon,

Janek

To close out the year I’m counting down my top ten YouTube shorts for 2025 and revealing all the numbers from both 2024 and 2025 for comparison.

It won’t buy me any beachfront property, but it’s not all doom and gloom, and it doesn’t signal the end by any stretch of the imagination.

Don’t forget, that for the next 24hrs only, the entire store is on a 20% holiday sale, with all discounts added automatically at checkout.

See you in 2026!

Janek

Looking back on two emotional weeks on the road with Mike Stern's band featuring Dennis Chambers on drums. I'm diving deep into how the new pedalboard held up on tour, how the past creeps into my present sometimes, and what the future holds.

More soon,

Janek

Our year-end holiday sale is now on! Get 20% off storewide with discounts added automatically at checkout: https://janekgwizdala.myshopify.com/

I can’t believe I haven’t utilized this function on any of the pedals or amps I’ve owned.

I’ve been getting so deep into the clean signal of my bass lately, especially with the addition of the Wetter Box from GigRig, and this week’s episode of the podcast takes a look at the latest mission to clean up the signal chain even more!

More soon,

Janek

With a rare trio gig tonight that doesn’t have a chordal instrument besides me in the band, I’m re-booting the partition of my brain that gives me access to a ton of harmony, melody, and comping. All on the bass!

In this episode we’ll take a look at both an extended range 5-string with a high C string, and a standard 4-string tuning.

More soon,

Janek

I just built a brand new pedalboard from scratch and share the signal chain and some of the sounds with you in this episode. We also get into some much more important topics on the subject of our health and mental well-being as musicians.

As I mention in the episode, I want to hear from you in the comments, get feedback on what you would like to hear more about, and moving forward it would be great to include elements of the behind the scenes of daily musician life. A life that doesn’t have to be sedentary and unhealthy, and that can lead to you being around way longer to make way more music.

More soon,

Janek

It’s incredible that a pedal which creates literally no sound at all, can be so sonically life-changing when it comes to my pedalboard and signal chain.

The Wetter Box by Gigrig is by no means a new release, and it’s something I wish I’d tried many years ago.

Kudos to Dan and the gang (not a sponsor of the podcast) for getting it so right when many others failed.

Here are some other videos I mention in the episode for your reference.

Earthquaker Devices Swiss Things was something I used for a long time when my board was in mono.

Check out Josh Scott from JHS explaining parallel signal routing.

And hear from the creator of the Wetter Box himself, Dan of That Pedal Show fame, talk about exaclty how you might use it.

Again, none of these people are sponsors of the podcast, but it’s nice to have the best references when you have questions that go way beyond my security clearance.

More soon,

Janek

What happens when things are kind of crumbling on a session and you need the advice of someone who is close to doing more sessions than any other living bass player? You call Sean Hurley.

This is the three part story of how we ended up subbing for each other on gigs we’re pretty well know for doing, and how we approach them in very different but very musical ways.

More soon,

Janek

I’m always tinkering with new ways to record and find sounds I’ve never produced before.

Today I’m experimenting with ways of using a mic to capture more nuance and articulation in my picking hand when I record.

The results are pretty startling in terms of how the dynamic range of the instrument is extended.

More soon,

Janek

It can be tough to admit you’ve made a mistake or done something wrong, not least of all when it involves something you pretend to actually know a little about.

In this week’s episode I come clean about a pedal blunder, discover my brain doesn’t work the way I want sometimes, and find comfort in the simple things in life.

I also mention in the episode that two pieces of gear are leaving the studio and are up for sale in The Gear Store. If you’re subscribed to my newsletter you’ll see them before many other people listening to the podcast. They are pieces that simply aren’t getting used anymore, and with so many new things arriving in the coming months, it’s time to make some space.

It’s gear that has meant a great deal to me for a multitude of reasons, and I’m looking forward to seeing where it ends up and how it gets used.

As always, I’m offering them with free shipping worldwide.

More soon,

Janek

My collaboration with RKM basses is now shipping to the lucky few who were able to grab one in our short run of the instrument.

In today’s episode I go into some detail about the venture with RKM, play the bass a ton, and also have a look at some of the challenges we face when using synth pedals as bass players.

More soon,

Janek

I haven't been this excited about a pedal in a very long time, and thought I would be waiting much longer to get my hands on one. The entire run of 400 sold out instantly a couple of months ago, and I imagine the next run in October will do the same.

From its small footprint to the incredible depth of functionality, this reverb is musically very inspiring and I look forward to bringing you more updates on my progress with it soon.

More soon,

Janek

We get to some new stereo sounds in the pedalboard and even a short lesson on outlining dominant chords in today’s episode…

But first, in a music industry dominated by the internet, streaming, social media, and ten-second clips, I’m trying something a little different.

I’ve always had the red light on when I’m playing live. I’ve recorded hundreds of shows over the past two decades, many of them as a bandleader performing my own music.

Now, I’m sharing them in a new project I’m calling The Record Store. I get so many emails asking why I’m not on Bandcamp or where people can buy my music because they don’t use streaming services—and this is my answer.

All the live shows from the past, every studio album, and as many new live recordings as I can add in the future will be available for download in one place: The Record Store.

As I mention in today’s episode, if just 1% of this channel’s subscribers bought one album, it would fund one—possibly even two—new studio albums within the next 12 months.

So, as I continue my quest to write, record, and release as much music as possible while I’m still here, I hope this project will help fuel the creative side of my career and make it possible to bring you new music on a regular basis.

More soon,

Janek

With more than 30 years invested in the process of learning and playing music, I'm still trying to get better and improve my technique.

If you’re a fan of cycling like me, you may have heard about Tadej Pogačar and his zone-2 training revelations, as discussed by Peter Attia and Tadej's former coach Inigo San Millan. I've tried to start applying similar concepts to my daily practice routine, and I'm starting to see improvements, even after more than 30 years of playing.

I'm excited to be able to share some of my progress from the past few weeks in this episode.

More soon,

Janek

P.S. The pre-order for my new book “How To Transcribe” is now open.

Transcription is the single most powerful way to train your ear and unlock your musicianship. This book is more than a manual—it’s a complete system for learning how to listen deeply, recognize musical language, and translate sound directly to your instrument.

Special guests on this week's episode are my great friends and musical collaborators Justin Vasquez (who you will find on my albums Live at the 55bar, It Only Happens Once, and Found) and Gabriel Santiago who is a phenomenal Brazilian guitarist and composer I've worked with for many years, and appears on "Night Watch" as a vocalist.

Check out Gabriel's Youtube channel: https://www.youtube.com/ ⁨@GabrielSantiago⁩ 

Stream Justin's music: https://open.spotify.com/album/4TKrrFy4Ga39ugWx1ZObOI?si=StqQEUpmQCyHNESD-RH47Q

🎧 In this episode, we dive deep into the future of music, technology, and legacy. The conversation explores what it means to create art in a rapidly changing world—where analog gave way to digital, and digital is now colliding with AI.

We discuss:

🎶 AI in music: from remixing classic tracks to generating entire albums in the style of legendary artists. Is this innovation, sacrilege, or simply inevitable?

📀 Shifting mediums: the journey from vinyl to CDs to streaming, and what happens to music when platforms like Spotify or Apple Music may not exist 100 years from now.

⏳ Time capsules & legacy: the idea of preserving music on titanium, planning “future releases” for anniversaries, and confronting the question of how long art truly lasts.

🧑‍🎤 The human element: why feel and imperfection still matter more than ever in a world of modeling amps, auto-generated songs, and algorithm-driven content.

🎭 Audience & authenticity: from being “canceled” online for offhand comments to the rise of “organic music” labels in the future—how will listeners define what’s real?

This is a raw, thought-provoking conversation about creativity, disruption, and why the best artists will always find a way to leave their mark, no matter how technology evolves.

Before we hit record I had no idea we would get so deep into all of this, so if you’ve ever wondered about the next 50 years of music, art, and storytelling, this could be just the thing for your commute or workout today!

Don’t forget to check out the new album now streaming on all platforms

AND SUBSCRIBE TO THE YOUTUBE CHANNEL OR I'LL CHANGE ALL THE SETTINGS ON YOUR PEDALS

More soon,

Janek

In today's episode we get into some Django Reinhardt, the ii-V-I, and a pedal that's been at the top of my wishlist ever since it dropped a few weeks ago and sold out instantly!

More soon,

Janek

New Book Bundle Available Now!

Don't ignore your ears! They're the most important part of the process when it comes to playing, learning, communicating, interacting, and producing music of any kind.

The word transcription has some things associated with it that might put you off thinking it's right for you, but in today's episode I'm going to break down some of those barriers and give you an explanation of the term that might help you incorporate it into your routine more easily.

More soon,

Janek

Cannonball Adderley is one of my biggest jazz heroes and in this episode we're taking a look into how he's helped me with all aspects of my playing, not just jazz and improvisation.

Find and trust a process that works for you, and then get into great habits like consistency, listening, and repetition.

I have also found throughout the decades of working on all music, that the less I expect in terms of results, the more I end up achieving.

It’s so easy to get sucked into that vortex of impatience when you first start working on something new. But trusting the process, letting it come to you rather than forcing the issue, and being okay with it not sounding or feeling that great right away are all key elements of what is going to help you succeed.

Iconic Lines could be a great place to start if you're into material like this. Even if you're not, it could be the challenge and the discipline you've been looking for to take your daily routine in a new a more productive direction.

Get ready for new music tonight at midnight with the release of the new album “Found” available on all streaming platforms!

More soon,

Janek

Even if your pedal doesn't have them built in, I have a fix to get you the sound that "trails" open up on time based effects.

And when it comes to some of the hippest pedal sounds for bass, a momentary switch can make all the difference in your performance.

We get to both trails and momentary switches in this episode, as well as some tasty pedal combos and a vintage octave pedal you may have never seen before...

As I mention in the episode, four of my favorite pedals are up on the chopping block, and my loss is your gain right. I have a few new things I want to bring into the pedalboard, and I'm trying to be good about not hoarding pedals just for the sake of it.

They have served me well, have been on several of my own albums as well as on this channel many times, and now the road veers in a different sonic direction which requires a change of pedal scenery for me.

Check out these beauties on the store before they’re all gone.

More soon,

Janek

Jason was a full-time touring musician for years, playing hundreds—if not thousands—of shows around the world. Today, he’s recognized as one of the world’s leading card magicians. He was incredibly generous with his time, sitting down with me to explore the fascinating parallels between mastering both music and magic.

We met at New York City’s legendary Birdland Jazz Club and went deep into the lineage Jason comes from—one that traces back to giants like Dai Vernon, his mentor Darwin Ortiz, and a rare circle of elite card magicians. These artists are keeping the craft alive and evolving, both through live performance and the modern era of video we currently find ourselves in.

One of the performance's referenced in the interview is Jason's Magic Castle set. I highly recommend watching it for some context, and also to get your brain melted:

He is touring constantly, and having been in the room while he handled the cards, I cannot recommend checking out a live show enough.

Check out tour dates and everything else Ladanye.

He is also @CardMagicByJason on all platforms.

More soon,

Janek

Ever wanted to sound just like your bass heroes? We all have those iconic players who shaped the way we hear and play bass. For me, it started with revisiting Voodoo by D'Angelo and getting lost in Pino Palladino’s buttery tone. That led me down the rabbit hole of dialing in his sound—and others—using the HX Stomp.

The result? A custom collection of 5 HX Stomp presets inspired by five of the greatest to ever do it: Marcus Miller, Pino Palladino, Tim Lefebvre, John Patitucci, and Victor Wooten. These players have shaped entire genres—and my own musical path—with tones that are instantly recognizable yet always evolving.

Rather than chase every tone they’ve ever played, I zeroed in on some of their most iconic recorded moments. These presets are my best attempt to capture those sounds—the ones that made me stop and rewind.

Check out all the HX Presets I have in the store, including this new collection of Bass Legends.

They’re designed as a starting point for your curiosity, and I highly recommend diving deeper into each artist’s discography to better understand their origin story. As the years unfold, the fascinating part for me is where they’ve all ended up on the journey.

With John Patitucci you might be a huge fan of the 80’s/90’s Ken Smith/Yamaha records, but haven’t explored the recent albums with the hollow body instruments. Marcus Miller might mean SLAP to you, but perhaps you missed his incredibly melodic finger style playing on fretless on records like Tales and Marcus.

Wherever you’re at in your listening and discovery, just remember that curiosity is key, and these sounds could open up a whole new world of music.

More soon,

Janek

This past week has been one of the bigger musical challenges of my career when I was asked to sub for one of my all-time bass heroes Tony Levin in the band Stick Men.

This episode takes a look at the process of learning their show in less than two days, transcribing and charting all the music, and playing 9 note phrases over an 11/4 time signature.

It was a real highlight of my year to be trusted by these exceptional musicians, to be able to complete the assignment, and most importantly to have a fun and musically fulfilling time doing it.

We of course wish Tony a speedy recovery, and the band a successful conclusion to their west coast tour this month.

Be sure to check out the band and their tour dates.

More soon,

Janek

Adam Neely is a bass player, band leader, YouTuber and much more as you're about to find out in this interview.

I sat down with him recently in NYC and got into what it takes to be a bass player and artist in 2025 and beyond.

We talk touring as a band leader, breaking the YouTube algorithm, and a little nerdy pedal chat thrown in for good measure.

This was the first time we were meeting in person, and it will hopefully be the first of many sit-down discussions as the music business evolves in the coming years.

Enjoy,

Janek

This episode of the podcast started life a couple of days ago as a post on my newsletter, and has now become a deeper dive into the inner workings of some of the most legendary bass players we all know and love.

You might have heard of these bassists, maybe heard these albums. Perhaps you've even heard these exact songs before! But if you leave with nothing else from this episode, I want you to think about all the places your mind hasn't yet wondered when you listen.

Before you leave, don’t forget that our 4th of July “Independence Bass” sale is now live! Get 30% off all orders over $80, and get free shipping worldwide on books, CDs and Vinyl. No promo codes needed. It all happens automatically at checkout.

More soon and happy practicing!

Janek

You might be a bass player who owns more than one bass, but has had difficulty switching between them. You are not alone!

This was me for the longest time. I used to be so tied to one specific instrument that I missed out on a lot of opportunities to play music. I've since shed that security blanket and am sharing the process in today's episode as I highlight how much easier it has become to switch between 4 very different basses.

The Vital Information East Coast tour starts tomorrow, all dates are linked below.

More soon,

Janek

📚 Bass Books

👕 Merch

🌎 My Website

💿 CDs and Vinyl

📅 Tour Dates

🎧 Stream My Music

SUBSCRIBE OR I'LL CHAGE ALL THE SETTINGS ON YOUR PEDALS

Playing a Thundercat song on SBL wasn't something I had on my bingo card at the beginning of the year, but that's exactly what happened! I had a blast shooting the video and was (in a very rare instance for me) quite happy with the performance. I think it was a product of being surprised by the material, feeling comfortable around the crew, and just letting it happen.

Massive thanks to Sharon for doing such a great job of hosting the segment and being open to trying something new with the format, and to the whole crew with Scott and Mattie for our mega day in the studio here in Los Angeles.

Check out the new Chordal Harmony Bundle if you want to dig deeper into some of the chords and voicings I’m breaking down in today’s episode.

More soon,

Janek

📚 Bass Books

👕 Merch

🌎 My Website

💿 CDs and Vinyl

📅 Tour Dates

🎧 Stream My Music

SUBSCRIBE OR I'LL CHAGE ALL THE SETTINGS ON YOUR PEDALS

It all started as a very innocent comment about not being a huge Soundgarden fan. Over 200k views and 1k comments in the first week later, and the dumpster fire that YouTube comments can become has been quite an eye-opening ride. The irony is, I don't hate Soundgarden at all. I've even seen them in concert at the old LA Forum and had a great time.

The way in which most of the outraged commenters on Musora's video we shot with Vital Information think it's wrong that I don't choose Soundgarden as my go-to band, is quite astonishing. If I asked them to listen to microtonal ambient clarinet music and they weren't a huge fan, should my response be the same? Should I think any less of them? Of course not. In this episode we break down the Soundgarden controversy, my clinics in Europe with Ian Martin Allison, and one of the worst travel weeks of my 30+ year career.

Make sure you check out the new vinyl copies of the Mystery to Me 20th Anniversary release that just arrived while I was on tour in Europe. All pre-orders shipped today, and there are a few copies left that are available in the store while stocks last!

More soon,

Janek

📚 Bass Books

👕 Merch

🌎 My Website

💿 CDs and Vinyl

📅 Tour Dates

🎧 Stream My Music

SUBSCRIBE OR I'LL CHAGE ALL THE SETTINGS ON YOUR PEDALS

When life happens and what you actually need to be doing to get ready for recording, performances, or clinics gets put on the back burner, it can feel a little hectic and out of control.

I found myself waking up today, the day before leaving for Europe, and feeling very underprepared with my playing.

Today’s episode takes a look at the idea I’m using to inject some confidence and stamina back into my playing, so I can hit the ground running in Germany and play to the best of my ability.

The final few tickets for our Bass Bash event in London on June 1st are AVAILABLE HERE, as is a mint-condition Fairfield Circuitry Randy’s Revenge that is flying out of the pedal library this week to make room for something new.

I was also given a couple of fun new toys by Tosin Abasi yesterday, so we take a quick look at them towards the end of the episode.

More soon,

Janek

📚 Bass Books

👕 Merch

🌎 My Website

💿 CDs and Vinyl

📅 Tour Dates

🎧 Stream My Music

SUBSCRIBE OR I'LL CHAGE ALL THE SETTINGS ON YOUR PEDALS

It's not clickbait, it's not a hack, it's not a shortcut, and there is no avoiding the work.

This is literally how you get better faster than you’re doing it now.

Laser focus on small pieces of information for as much time as you can during your practice sessions, will help give you the freedom to play without thinking when it comes to be onstage.

More soon,

Janek

P.S. There are crazy delays on the Mystery to Me Anniversary Vinyl, and I must apologize to everyone who pre-ordered the album. I was expecting to ship in mid-April, and that is already a month gone. The latest from Discmakers is May 15th-Jun 4th as a delivery window. As soon as they’re here, they’ll be on the way to you!

📚 Bass Books

👕 Merch

🌎 My Website

💿 CDs and Vinyl

📅 Tour Dates

🎧 Stream My Music

SUBSCRIBE OR I'LL CHAGE ALL THE SETTINGS ON YOUR PEDALS

In this no-holds-barred episode, we (yes, my wife is finally back on an episode!) react to the recent storm surrounding Danny Sapko's exposé of Giacomo Turra, who’s been accused of stealing musical content and passing it off as his own. The controversy triggered widespread conversation across the online music world—drawing in heavyweights like Adam Neely and Rick Beato. But here’s the twist: we don’t agree with most of what they had to say.

🎧 Inside this episode:

* A breakdown of Sapko’s claims and what they reveal about the culture of borrowed clout

* Our critical take on Neely and Beato’s responses—and where we feel they missed the mark

* How social media rewards performance over process, illusion over integrity

* The damaging effect this has on real musicians who spend years learning, practicing, and creating

* Why defending the process—not just the product—matters now more than ever

This isn’t a takedown. It’s a deep reflection on how we define musical value in an era where faking it can get you followers, brand deals, and a career.

More soon,

Janek

We’re into a harmony deep-dive in today’s episode that, towards the end of the epsiode, becomes somewhat of an “internet musician” deep rant.

Thankfully I’m not 21 anymore, and I think we pose some important and positive questions before the episode is over.

Get in the comments below the YouTube video to chime in with your thoughts.

More soon,

Janek

Just a quick note to let you know that, besides today’s episode of the podcast dropping, we’re getting really close to being able to announce the London clinic with myself and Ian Martin Allison on June 1st.

In today’s episode, I take a crack at sharing my latest harmonic curiosity: Neo-Riemannian Triadic Theory. It’s a bit of a mouthful for something that’s essentially just major and minor triads—in all their inversions—and how you can connect them using (amongst others) relative, parallel, and leading-tone transformations.

It’s fascinating, kind of nerdy, but surprisingly good for your bass playing!

You don’t ever have to actually play the ideas as chords on the bass—but the information you’re armed with, having studied the concept, gives you so many more options when it comes to note-choice and supporting the musicians around you in the band.

More soon!

Janek

A quick emergency episode of the podcast to let you know that Bass Day Europe has been cancelled a the last-minute, and that Ian Martin Allison and myself are going to try and do something in London together in its place.

Comments on the video with suggestions are already pouring in which I really appreciate, but we can’t have too many ideas. So put your thinking caps on and let’s see what the best option ends up being. Since posting the video just a few hours ago it’s looking totally doable.

I have been fielding dozens of questions about whether or not it was happening or was potentially a scam. Now we know.

The writing seemed like it might already be on the wall when this was posted a couple of months back, but I was trying to be optimistic and going on the facts not the rumors as I had indeed been booked ad confirmed to play.

I’m also really sorry to hear about people who have paid for tickets and haven’t had any direct communication from the organizers. That’s really not cool and there will be more in-depth video about this when I get back home from touring next week.

More soon,

Janek

I've been looking for the perfect touring pedalboard case my entire career, and even though I think I've come pretty close with this latest setup, only time on the road over the next two weeks will tell.

We start our tour here at home in LA for four nights, but once we leave for the airport it's 14 flights in 10 days.

I'll be sure to report back on all the wins and losses for the board when the tour is over.

More soon,

Janek

It's incredible what can be staring you in the face for so long, and you just can't see it no matter how hard you look.

My discovery this week, of a function on a pedal I've owned for over 5 years, changed the way I'm able to play, to write, and to enjoy music.

The pedalboard has now been cannibalized as a result, and is being totally rebuilt before touring starts next week. As a result, some pedals are on the way out to make room for new stuff.

Check them out!

I’ve mentioned in the past that some of the books we get from the factory don’t make it to us in perfect condition, and as a result of not being able to sell them, they’ve been piling up here. We’re now offering these units for sale with a massive discount. The defects are purely cosmetic of course, and the content in the books is still 100% sound. There are only a few available, so grab yours now!

More soon,

Janek