Formerly Saul /// In His Name Music

Instruments

Basses:

 Two years after I began playing electric bass I played my first fretless and was immediately captivated by the freedom of expression that it allowed. Three years later I purchased my first fretless bass. Shortly after that fateful purchase I began studying classical cello to improve my left hand technique and expand my musical vocabulary. As a result of this, I have primarily played fretless bass since that time. Wanting to bridge the melodic gap between bass and cello I started playing instruments of my own design which were five string basses with a high C string. During those years I worked with two different builders until 1988 when I met Michael Tobias. In1989 I began playing his amazing instruments, then known as Tobias Guitars (later to be bought by Gibson). Michael and his crew built me two “Tobias” six string basses, one fretless and one fretted. Needless to say, they were both great instruments. After Gibson bought out Tobias Guitars, it was hard for me to imagine Michael building even better instruments than his now legendary pre-Gibson, Tobias line. However, he proved me and the rest of the music community wrong with the introduction of his new line of instruments. By 1998 had I sold off my “Tobias” basses and by January of ’99 I was the proud owner of my first MTD (Michael Tobias Design). I am now the fortunate owner of two MTD 535-24 fretless basses which Michael and his small crew build in Kingston, New York. You can hear and feel the passion he has for his craft in each of his instruments! MTD basses are the most flexible and amazingly live electric instruments I’ve ever played. THANK YOU MICHAEL TOBIAS!!!! The choice of woods used in the construction of my MTD 535-24  basses are (in order of age, not necessarily of preference); Fretless #1: Natural finish, mahogany body, a flame redwood top and matching head stock laminate. It also has a maple neck with a “rose of the mountain” fingerboard. I’ve found that a “rose of the mountain” fingerboard gives nice definition to the note as well as warmth, sounding somewhere between ebony and rosewood. Another benefit of a rose of the mountain fingerboard, especially with a fretless, is that it’s a very dense wood which holds up well against, what can be at times, my rather aggressive style of playing combined with my use of round wound strings. Fretless #2: Has an amber burst finish, ash neck, and ebony fingerboard with an ash body. It also has a flamed burl maple top and matching headstock laminate that are spectacular. This instrument has an amazing amount of clarity and punch! Between these two MTD fretless basses I can cover an amazing amount of sonic ground.   Thanks Michael for your friendship and commitment to making such amazing instruments.

In early 2006 I was able to add an acoustic bass to my collection. It’s a custom Tacoma Thunderchief Fretless Five String with ebony fingerboard, tobacco sunburst finish and L.R.Baggs electronics. Though it’s not a classic upright bass (a.k.a. double bass or bass violin), it really does have a very big, “woody” acoustic sound. For maximum tone control with my acoustic I use a L.R.Baggs Para D.I.

Guitars:

As a kid, my first real facination with a musical instrument was the guitar.  However, my mom didn’t trust that I would stick with it because I hadn’t stuck with playing her pick for me which was the Clarinet.  As a result of my lack of interest in becoming the next Benny Goodman, my desire to play guitar wasn’t taken seriously.   Ultimately, after taking guitar lessons for six weeks and playing a really bad electric instrument without an amp I lost interest in the guitar ..  As such I became a singer, there were already a lot of quality guitarists available in the Long Beach area where I grew up and rock bands always need a singer… so… I became a singer, three years later I began playing bass due to a friendly bass player leaving his instrument at my house.   Over the years I had noodled aroung with guitars from time to time but by late 2008 I became serious about playing guitar again after being encouraged to do so by Pastor Brian Broadersen (thanks Brian) and due to my need to lead worship solo in my prison ministry “Big House Revival” ….  I feel in love with playing the guitar again… Naturally loving the textural possibilities of electric guitar,  I’m really digging into it…with that said:

Electric Guitars: 2008 Fender American Standard Stratocaster with Fender Hot Noiseless Pickups (stacked single coils), Raw Vintage Tremelo Springs & Bridge Saddles, Callaham Stainless Steel Trem Block & Tremelo Bar, Fender LSR Roller Nut & Sperzel Locking Tuners. 

I also have a stock 2003 Fender Big Apple Strat, in a hardtail configuration, this comes with two Duncan Humbucking Pickups which  was gifted to me by a brother in Christ.. Thanks Kyle!!

Amplification:

Electric & Acoustic Bass Guitar

Knowing that I was no longer happy with the sound or dependability of the product line I had been endorsing since 1987, a good friend of mine introduced me to the crew at Euphonic Audio at the Winter NAMM Show in ‘98. I can still remember what a shock it was for me to hear the fullness and clarity of EA’s gear, I had never heard my bass sound like this before (outside of the playback room in the recording studio). The fact is, I wouldn’t REALLY know how great my basses sound without my Euphonic Audio gear. I now use Euphonic Audio’s line of amplifiers and cabinets exclusively on stage and in the studio. Because of the flexibility and accuracy of my EA gear I’m able to dial in my sound for any size stage, studio or sanctuary where I’m called to play. Not only is my EA gear the most natural sounding “bass rig” I’ve ever heard, it’s amazingly light weight and works beautifully with any acoustic stringed instrument or electric keyboard.   My EA rig consists of  (2) iAMP800 amplifiers, (2) NL- 210 cabinets, NL-410 cab  and an EA Rumble Seat* (for isolated recording*). Regardless of what tone I’m going for from rock to jazz fusion, acoustic or anything in between, the amazing flexibility of my Euphonic Audio gear allows me to dial it in!   Check them out!!   http://www.eaamps.com

Electric Guitar Amplification: 

 After playing through a hand-wired Marshall 1974x Combo, a Fender Vibrolux and Fender Super Sonic (all of which are very nice amps), I’ve found a great amp which really works for me, it’s a ”Retro Combo” by Jaguar Amplification, a Hand Wired, 30 Watt Class A , 2 x 10 Combo (Celestion Greenbacks)with a half power switch that allows it to run at 30 or 17 watts and I am stooked!!  This combo weighs in at a mere 45 lbs… Oh my ears and back are in love!  Please check them out… Amazing tone and Solid build quality.    http://www.jaguaramplification.com   Thank you Henry Clift for building such fine amps!

Bad Cat Amps’ … ”The Leash”, Power “Soak”, let’s my Jaguar’s tubes run warm without being too loud for church.. :0)  Bat Cat also builds great amplifiers:   http://www.badcatamps.com/index.html

Tone Processing, Pedal Boards & Cables (Pedaltrain):

Bass Pedal Board:  Whenever possible I run my bass rig stereo with my effects on one side and clean signal on the other. For live work my pedal board is a Pedaltrain 2 which is loaded with (in order of signal path)  Xotic RC Boost,  Xotic BB Pre-amp, Xotic X Blender with EBS Octabass & Boss Bass Chorus CEB-3, Tech 21 Character Pedal Series “VT Bass” &  Ernie Ball VP2 volume pedal.  

Guitar Pedal Board: (Pedaltrain)  http://prostagegear.com/

Also in order of signal path:  Keeley Compressor,  XOTIC EP Boost, XOTIC RC Boost, EWS Fuzzy Drive,  XOTIC BB Plus, XOTIC AC Plus, Ernie Ball Volume Pedal,  Xotic X-Blender,  Electro-Harmonix POG, EBS UniChorus for flanging, Boss Chorus Ensemble CE-5, DigiTec X-Series Digital Reverb, Boss Digital Delay DD-6, Line 6 DL4 Delay back to the Xotic X- Blender and back to amp.   My pedal boards are wired up with George L wires.   I also use a Digitech JamMan Solo for looping when needed.

Note: I am thrilled to endorse Pro Sound Communications Inc’s family products: Xotic, E.W.S. & Raw Vintage… Amazing tone and quality!  http://www.prosoundcommunications.com/

I use a Shure KSM9 microphone for my vocals.

I’m a blessed man to have this selection of gear to express the heart of my music. Regardless of the sound requirements, I have the tools I need.  I hope this information is helpful to you.

IN Christ,

Paul