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Michael Gelfand

Michael Gelfand

Author

Michael Gelfand is a bass player and former senior editor at Musician magazine who has written extensively about music and musical equipment for many mainstream publications and websites. He lives in a log cabin on the wooded outskirts of New York City with his wife, twin sons and a disobedient Siberian husky, where he spends a lot of time rationalizing why any sane person needs 12 basses and a 2,000-watt 2 x 15 bass rig in a 90 square foot work space.

Articles by this Author

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I was born in 1966, the same year Yamaha first started making electric basses (as well as guitars and amps). So what, you ask? Well, for one thing, it means I’ve been circling the sun for a lot longer

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Having a conversation about the greatest bass amplifiers of all time that doesn’t include Ampeg would be like trying to have a serious conversation about the greatest R&B singers without mentioning James Brown. Ampeg’s influence on the world of bass

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On its own, an electric bass guitar makes very little sound at all. That’s why amplifying it to the point where it can not only be heard, but felt, is no small feat. There’s a lot of science —

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My wife is a remarkable woman, for a variety of reasons. One is that she forgives my chronic late-night infidelities with the harem of bass guitars I’ve accumulated over the decades. That said, sometimes she will ask plaintively, “Why do

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To a non-musician, all basses are essentially the same. Just slap a body, neck, pickups, bridge, tuners, strings and some shiny, twiddly doo-dads together and you’ve got a bass, right? Wrong. That’s like suggesting all cars are just hunks of

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