Epifani Will Display More Than Gear At NAMM 2018


January 2nd, 2018 - New York City - Boutique bass amp designer Epifani will be at the 2018 NAMM show, but not in the usual way. Instead of a standard display, Epifani will focus on  supporting a few of its premiere partners and players. Fans of the world famous high-end brand will be able to see and hear the new TOUR cabinets and Piccolo amps put to the test in live playing situations.

Fodera, Ken Smith, and Modulus
Epifani will show off its latest line of bass cabinets and amplifiers along with some of the best basses in the world including Fodera, Ken Smith, and Modulus. These booths will be equipped with a compliment of 1x12, 2x10, 3x10, and 4x10 TOUR and D.I.S.T. cabinets, as well as the new Piccolo 333 and Piccolo 555 amplifiers (pictured right).

Epifani will also be on hand to support performances by two Epifani Premier Artists: Reggie Young and Kevin “KJ” Jacoby. These two accomplished bassists will put the new TOUR 410 cabinets and Piccolo 555 amplifiers to the ultimate test.  

“Players are the most important part of Epifani,” said Nick Epifani. “Everything we do is for them—every feature, every design, every assurance that they can rely on their Epifani gear no matter what.” 


The Artists
Reggie Young is a veteran R&B bassist who boasts an impressive resume that includes names like Lenny Kravitz, Stevie Wonder, and Alecia Keys. Reggie will be part of the annual Bass Bash this year, joining fellow legendary low-enders including John Pattituci, Abraham Laboriel, and Bakithi Kumalo.

Reggie and his band will perform at 8:30pm on Thursday, January 25 at The Phoenix Club in Anaheim, CA. 


KJ will appear live with DJ Johnny Juice, a hip-hop legend who was recently inducted into the Rock & Roll Hall of Fame with his former band Public Enemy. 

KJ and Johnny Juice have a new project called The Oddysy which will perform as part of a TEC Talk presented by the TEC Awards organization. 

The masterclass and performance will be sponsored by Epifani, Sennheiser, Ableton, Roland, and Fodera. It will be held at 1pm on Sunday, January 28 in the El Capitan Room on the 4th floor of the Anaheim Hilton hotel. 

NAMM show attendees will be able to try the new TOUR cabinets and Piccolo amps that have been in high demand the world over since their introduction to great critical acclaim in 2017.

Psychology of Music: Origins of Music II

Following up on the theories of music origins discussed in the first hangout, we delve into the research that provides evidence for/against the theories.  Much of this material is derived from Dr. Aniruddh D. Patel's lectures for The Great Courses, "Music and the Brain".  Towards the end of the hangout I lament that the research available seems thin which lead, the following week, to a one-to-one with Dr. Gary Edwards, a philosopher of science .

Joining me on the panel to discuss these theories was an international team of acquaintances made up of musicians, music-appreciators, academics and auto-didacts: Richard Firth Godbehere, Ph.D. (Musician, Historian), Fabio Andreozzi, Joe SiriusMined, and Jon F. McDropout.

What do you think of the research provided?

Come join future hangs.

Breath it in and Inspire.

Psychology of Music: Origins of Music I

Scientist, lecturer, philosophy enthusiast, and bassist Chris Maute kicks off the first in a series of interviews and panel discussions covering the psychology of music.

In an attempt to familiarize ourselves with some basic concepts in music origins, a group of panelists and myself addressed some theories of music origins as laid out in Music, Thought, and Feeling: Understanding the Psychology of Music by William Forde Thompson.

According to Thompson, adaptationist theories of music origins include sexual and natural selection theories, tethering it to evolutionary significance; while non-adaptationist theories of music origins include theories of music as a by-product of evolution, an invention of culture.

Joining me on the panel to discuss these theories was an international team of acquaintancesmade up of musicians, music-appreciators, academics and auto-didacts: Jim Gardner (Musician), Richard Firth Godbehere, Ph.D. (Musician, Historian), Alex Malpass, Ph.D. (Philosopher), Gus Belanger, Unspeakable is Lallie [Lydia], Joe Siriusmined, Fabio Andreozzi.

While this hangout does not address other theories of origins or the research to support/critique these theories (grist for the mill of future hangouts!), it gets our toes wet in openly talking about these topics.

Interested in getting your toes wet?

Come join future hangs.

Breath it in and Inspire.

5 Questions: Alan McAdam

If you live in Dublin, chances are you've hear Alan McAdam play bass. He's a hard working musician from the land of U2 and Thin Lizzy. And he's hitched his cart to singer/songwriter Steve Duffy Raw. Steve, Alan and the rest of the band just put out a new record and they're touring locally to support it while it simmers and pops on Spotify, iTunes and the like.

We got a chance to talk to Alan and hit him with our 5 Questions:

1. Did you pick bass or did bass pick you? When, why, and how?

I was about fourteen years old when I was first introduced to electric bass. My dad picked up an old Ibanez telecaster bass from a car boot sale which he bought for himself with the intention of learning how to play, however that never happened. Instead me and that Ibanez both became good friends. I always remember as a kid that bass just resting against the sitting room wall and not getting any attention just wanting to be played. Once I hit fourteen I made a connection with that bass and my dad sent me for some bass lessons. I guess you could say it picked me because it was always in our home when I was growing up, so it just seemed like the right thing to do. The rest is history as they say.

2. How would you describe your sound? How did you develop it?

I would describe my sound as minimal and melodic. With Steve Duffy Raw I am using my Fbass AC 5 fretless classic and my Fodera Imperial. Both are fantastic basses and sound amazing through my Epifani Piccolo 999. The Piccolo sounds amazing at any size venue and weighs almost nothing. It has become part of my sound because of the beautiful tone that it gives me and because it is easy to carry around.

I developed my sound by listening to all the giants of bass when I was a young man—Pino [Palladino], Larry Graham, etc—listening intensly to what they were playing and not playing. The rest of my sound development has come from 30 years of playing different styles and genres. I feel like I am constantly learning and evolving as time moves on, trying to become a better bass player and human being.

3. Tell us about your experience playing with Steve Duffy Raw.

Its been a very positive experience playing with Steve Duffy Raw, both in the studio and live on stage. Steve is a fantastic vocalist and musician and it's been very enjoyable playing his material. Steve has a brilliant musical mind and I am constantly learning from him as a musician. It also helps that we work well together and are good friends.

4. What are you listening to lately?

I'm listening to Stevie Wonder, Songs In The Key Of Life. Nathan Watts is the man. Sly and the Family Stone and Mr Brian Bromberg—I really love this guy, incredible bass player.

5. What have you got coming up?

Just released the single Tippy Toes worldwide on iTunes and other digital outlets. The Rebounder EP, an acoustic driven collection of songs by Steve Duffy Raw, will be released on the 1st of December to download worldwide. In Your Forgiveness, the second single of the Rebounder EP, will be released in Feburary 2017.

Premiere Guitar Builder Profile: Epifani Amplifiers

 Nick Epifani with jazz/fusion bassist Brian Bromberg at Winter NAMM

Nick Epifani with jazz/fusion bassist Brian Bromberg at Winter NAMM

Call it fate or call it destiny, some things were just meant to happen. When Nick Epifani started his journey from Torino, Italy, to New York City, he had no idea that one day his ideas and innovations would shape the way bass gear is manufactured, designed, and heard. And this from a drummer-turned-guitarist who started a company in his garage and played mad scientist with bass-cabinet designs. As a chronic tinkerer, Epifani had been modding guitar amps and cabinets from day one. Never quite satisfied with tones, he set out to either make a better cabinet or alter the amp to his liking. The result was a cab that not only shook foundations (literally and figuratively), but broke new ground for the bass world. His bass cabinets and amps have steadily risen in popularity over the years, and they can now be found onstage with many of the most capable bassists on the planet.

But while Epifani may not have foreseen how his design would change the bass universe, his success was no accident. His first cabs were labors of love produced one at a time at home. For 10 years, he worked there by day, and every night he’d set out to jazz clubs to introduce his wares to players around the city. After a fateful meeting with representatives from Fodera Guitars, his business really caught afire as players such as Matt Garrison (Pat Metheny, John McLaughlin, Herbie Hancock), Lincoln Goines (Mike Stern, Carly Simon, Robert Palmer), and Darryl Jones (Rolling Stones, Eric Clapton, Madonna) began using his cabinets and amps onstage and in the studio.

We recently spoke with Epifani about his innovations—from the first cabinet he built in Italy for his brother to his latest digital amps and cabinets—his perseverance, and his steadfast determination to blaze a path all his own.

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Epifani AL 112 Combo Amp Reviewed in Premier Guitar Magazine

The Verdict
So is aluminum a worthy material for a bass-cab design? After rigorous testing in different environments, the AL 112 combo certainly makes a compelling argument. Epifani has used it to engineer a metallic masterpiece that delivers the best of what your bass has to offer in a sturdy, powerful package. This combo may be the ultimate one-trip-rig for a working bassist at any level. It sounded so good, no matter what I threw at it, that I was able to stop worrying about my gear and completely focus on what really matters—making music.

Read the full article