John Ferrara Joins Bergantino, Readies Solo Album Recorded In the Jungle

Bergantino Audio Systems has announced a new member to their family of artists with John Ferrara of The Consider the Source and Mono Means One. The bassist, known for his insane tapping and keen rhythmic sense, is now using the company’s Forte HP2X amplifier with the HG410X Loudspeaker.

The news dropped at the same time as Ferrara announced a new solo album called Skinned Knees and Make Believe. Available September 6th, the eleven-song collection marks his third solo studio effort.

“The album was recorded near Corcovado National Park in Costa Rica where the jungle meets the sea,” Ferrara explains. “It includes ambient sounds from birds, howler monkeys, rain, and waves which significantly contributed to the performances on the album.” The album is now available for pre-order on Bandcamp and pre-save on Spotify.

To celebrate the new relationship and upcoming album, Bergantino conducted an exclusive interview with Ferrara. The wide-ranging topic encompasses his musical beginnings, his advice for bassists, and, of course, his experience with his new bass rig.

You grew up in New York and come from a musical family—can you tell us about how that environment influenced you, and what first drew you to the bass?

My father got me to play Bass when I was about 13 years old. He taught me “Hey Joe” by Jimi Hendrix and shortly after that, a friend of the family made me a slap bass mixtape with Marcus Miller, Victor Wooten, Jonas Hellborg, and more which ignited an excitement in me that made me want to search for the more fringe players. Shortly after that a childhood friend who is the first kid I made music with named Jesse (the guitarist from the band, EMMURE) let me borrow Primus’s Pork Soda. From there on out, I started my pursuit of being the player that I am today.

My dad is a professional guitarist, and my mother ran a theater group and during my entire childhood would put on plays twice a year. Between the two of them I was constantly steeped in the creative process. It’s funny when you’re a kid growing up in this kind of environment. You don’t really realize how it is inspiring you because it is just the way things are. I grew up with two very awesome and creative and supportive parents who saw that I had a creative bug too and would let me draw giant murals on my wall and practice loud and listen to music late. My father got me gigging with him when I was about 14 or 15. I was playing with players who had toured with Sheryl Crow and Santana and being the age that I was, I had no idea how fruitful and beneficial this would be for my playing throughout the rest of my life.

Besides the bass guitar, what other instruments do you play?

I actually don’t play any other instruments. I made a decision at a point that instead of learning new instruments I would learn to do things that other instruments could do on the bass instead. So if I had an inclination to play piano or guitar I would develop techniques on the bass that would help me fill that role. This is one of the many things that led me to becoming obsessed with two-handed tapping.

What non-bass instruments or traditions have influenced your style?I studied South Indian percussion for several years both independently and with an amazing Kanjira master named Ganesh Kumar. I would go to lessons with him with my bass and he would show me some stuff and I would figure out my way of conveying the rhythms with slap bass and voice percussion. I remember Ganesh being very confused when I showed up to the first lesson with my bass and not a Kanjira! But soon into it he understood what I was trying to achieve. Studying this had a huge part of my musical development and the rhythmic sensibility that I learned during this time helped shape how I compose and improvise to this day. Shout out to Ganesh Kumar for the guidance and his brilliance. Look him up!

Tell us about your unique approach and two-handed brilliant tapping technique!

I really started tapping simply as a means to compose. At first, I had no ambition for it becoming what it is to me today. I would awkwardly tap a melody I was hearing in my head with one hand and a bassline with my left so that I could convey ideas to my bandmates. As time went on, I realized that I was gaining chops with it and started to develop my own exercises. Shortly after that, I started learning piano pieces and other songs that I liked and started thinking about the possibilities of this technique as not only a compositional tool, but one that could stand on its own for writing pieces for the bass itself, as well as in a full band context.

At this point in my life, it has grown into a method that I continue to use and refine. I’ve been teaching this method for a number of years now and I’m thrilled to see many of my students take off with the technique and do their own things with it. It is a very enriching and validating thing to see!

Who were the musicians that inspired you and what qualities do you admire about them?

They are quite varied! I’m a massive Radiohead fan and their ability to pull inspiration from rock, classical, jazz, and so much more has really inspired my writing. I’m also a massive fan of jazz pianists like Chick Corea, Brad Mehldau, and Tigran Hamasyan. All these players are not only exceptional improvisers but exceptional composers with amazing senses of rhythm.

I’ve also pulled a lot of inspiration from minimalist composers like Phillip Glass and Steve Reich. I went through a phase of studying their work and writing composition in their vein, and that was hugely inspiring for my tapping abilities!

Also a big fan of singer-songwriters Tom Waits, Elliott Smith, Jeff Buckley and Chris Cornell. As different as they all are, the honesty in their voices and compositions inspires me tremendously as a composer.

How would you describe the music you create for Consider the Source?

We pull inspiration from classical to metal to jazz fusion to world music and beyond. Since we started, part of our ethos has been: we see something beautiful in the music of a different genre or culture, we throw it into the mix and see how it can commingle with other elements — all while making the songs cohesive and follow some aesthetic rules that we gravitate towards. With it only being a three-piece, we have a lot of room to stretch out and play the way that we want to. It’s been really cool over the years seeing what different things people latch onto in the band. I think that’s how we’ve been able to sustain a career and grow a fanbase over so many years — pulling a few people from many different genres.

What role do you believe the bass plays in a band’s dynamic?

My favorite quote from Game of Thrones is when Eddard Stark asks Varys, “Who do you serve?” and Varys answers, “I serve the realm.” That’s how I think a bass player should be in a band — but to be fair, it’s also how I think everyone should think, as the rules in any band or genre are different. What does the song need? What does the band need? What does the genre call for? Thinking like this helps conceptualize parts before even placing your fingers on the fretboard.

For me specifically, when I’m playing in Consider the Source or Mono Means One, we have different rules and we stretch out more as a band, which allows me to do a lot of things that traditional bass playing wouldn’t make sense for. But even there, I’m asking myself to think in terms of juxtaposition. I ask myself things like, “What is missing at this moment?” I think less about bass parts and more about parts in general. What does the song need? From there, I pull from my toolbox of different techniques to accomplish what I’m hearing.

Any pre-show rituals or superstitions?

Coffee!! I have a warm-up routine that touches on my fingerstyle, slap bass, and tapping techniques. I focus on my breath. And oftentimes I will remind myself of why I play music in a performative way at all. I remind myself of the symbiosis between myself and the audience and the inherent meaning in it. I also think of the fact that the people there paid money and devoted time to being there and I do my best to honor that. That helps me be more thoughtful about the notes I choose.

What is your favorite and least favorite thing about touring?

My favorite thing is being able to connect with so many people that I wouldn’t otherwise be able to. I have good friends that I’ve made over two decades of touring that mean very much to me. And I am honored that the music that I am a part of has touched the lives of so many people across the globe. That, and I also love trying out different food across the country. Did you know that Thai food is the most consistently good food everywhere in the country? I didn’t before I started touring!

The hardest part is the entire lifestyle of it aside from that haha! Irregular sleeping patterns, irregular eating patterns — just in general, irregular lifestyle patterns. The other hardest part is missing family and loved ones. It definitely can put a strain on your relationships and I’m very fortunate to have had a very loving and supportive family and partner who’ve endured a lot!

How would your bandmates describe you?

Well I’m certainly known as a workhorse and perfectionist. I tend to spend a lot of time and energy on not only the composing but on the perfection of songs and I do tend to harp on things when they aren’t perfect. With “Consider the Source” I’ve loosened up over the years, as we’ve become sort of “turn key” in the way that we can go months without seeing each other and then play a show, unrehearsed, and sound just like us. But when we were developing I was a stickler for executing things with perfection, especially rhythmically. With “Mono Means One,” we are still developing our sound, though through the many shows we’ve played so far and the rehearsals and email notes that we go over we sound like we’ve been a band for a long time. They tell me I’m a good band leader, so I guess I’m doing something right!

Let’s talk about your other band, “Mono Means One.” You’ve been actively touring the East Coast with the band. Can you share what you’re currently working on and tell us more about the music and sound you are exploring, as well as how you came up with the name “Mono Means One”?

A lot of people think that the name has to do with me being the lead writer and founding member of the band or that it has to do with mono synths, but absolutely none of that went into the title. It’s simply an obscure Simpsons reference from an episode involving a monorail and a snake oil salesman trying to sell the concept of a monorail to Springfield. I always thought it would be a great band name!

I started the project during the pandemic when I was living alone in Asheville. I was going through some personal stuff and needed to just be alone and become absorbed in music. During that time, I started recording some tapping compositions and building fully orchestrated compositions out of them. After months of spending sometimes nine or ten hours a day working on these, I started thinking about building a band around it. At first, I toured it as a solo act doing live looping, ankle bell percussion, MIDI foot pedals and backing tracks. I honestly didn’t love it. It was fun to try, but I really need to have humans to play with. So I decided to call up Rob and Isaac, who are in a duo already called PX3, and asked if they would be willing to help me with the live band version of this project.

We instantly connected musically and as people, and started touring about a month after I asked them if they were interested! We have since played a ton of shows, put out an album and are working on our second one right now.

We know you play a beautiful Fodera bass…Can you tell us more about the modifications, what makes this instrument unique, and how it supports your playing style and sound?

I play a 5-string Fodera Monarch strung E–C with a Kahler bridge so I can use a whammy bar when I feel like it :) When I first became a Fodera artist and started discussing what I wanted for my custom bass I knew I wanted a 5-string. I was beginning to hear musical ideas in my head that were higher in register rather than lower, so about a month before the bass was finished I contacted them asking if they could tune it E–C instead. I think that may have scared them — being that it was so close to completion, “Why didn’t this guy think of this before?!” And honestly, I was a bit scared that maybe this petulant decision was going in the wrong direction. Turns out it was one of the best choices that I’ve ever made! My whole musical life changed when I was able to access higher notes and my tapping and compositional abilities flourished! I owe a big chunk of where I am now to this last-minute switch!

Can you walk us through your pedalboard?

I have a Gator G-Tour XL board because I have A LOT of pedals!! Staples on my board are the Darkglass B7K Ultra, the Boss OC-3 for the low synth tones that I like to use in conjunction with other modulation and ambient pedals. The funnest new ones that I’ve added are the Meris Ottobit for glitchy fun, the Chase Bliss Onward for more glitchy fun, the Pitchfork and my favorite — the Freeze pedal. I also use the MXR Micro Boost for when I need to come up in the mix while tapping or soloing in a band context. There are others that cycle in and out due to taste changes or technical issues — since I beat the hell out of my pedals lol!

How did you find Bergantino Audio Systems?

I’ve had numerous occasions of playing through and hearing Bergantino amps over many years. My buddy Dan Africano was the first person to tell me about Bergantino amps. I was able to hear him play through his and loved it. Over the last couple of years I was able to play through Ed Grassmeyer’s giant rig at Nectar’s in VT before a Mono Means One show, and a few months later I played through Marc Stranger-Najjar’s rig during a Bass Nerds podcast. After having a couple of instances of playing some solo material through a couple of different rigs, I was able to play a full rocking set with one when Mono opened for a band called Dizgo, whose bassist had a Berg rig as well. I asked if I could use his and he obliged — and once again I LOVED IT!

Tell us about your experience with the Forte HP2X and the HG410X loudspeaker.

My full rig allows me to play with the touch that I’ve developed and know that no matter what, I will not only be heard but sound great and like me — with the clarity that I need to execute the music that I write! Between the power of the rig and the tone it produces, every show that I’ve played with it is the best version of my sound. The HP2X allows for the nuances of my highs and mids, which is so important especially when I’m tapping and even more so when I’m doing solo concerts, to pop out as clearly and beautifully as they ever have.
Both Mono Means One and Consider the Source are very loud bands! The HG410X Loudspeaker allows me to play on stage and hear myself without monitors, and a big part of that is due to the speaker behind the amp that shoots out against the wall and gives me more presence on stage. I hear a blend between that spread of bassiness on stage and the clarity coming right out of the speakers behind me. I can hear myself and know with confidence that I’m sounding great — with my preferred tone — and so can the audience!

What is the most underrated thing about playing bass?

Well, I think for a lot of people bass is more felt than heard — and depending on how traditional of a role the bass is playing in a given song, that’s a good thing. A good bass player can be looked at as beefing up the sound while keeping the rhythm of the band together. So if you’re doing your job right, your average listener won’t realize how good you are!
I think the reason us bassists have a reputation for being more relaxed is that we take on that role — maybe because our demeanor dictated that we do, or maybe because the role made us more humble. Unless you’re a petulant shredding tapping addict like me, that is… ;)

What hobbies do you have outside of music?

Wait, what is this “outside of music” you speak of?

I’m a giant horror fan, so I will watch horror movies with my girlfriend Emily several nights a week when I’m off the road. We also go on hikes and I’ll bring my bass outside and develop ideas. You literally just said “outside of music” and this is literally where my mind went!

I also like to read, though lately I’ve had a hard time finding time. My dad wanted me to read a book called Gödel, Escher, Bach, so I’m in the middle of tackling that behemoth. It’s been a challenging read that’s been opening up my eyes to what it means to “know” anything. Mind-blowing stuff!

Tell us about your first music teacher. What lesson did you learn from this person and still use today?

My first teacher was my dad, and to this day I still learn from him — but more by the natural unfolding of lessons he’s taught me throughout my childhood. Some overtly, some by watching him.

For example, I grew up with him practicing all the time — sometimes on the couch or outside in front of our apartment or at the park — long before I picked up the bass guitar. Later in life, I became this way, always practicing, always bringing my bass wherever I went to play and discover. He taught me about the beauty of playing for playing’s sake, and how it’s a worthy way to spend one’s life. He never had to even tell me that — just living in the house around him did.

How has social media impacted your music?

Well, let’s separate music from music career! My career has benefited tremendously from social media. I’ve been able to sustain a career as a teacher and touring artist, and I owe a lot of that to developing and maintaining a presence on a couple of platforms. I am grateful for it and a big part of my life is dedicated to doing it as well and as authentically as I can.

The tricky part is that it takes up so much time and mental and emotional energy. I think a lot of musicians that I know can agree that it at times affects their playing as well as their sense of self negatively. Having to always find new content to post, follow trends which feel tacky, and adjust to the ever-changing algorithm is an impossible endeavor. This pursuit can be very anti-artistic. Inspiration comes when it comes. We grew up learning about these times of creative genius where something struck an artist and they created something amazing. The muse comes when it comes, right? It doesn’t come EVERY DAY at the exact time you’re supposed to post!!!

But we are expected to satiate an algorithm that is a moving target and be consistent in doing it — all while maintaining some semblance of artistic integrity EVERY DAY!

So how do we use it as best as possible? Find the way to present what you naturally love to do in a way that is palatable and that you can be comfortable with. It’s a lot of trial and error, but I’ve seen many of my colleagues figure out their way of conveying their unique abilities in their own way. Make a batch of videos of your stuff when you feel inspired and put them in your pocket to sprinkle throughout your pages!

What is your favorite song of all time?

The answer would probably change every day but let’s say Gymnopédie by Erik Satie. I could listen to it on repeat for hours.

What would you like to say to young aspiring musicians out there that struggle with finding their own voice?

I would say meditate on why you wanted to play music in the first place and follow that thread. Learn all of the varying music that inspires you and try writing your own music in that vein. See how they can be combined. If you keep doing that for weeks, months, and then years — you’ll sound the way you’re supposed to sound!

Last one! What is your favorite food?

Drunken noodles from any Thai place anywhere.

Follow John Ferrara:

Instagram: @john.ferrara.bass
YouTube: https://www.youtube.com/c/JohnFerraraMusic
Spotify: John Ferrara