Jason T. Williams Biography:

Born in Wantage, NJ, my “Rocker” uncle indirectly sparked my lifestyle as a musician. I remember sitting in his room. Listening to bands who I now recognize as Black Sabbath, Judas Priest, AC/DC, Queen. My Favorite toy was his old disregarded guitar he kept in the corner.  It was red in color and only had four strings. Though I eventually lost interest in the junk guitar, my fondness for music continued to grow.
Christmas of 1982 I was given my first heavy metal cassette Iron Maiden’s “Maiden Japan”. I listened to that EP till it worn and broke, and begged my parents for another copy. Spring of 1987 I received a  Megadeth T-shirt, and a denim jacket which I covered in Iron Maiden Patches with pride. The summer of 1989 I attended a concert, “The Head Bangers Ball Tour“. Helloween, Exodus and the mighty Anthrax. There in Poughkeepsie, NY
I experienced the Mosh Pit. Though I got the shit beat out of me I became enthralled with the “Metal Head” life style.(2003 I finally retired from the center pit.)
That event opened my eyes to a new genre of music, Thrash metal. Bands like Metallica, Sepultura and Anthrax (for example) became my musical focus. But it was my appreciation for  Iron Maiden’s bass player Steve Harris. That inspired me to chose to learn the bass guitar. Christmas of 1990 I asked for and was gifted with a white Yamaha  bass guitar. A self taught novice,  Steve Harris and Cliff Burton of Metallica were the strongest influence in my studies. I bought the tablature and sought to learned their styles.
My friends and  I would jam though the years. But not until 1995 did I help form a band we called Lockjaw. We wrote and played around the northern NJ area. Having no stage experience I learned to  incorporated "Pit" edict into my stage performance and quickly found comfort being under the lights. Fall of 1996 we tracked a four song demo at Blue Meanie Studios in Jersey City, NJ. Under producer/engineer Bill Milano of (S.O.D./M.O.D). The demo was schedulable for record company solicitation. But a falling out in the band lead to the end of Lockjaw and the end of  an early opportunity .
Winter of 1997 I came to conclude the music scene was dried up in NJ/NY. And felt the need to seek out new musical prospect. With no planed destination in mind, I  packed my Fender 77L, Applause acoustic bass, and a few personal belongings and headed west. Winter’s unforgiving weather forced me to take the southern states route. While in the mountains of Ruidoso, NM. I contacted an old friend in Phoenix, AZ. And decided to visit him there instead of heading to Las Vegas, NV. I Quickly fell for Arizona and resolved to make “The Valley of the Sun” my new home base.
One of my first goals in Phoenix was to find fellow musicians, to join or create a band with. I submitted a “ METAL BASS PLAYER SEEKING METAL BAND”  ad in a local music magazine’s classifieds. A few weeks later I received a call from a drummer named Zack Sewell. We  agreed to met up and jam at his personal drum studio. I was sold as soon as he started playing. I couldn’t of had better luck if I won the lottery. Zack and I  immediately became friends. He talked of his childhood companion and former guitarist  Bob Warren. Who was moving  down to Phoenix  from Montana to continue writing a form a band. Bob and I clicked immediately as friends and Musicians. Despite the eagerness, drive and ambition to help form a band. I was simple broke, and my equipment was not up to standard to play with musicians like Zack and Bob. As much as it pained me I had to step back from the project that became known as The Awakening.
It was a  great personal  set back to walk away from The Awakening. My heart was still into the band, but reality forced me to establish a new set of goals. As time went on I found steady work and joined a band called Kyllin Tyme. My old faithful Toyota pickup truck was on it's last leg. Leaving me with a choice to make. Take out a loan for a new vehicle, or a new bass rigg. The latter was my priority. Not knowing I used the loan to purchase band equipment. My boss granted  me a company vehicle to drive while I saved up for a new ride.
I feel my part in Kyllin Tyme gave me priceless experience as a musician, and helped shape my over all view on playing music. but  inside I was not happy, I still had regrets for turning away from The Awaking. And fantasized about the impossible. Being asked to return as acting bass player.
Summer of 2001 I received a call from Bob. Stating the current bass player Tom had lost interest in the band. And was retiring his position from The Awakening, to seek other personal avenues. And was inquiring if I would be interested in returning to the line up.
BAM!
That day I parted ways with Kyllin Tyme and joined The Awaking. At this point they already had an LP released “A Matter of Time” and shows booked. Pressed for time I studied the music day and night. It took me two months to get up to speed but I did it. Thankfully myself taught style got me that far, but it was time to further my knowledge. I began a two years study under a music instructor named Jeff Leese. Between jamming with The Awakening and music instructions it felt like a crash course in college for bass guitar. It was a challenge catching up to the band musically. But as it turned out what I thought was the grand accomplishment was only the next chapter in my musical venture.  
In the years to come for various reasons the band’s line up changed. Enduring hard times Bob, Ray and I managed to hold the dream together. In our struggle to grow, we continued  to move forward. Piecing together the band of men we now so proudly call (sic)monic.

My Equipment:

1: BASS GUITAR: Schecter Stiletto Custom-4

* Mahogany With Flamed Maple, Natural Satin Finish, EMG-35hz

2: BASS GUITAR: Schecter Stiletto Custom-5

*Mahogany With Flamed Maple, Natural Satin Finish, EMG-35hz

3: AMP:  Ampeg SVT-4PRO

*RMS Power Output: 300-Watts x 2/900 (mono-bridged @ 8 Ohms)
RMS Power Output: 490-Watts x 2/1200 (mono-bridged @ 4 Ohms)
RMS Power Output (2 Ohms): 600-Watts x 2
Preamp: Tubes (3 x 12AX7)
Power Amp: Solid State
Tone Controls: 3-Band
Mid Tone Control: 5-Position
Graphic EQ: Yes, 9-Band
Ultra Low/High Boosts: Yes
Balanced Line Out: Yes x 2 Pre/Post with Level
Effects Loop: Yes x 2
Preamp Out/Power Amp In: Yes x 2
Dimensions (W x H x D inches): 19 x 5.6 x 15.5
Weight: 39.5 Pounds

4: PREAMP TUBES:  Groove Tubes 12AX7-C

5: HARTKE Bass Cabinet: VX series vx215

*Two 15" proprietary drivers
Power Handling: 500 Watts @ 4 Ohms

6: HARTKE Bass Cabinet: Hartke 4200 Pro Series

*4x 10" Aluminum Drivers Titanium Driver with 38oz Magnet

Power Handling: 400 Watts Impedance@ 4 Ohms

7:BBE 362 Sonic Maximizer + Subwoofer:

*Frequency Response, Process Mode: program controlled

Frequency Response, Bypass Mode: 5Hz-30kHz

Signal to Noise Ratio 108dB process in/120dB process out

Total Harmonic Distortion in Process Mode: less than 0.1% at 1kHz

8:Korg Rackmount Tuner: DTR1000

*Automatically detects note name and accurate pitch

Two types of display: "cent" or "strobe"

Adjustable Calibration of 438-455 Hz


9: STRINGS:  Rotosound Drop Zone

*Gauges: 50, 70, 85, 105, 135 **** 5 string bass****

*Gauges: 50, 70, 105, 135 ****4string bass****

10: Monster Cable Bass instrument Cable:

*1/4" Straight - Angled