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BassPlayer 2017-05

BassPlayer 2017-05

CS JUAN ALDERETE PIERO

CS JUAN ALDERETE PIERO F. GIUNTI your speakers—what comes out is your tone and what you’re trying to go for. Putting it all through a DI makes it sound completely different. I also like to use my Ampeg flip-top [B-15 amp] in the studio because I love the sound it gets. How did you approach this project differently than Big Sir, Mars Volta, or any of your other bands? I love this project because it was a different role for me. Vato Negro is my own thing, so I can do no wrong. In Mars Volta, Omar [Rodrîguez-Lopez] is guiding the ship, so I just have to lay in the cut and wait for what’s coming next. In Big Sir, I’m writing compositions to vocals, which is one of the most challenging things I do. But in Halo Orbit, I’m writing to impress two musicians with whom I’m in love, musically. I’m the worst musician in the band because I don’t read sheet music and my theory knowledge isn’t on par with theirs, so I had to step it up. It can be stressful, but it makes me strive to be way beyond what I am. You get a huge, distorted sound on the opening track “Subump.” How did you get that tone? It’s all the Hoof Reaper. It has the octave up option on top of its fuzz function, which is just massive. New pedals usually inspire me to write a bunch of compositions around that sound. I wrote that main guitar riff and the bass part that LISTEN i INFO Halo Orbit, Halo Orbit [Alpha Pup] comes in, suGar overdubbed the wah guitar parts, and Mark came in and nailed that song in one take. What would you tell a bass player interested in building a pedal collection? Depending on what kind of music you’re playing, get a good-sounding distortion, fuzz, or overdrive. Next, get a compressor. A good chorus always helps; I like analog choruses, myself. Delays are weird for bass, because you’re the timekeeper, so unless you use it right, you might have issues; be cautious with those. And any wah is good, because, well, Cliff Burton. Once you get into effects, you’re not just running a bass anymore— it’s an entirely different animal. Nowadays, it’s important for young bass players to diversify their sounds if they want a career. Pedals are an important part of landing gigs. Not everyone can be in Foo Fighters. 34 bassplayer.com / may2017

EQUIP i INFO Basses Goya Panther I, fretless 1970 Fender Jazz Bass, Fender Custom Shop “Raider” Precision Bass, Warwick Jonas Hellborg Signature Bass, Kala Fretless U-Bass, fretless 1976 Gibson Ripper, fretless Landscape Archtop ABP-1 Hollowbody Rig Ampeg SVT-VR head, Ampeg Heritage B-15N combo, Ampeg SVT 4x10 Pedals (Used on Halo Orbit) Guyatone Bass Wah Rocker, Chase Bliss Audio Warped Vinyl, DOD Meatbox Subsynth, TWA Great Divide and FB-04 Chorus, Dunlop Cry Baby Bass Mini Wah, MXR M83 Bass Chorus Deluxe, Red Panda Context Reverberator, Endangered Audio Research AD4096 delay, Walrus Audio Descent Reverb/ Octave Machine, DigiTech Multi- Play PDS 20/20 delay, Fairfield Circuitry Randy’s Revenge Ring Modulator, several Boss pedals (including the CS-2 Compressor/ Sustainer, OC-2 Octave, DS-2 Turbo Distortion, and VB-2 Vibrato), as well as Hummingbird, Grand Orbiter, Rainbow Machine, Terminal Fuzz, Afterneath, and Hoof Reaper pedals by Earthquaker Devices Cases Mono Vertigo Bass Cases Strings Ernie Ball Slinky roundwounds and flatwounds, and La Bella tapewounds, all .045–.105 Picks Dunlop Tortex What’s the best way to set up a signal chain? Samplers [such as loopers] should go last, because you’re going to be sampling your whole board. Delays go next, so that you can put anything through them. Compressors, modulation pedals, envelope filters, and choruses are in the middle, and then distortions and fuzz pedals go in the front. It changes with each band and with the sound that I’m going for, but that’s a rough sketch of how I’d do it. How can a bass player incorporate effects into their live rig without compromising supportive low-frequency response? You can run two rigs, one that’s clean and one that runs all the effects, so you get both at the same time. I did that with Halo Orbit, but I used effects on both channels. There are ways that pedals can work for your sound and maintain the thickness you want. What do you see in the future of bass effects? I think sampling is a big thing. I’d love to be able to sample myself, truncate it, and lock it in time. It would be pretty amazing if a pedal could guess your bpm [tempo] and lock it in on the fly. The Kemper Profiler Rack + Remote is pretty crazy, but it could be ideal— the more bundling we can do, the better. And it’s portable, which is really important. Line 6 and other companies are doing a lot for things like that. Why are pedals so important to your musical identity? Because I think it’s important to try new things, get new sounds, and not be afraid to experiment. I can play straight, standard bass, but I’m trying to push our instrument somewhere— because if not, it dies. I’m trying to transform the instrument and push it into the future so we’re not left behind. I tried to do something new with the speed of bass in the ’80s, and then in the ’90s, I explored fretless to see if there was anything new we could do there. And now I’m into effects, shortscale basses, and subs. I’m always looking ahead to see where bass can go next. BP bassplayer.com / may2017 35 WW_CS_3167_2,375x9,75_USA.indd 1 02.03.17 15:09

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