Woah. Just found out that you may or may not have played on Televators? Awesome! What a shame to see The Mars Volta no more. Deloused changed my life, and Juan is such a cool, approachable and knowledgeable dude, with a rad sense of tone and a love of vintage gear that is moulded perfectly to fit his style and sound.
I'd love to know how that gig came about?
Also, while I'm at it, how often do you (or how much merit has) record/recording bass AFTER guitars in your experience? When a rock record made on tape picks up a few Grammys (ie Wasting Light and this year, El Camino), it makes your ears prick up more than usual. To me, it's noticeable that the hits on El Camino have a very warm, low end presence (think Lonely Boy and Gold on the Ceiling) whereas most other tracks on that record seem to have that dirty, picking, flatwound vintage sound with more presence and sparkle. Does this suggest that it's super important to listen back after the guitars are done and lay down (or reamp) bass tracks to appeal more to the wider audience?
Thanks that was a fun improv in the studio. Rick Rubin put it together.
I don't often have the luxury of doing bass after guitars, due to the fact that often times (i.e. Paramore, Neon Trees, M83) I'm looking for that unified bass/drum "lock". That's when I'm producing. However, when I'm being the bassist, I of course am always looking to step in as late as possible. This allows me to create a more interesting and fitting tone, as well as have a deeper understanding of the state of the song as it's further along - this tells me more about when I can or cannot add more interesting melodic and rhythmic touches. It can sometimes be more restrictive, but it does let me certainly think of bass in the bigger picture more effectively.
McCartney said he always liked going last with the bass in the Beatles, too. Me, I always start out with a bass part in the rhythm stages because I like that natural rhythm section thing, then I invariably want to go back and fix stuff when everything else is cut. No wrong answer there, is there?
When I go late on a track, sometimes the feel is too defined and an idea in my head that may work with the drums no longer does because of the guitar and key feel. Bottom line is it's not always about the feel I want it's serving the session so it can help me tap into the artist/producer's vision that much quicker.
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