A Quote by Adam Mansbach

Look closely, and you can see where the grooves of a record widen, indicating a sparseness that can only be a bass solo, or grow denser to accommodate a cresting density of sound.
The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.
I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
I often use a return channel to get some shape out of the bass. It's a good way to split the frequencies of the bass so that the sub bass is clean and in mono and the higher end of the bass sound can be filtered off - have it on an audio channel and that's where you can use effects.
I have to have the reasons to make the record. There are just too many records out there, especially when it's something as audacious as a solo percussion record with solo drumming music on it. There better be a reason behind it.
The degree of consciousness corresponds to the degree of density or the speed of vibrations. The denser the matter, the less conscious it is.
I listened to many different types of instruments and music, and have always tried to look at the bass as an instrument as opposed to only a bass.
I don't want any of my records to sound like one style throughout. That's why I choose different grooves and songs: tunes that are sensitive and slow as well as pieces that are abstract and fast. The approach I want to take with my records is to give the listener a variety of grooves, concepts, and composers.
The more closely you look at one thing, the less closely can you see something else.
Sometimes, I wonder what I'm doing back in Los Angeles, but when you look out there... How can you complain when you see a whale cresting, matter-of-factly, as you make your breakfast?
I like to combine the dramatic emotional warmth of strings with the grooves and body business of drums and bass.
The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.
I didn't make my first solo record until 1981 so I don't have any 60?s or 70?s recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.
I didn't make my first solo record until 1981 so I don't have any 60's or 70's recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.
I do seem to like to combine the dramatic emotional warmth of strings with the grooves and body business of drums and bass.
Watson, ... if I can get a mechanism which will make a current of electricity vary in its intensity, as the air varies in density when a sound is passing through it, I can telegraph any sound, even the sound of speech.
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