A Quote by Dion DiMucci
Trains had the greatest bass sound in the world.
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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 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 never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.
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.
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
I had a very humane, what the great Russian poet Anna Akhmatova would probably have called 'vegetarian,' experience of migration. It involved planes and trains - the actual compartments of passenger trains - and not grueling walking and riding on the roofs of trains.
I'm the greatest bass player in the world.
As a young boy, I had the usual hobbies - sports, baseball cards, model airplanes and trains. But I always had a distinct fascination with trains.
A bass should sound like a bass with the thump of the finger against the wood, like it began with stand up.
I love a little distortion across the bass; I think it kind of adds something to the sound of the band when the bass is a little overdriven.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
I need a little bass and I don't even need that crazy bass to break your face. I just want it to sound good when I have my favorite song.
Onstage I like to play with a an 18-inch speaker, which very few bass players do. I need that fat, underneath sound, which I've always had. It suits me admirably to do it like that, and I can imitate that sound by plugging directly into the board in the studio.
I came from an era when we didn't use electronic instruments. The bass wasn't even amplified. The sound was the sound you got.
Singing doesn't have to mean that you sound like Stevie Wonder. I love to sing. I'm not the greatest singer in the world. But, a lot of my favorite singers aren't the greatest singers in the world.
The 'trap' sound is a sound from the city. We've always liked music with bass. We've always liked old schools with big speakers in the trunks. We like our music loud. We've always had a nightlife scene in Atlanta.
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