Chords for KHEMMIS - Ben Hutcherson - Recording Bass on DECEIVER
Tempo:
81.05 bpm
Chords used:
Ab
Eb
C
Fm
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
What was it like recording bass for a chemist album?
I mean we haven't had to have you do that before
Recording [Eb] bass for this album is really interesting because I'm not a bass player
[D] [C] [Bb] [C] I'm not a bass player by trade and I
[Ab] [Gm] Have a new kind of appreciation [Ab] for all the little tips and tricks that bass players [C] need to know in order to get a clean performance
[Ab] But it was also a lot of fun [Fm] because I guess it if bass is [C] a simpler instrument
[Eb] But in the context of these songs, I mean [Ab] the bass just isn't playing big chord shapes isn't doing crazy runs
[F] So it was really more about getting a consistent
[Ab] Pick attack and [Gm] staying in the pocket [Fm] and things that as a guitar player
[Cm] you know Phil and I don't [Ab] normally have to think about as [Db] as
Explicitly they're not the [Eb] first things in our minds
And it was also a lot of fun to dial in the bass tone [Ab] like again [Eb] because I'm a guitar player
I know what I'm after for a guitar tone
But this was really a sort of [Ab] sonic exploration with Dave Rotero a matter of like All right
What [Fm] bass are we gonna use we [Eb] settled on a [Ab] spectre and it just had the clarity [Eb] and depth that we were going for
[Ab] Something about it [Bb] something about the onboard preamp gave [G] it this really excellent [C] punch
But also this massive but controlled low-end wound up really [F] with what I would call like a cosmic gumbo of tonal influences
[Fm] [Ab]
[Eb] It's a mixture [E] of the neural DSP [Fm] parallax plugin and a
Sansamp into an SPT classic into an 810 and then I think there's an orange
8200 [F] mixed in to get this big fat tone, [Fm] but
[Bb] Because these [C] songs are so dynamic and there's a lot [G] more
Say aggression in the heavier [F] parts than on previous records.
We wanted to have more of that
[C] audible sort of upper mid-range distortion to really [C] give it that that kind of grindy metallic sound [Db] as opposed to just filling up the low-end
[Bb]
[Gb] [Bb] When [D] came to writing these bass lines there really was a lot more space than
[Db] We had on previous records again because of [Ab] the more
dynamic [D] approach we were taking to the songwriting as a whole but also to [Ab] layering the guitars and
[Eb] there were certainly spaces where I knew the bass could do more than just fill out the low end and
[Bb] That was [Ab] really a kind of balancing act because as a guitar player who likes to play nudely [Bb] solos and leads
[Ab] my first inclination was to [Eb] really fill up that space and what I had [Fm] to do was sort of reign that in and
Otero was [G] a really big [Db] Help here
[Fm]
Finding that balance between letting the bait [Ab] provide some melodic movement [Eb] some sort of contrasting elements without [Ab] having it overshadowed
[F] what's happening
[G] [F]
I mean we haven't had to have you do that before
Recording [Eb] bass for this album is really interesting because I'm not a bass player
[D] [C] [Bb] [C] I'm not a bass player by trade and I
[Ab] [Gm] Have a new kind of appreciation [Ab] for all the little tips and tricks that bass players [C] need to know in order to get a clean performance
[Ab] But it was also a lot of fun [Fm] because I guess it if bass is [C] a simpler instrument
[Eb] But in the context of these songs, I mean [Ab] the bass just isn't playing big chord shapes isn't doing crazy runs
[F] So it was really more about getting a consistent
[Ab] Pick attack and [Gm] staying in the pocket [Fm] and things that as a guitar player
[Cm] you know Phil and I don't [Ab] normally have to think about as [Db] as
Explicitly they're not the [Eb] first things in our minds
And it was also a lot of fun to dial in the bass tone [Ab] like again [Eb] because I'm a guitar player
I know what I'm after for a guitar tone
But this was really a sort of [Ab] sonic exploration with Dave Rotero a matter of like All right
What [Fm] bass are we gonna use we [Eb] settled on a [Ab] spectre and it just had the clarity [Eb] and depth that we were going for
[Ab] Something about it [Bb] something about the onboard preamp gave [G] it this really excellent [C] punch
But also this massive but controlled low-end wound up really [F] with what I would call like a cosmic gumbo of tonal influences
[Fm] [Ab]
[Eb] It's a mixture [E] of the neural DSP [Fm] parallax plugin and a
Sansamp into an SPT classic into an 810 and then I think there's an orange
8200 [F] mixed in to get this big fat tone, [Fm] but
[Bb] Because these [C] songs are so dynamic and there's a lot [G] more
Say aggression in the heavier [F] parts than on previous records.
We wanted to have more of that
[C] audible sort of upper mid-range distortion to really [C] give it that that kind of grindy metallic sound [Db] as opposed to just filling up the low-end
[Bb]
[Gb] [Bb] When [D] came to writing these bass lines there really was a lot more space than
[Db] We had on previous records again because of [Ab] the more
dynamic [D] approach we were taking to the songwriting as a whole but also to [Ab] layering the guitars and
[Eb] there were certainly spaces where I knew the bass could do more than just fill out the low end and
[Bb] That was [Ab] really a kind of balancing act because as a guitar player who likes to play nudely [Bb] solos and leads
[Ab] my first inclination was to [Eb] really fill up that space and what I had [Fm] to do was sort of reign that in and
Otero was [G] a really big [Db] Help here
[Fm]
Finding that balance between letting the bait [Ab] provide some melodic movement [Eb] some sort of contrasting elements without [Ab] having it overshadowed
[F] what's happening
[G] [F]
Key:
Ab
Eb
C
Fm
Bb
Ab
Eb
C
What was it like recording bass for a chemist album?
I mean we haven't had to have you do that before
Recording [Eb] bass for this album is really interesting because I'm not a bass player _
[D] _ _ [C] _ _ _ [Bb] _ [C] I'm not a bass player by trade and I
[Ab] _ [Gm] Have a new kind of appreciation [Ab] for all the little tips and tricks that bass players [C] need to know in order to get a clean performance
[Ab] But it was also a lot of fun [Fm] because I guess it if bass is [C] a simpler instrument
[Eb] But in the context of these songs, I mean [Ab] the bass just isn't playing big chord shapes isn't doing crazy runs
[F] So it was really more about getting a consistent
[Ab] Pick attack and [Gm] staying in the pocket [Fm] and things that as a guitar player
[Cm] you know Phil and I don't [Ab] normally have to think about as [Db] as
Explicitly they're not the [Eb] first things in our minds
And it was also a lot of fun to dial in the bass tone [Ab] like again [Eb] because I'm a guitar player
I know what I'm after for a guitar tone
But this was really a sort of [Ab] sonic exploration with Dave Rotero a matter of like All right
What [Fm] bass are we gonna use we [Eb] settled on a [Ab] spectre and it just had the clarity [Eb] and depth that we were going for
[Ab] Something about it [Bb] something about the onboard preamp gave [G] it this really excellent [C] punch
But also this massive but controlled low-end wound up really [F] with what I would call like a cosmic gumbo of tonal influences
[Fm] _ _ [Ab] _
_ [Eb] _ _ It's a mixture [E] of the neural DSP [Fm] parallax plugin and a
Sansamp into an SPT classic into an 810 and then I think there's an orange
8200 [F] mixed in to get this big fat tone, [Fm] but
[Bb] Because these [C] songs are so dynamic and there's a lot [G] more
Say aggression in the heavier [F] parts than on previous records.
We wanted to have more of that
[C] audible sort of upper mid-range distortion to really [C] give it that that kind of grindy metallic sound [Db] as opposed to just filling up the low-end
[Bb] _ _ _ _
[Gb] _ [Bb] _ _ When [D] came to writing these bass lines there really was a lot more space than
[Db] We had on previous records again because of [Ab] the more
dynamic [D] approach we were taking to the songwriting as a whole but also to [Ab] layering the guitars and
[Eb] there were certainly spaces where I knew the bass could do more than just fill out the low end and
[Bb] That was [Ab] really a kind of balancing act because as a guitar player who likes to play nudely [Bb] solos and leads
[Ab] my first inclination was to [Eb] really fill up that space and what I had [Fm] to do was sort of reign that in and
Otero was [G] a really big [Db] Help here
_ _ _ _ [Fm] _
_ Finding that balance between letting the bait [Ab] provide some melodic movement [Eb] some sort of contrasting elements without [Ab] having it overshadowed
[F] what's happening _
_ _ _ _ _ _ _ _
_ _ _ _ [G] _ _ [F] _ _
I mean we haven't had to have you do that before
Recording [Eb] bass for this album is really interesting because I'm not a bass player _
[D] _ _ [C] _ _ _ [Bb] _ [C] I'm not a bass player by trade and I
[Ab] _ [Gm] Have a new kind of appreciation [Ab] for all the little tips and tricks that bass players [C] need to know in order to get a clean performance
[Ab] But it was also a lot of fun [Fm] because I guess it if bass is [C] a simpler instrument
[Eb] But in the context of these songs, I mean [Ab] the bass just isn't playing big chord shapes isn't doing crazy runs
[F] So it was really more about getting a consistent
[Ab] Pick attack and [Gm] staying in the pocket [Fm] and things that as a guitar player
[Cm] you know Phil and I don't [Ab] normally have to think about as [Db] as
Explicitly they're not the [Eb] first things in our minds
And it was also a lot of fun to dial in the bass tone [Ab] like again [Eb] because I'm a guitar player
I know what I'm after for a guitar tone
But this was really a sort of [Ab] sonic exploration with Dave Rotero a matter of like All right
What [Fm] bass are we gonna use we [Eb] settled on a [Ab] spectre and it just had the clarity [Eb] and depth that we were going for
[Ab] Something about it [Bb] something about the onboard preamp gave [G] it this really excellent [C] punch
But also this massive but controlled low-end wound up really [F] with what I would call like a cosmic gumbo of tonal influences
[Fm] _ _ [Ab] _
_ [Eb] _ _ It's a mixture [E] of the neural DSP [Fm] parallax plugin and a
Sansamp into an SPT classic into an 810 and then I think there's an orange
8200 [F] mixed in to get this big fat tone, [Fm] but
[Bb] Because these [C] songs are so dynamic and there's a lot [G] more
Say aggression in the heavier [F] parts than on previous records.
We wanted to have more of that
[C] audible sort of upper mid-range distortion to really [C] give it that that kind of grindy metallic sound [Db] as opposed to just filling up the low-end
[Bb] _ _ _ _
[Gb] _ [Bb] _ _ When [D] came to writing these bass lines there really was a lot more space than
[Db] We had on previous records again because of [Ab] the more
dynamic [D] approach we were taking to the songwriting as a whole but also to [Ab] layering the guitars and
[Eb] there were certainly spaces where I knew the bass could do more than just fill out the low end and
[Bb] That was [Ab] really a kind of balancing act because as a guitar player who likes to play nudely [Bb] solos and leads
[Ab] my first inclination was to [Eb] really fill up that space and what I had [Fm] to do was sort of reign that in and
Otero was [G] a really big [Db] Help here
_ _ _ _ [Fm] _
_ Finding that balance between letting the bait [Ab] provide some melodic movement [Eb] some sort of contrasting elements without [Ab] having it overshadowed
[F] what's happening _
_ _ _ _ _ _ _ _
_ _ _ _ [G] _ _ [F] _ _