VICTOR BRANDI Of VETERAN DEATH METALLERS ENTOMBED AD
DEVEALS THE SECRETS BEHIND THE BIG SO U N D S’
BASSES Warwick Streamer Stage I and Stage II, Rotosound strings, Dunlop picks |
EffECISDarkglass Microtubes B3K & B7K, Radial Bassbone [ID, Radial JDX,
Samson Concert 88 wireless, EBS Black Label pedals |
Warwick Hel borg rig, Warwick LWA 1000
play like a rusty tractor: loud, detuned and heavily distorted
b a ss w ith a rock and m etal approach. I prefer to filter the
sch o o led parts through a m etal and punk attitude rather then
go in g w ith so m e th in g slick or too scho oled, but I'll go w ith
w hatever I feel that the so n g needs. I often find that le ss is
m ore w ith m y b a ss playing. A lthou gh m y ego m ight w an t to
do so m eth in g advanced or im p re ssive , it m ight not g e t the
effect that I am looking for. It's better to listen to the so n g and to your band-
m e m b ers than to your ego.
I own tw o five-string b a sse s that I needed w hen I w as in the band Satyricon from
Norway, but I never felt that five-string b a ss w as m y thing. W hen I picked up m y
four-string again it alw ays felt like com ing home. I've accepted the fact that I'm in the
rhythm section and I need to build a foundation for the song along w ith the drummer.
Slapping doesn't really go well with the kind of m usic Entom bed plays, but I do
enjoy playing slap or tapping b a ss w hen I'm practising. This rem inds m e of a funny
story: I w as part of W arw ick's
Fuss On The Bus 3
DVD a few years back. I had
prepared this slap/tap thing that I felt would be very im pressive and fancy. M e and
Dave Roe, w ho used to play with Jo h n n y Cash , w ere sitting and w atching the other
players perform in front of the cam era: guys like Larry Graham , Lee Sklar, Alphonso
Jo hn so n, TM Steven s and m any more. Ju st before m y turn to film m y part, Dave said
to me: 'Isn't it funny that there are so m any slap and tap perform ances here?'
'Yes, you're right!' I replied, suddenly much clearer in m y mind. 'W hat am I doing?'
I thought to myself. I decided to com pletely change m y prepared b ass part for the
DVD to som ething that I usually play instead. I borrowed a distortion pedal and I w as
set. Steve Bailey did the interview and asked m e w hat
I w as going to play, so I said 'D eath m etal!' and played
som e distorted pick bass in the vein of A u to psy and
Celtic Frost. I felt right at hom e. Thank you, Dave!
M y first b a ss w as a cheap Reno Ja zz copy. I still
have it, actually: I defretted it and use it for practising
fretless. It w as good to start out w ith a beginner's
instrum ent, b ecau se it m ade m e appreciate quality.
It's never good to be spoiled or to take things for
granted. M y favourite b a ss ever to date is m y
W arw ick Stream er S ta ge II. I ge t in a good m ood just
holding it or looking at it. I really like the thin finish
and the Afzelia w ood. I have five W arw ick b a sse s and
four of them are Stream ers. Th ey feel like so m e of
the b est co m m o dities in the world: you ju st can't go
w rong w ith them.
If I could ge t the b a ss tone of any album ever
released, I would choose
with Tool. Ju stin
Chancellor is really cool. But if I'm allowed to say so,
I'm extrem ely happy with the b a ss tone on the new
Entom bed album
BackTo The Front,
which cam e out
in the sum m er on Century Media.