You started out very young as a drummer. How does this influence your bass playing?

I basically play drums on the bass. It’s a mental thing; drummers bring a different perspective to bass than, say, guitarists. Guitarists who play bass tend to play inconsistently and a little ahead of the beat. I love playing with a drummer who has great time because, as a duo, we can go outside of the box a bit without losing control.

What’s your role with Daughtry? Is it simply to support the singer, or can you stretch out a bit?

It’s pretty much a band. We all trust each other, and we all know what we have to do to make it work. Playing with pop artists has helped me learn to support the song. I’m sure that if I were 18 again, I’d be trying to play a lot more. In Suicidal, I could play as much as a lead guitarist would. When I was 18, I replaced Robert Trujillo, and felt I had to prove myself. I don’t feel like I have to anymore. But I still get to throw in a few tasty licks.

Do you have any advice for bassists who are trying to find a relevant, original niche in today’s scene?

People should get out there and do things that will get them seen. Also, make sure you get to play constantly, even if you have to work a day job. If you love a project, just keep doing it, and try to find a situation in which you can grow.

You’ve adapted to different musical styles. What do you have to say about “comfort zones?”

I think that lacking certain knowledge can hinder one’s ability to expand as a musician. As for me, I could learn a lot more about jazz. My grandfather got me started on bass with jazz, but since then I never had the time to delve into it as much as I would like. But I haven’t had to read a chart, or even seen one, in a long time. In my world, you gotta have an ear.

CAN BE HEARD ON

LAX Gurlz, “Forget You” [Blackground, 2007]; Infectious Grooves, Mas Borracho [Suicidal, 2000]; Suicidal Tendencies, Freedumb [Side One Dummy, 1999]

CURRENTLY SPINNING

Bloc Party, Weekend in the City [Vice, 2007]; Justin Timberlake, Future Sex/Love Sounds [Zomba, 2006].

GEAR

Basses Modulus FB4s and FB5s with medium Dean Markley Blue Steels

Rig Two Ampeg SVT-8PRO heads with one Ampeg SVT-810E 8x10 cab, Shure UR4D Wireless, and Whirlwind Rackmount Selector

Effects Voodoo Lab Pedal Power, H.A.Z. Labs MuTron III+, Ampeg SCP-OCT Sub-Blaster, MXR M80 Bass D.I.+, MXR M188 Bass Auto Q, Boss OC-3 Octave
“Modulus basses cut through loud rock guitars, plus the necks are very stable.”