Grooving Through Group Dysfunction
The Deftones' Chi Cheng
Chi Cheng has always dared to bring a different brand of bass playing to the Deftones, one of the most adventurous bands to survive the ’90s metal resurgence. Cheng’s rich, textured tone and his tendency to wander off on melodic flights deviate from the script that demands metal bassists merely mimic the guitar. Chi’s philosophy of independence might have contributed to the Deftones’ recent dysfunction; the group took almost three years to complete its latest CD, Saturday Night Wrist. “It’s not a very nice band,” says Chi. “Instead of focusing on our own parts, we all nitpick about each other’s parts. It can be really problematic.” But the Deftones’ latest output is transcendent—and according to Cheng, the band is tighter and hungrier than it has been since its earliest days.
How do you see your role in the Deftones?
I bring a reggae vibe, and sometimes a Rocco Prestia [Tower Of Power] kind of feel. It drives Stephen [Carpenter, guitar] nuts because he’d rather have a traditional metal bass player who uses a pick and follows his every move. Instead, I counter his every move. I’m not a technical guy, but I take full advantage of the creative freedom I have to write interesting bass lines in my own style. I consider it a strength in the band, although others may disagree.
How do you approach your instrument?
When the song is melodic and there’s room to breathe, I like to fill up the space with cool, classy lines. I’ve always appreciated bassists who bring a lot to the table, like Steve Harris of Iron Maiden, Cliff Burton with Metallica, or Matt Freeman with Rancid. And I play really hard with my right hand.
Describe the studio dynamic between you and drummer Abe Cunningham.
Even when he’s recording, he knows only about 80 percent of what he’s going to do. That makes it nearly impossible for me to lock with him, because sometimes I have no idea where he’s going. I used to think I was the cool drunken punk-rock bass player, but I cleaned up on this album. I paid close attention to the kick, snare, and hi-hat. This is the first CD where Abe and I really locked well.
How has your role evolved along with the Deftones’ creative and recording process?
In the early days, Stephen and I wrote all the music and Chino [Moreno] sang his lyrics. The process changed when Chino started playing guitar. For Saturday Night Wrist, Chino was like Glenn Miller tending to his big band, involving himself in every aspect of the music without conceptualizing any lyrics or melodies. When it came time to record vocals, he started using Apple’s GarageBand software to chop songs to pieces right in front of us—like a Benihana chef. We were completely puzzled, but he ultimately did some amazing stuff. Some of the music I wrote ended up making the CD, including the instrumental “U, U, D, D, L, R, L, R, A, B, Select, Start.” Stephen and I wrote the music to “Beware.” But really, I don’t care who writes what, just as long as it’s great. I don’t think we’ve created our masterpiece yet. I’d like to do that before the band breaks up.
Overview
Can Be Heard On
Deftones, Saturday Night Wrist [Warner Bros.]
Currently Spinning
Wilco, Kicking Television: Live in Chicago [Nonesuch, 2005]; Old 97’s, Alive & Wired [New West, 2005]
“I’m not listening to anything but alt-country right now. Wilco is artsy, and the Old 97’s kick you in the teeth.”
GEAR
Basses Fender Custom Shop ’59 Precision Bass Special, Fender Telecaster Bass, unknown 5-string; Fender strings (.050–.110)
Rig Two Ampeg SVT-2PRO heads, two Ampeg 8x10 cabinets
Effects Boss OD-3 OverDrive, Boss CE-5 Chorus Ensemble
“I tune the Tele bass EADG or drop everything a whole-step, and I tune the P-Bass down as much as two steps. I do almost everything on 4-string because it’s nearly impossible to make my 5 sound good in the studio.”
