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On HIs New Technique

Fishbone's Norwood Fisher

| August, 2007

It’s been over 20 years since Fishbone debuted its manic mix of metal, funk, ska, and punk on its major-label debut, and though Norwood Fisher has made recent efforts to sober up and live straight, his musical persona is still as delightfully twisted and talented as it was when he was a teenager. “I’m starting to grow up just a little bit,” chuckles Norwood. Although Fisher and frontman Angelo Moore are the only original Boners with the band, the energetic ensemble continues to conjure classic Fishbone’s wacky sprit and whirlwind aesthetic on Still Stuck in Your Throat. Fisher sounds totally badass throughout, and he employs an innovative technique that he’s eager to share.


What’s the biggest difference in your bass playing over the past decade?
I’m a little more self-aware. I’m figuring out ways to implement flashy techniques in ways that go beyond showing off on solos, and instead are used to get a point across in a song.

Can you give an example from Still Stuck in Your Throat?
On “Frey’d Fuckin’ Nerve Endingz” and for the quick bursts on “Premadawnutt” I use a technique I call “fanning” because it looks like I’m just flailing my right hand over the strings [laughs]. I downstroke with my thumb, and then upstroke with my forefinger or middle finger. It’s almost like slapping and plucking, but I’m just brushing across the string. It looks like you’d be all over the place, but I’m really accurate with it, and I can use it to create a fast punk rock thing.
I adopted the technique after watching three Japanese women playing these 3-string guitars [shamisens]. They were wailing on them with these big triangular picks in a way that looked like fanning. Their wrists were really fluid and loose and going super-fast. It looked like anarchy but it was totally controlled.

What are you doing with your fretting hand when fanning?
Whatever it takes, which is usually not much. Sometimes I’ll use an octave, but I mostly do it with one note on one string. I do a lot slapping and plucking like that, too. On “Frey’d Fuckin’ Nerve Endingz” I actually use barre chords on the chorus.

It looks like you’re using fanning in the video for Fishbone’s cover of Sublime’s “Date Rape,” except you’re using your thumb and pinkie to brush the strings.
Right. That’s what I’m doing on the improvised bass breaks at the beginning, and it looks like fanning, too. I shake my hand from side to side to create a blur of notes—the motion looks like when you give somebody the “hang loose” sign. I usually do that to play one note on one string really fast, but in that case, my left hand is all over the place. I wanted to make the most of those fills, and fills are main place I implement the technique. I hope more people pick up on fanning and start implementing it their music.

just the facts

CAN BE HEARD ON:
Fishbone, Still Stuck in Your Throat [Sound In Color];
Trulio Disgracias, Nuttin’s Gonna Gitchoo If U Don’t Look Out [Nuttsactor 5]

CURRENTLY SPINNING:
Viva Voce, Get Yr Blood Sucked Out [Barsuk]
“The classic rock songwriting is awesome, and the bass playing is solid in a John Doe kind of way.”
on the web

GEAR
Basses:

(All Warwick 5-strings with Dean Markley Super Round strings) Infinity NT, Corvette FNA Jazzman, and fretted and fretless Thumb Basses

Rig:
(All by Warwick) TubePath 10.1 head into a pair of prototype 2x15 cabinets, and two X-Treme 10.1 heads into a pair of 611 Pro 6x10 cabinets

Effects:
Dunlop Crybaby 105Q Bass Wah, Akai SB1 Deep Impact bass synth, Pigtronix OFO Disnortion, Pigtronix EP-1 Envelope Phaser, Electro-Harmonix Bassballs
“The Infinity is my primary instrument. I use the FNA Jazzman onstage for the rowdy tunes because it cuts through. And I made up my mind last night that I’m going to kick in the fretless more because it’s so much fun.”

 

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