How did you develop your various plucking techniques, and how do you apply them musically?I began playing bass lines on an acoustic guitar, and I couldn’t let go of the pick once I bought an actual bass. I eventually learned to play fingerstyle as well. Onstage, I switch back and forth depending on the style of the song and the desired attack. I’ll play with my thumb for greater precision, or drop the pick alto- gether and play fingerstyle for something intricate. I throw in a bit of slapping on “The Man From the Planet Marzipan” from the new CD.
How did you record that line?I recorded it twice, actually. On the original track, I played in a pseudo slap-and-pop style by hitting the low notes with a plectrum [pick], and pulling on the higher strings. I knew ahead of time that I would play it again using traditional slap and pop, and I did just that on the second track. We used a combination of both tracks in the final mix. Verse one favors the original approach, and verse two favors the slap track.
Much of Marillion’s material is more orchestral. How did you develop your knack for playing melodically within a grand musical concept?Playing second clarinet in the school orchestra gave me a sense for playing odd notes that fit into the overall scheme. Caravan’s In the Land of Grey and Pink influenced my bass playing in that sense, as did Mike Rutherford’s playing in early Genesis—Live was heavy and sinister, but Mike wasn’t nailed to the constraints of usual bass riffing. He would go off on runs with the keyboards, and he had a clever way of bringing in secondary melodic tones that made the music sound more orchestral.
Your bass line on the chorus of “Kayleigh” is a good example of that idea. Can you remember the circumstances of its creation?Misplaced Childhood came together rather quickly, but the “Kayleigh” arrangement took a while. Whereas the chorus chords are quite simple, I imagined them sounding more complex, in a Todd Rundgren kind of way. Rather than trying to convince the others to change the chords, I changed the bass line. I tried to create the illusion of more involved chords by playing some unexpected notes during the descending run.
Not many bands survive switching lead singers. What adjustments did you have to make?We became more conscious of writing songs. We’d previously done a lot of jamming while Fish sang something on top. We honed our craft over the years, and 1998 was another turning point. We consciously went out of our comfort zone on Radiation. Results were mixed, but it helped us sort out what was worth keeping. Happiness Is the Road came about through arranging the best bits of extended improvisation into songs. Disc one is generally more arranged, while the second disc weighs heavier on jamming. It was nice to have the time and space to do both.
INTRODUCE YOURSELF
Name Terence Rouland
Hometown Little Falls, MN
Years experience 34
Gigs Perpendicular Vision (Dream Theater tribute) Gear Yamaha RBX6JM, Curbow 6-string, Rickenbacker 4001, Gallien-Krueger 1001RB II head, Gallien- Krueger 410RBH 4x10 and 115RBH 1x15 cabs, Gallien Krueger 400RBIII 2x10 combo, Gallien-Krueger RBX115 1x15 cab, Boss GT-6B effects processor
Day job Air Traffic Control Chief at Ray S. Miller Army Airfield
Why I started playing bass Because no one else wanted to and I thought it would be fun.
Why I play bass today I love the challenge of playing prog-rock and metal. It forces you to use your mind—a lot!
Light bulb moment I saw Gary Thain with Uriah Heep live. He was such a busy player live, mixing a jazz feel with early metal. Seeing him was the moment I realized that’s the way I want to play.
Hear my music at www.myspace.com/terryrouland
Email trouland90@hotmail.com
Name Scott Hofheins
Hometown Anchorage, AK and Wenatchee, WA
Years experience 6
Gigs No Body No Crime
Gear Washburn XB-1000, ‘72 Fender Precision, SWR Workingman’s 4004, Sunn 4x10, SWR Goliath 1x15, BBE Crusher Distortion pedal
Day job Operations Manager for a “dot com” company
Why I started playing bass I’ve always loved bass lines in music—they’re the backbones of songs. I grew up with a father that played bass, and from the second I picked up the instrument, I loved it.
Why I play bass today See above. The bass is what drives music and makes your body move. It’s heavy and melodic and beautiful anytime you want it to be.
Light bulb moment That I don’t have to play a million notes—sometimes the best bass line is there to support a song.
Hear my music at www.myspace.com/nobodynocrime509
CAN BE HEARD ON
Marillion, Happiness Is the Road [Racket, 2008], Somewhere in London (live DVD) [MVD Visual, 2008]; Kino, Picture [Inside Out, 2005], Cutting Room Floor [Independent, 2006]; Transatlantic, Bridge Across Forever [Metal Blade, 2001], SMPTe [Metal Blade, 2000]
CURRENTLY SPINNING
Blur, Think Tank [Virgin, 2003]
GEAR
Basses Various Cort Bases, Ibanez Soundgear RDB, Warwick Thumb Bass, Epiphone Viola Bass, Fender Precision Bass, Squier Precision Bass, Squier Jazz Bass
Rig Laney RWB300 combo, Laney B2 head, Laney B115 1x15 cabinet, Roland PK-5 Dynamic Foot Pedal
Effects T.C. Electronic D-Two Multitap Rhythm Delay; various Boss pedals: EQ-20, DS-1 Distortion, CE-5 Chorus Ensemble, Octave
Strings Elites Stadium Series (.045–.105) “I use the Roland foot pedal to trigger string and synth bass sounds that are set up at the keyboard station.”