As a fingerstyle player, how have you adjusted to the technical and tonal demands of Megadeth’s music?
At first I cavalierly told [guitarist] Dave Mustaine that I could easily do the gig, not really knowing much of their catalog. Within a week I realized how elaborate the song structures were and how divergent they were from the classic styles I was used to playing. It was a herculean effort for me just to memorize the music, let alone figure out a way to emulate the sound with my fingers. Ultimately I realized how pivotal [original bassist] Dave Ellefson was to Megadeth’s sound. So instead of going in there and thinking I’m going to be the best damn bass player Megadeth’s ever had, I kind of went the other way. I thought to myself, I’ve got to emulate his style, because I have to make this sound familiar for the fans. So I grabbed the pick.

What was your process for learning the material and really getting it under your fingers?
I’d take three songs at a time, and when driving my wife to work or my kids to school, we’d sing along in the car. That way I could absorb the songs and some of the patterns would sink in. In essence, I’d try to become a fan of each song first. Then I’d go back and break them down pattern by pattern. It took me maybe two hours to sit down with each song and chart it out, and then another two hours breaking down the patterns. That was the best way to have them fit in my brain. The trick about Megadeth’s songs is that a lot of the riffs go by very quickly, and sometimes the bass follows explicitly and other times it moves away and finds its own space.

CAN BE HEARD ON

Megadeth, United Abominations [Roadrunner, 2007]

CURRENTLY SPINNING

Ron Carter, Uptown Conversation [Atlantic, 1969]
“He has that Miles Davis vibe where sometimes his intonation isn’t exactly where it’s supposed to be and sometimes he just kind of falls off the strings, but you get his soul pouring through the whole thing.”

GEAR

Basses: Warwick Buzzard, Thumb, and Stryker basses; ’62 Fender Jazz Bass; all with Rotosound Swing Bass Roundwounds (.045–.105)
Rig: Ashdown ABM RPM-1 EVO-II preamps, Ashdown ABM APM 1000 power amps, two custom Ashdown cabinets, each with four 10s and one 15, miked with E-V mics; E-V wireless
Effects: Aphex Punch Factory compressor, prototype Ashdown distortion pedal (soon to be released as the James Lomenzo signature overdrive), EBS ValveDrive distortion, and Aphex Bass Xciter, Dunlop DC Brick