When metal guitarists started tuning down en masse in the ’90s, they began a sort of sonic turf war with bass players that continues today. In Massachusetts metalcore band Shadows Fall, Paul Romanko has found ways to make sure his bass cuts through the thickest guitar sludge. Check him out on the new Shadows Fall record, Threads of Life, and on this month’s Jägermeister Music Tour.

How do you make your bass cut through on record?
We generally track bass after all the guitars are done. When guitars come in over bass and drums, it can get muddy in the midrange, and it can be hard to dial in what you want without compromising too much. It’s easier to fit the bass in the right spot once the guitars are down. Plus, I can play more with my parts if there are more instruments on tape. I often change my parts when they come under the studio microscope; I’ll do a few passes to make sure they’re aiding the flow of a riff, not interrupting it.

How do you ensure you get the right tone?
We record with a DI, with a mic on a clean bass amp, and then through an amp with more distortion. On this record, we also sent the bass through a Rivera guitar head. We got it to cut through by just adjusting the levels between those signals.

Jason Bittner’s kick drum is wicked busy. How do you work around that?
I’ve found that trying to match him—even when we’re dead on—doesn’t sound right. So when he’s playing 16th-notes, I’ll often just downpick straight eighth-notes. In a lot of metal bands, the kick drum sounds clicky, with a lot of high end; fortunately, Jason’s kick drum sounds fairly natural. That makes it easier to find a place for the bass tone.

What other tips have you learned through the years?
If your guitarist is using less gain, that leaves you more room. It’s a give-and-take, and it all comes down to what you want your band to sound like. If you want that thick, low-end guitar sound, the bass is going to suffer.