Having that unique voice of his was a cool addition. He’s a really good bass player – that’s his foundation – whereas I’m a guitar player that picks up a bass and plays it like a guitar. “Having Greg is a new experience, because historically, I’ve played a lot of the parts. A lot of times, it will start with a guitar, bass, or keyboard. “I tend to play all of the above, and it really just depends on what is inspiring me.
What determines if you will play guitar, bass or keyboard on a Puscifer tune? It will be a fixed bridge with one Seymour Duncan Antiquity Tele pickup in the bridge, swamp ash body, and three-piece walnut/maple neck-through.”
“Also, I’ve been working with Kiesel on a tailored version of their Type-X for the tour. And that was going into a Bergantino 4x12.” That’s a solid-state: super-clean, very punchy, lots of headroom. But for the live stuff, it was the Gallien Krueger 2000RB. “For pedals, I definitely used the Malekko B:assmaster and the Prescription Electronics Depth Charge. For amplification, most of it was direct and then processed after the fact. It will be a fixed bridge with one Seymour Duncan Antiquity Tele pickup I’ve been working with Kiesel on a tailored version of their Type-X guitar for the tour. I also have a Custom Shop Fender Precision Bass ‘50s reissue that we used. I was worried when I got it that it was going to sound like a different kind of guitar, but it totally retains that Rick sound and feel. Seymour Duncan had made me a Quarter Pound for the Rick. “On the bass guitar side of things, I used a Rickenbacker 4001. It also has one called the BAM, which is a reverb, as well as one called a BOUM, which is compression and overdrive. Its delay is a 12-bit delay, which is kind of reminiscent of the AMS and early Lexicon stuff. “As for effects, anything that wasn’t software-done in the mix process was done through a desktop pedal company called OTO Machines. Most stuff that I track historically with Puscifer has been done using a single coil. “For guitars, everything was tracked on an old Steinberger GL that had an EMG HA single-coil I put in. It’s a combo and I changed out the speakers – it’s one of the Celestion Alnico Creams, which I think is a 90-watt. For that, I used an old Mesa/Boogie Mark IIC+. “I really like Robert Fripp's early stuff that he was doing with Peter Gabriel and David Bowie: that really 50/60 percent wet, slap delay on a clean – but a little bit of bite – tone. What was your guitar setup for the album’s recording? So, it’s never a straight path of, ‘I do my part, now you put your part on top.’ It stays very organic up to – and including – the mix.” “It’s not uncommon for someone to come up with a part, and then everything that’s been done prior to that gets redone, because this new thing completely changes the direction. What you do next is based on what the other player does. And then, the way it collaborates… It’s like a three-way game of chess. “Typically, the idea will start with something that I’ve come up with. Our songwriting stays very organic up to – and including – the mix But I’m recording and playing a lot of it. Everyone has their input, so everyone is producing elements. Carina will come in and do her magic, and then we put it all together. “Once things are developed enough, he may sing a rhythmic thing or he may have a melody idea, and then it starts to form from there. And then I’ll build them into more formed arrangements, and then he and I will go back and forth. The ones that I see resonated with him, I start building out. “When Maynard has bandwidth, he’ll go through and find which ones resonate with him, and then we color-code those. That usually goes into a folder that Carina and Maynard have access to. I'm not really thinking about songs or structure or anything like that, just coming up with interesting melodies, rhythms or textures. “Typically, the writing process starts with me presenting a bunch of ‘brainstorm ideas’.
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