![]() ![]() I’m one of the fortunate minority who studied bass for four years with one of his heroes, Robert Hurst. Like I mentioned earlier, Collin and I connected on “Ramble On.” Hell yeah! John Paul Jones is one of the godfathers of rock bass, and his musicianship helped fill out those Zeppelin records with all the other instruments as well. Who are some of your bass heroes? Are you a big John Paul Jones fan? GTH has a bit of an anthemic, Zeppelin-esque vibe. You can extract so much if you limit yourself… I highly recommend checking out Bernard Hermann film scores for a masterclass in this concept. ![]() Musically speaking, he came in with that riff that you hear in the post-choruses, and all I did was take a nugget and put my own rhythmic flavor on it. The city that never sleeps suddenly stopped, and it was simultaneously horrifying and peaceful.Ĭollin’s initial idea brought these emotions to the table, and I just responded. I’m genuinely relieved that most people living in other parts of the country/world didn’t really ever feel the urgency, but we literally had bodies filling up cold trucks outside of hospitals back in early 2020. How did you approach and arrange “Gone Through Hell” on bass? Did you draw some inspiration from your own personal experiences with the pandemic?Īll I can say is that being in New York City during this time was a real eye-opener. The feedback is instantaneous, and we trust each other’s instincts as much as our own, which is rare in a creative relationship. ![]() ![]() Collaborating remotely is amazing and has opened up a lot of opportunities, but I much prefer being in a room with someone. Collin and his roommates got COVID in the early days when we didn’t know how that would turn out, but after a few months, we started getting together in a studio space in Greenpoint. I frequently use the Epiphone Jack Casady signature bass when performing with Collin because it gives such an amazing sustain and very aggressive sound all on its own, no effects.ĭid you collaborate virtually or in person at the studio for the new single? I like semi-hollow basses, probably because I studied and play a lot of upright bass, too. You can even switch on both circuits simultaneously for BIG distortion. One circuit sounds more like tube amp distortion, and the other is heavier, and you control them independently. I typically use an Ashdown Nate Mendel Dual Overdrive, which gives a TON of flexibility. Obviously, you can tell that saturation/distortion/overdrive is a big part of the bass sound with Collin Stanley. Living in NYC, you quickly learn to adapt to all kinds of rehearsal scenarios, and it’s difficult to maintain a consistent rock rig, in terms of amplifiers and speaker cabinets, unless you don’t mind pissing off your neighbors. Do you have any go-to’s for his project as far as pedals or guitars? Tell us about your live rig/setup whenever you guys play together. The idea for Made on Tape was hatched in Collin’s kitchen and he co-wrote and played guitar on my Working Flakes project. We have a well-established creative relationship and have collaborated on many projects, including some of my own. Collin suggested I switch to the electric bass to allow for more flexibility and to get harder tones.Ĭollin and I quickly realized we had mutual friends and instantly connected over our love of the Detroit music scene since we both had a strong connection to the region. At the time, I was playing upright bass with Tiffany (the frontwoman) and we had more of a folksy rock vibe. One of the first tunes we jammed was “Ramble On” by Led Zeppelin. The space couldn’t have been bigger than 10 x 10 and barely fit all of us. I met Collin over six years ago in a tiny rehearsal space/percussion studio in Williamsburg, Brooklyn for a female-fronted rock band called DDWhite. How long have you known Collin, and how did you originally become acquainted? Read on to hear how the song took shape, and how he wrestled with a Gibson Grabber to get that bass tone. Recorded at Bull Productions Recording Studio in Miami, Agar channels John Paul Jones, and masterfully builds tension throughout each verse until it explodes into an eventual frenzy. Agar collaborated with Stanley on his latest single, “Gone Through Hell,” a highly introspective song detailing the isolation and uncertainty Stanley felt during the pandemic. We recently had the opportunity to chat with Chris Agar, an NYC area bassist who is currently laying down the low end for indie rocker Collin Stanley. ![]()
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