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© Chris Schwegler/Retna Ltd./Corbis
With Head pushing for Fieldy’s distinctive bass sound, the five-stringer put on his armour and prepared to do battle with the record’s production team, while Munky strived for a nasty, biting tone.
Fieldy: “What happens when you start out, my bass tone is usually there, but then as a producer comes in they usually change things. The times down the years when you have heard my bass tones, they were the times when I was able to sit there and battle for it. Over the years it has become harder to battle because you have people constantly pushing.
“Getting that tone is really simple for me; it is more difficult for producers. They want to go with a bass tone from a player that they are familiar with, and my bass tone is not familiar to most producers. I really just wanted to focus on my tone and keep it simple.
“I don’t know where it came from. It was just something that came. I like messing with EQs, and I just did whatever I liked. Over the years now, I look back on it, [but at the time] I didn’t realise [the impact that it had on the nu metal scene]. I was just doing something that I liked. To me, when I listen to it, it sounds like percussion, almost like there’s another drummer there.”
Munky: “We just wanted the guitars to be really in your face and biting on this new record; that’s what the Peavey amp [Munky and Head used a Diezel Herbert and Peavey 5150 in the studio] was able to give us. We always want to hear new tones and things that interest us. When we play together, it sounds like Korn, so we weren’t too concerned with the tone – we just wanted it to be bright and biting with that low end.”