Although you’ve worked with numerous great artists, you’re most well known for your association with David Bowie. How did you become
not only his musical director, but his producer on the “Earthling” CD?
I started out with DB as an engineer/mixer on what was to become his “Earthling” album in 1996. I got so deep into the making of that record
that I also got producing and writing credit. I became MD much later, after the next album ‘Hours.’ By then David knew I could play bass as
well as guitar, as I did both on that album, so he asked me to fill the MD spot when it opened up.
You’re such a great bass player and yet in Bowie’s band you played guitar. Why?
He’s already got a great bassist in Gail Ann Dorsey. Also, a rhythm guitarist was what we needed so I jumped in. Eventually, Gail and I would
switch instruments a bit, so I did get to play some bass on tour.
A lot of producers tell me that getting the bass part right is the key to getting the song arrangement right. Are you of that opinion?
I agree with that. In my opinion, the bass keeps everything grounded, focused, and inspired. On “Earthling,” the songs were mapped out with
programming, loops, guide guitars and vocals. We then layered the band on top of these arrangements. We spent a lot of time on bass parts.
Do you have any “secret” bass recording techniques that give that “Mark Plati” sound?
I suppose it’s my ’63 Jazz bass, which I use 95% of the time. My preference is to track with API or Neve preamps, 1176 compressors and tube
DI’s, but sometimes it’s great to just use whatever is available. In mixing I generally push the bass more than some people - sometimes that
gets me into trouble!
What’s your personal bass arsenal like?
1963 and 1973 Jazz basses, 1964 P bass, Elrick 5 string, 1967 Gibson EB2, 1979 Music Man fretless, and a couple of fretted Ernie Ball Music Mans.
You’ve recently produced the “Brazilian Girls” latest CD with Jesse Murphy (future interview) on bass. What’s it like working with other
excellent bassists? Do you have strong bass ideas or is it a more autonomous process?
It’s great working with other bassists - you can cop tricks! I’ve recorded Anthony Jackson, Conrad Korsch and you as well, Mike. With players
like these, unless you have a specific part you just turn them loose. Jesse Murphy usually has a surplus of ideas, so we’ll just go through his
takes and take the coolest bits.
What qualities do you like to see in a bass player, both live and in the studio?
I like to see players who mirror my own objectives - bassists into composing parts and optimizing their space in a track. Whatever serves the song.
I started out with DB as an engineer/mixer on what was to become his “Earthling” album in 1996. I got so deep into the making of that record that I also got producing and writing credit. I became MD much later, after the next album ‘Hours.’ By then David knew I could play bass as well as guitar, as I did both on that album, so he asked me to fill the MD spot when it opened up.
You’re such a great bass player and yet in Bowie’s band you played guitar. Why?
He’s already got a great bassist in Gail Ann Dorsey. Also, a rhythm guitarist was what we needed so I jumped in. Eventually, Gail and I would switch instruments a bit, so I did get to play some bass on tour.
A lot of producers tell me that getting the bass part right is the key to getting the song arrangement right. Are you of that opinion?
I agree with that. In my opinion, the bass keeps everything grounded, focused, and inspired. On “Earthling,” the songs were mapped out with programming, loops, guide guitars and vocals. We then layered the band on top of these arrangements. We spent a lot of time on bass parts.
Do you have any “secret” bass recording techniques that give that “Mark Plati” sound?
I suppose it’s my ’63 Jazz bass, which I use 95% of the time. My preference is to track with API or Neve preamps, 1176 compressors and tube DI’s, but sometimes it’s great to just use whatever is available. In mixing I generally push the bass more than some people - sometimes that gets me into trouble!
What’s your personal bass arsenal like?
1963 and 1973 Jazz basses, 1964 P bass, Elrick 5 string, 1967 Gibson EB2, 1979 Music Man fretless, and a couple of fretted Ernie Ball Music Mans.
You’ve recently produced the “Brazilian Girls” latest CD with Jesse Murphy (future interview) on bass. What’s it like working with other excellent bassists? Do you have strong bass ideas or is it a more autonomous process?
It’s great working with other bassists - you can cop tricks! I’ve recorded Anthony Jackson, Conrad Korsch and you as well, Mike. With players like these, unless you have a specific part you just turn them loose. Jesse Murphy usually has a surplus of ideas, so we’ll just go through his takes and take the coolest bits.
What qualities do you like to see in a bass player, both live and in the studio?
I like to see players who mirror my own objectives - bassists into composing parts and optimizing their space in a track. Whatever serves the song.