Bill Laswell’s “Means of Deliverance” — Making a Groundbreaking Solo Bass Record

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Mixing and Mastering for the Low End

For each song, Laswell generally took a three-tiered approach, first recording a rhythmic riff, followed by an additional lead track playing off of the rhythms, and capped off by an ambience track played with an ebow or slide to create a drone. While some songs are spare, like the focused virtuoso of “Bahala”, others are much more dense, with as many as six tracks of bass happening.

While a good deal of the audiophile-quality recording of Deliverance can be attributed to the carefully crafted recording path, the mix also helped Laswell and his engineering team to make the most of it. At Orange Music, mixing does not take place in the control room adjacent to the live room. Instead, the faders are moved in a separate, dedicated room on the top floor of the studio (picture a Southwestern cabin with mirrors on the ceiling), where a Yamaha DM1000 32-input digital mixer and a Neve 8816 16-channel summing mixer are available.

“For this particular mix,” Dellatacoma says, “we wanted the cleanest signal path possible, so we just used the DM1000, because the 8816 is known for adding that classic Neve transformer sound. We edited as we went along. If parts were good they were kept, and if not they were muted. Bill’s style of mixing is very manual: He has his hands on the faders, without a lot of automation. So in Bill’s mind, if things are colliding or interfering, he knows what volume moves will work.”

Not surprisingly, compression and other processing were minimized for this naturalistic recording. “Rob’s theory was, ‘Let’s use as little processing as possible’, because we wanted a real clean, defined sound for this record,” says Dellatacoma. “We didn’t use a lot of compression, and we certainly didn’t use a lot of outboard gear, in order to minimize electronic noise. Any compression that was used was in plugin form, like the MCDSP Compression Bank, and the Fairchild 660 Bomb Factory plugin, but that’s heavy – when Bill is playing a dub-style bass line, that kind of compressor sounds great.”

“Means of Deliverance” is available now from Innerhythmic.

After Orange Music, the tracks made a crucial stop at TurtleTone Studio for mastering by Michael Fossenkemper.

“He does all of Bill’s mastering and he knows what a Bill Laswell record is supposed to sound like,” Dellatacoma says. “Whether it’s a full band or solo bass, it will have a rich low end that’s not thumpy or foggy – its defined low end. The low end is the anchor of Bill’s records, and Michael knows not to roll off too much.”

Wisdom of the Basses

Typically, Bill Laswell is not sitting still. Although the record was just released on his Innerythmic label, he’s already got his sights set on something new: a series of live musical performances set to a one-hour edit of the classic mind-blow film Koyaanasqatsi, originally scored by Philip Glass but now being reimagined by Laswell with the permission of director Godfrey Reggio.

Looking back at the landmark achievement that is Means of Deliverance, Laswell is sure of at least one thing. “What’s definite is that I can’t repeat that again!” he states. “It’s documented. So I have to move on and take it as a step that I’m moving forward with.

“I haven’t got a particular philosophy about this period or this work, but I hope it translates, because this is some real life experience moving out of the speakers: It’s a simple story that can be interpreted, reinterpreted, and carried on and on.”

— David Weiss

The U 47 picked up plenty of heavy air.


The inspirational Orange Music live room.

Inside the control room.

Neve mic pres teamed up with…

…Focusrite on the front end.

The upstairs mix room

Digital & analog: The Yamaha DM1000 teams up with a Neve 8816 summing mixer.

Accompanying outboard in the Orange Music mix room

Check the FX!

Your friendly neighborhood engineer: James Dellatacoma at Orange Music Sound Studio (photo by Avraham Bank)








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12 Comments on Bill Laswell’s “Means of Deliverance” — Making a Groundbreaking Solo Bass Record

  1. Ernie Jackson
    October 29, 2012 at 7:56 am (5 years ago)

    Awesome article!!! Thanks for writing. Please fix the grammatical error in the first sentence.

  2. David
    October 29, 2012 at 3:48 pm (5 years ago)

    Ernie, thanks! I must be a bad editor, I can’t tell what the grammatical error is. Let me know, thanks again!

  3. Jake
    October 29, 2012 at 6:01 pm (5 years ago)

    2nd sentence, “A mostly underground a producer who occasionally surfaces in the mainstream…”

  4. JAsonB
    October 30, 2012 at 5:09 pm (5 years ago)

    “…could not identify another solo bass guitar record in existence”? really?

  5. ej
    October 31, 2012 at 1:17 pm (5 years ago)

    4th word.

  6. m3k
    November 8, 2012 at 10:55 pm (5 years ago)

    so the singing on track 5 came from the bass too?

  7. Sid Mills
    November 8, 2012 at 11:40 pm (5 years ago)

    Nice work Mr. laswell…. been a fan for many years…. do your thing..

    Sidney Mills (Keyboards)
    Steel Pulse…

  8. Paul
    November 9, 2012 at 4:19 am (5 years ago)

    Awesome to know that Laswell has, at last, issued a solo bass recording and very cool to hear him talk about it and, just as cool to see pics of the studio where so much incredible music has been made. Great article

  9. FactCheckin
    December 4, 2012 at 8:28 am (5 years ago)

    There are solo bass albums by some world-renowned bassists,
    -Barre Phillips
    -Dave Holland
    -Ron Carter
    -Malachi Favors
    -Eberhard Weber
    -William Parker
    -Vitold Rek
    -Henry Grimes

  10. ApathyNihilism
    May 24, 2014 at 2:36 pm (4 years ago)

    I supposed describing him as “mostly underwater” would have minimized mixed metaphors.

  11. Bodaciousness
    November 15, 2014 at 6:37 pm (3 years ago)

    It does say, …”which stands as the first ever acoustic solo bass recording from this quirky maestro.” Doesn’t say it’s the only one ever by anyone.