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Korg DTR 2000 Rackmount
Tuner
Samson Concert TD Series
Wireless System
Radial Engineering Tone-
bone
Electro-Harmonix Bass Big
Muff
Zoom Multistomp for Bass
Red Panda 3-Channel
Mixer
ART Stompwatch Stop-
watch Pedal
Boss TU-2 Chromatic Tuner
CM: You’re well-known as a bass-
ist and band leader, though have
been taking on a lot more musical
direction and production of late.
Generally speaking, how does
your experience as a bassist at the
intersection of rhythm and melo-
dy come into play in your higher-
level roles as a musical director or
band leader?
OI: I would say foundation is key.
My experience as a bass player
has taught me to hold things down
in the rhythm section. Now I hold
things down in terms of an overall
musical production. Someone has
to be the person that can talk to mu-
sicians in their language and then
talk to production in their language,
so it’s more of a philosophy than it is
anything rooted in music as a bass
player. At this stage, my aim is to be
the most well-rounded musician, pe-
riod; bass is just the instrument I feel
most comfortable playing in public…
CM: On a related note, how
would you say your experience
working in television and, spe-
cifically, live broadcasts – where
the focus is often shorter, punchy
performances to keep the audi-
ence engaged and the program
flowing – come into play in your
composition, arranging, musical
direction, and performance on
“longer-format” projects?
OI: I love TV for the fact that we
have to get to it and keep it inter-
esting. Ninety seconds is the usual
length for a reality competition-style
show performance like on Idol, Got
Talent, The Launch… What that’s
taught me is to layer a performance.
Can you introduce a new element,
say, every 30 seconds, whether it be
visual or in the arrangement? Can
you do something new or interest-
ing to the arrangement of a song
that everybody’s heard a million
times to keep them engaged right
off the top? It’s all about layers.
CM: Considering your wide
breadth of experience in all kinds
of different scenarios and roles, I’m
curious as to how you generally
approach choosing your projects.
What informs your decision on
whether a given project is some-
thing you want to be involved with
and to which you can add value?
OI: At this point of my career, I really
don’t get calls to do things that aren’t
at a certain level, and the producers I
regularly deal with are always doing
big things, so I want to be involved
in helping them take their creative
from paper to the stage, so I rarely
turn down an opportunity with my
TV clients. They just want to know no
matter how involved the creative is,
there is someone who can make it
happen. I want to be that guy.
That said, I have turned down
projects that I felt weren’t at a certain
level, ‘cause I have a “you’re only as
good as your last gig” mentality.
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Anna Ruddick
CANADIAN MUSICIAN 51