Bass Solo- Scott Whalen of Imonolith
The cliché is that you’re not a real fan of the band unless you know the name of the bass player. The reality is if you don’t know the name and playing of Scott Whalen you’re missing out on a dude who has been consistently bringing high-quality low end for twenty years. Over that time he has lent his hands to bands ranging from Canadian rock band Econoline Crush to touring with Wednesday 13’s solo project Gunfire 76a to two man project Latenite Automatic (best described using their Bandcamp tagline “Rock. Dance. Repeat.”) to heavy metal band you should love made up of guys you love from other heavy metal bands you love Imonolith. Listening to Whalen play in these bands and on his active Instagram (and seriously, go check out his IG since I can’t embed IG videos here) and the Imonolith YouTube, you will quickly get the impression that he could join any band he wanted and immediately make that band both better and cooler. Scott was nice enough to let me send him a thousand questions about his gear, his influences, his schooling, and Frank Zappa and he took his time and gave some thoughtful, honest answers.
Doug Robertson- What is your go-to gear and how does that change between your various projects? Are we hearing the same bass and rig on Imonolith that we would on Latenite Automatic?
Scott Whalen- My go to bass gear is a P bass through a sansamp bass driver. That’s my “don’t leave home without it” combo. It’s worked on every gig I’ve ever played and never fails. I’ve played an array of basses over my time as a touring/studio musician and for me, it comes down to consistency, reliability and tone. Fender precision basses offer both, with a sansamp for grit & punch or to round out the sound and you’ve got it made! I also have Steve Harris signature quarter pound pickups by Seymour Duncan in all my Precision basses.
As far as amps, I currently play Mesa-Boogie and Ampeg amps but I find with any good tube amp you can get a great sound.
DR- Speaking of gear, can you talk more about the absolutely gorgeous ‘62 Fender P-bass that is all over your Instagram?
SW- I was lucky enough to come across a ‘62 reissue P bass in around 2002. It has a Birdseye maple neck and “used” to have a 2 tone sunburst on it. I’ve recently started the process of “relic’ing” it myself, and sanded the finish off to the natural wood grain. I may end up staining it a darker walnut colour but I haven’t decided yet. It has a really heavy tone and back when I played in Econoline Crush, I used it on all of the heavier Drop C tuned songs, strung up with custom gauge strings, 50-70-95-125. It was really tight sounding without a floppy low string. I think I’ll just tune to standard now tho, and give it a break in its old age. Haha
DR- In your YouTube lessons on Imonolith songs you’re playing with a pick, but you’re slapping more often than not on Instagram. Can you talk about the choices you’re making when it comes to technique on your different projects? Are there times when you slap or play fingerstyle during Imonolith songs?
SW- I strongly believe in serving the song and “playing for the project”. The last thing I want to do is unnecessarily impose my stamp on a song just because. Especially when I’m hired for a session or by a band with an album already recorded. It’s very obvious what the right technique is. In Imonolith, Beav (guitars) wrote all the bass parts and recorded the album State of Being before I was involved in the band. So, when I was asked to come onboard, it was very much a just play the album type thing. If I were to come in slapping the whole time, I’m sure I would’ve been shown the door immediately lol.
As far as my own music goes, I have so many different influences in my arsenal that really anything could come out and if I’m writing a song around the bassline, then it’s usually a riff or technique that I played that inspired the rest of the song to occur, so it’s definitely the reverse of playing other people’s songs. I honestly enjoy both slap and fingerstyle! Trying to assume the role and technique of previously created songs, really takes me out of my comfort zone and helps me expand my toolbox. Otherwise, I’ll be playing Geddy & Les rip-offs til the cows come home!
DR- How formally schooled are you in music? When writing are you thinking about theory or more “It’s cool when Geddy and Geezer do this, so I should try it”?
SW- I started playing bass around 6th grade and then was in concert and jazz bands all throughout school until college, at which point I studied jazz at Mount Royal in Calgary, Alberta for two years before leaving to pursue the touring rock band life. Formally studying music wasn’t my forte, but definitely allowed me to have a solid foundation to build on. I ended up teaching bass for awhile after I went to school, and still preferred teaching practical application of bass playing- groove, feel, rhythm, locking in with the kick, not stepping on the vocals, etc- than actual theory. But I must admit, now, when I’m writing. I’m pulling from theory and sometimes don’t realize I’m doin it. It certainly helps connect the dots though.
I’m much more of a “feel” player than a written music player. I find the rigidity of written music stifling, and prefer to play to the pulse of the band or my own heart. Goes for click tracks too, a well rehearsed band doesn’t usually need one to play properly live. Unless, you’re playing to backing tracks or your drummer drinks to much Red Bull before the show. Blues players never play to a click, and what music has more feeling than that?
DR- In your “American Life” video you talk a lot about being influenced by Les Claypool, but I also noticed a very cool Frank Zappa painting behind you so I wanted to ask about him. What Zappa songs really turn you on as a bass player? In your opinion, what is it about Frank that made him so special?
SW- Les Claypool is my biggest influence on bass hands down. Tied for 2nd are Geddy Lee and Geezer Butler. But Les was the bass player that opened my mind to “you can do that on bass!?!?” I discovered him at a very early age in the mid 90s, when NOBODY was doin anything close to what he was doin. Flea owned his own space, as well as, a few others being a bass player more in the front of the band but Les takes the cake for originality and song craft. His lyrics are extremely well written as well. That’s probably why no one has ever managed to copy him successfully.
Frank, is a huge overall musical influence. I’m more of a fan of his troubadour mentality and work ethic than any songs in particular. He broke every rule and made music that would make acid heads lose their minds all while being completely sober as well as having the sophisticated faculty to write symphonies for world renowned orchestras. He composed over 3000 works in his time on this planet, and remains one of the most prolific composers of the 20th century. His vision and unwavering dedication to his craft is what turns me on to him the most. Jean-Luc Ponty playing electric violin thats sounds like a bowed saw is pretty cool too haha. He had some great bass players in his bands over the years, but for me, it’s all about the song and the vision.
Top tracks are tough to narrow it down to but a few are- Black Napkins, I’m The Slime, Uncle Remus, Jazz From Hell, The Black Page, and Willie The Pimp.
DR- RVP (drummer Ryan Van Poederooyen) has a hell of an engine. When you’re writing for Imonolith how do you balance grooving with him on drums against what the guitars are doing?
SW- RVP certainly IS an engine!
Imonolith is all about the drums and guitars. Rarely, if ever does the bass vary from what the guitars are doing. It’s more about the wall of sound and the driving beat of the song. Individual instrumentation takes a back seat to the song as a whole. The sum is greater than its parts.
DR- Latenite Automatic is a collaboration with Jay Brown, who lives in Vienna, AT. This is a question that might have been more unusual before the world shut down, but what’s it like working completely online with another musician? What was the impetus to start Latenite?
SW- Latenite Automatic started back in the summer of 2013 as a studio project and then eventually evolved into a live act. Formed by a couple of friends who loved U2 & REM as much as we loved Depeche Mode and Nine Inch Nails. We both wanted to be in a band without “musical borders”. We’ve since released 2 full length albums and an EP and are currently in the process of having our 3rd full length album mixed in Vienna as we speak. Hopefully, to see a release early 2022!
The difference between the first releases versus this new album, is this new record was written and recorded entirely as an online collaboration started during the first quarantine stages of Covid, in early 2020. Over the year, we wrote about 30 songs, if not more and file shared the whole thing back and forth.
Jay and I are like left & right brain. Writing is extremely easy with us because we’re on the same page, most bands aren’t even reading from the same book haha. So, the distance isn’t really an issue, the time difference can make for a small challenge as you can’t get answers or feedback right away, as if you were in the same room. But, it proved to be great in the end, because it gave us the chance to take a step back from demos and really listen to what each other was doin’ as opposed to just immediately reacting before drinkin’ the ideas in.
I’m extremely happy with result and can’t wait to share the songs with everyone. Jay is an immensely talented musician, singer & lyricist, so it makes it easy to write when you’re genuinely a fan of who you’re working with. We both have zero ego when it comes to the process, so if something doesn’t work, we don’t try and shoe-horn a section into a song, just because we happened to write it. This way the finished product is always something we’re both proud to stand behind!
DR- Imonolith just released a slamming new single, "Angevil". Was it written and recorded while in quarantine?
SW- The song “Angevil” was written and recorded by RVP and Jon Howard during quarantine. As with the first record, “State of Being”, RVP wrote the majority of the lyrics and music, I believe, and Jon recorded all of the demo guitars and vocals at his studio in Hamilton, Ontario.
The drums & guitars were re-recorded and produced with Ryan’s brother Jason Van Poederooyen in Vancouver both at Hipposonic and JVP’s personal studio. The vocals were done after the final arrangements were agreed upon back at Jon’s studio.
It was a lengthy process as it was mostly done over file sharing and video conferencing at first. Once the song was decided on, then it went very quickly. Those guys are total pros!
DR- Who are your influences and are there any Must Listen To albums for bass players?
SW- Biggest influences are Les Claypool, Geddy Lee, Lemmy, Robert DeLeo, Geezer Butler and Carol Kaye! I’ve learned more about music as a whole from those six, than anyone else.
My must listen to albums for bass players are:
Sailing The Seas Of Cheese by PRIMUS
Graham Central Station by GRAHAM CENTRAL STATION
A Show Of Hands by VICTOR WOOTEN
Journey To Love by STANLEY CLARKE
and about 100 others but that’s a damn good start!
DR- How can our readers support you and your various projects? Do you teach online lessons?
SW- I don’t currently teach any online lessons but do upload a bunch bass videos on Instagram and if anyone would be interested in having lessons I would definitely entertain the idea of sharing my knowledge and experience with anyone!
My musical projects can be supported through their individual websites or iTunes/Apple Music- Latenite Automatic & Imonolith
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Many thanks to Scott for taking the time and please check out Latenite Automatic and Imonolith, as well as his Instagram.
Doug Robertson is the editor of The Bass Blog, the blog component of The Bass Channel, your one stop YouTube channel for all things bass. His number one is a Mexican Geddy Lee Signature Jazz and his boomer is a BEAD tuned T-Bird. He is bass and vocals for Red Hoof in Portland. Find books by Doug here. If you’re interested in contributing to The Bass Blog please reach out to Doug at doug@thebasschannel.net. We would love to hear from you.
