Bass Phils

Thrash metal means never having to slow down and grow up. We meet the mighty Phil Rind of Sacred Reich, whose new album Awakening is a bona fide monster

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How was the recording process for you this time, Phil?

We were just trying to get the right take. By the time I got done recording, I was finally happy with the process! I wound up playing a ’64 Jazz bass that I’d never played before. It sounded so killer, although I’m used to a 10”-radius neck which is super flat, and this one was 7.5”, and it had side position markers that I couldn’t see and 20 frets instead of 21, so sometimes I was overshooting. It was a bit of an adjustment, but I was digging it. In the end I liked it so much I wound up getting a signature Flea bass from Fender, and I love it.

Why go for a Jazz?

I just like the sound—that Jazz sound had an edge to it and it really cuts through. The sound is more rounded and naturally scooped. Years ago I went for a much clearer sound, so I always played P-J basses with Hartke cabs and a Gallien Krueger head, because that gave me such a clear tone. I even had a brass nut, because it was so chimey, but now I’m going for a way thicker, deeper, overdriven tone. I use an Orange head with 4x12 cabs and a little overdrive pedal, so the Jazz has so much tone. That Flea bass is made in Mexico, but the pickups sound unique. I played every Jazz they had at Sam Ash and Guitar Center, but the Flea bass was my bass. You just pick something up, and that’s your thing.

Dave McClain, who was your drummer from 1991 to ’95 before joining Machine Head, has recently rejoined Sacred Reich.