“A lot of guitar players switch to bass, but I feel like I was born a bass player – it’s in my bones”: Weezer’s Scott Shriner shares his bass tone secrets

When you think of alternative-pop band Weezer, the images that come to mind are of sweater-clad, bespectacled Buddy Holly lookalikes crooning pop songs and summer anthems. But in 2001, when Weezer saw its second bassist Mikey Welsh leave the group after replacing original member Matt Sharp, a tattoo-covered, gold-tooth-sporting, punk-rock-looking bassist stepped into the picture.

Scott Shriner might not have fit the typical Weezer aesthetic, but luckily for the band and its fans, he'd ultimately impact more than just the Weezer look. Right from his first album with the group, 2002's Maladroit, Shriner was cutting through with more tenacity and presence than either of his predecessors.

His wide range of tones, pumped through an ever-expanding array of amps and bass guitars, has been an important factor in Weezer's growth; his phases with Fender, Warwick, Lakland, and Electrical Guitar Company basses have created sonic mile markers for a band that shifts gears with every album.

“A lot of guitar players switch to bass, but I feel like I was born as a bassist – it's in my bones,” Shriner told Bass Player. “There was a time when I was trying to fit more of a traditional bass role – I made sure my tone was round and mixed in with the kick drum, but then I realized that I wanted to rip more!”

Our interview from the Bass Player archives took place in 2014, following the release of Weezer’s ninth studio album, Everything Will Be Alright in the End.

What was your mindset heading into the writing process for the new album?

“I wanted to have special moments that might not be particularly flashy, but impactful. There's a certain kind of honest, and adventurous route you can take while being a team player, and I wasn't afraid to stick out a bit along the way.”

Did that have a big impact on how you wrote your basslines?

“It really did. I was definitely a little less careful than I've been in the past. That's kind of how my playing style has evolved over the last few years. I got into a big John Entwistle phase where I was listening to the Who live albums, and his tone became one of my favorite bass sounds ever. He managed to have grit and be really round at the same time, so this time around, I went for a tone like his.”

Weezer - Back To The Shack - YouTube

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You sneak a great, unexpected bass lick into the verse of Back to the Shack. How did that happen?

“Rivers wrote that song, and there is a line where he says something like, ‘I had to make a few mistakes to find out who I am.’ It struck something in me, and I decided I was going to do a bass fill there. That takes place in the middle of the second verse, which, traditionally, is not a place you'd throw in a big fill like that. That could have been a giant mistake, but it worked out.”

Did you use any new techniques this time around?

“I've learned that sometimes, when I pluck up near the neck pocket, I can get a really distinctive sound. I always used to play back near the bridge, so it took a while for me to get used to that. I made fun of guys who played there because I thought it was a weird place to play, but I found a sweet spot.”

How much of your sound comes from your hands?

“I'm going to be bold and say that 79 per cent of my sound comes from my hands and my attack. I know that if I play too hard, the notes will get smaller. So I have to constantly remind myself to relax, let my shoulders down, loosen my arms a little, and play a hair lighter. You can get a sound like you're hitting the strings hard even when you're playing softly.”

Describe the role of bass in Weezer.

“To be adventurous and bold, but at the same time, to really listen to Rivers’ singing and the melody. For example, I might think I'm adding something, but if I'm not careful, I might be distracting. stepping on something, or not letting something breathe.

“Rivers has so much character in his voice, so many subtleties, so if I'm going to choose spots to express myself, I can't get annoying. My role is to bring out the melody and the words while maintaining the heaviness of our drummer.”

What is your biggest challenge?

“Knowing Weezer's catalog, which is pretty big, And there are times when Rivers will just point at me and walk offstage, which means he wants me to solo. I love moments like that, because I have to be confident and know that I've got this. Sometimes I have to reel in the powers of the universe to cover a couple minutes of the show, but I like being kept on my toes like that.”

Weezer - Dope Nose (live 2005 Japan, Scott Shriner) - YouTube

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On top of everything else, you have to sing, too.

“Singing is a big part of this job. When you watch Chris Squire or Geddy Lee or Les Claypool, they make playing and singing seem like no big deal whatsoever, but it's really damn hard. Then I think to myself, Would Geddy Lee be complaining about having to sing over this section? The answer Is always, ‘No.’”

How would you evaluate your bass playing after all these years?

“There are probably some bass players who would say I'm worse than ever because I'm jumping out of a traditional, supportive role. But the bass players who get me excited are the ones who play things differently each night and who aren't afraid to take chances. Even if they fall off the string or come in below the note and slide up to it, these guys are going for it. I've gotten to a place where l'm proud of myself, and I'm proud of my willingness to go out on a limb.”