Randy Ellis

When did you start playing and who do you consider to be your best influences?

I started playing guitar as a sophomore in high school in 1966. I began bass playing in my second year at Texas Tech (1969/70). All early playing was rock, influenced heavily by the Beatles, the Kinks and early British rockers, as well as Roy Orbison, and oddly enough, Don Rich (guitarist for Buck Owens). In as far as audio engineering, I started an interest in grade school. A radio transmitter kit got me broadcasting to the whole household! I wanted to be Dick Clark, back when he was young...come to think of it, he still is...the jerk.

Are you a self-taught player?

No...Started with a Sears acoustic and book, then began more ambitious study with Ken Tucker (played lead guitar with "The Fireballs" in Clovis, New Mexico) for approximately 3 months. I would have studied longer with him but he kept moving to avoid bill collectors (and prepaid students).

After obtaining a B.A. in Advertising at Texas Tech and a couple years work in radio, I headed to South Plains College, earning the Country/Bluegrass degree in 1979. I studied guitar with John Hartin, and Tim McCasland, and bass with Lynn Daniels, Ed Marsh, and later John Reid. After studying studio related courses for a year at Belmont College in Nashville, I began teaching in that field at South Plains College in Levelland,Texas.

Do you use any particular tuning?

I use all standard tuning on guitar, and I've begun using 5 string basses almost exclusively (low B added to normal bass EADG).

Do you feel it is necessary to read music to become a great player?

No, great playing and technique can be developed without it, however, NOT reading can severely limit opportunities to play especially on short notice. More and more players read so that they can remain competitive...Learn to read! Reading is essential for engineers to keep up with where the musicians are in compositions while recording. More and more sessions are not only charted but actually scored.

What was the most difficult thing for you to learn about playing your instruments?

The most difficult thing on guitar was barr chords, and changing chords very fast. After that hurdle, flat picking very fast become a real challenge. (it still is) Changing over to bass required some stretching on the left hand and what amounts to finger picking with the index and second fingers of the right hand. I cheated and used a pick at first, but the fingers gradually developed. The latest challenge has been adjusting to the five string bass, after playing four strings for 15 or so years. Something automatic takes over occasionally and I'll suddenly be in the wrong key! Thank goodness fellow musicians are understanding.

In the studio the most difficult thing in engineering to overcome was the barrage of controls. Finding monitors which would translate to others was also a big challenge. I use near field Yamaha NS-10m's mostly now but I'm still searching for something even better.

Describe any techniques that you feel are essential?

Techniques I consider essential on bass involve critical listening and knowing what to expect. You need to know what chords others are playing and where they are leading. As part of the rhythm section, the bass player needs to be very aware of tempo and rhythmic patterns to coincide (not collide) with the drummer.

Concerning Engineering in the studio, essential techniques include mike choice and placement, critical listening skills, and the ability to get along with people.

How does the equipment you now use compare with what you have used in the past?

Bass equipment I now use includes 2 five string basses: an Alembic Essence and a Pedulla Pentabuzz fretless. I also use an Ernie Ball Earthwood acoustic four string bass guitar and a Martin D-28 flattop acoustic guitar. Amplification is a Trace Elliot combo with 2-10's and a horn. Previously, I owned a '66 Fender Jazz, a "79 Music Man Sabre bass, a '67 Fender Jaguar, an Ovation and Fender Bassman, Deluxe, and Showmans, Polytone MiniBrute, Gallien-Kruegar MB-150 E-112 as well as MusicMan HD 130 amps.

Concerning recording, at SPC we now use 24 track analog MCI JH24's, Alesis ADAT, Panasonic 3500 and 3700 Data's, and Sony 5003 two track. Editing and premastering is done on Digidesign Soundtools and Masterlist CD. Consoles now include Amek Mozart, Sony MAP 3036, and Soundcraft TS-12. Most of my prior experience was with MCI 400 and 600 series consoles, and some early Tascam/Teac recorders, and Studer Dyaxis 1 editing.

What do you consider to be your greatest experiences in the music arena?

Greatest experiences as a musician include getting to know and perform with Tiny Moore, mandolinist for Bob Wills. Just sitting in and "faking it" with many musicians with which I never rehearsed is probably the most fun and biggest challenge. In this lucky group are Jesse Taylor, Johnny Gimble, and others. They have been gracious on the "clams" and inspiring to even be on the stage with. Some of the groups which I have been a regular member of include South Plains College's Country Caravan, Clarence Nieman and the Midnight Cowboys, Silver Creek, and Show Nuff (local bands), Randall Hilton's Bluegrass Band, and Tommy Collins (Nashville) as well as Corby Dyann (Austin).

What do you consider to be some of the greatest highlights of your career to date?

Highlights of my career include being chosen to teach and begin a program in Sound Technology at South Plains College, and to be associated with the finest professional musicians and technicians in the world in the Creative Arts Department here in Levelland, Texas. This is a very good place to be.

Describe your first professional playing job? Where was it? How did it go?

My first professional playing job was for a dance in Friona, Texas at a converted mechanics garage. I think we made $15 each and I played bass on a Fender Jaguar guitar with the bass control set fully on (so as to sound like a bass, not a guitar).

What sort of projects are keeping you busy at this time?

Currently, I am a full time instructor here at the SPC studios in the Sound Technology Department. Other studio projects underway are demo material for James Colburn and Kelly Stowe, aspiring country artists under the tutelage of Genie Nixon. Also, demos for the band "Show Nuff" (in which I currently play bass) are being recorded.

On the technology front, I am working to create more multimedia type presentations for classes I teach (Intro to the Studio, Studio Techniques, and Careers in Music Business). I am also beginning to design graphics for CD labels.

Does your studio equipment differ from your live gear?

Same stuff as above...control settings may differ somewhat in the studio since I run concurrently direct (using a Countryman Type 85 DI) and through my amp (Trace Elliot) which will be miked. In the mix, then I have the choice or usually the combination of the two for the tone I'm after.

What players do you enjoy listening to these days?

The Mavericks, Lee Roy Parnell, Mark Collie, Mary Chapman Carpenter, Nancy Griffin, and especially Austin artists Junior Brown, Dale Watson, and Joe Ely (though not necessarily in that order). Favorite bass players include Will Lee, James Jamerson, Nashville session players Gary Lunn and Roy Husky Jr..., and Dallas/Ft. Worth bassist Lynn Daniels.

Do you have particular opinions about good back-up playing when working with vocalists?

Don't step on the vocals...embellish the non-obvious...usually the bass player is there for the root of the chord and the rhythmic down beats and any runs or licks need to be subservient to that. It is far better to play less often and simpler than to play more and be in the singers' or the lead player's melodic pathway (in the way).

Do you have any inspiring words for new musicians that might get them through the potentially frustrating times of practicing?

Nothing worth anything is easy, but don't try to make it any more difficult than is with a bad attitude. Relax, have fun with it, and soon, if you persevere, you'll be playing well. Those who got frustrated and dropped out will be eating their hearts out. Come to SPC and check it out!

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