Disturbed's John Moyer
| May, 2008
It’s taken three years for Disturbed to follow up its 2005 Warner Bros. knockout Ten Thousand Fists, but John Moyer and company haven’t spent the time sipping fruity drinks on the beach. “We toured for 16 months,” explains Moyer as the band settles into another round of dates, this time in support of a new album, Indestructible. The band will also have a 30-day headlining stint on this summer’s Rockstar Mayhem Festival.
When you start your tour in July, which of the new tunes are you most jazzed to hammer out?
I did a lot of heavy picking on Indestructible, and both “Inside the Fire” and “Perfect Insanity” have some tasty bass riffage. That’s my right-hand attack—the aggressive side of my style; I can play fingerstyle, but I like that aggressiveness. Plus, much of what we do in Disturbed is fast and furious, and way easier to play with a pick.
How do you view your role as the bassist in Disturbed?
First and foremost, it’s to make the music rock—to make it move. Second, I try to connect the drum rhythms to the guitar chords. Then, I try to find spaces where I can incorporate a little more melody or find a fill or transition riff to take a song from a verse to a chorus.
How did you come to help Traben design its new Havoc bass?
Traben came to me with a design in mind, but it wasn’t really my style. Plus, I’ve got my own ideas on what I want my bass to be. So we designed a great instrument similar to a StingRay. I love StingRays and have played them for years, but their weight has always bothered me. Also, vintage StingRays have string-through-body bridges. On the Havoc, you can go through the body or the back of the bridge, and you get a different tone depending on how you string it.
How do you string yours?
I string them all through the back, except the E. When they go through the body, they sound a lot fuller—they connect with the body to create deeper overtones. Stringing the E through the bridge makes it sound a little snappier, and it makes the string easier to mute.
Are you always trying to improve your skills?
Most of my improvements come from Disturbed being so busy. In the last three years, we’ve put together two records plus we’ve done tons of touring, which has kept my chops up. Being a working musician and living it every day is enough to make you better all the time.
What’s something you’ve learned from your years as a working musician?
I teach at Natural Ear Music in Austin, Texas, where I work with a lot of young bands. I’ve found that it’s not nearly as inspiring for young players who just sit at home with their instrument. When starting out, the best thing to do is find other people to play with. That’s what builds the fire.
Can Be Heard On
Disturbed, Indestructible [Warner Bros., 2008]
CURRENTLY SPINNING
Stone Sour, Come What(ever) May [Roadrunner, 2006]
“These guys have everything: metal moments, rock moments, and softer moments. It’s a great-sounding record with creative bass runs and killer tone.”
GEAR
Bass Traben John Moyer Signature Havoc 5-string with Rockfield humbuckers; Ernie Ball flatwound strings (.045–.135), In Tune GrippX Picks (.60mm)
Rig Kustom Groove Bass 1300 head and 810H cabs
Effects DigiTech Bass Multi Chorus, DigiTech Bass Driver overdrive
