I couldn’t hear the bass in a lot of the thrash [metal] I was listening to. It seemed like the bass was doing exactly what the rhythm guitar was doin… - Alex Webster

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I couldn’t hear the bass in a lot of the thrash [metal] I was listening to. It seemed like the bass was doing exactly what the rhythm guitar was doing, so that’s what I tried to do. I think that shaped my righthand technique, having to learn how to play the really fast stuff with three fingers. I didn’t realize a lot of these guys were cutting things in half [playing half the notes] or doing something a little different. I’ve always played fingerstyle since we got Cannibal going, just trying to keep up with the guitar players. In thrash, there’s not as much of a bass–drummer connection as there is a bass–guitar connection—at least I didn’t see it that way in the beginning. [...] When I started, I played fingerstyle with two fingers, and not very fast. I could get going to a respectable speed, but not something crazy like Jeff Berlin or Juan Alderete. But then we did a show with Cynic and Malevolent Creation. Cynic’s bass player, Tony Choy, played with three fingers, and Malevolent Creation’s bassist plucked with four. I said, “I have to be able to keep up, and I’m not going to use a pick. I have to be able to figure out how to do it with my fingers. [...] Around that same time, I was listening to Sadus a lot, which is the band that Steve DiGiorgio originally came from. I could tell the bass was played fingerstyle, and it was really fast. I managed to track down Steve’s phone number, so I called him up and asked, “Dude, how do you do that?” He explained his technique, which was going from the ring finger to the middle to the index back to the middle—there’s your four notes. I was very grateful, and we’ve been friends ever since. I tried to learn that way and got it down, but as I would start to drift off in doing muscle-memory practice, my technique would start to fall into a different technique. That was the one that I described in the book, where it ends up being a 12-note cycle. You’re basically playing a triplet pattern, but it ends up feeling like straight 16th-notes. So Steve’s tip helped get me started, but I ended up developing my own thing.