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When I'm working on a Slipknot song, it's like a switch flips in my head. I can go there easily - it doesn't take a lot of soul searching - and it's a dark, almost sinister place. Stone Sour is more the way I've always written. It's a different tone.

It can even be a single note which defines the entire song.

The sweetest of all sounds is praise.

Heard melodies are sweet, but those unheard are sweeter.

The worst words I could ever hear as a bass player was, 'Can you play the root notes?'

As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.

I always prefer other people's interpretations over my own, so I'm not very quick to make explicit what exactly a song or record is about.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

No notes. You speak from deep in your heart. It's easy.