Grammy-Nominated Upright Bass

Q: Tell us about your studio setup.

A: I have a variety of dynamic and condenser mics and preamps. My main go-tos include a Grace Audio Pre, Radial Firefly Tube DI, and an Apogee interface. I endorse Aguilar Amplifiers and D'addario Strings, so that's what I use onstage and in the studio. Depending on the sound needed, I have a choice of carved or laminated Double Basses, and everything from modern to mid-century hollowbody Electric Basses available.

Q: What other musicians or music production professionals inspire you?

A: There are so many possible folks to list, but I'll focus on a handful of bassists that have really influenced the way I think about making music: Willie Weeks Willie Dixon Carole Kaye James Jamerson Milt Hinton Paul Chambers Ron Carter Edgar Meyer Christian McBride Danny Thompson Viktor Krauss Cousin Jake Tullock Ernie Newton Bob Moore Roy Husky Jr. Dennis Crouch John Pattitucci Donald Duck Dunn Pino Palladino Tim LeFebvre Chuck Rainey Bob Babbitt

Q: Describe the most common type of work you do for your clients.

A: Most of the time people are looking for reliable Upright Bass sounds. The Double Bass is a tricky instrument to record, and especially to mix. Not all recording techniques work well with every genre or style; what's right for a jazz or funk/fusion song may not fit the vibe of a country, folk, or Americana session. The type of instruement, string type, mic placement and especially note choice, length, and intonation are crucial considerations when recording the Upright Bass. Understanding what makes a Double Bass sound great well before mix-down can be the difference in accomplishing a finished mix that really has an authentic, woody bass track, as opposed to one that is muddy and lacks clarity and focus in the low end. When it comes to Electric Bass, things are a little easier when recording, because mic placement and isolation are less of a factor, but the efforts to craft a bass line and achieve a tone that works for a song are just as intense and careful as they are on a Double Bass session. From old-school thump to modern growl, a great Electric Bass part can make or break a session. Sometimes projects start in one direction or with a certain sound or groove in mind, but as songs evolve musicians need to be open-minded and flexible. This is probably the single most important and enjoyable factor when it comes to recording music; you never know where the music will lead you. There have been many sessions on which the decision was made to switch from one type of bass to another, and sometimes a composer, producer or engineer will utilize BOTH Double Bass and Electric Bass tracks. What matters most is always, always...the song. If a solid mix with a powerful, solid foundation is your goal, then getting the bass RIGHT from the beginning is critical.