I'm a Grammy-nominated bassist w/ extensive experience in studio and live, on both the Upright and Electric bass, in the US and UK. Performance appearances include Jerry Douglas, James Taylor, The Earls of Leicester, The Transatlantic Sessions, Martin Harley, Sarah Siskind and many others. Check out my Soundcloud playlist below for demos! Thanks!
Hi everyone. I'm a "doubler." What is that? It's a bass player who works well on both Upright Bass (Double Bass, Contra Bass, Doghouse, Bull Fiddle) and Electric Bass (old school Fender stuff, modern fusion projects, Country and Pop). I've got two undergraduate degrees in music (Classical & Jazz) and I've got something like 22 years experience as a performing and touring bassist. Lately, you can catch me performing live w/ the Jerry Douglas Band and The Earls of Leicester, and The Transatlantic Sessions (Irish / World Music). I’ve done a lot of Blues and Jazz, really anything that involves any kind of roots-based music.
The nice thing about being a bassist is you get to play in all kinds of ensembles. I've been lucky to record bass tracks for so many different genres, and I think that's crucial these days; genre-lines are being redrawn and blurred more than ever. I get a huge kick out of working with other artists to find "the sound" for their songs.
Contact me through the green button above and let's get to work.
7 ReviewsEndorse Daniel Kimbro
I was in need of upright bass for a song I am working on.
Daniel understood the sound I wanted and provided me with different takes both DI and MICed, which is great to have when mixing.
Daniel was quick in his turn-around, and would definitely ask him on another job!
I used Dan's skills for upright and E Bass and he nailed it! I couldn't be happier with his musician skills and willingness to work with me. Rapid turnaround too! I will use him again and I highly recommend Dan!
Pleasure to work with!!!
great player. made several revisions. great communication. highly recommend
Daniel is the newest addition to my favorites list. Well done!
The most talented bassist ever I’ve worked with! Easy to communicate with and also has a great understanding with great technics.. Looking forward to working with him real soon!!
Daniel is one of the strongest, most creative and grooving bassists I've had the pleasure of playing with. He brings a lot of skills to the table as well as a great attitude. Hire him!
Interview with Daniel Kimbro
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.