I'm a Portland-based bass player, and I love collaborating with artists to make their recordings sound the best they can and can help make their tracks shine. My goal is to deliver solid rhythm, memorable lines, great sounds, and deep pockets every time.
I have been recording electric, upright, and synth bass remotely for over 7 years, working with many different genres and artists, including classical, jazz, hard rock, R&B, hip hop, pop, and Americana. A selection of my recording discography can be found here: http://www.milofultzmusic.com/discography
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5 ReviewsEndorse Milo Fultz
Super quick turnaround. Beautiful tone on the recordings. Thanks Milo. Looking forward to the next one!
Milo is an incredible instrumentalist and gave my songs the perfect energy and melodies. I look forward to working with many times in the future!
I've collaborated with Milo on numerous projects over the years. He's enthusiastic, professional, and his musicality is incredible. He has his own unique voice but he can seamlessly blend into any production. Working with Milo is a blast! I highly recommend it.
I've had the pleasure of working with Milo in the studio (and live situations) many times, and he *always* delivers the goods. Total pro, does his homework, and has the chops to elevate everything to the next level. He's one of those "musician's musicians," with a great feel for what the song really needs. Excellent gear too. And he also just happens to be a really nice guy. Bonus!
Milo is a great bassist and all around good dude. I've hired him countless times over the last 5 years for my own music, projects I'm producing, and live performances as well. He has an awesome sensibility and really adds a ton to whatever he's playing on, whether it's something simple for a singer/songwriter project or more involved for an RnB or rock project.
Interview with Milo Fultz
Q: Describe the most common type of work you do for your clients.
A: I most often work with clients and producers in a creative role; drafting, revising, and then recording the perfect bass line for their song. I'm given a track, sometimes almost fully produced and other times completely raw, a little direction, and I'm on my way. I love striving to find the perfect tone, the perfect line, and the perfect vibe for a song.
Q: Tell us about your studio setup.
A: For upright recording, I currently use a Soyuz SU-023 on my Seth Kimmel bass. For electric, I use the Soyuz and also a REDDI, as well as a few effects for saturation, compression, and others for some more extreme sounds. All of these go direct into my RME Babyface Pro.
Q: What's your typical work process?
A: I usually receive the track and some direction, and then get started in seeing the big picture. Listening through the song a couple of times, I make a road map and start arranging how my part fits into the song. Am I supporting or leading? Am I more static or dynamic? What instrument or sound does this song need? I'm listening to what all the instruments are doing, drawing from what they do and using it to create my part, helping to contribute to a cohesive whole that serves the song best. Once I have a solid concept, I get started crafting the sound and then lay down a few takes to see how it feels. Then I repeat that whole process in smaller cycles until I have a part that feels right.
Q: What do you bring to a song?
A: One thing that I bring to the music I play is a large breadth of musical inspiration and experiences. I've loved the groups where I'm given a part and told to play it perfectly. From playing in orchestras, chamber groups, musical pits, and full big bands, getting deep into what somebody else envisioned is a fascinating and joyful experience. But I love the thrill that comes with creating something new, or getting thrown in a group and having to figure out what to do in the moment. Going with your gut, doing what feels right, and standing by your work is a different kind of satisfaction and pride, one that complements and contrasts the more "formal" reading gig. With a lot of experience in both of these types of music making, I have a sense of depth and breadth that can discover unique and elegant parts to a large range of music.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: A couple of years ago, I worked on Jack Radsliff's "Migration Patterns" at Tiny Telephone in San Francisco. To me, it was just a confluence of everything I love. I was making music with a bunch of my friends that was strict in sections, but in others completely improvisatory. I was creating sounds with the engineer, swapping instruments and microphones to find just the right sound. Creation, analysis, and performance all in one. It was a blast.