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.

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: 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: 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: 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.