I have wide and varied tastes, but my strengths as a bassist are to bring feel, solid timing, character and structure to a song. I come from the school of the bass being solid, and blending well between the rhythm and the melodic elements of the arrangement.
Willing to play/try/do anything to make the track sound 'right', whether that is a simple country bounce, basic punk down-picking, a melodic and far-ranging 60s-inspired bass line, or anything else.
I have a selection of passive basses which cover most of the ground needed in rock, pop, and so on. I work from my home recording setup, with great preamps, mics, solid converters, and excellent bass equipment. (I am happy to talk tech and studio spec with those that want to get into it). My setup allows me to have a fast turnaround, as well as sonic flexibility if clients want the sound or feel to be changed.
I love collaborating with people and finding a way to translate their vision into something concrete,and coming up with a part or arrangement that suits the project you have.
Tell me about your project and how I can help, through the 'Contact' button above.
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Interview with Profile User 16725
Q: What's your 'promise' to your clients?
A: That my first priority will be in trying to achieve what YOU want for the track, and to realise YOUR vision for the project.
Q: Analog or digital and why?
A: Both have their strengths and weaknesses. My personal workflow is Bass > DI (one signal to converters, one signal back out) > Pedals (if needed) > Amp > Mic(s) > Mic Preamp > Converters. I won't use digital processing for the bass tracks I send unless specifically asked to, because the mix engineer is better placed to make those decisions when the bass is heard in the context of the other instruments and sounds. Most of the tone-shaping I do is in how I play the bass - using fingers vs pick, what type of pickup, what type of strings, what kind of gain and eq are on the amp etc. I will provide additional suggestions and tonal options that I think could work. For my part it is mostly analog, but the digital conversion in my setup is solid and works very well.
Q: What questions do you ask prospective clients?
A: What are you hoping to achieve with this project? What are you trying to capture? What does the song mean to you, and what is it you are looking for someone else (like me) to bring to the project? Equally important is what you are not looking for.
Q: What was your career path? How long have you been doing this?
A: I started out like many bassists by playing guitar. I picked up the bass because no one else did or would, and kept going because I found it more interesting and liberating than guitar.
Q: Which artist would you like to work with and why?
A: Anyone interested in pushing their own boundaries and trying to break into new ground aesthetically, emotionally, or any other way.
Q: What's your strongest skill?
A: Arrangement and feel, seeing the bigger picture, and treating the bass like part of the architecture that has to fit seamlessly with the rest of the production - from note choices, sustain, how hard or soft to play, what type of strings or instrument to use, and of course what kind of tone.
Q: What's your typical work process?
A: Have a conversation with the client/artist, and listen to the track or demo if it is available. Have a follow-up conversation to discuss further and decide how best to move forward.
Q: Tell us about your studio setup.
A: Electric Basses: - Vintage Japanaese Lawsuit Gibson Grabber clone - P-Bass custom build with Flatwounds - Vintage Japanese Hollowbody bass with Flatwounds and Hofner Pickups Bass Pedals: - Ampeg Scrambler - EHX Small Clone NYC Reissue (2001) - EHX Bass Clone - EHX Octave Multiplexer - Proco RAT RME Fireface converters and preamps. Orchid Electronics Amp Interface for reamping signals out to amps, pedals, etc.
Q: Describe the most common type of work you do for your clients.
A: Write, arrange and record electric bass parts for songs.
Q: Can you share one music production tip?
A: Playing in time and with the groove, and knowing when not to play, are the two most important things I try to keep in mind musically.
Q: How would you describe your style?
A: Solid, groovy, muscular, unassuming, girthy.