Session Bassist/Arranger

Q: Tell us about your studio setup.

A: Recording system: Apple iMac w/3 GHz Intel Core i5 6 core and 32 GB 2400 MHz DDR4 RAM Logic PRO DAW software UA Apollo audio interface with tons of UA plug ins UA 4-710d Mic Pre-amp Assorted Audio Technica and AKG mics. Available Basses: 74' Fender Jazz Bass (rosewood neck) 77' Fender Jazz Bass (maple neck) 13' Fender Jazz Bass (rosewood neck) 76' Fender Precision Bass PJ (maple neck) 75' Fender Precision Bass PJ (fretless rosewood neck) 91' Music Man Sting Ray 5 (maple neck) 93' G&L Climax (maple neck) circa 1900 Acoustic Bass of Czech origin (carved pine) 10' NS Design CRT4 electric upright bass Guasti-Bottoni french style bows Available Amplifiers: Ampeg Micro VR w/ Ampeg 2x10 cabinet Gallien-Krueger 800RB w/Mesa Boogie 1x15 and 2x10 cabinets Available DI/preamp boxes: EBS Micro bass II Radial Engineering Bass Bone Tech21 Sans Amp Bass DI Tech21 Character Series VT Bass Available effect pedals: EBS MultiComp Compressor EBS MultiDrive Overdrive EBS UniChorus Chorus/Flanger EBS OctaBass Octaver EBS BassIQ Envelope Filter EBS DynaVerb Reverb MXR M87 Bass Compressor MXR M182 El Grande Bass Fuzz MXR M288 Bass Octave Deluxe MXR M82 Bass Envelope Filter Electro-Harmonix Bass Balls Envelope Filter

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: During the last two years I developed a fruitful professional relation with songwriter Devitt Elverson (USA) here on the platform. As I write this, I've recorded bass on 43 songs of his, and arranged/produced the whole rhythm section (drums, percussion, piano or guitar) on some of those songs, and even producing the whole thing (including vocals) on a couple. That was the case with the song "The Chill of the Heat", a favorite of mine that is featured on his album "The Forest for the Trees" (2019). I've recorded all the basses on that album, and also on his latest release, "Interesting Times" (2020). Both albums are available on Spotify.

Q: What are you working on at the moment?

A: I'm the bass player on the TV show The Four Brasil, which keeps my studio chops in top gear while I wait out the Pandemic to resume touring with popular Brazilian singer/songwriter Frejat and singer Simone. Can't wait to get back to my weekly jazz gigs with my quartet Notre Jam, and the pop gigs with my 80's top of the pops band The Pedigree Dogs. I've been doing a lot of remote bass recordings on my studio, working hard to turn this activity into my main source of income. I also teach private bass lessons online and have an online bass course available.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Yes. Brazilian drummers Cássio Cunha and Marcelo Vig. I also recommend checking out drummer/producer Tom Dupree III, guitarists Billy Brandão, Bernardo Bosisio and Pedro Silveira - (all three great Brazilian guitarists) and trumpet player/arranger Bruno Santos.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Call me! Send your files my way and I'll make them groove (lol). Seriously, provide as much guidelines as you see fit - written parts are welcome, as well as midi-bass reference tracks (please send those as separate tracks, so I can mute them when recording my own bass). Provide the needed technical info: bpm and desired sample-rate.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: My 74' Fender Jazz Bass, my 75' Fender Precision Fretless Bass, my 1900' Czech Upright Bass (with french bow!), my Ampeg Micro VR amp/cab stack and my Fender Rhodes electric piano!

Q: How would you describe your style?

A: I groove hard, but elegantly! I guaranty people will move to my bass lines.

Q: What type of music do you usually work on?

A: My own writing is jazz-oriented with a strong groove to it (I call my music "atmospheric jazz"), but I work extensively with major Brazilian recording acts in the pop/rock vein, so I'm very used to laying down good old round and greasy lines that "glue" in with the drums.

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

A: Michael League, Dave Holland, Christian McBride, Marcus Miller, Meshell Ndege Ocello, Sting, Pino Palladino, Jaco Pastorius, Esperanza Spalding, Tony Levin, Peter Gabriel, Prince, Avishai Cohen, Tower of Power, Steely Dan, Banda Black Rio, Djavan, Milton Nascimento, Herbie Hancock, Joe Zawinul, Stevie Wonder, James Brown.

Q: What's the biggest misconception about what you do?

A: That a track should be re-recorded ad infinitum… It shouldn't - although technology might suggest otherwise. If it's good, it will happen with two or three takes.

Q: Analog or digital and why?

A: Both. There's stuff that simply sounds better in "analog mode", while other stuff sound more "whole" in digital. For instance, I prefer to use analog pedals on my basses, but enjoy listening to CDs more than vinyls.

Q: What's your 'promise' to your clients?

A: I'll make your song groove!

Q: What do you like most about your job?

A: I love everything about it. I get to be creative and to collaborate with other artists like myself, the music community knows no boundaries or frontiers.

Q: What questions do customers most commonly ask you? What's your answer?

A: Could you play something like what I heard on that song on your SoundCloud playlist? I get that a lot, and it's all good, since I put those songs there to showcase my abilities, therefore they are serving the purpose…

Q: What questions do you ask prospective clients?

A: What the final instrumentation on the song will be (will you add more stuff to it after the bass is added? will there be other low-end instruments, like synth bass or heavy percussion? Will it have strings or horns added to the song afterwards?). This usually guides my approach in terms of how much space should I leave, in which spots should I step out a little bit, etc…

Q: What was your career path? How long have you been doing this?

A: I started playing bass when I was 14 years old, and in three years I got my professional musician license. One year later I finished school and went straight to music University, where I graduated as an Double Bass Major. I have never done anything else with my life but play my basses since then, and I've done it with a myriad of musicians from different parts of the world, for 35 years now - and counting…

Q: What's your typical work process?

A: When I first get a song from a client, a listen to it with full attention trying to grasp everything the song suggests me - be it related to rhythm/harmony/melody or to the lyrics - and build up a "draft bass line" in my head. Then I compare it with any reference the client might have provided (be it an audio track or a chart) and try to balance that reference with my own interpretation of the song. When I'm satisfied with what I created, I proceed to record the actual bass tracks. Usually the first version stays very close to the chart or reference (verbatim, if it's a written part), whereas the second option is a more personal interpretation of the song. I encourage clients to combine both tracks on their final bass track, building a final result that meets their taste and still retains some unique flavor.

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

A: I record bass tracks (normally two options) for artists from all over the globe. They send me an mp3 file with rhythm/harmony track and I record the bass of their choosing (acoustic, electric or fretless) over it, and send them finished WAV. files when I'm done. Quick and easy, top-notch quality.

Q: Which artist would you like to work with and why?

A: Peter Gabriel. He's a man of the world, his music has the most basic, earthy elements as well as the ethereal, high tech contemporary elements. A true artist of his time.

Q: Can you share one music production tip?

A: Try to get the rhythm section playing together in the room. Magic is bound to happen!

Q: What's your strongest skill?

A: Groove and feel. I'm well-versed in many different styles and I thrive on music that has african roots to it - be it Brazilian, North-American, Afro Cuban or African.

Q: What do you bring to a song?

A: I bring a Brazilian flavor to it, definitely. But I do it with "arranger's ears" - being an arranger myself - with lots of concern regarding instrumentation, dynamics, space and, first and foremost, the groove! If it doesn't groove, it ain't happening!