Bassist for ACCEPT

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

A: I played bass on a concept album that blended progressive rock with orchestral elements. The arrangements were complex, the timing was brutal, and the emotional range was massive. I had to switch between fretless textures, aggressive riffs, and subtle pads, all while keeping the groove intact. It was a masterclass in musical storytelling, and I’m proud of every note.

Q: What are you working on at the moment?

A: Currently tracking bass for a cinematic rock album, a country LP, and a few sync licensing projects. Each one demands a different approach, and that’s what keeps it exciting.

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

A: I’ve worked with several top-tier drummers and producers on SoundBetter. I'm happy to recommend based on your project’s needs.

Q: Analog or digital and why?

A: Both. I love the warmth and character of analog gear, but digital gives me flexibility and precision. I use analog where it counts and digital where it shines.

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

A: I’ll treat your song like it’s my own. You’ll get a bass part that’s thoughtful, musical, and professionally recorded, delivered on time and tailored to your vision.

Q: What do you like most about your job?

A: The moment when a track clicks. When the bass line lifts the whole arrangement and the artist says, “That’s it.” That’s the magic I live for.

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

A: “Can you play exactly what I hear in my head?” Yes! And if you’re not sure what that is yet, I’ll help you find it.

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

A: That bass is just a background instrument. In reality, it’s the glue that holds everything together. A great bass part can make a track feel alive, even if you don’t consciously notice it.

Q: What questions do you ask prospective clients?

A: What’s the emotional goal of the song? Are there reference tracks or bass tones you love? Do you want a clean DI, processed tone, or both? Any specific sections you want emphasized or simplified?

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

A: Look for someone who listens before they play. Technical chops are great, but musical intuition and communication are what make a session player truly valuable.

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

A: My custom Ritter bass My custom Ritter fretless bass My Apollo Arrow interface MacBook with Logic Pro X A solar charger (because I’m not letting a desert island stop me from tracking)

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

A: I’ve been a professional bassist for over 30 years, with more than 5,000 live shows and 1,000 studio recordings under my belt. I started playing live concerts when I was 15, did a fair share of touring, transitioned into studio work, and built a reputation for reliability, musicality, and versatility across genres.

Q: How would you describe your style?

A: Supportive, intentional, and groove-centric. I play what the song needs, not what the ego wants. My style is about enhancing the emotional and rhythmic foundation without ever distracting from the lead.

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

A: I’d love to work with someone like Jacob Collier. His harmonic depth and rhythmic complexity are a playground for bass creativity. Collaborating with artists who push boundaries keeps me sharp and inspired. I'm also a big fan of Sara Bareilles, who beautifully mixes emotions with catchy music, on top of her superb piano playing and singing.

Q: Can you share one music production tip?

A: Don’t over-process your bass. A great performance through a clean signal chain will always beat a mediocre take buried in effects. Capture the tone at the source, and let the mix breathe.

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

A: Everything from progressive rock and fusion to pop, country, singer-songwriter, and cinematic scores. I’ve played on tracks that range from stripped-down acoustic to full-blown orchestral rock. Genre doesn’t limit me, and musicality drives me.

Q: What's your strongest skill?

A: My ability to adapt. I can go from hyper-detailed odd-time prog to laid-back country ballads within the same session. I read the room, read the chart, and read between the lines, with the purpose of delivering parts that feel intentional and inspired.

Q: What do you bring to a song?

A: I bring decades of instinct, precision, and musical empathy. My bass lines don’t just fill space, they anchor the song, guide the listener, and elevate the arrangement. Whether it’s a subtle pulse or a driving riff, I make sure the bass serves the song’s story.

Q: What's your typical work process?

A: I start by listening deeply to the song, its emotional arc, rhythmic feel, and production style. Then I map out the bass part that supports the groove, enhances transitions, and adds subtle movement. I record multiple takes, often with tonal variations, so the producer has options. Communication is key: I always check in to make sure the vibe matches the artist’s vision.

Q: Tell us about your studio setup.

A: My studio is built for clarity, reliability, and musicality. I use custom Ritter basses and upgraded Fenders, routed through a Universal Audio LA-610 for warm tube compression, into an Universal Audio apollo interface with pristine A/D conversion. I track in Logic Pro X on a Mac system, delivering clean, mix-ready stems. I also have a Gallien-Krueger rig and select pedals for analog flavor when needed, but most tonal sculpting happens in-the-box with my extensive plugin library, giving clients flexible, non-destructive options.

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

A: I’ve had the privilege of recording alongside world-class drummmer like Chad Wackerman, Marco Minnemann, and Gregg Bissonette, as well as guitarists in the vein of Michael Landau, Joe Satriani, and Jennifer Batten. Working with musicians of that caliber pushes me to deliver nothing short of excellence. Because that’s the standard in their league, and I’m there to meet it.

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

A: I’m often hired to tackle complex, high-pressure studio sessions, especially songs with intricate timing, tempo shifts, and layered arrangements, like progressive rock and fusion. But I also thrive in more groove-driven genres like pop, rock, and country, where I craft bass lines that lock in tight and elevate the song’s emotional core. Whether it’s technical precision or soulful simplicity, I try to bring exactly what the track needs.