Solid bass that stands out

Q: Analog or digital and why?

A: Digital. I started in the early 1990s and went through the whole analog-to-digital transition over the years. I just feel more comfortable now in the box, to be honest. I probably use a lot of plug-ins which emulate analog counterparts, because that's where I come from.

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

A: I started as an instrumentalist in 1987. My sister gifted me with my first electric bass, a second hand Framus, with a Fender Jazz-style build and sound. I learned the basics in a relatively short time, which wasn’t good enough for me. After a year studying with a well-known local bassist, which coincidentally taught me the arrangement method from Berklee, I enrolled in a professional school of music in Milan.

Q: Tell us about your studio setup.

A: I work entirely in the box now, so my studio is made of a MacBook Pro and a Focusrite Clarett 4Pre. I've been using Focusrite interfaces for a long time now, I used to own a Saffire Pro 40 until a few months ago. I listen through a pair of Focal Alpha 80 and Yamaha HS5 for translation. I work with two sets of headphones, including Sony MDR-7506 and Beyerdynamic DT Pro 770, always through my headphone DAC system, for accuracy. My two basses are a 1991 Warwick Thumb Bass, which I got in early 1992 and is still my main axe, and a Fender Jazz fretless bought in 2016. I go through my Tech 21 NYC SansAmp Bass Driver v2 and record directly into either REAPER or Pro Tools (or sometimes Logic). I mix all my bass recordings internally, delivering a track which translates in the mix, including on small speakers. Finally, I have a few MIDI devices by Novation and Korg, and several mics, including a Zoom H5 for field recordings.

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

A: The music of Callum Gardner and Ember Rev because I also produced it. The recent album by Antiquity because I love playing bass with Gerald Duchene, who is an amazing songwriter and musician. Finally, of course, my own album "After 1989".

Q: What are you working on at the moment?

A: I just published my first concept album, "After 1989: A Trip To Freedom". I'm now divided between promoting the album and getting a new certification in Game Audio design.

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

A: A quick turnaround, attention to your needs and uncompromised quality.

Q: How would you describe your style?

A: With the words by London-based singer-songwriter Callum Gardner: "In the band I started, Simone was the most involved with regards to arrangement and dynamics. Using his fretless bass to completely switch the mood of any given part or to blend and support the groove as if it wasn’t even there. We’ve been working on my new release at his studio and it’s been an incredibly worthwhile experience. It’s great to have him with me to lead the production side and also to influence the arrangement and structure. Another set of ears goes a long way if you find the right pair. After working with various producers unsuccessfully, I’m really happy to have a producer that understands completely my process as a songwriter."

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

A: Lana Del Rey, because of her voice, the approach to songwriting and the type of sounds and effects she and her collaborators are able to get. They all speak to me very deeply.

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

A: Rock, alternative rock, pop and acoustic genres like folk, singer-songwriter, funk, blues.

Q: What's your strongest skill?

A: Knowing both sides of music production, I can have a strong empathy with both artists and producers/engineers, so I would say my strongest skill is the ability to listen and translate the needs into sound.

Q: What do you bring to a song?

A: I help producers and artists produce and mix professional sounding bass tracks, adding value and a solid foundation.

Q: What's your typical work process?

A: I listen to the track a few times. I sometimes take notes, but mostly I figured my part straight away. It forms in my mind way before I pick up my bass. Then, I usually quickly capture a few takes, to put that first impression down as a recording. I come back to it later, sometimes the day after, to properly record and mix.

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

A: As for songwriters: Roger Waters, David Bowie, Lana Del Rey, Sade. As for bass players, a lot of them. A short selection would include Leland Sklar, Carol Kaye, James Jamerson, Andy Rourke, John Entwistle, Guy Pratt, Victor Wooten, Esperanza Spalding, Tal Wilkendfeld, Aston "Family Man" Barrett, Meshell Ndegeocello, Tina Weymouth, Les Claypool. From my native Italy, I would mention the late Stefano Cerri, which also was my bass teacher back in the 1990s. As for music production professionals, I would quote a very few: Andrew Scheps, Sylvia Massey, Michael Brauer, Katie Tavini.

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

A: Since I'm a professional bass player and e mixer engineer, I record bass tracks that translate in such a way that it always comes through whilst keeping the mix clear of mud. I can also work as a sound designer and a producer.