Bassist, Guitarist, Songwriter/Arranger who will put the needs of your song first to bring the best out of your project.
Years of studio and stage experience to help bring your music to life. With the right groove, the perfect texture, or the right note in just the right spot, I can help you reach the next level. There's nothing better than good musicians getting together to make good music.
All of that being said, all that you truly need to know, you can tell with your ears.
I will provide:
A prompt response to your contact
A phone or video conversation to be sure we're on the same page, if desired
A high quality recording to match your project's potential
Energy, excitement, and enthusiasm for your song
100% commitment to your satisfaction
My influences include John Paul Jones, Flea, Stevie Wonder, anything Motown, The Seattle Grunge Scene in general, Neil Diamond, Santana, Dave Matthews, Arctic Monkeys, The Animals, KT Tunstall, The Who, Bach, Various World Music, Sneaker Pimps, Hans Zimmer... Basically, they're all over the place.
I've played guitar for over 30 years, and bass just about as long. I have been fortunate to work with amazing artists as varied as Hirsh Gardner (on his Wasteland for Broken Hearts solo album), Gaby Aparicio on her 2003 Self-Titled EP, recently with The Apathy Parade, Sara Ess, and many others.
Reach out. Let's talk. Let's find out just how far we can bring your music together!
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
1 ReviewsEndorse Christopher Byron
Interview with Christopher Byron
Q: What's your strongest skill?
A: I try to bring confidence to the other musicians and songwriters I work with. If they don't have to stress about the Bass part or the Guitar part or whatever I'm working on, then they can relax and really lay into the parts that will really let them and their music shine.
Q: What type of music do you usually work on?
A: Mostly female fronted "Adult Alternative." But really, that label is a cop-out. It ranges from Adele, to Sara Bareilles, to KT Tunstall, to Christina Perri, to Avril Lavinge, to Latin influenced performers and more... But usually, that's where I end up landing these days.
Q: Can you share one music production tip?
A: I record 3 sources for each acoustic guitar part. A direct signal off the pickup, a pencil condenser pointed at about the 12-14th fret, and a room mic a few feet back. Then I blend those together to get the "Acoustic Tone." I try to use as little EQ as possible.
Q: Which artist would you like to work with and why?
A: Tori Amos. Seriously? You have to ask why??? C'mon...
Q: What advice do you have for a customer looking to hire a provider like you?
A: Ask questions! Give Direction! Speak Up! Don't hold back and assume we're going to automatically hear what you hear. If something I play isn't quite what you're looking for, I'd rather you tell me so I can fix it, than settle for less than what you want. Good communication is the foundation of a great track (and many other things!)
Q: What's the biggest misconception about what you do?
A: That what you are paying for is a "Vocal Recording" or a "Bass Line" or a "Guitar track." What you are paying for is the years of time and effort spent learning and developing our skills, the piles of money we've invested in having just the right gear, and the time and professionalism we bring to your project. We feel it's worth it. Please make sure you show the musicians you work with that you agree!
Q: Analog or digital and why?
A: I don't see why they need to be exclusive. Use the analog gear that helps you achieve the sound you're after. The same goes for the digital tools available. It's all about making the song sound its best. If it does, what does it matter?
Q: Describe the most common type of work you do for your clients.
A: Usually I am adding guitar and/or bass parts to a track, or doing some arranging to help a developing artist find the potential in their songs. Or, I am asked to add a bass part that feels more "Real" to a track, or add to a track that is "Missing Something."
Q: What other musicians or music production professionals inspire you?
A: People who are true to themselves and play what's in their hearts inspire me. I don't care what kind of music it is or how technical, fancy, trendy, or produced it is. If it doesn't speak to the truth of the song you can tell. I'd rather listen to 5 kids wailing in the garage, some old cat playing drums on buckets, pots and pans, or someone rhyming on a street corner but doing it with heart, than a bunch of top end pros in a LA studio making soulless music just to pay the bills.
Q: Tell us about your studio setup.
A: I am a working voice actor, so I am in the studio recording virtually every day. I work mostly in Cubase, with a variety of virtual instruments from N.I., Korg, Novation, etc... plus a ton of plug-ins from Waves, Eventide, IK Multimedia, and more. I don't, however, believe in using something just to use it. I believe in having the right tool for the job. I have microphones from Telefunken, Rode, Shure, EV, and more and run them into a Focusrite Liquid pre so I can dial up just the right tone. I mix on JBL LSR4326 monitors and BeyerDynamic DT770s. I have a customized Fender P-bass, but mostly play my Cirrus 5 string. I can mic my Eden or SWR rig, or just run direct, whichever sounds best. For guitars I have a couple of customized Strats and a PRS SemiHollow. I play through an Egnater Tweaker for the versatility, as well as an array of pedals. I also have a couple of 1970's Lawsuit Era Takamine's (a nylon and a steel string) for acoustics.
Q: What's your typical work process?
A: I start with listening. First to the artist, so they can describe their vision, wants, needs, and expectations so I can be clear on what I can do for the project. Then I listen to the track and try to dig out its groove or the spirit of what it's trying to say. Once I pick up an instrument, I usually play too many notes, trying to experiment and develop what I'm hearing into what the artist is looking for. From their I whittle it down until we've achieved everything the artist is hoping for, and with luck, just a little more!
Q: What are you working on at the moment?
A: An original project with Sara Ess called Play the Changes. It's the first time in years that I've focused on a project that is by-and-large my own material. Very exciting!
Q: What do you bring to a song?
A: I like to think I bring professionalism and a sense of working in the best interest of the song. I have zero ego about my playing. I don't care if I'm only playing one note, as long as it is the right note for the piece. I am the kid who was happy to play the triangle in school band, if that's what's needed.