I produce recordings as well, so understand the importance of knowing what to put in and more importantly what to leave out. I have over 5 decades of professional bass playing, live and sessions, across many styles, and 18 years of formal study. I am known to have a very deep pocket in my playing. I hear music in the heart and play from the heart.
I have a great ability to listen. I hear what you are doing and what and where I can add the right parts to that. I have played 1000s of live gigs, from small clubs to stadiums. I am very good at manipulating the rhythm to keep it alive. I have an extensive experience based knowledge of Rock (all forms), Latin and Jazz. I have done a lot of ghosting on recordings and have a wide variety of basses. Choose your preferred bass from my session arsenal or leave it up to me to choose the most appropriate for your track(s). The arsenal includes 4 x Fender P Basses (59 flatwounds, 61 L roundwounds, 72 Maple Fretless halfrounds, 72 Rosewood fretted ) Fender Jazz Bass (70s), L'Arjel Custom JB, MTD, Gibson EB3L (72) Ibanez Musician (81). I also have an extensive knowledge of Latin Tumbao and diverse rhythms and use a genuine 60's Ampeg Baby Bass. Traditional Latin or Jazz, I have a German 3/4 double bass (1930) or any of the electrics. I also have 5 and 6 string basses if required.
I will record your tracks promptly and supply professionally produced, high quality recordings in 44, 48, or 96 as required.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
2 ReviewsEndorse Linzi O
Linzi knows his music! And he is totally dedicated to getting his contribution right. With a very broad range of musical experience, I am absolutely certain he would never want to accept an engagement where he couldn't give 110%.
Linzi is a true musician and artist. His music has depth, color, and decades of experience behind it! Usually, higher performers aren't great collaborators and can't catalyze positive group symmetry. However, Lindsay is unique a team player who understands how to get the best out of everyone and deliver a great audience experience -- rare talent!
Interview with Linzi O
Q: Which artist would you like to work with and why?
A: I have a few people that I'd like to work with. I was heading a project with a Bon Scott (a good friend) lost track. That included some great people like Bumblefoot, Craig Ross (Lenny Kravitz), Bob Clearmountain, Abbey Road Studios. I got it to 80% and ready to record when the Label pulled the plug. That was a very frustrating "no go". I'd like to have the opportunity to get that done but Record Company politics etc. Sheesh!! Of course I'd like to produce Carlos. I hear things there that I know I could bring to the table.
Q: What's your typical work process?
A: Depends what it is but I like to know what the band/artist are thinking, listen to the song until I hear "the part" or the structure that is needed. Once I have that clear, I record/mix/edit quite quickly. If supplying a stem requires micro edits to correct tempo shifts, where possible I do that first. I like to have the song and band or performer's tracks right and then by using the combination of the aforementioned construct I put down a track that comes from "inside" the song.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I did an EP for a band recently. Nice guys. Ok songs, but a bit rough here and there. It started as a "help out" project. I produced, arranged, played bass and supplied backing Vox. End result was excellent. The extended band "family" who had been following the band for 10 years were all blown away. That's what I like...a great result!
Q: What are you working on at the moment?
A: 2 Albums. One a rock/southern rock album. The other a nuevo fusion crossover.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I haven't had a look around but not that I am aware of.
Q: Analog or digital and why?
A: A combination of both. A 24 track Studer and an SSL desk sound great but maintenance, running costs, tape costs and lack of flexibility in editing are all problematic by today's standards, especially with low budget or independent artists. Final mixes/mastering through all analog is great but again it goes in Digital and comes out Digital. I have a friend who is a Mastering Engineer at Studios 301 and he works in Analog but the end product is still files not tapes.
Q: What's your 'promise' to your clients?
A: I work quickly and deliver the product with an honest input. My promise is to give them the best service possible. I want people to be able to play their track and people stop talking.
Q: What do you like most about your job?
A: I like to help people out and get their song(s) to the right level. Usually to places they didn't think would be possible. Whether I play or produce I want that track to be a great track forever. Zero cringe. I want their friends and close family etc to go WOW and keep going WOW.
Q: What questions do customers most commonly ask you? What's your answer?
A: In the brief I usually like to have a pretty clear picture of what the customer is thinking. During this phase there can be some suggestions or requirements that my experience tells me is going to be counterproductive. I simply explain my concerns and why and usually they then understand.
Q: What's the biggest misconception about what you do?
A: Sometimes it's the underestimation of the complexities involved in taking a song through to it's ultimate ending. This can also apply to delivery of a bass stem.
Q: What questions do you ask prospective clients?
A: What they're hearing in the song. What they'd like to hear in the bass track or production. What they are aiming to achieve with the song. What's their end goal.
Q: What advice do you have for a customer looking to hire a provider like you?
A: It varies depending on their level of experience, but be clear, know exactly what you want, but be flexible and open minded. There is no such thing as "the" sound or "the" way. All recording is an illusion so allow the magic to happen. If it sounds real at the end then it is. The end result is what's important.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Basses definitely. Probably if I had to choose, my 61 Precision, my Double Bass, a guitar, keyboard and if there was electricity my studio computer.
Q: What was your career path? How long have you been doing this?
A: I started playing in bands when I was 15. Up through the late 60's and the crazy 70s. We did 6-8 shows a week. Endlessly. Lots of miles, lots of sore fingers but learnt the skills needed to deliver. I had initially taken bass guitar lessons but playing live so much is where I honed the skills. I studied at the NSW Conservatorium of Music. I have completed 3 years of formal Double Bass, and after 18 years of exclusive bass I studied 10 years of guitar.
Q: How would you describe your style?
A: Open, flexible. Main focus...the song. Playing wise I am a pocket player so I am always looking for the glue spots.
Q: Can you share one music production tip?
A: Beware of competing frequencies. The ability to keep things separate is the difference between a "Demo" and a great recording.
Q: What type of music do you usually work on?
A: I have worked on many types but I guess across several genres of Rock would be the most often because it's possibly the biggest genre. There's a bit of Rock in so many styles. I am also very good with Latin. I studied the genre with a Percussion Coach and my Double Bass for 5 years whilst accompanying a Conga Player. That was an awesome entry into the intricacies of Latin.
Q: What's your strongest skill?
A: My ability to listen and hear the song for what it is. That's the rare strength. Playing, producing, mixing, they are all well developed skills from years of experience but "listening" is the key element so often missing.
Q: What do you bring to a song?
A: I have a great ear for what's missing or what's not needed. I have an instinct regarding keeping the song interesting. I also have perfect timing which is a gift for anyone in the rhythm section. My parts are decisive and creative with first and foremost finishing with a great song as being the most important end goal.
Q: Tell us about your studio setup.
A: I use Pro Tools or Logic Pro for audio. Premiere Pro for Video. Photoshop and Illustrator for graphics. iMac27 Quad 3.8 processor. Universal Audio. Tannoy, Landmark and Adam monitors. I use a Mesa D800 and the DI (which is awesome) from the Mesa. Double Bass I use a K & K pickup and pre. I have several good mics. AKG 414, RE20, 58s, 57s.
Q: What other musicians or music production professionals inspire you?
A: I have worked with Myron Dove in mix down and production. I am inspired by a wide variety of musicians. I like Marcus Miller and Stanley Clarke. Also, John Paul Jones and John Entwistle. Geezer Butler. David Margin, Alphonso Johnson, Verdine White, Bob Clearmountain, Mutt Lange.
Q: Describe the most common type of work you do for your clients.
A: Usually bass tracks or producing/arranging. I am very adept and creating/editing/maintaining a "flow" in the energy of a song. I have been called on quite a few times to "rescue" a track. In some instances this has meant rerecording most tracks and rearranging the song in question.