Session Bass Player

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

A: I provide professional remote bass recording sessions for independent artists, producers, and music directors worldwide. The most common request I receive is a complete bass track for a finished or near-finished production — where the client has the arrangement ready and needs a real, human bass performance to replace a programmed or placeholder bass line. I receive your session files (stems, click track, chord chart or lead sheet), record the bass part in my home studio in Buenos Aires, and deliver clean, isolated .wav files ready to drop into your mix. Turnaround is typically 2–3 days. My background in musical theater (Hairspray, Rent, Company — Teatro Coliseo, Buenos Aires) and live television means I'm equally comfortable reading a full score or working from a simple reference track. I cover Rock, Pop, Jazz, Fusion, and Orchestral styles — and I bring 20 years of professional experience to every session, regardless of project size.

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

A: The recording of Hairspray at the Teatro Coliseo in Buenos Aires is the project I'm most proud of recently. The Teatro Coliseo is one of the most prestigious venues in Argentina — a landmark with over a century of history — and being part of the bass chair for that production meant delivering a performance worthy of that stage. My role was session bassist for the full orchestral production. The score is demanding: it blends rock, R&B, and big-band influences across a two-hour show, and every part had to be tight, musical, and consistent across multiple recording sessions. Knowing that recording will live on as the official audio of that production — and that people in Buenos Aires are hearing it right now — is something I'm genuinely proud of.

Q: What are you working on at the moment?

A: I just finished recording the bass for Hairspray at the Teatro Coliseo in Buenos Aires — one of Argentina's most iconic and storied venues. It's a full orchestral production, so the recording process was demanding and deeply rewarding at the same time. Now I'm opening up capacity for remote session work through SoundBetter, bringing that same level of preparation and professionalism to projects from anywhere in the world.

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

A: Absolutely. I'd recommend Rodrigo Genni and Pilar Icazuriaga — both are exceptional musicians I've worked alongside in Buenos Aires' professional music scene. They bring the same level of craft and commitment to their work that I try to bring to mine. If your project needs something beyond bass, they're people I trust personally and professionally.

Q: Analog or digital and why?

A: Both — but strategically. I always start analog: the bass, the hands, the feel. No plugin or sample replaces a real instrument played with intention. The organic character of a live performance is something you simply can't fake. From there, digital is where I live for remote work. A clean DI signal captured through a quality interface gives you maximum flexibility in the mix — you can shape the tone exactly how you need it without being locked into a recorded amp sound. The best of both worlds: real playing, digital delivery.

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

A: My promise is simple: I will treat your song with the same level of care and professionalism I bring to a live theater opening night. That means I listen before I play. I deliver what we agreed on, on time. I communicate clearly throughout the process. And if something isn't right, I fix it — no drama, no excuses. After 20 years as a professional musician, my reputation is built on reliability as much as musicality. You'll always know where your project stands, and you'll always get a bass performance that genuinely serves your music.

Q: What do you like most about your job?

A: The moment a client says "that's exactly it." There's something deeply satisfying about receiving a rough demo, interpreting what the song needs, recording it — and having the person on the other side feel like the bass was always supposed to sound exactly that way. After 20 years, that feeling hasn't changed. Whether it was opening night of a musical in front of a packed house in Buenos Aires or delivering a remote session file to a producer in another country, it's always about that connection between the music and the people listening. That's why I still do this.

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

A: The most common ones: "Can you record in a specific style or genre I'm not sure you know?" — Yes, almost certainly. With 20 years across theater, jazz, rock, pop, and live TV, I've played in pretty much every context. Send me a reference and I'll tell you honestly if it's in my wheelhouse. "How do you deliver the files?" — As high-quality .wav files (24-bit / 48kHz or higher), clean and isolated, gain-staged and ready to drop into your mix or send to your engineer. "How fast can you turn it around?" — Typically 2–3 days for a standard session. Rush delivery (24–48 hours) is available in my Premium package.

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

A: That bass is just "the background." A lot of clients come in thinking they need bass to fill the low end — and they're surprised when a well-crafted bass line actually transforms the emotional feel of the entire song. The bass is the bridge between harmony and rhythm. When it's right, you don't notice it — you just feel that the song is solid, warm, and alive. When it's wrong or generic, the whole mix feels thin or unsettled, even if you can't pinpoint why. After 20 years doing this, helping clients hear that difference is one of my favorite parts of the job.

Q: What questions do you ask prospective clients?

A: Before starting any project, I usually ask: — What's the tempo and key of the song? — Do you have a reference track or a demo I can listen to? — What tone are you going for — warm and round, bright and punchy, something in between? — Is there a specific bass player or song whose bass sound you love? — What's your timeline and how many revisions do you expect? These questions aren't about being difficult — they're about making sure the first draft already feels right for your song. The more I understand your vision upfront, the less time we spend on revisions.

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

A: Come prepared with a reference track — even a rough one. You don't need to know exactly what you want, but having something that captures the vibe you're after saves a lot of back and forth and leads to a much better first draft. Also: don't underestimate the importance of tempo. If your session isn't locked to a click or grid, send me that information upfront. A great bass performance depends on a solid rhythmic foundation — the more context you give me, the better the result.

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

A: 1. My Fender Jazz Bass — it covers everything from warm and round to bright and punchy. The most versatile bass I've ever played. 2. A Radial J48 DI box — clean, transparent signal straight into the interface, no coloration. 3. A Universal Audio Apollo interface — the preamps and onboard processing are simply unmatched for remote recording. 4. A pair of Sennheiser HD 650 headphones — for tracking and critical listening when monitors aren't an option. 5. A sturdy laptop with my DAW — because without it, the other four are just expensive shelf decorations.

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

A: I've been a professional musician for 20 years. I started playing bass as a teenager in Buenos Aires, quickly moving into live gigs and eventually into the more demanding world of musical theater — where you have to be sight-reading, locked in with a conductor, and performing eight shows a week simultaneously. Over the years I built my career across three main areas: musical theater (Hairspray, Rent, Company), live television (Noche Al Dente on America TV, one of Argentina's largest national networks), and studio session work. That combination of high-pressure live performance and studio discipline is what shaped me into the player I am today. Two decades in, I'm still learning — but I bring a lot of hard-won experience to every session.

Q: How would you describe your style?

A: Supportive, musical, and precise. I come from a theater background where the bass has to hold everything together — vocalists, brass, strings, percussion — without ever stepping on anyone. That's shaped my instinct to play what the song needs, not what my fingers want. My style is rooted in feel and pocket first. I'm not flashy by default, but I have the technique to go there when the music calls for it. Think solid foundation with enough personality to make the part memorable.

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

A: I'd love to work with Gustavo Cerati's collaborators or anyone continuing that lineage of Argentine rock with sophisticated arrangements. That music lives in a space where rock groove meets intricate composition — exactly the kind of challenge I find most exciting as a bassist. Internationally, I'd jump at the chance to work on anything in the world of Jason Isbell or Sting — artists who treat the bass as a melodic voice, not just a rhythm section anchor.

Q: Can you share one music production tip?

A: Record the bass with a DI and a mic simultaneously if possible — but even with just a DI, leave space in the low mids. A lot of mixes get muddy because the bass is trying to fill every frequency. Trust the low end, cut around 250–300 Hz if things feel thick, and let the kick and bass breathe together. The pocket is more about space than volume.

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

A: Most of my professional work has been in musical theater and live television, which means I'm very comfortable with complex arrangements, charts, and working within large ensembles. My day-to-day covers Rock, Pop, Jazz, and Fusion — styles that require both technical chops and a strong feel for dynamics. I've worked on productions currently running in Buenos Aires' mainstream theater circuit and on national TV (America TV), so I'm equally at home reading a 40-page score or locking into a groove from a chord chart.

Q: What's your strongest skill?

A: Adaptability across genres combined with a deep sense of groove. Whether I'm playing a syncopated funk line, a walking jazz bass, a driving rock riff, or a delicate orchestral passage for a musical, I can switch contexts quickly and deliver something that genuinely fits. That versatility comes from years of professional work across very different settings — from the orchestra pit of a Broadway-style musical to a national television stage. I don't have one "default" bass sound. I have the toolkit to find the right one for your project.

Q: What do you bring to a song?

A: Years of playing under pressure — live TV, packed theater houses, eight-show weeks. That experience teaches you to serve the song above everything else. I bring precision, musicality, and an instinct for knowing when to lock in tight with the kick drum and when to add a subtle melodic touch that lifts the whole arrangement. I've performed in productions like Hairspray, Rent, and Company, where the bass has to support vocalists, brass sections, and full orchestrations simultaneously. That kind of musical awareness translates directly into session work: I listen deeply, I don't overplay, and I make your song feel solid from the ground up.

Q: What's your typical work process?

A: When a client reaches out, I start by listening carefully to their reference tracks or demos to understand the feel, groove, and direction they're going for. I ask a few focused questions — tempo, key, desired tone, and any specific references they love. Once we're aligned, I record the bass part and send a first draft within the agreed timeframe. I always deliver clean, isolated tracks (.wav) with proper gain staging, ready to drop straight into your mix. If revisions are needed, I'm responsive and flexible — the goal is always that the bass feels exactly right for your song, not just technically correct.

Q: Tell us about your studio setup.

A: UAD plug ins Apollo Twin. Amplitude Wave. Ampeg. Fender Jazz Bass. ESP Music Master. Hoffner. SynthBass. MicroBrute. Fender Stratocaste AbletonLive. Aguilar Pedals. (Tlc Octamizer) Fuzz Electro Harmonix bass synth pedal

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

A: Nathan East Pino Palladino Justin Meldal-Johnsen