Session bassist

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

A: Don't be shy about asking for what you want. I've been doing this for a while, but my main job is to serve your song. Not slake my own ego. If the track is good after I work on it, then I've done my job.

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

A: In 2000, some of my classmates wanted to start a band. They called guitar and drums, and so I got stuck with bass guitar. Once I got one in my hand, though, I never wanted to put it down. My parents told me that I had to study a classical instrument so I could get into music schools, so starting to learn upright was a no brainer. My first gigs on both instruments were in 2002. So I've been playing professionally for 24 years.

Q: Can you share one music production tip?

A: Here's a few: - Compression isn't a solution for loudness. It has its uses, but they're really specific. - Make sure your outboard gear is hitting your pre's without clipping them. Unless that's the desired effect. - There's no substitute for a well-performed track. You can have all the plugins and pedals in the world, but if the musicianship isn't good the track won't be.

Q: What's your strongest skill?

A: I can play in tune, I can play in time, and my years of study plus my time working as a record clerk/live player means that my stylistic reference points are vast. I can usually find common ground with a client and give them something they like.

Q: What do you bring to a song?

A: 26 years of experience, enthusiasm, and a deep understanding of what it means to be a bass player.

Q: What's your typical work process?

A: I usually make a chart on my own that notates form and changes, and try to stay in contact with the client about what kind of music they like/vibe they're looking for. From there, I track and mix. I usually comp a track and send it over, and if there are revisions I can punch them in or just do a few more takes.

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

A: My fretless bass, my upright bass, my Pbass, my mustang, and my computer. Is the last one a cheat?

Q: What's your strongest skill?

A: I can play in tune, I can play in time, and my years of study plus my time working as a record clerk/live player means that my stylistic reference points are vast. I can usually find common ground with a client and give them something they like.

Q: What do you bring to a song?

A: 25+ years of experience, enthusiasm, and a deep understanding of what it means to be a bass player on a track.

Q: What's your typical work process?

A: I usually make a chart on my own that notates form and changes, and try to stay in contact with the client about what kind of music they like/vibe they're looking for. From there, I track and mix. I usually comp a track and send it over, and if there are revisions I can punch them in or just do a few more takes.

Q: Tell us about your studio setup.

A: I have a small but mighty setup at home in Burbank. My 2013 Mac Pro and UAD Apollo are the central hubs, and I monitor through a pair of Yamaha HS-7s, Avantone mixcubes, and AKG K712s. I have three USA Fender P-Basses, including a Tony Franklin Fretless and another fretted from '78. Two Jazz basses - one is a USA 75 reissue, the other is a Mexican five string active. A JMJ Mustang and a Squier VM bass VI round out my setup. I have various analog effects that I run my gear through before it hits my Apollo, and then I mix in Logic using my heavy arsenal of plugins collected from 10+ years being a film composer and producer in LA if there's anything needed beyond my basses and pedals. I've been producing records and scoring films for almost as long as I've been playing bass (20 years vs. 26 as a bass player), so the tracks you get will be ready for you to lay into your mix as is.

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

A: Paul McCartney, Chris Squire, Holger Czukay, Bootsy Collins, Mick Karn, James Jamerson, Chuck Rainey, Ron Carter, Buster Williams, Reggie Workman, Edgar Meyer, Gary Karr ... so many!

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

A: I play the bass. Electric, upright, you name it - if it's below the bass clef and has strings, I track it.

Q: What do you like most about your job?

A: I love writing and playing music in a collaborative setting!

Q: Analog or digital and why?

A: It depends on the project! As far as workflow, though, I find that a hybrid is best. Digital is precise, but you can't beat analog warmth

Q: What questions do you ask prospective clients?

A: If money were no object and you could have any music you wanted, what would you get? And what can I do to get you something in the spirit of what you're after?