Remote electric bass recording

Q: Analog or digital and why?

A: Both as there's so many benefits from mixing old and new technologies where the quality of interfaces to convert analogue to digital without losing tone has never been better.

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

A: Fender Precision bass, SSL interface, laptop, headphones and a cable!

Q: Tell us about your studio setup.

A: It's really simple. I plug my basses into one of three DI boxes (either an A Designs REDDI which is a Tube DI, Neve RNDI or Radial JDI) running into my SSL12 interface which goes straight into my laptop tracking into Pro Tools Artist. It's a very similar setup to what session legend Leland Sklar, and I figure if that's good enough for him it's certainly good enough for me! It keeps things really simple, I prefer to focus on a great bass part and not having too many devices between my fingers (the instrument) and the recorded part. I use pro level Mogami cables (both instrument to DI and XLR DI to Interface). For real vintage feel I have a 1967 Ampeg B15 which I can mic up with an EV-RE20 to give a real Amp and Cabinet sound. When I send the stems where I've recorded an Amp track I phase align them with the DI tracks. Please let me know if you want a real B15 track and we can discuss as there is an additional rate for this.

Q: What's your typical work process?

A: Typically, I get a piece of recorded music and spend time listening to it and work out a part by ear. I'm equally comfortable if someone wants me to play a specific line or part and has something transcribed out. Once I have a part, I will share what I'm planning to do with the client, I might send a short sample but typically I'll do a take and send a mix of the track (the client's song with the bass part I created) back to the client to get their feedback and agree the part.

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

A: When it comes to bass players there are so many but the ones that really stick out for me are Leland Sklar, for his whole approach to working with artists and creating music, Yolanda Charles is really inspirational for how she's branched out and created her own band around her bass playing. Sean Hurley for just nailing a classic bass sound on all the records he plays on, of course Pino Palladino - it's mainly bass players who always just find the perfect bass line to complement the song.

Q: How would you describe your style?

A: Very versatile, I've studied lots of different players and having spent many years playing in function bands it exposed me to a wide variety of different playing styles which inevitably seeps into your own style which is kind of a morph of your own uniqueness with all of these other approaches coming through. Typically though it's keeping a bass line as simple as possible and focussing on the tone and clarity of each note.

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

A: I started playing at 15, then studied music from 1998 to 2001 and immediately following that I went straight into recording and playing in function bands. I then setup a private teaching business before starting to work as a session player with singer songwriters which is where I gained my studio experience.

Q: Can you share one music production tip?

A: For bass players, it's so important not to have unwanted string noise such as a string other than the one you're playing ringing through when you're recording. Focus on your right and left hand muting to avoid this. Rick Beato has a great video on this.

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

A: Singer songwriter stuff so usually Americana, country, folk, pop rock, indie but I've also done EDM, R&B, Soul.

Q: What's your strongest skill?

A: I have a good ear and can work out a part quickly.

Q: What do you bring to a song?

A: I really try to lift a song to the next level with a great bass part and tone that supports the essence of what the artist has created. If I think I can contribute beyond a bass line, for example an arrangement or new part then I will suggest it but take no offence if it's not used! Ultimately, I want to create a great line that moves people to really connect with a song or, just dance to it!

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

A: Creating a great bass part from scratch that complements the song.