Bassist, Fretted & Fretless

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

A: That bass playing is simple. I think due to it's low frequencies often people overlook a bass line and how integral it is to a song. And then, not just the line, but the 'feel' of the playing is so important to the feel of an overall song. Clearly if you're reading this you're likely not one of those people however.

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

A: My fretless jazz bass, my '76 precision bass, a computer, a midi keyboard and an acoustic guitar.

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

A: I played in many bands after finishing high-school and whilst at university but I turned kind of "professional" when my band 'Wim' got signed to Modular records in Australia in 2010. Many bands and events led up to that point, but that was a turning point in terms of having a music 'career'. We moved as a band to New York in 2012 after much touring in Australia and although the band didn't last I'm still in the U.S. doing the thing all these years later. I left New York in 2016 and relocated to Los Angeles after making records there and knowing it was where I needed to be next in my career. I have since crafted a path based on lots of touring, session playing and local shows. I also produce and compose music having realized it's good not to put all your eggs in one basket in this business. In all the journey has made me more of a rounded musician and I'm grateful for that. I could make an essay of this answer so let's leave it at that. But in terms of length of time playing bass, I'm at 27 years.

Q: Tell us about your studio setup.

A: I love the sound of old basses and that classic woody tone. I have a '76 P bass with flats on it, a '79 P bass with roundwound strings and a '71 Jazz bass with flats. One of these basses will usually suit the song and mix best. My fretless bass is a new Fender Jazz bass that sounds great. I sometimes run this through one of several chorus pedals. I have plenty of pedals and the like (E-bow? Why not?) so if you're looking for a less conventional tone then I should have you covered. I have a 70's Ampeg SVT head and a Fender Bassman amp and can provide a DI'ed signal as well as the amp signal. I also have a selection of preamps to choose from.

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

A: Normally the client will send a track or tracks without bass and I will deliver them 3 takes on bass (fretted or fretless) per track and then offer another 2 takes after more feedback if it is necessary for everyone to feel we nailed it within the standard price. Usually the first three takes provides at least a solid great bass take with feel and groove and a few different fills and options to comp between.

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

A: Go with someone who feels like their vibe suits what you're after, musically and artistically. Listen to samples and offer a picture of how you see the song or the work, but also be open to the musical interpretation that can come with letting an experienced player be intuitive with their instrument on your track. Enjoy the creative process, ultimately that's what it's about - having fun and letting the muse in the door.

Q: How would you describe your style?

A: My style comes from my journey as a bass player. I grew up as a bass playing kid first and foremost, guitar and other things came later. So I really used the bass as a total instrument early on, playing chords and learning theory through it. I didn't go to music school, just learned after school with a great teacher and woodshedded hard. Got into Jamerson and Jaco and Larry Graham and soul music and then played in a bunch of bands after school from punk bands doing 16th notes on a pick to funk bands to electronic dance production stuff. I then played in neo-folk bands in my twenties which taught me the importance of simplicity, melody and drama and the song. In amongst all of this I'd say I do have a certain 'thing' somewhat, which is a combination of heavy feel and melodic phrasing when it feels it needs it.

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

A: Kate Bush. I feel like her influence is quite under appreciated and the idea of working on a comeback record with her would be something of a dream. Artistically I love the space she inhabits, between drama and lightness, theatre and groove and feeling, there's so much creativity going on. Plus, I could play a bunch of fretless bass on the record.

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

A: I work on so much different music this is a hard question to answer. As well as playing bass in a myriad of styles regularly live and in the studio (everything from new wave, indie, country, to freeform improvisation and funk), I also have my own music and compose film scores and library music. I love keeping it interesting in this regard and feel like the more diverse the music I'm involved in, the more each new lesson can inform my musicianship as a whole.

Q: What's your strongest skill?

A: I would say my feel on the bass is my strongest skill. It's a funny instrument in that way, it's not really about how flashy you are that makes things sound good, it's this unquantifiable thing of 'feel' and how one's groove and pocket can make the music lift. Some people might say my sense of harmony on a bass is a strong suit of mine too. Apart from bass I'd like to think I'm a good communicator and a considerate and respectful person to work with.

Q: What do you bring to a song?

A: I bring a combination of technique, touch and feel with a keen aesthetic sensibility to my bass playing. I love playing lots of different genres and being able to elevate a song with a bass line, even if it is something really simple but played well and with feeling. That feeling of taking a piece of music to a higher level is exciting to me. Artistically I love drawing from different styles and influences to make the right creative and tonal choices to ensure the song is shining as brightly as possible, whether it's finger style bass sitting deep in the pocket, or playing with a pick and effects to achieve something more modern. I've developed a big toolkit over the years of different approaches to songs and love the opportunity to collaborate and expand a creative vision.

Q: Can you share one music production tip?

A: Don't overthink it. If it feels good it then it likely is good, whether it's the performance or arrangement that we're talking about. When it comes to gear I'm a big believer that one's artistry and imagination is more important than having the "best" gear. Though gear with character is a wonderful thing.

Q: What's your typical work process?

A: I'll listen to the song I'm going to record to and identify the mood and intention of it. Is it something to move to or something that's introspective? What tonal characteristics define the song? These sorts of questions will come to mind. Then I might have a bassline come into my head or I might sit at the piano and work out the chords, but one way or another I'll familiarize myself with the tune and then plug in and play along. I like the spontaneity of first takes and happy accidents so I'll record straight away. I'll then play through until I feel I've nailed the song comprehensively and that extra takes start to yield diminishing returns. I'll then send my best three of the bunch, which will typically range from tight and solid to some with a little flair and some extra sauce in there.

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

A: I feel truly grateful to exist in a community full of artists and individuals that inspire me daily in their tenacity, artistry and perseverance in music. Whether it's a hip-hop session I'm in or a country tour I'm on, I am constantly inspired by the way artists are working their guts out to bring music to life in this day and age. Pearl Charles, Andy Clockwise and Lord Fascinator are all friends who I work with who inspire me daily in their commitment to the artistic journey. A producer I love to work with is Lewis Pesacov, whose breadth of musical knowledge and diversity of projects keeps things fresh and forward looking. Musically I've played with some amazing people from the previous generation who have inspired me greatly. Steve Holley who played with Wings, JT Thomas who played with Captain Beefheart, Winston Watson of Bob Dylan's band in the 90's. I love the opportunity to learn from the generation that inspired me so much.