Professionell Bassplayer

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

A: Touring with Limp Bizkit for three years. I got the call on a Wednesday, flew out Thursday, went straight to soundcheck in front of thousands. No rehearsal. After the show Fred Durst told me: "You are our brother." I played bass, I held it down, and I belonged there. That's still the clearest proof I have of what preparation and trust in yourself can do.

Q: What are you working on at the moment?

A: My latest album "Keine Liebe" dropped November 2024. I'm running "I Love to Jam" — a YouTube format with live jam sessions and real artist conversations in Berlin. And I'm expanding into remote session work and lessons on SoundBetter, bringing the same approach I've used on tour and in the studio to clients worldwide.

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

A: Still exploring the platform — I'll update this as I connect with people whose work I can personally vouch for.

Q: Analog or digital and why?

A: Analog for feel, digital for convenience. I'll always prefer the warmth of a real amp and a good bass in your hands. But I'm not romantic about it — if digital gets the job done and keeps you making music, use it.

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

A: For lessons: honest feedback, zero ego, and a session built around you — not a template. For recording: a bass performance that serves your song, delivered clean and on time. If it's not right, we fix it. Simple as that.

Q: What do you like most about your job?

A: Two things. In lessons: the moment something clicks for a student — the rhythm locks in, the tension leaves their hands, and suddenly they're just playing. In session work: finishing a track and knowing the bass made it better. Both feel the same way — useful.

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

A: Can you match the style of my track?" — Yes, that's the job. Send me references and I'll get there. "How many revisions do I get?" — Until it's right. I'm not counting. "Do I need to know music theory to take lessons?" — No. We start where you are.

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

A: That bass is the easy instrument — the backup plan for people who couldn't make it on guitar. Bass is the spine of almost every genre. When it's right, nobody consciously notices. When it's wrong, everyone feels it. Remote session work is the same — it looks simple from the outside until you hear the difference a real player makes.

Q: What questions do you ask prospective clients?

A: For lessons: What do you play right now? What made you want to learn bass? What's frustrating you most? Those three tell me almost everything. For recording: What's the genre and feel? Do you have a reference track? What role do you want the bass to play — foundational, melodic, in-your-face? And what's your deadline?

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

A: For lessons — be honest about where you are. There's no point pretending. The more specific you are about what you want, the faster we get there. For recording — the more context you give me upfront, the better the result. Send references, tell me the vibe, tell me what you don't want. A good brief saves everyone time.

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

A: Yamaha BBP35, Ortega acoustic bass, a small practice amp, a metronome, and a decent pair of headphones. Everything else is extra.

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

A: The bass found me — I didn't go looking for it. Within a few years I was on stage with Limp Bizkit after getting a call asking if I could replace their bassist the next day. No rehearsal. Straight to soundcheck in front of thousands. That set the tone for everything. I've toured with artists like Ed Sheeran, Method Man, Alvaro Soler, and more. I've been teaching privately and on Udemy alongside that for years, and I do remote session work for artists and producers worldwide. I'm also a recording and performing artist — three albums out, latest one dropped November 2024.

Q: How would you describe your style?

A: Groove-first. I play for the song, not for applause. Whether it's a heavy rock pocket or a hip-hop feel, I want the bass to be the thing people don't consciously notice — but would immediately miss if it was gone.

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

A: Kendrick Lamar. The way he constructs a song — every element earns its place. Playing bass on something built with that kind of intention would be a serious challenge. I want to be challenged.

Q: Can you share one music production tip?

A: Record yourself constantly. Not to judge — just to listen back as an outsider. You'll hear things in a recording that you never notice while playing. It's the fastest feedback loop you have.

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

A: HipHop, Rock, and everything in between. That's my world as an artist too — I make music that doesn't fit neatly in one box. I'm comfortable across genres and I adjust my playing to what the track is actually asking for.

Q: What's your strongest skill?

A: Reading what a song needs and delivering it. Whether that's a locked-in pocket that stays out of the way, or a bass line that carries the whole track — I know the difference and I know how to execute it. That applies in the studio as much as on stage.

Q: What do you bring to a song?

A: Groove, feel, and the understanding that the bass exists to serve the music — not show off. I've played live in front of thousands, recorded across genres, and worked alongside some serious artists. You learn fast what holds a song together and what kills it. I bring that instinct to every track I play on.

Q: What's your typical work process?

A: For lessons: first session we talk — what you play, what you want, what's frustrating you. Then we get into it. Every session has a clear focus and something concrete to take away. For recording: you send me the stems and a reference or brief — what feel you're after, what the song needs. I'll ask a few questions if something's unclear, then I track, edit, and send back a clean file ready to mix. If it's not right, we go again until it is.

Q: Tell us about your studio setup.

A: I work with my Yamaha BB5 and BBP35 — both artist endorsements I'm proud of. I also play an Ortega Guitars signature acoustic bass. Simple, honest setup. The instrument does the talking.

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

A: Bootsy Collins for his fearlessness. Larry Graham for making you feel everything with almost nothing. My father was a music teacher in Uganda — I never grew up with him, but music is still the thing that connects us. That means something to me every time I pick up the bass.

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

A: Two things: 1-on-1 bass lessons and remote bass recording. For lessons, we work on whatever the student actually needs — technique, groove, theory, feel. For recording, I track bass for your song remotely — you send stems, I send back a professional bass performance that serves the track.