Rock Bass Player for Hire

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

A: Yes – I'd highly recommend Corey Britz on SoundBetter. He's the touring bassist for Bush and also works extensively as a session musician, producer, and mastering engineer out of Los Angeles. Corey is extremely organized and delivers tracks on time and formatted exactly as requested—qualities that align perfectly with what I value in collaborators. If you're looking for someone with world-class tone and a seamless remote workflow, he's one of the best. I'd also recommend Nik Hughes, drummer for Bush and an incredible session musician in his own right. Nik brings a dynamic, high-energy style and is one of the most reliable and musical drummers I've worked with. He has a great ear, tracks fast, and consistently delivers top-tier performances.

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

A: I’ve been playing bass professionally for over 15 years. I got my start gigging locally, then moved into touring and recording full time. For the past several years, I’ve been the bassist for the platinum-selling band Filter, playing everything from major festivals to studio sessions. Along the way, I’ve built a reputation as a reliable, creative player who can deliver tight, mix-ready bass tracks across a wide range of styles. Session work has become a natural extension of what I do — it lets me bring my experience and tone to other artists’ music, which I really enjoy.

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

A: I’d love to work with Thrice. Their ability to evolve across genres while keeping everything rooted in emotion, intensity, and great songwriting is something I really connect with. Their rhythm section is creative but always in service of the song, and I’d love to contribute bass that fits into that kind of dynamic, thoughtful arrangement. It would be a great blend of raw energy, melodic interplay, and musical depth — all things I love bringing to a track.

Q: What are you working on at the moment?

A: Right now, I’m wrapping up work on the new **Filter** album, which has been a really exciting project to be part of. We’re dialing in some powerful, gritty bass tones and pushing the sound in new directions while staying true to the band’s roots. Outside of that, I’m tracking bass for a handful of session clients across rock, pop, and alt projects — keeping the low end moving and the mixes heavy.

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

A: One project I’m especially proud of is the upcoming Filter album. I was deeply involved in shaping the bass throughout the record — dialing in tones, building parts that locked in with the drums, and adding dynamics that elevated the overall production. It wasn’t just about playing the right notes — it was about creating energy, texture, and movement that supported the songs from the ground up. Being trusted to help carry the low end on a full-length album for a band with such a legacy is something I don’t take lightly, and I’m really proud of how it turned out.

Q: Analog or digital and why?

A: I use both, but I lean toward digital for flexibility and speed — especially when working remotely. Tools like the Helix, Quad Cortex, and top-tier plugins let me dial in incredible tones quickly and recall them instantly if revisions are needed. That said, I still value analog character, which is why I use gear like the Darkglass B7K and SansAmp when I want a bit of grit or warmth. At the end of the day, it’s not about analog vs. digital — it’s about what gets the best result for the song. I choose the tools that sound great, feel right, and get the job done efficiently.

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

A: My promise is to deliver bass tracks that serve your song with feel, tone, and precision. I’ll communicate clearly, meet your deadlines, and give your project the same focus and attention I bring to my own. Whether you're after grit, groove, or something more melodic, I’ll make sure the bass elevates your track and fits seamlessly into your mix — no guesswork, no ego, just what the song needs.

Q: What do you like most about your job?

A: What I love most about my job is getting to help bring songs to life. There’s something really rewarding about finding the right groove or tone that ties everything together and makes a track feel right. Every project is different, and I enjoy the challenge of figuring out what the song needs — whether that’s something subtle and supportive or bold and aggressive. Being able to contribute to someone’s vision and help make their music hit harder never gets old.

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

A: One of the most common questions I get is: “Can you match the tone or style of this reference track?” My answer: Absolutely. Just send over a rough mix, reference song, or even just a note about the vibe you're going for — gritty, clean, punchy, smooth, etc. I have a versatile setup and can shape the tone to fit what your track needs. I usually provide both a processed tone and a clean DI so you’ve got options in the mix. Another common one is: “How fast can you turn this around?” I usually deliver within a few days, depending on the project size. If you’re on a tight deadline, just let me know — I’ll do my best to make it work.

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

A: One of the biggest misconceptions is that bass is just about playing root notes or filling in the low end. In reality, a well-crafted bass part can completely shape the feel, groove, and emotional weight of a track. It’s not just about what notes you play — it’s how you play them, how they lock in with the drums, and how the tone fits in the mix. A great bass line supports everything around it without drawing attention to itself, and that kind of subtlety takes experience, intention, and a good ear.

Q: What questions do you ask prospective clients?

A: When working with new clients, I usually ask a few key questions to make sure I’m delivering exactly what they need: - How many songs or sections need bass? - What genre or vibe are you going for? Any reference tracks? - Do you already have a rough mix or demo I can play to? - Is there a specific tone or feel you’re after — gritty, clean, melodic, heavy, etc.? - What’s your deadline or ideal turnaround time? - Do you want DI only, or also processed tones (clean, dirty, or both)? - Are there any parts already written, or should I come up with something from scratch? These help me get a clear picture of the project and deliver something that fits seamlessly into the mix.

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

A: The best advice I can give is to be clear about your vision, but open to collaboration. Share as much info as you can up front — like the number of tracks, genre, references, and what kind of vibe or tone you're going for. If you already have a rough mix or drum groove, even better. The more context I have, the better I can shape the bass part to fit your track perfectly. Also, don’t be afraid to ask questions. Communication makes all the difference in getting a result that feels right. Whether you want something super specific or you're giving me creative freedom, I’m here to make sure the bass serves your song.

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

A: I’d take: Dingwall Super P – super reliable and covers a wide range of tones. Line 6 Helix – endless flexibility in one box, from clean to aggressive. MacBook Pro – gotta have a solid DAW and the brain for the setup. Solo audio interface – simple, clean, and portable. Lauten FC-387 mic – great for capturing detail if I need to track vocals or ambient textures. With that setup, I’d be ready to lay down killer bass tracks - even if the only audience is seagulls.

Q: How would you describe your style?

A: My style is tight, dynamic, and tone-driven. I focus on locking in with the groove and bringing out the emotional weight of a track, whether that means aggressive and gritty or smooth and supportive. I like my bass lines to feel intentional — nothing flashy unless the song calls for it. I’m all about creating parts that move the track forward and make the mix feel bigger, not busier.

Q: Can you share one music production tip?

A: One tip I always share: never skip the DI track. Even if you’re using a perfectly dialed-in tone from pedals or amps, having a clean DI gives you flexibility later. It can save a session if the tone doesn’t sit right in the mix, and it opens the door to reamping or using plugins to shape the sound without re-recording. A solid DI is your safety net — and your secret weapon.

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

A: I usually work on rock, alternative, industrial, and pop projects — anything with a strong groove and energy. Most of my clients are looking for tight, powerful bass that cuts through and adds depth without overpowering the mix. I’m especially comfortable in darker, heavier, or rhythm-driven styles, but I also enjoy more melodic or atmospheric tracks where the bass plays a supporting or textural role.

Q: What's your strongest skill?

A: My strongest skill is knowing how to serve the song. I have a solid sense of pocket and tone, and I know when to keep it simple and when to add movement or energy. Whether it’s locking in with the drums or building dynamics across a section, I focus on playing parts that feel great and support the overall production. I'm also fast, organized, and deliver clean, mix-ready stems that are easy to work with.

Q: What do you bring to a song?

A: I bring foundation, feel, and character to a song. Whether it's a driving low end, subtle movement, or aggressive edge, my goal is always to serve the track and elevate the arrangement without stepping on other elements. I focus on locking in with the groove, shaping tone to match the vibe, and delivering parts that feel intentional and alive. My playing is tight, musical, and built to make the mix hit harder.

Q: What's your typical work process?

A: My typical workflow is focused on precision, feel, and making sure the bass supports the track in the best way possible. I usually work section by section, locking in each part before moving on. This helps ensure every moment of the bass line feels intentional and usable right out of the gate. For syncopated or rhythmically tight parts — especially when the bass needs to hit perfectly with the kick — I’ll sometimes use a hybrid approach. I might start by placing single notes on each kick to lock in the rhythm, then go back and perform the part in one take using that structure as a guide. It gives me that tight, punchy feel while still sounding natural and musical. I typically record both clean and gritty bass tones separately so clients have options. I always track an unaffected DI signal as well, in case we want to reamp or explore different tones later. Once everything sounds right, I consolidate all my edits to a clean take, apply fades, merge cuts, and deliver polished, labeled stems that are easy to drop into your session.

Q: Tell us about your studio setup.

A: My studio is fully equipped for professional bass tracking and remote sessions. I record into Pro Tools Studio using a Universal Audio Apollo 8 interface, which gives me rock-solid conversion and low latency. For basses, I’ve got a versatile lineup that covers a wide range of tones and styles: - Dingwall Super P for punchy modern tone - Music Man Dark Ray and StingRay 4HH for classic growl and clarity - Schecter bass for heavier or alternate tunings On the tone-shaping side, I use a Line 6 Helix, Neural DSP Quad Cortex, Darkglass B7K, and SansAmp Bass Driver DI to dial in everything from clean and fat to gritty and aggressive tones. I can deliver both DI and amp-style tones depending on what your track calls for. I also have a Lauten FC-387 for tracking amps or vocals when needed, and everything is routed and monitored with pro-level accuracy. Bottom line - I’m set up to deliver clean, polished, mix-ready bass tracks quickly and reliably.

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

A: I’m inspired by musicians and producers who bring both precision and creativity to their work. Nolly Getgood is a big influence - his attention to tone, detail, and clarity in low-end production is next-level, and I’ve learned a lot from how he approaches bass in a mix. I’m also a longtime fan of Thrice. Their ability to evolve sonically while staying grounded in emotion and intensity has always resonated with me, and I really admire how their rhythm section shapes the feel of each record.

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

A: The most common work I do for clients is recording bass guitar tracks for their songs, usually in the rock, alternative, pop, or industrial genres. I focus on crafting bass lines that lock in with the groove, support the arrangement, and add character without getting in the way of the vocal or lead instruments. Most clients come to me looking for tight, mix-ready bass with attitude and feel - something that elevates the track and adds musical depth. I typically deliver clean, processed stems that are ready to drop into the session.