Bassist, Engineer, Synth, FOH

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

A: Polyvamp at Brooklyn Bowl and Glitch Cake at Nublu. Live bass in rooms that matter, with press around the bills. Proud of the Touchtones dub singles too: Morning Dog Dub, Erin Dub, Brooklyn Turbulence (Live).

Q: What are you working on at the moment?

A: Touchtones Music — new reggae/dub and live-electronic singles — plus session bass and NYC live dates.

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

A: I am new on SoundBetter, so I will not fake a recommendation. If we work together and it is great, I will send people your way.

Q: Analog or digital and why?

A: Both. I record bass analog into a clean DI and produce/mix in the box. Dub and live electronic need the computer; the song still needs fingers on strings.

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

A: I will be on time, in the pocket, and easy to work with. You get a musical bass part or mix, not a pile of extra notes.

Q: What do you like most about your job?

A: When the low end clicks and the rest of the band suddenly feels easier. Same feeling on a Brooklyn Bowl or Nublu stage.

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

A: How fast can you turn it around? Remote bass is usually 2–3 days. Can you match this reference? Yes — send it. Do you play live electronic / reggae / rock? Yes. That is the catalog.

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

A: That session bass is just copying a MIDI line. A good bass part is arrangement, tone, and time. Sometimes the right move is fewer notes.

Q: What questions do you ask prospective clients?

A: Tempo, key, references, and whether the bass should stay simple or move. For live: venue, set length, and whether there is already a backline.

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

A: Send a reference track and say whether you want a composed part or someone to lock your existing demo. Clear tempo and a decent rough mix save a round of revisions.

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

A: Electric bass, a DI I trust, an audio interface, closed-back headphones, and a synth for bass/atmosphere. That covers remote sessions and writing.

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

A: I have been a working NYC bassist for years — Polyvamp at Brooklyn Bowl, Glitch Cake at Nublu, Of Clocks and Clouds, Bury Me a Lion, Vibetech, Catalpa Festival — and I write, produce, and mix my own Touchtones Music singles. I also teach bass. The through-line is groove.

Q: How would you describe your style?

A: Danceable and bass-forward. Funk, reggae, jazz, EDM, rock, and neo-soul pulled into one pocket. Not busy for its own sake.

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

A: Anyone in the STS9 / Lotus / Slightly Stoopid lane, or a reggae vocalist who wants live bass that still feels like a sound-system record. I like songs people actually dance to.

Q: Can you share one music production tip?

A: High-pass everything that is not bass, then make the kick and bass agree on one frequency range. If they fight, the groove dies no matter how good the part is.

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

A: Reggae and dub first, then funk, live electronic, indie rock, and dance music. That is the Touchtones Music catalog and the NYC bands I have played with.

Q: What's your strongest skill?

A: Pocket. Time, tone, and a bass part that serves the song — reggae, dub, funk, rock, or live electronic.

Q: What do you bring to a song?

A: A bass line that makes the kick and vocal sit, plus arrangement sense from producing my own records. I would rather leave space than fill every bar.

Q: What's your typical work process?

A: Send a rough mix, tempo, and any reference. I learn the song, lock the pocket, record a few takes, and send 24-bit WAV. If you want more movement or a simpler foundation, say so — I revise fast. Live dates: charts or a short rehearsal, then I show up prepared.

Q: Tell us about your studio setup.

A: Session-ready electric bass and DI, synth bass, and a computer-based mix/production setup for remote delivery. Live, I work a full-band / FOH mindset: clear low end, danceable volume, no mud.

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

A: STS9, 311, Slightly Stoopid, Disco Biscuits, Lotus, Krafty Kuts, Metallica, Black Sabbath, and a long list of reggae, funk, jazz, and neo-soul players. I steal pocket from dub and energy from live electronic music.

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

A: Remote and in-studio electric bass for songs, plus mix/production on reggae, dub, funk, and live-electronic records. I also take NYC live bass dates and live-sound / FOH when a show needs someone who already thinks like a bassist.