RECORDING SAMPLES
© Dave Bass; All Rights Reserved


SAXOPHONES
Soprano, Alto, Tenor, Baritone
These were recorded on select equipment combinations (horns, mouthpieces, microphones, etc.)
to achieve a wide variety of tone colors suitable for the songs on which I was recording.

* * * WARNING: WATCH YOUR VOLUME LEVELS -
THESE TRACKS COVER MULTIPLE GENRES AND CAN BE VERY DYNAMIC * * *


AUDIO
INSTRUMENTS TEXTURE / COLO / MOOD DESCRIPTION
Alto Sax Aggressive, punchy, forward "Next One to Cry" - Grant Rosen, 2009
* WARNING: ADJUST YOUR VOLUME LEVEL *

This is the kind of screaming, edgy sound David Sanborn popularized in the 70's and is still a staple of Rock & Pop today.
Alto Sax Warm, round, sweet "Autumn in New York" - Vernon Duke, 1934
I place this here because it is the opposite of the aesthetic above. This is the kind of warm, round tone that works well with jazz, acoustic music, theater and certain kinds of pop.

Sax


Orig
Tenor Sax Driving, Staccato, Thin

"Who Can it Be Now" - Men at Work, 1981
In 2012 I was hired by an 80's tribute band to recreate the riffs and solo from this famous 80's pop song. They used this tracks on stage in sync with their band to provide sounds they couldn't create live (in this case their band did not have a sax player).

While researching the original saxophonist, Greg Ham, I realized I had the same vintage mouthpiece and microphone he used on the recording. So I strove to make it as close the the original as possible, including moments he sounded a bit flat or behind the beat for effect. It was fun. The combination of a thin reed and tone with short, staccato phrases is very different from what I normally do.

Two tracks here - the first is solo sax (me), the second the original.
The original is slightly sharper and faster in tempo than the track the band had me cut to.

Sax Section:
2 Altos, Tenor & Bari
w/ Flute fills,
Horn Arrangement
Funky, Syncopated, Punchy "Travis Song" - TV Broken
I worked with this funky-rock-hippie band for a number of years, first as musical director then as a composer and performer. I love this kind of driving style.
Sax Section:
Soprano, 2 Altos, Tenor & Bari
w/ 2 Flutes,
Horn Arrangement
Funky, Sophisticated, Layered

"Technocrats" - Mexico 68
When I first hit LA around 2008, I helped this band get started by writing charts and performing with them.

After a few years of copying Fela Kuti charts, the bandleader asked me to give him ideas for new directions. He brought over this Antibalis loop which I layered ideas over (off the top of my head, no paper), each one getting more and more complex (listen to the end).

When I was done, I leaned over the sax mic and blew a flute solo for kicks (hence the odd fidelity). The band loved it. But I suspect the bandleader was too much of a traditionalist; he never used my ideas! : )

Sax Section:
2 Altos, 2 Tenors
& Bari Sax
Thick, Textured, Weighty "Sugarglass" - Soft Targets
Sometimes you just need horns to provide texture and weight. Saxes do it like nothing else; even an organ or vocal choir. They can pack an articulated punch or flow like water; be gritty like sandpaper or smooth like glass; swell their notes or stay even and level - whatever the music calls for.
The bandleader wrote the horn chart on this one.
Bari Sax & Flute,
Horn Arrangement,
Guitar Fills
Bouncy, Light, Lyrical "Kiss Those Chains" - Jimmy Golding
I loved this artist and his music. I poured myself into arranging and recording over a whole album for a year in my studio. I wrote and played the horn arrangements, played some of the guitar parts and recorded his vocals in my studio.

When we were done recording the album, the mixing engineer called me and said "These tracks were recorded so well, I hardly had to do anything to them! They sat in the mix well." Unfortunately, the artist never released the album, for whatever reasons. Chalk this up along with the track I did for Leonard Cohen that hasn't seen the light of day yet either. : (
Bari Sax Driving, Muscular, Angular "Selam (peace)" - Wudasse
This Ethiopian jazz/rock/fusion group was formed in Atlanta in 2004; this comes off their album "Salem", recorded at the Five Spot in 2006. The tenor player is likely Jorga Mesfin. We start out weaving lines together before I launch into my bari solo; I am the first horn you hear on the Right side.

At this time I was just developing the kind of harmonic vocabulary to play over "free" music. After years of teaching theory and songwriting, my take on this today would probably be quite different. This was played on my old Zephyr bari; it was clunky as hell and rode sharp in the upper register but man, what a sound! But the Mk VI I have now trounces it, I believe.
Bari Sax Fluid, Driving, Sophisticated "Confirmation" - Miles Davis / Charlie Parker
There is some contention as to whether Miles or Parker wrote this (I say Miles) but I'll leave that to the historians.

More germaine to this post is the fact that I had just been blessed with a vintage Mk VI bari with a low A just prior to this recording. It's a beast of a horn (I nicknamed her "Animal")! She takes some getting used to and she weighs in at nearly 20 pounds! This is a tune I know well on tenor (in a different key) , hence my "creative interpretation of the melody. Lol.
Bari Sax Sweet, Romantic, Warm "Early Autumn" - Ralph Burns, Woody Herman, Johnny Mercer
This is the more lyrical, soft side of the baritone sax. I could never achieve this with my old Zephyr - it was balls-to-the-wall or nothing. But this French horn will coo in your ear if you ask it to. Gotta hand it to the French for their understanding of romance.

This was combined with a specific ribbon mic to emphasize the warmer sound.
See video link > Bari Sax Lyrical, Big, Warm "Mack the Knife" - Kurt Weill
While we're in Bari land, I should probably throw in a link to a video made around 2006 with the Gainesville Big Band. This was on my old Zephyr, back when my coat was white and my hair was black.

https://www.youtube.com/watch?v=nF-kukfOV6Q
Soprano Sax Lyrical, Sinewy, Piquant
(C'mon, you can look it up)
"Aquela Abraco" - Rua 6 (band)
* WARNING: ADJUST YOUR VOLUME LEVEL *

Sometime around 2000 I sat in with a Brazilian Band I really liked. All of them were fantastic musicians. They wound up hiring me for their steady multi-night gigs at a popular restaurant in Midtown Atlanta.

Man, that gig was fun. The music was great, the dancers were beautiful and the food was delicious. I had already come into the band with a working knowledge of Jobim, Dori Caymmi, Baden Powell and a few others, but then expanded my knowledge exponentially - as well as my skills hand percussion.

I struck up a friendship with one cat in particular, Roberto, whose knowledge of Brazilian music was encyclopedic. He used to laugh at me because I don't speak a word of Portuguese, so to request a tune I'd have to say, "You know, that one that goes like - " and then hum it. LOL!

This was recorded on a soprano sax I bought in a pawn shop for 200 bucks. It rode sharp upstairs and couldn't handle all the air I fed it so was a pain to play. But I now have a better horn - and looking for an even better one.
Anyone got a bent-neck Yamaha 62R Soprano they want to sell me? LOL!
Alto Sax Sweet, Lyrical, Dreamy, Romantic "Petals" - The Lost Continentals
Recorded in 1997. I always loved Amy Pike's voice.
Here I evoke the style and sound of the 1930's Swing masters such as Johnny Hodges, Willie Smith and Benny Carter.
Tenor Sax Strong, Aggressive, Hard

"Footprints" - Wayne Shorter
* * * WARNING: ADJUST YOUR VOLUME LEVEL * * *

This is he kind of "hard" sound made famous by Pharaoh Sanders, periods of John Coltrane, Sonny Rollins, etc.

I had just received a new (vintage) mouthpiece and was amazed by the huge sound I could get out of it. I decided to try an experiment - how much air could I blow through the horn before the mouthpiece "choked up," (diminished in volume or stopped playing altogether)?

I failed. I failed to "blow the saxophone apart." It stood the test. But in the process, I got to record some new sounds I'd always wanted. My only regret is it was recorded on my cell phone, so I added some more background track back in for balance. I left the sax AS IS, though; that's the actual sound of this monster mouthpiece. Love it.

Tenor Sax Fat, Warm, Wistful "Body & Soul" - Johnny Green, Edward Heyman, 1930
B&S is one of a handful of tunes that is so well written as to be in its own category, a cut above the rest. From youth I loved the Billie Holiday recording (and know every note of the Decca 2-album set by heart). I return to it often because it is such a depth to mine.

As a contrast to the tenor sound above, this is the sound I usually aim for - warm, balanced and fat. I have always the big Tenor sounds produced by guys like Gene Ammons, Eddie "Lockjaw" Davis, Rollins and others. To me, that's how a tenor saxophone should sound; like a tenor and not an alto or soprano. But I am currently in the minority on this opinion.
Tenor Sax Muscular, Balanced, Swingin' "Take the A Train" - Billy Strayhorn
(Yes, written by Strayhorn, not Ellington)
I leave you with a swinger. What else can I say but... it swings! By the way, this has very little reverb on it so it is a good example of a "dry" sound.

 


FLUTES
I play both Western Flutes (Silver, transverse) and
Native Flutes (bamboo, brass, clay) from around the World (Brazil, Africa, Ireland, Native American) etc..

My initial inspiration for wanting to play flute was an album I would check out of the old Smyrna Public Library as a kid;
"Buddy Collette and his Swinging Shepherds at the Cinema," with four great jazz flautists;
Buddy, Paul Horn, Bud Shank and Harry Klee.
From the moment I first heard those sounds I wanted to make them -
and got my chance when I bought my first flute around 13 years old.

Over the years I have expanded my flute playing to include things like humming and harmonizing as well as effect pedals.
Many people come up to me after shows to say I must have learned these things listening to Jethro Tull. Not even close.
It was my childhood friend and fellow musician Eric South who turned me on to Roland Kirk in my late teens / early 20s.
That's where I first heard these kinds of sounds and fell in love with them; I didn't hear Tull's music until much later.

Unfortunately, some modern flautists today use a lot of pyrotechnics in their playing.
But when you listen to what they're really doing, it's just one gimmick after another.
It's the equivalent of a lot of gingerbread on a stick house.
To me it means nothing if you can't craft solid, lyrical, melodic phrases.
That's why I love the old masters; they understood melody!

By the way, all of these were recorded on my old student flute; wait til you hear my new vintage Haynes.


AUDIO
INSTRUMENTS TEXTURE / COLO / MOOD DESCRIPTION
Flute,
Hand Percussion
Light, Airy, Dancing

Track Unknown, DJ Inaia
In the early 2000's I formed a duet with a creative DJ in Atlanta, playing saxes, flutes and percussion. I am very picky about DJ music, but she had great tastes and we had a lot of fun on our gigs.

After moving to LA in 2008, I went searching for another DJ to collaborate with. Inaia was recommended to me so I listened to her stuff, downloaded one of her tracks, recorded over it and sent it to her as an introduction. She loved it, but she had just moved to Miami and we never wound up working together.

Flute,
Guitar
Warm, Creamy, Mocha-latte
(Is this how you spell it?
I dunno; I don't drink the stuff)
Improv - Dave Bass
Sometimes it is nice to have new equipment around; it gives you another focal point which is useful for the artist to avoid the dreaded "looking in a mirror" syndrome which is the death of all true art.

Here I am borrowing a mic from a dear friend. It's creamy, delicious voicing is just the thing for flute. It's my secret weapon and no, I won't tell you what it is. Well, for $500 bucks I'll tell you what it is (that way I can get my own).

BTW I am also on guitar here and it is an excellent example of the hybrid picking style I modified from my father, who himself modified it from Chet Atkins. Thank you Chet. I wish I had your thumb. But then, I'm sure you wouldn't like that very much.
Flute
Composition
Sophisticated, Lyrical, Smooth "Just Another Gig" - Dave Bass
For this next Flute sample, I'm going to take you to a song I wrote and a live video we did of it.

This was written during the 6th year of hammering out nearly 250 gigs a year. That's about 1,500 gigs, give or take. On the way back from one of these, I was feeling particularly tired when inspiration struck.

It's a bit dark, and has a bit of New Orleans in it too. If you've ever been to N.O., you know that's repetitious; the dark Gothic South is present in New Orleans right down to the Spanish Moss hovering over the gravestones.

This was filmed for a show that might still air on cable TV; I believe it was called "Jazz and Blues." Tom Carpenter did fabulous job of that show, filming all of it LIVE, no overdubs, with three cameras in the room. Quite a feat to get it to look and sound good (despite some moments where the mic got too hot).

That's Dan Baraszu on guitar, Tim Delaney on bass and Keith Runfolla conjuring up the subtle shades of New Orleans.

While you're at it, pay my boy Dan some love and check him out here:
https://www.youtube.com/watch?v=ixLbrAjMFik


 


ARRANGING
Piano, Guitar, Bass, Drums, Percussion
I love crafting arrangements and laying whatever I need on actual acoustic instruments (gasp!).
That's right - I almost NEVER rely on pre-made "in-the-box" tracks as a starting place;
I'd rather sit at a real instrument and see what inspiration cooks up.

AUDIO
INSTRUMENTS TEXTURE / COLO / MOOD DESCRIPTION

Orig


My Arr.
Guitar,
Electric Bass,
Drums,
Arrangement,
Songwriting
Sophisticated, Groovy, Minor (dark)

"Soul Food" - Artist unknown
In the process of doing consultations and procuring equipment for studios, I sometimes run across clients who want me to track for them as well. One such client sent me this song. But it wasn't really a song yet - no chords, no background, just a voice and hand-claps - in odd phrases that don't fit in standard 8's, no less.

It inspired me so I took the first portion of the song and completed it, writing the chords then laying down guitar, bass and drums. I think it transformed it into something quite different.

I guess he didn't like it because he said he wasn't going to use it and that's the last I heard from him. Unless he tries that LA trick of re-recording it and not giving credit in which case he'll be getting a terse letter from an attorney, lol.

  Bass,
Drums,
Saxes,
Flutes,
Percussion
Funky, Quirky, Hip-Hoppy "Monday" - Rau Rau (aka David Alexandrou)
David is one of the quirkiest artists I have ever known. Believe it or not, that voice can sound spot on like Johnny Cash. His range is big, his creativity is enormous. Just don't invite him for dinner; he won't show. Until three days later.

For a while there, he was writing songs for an alter-ego named "Rau Rau." Rau Rau was a hit with all the girls. He was an innovator. He was too cool for his own shoes. He even wrote a song called "Monday" to counter Rebecca Black's then-hit "Friday."
But Rau Rau's "Monday" was a lot hipper.

If memory serves correct, he laid down vocals while I played drums, then I went back and added bass, saxes, flutes & percussion.
David Alexandrou - er, I mean Rau Rau - on vocals.
And telephone.

 

VOICE
Tenor; Lead and Background
Jazz, Theater, Soul, Pop

AUDIO
INSTRUMENTS TEXTURE / COLO / MOOD DESCRIPTION
Voice Warm, loose, swinging

"Made for Each Other" - Robert Bass
My dad composed this song when he was about 18. He wrote a number of other very beautiful, lyrical songs in what is called the "Tin Pan Alley" tradition, out of which many of the most loved Popular and Jazz songs originated.

I recorded this live to video simultaneously (a difficult feat!) and I am proud to say it is mostly first takes! First I recorded guitar, then bass, then drums, then voice and finally the sax. The only overdub is the sax ending.

One small note, I apparently did not pronounce the word "parting" fully because one friend thought I sang "party". My bad. Perhaps I'll get around to fixing it one day; for now I like it as a one-take wonder.

      Least you think I am a man with only one voice, I reserve this spot for future cuts. I absolutely adore 50 and 60's R&B and 70's funk and what I call "sophisticated pop". When it's good, I can't get enough. I've written a lot of songs nodding to these genres (modernized) but haven't finished or released the recordings.

Yet.

Let's take a moment to pray with me that things align to make it happen. And no, I'm not joking. Thanks for your prayers.


INSTRUMENTS I PLAY & RECORD:

SAXES: Soprano, Alto, Tenor, Baritone Solo / Fills / Horn Sections
FLUTES: Western (Silver) & Native (Bamboo, Wood, Clay, etc.) Solo / Fills / Horn Sections
GUITARS: Acoustic, Electric (Solid & Hollow Body), Lap Steel Finger-picking / Plectrum / Strumming
PIANO & KEYS: Acoustic Piano, Moog, various effects Chords / Fills / Arranging
ELECTRIC BASS: A variety of pre-amps, tone colors and effects Bass & Drum Arrangement
DRUMS: Live drums with great snares and cymbals Bass & Drum arrangements
PERCUSSION: Brazilian, Latin American, African, homemade Single or Layered tracks
VOCALS: Lead and Background Pop / Blue- Soul / Jazz / Theater


 


TO CONTRACT (HIRE):


PLEASE PROVIDE THE FOLLOWING INFORMATION:

1) CONTACT INFO
Your name, phone, email and the best time to reach you.
2) THE TRACK
Send the track you want me to work or a sample of something similar.
3) DESCRIPTION
Be descriptive - describe what you are looking for in detail.
4) TIME FRAME
When do you need it? Please be patient if I am involved in other projects.
5) RELEASE DATE
When you are planning on RELEASING the song(s) and through what venues?
6) LABEL or INDEPENDENT
Are you on a label or independent?
7) BUDGET
If not a precise budget, at least give a high and low range.

TONE:
Tone is the foundation; it's where you have to start.
Sometimes you don't need a lot of something - you just need a hint of color.
Other times it has to be front-and-center or knock you over like a brick wall.
But sounds also need to "play well" with the other sounds in a track, which influences tone selection.
Sometimes the most beautiful, warm tones (when heard alone) can get "lost" or "buried" in a mix.

This is where experience, equipment and techniques come in:
I use a variety of Instruments, Headjoints, Mouthpieces, Microphones, Pre-amps, Comps and techniques
to achieve a wide Tonal Spectrum: from quiet, intimate detailed, warm and fuzzy...
to masculine, edgy, screamy, distorted and even bizarre (effects).
The samples above are there to give you Tone Colors for reference.

"SAMPLER TRACKS":
Sometimes you aren't sure WHAT you want on a track.
I get it.
In these instances, I recommend you hire me to do short "samplers."
This is where I take 2-4 bars of your song and throw some colors on the canvas.
Each take will be different, utilizing different instruments or effects you or I choose.

I can do this with fills, solos or full orchestrated sections.
It's a GREAT way to hear what various concepts actually sound like (rather than just imagining them),
and you don't have to hire a full band or rent a full-size studio;
I can do it from the comfort of my home for a fraction of the price - with all the same juicy gear.
I charge a nominal hourly rate for Sampler Tracks; shoot me an email to discuss.

PAYMENT OPTIONS:
Cash is still king.
You can also Zelle (free inter-bank transfers).
Paypal will incur an additional 5% fee.
Sorry, I do not take Checks or Money Orders unless I know you.
(Hint; if you're reading this, I don't know you).
I do not take Venmo, Bitcoin or other forms of payment (at this time).

I look forward to working with you on your music -
Sincerely,

Dave Bass
EMAIL ME




   


REFERENCES

"Working with Dave elevated my song from average bedroom music to legit world-class sounds!"
William, 2020; Pop-rock band from Brooklyn
Recorded Baritone, Tenor and Alto Saxes, Clarinet, Flute

"I hired Dave to perform soprano fills and solos on my singer/songwriter jazz/pop track; it is a fantastic take.
He surfs in and out of key with various "blue notes" that really hit home for the perfect sound I wanted.
Furthermore, he composed a multi-horn intro for my song that gave me the transformative element I didn't know to look for.
I highly recommend Dave and will use him for all of my horn parts in the future."
Greg B., 2020; Sophisticated Pop
Recorded: Soprano Sax fills behind vocal; Soprano Sax solo; Sax Quartet intro (Soprano, Alto, Tenor, Bari)

"Dave put his horn on a Christmas present for my wife and turned the song into a thing of beauty.
I can't recommend him highly enough!"
John Rhys, 2019; Producer, Writer, Publisher and former owner of an acclaimed Hollywood studio for many years
Recorded: Tenor Sax, melody and solo

"Dave's flute on two of my original songs resulted in recordings that I am quite proud of.
I strongly recommend Dave to songwriters, solo performers or music groups
who want that beautiful wind or brass instrument sound to their recordings."
Bill K., 2013, Acoustic Rock
Recorded: Flute and Hand Percussion

"Dave's studio is incredible.
Top-notch equipment, top-notch sound, top-notch engineering by a top-notch musician."
B. Original, D.J. and producer

"The tracking was superb, and the lines and arrangement you crafted fit well into everything."
Robert, Mixing Engineer (music, movies, TV, commercials)

"I am knocked out by your production work; very tasty, especially that nice solo.
In fact, all the instrumental work is impressive! Thanks for doing such a terrific job on my song."
Roger Schore, NYC songwriter

"I would not hesitate to hire Dave as a musical director, singer, player, copyist or recording engineer and producer."
Chet, Guitarist and Bandleader

"I think we scored big; you did a great job."
Ray Jessel, songwriter (Louis Armstrong, Peggy Lee, Sammy Davis Jr., Broadway, TV, America's Got Talent contestant)
Recorded: Tenor Sax, Surf Guitar, Bass, Drums, engineered, hired and recorded three background female vocalists

"Dave is one of the most gifted and diverse musical artists I know.
He provides tremendous support and direction to artists trying to get their projects off the ground."
Viva, Vocalist, Bandleader and Educator

"I just want to let you know how much I appreciate your Herculean effort, your musicality and your great nature."
Willie, Composer (American Gangster), Producer (Leonard Cohen)
Recorded: Arranged and recorded Alto, Tenor and Bari Sax; hired and scored Trumpet and Trombone as well

"You are the hardest working man in show biz."
Harvey Cooper, Sr. Vice-President, 20th Century Fox Records (1977-1980)

And more...








 


MY BACKGROUND

I am a Musician, Recording Engineer, Educator, Consultant (and Custom Woodworker)
I have decades experience as a Performer, Studio Musician and Bandleader
with thousands of gigs under my belt.

Because my father was a professional musician and songwriter and my mother an avid music lover too (of different artists, mind you),
I grew up with music all around me. A lot of it. Jazz, Classical, Folk, Brazilian, R&B, Funk, Pop and more.
I like to joke that I could speak music before I could speak English, but it's probably true;
my father could play thousands of songs - melodies, chords and lyrics - and he sang and played them all for me.
I grew up with the sound of a guitar in my ear and heard thousands of songs way before I could even speak.

My father taught me percussion instruments and brushes at age 3; piano and music theory at 10.
At 11 I found my love - saxophone - then flute, guitar, drums, voice, upright bass, electric bass and more percussion.
I had my first steady gig at 15, every weekend with a guitarist twice my age who "hated" me b/c I knew practically every song in the Fake Book.
Not to mention I was actually too young to legally even be playing in a bar!
But that didn't stop me - I grew a beard and played! (Kudos to Dave R. for hiring me).

I won numerous awards in High School in both music and Creative Writing,
then put myself through college on music and writing scholarships and grants.
I had my first pro recording session at 18 in the studio where Kansas recorded "Dust in the Wind"
(on that beautiful Neve console & giant tape deck - if only I'd known what I was looking at then!)

I freelanced for years with a ton of different bands - big bands, blues bands, pop bands -
and formed my first band in High School, "Quintessence", playing gigs on the weekends.
I even wore the funny Lederhosen and froze my ass off one winter playing Polkas outdoors.

I left college early because I wanted "Dead Poets Society" and got "Fast Times at Ridgemont High."
The idea of "partying" was foreign to me; I wanted to get deeper into art and spirituality.
Frustrated, I slid into the work world and began to discover I had a strong drive for leadership, organization and responsibility.
In nearly every job I took I wound up in a leadership position, including a good stint in Restaurant and Hospitality Consulting.
____________

But by 1993 I had grown sick of the corporate, cut-throat, soul-less world.
A deep love for music was calling out to me.
I got serious.

I started transcribing all the music that turned me on the most -
starting with Charles Mingus, Wayne Shorter and Thelonious Monk at the top of the list.
I built a book of detailed transcriptions and formed my second band, the Dave Bass Quartet.
I hired the best guys I could find, started gigging and even moved to the heart of the city to be immersed in art.

In a few short months I was invited to join the most popular band in town, at the most popular nightclub in the city, Otto's in Buckhead.
The club was so packed it was often elbow to elbow. It was nuts.
Everyone in the band split singing duties and every night was a trip through the genres, starting with jazz then blues, funk and pop.
The bandleader was gracious enough to let me bring in any tunes I wanted,
so I started furiously transcribing all the other stuff I grew up hearing (that wasn't jazz):
The Eagles, Eric Clapton, Otis Redding, Aretha Franklin, James Taylor, Paul Simon, Joni Mitchell and more.
A year of this, 4-5 nights a week, set me straight:

In 1996 I re-formed my band with the best cats in town and went full time.
One year later, we were playing 274 gigs a year and had a full-time assistant.
So I upped my price and backed my engagements down to a manageable pace.
From 1996 until I left Atlanta in 2008 (12 years), we averaged 250 gigs a year.
That's about 3,000 gigs, all 3-5 hours with a four-piece band playing Jazz, Latin, Funk and Pop.

As one bandmate put it, "I've seen more of you than I've seen of my wife!"
Still, no one was really complaining; the gigs were good, the money was great,
and I got away with playing Mingus in places you'd never, ever suspect -
and our audiences loved us for it.
____________

Then the composing bug hit me.
It started in a dream. I guess all of those melodies and harmonies had to come out somewhere.
At first it was only jazz.
But a trip to LA in 2001 inspired my first pop song and I was off and running, writing in multiple genres.
I currently have over 70 finished songs in jazz, blues, R&B, folk, country, gospel, theater, comedy and pop.
But LA is a hamster wheel and none of these have been properly recorded or released yet; something I pray to remedy soon.

In 2005 I built my first Private Home Recording Studio -
multi-tracking complete songs on one channel strip and one good mic (true)!

In 2008, I moved to Las Vegas for a 3-month spell (too hot, too dry, too flat),
so I loaded up the truck and I moved to Santa - Monica, that is - in the heart of Lost Angeles.

In LA, I gigged and opened my studio to other talent, performing on their tracks, engineering, producing and co-writing.
I also started teaching; first saxophone then voice, guitar, flute, drums, then my favorite subject of all:
Music Theory and Songwriting.
I have written a detailed, two-year study course for those serious about composing (which I hope to publish soon).

Around 2015, after a stretch of some pretty bad songwriters and performers coming through my studio,
I closed my studio to the public, returned it to private (invite) use only - and began concentrating on teaching Songwriting.
I also turned my former hobby into a second career; woodworking.
I have built all kinds of products for recording; racks, keyboard frames from solid walnut, sound conditioners,
wall dividers, microphone holders and floor-to-ceiling fractal diffusers for a post-production house
that passed the grueling 5k Dolby Atmos test (and became part of a cover-story for Mix Magazine).
Along the way I have also built innumerable beds, dressers, closets, bookcases - you-name-it.
(Separate website coming for those creations soon).
____________

When I record for a Client, they get the benefit of my all my experience - from all angles.
Not only do I take the time to get the parts right, I take equal care as an engineer to get the recording right
and have many tools at my fingertips to do so.


I have experimented with many recording techniques, used 100s of pieces of equipment,
conducted hundreds of exacting A/B tests of both instruments and audio gear (the nerd in me),
worn the hat of studio musician, writer, arranger, engineer and producer,
made wonderful friends in the business and helped many musicians towards their musical goals.

I enjoy sharing my knowledge and experience with others who are serious about making good music.
Let me know how I can be of help to you!




© Dave Bass 2020