Equipment

Instruments

Double Bass

My main upright bass is a handmade Hungarian Double Bass - approx. 85 years old. The bass is fitted with a David Gage Realist pick-up for amplifying at 'louder than acoustic' concerts. For live recording I use a Sontronic DB-1B condenser microphone.

Bows: I have a small selection, my favourite being and French-style Alfred Knoll 4/4 with peppered hair.

Rosin: Kolstein or Nyman (depening on the temperature and humidity).

Fender

USA Deluxe Jazz Bass FMT

5 string

34" 5-string, with Alder body, Maple neck and Rosewood fingerboard. Purchased second-hand. Now fitted with a Glockenklang 3-Band stacked preamp and luminous side dots (Luminlay) - a great function gig bass. Strings used: DR Strings PB5-40 Pure Blues 40-120

Sei

UK Flamboyant Fretless

5 string

35" scale 5-string. The wood is madrone burl front and back facings, matching headstock, ash wings. The neck is a 7 piece flamed maple / wenge through-neck topped with an ebony board, with subtle lines in mahogany. Fitted with side LED's that are very useful for pit playing and darker stages. This is fitted with a versatile Schack preamp alongwith Bartolini MM pickups and ABM piezo bridge with piezo preamp.

Strings used: Thomastik Jazz flat wounds JF365 Extra Long Scale 44-136 (not as image)

Shuker

UK Series 2 'Superleggera'

4 string

Handbuilt by Jon at Shuker Guitars in the Peak district, UK. This is based on the Series 2 model. Constructed with: maple neck, maple/wenge scarf headstock, Indian rosewood fretboard, swamp ash body with spalted Beech drop top. I had a Jazz and a Precision neck made for this bass, and it is fitted with gorgeous Aguilar PJ humcancelling pickups and John East Uni 4 Preamp. Strings used: Ernie Ball Hybrid slinky roundwound 45-105

Photoe of Sei Bass guitar, 5 string headless with gold hardware

Sei

UK Headless Original

5 string

Custom made for me in 2007 by Martin Peterson at the Bass Gallery, UK. Used mainly for recording session work, and theatre pit work where space is usually quite tight. Zebrano wood body with through neck and book-matched flame maple front and back. Macasa ebony fretboard. Fitted with luminous side dots (Luminlay). John East preamp (18v) Uni-Pre 5 with Kent Armstrong pick-ups.

Strings used: DR Strings PB5-40 Pure Blues 40-120

MusicMan StingRay Special H

5 string

USA Ernie Ball MusicMan Stingray 5 string ‘Special’, in stunning Dropped Copper Metallic finish, 18v preamp, fantastic tone, roasted maple neck. 34" scale. Original white pickguard replaced by a black 3-ply one to better suit. Strings used: Ernie Ball Regular slinky roundwound 45-130

Fender

Japanese Precision

4 string

Japanese Precision 70's Reissue. This has a 'B' profile neck (nut width 41.5mm). This P-bass is now set-up for a 'close-to-Motown' sound: Rosewood neck, passive circuitry (CTS pots, NOS Sprague pacer caps, 0.1uF) / Aguilar 4P-60 pick ups, flat wound strings*, high action, bridge-mute, Gotoh bridge, chrome pick-up cover and 'ashtray' bridge cover. I use this bass for a variety gigs but especially for function work if it includes soul, Motown, country etc.

Strings used: Thomastik Jazz flat wounds 43-100 or

La Bella 760FM DTB 49-109

Fender

USA Precision

4 string

USA P-bass with a maple neck and finished in metallic blue. Now fitted with black Babicz bridge and Ernie Bass Hybrid slinky. Used for rock/pop gigs and/or when a plectrum is required. Strings used: Ernie Ball Hybrid slinky roundwound 45-105

Recording

Microphone Recording

I often get asked about what mics I use to record bass in the studio. For upright bass I use a Sontronics DM-1B (pictured). This condenser microphone works beautifully with double bass. There seems to be very little by way of discernible peaks or scoops across most of the frequency range of my double bass. Placement wise, I typically direct the mic just off centre and towards the treble side of the bridge. Depending on the recording, I sometimes also add a second microphone nearer the fingerboard. For bass guitar, DI is the order of the day for 95% of the recordings I undertake. However, sometimes I like to use the DM-1B to mic a bass cab. Often I use this to blend with a DI signal. A lot depends on the style of the music, and the overall sound stipulated by the client.

Direct Recording

I have a nice section of DI's available, depending on the type of project. These include: Radial JDI (passive DI), JHS colourbox, RedDI, Mesa, Tech21, and DHA VT1. I typically record using an SSL interface into Logic DAW.

Amplification

Thanks to Westside Distribution (Glasgow), from November 2019 I have been using Mesa Boogie Bass Amplification in most of my public shows where a back-line is needed. I have been provided with a lightweight but immensely tone-rich WD-800 head, with two Subway 2x10 cabinets.

For situations that require ultra portability such as small jazz venues, 'middle of a field' wedding gigs etc, I also own two delightful GR AT110 carbon cabs. These can be paired singularly or in a stacked pair, powered by the Mesa WD800 head. I also own a Gallien-Krueger Legacy 115 1x15" 800W Bass Amp Combo.

Bass guitar session player recording amplification Mesa 2 by 10 cabinets and Mesa WD-800 amp head with microphone at front Sontronics DM-1B

Both 2x10 Cabinets along with the WD-800 head. Mic'd up with a Sontronics DM-B1 microphone ready for a recording session.

Signal Processing and Effects

Although I regularly perform without any special effects (such as Jazz and Folk gigs), I have a variety of effect pedals that satisfies almost every taste and genre of music. For electric bass only gigs, for the sake of portability and weight (particularly useful for city centre gigs where parking is often 'off-site') I typically only take a very small 'processing' pedalboard: Peterson Tuner and an Empress Bass (VCA) Compressor - see photo [1&2]. For doubling-gigs (Electric and Upright Bass or Synth), I also use a delightful EBS Stanley Clarke Acoustic Preamp that facilitates swapping and processing of the two different instruments. If only double bass is required, I can use the pedal to blend my Piezo pick-up with a microphone for the best possible sound. A huge thanks you must go to Ralf at EBS for providing this for me. Where needed, I also have an effects pedalboard than can host a combination of the effects listed below, all powered by a wonderful and silent Ciocks DC-7 power supply (hidden underneath) or a smaller board powered by a Ciocks Adam (if only a few pedals are being powered).

Pedals available:

Empress Bass Compressor - I've tried almost every possible bass compressor, and typically either return or sell them on. This one has stuck. Simply fantastic.
Peterson Tuner - I really like the extended features on this pedal, and the accuracy of a strobe tuner is a must for any professional player, particularly when adjusting intonation.
EBS Stanley Clarke Acoustic Preamp - see description in paragraph above.
Rafferty Fuzz-Orius - An ace fuzz for bass that was specifically based on Jaco's Acoustic 360 fuzz circuit.
DHA VT1 Di Standard - UK made hand-built valve pre-amp (tasteful valve drive tones).
Tech 21 Sansamp Bass Driver + DI - Does what it says in the tin!
Providence Anadime Bass Chorus - a delightful Japanese Chorus with high-pass filter so lower frequencies can have less effect on than higher frequencies; great for jazz solos etc.
MXR Bass Auto Q - auto-wah / envelope filter based on the sound of the Cry Baby pedal. This particular pedal has stood-up to the punishment of many gigs.
MXR Custom Shop Brown Acid Fuzz - Inspired by a classic 1970s fuzz effect.
Boss OC-5 Octave - With it's refined 'poly mode' that offers numerous enhancements for extended-range playing with the latest tracking technologies, along with the fab vintage mode option (recreation of the legendary mono OC-2 from 1982).
Seymour Duncan Compressor - a great value compressor that I still use on occasions. Simple and easy to use.
Korg PitchBlack Tuner - Bright and clear with 9v output for pedal linking - faultless in over 15 years use.
DOD Chorus (vintage) FX62 - adds a warm, thick chorusing sound. This was my first ever pedal and this is still going strong 30+ years later!
Bright Onion: Blender Looper - Although not an effect, I often use this to blend a wet (affected) and dry (unaffected) bass signal.
NUX Loop Core - I don't do much with looping, although this pedal is a lot of fun for practicing, teaching, and for sketching groove ideas.
MXR M300 Reverb - A wonderful reverb that suits bass well, and the blend feature means you can keep your bottom end as well as several tasteful reverb effects.
Seamoon Funk Machine (not photographed). This analogue filter can create two distict sound effects: a Brecker Brothers-esque 'sponge' down sweep envelope filter and a 'sub-dub' deep synth filter tone.

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Pedal board for function gig - a typical layout [7, 8, 9, 10, 11, 12]. Signal chain runs right to left.

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Other

Straps

In 2017 I visited the Spanish factory that make these fabulous straps. I now own several of the Bass 'Fakey' model and I am happy to endorse their products. The 'Fakey' is suitably wide, well-padded, tough and very-well made. Check out the details and unique adjusting feature by clicking here. They also make a range of vegan straps too.If you visit Spain, why not pop by and pay them a visit too!

Synth

If bass synth is needed, I use a Roland GAIA SH01. A great compact 3 octave analogue modelling synth.

I also have access to a Moog Subsequent 25, available as needed for recording / session work.

Hearning Protection

I use ACS (PRO17) custom moulded earplugs to protect my hearing.

Read more about these wonderful flat-response earplugs here.

Bass Uke

On the odd occasion a bass uke is needed, I own a Harley Benton model, but upgraded with Aquila Thunder Reds® Bass Uke Strings.

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