My musical background is based on progressive rock and metal. I started playing bass after a friend of mine introduced me to Dream Theater’s Images and Words, Awake and A Change of Seasons albums. I was very attracted by the virtuoso playing of DT bassist John Myung, but over the years I’ve been influenced by several other genres like funk and pop and have discovered many great bassists such as Michael Manring and Randy Coven. I would say that my bass style is very eclectic now. I like to play from progressive rock to pop. During recent years my style has become less virtuoso – less is more, you know – and more based on melody and groove. My aim is to make music, and not chops. In most of my solo music, the bass has three main roles: rhythm, solos and arrangements. Electric bass has great potential. You just have to discover it.
I used to use only six-string basses, because I love the deep sounds of the low B, and also low A, and the sound of the C string, which allowed me to have a greater range while soloing. I’m now more into five-string bass, for no particular reason: sometimes I need a change. I rarely play four-string bass; I can’t manage without a low B. After I tried the 37-inch scale low B on Dingwall basses, well it’s like an orgasm when I play that string. I need it! I don’t slap. I tried when I was younger, but I thought I was not good at it and I refused to practise. Simply, it’s not my cup of tea! I think that you have to play very straight on the click, while trying to be natural. You don’t have to play like a MIDI machine: we are humans. If you’re too much ‘on the grid’, you lose the groove and the warmth. I used to play too many notes in my bass-lines, but this is not necessary. A few right notes at the right moment are better. Focus on groove and melody, not on chops. My bass heroes are Michael Doug WimbishManring, , Randy Coven and Billy Sheehan, but also young, talented bassists such as Simone Vignola and many others.