I own five Moogs and counting... let's make the most of them!
I'm a synth junkie. I absolutely LOVE key bass.
That's not to say I won't record electric bass for you; in fact, that's my first passion. So much so, it brought me from Perth Western Australia all the way to New York City.
NYC has allowed me the opportunity to perform in many environments, and genres, with a broad range of artists. From Michael Bolton to Talib Kweli, Ellie Goulding to Common, Peter Cincotti to Abir: I've played my fair share of bars, clubs, TV studios and stadiums.
I've even made my own album, Polytronic, with geniuses like Cory Henry, Nat Townsley, Ari Hoenig, Alex Han and my drum brother Sydney Driver.
Now, back to my addiction: SYNTHS!
It started with the Moog Little Phatty. Then the Moog Voyager. Then the Moog Model D. They sound like nothing else; their bass tones are CRUSHING. Forget software; these boards are the real deal.
I'd like to think I'm one of the few electric bassists that does synth bass well, and one of the few synth bassists that can play the hell out of an electric.
Let's find out on your next project!
Would love to hear from you. Click the contact button above to get in touch.
Credits
AllMusic verified credits for Lex SadlerInterview with Lex Sadler
Q: What's your strongest skill?
A: I think it's communication, and generally being a responsible person.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: My record, 'Polytronic'. It's an interesting blend of jazz, and electronic music, and it features some of the baddest artists around.
Q: Analog or digital and why?
A: Analog for synthesis — always.
Q: What's the biggest misconception about what you do?
A: That playing bass is easy because it has 'less strings'...
Q: What questions do you ask prospective clients?
A: I think references are always good; there's such a broad range of vibes available through modern recorded music. This is always the best place to start.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be sure of what you want before engaging any provider, then communicate and trust in the persona and the process.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Trick question? Probably a knife and a zippo lighter... a tent?
Q: What was your career path? How long have you been doing this?
A: I've been playing music for 20 years, but I'm also a pro visual designer. I like the balance of both.
Q: How would you describe your style?
A: Understated, and tasteful.
Q: Which artist would you like to work with and why?
A: Bjork; she's a genius.
Q: Can you share one music production tip?
A: Trust your judgement.
Q: What type of music do you usually work on?
A: A lot of hip hop and R&B, sprinkled with pop and as much electronic music as I can get my hands on.
Q: What do you bring to a song?
A: Good taste!
Q: What's your typical work process?
A: Communicate — understand what's required, check the reference tracks, try some vibes.
Q: Tell us about your studio setup.
A: Some nice preamps — Ridge Farm Audio Gas Cooker, Noble Pre, AGUILAR!
Q: What other musicians or music production professionals inspire you?
A: Aphex Twin & Squarepusher!
Q: Describe the most common type of work you do for your clients.
A: Synth bass tracking, electric bass and programming/production.
- Bass ElectricAverage price - $300 per song
- Keyboards - SynthAverage price - $300 per song
Work-for-hire; if writing is involved, we can assess on case-by-case basis.
- Pino Palladino
- Bobby Brown
- Michael Jackson
- 66' Precision Bass
- Warwick Star Bass
- Warwick Streamer Bass
- Moog Model D
- Moog Voyager
- Moog Little Phatty
- Oberheim OB6
