What’s one word that I would use to describe myself? Obsessed.

Like so many others, my journey in music began in my early teens, playing bass in garage bands with my friends. After gigging around the northeast region for several years (as well as a few national excursions), I decided to try and take my playing a step further by enrolling at Berklee College of Music in Boston, Massachusetts. While at Berklee, I was struck by the technical nature of composition, which quickly led to an interest in arranging. In 2011, I reached a pinnacle in my performance career, where I found myself playing to stadium crowds. Shortly thereafter, the group with which I was performing dissolved and I was suddenly starting over.

I found myself working in studio environments more often than not and noticed a strong shift in my own interests from performance, to arranging, and then ultimately to engineering. I began to work at various smaller studios in the New York region, before ultimately putting together a small room of my own.

During this time, I also began working at Waterfront Studios in Hudson, New York, under the direction of the legendary analog recording engineer, Henry Hirsch. My relationship with Henry and Waterfront Studios completely changed my approach to recording, ultimately leading me toward a predominantly analog based production style.

As of 2017, I am serving as the head engineer at Sound City Studios in Van Nuys, California.

Do you think bass players are naturally suited to being producers?
We sit at the intersection of groove, harmony, and melody, and spending years providing the right kind of structure can prepare one to have a vision of how the landscape of a track should be built…When you produce at the highest level, you become just another person in the room who’s directing, opening doors, and shedding light on things. Everyone leaves the studio thinking, Wow, I just played better than I’ve ever played.”
–E.E. Bradman interviewing Larry Klein for Bass Player Magazine, Nov. 2014