Supportive, Melodical, Intuitive, Commanding, Lyrical

Bassplayer | Producer | Educator


Breaking news!

The crowdfunding for the new Charllotte Karlsted album reached 100%! Next thing to do will be to finish the record and have it mastered and printed.

The album presentation will be held on 10 april 2016 in studio De Smed in Amsterdam.

go to Charllotte



I am very fortunate to play with these cats! Together we have lots of fun and we groove our butts of.
Sax: Iman Spaargaren (
Keys: Wolfgang Maiwald (
Drums: Franc auf dem Brinken (
Bass: Dave Sahanaja

Captain Hook

Captain Hook has been around for a while. I became a member of the group when the thirt record was produced. At first they asked my to play on the record. Apparently they liked what they heared and asked me to join the band! Over the years we have refined the “Captain Hook sound”.


My main instruments are, 4 string passive jazz bass -like, bass guitars. I assembled my own instruments. I got the necks and bodies from the Warmoth company. They make excellent parts. The tuners are Hipshot Ultralights and the bridge is a vintage one with the treathed sadles. For pickups I use the Di Marzio ultra jazz. I only use two volume pots and no tone control.

I also own two six string basses. Both are Yamaha’s. A TRB6II and a TRB JP2

Other instruments in my rack are:
- Fender mim with a Warmoth ash body, '60 stack knobs and flatwounds
- Squir fretless with aero pickups and a tonestyler tone pot, strung with La Bella tapewounds


Being a gear head, I love experimenting with effect pedals. I own a bunch of them and I am always searching for that “special” pedal.

Ofcourse the best effect is “bypass”, meaning; no effect. But I do usually take with my an octaver, some sort of drive pedal and a envelope pedal. Together with a four string bass I can get some serious funky and nasty sounds happening!

My main influences for effects on bass are Juan Alderete, Tim Lefevbre, Brain Beller and Darryl Jones.


For amplification I have been using TC electronics for last couple of years. I use the RH750 head and two RS 212 cabinets.
I love their sound. It gives all the power and all the sound capabilities I need.

For really small gigs I employ a single 12” from TC, the RS112

I also own an Ampeg R100 “rocketbass” combo amp. It’s Ampegs transistor version of the vintage B-15 flip top. For recordings is sounds very nice.


Over the years I have collected pieces of gear that now make up my homestudio.

I use a mac mini with an i7 quadcore processor and 16 GB of ram. For an interface I use the focusrite saffire56.
My speakers are M-audio bx5 with the 10” sub.

I work in Logic pro X when i am writing songs. I use pro tools 12 for mixing. Most of my plugins are by Waves.


It is said that music is a universal language. I subscibe to that thought. I see much in common between spoken languages and music. In the end both are air in motion. Spoken languages speak from mind to mind.Music speaks from heart to heart.

Yet in our western society we approach music different from language. As a child we learn to speak by listening and mimicking the sounds we hear our parents and our surroundings make. Then after a view years we go to school and there we are taught what it is we are speaking and what the rules are. Then we learn to read and write.

In music education we somehow turn this order around. First we are explained the rules and we are taught how to read, then we learn how to „speak”.In my opinion this is upside down. Listening and playing by ear should be addressed first. In my lessons I emphasise this. Knowledge of music theory is only then important if the player is able to „speak”. Technique is only a means to an end and not a goal in it’s self. I do believe that knowledge of harmony and theory makes a good player great, but as is in spoken language;

"Not every professor of literature makes a great poet”

Photo’s by Ron Beenen
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