Podcast Audio Specialist

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I am especially proud of my work on "Faraway, So Close" a theatre production in Oxford, UK dealing poignantly with the Israeli-Palestinian conflict for which I was the sound designer composing an original score. It was immensely satisfying to work with a team of professionals delivering thoughtful art that spoke to difficult issues and to see the audience respond deeply to the work.

Q: Analog or digital and why?

A: I work digitally because of the unlimited flexibility that it offers. I have an entire world of sounds and instruments available to me on my computer. I do, however, apply analogue-modelled processing to my mixes for the color, warmth and expression that they add.

Q: What's your 'promise' to your clients?

A: I promise that I will create something unique and original that fits your vision and communicates your message authentically. If not, you deserve your money back.

Q: What do you like most about your job?

A: I love the daily challenge of creating music in different genres that will th

Q: What questions do customers most commonly ask you? What's your answer?

A: Customers commonly ask if they can request changes after I deliver, and the answer, of course, is "Yes!" It doesn't make any sense to me to charge you for custom made music and then tell you you can't customise it! Of course, if the client wants a completely new composition, that's a different story. But that's why it helps to get as clear a picture as possible up front.

Q: What questions do you ask prospective clients?

A: I ask that they provide references for the style of music they desire. Many times the words we use to describe the music may be completely different because it evokes different feelings for us. But if I can hear the music itself, I can immediately get the picture and deliver something appropriate.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Find someone who is flexible and willing to think outside the box to problem solve because your needs in the real world will rarely fit a neat, pre-conceived box.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Laptop, Maschine controller, mic, interface, headphones. I've always brought these things on beach vacations.

Q: What was your career path? How long have you been doing this?

A: I started making beats at age 12 (2000) and at age 15 began working with Pro Tools. After producing several solo projects both at home and in studios, I decided to pursue professional training at age 19 at London's SAE Institute. This coupled my passion with formal education and led me into freelancing as a lucrative side-hussle.

Q: How would you describe your style?

A: I build rhythmic collages of sounds that move me, drawing on influences from 90s hip-hop, to future bass, to 70s funk and 50s Cool Jazz.

Q: Which artist would you like to work with and why?

A: I would absolutely love to with with Snarky Puppy (although I'd be star struck) because their music is relentlessly adventurous and explorative while remaining fun and soulful. They exemplify the playfulness and dedication to the craft that makes great art.

Q: Can you share one music production tip?

A: I always start with a sound that inspires me and build grooves layer by layer until I have created the climax of the track. The final arrangement then consists largely of subtracting from that climax and building towards it.

Q: What type of music do you usually work on?

A: I usually work in the realm of hip hop and groove-based music of many styles. I produce electronically and can work in virtually genre.

Q: What's your strongest skill?

A: Working with creative resourcefulness with the tools and time pressure I'm given, to create an imaginative solution that fulfils a vision.

Q: What do you bring to a song?

A: I bring the passion of an amateur working for the love of it, with the rhythmic, musical ear of an experienced hip hop artist, lyricist and performer, alongside the technical skills of an audio engineer who knows how to put it all together in a sonic vision that translates to the listener.

Q: What's your typical work process?

A: The initial consultation typically happens over email/text. I ask the client to describe their project and their desired outcome in as much detail as possible. I then ask for reference tracks/shows that exemplify the sound or style they're looking for. Then, with those details in hand, I work on the project remotely and deliver within the stated deadline. Much of the time clients are thrilled with the first result. On occasion it takes a few iterations to get it just right.

Q: Tell us about your studio setup.

A: Everything revolves around my Mac Pro, running Pro Tools, Native Instrument's Maschine and a host of high-end plug-ins. My go-to hardware is my Maschine Studio controller, a Faderport 8 control surface and an sE 2200a condenser mic running through KRK Rokit 6 monitors in a treated room.

Q: What other musicians or music production professionals inspire you?

A: I was drawn to music by hearing stories of my grandfather who toured as a trumpeter in the Big Band era. Naturally a linguist, I fell in love with hip hop at age 11 and immediately started making beats and writing rhymes. I became a student of lyrical, conscious artists of the boom-bap era like Nas, Talib Kweli, Mos Def and Wu Tang. Growing as a musician and producer, I appreciate a variety of genres, with current favourites being Snarky Puppy, Badbadnotgood and Oddisee.

Q: Describe the most common type of work you do for your clients.

A: Most clients come to me for custom-made music intros to their podcasts (not many people offer this) as well as episode editing, mixing and mastering. I have ongoing retainer relationships with many clients where they simply send me their raw episode recording and I take care of the rest, editing, arranging, mastering and even scheduling.