Pro Drums/Producer/Songwriter

Q: What are you working on at the moment?

A: My website that will feature my body of work. I also got a grant a while ago and have 289 GIGS of drums recorded over 5 days. We are gonna be releasing "Timmy Boom Baps Beat Box" that will offer my solo record under the name " The Blazing Eraz" that will include loop packs for producers in different genres. Im also working on a curriculum that involves traditional Drum education mixed with new production with Native Instruments Maschine 3 and how to incorporate being a drummer and working with programmed tracks. I recently had my debut at Drumeo for a track I produced called "Deep in the Cut" that went viral with 200,000 view in the first 10 days. Its not up to over 500,000. My hope is this exposure will open up avenues to work with artists all over the world... I also being featured in Jay Phelps "Broken Standards" record out of London UK, and am featured on Thomas Fords solo record alongside one of the most influential drummers on earth, Chris "Daddy" Dave (D'Angelo, Robert Glasper, Mos Def, Adele).

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: JONNY TOBIN!!! BRAEDEN RANGO!!!!

Q: Analog or digital and why?

A: BOTH!!! There is something to be offered by both sides. And its very dependent on the project and what's needed. My favourite pieces go gear I own are my Vintage RE-201 Roland Space Echo and RE-555 Chorus Echo. I LOVE tape. I love recording drums, and use good mic pres and mics, even if its sampling. I also love vintage analog synths... At the same time the work flow Apollo's offer is next to none, when you can run 6 1176's on a session if you want... Thats pretty hard to find even in the biggest studios around. So my answer is both...

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

A: I promise that you will get 150% of all I have to offer within my role in the project, and if something isn't working that I won't be offended if there's something that might be suited better by someone else who can do a better job. But I will always go above and beyond, no matter what kinda budget were working with, to get you what's needed for your project. I treat all my work, no matter how big or small the artist is, with the same kind of professionalism.

Q: What do you like most about your job?

A: The Process... The moments when you find that magic in the studio that makes the hairs on your arm stick up. And having clients be extremely excited about the work we've done together.

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

A: Q - What would it take for you to _______ on this project? A - Whatever it takes to make it the most exciting and proud project you have put out in your career...

Q: What questions do you ask prospective clients?

A: 1. What are you looking and expecting from me regarding the project? 2. Give me a bit about your background, story, and how music has played a role in your life? What are you trying to say with this music? 3. What kind of budget are you working with for this project? Is this a Demo or are you looking to put together a record? 4. I try not to ever let budgets get in the way of getting our work done together, but also expect a mutual respect on both sides, and that we can get to a place where we are comfortable with constructive criticism. 5. Are you looking to build an ongoing relationship, or just a one off for this particular project. 6. Are you interested in bartering your skills and time for mine? Im always looking for toppling writers. 7. Robert DeNiro or Al Pacino?

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

A: My advice is that after so many years in this industry, that I understand how personal and important your music can be to you as a creator and writer. Its a sensitive process, and can be very daunting at times. My advice is that I don't look at this work on a gig to gig basis, but more so building a relationship by sharing our thoughts and feelings, openly and candidly. I promise that I will always go way above and beyond to get you what you need to make your project something you are extremely proud and excited about. Im all about the process, and finding those moments that give you that magic feeling. For me its not about the money, but about providing you whatever I can possibly to make this the best project possible. And im willing to put in all I have to offer to see things progress for your career.

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

A: - UA Apollo x16 (Id pick a Neve or SSL 4000 but think the maintenance on the chassis would become an issue lol ) - My Antelope Edge Condenser mic (cuz of the options it provides) - Jacked up iMac with multiple DAWS - Prophet 05 - Small kick snare hat drum kit.

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

A: I grew up in a family of jazz musicians, music educators, and music lovers. My father and dedicated mentor, Dave Proznick who’s now retired, built one of the most successful high school music programs in North America in their home town of White Rock,BC at Semiahmoo Secondary. Papa Proznick has been Nationally recognized and honoured as one of the best jazz music educators in Canadian history. David Proznick recently was given an honorary doctorate in music. Yes, he is a real life music doctor. Giving young Tim the best education , and passionate creative direction any budding creator could ask for. I was lucky enough to have been given drums at the tender age of 3 yrs old and always had music and musicians around. My parents would host parties and jam sessions and put little Timmy on the drums in between sets. I was constantly infactuted with them. In those days it was pots and pans with chop sticks, and in the mornings pillows so I wouldn’t wake everyone up. By the age of 8 years old I discovered Rush and was learning Neil Pearts drum parts, or simply putting on the radio and playing along to whatever was on at the time. My father spent years as a band leader touring playing trumpet and drums and being the lead singer of the “Dave Douglas Quintet” before settling down in the Westcoast to pursue his teaching career and raise a family. Both my sisters are in music as well. My older sister Jodi has been nominated for multiple Junos for her records, and has developed and runs the jazz program at the Orpheum in Vancouver. My middle sister Kelly runs the music department at New West Secondary, and also sings and tours around the world in different choral groups. Both my brother in laws are heavy musicians. Tilden Webb, Jodi’s husband is one of the first call session players on keys/piano, and Jesse Cahill, Kelly’s husband is one of the baddest jazz drummers and phenomenal banjo players around. Regarding my career, I was lucky enough at a young age to tour nationally and internationally competing through my dads music program. From the age 13-17 I won a multiple awards both locally,and international. I was nationally recognized from Zildjian as the best high school drummer in Canada, then at the Lionel Hampton Jazz fest (the biggest jazz fest in N. America at the time) winning the best drummer in the AAAA division at the festival performing in front of 18,000 people by the age of 16, rubbing shoulders with some of the most influential jazz artists of our time such as Christian McBride, Roy Hargrove, Ray Brown, Karriem Riggins, Elvin Jones, Joe Lovano, and many many more. Aside from the jazz world, I started playing legendary Vancouver clubs like the Starfish Room and festivals around Vancouver and BC with the Bachman family at 15 yrs old. My first gig at the Commodore Ballroom was at the age of 17 year old, opening for Nazareth, getting a call 5 hours before the gig, subbing for Daniel Adair (Nickelback, 3 Doors Down, Martone). After graduation I received a scholarship to Humber college in Toronto where I spent a couple yrs before moving back to Vancouver to play full time. I’ve built a reputation as a first call session drummer and have now recorded, played, and toured across North America and Europe with artists such as Carly Rae Jepsen, Pomo, K-OS, Shad, Daniel Wesley, Maestro Fresh Wes, Swollen Members, Hey Ocean, Kim Churchill, The Washboard Union, Hannah Georgas, Ryan Guildemond (Mother Mother), Kyprios and the Chaperones, Sweatshop Union, Brevner, The Odds, Shaun Verrault and Wide Mouth Mason, Chin Injeti, Richie Sambora, Bob Rock, Orianthi (Michael Jackson’s guitarist) Ray Angry (Keys player with The Roots/D’angelo), Mark Whitfield (Chris Botti), Jully Black, Dominique Xavier (Toto, Ghostnote/Snarky Puppy), Chris Tarry and Brad Turner (Metalwood) and on and on... Being a session player with fundamentals in jazz provides a foundation, knowledge, and feel for pretty much any genre you can think of. Im now endorsed by D’addario, Evans Drumheads, & Promark drumsticks, and have a very deep and close relationship with the Davidson family. Learning to really cherish and care and respect these friendships and relationships has been a very important aspect to my career and work. I also work with Yamaha drums, Dunnett Classic snares, and Zion Cymbals and was featured on the cover of Drums Etc in 2008 with a 4 page article. Ive now changed my focus into building “Baptone Productions“ and have been building a state of the art music studio production space. I’ve helped produce an ad for a collaboration with Adidas/Livestock, and had the video built around my feature in the commercial for their “Rhythm” brand. Ive also found a passion for teaching young inspired youth, not only drumming, but with current production techniques, and studio approach. Most recently I've been producing/writing tracks for “Drumeo” (The biggest online drum community in the world) for their members, and my first track and video entitled "Deep in the Cut" went Viral with 200,00 views in just over 2 weeks with people all over the world, and currently sitting at 453,000 views. This has led me in the direction of focusing on releasing my own solo work in the near future, aside from producing/writing with other artists. I’m going to be releasing a record of my own material called "Life Guided Through Rhythm" that I’ve written & produced, that features collaborations with many different artists, friends, and influences I’ve worked with in my life such as Moka Only, Kapok, Tonye Aganaba, Tim Fuller, Aaron Ross of the Boom Booms, Ashley Wey, Louis Rudner and more. Im excited to see what the future holds, connecting with new young talent, and be a apart of this ever changing industry in new exciting ways. Im now hoping to be able to continue with this life path and find new avenues to live and support myself instead of the constant grind of gigging every night...

Q: How would you describe your style?

A: Soul first and foremost. I relate to people who are very real, speak from the heart, have empathy, and care about the people and things around them. Soul, funk, hiphop, breakbeats, with a foundation in modern jazz and fusion.

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

A: I would love to work with two artists, on the same session. ant limit it to one, so imma make a new super group with Terrace Martin, Anderson Paak, and Dangermouse. Terrace embraces and respects setting a very high bar for musicianship, as he's a monster player himself. He's all about the music first and foremost, not the ego or self serving purposes you see time and time again with people in this industry. Anderson Paak embraces everything I love about music these days. I call him the modern day Levon Helm (rest In pocket). Dangermouse and his production is the perfect balance of old and new. His grey album was brilliant, and of course the rest of his credentials speak for themselves.

Q: Can you share one music production tip?

A: Its incredible how far music production has come. From my career spanning for over 25 years now, Ive worked with a lot of the old school "traditional" producers in big studios in Vancouver like (Bruce Fairburns The Armoury Studios, Bryan Adams Warehouse Studios, Hopposonic, Gggarth Richardsons The Farm etc,) to really young keen individuals who are making incredible stuff on laptops that is outside the box (or inside ; ) outside what has been an industry standard for a long time. So my tip would be to invest in UA Apollo gear, as your not gonna get better analog to digital conversion rates. Also rely and develop your ears before anything else. *** Also shout out to the plug Soothe2 ... This thing is MAGIC and all my high end mixing engineers have suggested using it.

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

A: As a session player, born and raised in jazz, its fundamentally a style that gives you tools for every style of music. So I don't necessarily have one style in mind, but do like to push boundaries. Lately Ive been doing work with a lot of heavy players from LONDON UK on Jay Phelps record called "Broken Standards" that classic jazz standards does with a modern UK broken beat vibe. Im tracking and doing some mixing on this project. So anything from Jazz, Soul, Hiphop, Funk, Fusion, Pop, Rock, Reggae, Brazilian, Cuban & Latin based stuff, as well as electronic production from Soul-House, Drum & Bass/Jungle, Breakbeats, Lo-Fi Beats, UK garage & Grime.

Q: What's your strongest skill?

A: Definitely drumming, and drum production is the strongest skill I have to offer. Ive been playing since I was 3 yrs old, growing up in a family of jazz musicians and educators, and won many awards, scholarships, and accolades at a young age ranging. At a young age I was picked as the best drummer competing in high school jazz festivals locally in western Canada, to national festivals like music fest Canada being picked for two years from Zildjian as the best Drummer at the fest, and then being picked by my peers such as Christian Mcbride, Roy Hargrove, Elvin Jones, Joe Lavano, Michael Brecker, and many others at the Lionel Hampton Jazz Festival, the biggest Jazz Fest in N America at the time, having the opportunity to share the stage with the legend Lionel Hampton himself. So i'd say my strongest skill is being able to provide high end drum stems, that always treat the music and what it needs first and foremost. As a producer really getting inside the artist, what they are about, and being a catalyst to help bring their sound and message to life with a quality of sound that can complete with the best in the industry.

Q: What do you bring to a song?

A: Ive often been told over and over the years that I really have my own voice when it comes to drumming. Colleagues have told me they can just tell when its my playing drums, which is such an honour as were all trying to find our own, unique voice, while paying tributes to the greats and mentors that came before us. I can bring a lot of experience, respecting both the old school classic approach to recording on tape to a Neve or SSL 4000 console, to the incredible tech we have available now inside the box. Im deep inside the Universal Audio Apollo gear as I run 4 Apollos on my rig, with a ton of plugs Ive invested in.

Q: What's your typical work process?

A: This depends on the gig and what's needed. As for drums, I like to get an idea of what kinda vibe the artist is going for, and really trying to get inside what they are about. Usually this involves listening to songs and doing what I call "Research and Development" Sessions to start. Listening to everything from what the artist grew up tp listening too, what they loved in their teenage years, to what they can't top listening to now, referencing songs and drum sounds on records that suit that kind of energy. From there, we will choose which one of my 5 kits and multiple snares are best for the song, and dial in sounds.I run a screen share from the kit to my console room, so I can control everything from the kit in the box. Once tracking, I will give them multiple options. One more straight ahead, one with some fills, one with fills with NO crashes, and whatever else it is they are looking for. Then of course I will do one shot samples so you can fly in parts when needed. This obviously depends on the session. I like to be creative and route drums through tape and my RE201 and 555 Chorus/Space Echos, etc. With mixes, Its a similar process with listening and getting references to what the artist wants. I find a lot of producers these days really try to impose their own energy onto artists, forgetting that its not about them, but the artists vision. I take this role very seriously and will always do my best to create the final product as Close to their vision as possible.

Q: Tell us about your studio setup.

A: My main DAW im working on is Logic X... I do have Protools, Ableton, and Cubase in my system, but have found im proficient in Logic so thats what I stick with. For an interface im using an Apollo x8, with an Apollo firewire rack and Apollo Twin slaved to it. Here is a list of the Universal Audio Plug-Ins I use. - 1176 UA Compressor and Limiter - Ampeg SVTVR Classic - Ampex ATR-102 - API 550A - API 560 - Capitol Chambers Reverb - EMT 250 Reverb - Eventide H910 Harmonizer - Fairchild - Fender 55 Tweed Deluxe - Helios Type 69 EQ - Helios Type 69 Preamp and EQ - LA2A - Lexicon 480L Digital Reverb and Effects - Little Labs VOG - Manley Massive Passive - Manley VOXBOX Channel Strip - Marshall Plexi Classic - Neve 1073 EQ & 1073SE EQ - Neve 1073 Preamp and EQ - Neve 33609 & 33609SE Compressor - Ocean Way Studios - Oxide Tape - Precision Enhancer Hz - Precision Mix Rack Collection - Pultec-Pro - Raw Plug-In for UAD-2 - RealVerb-Pro Plug-In for UAD-2 - Softube Amp Room Half-Stack - Softube Bass Amp Room 8x10 - Softube Vocoder - SSL E Channel Strip - SSL E Preamp and Channel Stripl - UA 610-B Tube Preamp and EQ - UA 1176 Limiter Collection - For Mic Pre's im using a Universal Audio 4-710d, Vintech 473, Neve Portico 5012, as well as the built in Apollo Mic Pre's. - Outboard Compression im using a Serpent Audio mkii FET Compressor, as well as the Classic Distressor. - I have 2 vintage space echos. The re-201 and also the sre-555 rack version. - For synths im running a Moog Sub37, Moog Voyageur, Dave Smith Prophet 08, Dave Smith Vintage Pro-One, Microkorg, Roland Juno. - I have a very deep extensive collection of Drums & Cymbals. Im also an endorsed player with Evans Drum Heads & Promark Drumsticks. - 1978 Vintage Ludwig "John Bonham" Kit - Original Owner custom ordered before I got them. Sizes 24" Kick, 13" Rack, 18"x18" Floor - This is used primarily for Vintage Rock, Country, Pop applications. - Yamaha Maple Custom Absolute Sea Blue Finish - Sizes 22", 10", 12", 14", 16" - Modern Rock, Fusion, Funk, Jazz, Gospel - Yamaha Maple Custom Absolute Champagne Sparkle Be-Bop Kit - 18"x14" Kick, 10", 12", 14" - Jazz, HipHop, Funk, Experimental - Tama Starclassic Maple Hyper Drive - 22" Kick, 10"x6.5", 12"x7", Short Stack Toms, 16"x16" Floor - Reggae, world music, latin, experimental - Converted 16" Floor Tom turned into Kick Drum - Used for experimental, hiphop, funk, jazz, drum & bass applications. Snare Drums - Ludwig Black Beauty, Ludwig Supraphonic, Dunnett "Jara Wood", Yamaha David Garibaldi Signature, Gretsch Oak, Tama 10" Firecracker Cymbals - Assortments of Zildjian Vintage and current K's, Sabian, Paiste, Istanbul, Zion Mics - Shure sm57's, Shure 421s, AKG d112, AKG C 451B, Yamaha Subkick, Antelope Verge Pencil condenser & Antelope Edge Duo Condenser Modelling Mics, Neuman TLM 103, Rode NTK Condensor Im also deep in the Native Instrument world and Komplete 12. I use Maschine 3 as my main sampler, as well as the S61 Komplete midi keyboard.

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

A: There are so many, but ill name a few here. 1. Currently Anderson Paak is my favorite current artist. He embraces everything in music that I seem to love. Hes a great rapper & singer, and is incredibly melodic with his ideas. To top it off he was a session drummer before he was committed to his career as an artist, so the way he incorporates his lyrical skill while playing drums is just the best. Hes like a New School Modern Urban Levon Helm to me. 2. I love what Robert Glasper is doing, and really his whole camp around him. Its so refreshing to hear an artist coming from the traditional jazz background and taking that knowledge and influence pushing it into new territory. 3. Danger Mouse... He is just brilliant. It is always such a treat to listen to his mixes in the studio. He has an incredible way of using lush rich sounds with real instruments hes recorded, mixed with current and modern sounds. and the Grey Album is just next level. 4. Bob Powers & Questlove... Because of one record that changed my life probably more than any other... D'Angelo's Voodoo... What a mix on that masterpiece!

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

A: Most of my work has been as a session musician, hired to play drums on records. At this point Ive played on a ton of records, and worked with some of the best talent in the industry, and every session im on im like a sponge, always taking in whats going on around me, listening, learning, and paying attention to details. On sessions im able to internalize songs within one listen, and can often provide whatever the tracks need within three passes with options for the producer to work with. Now that im tracking drums myself in my own studio im now being very hands on with the mixing process, and also doing lots of writing and arranging.

Q: What's the biggest misconception about what you do?

A: The biggest misconception about what I do without a doubt is that people think im solely a drummer, nothing less, nothing more... When I show people some of my productions, with music that Ive written, played all the instruments on, produced, and mixed myself, they are so surprised!!! Some of these people Ive known for a big portion of my life! I just havent had that much of an opportunity to showcase my talents, as Ive excelled as a drummer in my career so thats just what im known for... True Fact - The first song I learned on guitar was "Rosemary" by Lenny Kravitz, taught to me by my sister Kelly when I was 10 years old... I also had about 50 songs written between the age of 10 - 16 years old. Thats when drumming really took over my primary focus. Its been a real treat to play more guitar lately, especially when it comes to writing songs again,