Truth is, social media and exceptional visual representations of your art can never outweigh the power of a comparable and competitive song. No one ignores a hit. I've written and produced songs for The GRAMMY Foundation, Tisha Campbell, Tonéx, as well as, scoring a film produced by George Lopez & Billy Bush. Let's add your name to that list.
I am a pianist of 20 yrs and I've been producing for 13 years. I pride myself on actualizing an artist/songwriter's vision, while putting them in a position to shine and showcase their strengths. I understand the current market and sound for the sake of being competitive, while maintaining an old soul. My sonic palette is very versatile and I have access to some awesomely versatile session musicians. I would love to give you a sound that raises eyebrows and creates a new level of opportunity for your career!
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Interview with Keith Phelps
Q: Describe the most common type of work you do for your clients.
A: I typically guide them through the song production process providing the best sonic foundation for their vision as possible.
Q: What other musicians or music production professionals inspire you?
A: With regard to pop culture diversity within hiphop, Kanye West is one of my largest influences. His maximalist visual approach to music tends to translate throughout all the genres that I touch. Other influences include BabyFace, The Underdogs, Mike League of Snarky Puppy, and Stevie Wonder.
Q: Tell us about your studio setup.
A: I handle most of my production within Logic Pro X. If the project is truer to hip-hop's origin, I may use the Ensoniq ASR-10/MPC 2000XL combo to begin the process. However, most of modern music can be tackled within the Logic's extensive DAW platform. Vocals and live instrument-based production are recorded and produced in Pro Tools. I have access to a U87 Clone that I typically pair with an 1176 clone. With 3rd party plugins and virtual instruments, an excess of synths, extensive sample libraries, and solid technique, I'm able to craft a rather competitive sound.
Q: What's your typical work process?
A: I like to discuss the vision for the project with the client. I want to understand their influences and find out what they like most about their influences. I do the necessary research and carry the information from the initial conversation into the skeletal portion of the production process. From then, I work rather fast and passionately to finalize the vision, with the intent to produce the "wow" factor for the client.
Q: What do you bring to a song?
A: I bring uniqueness and ambition to a song, while ensuring that it is still comparable and competitive to others in its market.
Q: What type of music do you usually work on?
A: Very musical versions of things that could play on the radio.
Q: Can you share one music production tip?
A: Trust the song and where it is leading you. Less technicality and more soul!
Q: Which artist would you like to work with and why?
A: I love newcomers. I would love to be known for producing artists that became noteworthy simply because the music was so good.
Q: How would you describe your style?
A: Maximalist, eclectic, soulful and ambitious
Q: What was your career path? How long have you been doing this?
A: I've been a pianist over 20 years, as well as producing for 15 years.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Allow the quality of the product to outweigh the length or gleaming nature of the resumé. Come with an open mind and prepare to level up!
Q: What do you like most about your job?
A: I love that the possibilities are endless with this job. We can literally create anything we want. We have the power to inspire and move people like no other. It's the best job in the world.
Q: What's your 'promise' to your clients?
A: Exceptional quality and attention to detail. I have a reputation to uphold and I want to continue building the client's as well
Q: Analog or digital and why?
A: Both...an analog capture or signal flow changes lives. It captures emotion and glorifies the human imperfection that renders amazing music. However, digital contributes to convenience and a non-destructive creative environment. The hybrid is most necessary today.
Q: What are you working on at the moment?
A: I'm currently in the process of finishing up the post-production with my band on our debut album. I'm also continuously creating music for my solo artist career.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I was hired to write and produce a holiday song for The GRAMMY Foundation's Holiday Donations campaign. The client was exceptionally happy and I was extremely proud of my contributions to the final product.
Q: What's your strongest skill?
A: My strongest skill would definitely be to accuractely actualize a client's vision.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Sony C800, CL1B, Apollo 16, Mac, Ensoniq ASR 10,
Q: What questions do you ask prospective clients?
A: What is your end goal for the project/song? What do you visualize with this song? What direction do you feel the song is telling you to go? Are you willing to try something you've never tried before? What if we did this?
Q: What's the biggest misconception about what you do?
A: More than likely, the largest misconception is that incredible records are made in one or 2 sessions. The sensory overload legendary nature of the songs you love take time to craft. Some projects and artists only desire "one and done" approaches, while others may want to strive for something greater.
Q: What questions do customers most commonly ask you? What's your answer?
A: "How did you come to be so diverse with your production style?" I've been in a lot of musical scenarios that have overtly influence my production approach. I take a lot of influence into consideration when approaching a project