Production/Mixing/Mastering

Q: What are you working on at the moment?

A: I'm currently producing music which I license through my web store and developing an artist.

Q: Analog or digital and why?

A: Both. Analog for the the warmth and fatness, digital for the convenience, preciseness and accessibility. I think ultimately they'll be one in the same the way technology is moving.

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

A: I would have to say that working with Nelson Ortiz being part of the reason he got signed to Bad Boy. I produced his music, developed him as a guitar player and performed with him live for 4 years.

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

A: I'm new to this platform, so the answer is no.

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

A: To deliver something that gives goosebumps, whether it be in the production, arrangement, mix or master.

Q: What do you like most about your job?

A: The creative aspect in the composing, the problem solving aspect in the mixing and mastering. I'm in love with the entire process.

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

A: That you need thousands of dollars in outboard gear to get a professional quality mix/master.

Q: What questions do you ask prospective clients?

A: Are you happy with the sound selection in your song? (kicks, snares etc.) Would you like any instrumentation added to your song? Would you be opposed to me omitting certain sounds/instruments for the benefit of the final master?

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

A: My biggest piece of advice would be to make sure that any and all audio that is sent to me is devoid of any unwanted artifacts that can't be undone, like clipping, over-compression etc.

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

A: Is this a trick question? What would I do with gear on a desert island with no electricity??? Assuming there IS electricity my answer is, my computer, monitors, audio interface, outboard compressor and UAD-satellite. Essentially, my set-up so that I can produce music every day.

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

A: I started playing the accordion at the age of 8 and taught myself piano, guitar and drums at the age of 12. I then studied classical piano, composition and music theory at the conservatory A. Scontrino in Trapani, Sicily. When I moved back to the U.S. I went to SAE in New York City to study audio engineering. It was during that time that I linked up with grammy-winning songwriter/producer Charles Farrar who mentored me for 4 years. While under his tutelage I worked with artists such as Carl Thomas, Ryan Leslie, Keisha Chante, Chloe Temtchine and helped develop the artist Nelson Ortiz, which led to his signing with Bad Boy Records. I've also co-produced with Carlisle Young. I've been producing music for a total of 16 years now.

Q: How would you describe your style?

A: Urban, with Pop/Commercial sensibilities.

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

A: My ultimate goal is to discover THE NEXT great artist and help tailor a specific sound that is uniquely theirs, but still fits within the context of popular music.

Q: Can you share one music production tip?

A: Sound selection is everything. The sounds in your mix should be 75%-90% (give or take) what they need to be from the start. "Fix it in the mix" is a myth.

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

A: Urban music and its derivatives.

Q: What's your strongest skill?

A: I'd have to say my strongest skill is tonal/pitch memory. It allows me to compose pretty much any style of music as well as identify which sounds work best within the context of a mix.

Q: What do you bring to a song?

A: I bring authenticity and an "industry standard" feel and sound to the music.

Q: What's your typical work process?

A: When I produce music, I'll start by laying down some chords and a melody or outsource samples when I'm looking for a particular sound or instrument I don't have access to. Next I'll add the drums and then sequence it into song form. I mix as I produce because I choose sounds based on their frequency content so I can carve out or accentuate what I want as I go which ensures that every instrument has its place in the frequency spectrum. I also like to have my mixes running through my outboard compressor/eq as I mix so I can get that cohesion or "glue" early on, so that every sound sits, level-wise, exactly where I want it before mastering. I try to get the best results possible in the mixing phase so that all I'll need in the mastering phase is just some minimal EQing (if at all), limiting and perhaps some blended soft-clipping for a touch of extra loudness.

Q: Tell us about your studio setup.

A: I use an iMac (3.2 GHz Intel Core i5) running Logic Pro X. My interface is the RME Fireface UC. I mix and master using a combination of UAD plugins, Ozone and the Crème Analog EQ/Stereo Bus Compressor by Tegeler Audio Manufaktur

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

A: Just Blaze, Rick Rubin, Kanye West, Jay-Z, Zaytoven, Scott Storch, Guru, Noah 40 Shebib, Ryan Leslie, The Chainsmokers, DJ Snake, Skrillex, DeadMau5, John Williams

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

A: Custom Production, Mixing, Mastering