Groove Merchant & Engineer

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

A: Far from bothering my still-living true heroes (although if George Clinton was up for it... !) I'd actually like to collaborate with folks I admire who I believe don't get their dues. I like eclectic, off-the-wall auteur types, like Shock G from Digital Underground (RIP! :( ), Del Tha Funkee Homosapien, Dam-Funk or Huey Morgan from Fun Lovin' Criminals. Jay Kay from Jamiroquai would be an interesting vocalist to work with (and is also an early influence!).

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

A: My man Charlie Elwess - I've known him for years, he has very high standards and a great sense of feeling and emotion that comes across in his songs and production work. Also, he has a Masters degree in recording so he definitely knows his onions!

Q: What are you working on at the moment?

A: For myself? A few original concept EPs (Unconventional love songs, introspection) - I've started to do dub-versions of some tracks, some new stuff is leaning in a kind of Boards of Canada/Trip-Hop direction. For others, radio jingles for an Ohio-based Funk station, Trap beats and arrangement ideas for 'Urban-Dramedy' library music, reproducing samples as original cuts for Hip-Hop beats.

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

A: That it's easy! I mean, it's easier than a real job (because it's fun!) but it requires a lot of attention to detail, as well as an understanding of a few concepts and technical bits that you take for granted if you actually do it.

Q: What questions do you ask prospective clients?

A: What is it you'd like out of our collaboration? Do you have a deadline? What is the budget for your project? Do you have any influences or references you'd like to aim towards?

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

A: Know what you want before you hire someone to do it? We creative techs can be as flexible as you like, but half-written ideas and vague notions of intent can sometimes turn out quite expensive. Personally, I like to get the thumbs up as we go different stages but others would prefer just to deliver a finished product I think.

Q: Analog or digital and why?

A: I love the sound, feel and ideology of analog, but... There's a real fetishisation about analog gear (for good reason!) but I get the impression that the difficulties working with things like tape machines and synths that went out of tune justifies the digital side. Ideally it's a combination of both approaches' strengths. I'd love to have a heap of analog gear but I can't afford it! So I try to emulate as much of it as possible within the digital domain - emulating the approach can yield some very satisfying results.

Q: How would you describe your style?

A: Funky Osmosis, like a magpie! I got into Acid Jazz and Hip-Hop first,then discovered the source of the breaks. It's an amalgamation of little bits and pieces from across the years of influence - this drum break, that keyboard sound, some type of tape-delay, ripped off guitar licks and horn parts and such. I used to say "like a poor-man's Prince" because I do a lot myself, but that does neither of us justice! One thing is for sure though, I prefer the dirtier side of the coin - P-Funk over Earth Wind & Fire, Prince over MJ, Erykah over Jill Scott.

Q: Can you share one music production tip?

A: Take breaks! Your ears get tired and you can work yourself into a weird, intense tunnel-vision. Go outside for 10 mins and after you've reset you can come back to the thing with that excitement you had when you'd never heard it before.

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

A: Really prolific, hard-working individuals with scope and ambition who are quite hands-on with most aspects of their work - qualities I aspire to! Prince, Frank Zappa, George Clinton, Quincy Jones etc. But I generally love watching anybody who does something well - even if it's not my preference.