Keys with Heart, Ann Wilson, David Bromberg, Amy Ray, John Fullbright, and many more across rock, pop, folk/Americana, country, R&B / soul, and more.
I have a fully equipped private studio for tracking real Hammond B3+Leslie, Wurlitzer and Rhodes electric piano, various acoustic pianos, a pump organ, accordions, Farfisa, and various synths, and plug-ins a plenty. Tracks from my studio have been used on major-label releases as well as various critically acclaimed indie releases.
For those who prefer to be involved in the tracking process in real-time, I have various solutions for private real-time streams so you can listen in while I'm working and provide real-time feedback and direction.
1. Hammond - Courtney Marie Andrews - May Your Kindness Remain (p. Mark Howard)
2. Piano, Hammond - Abraham Alexander - America (p. Will Hunt)
3. Farfisa, Wurlitzer - Bronwynne Brent - Bulletproof (p. Johnny Sangster)
4. Piano, Hammond - Chris Jones and the Fly Catchers - Covered in Red (p. Wes Sharon)
5. Piano - Chris Staples - Always on My Mind
6. Hammond - Denver Duncan - Message to the World (p. Jarod Evans / Chad Copelin)
7. Hammond, Wurlitzer - J.R. Rhodes - Your Pillow (p. Johnny Sangster)
8. Piano, Hammond, cowrite - K.C. Clifford - No More Living Small (p. Will Hunt)
9. Piano - Lincoln Barr - Desperate Tormentors (p. Johnny Sangster)
10. Accordion - David Bromberg - Roll on John (p. Larry Campbell)
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
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Interview with Dan Walker
Q: What do you bring to a song?
A: My goal is always to play what is needed to serve the song and help create a vibe or an emotional response in the listener. For projects where I'm working remotely, I am usually the "icing on the cake," so I will often lay low for much of a song and then give it an emotional lift at key moments.
Q: What's your typical work process?
A: I usually receive a stereo rough mix and track to that (with any pre-existing parts I'm replacing broken out as separate tracks). I do at least five takes, varying the approach so you'll have options. When working alone in my own studio, I often find that I do many more takes than I would in outside sessions where the clock is ticking; I can experiment with parts and sounds and really think about my role in the song. I make brief notes on each take to assist the engineer as they are importing my work, and always highlight which take I think they should start with, or provide a comp if necessary. Then I send the files along with an MP3 rough bounce so the artist and/or producer can quickly check out the direction I've gone without waiting to import files into a DAW, and provide feedback for a second round of takes if necessary!
Q: Tell us about your studio setup.
A: I have a lot of real instruments, and have laid out the studio to be as streamlined as possible when engineering myself so I can focus on the music and sonic creativity. My computer, audio and MIDI interfaces, mic preamps and direct boxes are all mounted in a rolling rack, which I simply roll next to whatever instrument I need to record on. The Leslie cabinet and the piano are always mic'd up and ready to go.
Q: Describe the most common type of work you do for your clients.
A: Hammond organ overdubs are the most common type of job I do, followed closely by acoustic piano. With piano parts it's about 50/50 whether I'm adding an additional texture, or replacing a scratch piano part that a song has been built around. I also do quite a lot of Wurlitzer electric piano, accordion, and other types of EP / synth tracks. String arrangements and synth textures/soundscapes are occasionally called for as well.