Production, Mixing, Mastering

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

A: I wrote and performed the guitar on Depression and Obsession as well as the guitar and bass on Revenge by XXXTENTACION.

Q: What are you working on at the moment?

A: Lately I've been in studios producing artists.

Q: Analog or digital and why?

A: These days the line between analog and digital emulation is so fine that the difference is hardly noticeable. That being said, I still love running through as much analog gear before hitting digital as possible.

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

A: You're gonna love the way it sounds, I guarantee it.

Q: What do you like most about your job?

A: I get to create art for a living.

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

A: Usually the budget is the first thing we talk about. I tailor the budget based on the instrumentation used, the amount of time that will be put into the project, and the back end splits.

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

A: Its all 16 bar loops.

Q: What questions do you ask prospective clients?

A: What sort of reference tracks do you have in mind? Deadline? Who's the audience? What story are you trying to tell?

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

A: Be sure that you listen and connect with the music you hear and choose a provider based on that.

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

A: Moog One, Neve 88RS, ELAM-251, Studer A800, and a Nylon String Guitar.

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

A: I began playing guitar when I was ten, then attended a performing arts high school where I majored in guitar performance. I went on to graduate from the Berklee College of Music with a degree in Electronic Music Production and Sound Design. I then went off to Los Angeles to pay my dues as an intern in a bunch of different studios; eventually becoming an Assistant Engineer at NightBird. Now I'm fortunate enough to work as a producer for other artists.

Q: How would you describe your style?

A: I'm a genre chameleon/

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

A: Olafur Arnalds. His approach to minimalism has such beauty behind it, I'd love to pick his brain.

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

A: Lately it's been a lot of pop and hip hop, but I love creating all sorts of different music for myself.

Q: What's your strongest skill?

A: My strongest skill is my ability to work well under pressure. Whether it be deadlines or being put on the spot in front of an artist and a team of writers/performers.

Q: What do you bring to a song?

A: An obsessive attention to detail and a perfectionist approach.

Q: What's your typical work process?

A: There are many ways to start a song for me. Usually its creating a chord progression for an artist and then building a track around the changes.

Q: Tell us about your studio setup.

A: I've got all of my gear feeding into a UA Apollo 8 via a patchbay. I've got some other audio toys to play with, but my favorite for sound design/production sounds would be running either my Mother 32 or DFAM through my Marshall JCM2000. Recently purchased a Moog One 16-Voice, it's become my life now.

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

A: I spend most of my time working and producing up and coming talent in Los Angeles.

Q: Can you share one music production tip?

A: Don't be afraid to scrap something you've spent a huge chunk of time on if the end result just isn't right for the project.

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

A: I try to find some sort of inspiration in everything I listen to, but lately I've been really inspired by the work of Thom Yorke and Nigel Godrich.