Horn Recording Advocate

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

A: I recently released a few tracks with a vocalist called Mariela Contreras. I produced her entire EP and I am particularly proud because of the message that we were trying to convey with these tracks. Each song denotes a part of Mexican-American life that is so often misunderstood or overlooked. Immigration issues have been cause close to my heart and I'm glad that I could help tell stories in a new context.

Q: What are you working on at the moment?

A: I'm working on my first solo album featuring a small orchestra in a lo-fi hip hop context. It's more of an artistic project than a simple production.

Q: Analog or digital and why?

A: Analog. Horns in analog enhance the warm of the instruments. Digital can replicate a warm sound but it requires more work.

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

A: I promise give you more than what you pay for through excellent service and consistent communication. I will never leave your track worse than how I first heard it.

Q: What do you like most about your job?

A: I love the look on a client's face when they hear horns with their track for the first time. It has ALWAYS been a huge grin on their face. I really like collaboration and helping fulfill a client's artistic vision.

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

A: Is this going to cost a lot? Yes and no. You have to be prepared in your budget for adding this specific skill set but it doesn't cost more than tracking, mixing, mastering, or advertising. But it can certainly give you an edge in your genre. There are budgetary solutions for everyone.

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

A: The biggest misconception is that horn arranging is inaccessible to modern producers because it requires a unique skill set that is just not easily understood by your guitarists, keyboardists, drummers. It's not as hard as you would think but does require a great deal of effort for a big musical payoff. The concepts are similar to creating parts for voices which many musicians can do pretty easily. The skill comes in being able to communicate ideas to a new set of instruments and understanding exactly how they sound in certain contexts.

Q: What questions do you ask prospective clients?

A: Who are your big influences for your project? Are you comfortable with providers trying out unconventional ideas in your tracks? What is the purpose of your music?

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

A: Don't hire someone based on their gear. Look for the person whose sound you like, and who will go the extra mile to give you exactly what you need. Don't waste time on a provider who won't invest time in their clients.

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

A: Tenor sax, a box of good reeds. If I'm stuck on a desert island, I'm gonna practice first.

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

A: I've been a profession musician (performer) for 15 years. I have been a horn arranger for about 8 years and producer for 4 years.

Q: How would you describe your style?

A: Conventional with an experimental twist. I love to create new sounds but will never add something to a track that doesn't sound good.

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

A: I would love to work with Moonchild. I think their music is a great example of using horns in a new context.

Q: Can you share one music production tip?

A: RE-20 is the best mic I've heard for heavy but clear Baritone sax sound. Horn players are trained to blend together so don't be afraid of relying on a stereo room mic setup to catch that full sound.

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

A: My go-to is funk and soul music but I also specialize in adding horns in unique contexts. Hip-hop, EDM, Punk. I am very comfortable with jazz, Afrobeat, reggae, RnB and Pop but prefer to explore new ideas in different genres.

Q: What's your strongest skill?

A: My three most strongest and most valuable skills are listening to my musical intuition, listening honestly to clients' musical intent and running a horn recording session. Writing horn parts is a skill which many experienced players can do but I never want to leave a client unhappy with the product. Nor would I leave a session without having explored at least one new idea with a client. Experimentation is key to creating something fresh.

Q: What do you bring to a song?

A: I bring a raw energy when recording solos by trying timbres and acoustic effects that give grit. I feel that most good players can play nice melodies but few players can control that grit enough when needed to not overwhelm a track. I am always trying to make a song really shine while adding only a tasteful amount of new material. I try to constantly stay aware of texture in a song to find the exact fit and I can't, then I'm always honest with clients.

Q: What's your typical work process?

A: I usually start by listening to a client's track at few times if the rhythm section has already been tracked. I'll usually start generating material by singing it. I take the first sung idea and input into a DAW or hand-written music script. From there, I'll either record along with the track or input into a music notation software (for multiple parts) then record.

Q: Tell us about your studio setup.

A: I typically use Logic Pro X as my DAW and if I record remotely, I will use an RE-20 on tenor sax and especially baritone sax. I use a Saffire Pro or Warm Audio pre-amp for a classic sound.

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

A: Quincy Jones. Jerry Hey. Moonchild. Robert Glasper. Roy Hargrove. D'Angelo. I am inspired by producers who use my instrument in unconventional contexts.

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

A: I write for horns based on client's artistic vision. I also subcontract session horn players for specific sessions based on musical context and budget.