Hammond B3 & Vintage EPs

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

A: A common request I get from clients is for a raw Hammond organ track without any Leslie effects. Many producers and musicians like to have the option to add their own effects and control the modulation and movement in post-production, which can be an effective way to tailor the sound to their specific needs. I totally understand this preference, as it opens up a lot of creative flexibility. However, it’s important to note that capturing a truly raw Hammond signal can be tricky, depending on the setup. Many classic Hammonds, like the B3, are directly routed through a Leslie speaker, which is integral to the Hammond sound. The Leslie's rotating speaker creates that characteristic swirling effect, and because of the direct routing, bypassing it isn't always straightforward. In some cases, we can capture the organ’s dry signal before it hits the Leslie, but this setup isn’t available on all models, especially vintage ones, which were designed without post-production flexibility in mind. For clients who are open to experimenting, I can sometimes record both a raw signal and a traditional Leslie track, giving them the best of both worlds: the warmth and movement of the Leslie, along with the option to add additional effects or adjustments to the raw track. My goal is to accommodate your creative vision as much as possible, so I’m always happy to discuss options and work with you to find the best approach for capturing the sound you want.

Q: What questions do you ask prospective clients?

A: To make sure I’m aligned with your vision right from the start, I usually ask for a few essential details. First, a chord chart is incredibly helpful—it gives me a clear understanding of the song’s structure and harmonic flow, allowing me to complement it with the right textures and lines. If you have lyrics, I’ll ask for those as well, as they can provide valuable context and emotional cues that help shape my approach to the arrangement. Understanding the story or message behind the lyrics often inspires specific choices in melody, tone, and dynamics. Additionally, I always ask for any reference tracks you might have that capture the sound or vibe you’re aiming for. Reference tracks are a fantastic way for me to tune into the stylistic direction you’re looking for, whether it’s a particular era, genre, or mood. They also give me insight into nuances like the desired balance between instruments, the level of warmth or grit, or any standout qualities in the rhythm or groove that you envision for your project. Together, these details give me a well-rounded picture of your musical goals, ensuring that my contributions enhance and support your vision effectively. My goal is to create a sound that not only fits seamlessly into your project but also brings out its best qualities and unique character.

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

A: If I had to narrow it down to just five essentials, I’d choose my MacBook Pro for its reliability and power; it’s the heart of my digital workflow, allowing me to run everything from DAWs to plugins smoothly. Next, my Apogee sound card would be indispensable for high-quality audio conversion; it brings clarity and precision to every recording, ensuring I capture the best possible sound even in less-than-ideal settings. I’d also bring along a Kontakt keyboard for its versatility. With the endless range of sounds available through Kontakt libraries, I could cover just about any musical need—from grand pianos and orchestral strings to synths and unique textures. My Minimoog D would be essential for adding that warm, analog character and expressive bass and lead tones; nothing else quite compares to its iconic sound. And lastly, my API preamp would come along to add depth, warmth, and that unmistakable analog richness to my recordings. With these essentials, I’d have everything I need to create expressive, high-quality music no matter the setting—whether it’s a full arrangement or a stripped-back, intimate track. These tools are not just equipment; they’re extensions of my creative process, each playing a key role in helping me capture the sound and feel I aim to bring to every project.

Q: Can you share one music production tip?

A: Absolutely! One of my favorite tips is to start building your mix in mono. It might sound unconventional, especially in today’s stereo-driven world, but mixing in mono forces you to be intentional about every element’s placement. When all of your sounds are centered in one channel, you quickly notice any clashes between instruments, frequencies, or layers that might get buried or muddled when the mix is expanded to stereo. Mono mixing essentially acts as a magnifying glass, making it clear where adjustments are needed for each instrument to sit just right. By creating this strong, balanced foundation in mono, your mix translates beautifully when you switch to stereo—it gains clarity, space, and focus, with each element having its own distinct place in the overall soundscape. This approach also ensures that your music will sound solid and cohesive on a wide range of playback systems, from headphones to car speakers to mono devices like smartphones. In essence, mono mixing isn’t just a ‘limiting’ technique; it’s a way to refine and strengthen your mix so that every part has impact and presence, no matter where or how it’s played. It’s a simple yet powerful technique to keep your mix tight, focused, and professional.

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

A: As a classically trained musician with a strong foundation in harmony, I specialize in crafting soulful, nuanced keyboard and organ tracks that bring depth and character to each project. My work typically involves much more than simply adding a layer; it’s about understanding the essence of a song and creating parts that enhance its emotional core. I start by listening closely to your project’s vibe, whether it’s a laid-back soul groove, an upbeat pop tune, or a raw blues track. Each genre has its own language, and my goal is to let that language guide my choices in sound and style. My approach is hands-on and collaborative—I don’t just play notes; I shape textures, tones, and dynamics to complement the music’s flow. I often switch between different instruments, from vintage electric pianos to the timeless Hammond organ, carefully selecting the best tool for each moment in your track. This adaptability allows me to find the perfect blend and create layers that feel natural and impactful. With years of experience across multiple genres, I bring both technical skill and creative intuition to every project. I consider myself a musical storyteller, using harmony and rhythm to add a unique, expressive touch. My aim is not only to support your song but to elevate it, bringing out its fullest expression in a way that resonates with listeners. Whether you’re looking for subtle comping, a powerful solo, or a rich harmonic backdrop, I’m here to help your music shine.

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

A: One of the biggest misconceptions is that Hammond organs have built-in MIDI capability. In reality, most classic Hammond models, like the iconic B3, don’t have MIDI connections at all, as they were designed well before MIDI technology was introduced. This means that connecting a Hammond to modern digital setups isn’t straightforward and often requires specialized adapters or modifications to bridge the gap between analog and digital worlds. Another common misconception involves Leslie speakers. Unlike typical amps or digital gear, Leslies don’t have a direct line-out. Their unique, rotating speaker design, which creates that unmistakable, swirling sound, requires capturing the audio acoustically—using carefully placed microphones to get the best results. This setup can be challenging but is essential for preserving the rich, vibrant quality of the Leslie sound that you won’t get from any digital substitute. So, achieving an authentic Hammond and Leslie sound requires more than just plugging in cables; it’s about understanding the organic nature of the gear and using the right techniques to capture its full character.

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

A: I work across many genres—soul, gospel, hip-hop, country, and more. Fusion styles are also a favorite of mine; they offer so much room for creativity and make each project unique. I’m always excited to try new sounds and styles, which keeps my work fresh and dynamic.

Q: What's your strongest skill?

A: Harmony is without a doubt my strongest skill, and it’s at the core of everything I do as a musician and producer. I have a natural ear for layering and balancing parts within an arrangement, which allows me to create textures that elevate the music, adding depth, richness, and a sense of cohesion to each track. When I approach a song, I’m always thinking about how different harmonic layers can interact to bring out the most expressive, compelling qualities in the music. Clients often tell me that my approach to harmony brings a unique, unexpected touch to their projects. I don’t just rely on standard chord progressions—I’m constantly exploring new voicings, inversions, and harmonic choices that can add dimension and color to the arrangement. Whether it’s a subtle supporting layer that brings warmth or a bold, dynamic harmonic shift, I strive to give each track its own distinctive harmonic character that enhances the emotion and feel of the piece. Harmony is more than just a backdrop; it’s an essential part of the storytelling in music. By weaving together different harmonic elements, I’m able to shape the listener’s experience and highlight the nuances within a song. My goal is always to create a harmonious blend where each element has its space but also contributes to a larger, cohesive sound. I love exploring these intricate details because they’re often what transform a good track into something memorable and moving.

Q: What's your typical work process?

A: My process begins with a deep listen to understand the feel of your track. I let the music inspire ideas for lines and comping on the keys or organ, aiming to create a natural, seamless fit. I then go through a cycle of listening, imagining, and playing to ensure each part supports the song’s unique energy, whether it’s jazz, soul, funk, or something entirely different.

Q: Tell us about your studio setup.

A: My studio is packed with iconic instruments and high-end gear. From a vintage 1959 Hammond B3 paired with Leslie 122 and 147 speakers to a Yamaha CS60, Roland Juno 106, Minimoog D, and more, I have a powerful toolkit for capturing authentic sounds. I also have access to pro studios with Steinway and Yamaha grand pianos for those elegant, acoustic touches. I primarily work in ProTools but am flexible to meet your preferred workflow. Let’s take your project to the next level with my setup!

Q: Analog or digital and why?

A: These days, I tend to rely on digital setups for their flexibility and efficiency. Digital technology offers so much control and adaptability; from easily swapping effects to fine-tuning sounds, it streamlines the workflow and allows me to explore a wide range of tones and textures quickly. With digital, I can layer, edit, and perfect sounds in a way that saves time and opens up creative possibilities, making it an invaluable tool in today’s fast-paced production environment. However, I’m still a big fan of analog, and I love the warmth and depth that only analog gear can provide. There’s something irreplaceable about the natural, rich character of analog tones, especially when you’re after a certain classic, organic feel. When the project calls for that extra bit of soul and warmth, I’ll often fire up my Studer tape machine. It brings out a rich, rounded quality that adds dimension to the sound, making it feel almost tangible. Analog has a beautiful imperfection that can add subtle character and a unique vibe to a track. The slight tape saturation, the texture, and the harmonic depth create a sound that’s alive. Using my Studer on certain projects allows me to bridge the best of both worlds, combining the precision and convenience of digital with the timeless, authentic feel of analog. For me, it’s all about what best serves the music—sometimes that’s the crispness of digital, and other times, it’s the undeniable warmth of analog.