Songwriter/Music Producer

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

A: There are often questions about process and how clients can prepare for sessions. In situations where a collaborator would like some time in between sessions to come back with fresh ears, I'm open to working once or twice a week with each of us coming back with new lyrical ideas, sonic references or a list of specific changes to production. For projects on deadline or those situations where a song takes on a life of its own, we can also plan for an unbroken creative flow over a period of days.

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

A: I was told I needed to wait until after my fourth birthday to be permitted to sit at my grandmother's piano, and also to put records on my parents' stereo. So I knew from a very early age what I wanted to do. I took years of classical piano and jazz saxophone, and began recording bands on a 4-track in high school. I studied film in University—because I have a love for it, and knew that I would at some point write music for it—but immediately after the program I knocked on doors of studios in Toronto and became an assistant engineer. I quickly expanded into songwriting and production, and within a few years I was working with artists signed to Sony Music, BMG and EMI both in Toronto and Los Angeles. I've been freelancing in music for over 25 years.

Q: What questions do you ask prospective clients?

A: My clients can be labels sending in established artists, DJs/indie musicians taking their first steps in the studio, or other creatives from the film and television, theatre, dance and advertising worlds. I will ask questions to determine whether you are looking for creative or technical assistance from me (or a combination of the two), whether you have settled on your genre/sound and what your long- and short-term goals are.

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

A: Sometimes those who are new to the recording process can be self-conscious about having a limited vocabulary when discussing music. I encourage people to describe their vision to me in different ways. As we find common ground, I will fill in the vocabulary until we're speaking the same language. As experienced musicians know, a significant amount of studio time is spent putting in the experimentation necessary to find that spark of inspiration. And when it shows up, you stop noticing time passing at all.

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

A: First: I'm a dog with a bone when it comes to getting the details right in a piece of music. Second: I will move your project and career forward.

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

A: When shopping for the right audio professional it's important to understand that a producer can come to this work from a technical, creative or business background—and as a result the constellation of skills they offer will differ. Do you have a recording that you need altered? Are you a new artist wanting to write songs and find your sound? Have you already written your songs and want them to be produced professionally? Are you looking to a producer to connect you with record labels? Asking many questions in an initial consultation with help you identify your own expectations and determine the right audio professional for your project. And above all, make sure you vibe!

Q: What's your typical work process?

A: If I'm writing with someone, we'll talk about what style of song they're thinking of and what they want to say. Often I'll put together one or more ideas to jump off of before we sit down together. We'll experiment with sounds, words and melodies and if we run out of ideas we'll take rough versions away to think about for a few days. Gradually we hone in on what the song wants to be. On a more technical job like editing for film, I get the files and instructions and get to work, sending iterations to the client for feedback.

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

A: A Technics 1200 turntable and Moog synth. A Neumann U87 condenser mic, Avalon 737 preamp and a Mac running Pro Tools.

Q: How would you describe your style?

A: I like to fuse electronic and organic elements in interesting ways. That is something today's music calls for, but I've been doing it for a very long time.

Q: What do you bring to a song?

A: I'm good at identifying what's creating the emotional pull in a piece of music and bringing that out. I'm also good at finding out what's special about an artist and amplifying that by writing and producing songs that showcase those strengths.

Q: Tell us about your studio setup.

A: It's super simple now. I've gone minimalist so that everything will fit in my sound-treated den at home, because these days all you really need is a good microphone, a good pair of monitors and a fast computer. I use a lot of different software, but tend to bring everything into Pro Tools by the end of a project. I've opted for the classic monitoring system I learned on—Yamaha NS-10Ms with a matched subwoofer. I've got a few analog keyboards and effects units I keep around...and of course a Technics 1200 turntable for sampling.

Q: What do you like most about your job?

A: I love the moment that a track really falls into place. That's a lift like no other. I love helping people express their feelings through lyrics and melody, and strategizing with them as they build a career.

Q: What are you working on at the moment?

A: Recently I have been writing and recording songs for EPs by a number of indie artists as well as editing music for CBC television shows and creating soundscapes for two choreographers.

Q: Can you share one music production tip?

A: When writing with singers, it's important to be be tuned in to how they need to record. Some singers' first takes of individual lines have the most feeling. Others turn in a performance when the song is fully written and they're confident that they've internalized it. Record everything, and commit to those moments that gave you goosebumps.

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

A: There's stuff that excites me in almost every genre of music. I work fairly equally in electronic genres like pop, trap and house as well as organic genres like jazz and rock. Having composed for film, you develop that type of range.

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

A: On a creative level, I'm hired by recording artists/labels to co-write and produce music for release, or by filmmakers and choreographers to write music for their pieces. I also do an array of technical work like editing and tuning vocals, mixing songs or preparing backing tracks for live shows.

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

A: I'm going to say Frank Ocean. Sometimes I like making atmospheric beats that are a little bit sideways. I think we'd have fun putting something together.

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

A: Some songs take shape over weeks or even months, but others arrive almost complete in an hour or two. 'Calling To Say (Merry Christmas),' a song I co-wrote and produced for Serena Ryder, is one that happened quickly and felt almost effortless. It ended up a staple at Canadian radio every holiday season and I love hearing it on the radio. I think we made something classic.

Q: What's your strongest skill?

A: Empathy—as it applies to our working relationship, as well as the ability to relate to the songs themselves.

Q: Analog or digital and why?

A: Both! Sometimes together. Digital is powerful and convenient. Analog's imperfections bring atmosphere.

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

A: I have love and respect for the production aesthetic of so many people, across many genres. From the versatile pop of Finneas to the urban beats of Noah '40" Shebib, house music producer MK to film composer Thomas Newman.