Music Producer & Forbes Writer

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

A: This is a business too enamored with inspiration and intuition. What matters is what you do with it. So practice, practice, practice. Learn all you can about every part of the process. And quantity leads to quality — output is everything.

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

A: 1) Neuman microphone 2) UA Apollo Twin 3) Fender electric 4) Yamaha 1987 PSS-170 synth 5) any old laptop with Logic Pro

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

A: I was an artist through my 20s, touring constantly, while writing and arranging for a 10-piece band. I was also working a day-job in government, learning how to organize and build community. After several years, I discovered I was better suited to being a behind-the-scenes songwriter and producer. I re-created a version of Taylor Swift's "1989" as a lark, and soon found myself writing a Forbes music column with a YouTube show. I'm happily making records ever since.

Q: How would you describe your style?

A: A producer who understands the importance of hooks, while always supporting an artist's strengths. I love pop music, but I want to hear sounds and chord changes and harmonies and lyrics I've never heard before. I guess that's what they call "alternative."

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

A: James Blake. I'd love to see him in real time work up a song on the piano with his amazing vocal, and then transform into it electronic bliss. He's a great example of mixing old-time songwriting with innovative production.

Q: Can you share one music production tip?

A: Spend a lot of time with reference tracks to understand specifically what you're looking for in a production so we can re-create it. And for gear nerds: the SSL mix bus compressor, as well as Izotope Ozone for mastering.

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

A: I'm mostly in the sonic world of alternative pop, and of course that inherently includes elements of electronic and hip-hop. But I grew up in the musical tradition of 60s-based rock, soul and folk music. So modern indie rock and organic instrumentation come naturally as well.

Q: What's your strongest skill?

A: My strongest skill is that I'm an empathetic and compassionate listener. I'm sensitive to the needs of artists and songwriters, understanding that a strong personal connection is the beginning to making a great record.

Q: What do you bring to a song?

A: I started as an artist, so I can relate to being the primary songwriter, lyricist, singer and instrumentalist. As I transformed into a producer, my skill set widened to include recording, engineering and mixing. So I've done a little bit of everything when it comes to this process and can offer expertise across the board.

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

A: I'm especially proud of the two albums I made with a talented 15-year-old artist, Simone, because it encompasses everything I do — being empathetic and sensitive to the needs of young artists, recording impeccable vocals, tracking electronic and acoustic instruments, writing and building tracks from soup to nuts, having the ambition to make the best record we could ever imagine.

Q: What are you working on at the moment?

A: Writing a new song every week with my artist project Cheap Synths, along with several new singles with outside artists. Stay tuned!

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Ashley Levy, Spencer Ludwig, Jackson Hoffman, Ronnie DiSimone, Tiger Darrow

Q: Analog or digital and why?

A: Digital. And I say that as someone who became a musician because of The Beatles. I understand that the warm, organic, and imperfect sounds of analog are beautiful. But the convenience of digital is absolutely unmatched. We can create any sound any time from a bedroom, and the difference of sound quality is negligible. It's an amazing time to be a producer.

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

A: That I will put every ounce of my knowledge, artistic intuition and training into your song. It will become my song too, treated with the utmost care and detail in every aspect so we both can be proud.

Q: What do you like most about your job?

A: I get to make music every day for a living. This is literally my dream.

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

A: Do you write music and lyrics too? Yep! That's how I started — singing with a guitar or piano.

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

A: One misconception possibly is that music producers can make a significant impact on the promotional/industry side once the record is finished. I can help, but that work really is up to the artist.

Q: What questions do you ask prospective clients?

A: How do you feel most comfortable recording vocals? What are inspiration tracks for the song? Do you feel comfortable working remotely if needed? Where are you from originally? How did you get into this crazy business? What inspires you?

Q: What's your typical work process?

A: We can start writing a song in any number of ways. Most commonly, we'll start writing a song by telling stories, discovering sounds, listening to references and experimenting — and then melodies, lyrics and groove will organically follow. Another fun option is to sit with a guitar and piano the old-fashioned way and write chord changes, melodies and lyrics followed by a detailed production.

Q: Tell us about your studio setup.

A: I work from an Apollo Twin audio interface with plugins by Universal Audio, Fabfilter, Waves and Soundtoys. I have a Neumann microphone, Arturia MIDI keyboard, a Fender electric guitar, Hofner bass and Kurtzweill full-weighted electronic piano. I also have the Arturia library of synth sounds, as well as original analog Casio synths,

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

A: Like many artists before me, I was inspired to become a musician because of The Beatles. Precisely because they were self-contained and could achieve any sound they desired. But also because they were constantly pushing boundaries and taking sonic chances. But as my taste evolved into the modern era, I've become fond of productions by Jack Antonoff (Taylor Swift, Lorde, St. Vincent, Lana Del Ray), Blake Mills (Perfume Genuis, Alabama Shakes), Ricky Reed (Lizzo), Ian Kirkpatrick (Dua Lipa) and Dave Cobb (Jason Isbell, Strurgill Simpson, Chris Stapleton). I also love indie projects like Frankie Cosmos, Jay Som, Courtney Barnett and Phoebe Bridgers.

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

A: I write, record, mix and master records from soup to nuts. Happy to work with artists through every step of the process — or to separate them out on an individual basis. I'm also an instrumentalist, vocalist, beatmaker and string/horn arranger. So we can achieve any sound together — that's my promise.