Singer, Producer, Writer

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

A: I’ve been making music and producing since around 2015, developing my skills through hands-on work, personal projects, and collaborative sessions in bands/other artists rather than a single formal path. 6 years ago I began teaching Audio/Video Production & Yearbook at Luling High School where I honed my skills in audio while adding the versatility of video production and graphic design using apps such as Adobe Premiere Pro, Photoshop, Illustrator, and Audition. I also had the good fortune to be mentored by a couple Ableton Certified Trainers over the years–Alberto Chappa and Ernesto I value steady growth, deep listening, and refining my craft over chasing trends.

Q: How would you describe your style?

A: My style is intentional, emotional, and detail-focused. I aim for productions that feel alive and human, even when they’re heavily processed. I’m drawn to clean but textured mixes, expressive vocals, and arrangements that evolve naturally rather than rely on repetition or excess. I love "getting lost" for brief periods in nuance and detail on the micro level, and then coming out to the macro to discover how it lends sparkle or subtle energy to the mix.

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

A: I’d love to work with an artist like Radiohead and their producer, Nigel Godrich, because their work values experimentation, emotional honesty, and sound design as storytelling. I’m most drawn to artists who are willing to let production serve the mood of the song rather than a formula or trend.

Q: Can you share one music production tip?

A: Don’t commit emotionally to a sound too early. Leave yourself room to change decisions once the full arrangement is in place, especially with vocals. What sounds perfect in isolation often needs to be simplified or reshaped once everything is playing together. Always be willing to step back and resist temptation to use your eyes more than your ears.

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

A: I most often work on vocal-forward music, including indie, electronic, art-pop, cinematic, ambient, and singer-songwriter projects. I’m especially comfortable with songs that use layered vocals, harmony, choirs, or atmospheric production where emotion and texture matter as much as clarity. I also enjoy projects that blur genre boundaries or lean into cinematic or experimental elements.

Q: What's your strongest skill?

A: My strongest skill is vocal production, particularly tuning/timing, harmony construction, cleanup, and integrating vocals into dense or emotionally complex arrangements while keeping them natural and expressive. I’m very comfortable working in graph-based tuning and advanced vocal editing, and I know how to push processing creatively when needed or keep it nearly invisible when the song calls for restraint. This makes me effective with layered vocals, harmonies/counterpoint, work and emotionally exposed performances, and even choir. I also bring strong session organization and workflow discipline, which allows me to manage large projects efficiently without losing creative focus.

Q: What do you bring to a song?

A: I bring a strong balance of emotional intuition and technical precision. I’m especially focused on helping a song clearly communicate what it’s trying to say emotionally, dynamically, and sonically, without over-processing or flattening its character. I'm emphatic that songs tell a story utilizing all components such as dynamics, arrangement, expression, lyrics, etc. I’m very detail-oriented with vocals, harmony, and arrangement, and I tend to hear how parts interact as a whole rather than in isolation. That means I’m often shaping transitions, counterpoint, background vocals, and space in a way that supports the lead without competing with it. Above all, I bring patience, perspective, and a willingness to experiment until the song feels right, not just finished.

Q: What's your typical work process?

A: My process is structured but flexible, allowing creativity and precision to coexist. I usually begin by understanding the emotional intent of the song before making any technical decisions. I start a drive folder containing docs for lyrics, chords, and a doc for references, inspiration, session notes, etc. From there, I move into vocal production: comping, timing cleanup, tuning (transparent or stylized depending on the project), and harmony construction. I work in clearly defined stages: writing/arrangement, vocal production, sound shaping, integration into the mix, and refinement: saving versioned sessions and stems along the way. I rely heavily on group processing, freeze/flatten workflows, and saved vocal chains to maintain consistency across large sessions. I create new project saves periodically with dates so I can work back in time as I need. Throughout the process, I prioritize emotion and clarity over perfection, making sure technical choices serve the song rather than distract from it.

Q: Tell us about your studio setup.

A: I have a home studio set up running Ableton Live 12 Suite, Kali Audio LP - 8 studio monitors and I work on methodically on precision editing, vocal tuning, harmony construction, and spatial processing. My sessions are highly organized using folder-based project structures, versioned saves, stem exports, and backups at each major production stage. This allows me to work efficiently on large vocal stacks, choir arrangements, and evolving productions without losing creative momentum or clarity.

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

A: I'm inspired by the production, writing, arrangement, performance, mixing, etc of The Beatles, The Beach Boys, Deadmau5, Felsmann + Tiley, M83, Radiohead, Dave Matthews Band and film influences such as Ludwig Goransson, Hans Zimmer, and Ben Salisbury.

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

A: I most often work on vocal production, production, and song arrangement, especially for artists who want their vocals to feel emotional, natural, and intentional rather than over-processed. That includes tuning, harmony construction, vocal stacks, timing cleanup, tone shaping, and integrating vocals into dense arrangements so they sit confidently without overpowering the song. Additionally I pride myself in using the production process like an instrument, using the song arrangement to tell a story, engage listeners, and inspire the imagination. A lot of my work also involves helping artists finish songs — bringing clarity to structure, transitions, and emotional arc when a track feels close but not quite there yet.