Musician, Producer, Composer

Q: What are you working on at the moment?

A: I'm working live with Amy Macdonald and KT Tunstall, and in the studio I've been working on a solo album, as well as a production music album, and remotely doing pre-production for another artist's new project. Today I recorded some guitars on a song for an independent artist, and tomorrow I'm recording something for a video game.

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

A: Jimmy Sims - a great bass player

Q: Analog or digital and why?

A: I think it depends on the project, but ideally a mix of both. Making decisions on the way in through analog gear, while utilising the flexibility of digital.

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

A: Elevating your song to another level, with some good chat and rewarding work along the way.

Q: What do you like most about your job?

A: Mainly that I get to make music for a living, but also that I get to experiment and learn every day. I also get to meet great people and end up with a tangible thing at the end.

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

A: Why shouldn't I just play the parts myself? Because there's something to be gained from collaboration and being surprised by a sound or a part. It's hugely satisfying and really does add to the vibe of making music. Also if you do want to play it all yourself then I can re-amp things through my nice gear!

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

A: That it's easy and anyone can do it. Even with current technology I don't think good art comes easy.

Q: What questions do you ask prospective clients?

A: What's the song about? How do you feel about the atmosphere of the track and is it conveying what you want it to? How do you feel about the sound of it as it stands now? Is there anything you want from the instruments/production I'm providing?

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

A: Hire someone who is responsive, welcoming and good to work with, but can also deliver on the musical side of things. Interaction is very important and will get you the results you want. Also be clear about what you need and the terms of the agreement.

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

A: Electric guitar, acoustic guitar, modelling mic, small but good interface, laptop

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

A: I studied music at university and started auditioning when I left. It just built from there, and I've worked hard to cultivate a good reputation. I've been doing this for over 20 years, have toured internationally and played on a lot of great albums.

Q: How would you describe your style?

A: I think I come at most things from a textural point of view. I love to get the most of the least number of elements, and weaving parts together is a big part of my style. I think I have a good instinct for when something is working and can utilise that to build from there.

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

A: Recently I've been listening to The Magic Lantern and Snail Mail. I'd love to work with either of them. Also Bon Iver, like everyone else, I'm sure.

Q: Can you share one music production tip?

A: Don't be afraid to experiment and make decisions. It's always worth having a clean DI, but it's more satisfying and fun to work quickly and make educated decisions based on your instincts.

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

A: I've worked on many different styles over the years, but I think I tend to gravitate towards rock/indie/pop/alt. Though I've recently been working on some ambient/soundscape stuff, as well as funk!

Q: What's your strongest skill?

A: Finding the right part and sound, and knowing when it feels right.

Q: What do you bring to a song?

A: I try and be a bit of a blank canvas and really pay attention to what the artist wants in the initial stages - though I'm not afraid to give an opinion - and I'm always trying to do what's best for the song, even if that means letting the chaos in a little. I think I bring a good amount of the big picture to a song, but I do that by focusing on smaller details.

Q: What's your typical work process?

A: Generally I'd have a good talk with the client, either in person or remotely (depending on the timeframe/type of recording) to ascertain what they're looking for. Perhaps discuss reference tracks, or sounds, or even just general feel and vibe. I then offer some rough ideas for consideration, and once that's agreed upon I'll refine the sounds and parts. I then send stems in whatever format is required. For production or writing, it's usually a much more involved process of course, but most of the methods are similar.

Q: Tell us about your studio setup.

A: I work in a space that is nicely acoustically treated, and sounds great, so I can really turn up the volume and get air moving, which makes all the difference to a great sound. I have some really lovely guitars and amps and some more interesting things - I like the combination of both, but am always striving for the best (and most appropriate) sound, while also keeping the excitement in the song. I have some drum machines and synths too. The studio is always wired and ready to go, and I run a patchbay so everything can be routed to everything else as easily and quickly as possible, which makes for some really cool sounds.

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

A: I'm most inspired by people who are hearing the song for what it is and how it makes them feel, not only the details, and who have passion for what they are doing and recognise the gifts that making music gives you.

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

A: The most common type of work I do (aside from live session work) is recording on artist's tracks, either in person or remotely.