Artist, Songwriter, Producer

Q: What are you working on at the moment?

A: A handful of original pop records for my own artist project, plus ongoing production and mixing work for clients. Always a few things moving at once — that's how I like it. Each project informs the others in ways I don't always expect.

Q: Analog or digital and why?

A: Digital workflow, analog mindset. I work in Logic Pro X with a fully digital signal chain — the precision and recall are essential for client work. But I approach it the way analog engineers approached tape: committed choices, no infinite undo-ing, gain-staging that matters. The tools are digital. The philosophy is analog. The result sounds warm because the decisions were made that way, not because a plugin was applied afterward.

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

A: That I'll treat your project like it's my own. I don't phone it in, I don't run templates, and I don't deliver something I'm not proud of. If something isn't working, I'll tell you — and I'll fix it. You'll always know where things stand. And when the final file lands in your inbox, it will be the best version of what the song could be.

Q: What do you like most about your job?

A: The moment a track clicks. There's a point in every session where the separate pieces — the melody, the chords, the production, the lyric — suddenly become one thing. Everything stops feeling like work and starts feeling inevitable. I chase that moment every single time. It never gets old.

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

A: "How long will it take?" — First demo within approximately one week. Revisions move quickly from there, typically a few days per round depending on scope. "Can you match this reference?" — Yes, I can get close to a reference sonically. But the best results come when we use references as a starting point, not a ceiling. Your track should sound like you, not like someone else. "Do you keep the stems?" — Final stems and WAV files are delivered with final payment. Everything is yours.

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

A: That music production is mostly technical. People imagine a producer sitting alone tweaking EQ knobs. The reality is that most of the work is emotional and interpretive — listening hard, making judgment calls, deciding what a song needs and what it doesn't. The technical skills are just the vocabulary. The actual work is understanding what the song is trying to be, and then getting out of the way of that.

Q: What questions do you ask prospective clients?

A: Three things I always ask: What's the song trying to make the listener feel? Can you share 2–3 reference tracks — not necessarily for genre, but for energy or vibe? And what does "finished" look like — is this for streaming release, a demo, a pitch, a live set? The answers shape every decision I make, from arrangement to mix level. A client who can answer those three questions clearly is a client I can deliver great work for.

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

A: Come with references. A handful of songs that capture the feeling you're going for tells me more than a paragraph of description. Beyond that: be honest about your budget, your timeline, and what success looks like to you. The more specific you are upfront, the better the result. And don't hold back feedback during revisions — polite vagueness wastes both our time. I'd rather hear exactly what's wrong than guess.

Q: How would you describe your style?

A: Warm, melodic, and intentional. I lean toward productions that feel like they were played by humans rather than assembled from loops — real instruments, real dynamics, real imperfection where it serves the song. Influenced heavily by classic soul and pop from the 60s and 70s, but produced for modern ears. The goal is always music that sounds current without being disposable.

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

A: Most clients come to me for one of three things: full song production from scratch, mixing an existing track, or co-writing. Typically a client arrives with a concept, a reference track, or just a feeling — and I build from there. I handle everything in-house: arrangement, instrumentation, production, vocals where needed, mix, and master. Pop is my primary genre, though I've worked extensively in R&B, soul, country, folk, and blues as well.

Q: What's your strongest skill?

A: The intersection of songwriting and production — where the two become one process. Most producers and most songwriters work separately. I do both at once, which means the song and its sound develop together. The chord that inspires a lyric also inspires a texture. The production never feels like decoration — it feels like part of the writing. That integration is what I do better than anything else.

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

A: I started writing songs at 16. After completing music school — where I studied theory, performance, composition, and learned piano and guitar — I shifted fully into professional music. Over the past several years I've collaborated with award-winning producers and established artists, which accelerated my ear and my craft significantly. My releases have reached the top 3 on multiple radio stations. I'm still learning. I expect I always will be.

Q: Can you share one music production tip?

A: Finish the rough before you touch the polish. The number one reason tracks don't get finished is that producers start fine-tuning a sound before they know if the song works. Sketch the full arrangement — all the way through — with whatever sounds are close enough. Once the song proves itself structurally, then earn the right to obsess over the details. You'll also make much better sonic decisions when you know the context they live in.

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

A: Pop is my primary world — contemporary, radio-ready, emotionally driven pop. But I've worked across R&B, soul, country, blues, folk/acoustic, and rockabilly. Genre is less important to me than feel. If the song has something real to say, I can find the sonic world it belongs in.

Q: What do you bring to a song?

A: Emotional specificity. A good song makes you feel something particular — not just "happy" or "sad" but something you can't quite name. That's the target. Every arrangement choice, every texture, every vocal moment should serve that feeling. I grew up listening to music that had that quality — songs from the 60s and 70s that are still emotionally alive today — and that's the bar I aim for in everything I produce.

Q: What's your typical work process?

A: I start by listening — really listening. To the client's references, their vision, what they're trying to feel. Then I move quickly to sketch the full structure before getting into details, because the best decisions come from hearing the whole picture, not isolated parts. Once the concept is locked, I refine with precision. I don't rush the work, but I respect deadlines. First demo typically within a week; revisions are collaborative and fast.

Q: Tell us about your studio setup.

A: I work from a fully built home studio centred around an iMac running Logic Pro X. Multiple live instruments — piano, guitar, and others — alongside a curated plugin stack: Arturia for synthesis and vintage keys, iZotope for mixing and mastering, Fabfilter for precision EQ and dynamics, Melodyne for vocal work. The room is acoustically treated. Fast internet for quick file transfers. Built for both creative speed and professional output quality.

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

A: The legends first: Stevie Wonder, Ray Charles, Dean Martin, Tom Jones. Artists who understood that feeling is the only metric that matters. More recently, John Mayer for the way he marries guitar craft with emotionally honest songwriting, and Bruno Mars and Silk Sonic for their mastery of sonic detail and performance. What all of them share is intentionality — every note is a decision. That's the standard I hold myself to.