Trumpet | Composer | Engineer

Q: What do you like most about your job?

A: I like working on a variety of projects that exercise my creativity. I certainly do not like the monotony of doing the same thing every day. That is why I play so many instruments, write music, and do audio production.

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

A: Clients commonly ask me transcribe existing horn section parts of cover songs, then orchestrate for the instrumentation of their horn sections. Sometimes I am tasked with transposing string parts for horn section. Periodically I am asked to provide condensed rhythm section charts. Regardless, we agree on a definitive reference track to ensure we are listening to the same version. Often I am asked to compose horn section parts for songs - covers and originals - that do not feature existing horn section parts. I ask for references and a general sense of what the client hears. Based on my availability and the complexity of the song, typical turn around time is 2-5 business days.

Q: Analog or digital and why?

A: Both. It really depends on how analog and digital is applied. I prefer to record through analog gear into a digital interface. Mic'ing real instruments or amps usually yields a much more lush signal than MIDI instruments or software simulations. I still strive to capture excellent performances, but post-production editing is a much cleaner workflow compared to cutting and splicing tape.

Q: What do you bring to a song?

A: Ultimately I bring my ears to a song. If I'm transcribing I'm hearing through other sonic textures to accurately isolate the individual instrument's part. If I'm orchestrating, I'm making the instrumentation sound the best it can while also writing interesting parts for each instrumentalist. If I'm arranging or composing for an existing song, I'm writing music that compliments what's already recorded (like rhythm section) while also leaving space for what's to be added (like vocals). If I'm performing, I'm bringing years of practice honing the technique and expression on a particular instrument. If I'm recording, I'm listening for the best mic placement that will yield the best desired sound.

Q: Can you share one music production tip?

A: When transcribing any piece of music, try to get the best quality stereo audio reference track. Identify where a particular instrument or instruments exist in the stereo field then isolate the channel. For example, many 60's era Stax recordings were recorded using an 8-track mixer. Often the horn section was recorded using one microphone and hard panned to the left speaker in mixing. Mute the other speaker to further isolate the horn section from other instruments that compete for the sonic attention.

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

A: I work on and am comfortable with a wide variety of music. My musical roots are jazz, soul, and rock, but I also studied classical and contemporary music. When I am asked to perform, compose, or record genres beyond of my comfort zone, I immerse myself in the music in order to capture its essence.

Q: Tell us about your studio setup.

A: I work from a dedicated home office studio. The small room is treated for sound absorption and diffusion. I record, edit, and mix in this space. I record using Pro Tools (supplemented by about 400 plug-ins) on a desktop computer running the current version of Windows. My main interface is a focusrite 18i20 and I monitor on near-field KRK Rockit 5 Powered monitors. I have a variety of microphones (condensers, ribbons, and dynamics) and DI boxes. I have a variety of amps from companies including Marshall, Orange, and Vox.