Live-Played MIDI Drum Tracks

Q: Analog or digital and why?

A: Both — whatever gets you through the night. I believe in using whatever tools best serve the music, whether it’s analog warmth or digital precision. At the end of the day, it’s all about what works for the song and the session.

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

A: Clients are spoilt for choice these days so take your time, do your homework, and make sure you're hiring the right person. ALWAYS reach out to a prospective hire first to find out if they're a fit.

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

A: I played the drums on a cover of Jethro Tull's "The Whistler" by Celtic World Orchestra. I was so happy with how it came out, and as a self-confessed song drummer, it was fun to cut loose and get the BIG drums out. It was also a pleasure sharing credit with some real top-flight players on there. It was one of those tracks that gave me goosebumps during tracking. That's a rarity. https://www.youtube.com/watch?v=gE8YjQG82bA

Q: What are you working on at the moment?

A: Right now, I’m halfway through working on an album for a Norwegian band that’s kind of like Gothic Rock with a synth-pop edge—they found me on SoundBetter, and it’s been an absolute blast so far! There’s nothing better than clicking with a client and really being on the same wavelength.

Q: What do you like most about your job?

A: What I really love about my job is that feeling you get right before you start listening to a new track—when you sense it might be something really special. Every project is different, and that moment of anticipation keeps things exciting. It’s like being part of a creative journey from the very start, helping bring someone’s vision to life with the right groove and feel. No two sessions are ever the same, and that keeps me inspired and always looking forward to the next one.

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

A: “Can you put a fill there?” The answer is always yes. If I feel it’s not needed, I’ll explain why—but at the end of the day, I’m here to do a job and deliver a track the client will be happy with.

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

A: A lot of people assume MIDI drums are just programmed beats that sound robotic or lifeless. The truth is, I perform every note live, with all the feel and dynamics of a real drummer. MIDI just gives you extra flexibility without losing that human touch.

Q: What questions do you ask prospective clients?

A: Apart from technical questions such as BPM, sample rate etc., I would ask them what kind of mood they wanted to come out of the track. Also, I would ask if they have any reference files, whether an already available demo drum track or a track by an existing artist that they'd want to capture the feel of.

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

A: I’ve been playing drums since 1986. I got my start gigging in the pubs and working men’s clubs of South East London—where I learned the value of social music and playing for the song. Over the years I’ve played live, toured, recorded, and eventually shifted my focus to remote session work. Since 2021, I’ve specialized in live-performed MIDI drum tracks, combining decades of playing experience with a modern, flexible workflow that suits today’s production needs.

Q: How would you describe your style?

A: I am a song drummer, so I focus on feel and simplicity.

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

A: The guitarist Nick Dray - he's one of my oldest friends and was in my very first band back in the day so he's been there from the start - he's a great guitarist and an even better bass player so look him up. I have done some work for producer Stephen Paul on other platforms and Freddie Banks has been very supportive. He's killing it on here!

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

A: I promise to treat your music like it’s my own. You’ll get a live, musical drum performance that fits your song, delivered on time and how you want it. I keep things easy and flexible—no shortcuts, just real, honest work.

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

A: Just a kick drum so I could use it as a boat to get off the island! In all seriousness, I can't do what I do to the level I do it without Superior Drummer 3. There's not a drum VST out there that gets close.

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

A: Steven Wilson. He wears his love of Pop on his sleeve, as do I.

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

A: My roots are in rock and pop, so my playing naturally leans that way—but I’m always up for a challenge and love it when something comes in that pushes me out of my comfort zone.

Q: What's your strongest skill?

A: My ears. I know what works and what doesn't, and I can usually get that pin-pointed pretty fast.

Q: What do you bring to a song?

A: Space. There’s nothing worse than a song being choked by an overly busy drum part. I’m a self-confessed song drummer—I leave the chops in the rehearsal room.

Q: What's your typical work process?

A: Once I’ve received the files and instructions from the artist or producer, I’ll listen through, make a basic chart, and record a few takes using a kit sound I think will suit the track. I’ll then send over a stereo stem to see if we’re in the ballpark. If they’re happy, I’ll record a few more takes—usually one simpler and one a bit looser—to give them options. From there, we refine as needed.

Q: Tell us about your studio setup.

A: It’s simple but effective. I use an upgraded Roland V-Drum kit with the digital snare, ride, and hats, running through a UAD Apollo interface into a Mac. I’ve switched to Studio One, but I can also work in Pro Tools, Logic, Reaper, or Luna. I rarely mix—most clients prefer dry files—but I’ve got a curated collection of plug-ins ready if needed. I usually leave that part to the experts. The Apollo might seem like overkill, but since I track live, low latency is crucial. To keep things tight between the kit and DAW, Thunderbolt was the obvious choice.

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

A: Every drummer has a top five list—and if they say they don’t, they’re not telling the truth! In no particular order: Phil Collins, Jeff Porcaro, Mark Brzezicki, Phil Gould, and Stewart Copeland.

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

A: Even though my medium is MIDI drums, my bread and butter is delivering not just MIDI, but studio-quality audio as well. I prefer working this way—I want the artist or producer to get me on tape. That means not just the performance, but also the drum sounds themselves. I handpick every kit from industry-standard libraries to make sure it fits the track. And with the beauty of MIDI, if it’s not quite right, it’s just a click to change.