Produce, Record, Mix & Master

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

A: Playing guitar for Matt Hansen for the past three years. It's been everything from headline touring to studio work, and holding the guitar chair on a project that long, across stages and sessions, is the kind of thing I'm most proud of. It's where the touring reps and the studio detail both show up.

Q: Analog or digital and why?

A: Both, whatever gets the tone. I'll reach for a real amp when a track wants that air and push, and lean on digital when it needs precision, consistency, or fast recall. The song decides, not dogma.

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

A: A guitar part that serves your song, recorded clean, delivered on time, and revised until it's right. No filler, no ego.

Q: What do you like most about your job?

A: Getting inside someone else's song and finding the part that makes it click. Every track is different, so I'm never playing the same thing twice.

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

A: Usually turnaround and revisions. My answer: most parts come back within a few days, WAV stems included, with revisions until the part sits right.

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

A: That remote session work means lower quality or less connection to the song. Done right, you get a player who's fully in your track, with pro tone and feel, faster and cheaper than booking a studio and flying someone in.

Q: What questions do you ask prospective clients?

A: Tempo and key, a reference track or two, whether you want a specific part written out or my interpretation, whether you need DI plus amped stems, your deadline, and whether it's for a release or a demo.

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

A: Send a reference track and a short note on the feeling you're after. The clearer you are about the vibe, the faster I nail it. And trust the player's instincts, sometimes the part you didn't ask for is the one the song needed.

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

A: Tough one, since the first problem is finding power for any of it. If I had electricity, I'd take my Fender Blacktop Strat and a Fender Blues Junior and be happy for a long time. If there's no power on this island, then it's acoustic all the way: my Martin and a nylon-string. Either way, I'm not going anywhere without something with six strings on it.

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

A: I've been a working touring and session guitarist for over a decade, with a Bachelor of Music in composition and training at Musicians Institute. I've toured and recorded with artists including Lari Basilio, Matt Hansen, Joshua Bassett, and Jake Scott, on stages from Lollapalooza to Radio City Music Hall.

Q: How would you describe your style?

A: Musical and tasteful over flashy. I play for the track first. Clean and dynamic when it calls for it, aggressive and textural when it doesn't, always in service of the song.

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

A: John Mayer. Few people blend pop songwriting and real guitar playing as seamlessly, and his records prove that a guitar part can be the hook and serve the song at once. That's exactly the space I like to work in.

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

A: Pop, rock, and singer-songwriter material, plus guitar-forward and instrumental work. My touring credits run across those worlds, so I'm comfortable going from a subtle acoustic part to a driven lead.

Q: What's your strongest skill?

A: Serving the song. I can read what a track wants, whether that's a clean rhythm bed, a hooky lead line, or a solo, and deliver it in the right tone and feel on the first pass. Years of touring different artists made me fast and adaptable across styles.

Q: What do you bring to a song?

A: A decade of touring and studio work behind every take. I don't just play correct parts, I play what the song needs, with the feel and tone that come from doing this on real stages and records, not just in a bedroom.

Q: What's your typical work process?

A: You send the track, a reference for the vibe, and any notes. I record a first pass, usually within a few days, and deliver WAV stems. Then we refine with revisions until the part sits exactly where you want it.

Q: Tell us about your studio setup.

A: My core tool is a Line 6 Helix Floor. It's what I've used on stage and in sessions for years, so I dial in tones fast and, just as important for remote work, every tone is saved and recalled instantly, which makes revisions painless. I track through an Apogee Duet and monitor on Yamaha HS80ms. Guitars include a Fender Blacktop Strat HH, a Fender Telecaster, custom builds, and Martin acoustics, with a large pedalboard on hand when a track wants something specific. Mics are an SM57, SM7B and an AKG C414 for acoustic and amp work, running standard industry plugins. You get clean DI plus fully realized amped tones, ready to sit in your mix.

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

A: Cory Henry, John Mayer, Snarky Puppy, and Mark Lettieri. All players who serve the music first but have a deep, instantly recognizable voice on their instrument. That balance, taste and personality at the same time, is what I chase in my own playing.

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

A: Remote session guitar. Artists and producers send me a track, and I record custom electric and acoustic parts for it, rhythm or lead, and deliver clean WAV stems ready to drop into their session.