Alienate on SoundBetter

I specialize in digging into the emotional storytelling landscape of a song and crafting interesting and unique arrangements that make people sit up and pay attention. I flesh out your songs with creative melodies, sonic soundscapes, and a unique production approach to make your song stand out in the noise. I love working with singer/songwriters!

I'm an award-winning multimedia artist and musician who treats every song like my own art.

I played guitar for NYC band PS (CMJ's top unsigned act) way back in 2004, where I was known for my creative guitar playing and innovative use of effects pedals. We got popular pretty quickly and did several major label showcases before the band fractured due to unsettled internal dynamics (note to bands: don’t get too big too fast!). Then I was a replacement guitarist for a former Island major label Britpop band, Mach Five where we did more label showcases. I've also been a session guitarist for EDM producers, written soundtrack songs, and done sound design for award-winning short films.

I'm working on building up my credits again (after spending a decade focused on visual and performing arts), so my rates give you maximum value for the money.

When you work with me you'll get a true artist's touch. I love blending styles and genres and finding that "just right" sound or melodic line to complement the vocals, lyrics, and song as a whole.

Please note, because I delve into the songs so deeply, I must feel a connection to the work that gets my imagination running at full speed. That means I have to be selective in who I choose to work with. It’s not a reflection on the quality of your music! You’re awesome! Keep going!

Send me an email through 'Contact' button above and I'll get back to you asap.

Credits

Languages

English

2 Reviews

Endorse Alienate

by Sam Wheat
Verified (Client)
I love Nate's playing and musicality, he really has brought magic to the table. Everything I have asked of him he delivered, and with impeccable attention to detail.
by Zachary Shaw
Nate has an incredible ear and a visionary insight into music and its magic. He takes the simplest of tracks and layers in dynamics I would never hear in my own head. But, he really listens to the artist—when I have not liked something, we just talk about it, come up with something different and move on. Nate has been a truly collaborative musician and engineer.

Interview with Alienate

Q: What other musicians or music production professionals inspire you?
A: Nigel Godrich, Mark Ronson, Sia.
Q: What are you working on at the moment?
A: A queer post apocalyptic fantasy pop band called Shy Queen.
Q: What's your 'promise' to your clients?
A: That I will treat your song as if it were my own.
Q: What's the biggest misconception about what you do?
A: That singer/songwriter music and production has to be pretty straightforward and tiptoe around the vocals with an acoustic guitar. Some folks love that, and so do I at times, but it’s not the only way to fill in the canvas.
Q: What questions do you ask prospective clients?
A: A lot! Why does this song exist? What influences you in music? What influences you outside of music? What DON’T you like? What do you hope to get out of our collaboration?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be open to the process and be open with communication. As an artist I experiment a lot and don’t attach my ego to my work, so I’m very open to feedback and want to make sure you are happy as well!
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I’d have to go with performance gear: My Les Paul Classic, a Vox AC30, a Memory Man pedal, and a Marshall Jackhammer pedal and a Rex50 fx box.
Q: How would you describe your style?
A: Cinematic. My arts background helps me see and hear music in new ways. Songs become stories that connect with listeners in more ways than just aurally.
Q: Which artist would you like to work with and why?
A: Sia and Graham Coxon. They’re both so inventive and powerful in different ways, I’d love to work on a project with both of them at the same time.
Q: Can you share one music production tip?
A: Don’t be afraid to take risks. The conventional “rules” on production and songwriting only exist because someone took a risk and tried something different, and people eventually liked it and copied it. Also, don’t be afraid to be conventional if that’s what the song needs. It’s all about the song, after all.
Q: What type of music do you usually work on?
A: Music that moves. Whether it’s driving beats and guitars or gentle atmospheres, the song needs to go somewhere.
Q: What's your strongest skill?
A: Probably melody. I love coming up with little hooks and complementary melody lines. Close to that would be song dynamics; when should it be soft, when should it blow up, how should parts transition etc.
Q: What do you bring to a song?
A: An open mind and a fierce creativity.
Q: What's your typical work process?
A: I mix up my process to keep things fresh, but generally I listen to the song over and over and try to internalize it. I read the lyrics. I’ll talk to the artist and ask questions about why the song exists. Then I’ll start experimenting with foundational layers in Logic. Sometimes the demo will have some loops or samples and I’ll play around with those, editing as needed. Sometimes the song structure, melody or lyrics needs some refinement so I’ll work with the artist on that. It’s all about pulling out what the song wants to be.
Q: Tell us about your studio setup.
A: Pretty simple. I use LogicX and virtual synths for flexibility and control, combined with some vintage synths and keyboards. I have a 909 and 303 clone I’ll break out once in a while. I love finding and using old discarded or odd vintage electronic gear, especially stuff that’s not considered desirable; you can get some nifty sounds out of those things, especially when you combine them in interesting ways with more modern gear. On the flip side, I have a gorgeous Les Paul and numerous boutique and handmade effects pedals or boxes (love the Rex50 by Yamaha) as well as a Taylor acoustic and Ibanez archtop from the 70s.
Q: Analog or digital and why?
A: Both. There are benefits and drawbacks to each so I try to find the blend that works with the equipment I have or the Artist’s budget in terms of booking external studio or musician time.
Q: What was your career path? How long have you been doing this?
A: I started as a guitarist 20 years ago in NYC at the time that garage rock was reviving, then began producing and recording tracks for local artists. I moved on to focus on visual art and was successful in that, and was able to incorporate sound and music into my artworks. Now I’m swinging back into pop music.
Q: Describe the most common type of work you do for your clients.
A: I mostly work with singer/songwriters who give me a bare-bones demo and I work with them to flesh it out into a full production and finished song.