LA Film & TV Session Flutist

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

A: Two come to mind. Being the featured flute soloist on Minari stands out! It's a quiet, intimate film and the flute had real space to breathe in the score. Knowing that performance contributed to an Oscar-nominated film and that audiences around the world heard it is something I'm genuinely proud of. On the live performance side, playing NBC's Wicked: One Wonderful Night alongside Ariana Grande and Cynthia Erivo was a full-circle moment, a globally televised celebration of one of the most beloved musicals ever written.

Q: What are you working on at the moment?

A: What are you working on at the moment? (Updated Spring 2026) I can't share everything due to NDAs, but some recent releases I've been a part of include the vinyl release of Wicked: One Wonderful Night, the theatrical release of How to Make a Killing, and Strip Law on Netflix, where I recorded on the score and have a feature on the end credits. I also had the honor of performing at the Canva Create 2026 keynote event. On the horizon: a Pixar film releasing this summer, and a new theatrical film scored by Emile Mosseri, whose previous film Minari I was the featured flute soloist on, set for fall.

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

A: Professional-quality files, delivered on time, that are ready for your mix. And I won't stop until you're satisfied with what you have.

Q: What do you like most about your job?

A: The range. No two projects are the same. I might go from recording an exposed flute solo for a theatrical score, to laying down a Native American flute track for a Netflix nature documentary, to performing alongside global pop icons on the world's biggest stages. I genuinely love the variety of projects I get to work on.

Q: What questions do you ask prospective clients?

A: "Can you play without sheet music?" Yes! I work comfortably with or without notation and can improvise or interpret from a reference recording. "How fast can you turn it around?" That depends on the project scope, but I always agree on a timeline up front and stick to it.

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

A: Clarity is everything. The more information you bring (reference tracks, articulations, dynamics, a clear vision), the more precisely I can execute it. I'm happy to make creative decisions when needed, but a good reference gets you closer to your ideal take faster. On the technical side, make sure your click track, bar numbers, and track layout are all lined up before we start. That way I spend my time playing music, not troubleshooting engineering, and you get better files, faster.

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

A: I trained at Colburn Conservatory and earned my Master's at USC under Jim Walker. From there I built a career as a Hollywood session musician, playing on film and TV scores, touring with major artists, and performing at events like the Academy Awards. I've been doing remote sessions for over a decade and have completed 300+ remote projects worldwide.

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

A: rimarily film, TV, and video game scores, but I regularly record for pop, R&B, and crossover projects as well. My credits span Moana 2, Arcane, Cobra Kai, Guns N' Roses, Disclosure, and Jennifer Hudson's Grammy-nominated album.

Q: What's your strongest skill?

A: Adaptability and the ear to back it up. I have perfect pitch and feel completely at home working from a reference track without sheet music. I can shift from a delicate orchestral solo to a Bansuri-driven world music texture to a breathy atmospheric pop part in the same session, and land the right feel quickly.

Q: What do you bring to a song?

A: Hollywood-level session experience and a genuine love for serving the music. I bring conservatory training, hundreds of remote sessions worth of intuition, and a collection of orchestral and world flutes that can cover almost any sonic territory a composer needs.

Q: What's your typical work process?

A: A client reaches out with a reference track or score. We discuss the vision, agree on turnaround and scope, and I get to work. Files are delivered as dry, unprocessed stems in high-resolution audio. I'm happy to do multiple takes and alternate interpretations so you have options in the edit.

Q: Tell us about your studio setup.

A: My home studio is built around a Schoeps microphone, Universal Audio interface, and Pro Tools. It's a professional, acoustically treated setup designed specifically for delivering broadcast-quality remote sessions.

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

A: I record remote flute sessions for film, TV, and video game scores, as well as for recording artists across genres. Composers send me a reference, I record clean stems in my professional home studio, and deliver files ready to drop into the mix.