Guitarist, Producer

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

A: A few years back, I tracked Anna Rose's sophomore record called "Behold a Pale Horse". It was so much fun and I still go back and listen to that record and am like "Shit, that is rocking!!!" Jordan Perlson also played some kick-ass drums on that record as well.

Q: What are you working on at the moment?

A: Earlier this year, I worked on a record for an African Artist named Vivalda Dula. That was a lot of fun.

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

A: Jordan Perlson is a terrific drummer with whom I've worked together for over a decade!

Q: Analog or digital and why?

A: With guitars, mostly Analog. There's just no comparing the sound of the air pushing through a speaker and the physical action of tubes being overdriven. With that said, there are some amazing spacial fx that can be achieved digitally and some really cool, unique sounds that you can get through plugins.

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

A: I'll do my best to make your project sound amazing and take it to the next level.

Q: What do you like most about your job?

A: I love that I can contribute myself to other artist's music almost anywhere in the world. With technology today, it's become so easy to collaborate anywhere and bring people closer.

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

A: I think that some people think even a basic acoustic guitar track is something that's easy and you just throw together. Everything I do, I do it painstakingly to make sure it's as perfect as can be. I feel the same way about my edits too. Sometimes I hear tracks on the radio, and I think, "really, the producer/engineers really let that get by?".

Q: What questions do you ask prospective clients?

A: Usually, the style reference and the timeline/deadline are the most important concerns.

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

A: Try to be as explicit as possible about what you're looking for and with any references you have. There are so many things that seem obvious in our own heads, but everyone has such a unique and diverse background that there are so many different ways to approach something. Just be clear and communicative throughout.

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

A: Strat, '60's Super Reverb, and an analog delay. What else do you need? Maybe my nylon string acoustic as well for some Bossa Nova sessions.

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

A: I starting playing and touring professional straight out of music school. School really helped me to get my foundations and techinque down, but the real learning came on the road and on the gigs. My ears have grown so much learning and working on music professionally since school.

Q: How would you describe your style?

A: Slick and groovin!

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

A: That's tough. So many great artists out there. I love D'Angelo's production so much, and one day, it would be so fun to do a guitar duo album with John Mayer.

Q: Can you share one music production tip?

A: Sometimes, less is more. Dynamics are so important, and sometimes, it's about bringing some channels down in the mix rather than pushing everything up to fight with each other.

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

A: It really ranges widely. Monday, I'm tracking pop-rock, Wednesday I'm working with an R&B artist, and by Friday I'm tracking an afro-pop record. I love this, it keeps things interested.

Q: What's your strongest skill?

A: Meat and Potatoes, and soaring guitar solos!

Q: What do you bring to a song?

A: Groove, Finesse, and LIFT!!!

Q: What's your typical work process?

A: It really depends on the project, but usually on a pop track, for example, I'll start with acoustics, and lay that foundation down. I love doubling and adding different capo inversion strumming tracks in later choruses to give it that lift. Then I'll add the rocking electrics where needed.

Q: Tell us about your studio setup.

A: My studio includes Apogee conversion, and my go-to preamp is a Universal Audio LA-610. I love the sound and tend to leave the compression side on just a tiny bit for a little extra warmth on most of my tracking. I've got a range of mics that I enjoying experimenting with including a Ribbon Mic, and an Avantone Tube microphone, in addition to a 414 and Rhode NT-5ST that I often use for my acoustic tracking. Sometimes, for electric, you just can't beat sticking a 57 in front of my original '65 Deluxe Reverb. Ain't nothing like it!

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

A: Richard Bona, John Mayer, and D'Angelo have all been some of my contemporary inspirations and motivators. In addition to each one's instrumental/vocal prowess, the overall vision and sound of their productions are top notch in my opinion.

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

A: I most commonly contribute electric and acoustic guitar tracks to their demo's and professionally produced recordings. As part of crafting the perfect guitar direction, I'm also happy to provide advice and contribute arranging suggestions whenever appropriate.