Music Producer, Composer

Q: What are you working on at the moment?

A: Finishing up and publishing an audiobook production and soundtrack.

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

A: John Konopka is a legend, super creative colleague of mine and knows his way around many aspects of the creative process, including mixing, composition, mastering, recording, and sound design.

Q: Analog or digital and why?

A: Digital is the way today.

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

A: They usually ask me what kinds of music I've done, and I tell them I am exploring and have done almost every style there is. Then they ask what my favorite thing is to write and I tell them "Epic soundtrack music-- or whatever I'm currently working on."

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

A: My KRK Rokkit Speakers, an iMac, keyboard, sound libraries, and audio interface is all I need.

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

A: Studied classical composition at Cleveland Institute, then studied film scoring at Jacobs School of Music. I've been a freelancer in production since 2017 and am working on building my career.

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

A: Hiroyuki Sawano--would be a dream to understand his approach more in depth.

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

A: I was a producer and composer for an audiobook. I am very proud of it because it is probably close to an hour of original music and it brings the story to life in a way that is magical.

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

A: I will not leave you hanging. You will get it when you need it, and if it's not what you want, I will fix it.

Q: What do you like most about your job?

A: I love when clients are happy and feel their song is now where they want it because I added the final touch. It is one of the greatest feelings.

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

A: That it's simple and that making music is for teenagers and their new mix tapes...not true.

Q: What questions do you ask prospective clients?

A: I always ask for examples if they can give them. Usually people have a song or track they are inspired by.

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

A: If you have thoughts or specific items you're looking for, give them to me. I am a functional artist and am not overly married to my ideas. What you want is what is most important.

Q: How would you describe your style?

A: Full-throttle, detailed, dramatic

Q: Can you share one music production tip?

A: Less is more, start simple and add, don't add so much that you can't figure out what the problem in your mix is.

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

A: I usually work on larger orchestrations for songs that want that concert orchestral space gluing them together. I know how to put a song into a world that makes it bigger and thicker.

Q: What's your strongest skill?

A: My strongest skill is my well-rounded understanding of orchestration, coupled with my advanced ear. Being able to pick out a particular instrument's line in a mix is really helpful when I am working in the opposite direction and am creating something new. I have an understanding of instruments' roles and abilities and a tuned sense of timbre and texture that are very strong.

Q: What do you bring to a song?

A: I bring songs to life by creating a musical space understood by someone who is richly classically trained and can develop complex, nuanced soundscapes. Sometimes a client wants a particular instrumentation but is not quite sure how to compose or produce for those instruments. My conservatory training and well-rounded musicianship allow me to be familiar with many different styles and worlds and help bring a song to the world where it wants to live.

Q: What's your typical work process?

A: I generally will listen to a client's song and divide it into sections in my head where I think different colors, textures, and other elements might end up living. Then, I listen to whatever sample tracks the client has provided and try and come up with a theme or hook that closely resembles what they are looking for. At that point, I begin the orchestration/production process more head-on and figure out how to navigate my thoughts musically and texturally through use of different instruments, types of harmony, range, dynamics, etc. I work quickly and like to get the client a first draft within a very fast timeframe, allowing them to comment on what I did and help me shape it even more perfectly into what they want.

Q: Tell us about your studio setup.

A: I use KRK Rokkit 7's, a Yamaha keyboard, and a basic interface, though I am hoping to radically upgrade my studio setup in the future. I use Reaper DAW but am also familiar with Pro Tools for mixing and mastering.

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

A: I am very inspired by composers/producers who are multi-faceted and can do many aspects of large-sounding projects. Examples include Paul Dinletir, Carol Sovinksi, Billy Van Alstine, Hiroyuki Sawano, and others who can create large, epic soundscapes.

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

A: I most commonly do orchestrations, string obbligati, and additions to people's existing songs. I also do original compositions/productions, film scores, mixing and mastering.