Pianist and Vintage Keyboards

Q: Tell us about your studio setup.

A: I have a Burl Mothership interface (if you are not familiar, look it up - it is the state of the art) that converts the raw signal that goes into my analog Yamaha PM-1000 console. I have 8 inputs available to employ at all times, and so depending on the instrument I am recording, I choose which mics to activate through my patchbay. This means that when I record piano, I use 8 channels, which you can then decide which ones you'd like to keep. All of my keyboards and other instruments already miked and ready to go. It makes the workflow so much more pleasant and immediate, tending to the music right away instead of dealing with other factors.

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

A: I worked with composer Amir Shpilman on a massive piece that required score editing and orchestral solutions - that piece was later performed in a big festival in Europe and broadcasted on TV across Europe. It was such an honor to see the scores I worked on being used by an orchestra and a choir totaling in over a hundred people.

Q: What are you working on at the moment?

A: The project that is in the most swing is my cover album project - ever since I was in High School I loved arranging music, it is an inextricable part of my musical persona. Imagining a new mood for a song that is not mine gives me much satisfaction. In addition, I am also preparing materials for two more original albums, as well as in the process of composing a classical song-cycle for Piano and Soprano.

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

A: Yes! Ziv Shalev is a terrific guitar player who is very much in-demand in this platform. Cellist Yoed Nir is also a wonderful and big name. Finally, Gal Gershovsky, who is an excellent drummer, is on this platform. All of which I've played with in the past.

Q: Analog or digital and why?

A: Analog all the way! While my studio is not yet fully analog, analog instruments are so funky and filled with character that I want to say cannot really be replicated, but then again there are so many incredible emulations today for everything. Still, the connection with a living and breathing piece of gear gets something different out of me as a musician, that is not easy to come by when played on digital instruments.

Q: What do you like most about your job?

A: When you get to the point that you only do things that move you, and that you can find yourself in them - is there anything better in this world?

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

A: Figure out what attitude is right for your song, and listen to the stylistic references and sound of the person you are considering. Their personality will inadvertently come through the song.

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

A: Assuming there is no electricity to power up recording devices, it will have to be a Piano, Glockenspiel, Handbells, Kantele and a Harp - the last three I do not own yet.

Q: How would you describe your style?

A: Someone described my sound at some point as a reflection on a dew. I thought it was a very accurate description. In other words, I draw a lot from both Impressionism, Jazz and Popular Music to create a meaningful experience in whatever I contribute to.

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

A: I think that playing with James Taylor would suit me like a glove - mostly mellow music that is heartfelt, genuine and requires piano.

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

A: My strong suit is in acoustic and electro-acoustic instruments, so the genre is oftentimes that of Pop, experimental Pop and Indie music.

Q: What's your strongest skill?

A: While this question points to one skill, I think that what makes my contribution oftentimes unique is my ability to combine high technical skill, profound emotion, attentiveness and familiarity with a musical genre, and a carefully crafted tone. This makes my contributions memorable.

Q: What do you bring to a song?

A: Lots of emotion and integrity, as well as high skill. I am proud of the fact that I am a highly skilled musician, having a bachelor's degree in classical piano; but that I really play from the heart and I mean what I do. Hopefully that is evident from the reel.

Q: What's your typical work process?

A: If there is a written part then the only work process would be to get into the mindset that is right for the song and perform it in that spirit, paying careful attention to whether the tone I use serves the song well. If there is no written part, then I listen to the song a few times and let ideas stir in me, and then I sit down to record with that mindset, until I feel I served it well.

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

A: I am incredibly moved by the music and productions of Paul Simon and Björk. As a pianist, Richard Tee and Keith Jarrett are the two pianists that I find myself drawing inspiration from often.

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

A: Most commonly I'd be asked to contribute Piano, Fender Rhodes and Hammond tracks for songs.