Session Guitarist

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

A: Madeline Finn's Colerain Mansion EP. I co-wrote on it, and played guitar, bass, and backup vocals. I'm proud because I provided just the right amount of support in the right ways, without getting in her way.

Q: What are you working on at the moment?

A: I'm working on a solo EP of my own singer/songwriter material, I'm working for a singer/songwriter named Madeline Finn, and another named Henry Conlon.

Q: Analog or digital and why?

A: Both are fantastic in different contexts.

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

A: That whatever I send them will be thoughtful and elevating.

Q: What do you like most about your job?

A: Trusting my artistic instincts, and my ear.

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

A: That it's easy.

Q: What questions do you ask prospective clients?

A: Do you have an idea of a specific part you'd like me to play? If not, do you have a vibe or texture or feeling that you'd like the guitar to capture? How much space would you like me to take up?

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

A: The more research you do, the less you'll need to micromanage a provider, and the more they will be able to lead with their best instincts.

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

A: my 3 guitars, my Supro, and my Westwood drive.

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

A: I was raised by professional musicians, so I feel like I've always been doing this. But I've technically been gigging since I was about 13.

Q: How would you describe your style?

A: Groove and emotion-focused.

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

A: Ben Howard. I love his songwriting, and I think a lot of my musical instincts would line up well with what he does.

Q: Can you share one music production tip?

A: Always craft guitar tones primarily in the context of the song. There are so many great guitar sounds out there that only make sense in context, and many great guitar sounds that only sound good in your bedroom.

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

A: Singer/songwriter, Alternative rock, Funk, Neo-soul.

Q: What's your strongest skill?

A: Playing to the song, emotional playing, and leading with my ear.

Q: What do you bring to a song?

A: Thoughtfulness, interest, and groove. I try always to identify how much space there is, and to never overstep that line. I aim to listen with producer's ears as opposed to a mediocre guitarist approach of "how much guitar can I cram in here".

Q: What's your typical work process?

A: Active listening, then playing rough shapes of what the song is until I start to hear ideas that can breathe new and interesting life into the song.

Q: Tell us about your studio setup.

A: I'm running a Scarlett 18i20 into Logic. My favorite mics to use for guitar work are my AKG 214 and a trusty Sure SM57. My go-to recording amp is a Supro 1606 reissue, and I have a large pedal board that includes the Earthquaker Sea Machine, Avalanche Run, Westwood, Plumes, and Special Cranker. I also have the JHS 3 series fuzz, an OCD drive, and the Keeley 4 knob compressor. I love having lots of colors to paint with, and this pedal board gets just about any job done. I would also say that my E.B. rooster custom guitars (including a Baritone) are a huge part of my sound - they're the best-sounding instruments I've ever played.

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

A: Tim Henson of Polyphia, Cory Wong of Vulfpeck, Nate Smith, Adrianne Lenker, Ben Howard, and Derek Trucks, among many others.

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

A: The most common work I do is to take songs that already have chord progressions, and write guitar parts that elevate and make those songs sound distinct.