Horn Sounds (Record/Mix/Write)

Q: What's your typical work process?

A: I usually listen to a track a few times and take notes about what my feelings are. If it's not immediately clear to me what to do then I will discuss with the client what they are hearing. Usually I take a few passes at the track listening-wise and it pops out at me either a general feeling about what to do or sometimes even a specific part. Then I go to my keyboard and try to play along with the track to work out specific parts or sections that need something. I make sure a harmonization is in the right range for the intended instrument and make sure that all the voicings or parts that I write go well with the harmony. After that it's time to record the live instruments! I have my sound that I am going for with the horns and I am usually able to dial it in pretty well live. I know my gear fairly well and I know my sound so it comes easily. If other people need to record parts they come by and do their thing as well. I am privileged to know so many excellent musicians in NY I can find great session guys either the day of or the next day. Check in with the client to make sure the parts are happening. If not make some changes. Final delivery if it's just recording and writing and move on to mixing all the parts together if I am hired to do that as well. By this time I'm already deep in the track so mixing it comes naturally.

Q: Tell us about your studio setup.

A: I have a small but tight studio setup. I place emphasis on getting gear that sounds awesome one piece at a time. Since I like the expensive stuff it takes a while to get there but I already have some nice pieces that are indispensable in creating my sound. I also like to build kits in order to get some nicer gear that I otherwise wouldn't be able to afford! I also live in New York City and my studio is a home studio so I put a premium on space.

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

A: Lenny Pickett the musical director of Saturday Night Live. I interned with him and he was the first person to teach me how to use logic. His playing is phenomenal and he's also made quite a career for himself working in other production aspects of music. I really look to him for inspiration and guidance on how a young saxophone player should approach a career in music!

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

A: Clients will send me a track. I will write horn parts and then record them myself. I will do most recording myself but it's not uncommon for me to bring in a trumpet or trombone player to record a lead or lower voice. If clients are interested in more electronic types of sounds we can work more closely together to choose the right sound for the track. I also have clients that will send me an already recorded track for mixing. Most tracks will have horns or a greater amount of live instruments and clients will be frustrated with how their mixes sound flat and dull. I think it is because a lot of younger engineers don't have experience working with horns so it is hard for them to find the right space in the track for them to sit. Usually the tracks with less instrumentation sound fine! My forte is working with horns and other live instruments to get them to have the right feeling and create and inspired arrangement and sound.