Producer // Bass // Guitar //

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

A: With the current technology and availability through the Internet, it's easy to fall into believing that music is just "content" and I maintain it is not. Owning recording gear doesn't automatically make you an engineer any more than owning an instrument makes you a player. If you're a creative, you owe it to yourself and your music to present it in the best light possible and that often involves getting help from a more experienced player or engineer. Don't be afraid to invest in the music you believe in. When you're working with seasoned professionals, you really do get what you pay for and the relatively small financial difference makes a massive difference in the quality of your final product.

Q: What questions do you ask prospective clients?

A: What is the mission? What do we hope to accomplish? Often a given project may have several objectives and uses, so I really want to know what the mission is and in what order. Again, communication.

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

A: Be sure you're being heard by whoever you work with. Music is the universal language and communication is the most important element.

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

A: I cut my teeth on samba and Brazilian music, but having been a session musician for nearly two decades, I've done a fair amount of everything. And, living in São Paulo, all styles from Brazil.

Q: What's your strongest skill?

A: Musical empathy, I think. I've always been able to communicate and understand. My goal is to help the client get exactly what they want, beyond their expectation.

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

A: I split my time between several roles. I'm predominantly a studio musician/session leader. I also do a lot of music production, both for artists and specialty projects, film, TV, etc. And I've had fairly extensive experience as a Music Director for live shows as well as television specials, etc.

Q: How would you describe your style?

A: I'm heavily influenced by Arthur Maia, Wilson Prateado, Sizão Machado, Marcus Muller and Jaco Pastorius, so my style would be a mix of all of them combined. I focus primarily on feel, groove, and energy, and always play to serve the song- slaps are great to get the crowd cheering but groove pays the bills!

Q: What's your typical work process?

A: My first step is to get on the same page with the writer. My goal is always to serve the song, and I like to get a good feel for what the writer's vision is. Some session musicians can bring their egos into the equation and think that their opinion is superior because they're the "professional" on their instrument, but I try to do the opposite. I am the one who is being hired to be of service to the writer and make sure that their vision is achieved.Having respect for the origin of the song idea is key for me - I start hearing the ideas of the parts in my head immediately upon listening, but landing on the perfect part of the song comes from a solid understanding of the writer's vision. My ultimate goal is to write creative pieces that enhance and maximize the music without ever distracting from it. Reference tracks are always helpful to me as they give me a good idea sonically and stylistically of what the writer is looking for. After creating the part I record 2 separate "guardians" into different playlists to give the client some different vibes and options to choose from.

Q: Tell us about your studio setup.

A: I have a modern digital recording studio with a Universal Audio Apollo as the hub. This is a great sounding and very convenient setup as I am able to recall sessions in an instant should a client need revisions. I own most of the plugins that Universal Audio offers and I basically treat them like outboard gear, tracking through them using the Apollo software and printing them right into the DAW. Their plugins sound so similar to the actual pieces of hardware, and I'm able to use a bit of EQ and run tracks through a virtual tape machine, resulting in mix-ready drum tracks.