StringSection, Fiddle/Mandolin

Q: What's your typical work process?

A: How I usually work with a client Getting the material: You send me a rough mix of your song (or just a few stems like vocals and rhythm section). You may also include a quick sketch of what you want the strings to sound like, or reference tracks (e.g., “I love the strings at the end of Purple Rain”). Tempo, time‑signature, and any specific notes are shared at this stage. Planning the arrangement: I listen to everything, take notes, and start mapping out the string part. I usually begin with a single violin line, then layer additional violins, violas, cellos (or octave violins) and build harmonies or motifs that fit the song’s vibe. First draft: I send you a rough‑mix preview that includes the new strings. This lets us confirm we’re heading in the right direction before moving forward. Revisions & options: If you like the direction, I deliver the individual stem files so you can drop them into your DAW and finish mixing. If you want more detail on certain sections, I’ll re‑record or edit those parts. I can provide: Dry stems (just the raw instrument) Wet stems (with some reverb/effects applied) A quick mixed‑down version if you need a more polished reference. Final delivery & guarantee: Once you are satisfied with all the parts, the project is marked complete and payment is released. I stand behind my work with a 100 % satisfaction guarantee if something isn’t right, I’ll fix it until it is.

Q: Tell us about your studio setup.

A: My Studio Setup (in plain language) I work out of my home studio in Brisbane, Australia, and I also pack a portable “on‑the‑road” rig so I can record whenever I’m touring. That means I’m almost always ready to jump on a project, no matter where I am. Gear I rely on: Pre‑amps: SSL units give the strings that clean, punchy boost they need. Microphones: Ear Trumpet - Edwina for capturing the warm, detailed tone of violins, violas, cellos, etc. Shure - SM81 for crisp, dry pickup when I want a very clean signal. Software: I record and edit in Logic Pro X, which handles everything from tracking to mixing. Plugins: UA Soundcity Studios plugins for shaping tone and adding character. Valhalla reverb suites for everything from subtle room ambience to big, cinematic spaces. Sample library: The Chris Hein Cello sample collection lets me layer realistic orchestral parts when I need a larger sound without hiring extra players. What this lets me do Record pure, dry string tracks that engineers can mix later however they like. Deliver quick‑mix versions that already have a bit of polish. Blend live recordings with high‑quality samples to build full‑orchestra arrangements, even when I’m working solo. In short, my combination of solid hardware, versatile mics, a powerful DAW, and a handful of trusted plugins/sample libraries gives me the flexibility to produce anything from intimate solo strings to massive, cinematic orchestral mock‑ups - whether I’m behind a desk in Brisbane or on the road.

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

A: Who inspires me I draw a lot of inspiration from musicians who 'play to the song' who listen and respond to the lyrics, and from producers who know how to turn those ideas into a finished track. Stuart Duncan - his fiddle work is so fluid and expressive; he shows how a traditional instrument can sound fresh in any setting. He is the master at listening to lyrics and responding appropriately Randy Howard - A master musician and technician who left this earth way too soon. Dan Huff - a producer who can take a song from a simple demo to a radio‑ready hit, teaching me the power of arrangement choices and studio workflow. (we worked together on Hunter Hayes "21 Project") Hans Zimmer - his cinematic scores prove that strings can tell huge stories, influencing how I think about building tension and emotion in my own work. Nelson Riddle - his legendary orchestral arrangements for pop and jazz show how sophisticated voicings can elevate any genre. On the mentorship side, I’ve learned a lot from: Eugene Friesen - his approach to phrasing and dynamics on the cello has shaped how I treat every string part. His career is continuous and inspiring, currently on tour with PAUL SIMON. Matt Glaser - his deep knowledge of swing and improvisation is inspiring and sense of humor infectious. Buddy Spicher - a master of the Nashville sound whose versatility across styles is a constant reminder to stay flexible. Billy Contreras - his modern approach to fiddle technique and genre‑blending encourages me to experiment beyond the usual boundaries. These artists and mentors together fuel my drive to create arrangements that are both technically solid and emotionally resonant. They push me to keep exploring and working on my craft every day.

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

A: I specialise in creating high‑quality string‑section recordings, ranging from solo violin or fiddle parts all the way up to full‑ensemble arrangements. My most frequently booked service is string‑section arranging and recording (from country ballads to action‑film cues). I haven a reputation for exceptionally fast delivery, most projects are turned around within 24 hours. In addition to strings, I also provide: Fiddle, viola, mandolin, backing‑vocal, guitar, and bass tracks Full demo‑band recordings for country‑music demos Custom arrangements and live‑recording sessions Custom backing tracks for practice or performance Clients choose me for my versatile genre expertise - especially bluegrass and country styles, world music (bollywood, flamenco, gypsy), jazz and pop - and for the reliability of getting polished, ready‑to‑mix recordings on a tight schedule.