I am a producer/developer/designer. Most of my work is custom-made. My specialty is finding what is unique in an experience and making that as engaging as possible for the targeted audience. I have used this formula on crowds as intimate as two and as large as 30,000 while developing safe spaces for creators to flourish.
While many recognize me as a vocalist/writer/arranger, I most highly identify as a producer/developer. My job is to get a custom project from scratch or the base point to completion, delivering the utmost authentic inflection. I can produce most styles, write lyrics/melody, as well as do vocal arrangements. I have worked as a second engineer in Michigan's premiere artist development facility, so while mixing is not my favorite thing to do, recording and editing are well within my realm of capabilities. I prefer to have some sessions in person to really feel things out, but am more than able to do remote work as well.
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with ROCKET(!!!)MAN
Q: Can you share one music production tip?
A: Find a good Groove and build on it. It won't always be exactly the way it was when you started at the end. Sometimes, you may start with one sound and by time you're done, you aren't even using it anymore, but the vibe is just right. A song is a being, like a person. It needs you to love and nurture it for what it is, not what you want it to be. There are times where you may have to push through technical aspects, but don't force the music.
Q: What was your career path? How long have you been doing this?
A: Been loving music and singing my whole life. started my first group when I was 11. Wrote my first song at 10 (maybe 9 is fairer). Had a five-man a capella outfit from 2003 to 2006. Started teaching myself piano in '04. Learned basic production engineering in 2005. Worked as assistant to the director of music in the production studio at a megaplex rec center in '05. Studied a bit of voice in college. Worked as a second engineer and team member at Michigan's premiere artist development facility from 2007-2009. Became serious about competitive instrumental production around this time too. Developed a listening formula for approaching music in late 09- early 2010. People started thinking I could sing around then too. Learned to sample in 2010, hoping to someday sample myself. Sampled myself on a song for the first time in 2013. My world has been different ever since.
Q: What's your typical work process?
A: Receive or deliberate assignment. Clarify the end goal. Assess influences for the project. Establish a groove. Build on the groove (instrumentation/vocals/arrangement). Scratch/reference it out. Lay final renditions. Post-production (alignment of vibes). Process may vary per project. Pretty much a listening and shaping experience, I would imagine like molding ceramics or sculpture.
Q: Tell us about your studio setup.
A: Pro Tools 8, Reason 4, Sterling Audio ST51, Rockit 6 monitors, M-Audio Pro Keystation88, Shure SRH 440 Headphones
Q: What other musicians or music production professionals inspire you?
A: Berry Gordy, Phil Spector, Michael Jackson, Stevie Wonder, Norman Whitfield, Quincy Jones, Ray Charles, James Brown, The Temptations, The Dells, The Persuasions, The Beatles, OutKast, Erykah Badu, Timbaland, Missy Elliot, Jackie Wilson, Smokey Robinson, D'Angelo, Kanye West, Tina Turner, Jay-Z, Marvin Gaye, The Wrecking Crew, Prince, LaFace, Notorious BIG, Diddy, Lupe Fiasco, Rick Rubin, Polo da Don, Jon Brian, others who get the Groove, etc...
Q: What advice do you have for a customer looking to hire a provider like you?
A: Timing is everything. We came to get it done. Serious inquiries only.
Q: What type of music do you usually work on?
A: I like anything with a good groove. When I am working alone, I tend to go back and forth between some live and some digital. With my setup, I can do some of both and when I need to outsource for live instrumentation beyond my personal capacity, I can do so easily.
Q: What's your strongest skill?
A: Capturing that which can rarely be put into words.
Q: What do you bring to a song?
A: Listening. Often times, people can be caught up in wanting things to sound one way or another, and having a good scope of where you want to end up is important, but what's forced is felt. I build on what ideas are there, working to help what is conducive to the overall feel of the project shine and getting rid of the rest.
Q: Describe the most common type of work you do for your clients.
A: Production. Arrangement. Writing. Referencing.