Producer and Session Musician

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

A: The project I am most proud of is pioneer woman by Cosette Smith. I am the producer, arranger, and instrumentalist behind all but two tracks. I got to work on this song with a good friend of mine and the Artist in Santa Monica, California at Hans Zimmer‘s studio, in Alan Meyerson’s room, where I was offered my first deal. Cossette is amazing, Jacob Johnston is amazing. Alan let us borrow a microphone or two. The whole experience is something I’ll remember for the rest of my life. It is the moment that I’ve been working for since I was just a kid with a guitar.

Q: What are you working on at the moment?

A: I just got offered my first sync deal, I’m trying to build a catalogue of things for that.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I am brand new to this website.

Q: Analog or digital and why?

A: Both because this is a stupid question.

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

A: We will keep going until everyone involved is FLOORED. There is no reason to do anything less.

Q: What do you like most about your job?

A: I like to create music out of nothing. I like to create beauty where there was no beauty. I like to help artists communicate important ideas and concepts to the rest of humanity.

Q: What questions do customers most commonly ask you? What's your answer?

A: Why do you charge so much? The answer: each project is case by case, and the price is based on the needs of the Artist specifically.

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

A: I tend to play a lot of country gigs. A lot of people assume that I mostly just make country records when in fact, I make all kinds of different records and I’m not afraid of anything.

Q: What questions do you ask prospective clients?

A: I like to collect facts about each artist to help build a vision for where I can see their project going. I focus on the things that are meaningful to the artist, to me, and to future listeners. The relationship between Producer and Artist is a very special thing. It cannot be forced.

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

A: I might take you down a weird road that you never thought you’d be going down, but when we get to the destination, I think you’ll understand.

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

A: Telecaster, Martin OM, Deluxe Reverb, Field Recorder, Solar Generator with enough juice to run everything else.

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

A: I’ve been making Recording since I was 14 years old. I studied studio recording for two years in college, but where I really learned a lot was with a mentor that I was with for about eight years. I’ve been making recordings that I would consider professional since about 2020.

Q: How would you describe your style?

A: A large collection of good sounds that can be composed into whatever we choose.

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

A: I would like to work with Trent Reznor because I think he’s a genius when it comes to harmony and composition. I would love to do something cinematic with him.

Q: Can you share one music production tip?

A: Don’t try to do everything yourself.

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

A: Roots, country, pop, Indie pop, stuff with banjos and synthesizers together but not in a bad way.

Q: What's your strongest skill?

A: My musicianship is definitely my strongest skill, but honesty has gotten me much farther than anything else has.

Q: What do you bring to a song?

A: I try not to bring anything to a song. I try to let the song be what it wants to be.

Q: What's your typical work process?

A: Every project is different. I try to assess the situation and adapt to the needs of the individual artists. I don’t believe in a one-size-fits-all “assembly line” method. I feel like it can work for some people but largely it’s just a way to create music that already exists. I like to explore areas that are uncharted while using classic sounds that people will love for decades.

Q: Tell us about your studio setup.

A: We have 1500 ft.² to work with. The live room is 50‘ x 30 with a 12 1/2 foot ceiling. There are literally hundreds of instruments all around at any given time. Each one is chosen carefully and set up the way I like it. I like to use a lot of different microphones while sticking to the standards that have made records for decades. The console weighs 800 pounds and has 56 channels of mono audio, four channels of stereo, 12 auxes, 8 group outputs, four stereo busses. The converters are all made by solid-state logic. I have a Mac Studio that’s a powerhouse. The Spectra Sonics C610 compressors were on the cover of Mix Magazine with Eric Valentine and Larry Jasper. I tend to use a lot of hardware.

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

A: I am constantly meeting you people that inspire me. Daniel Lanois is a huge inspiration to me. That guy can make a record on any console with anybody. That is what I strive to do. I am also inspired a lot by Dan Huff. Him and I share Guitar playing in common. I very much like his stylistic choices and his versatility.

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

A: Do you have a hard time finishing your music? I’m the guy you need to talk to. I do everything from something as simple as recording a vocal to helping an artist better find their identity.