Electric/Acoustic Guitarist

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

A: Reed Pittman and Paul Bowen are my buddies that I tour with and suggested I try SoundBetter, both INCREDIBLE keys players and producers, top notch Nashville Pros. I'm sure a lot of my other friends are on here too.

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

A: The track on my home page--"Heroes." I had done a lot of remote stuff for that client, and in this case I added his tune to one of my full band sessions and ultimately he asked me to take the helm and produce the track. I got to organize the whole thing, edit it and the best part was eliciting my friends Diane DeGarmo and Ace Young to stack BGV's on it. It was a blast and I love how it turned out.

Q: What are you working on at the moment?

A: I've started writing for my next Contemporary Jazz record actually! Also just started preproduction on a killer Americana/roots blues/rock project, a singer/guitarist duo from San Diego, their stuff is very Stapleton only with crazy SRV guitar stuff and a healthy dose of southern rock! It's super fun stuff. . .

Q: Analog or digital and why?

A: Digital at this point. I was always an analog guy but let's face it--at this point in history, far greater minds than mine have gotten unbelievable sounds in the digital realm. Even with guitar amp modelers and virtual compressors, etc., some great engineers have taken the BEST version of everything and digitized it. So much stuff sounds SO good at this point that it's gotten kind of hard to insist that it sounds "better" to do things the same way they were done in the past. I still love the sound of tape, and a big studio, but let's be honest--if we're on a budget, digital just makes more sense, and it can sound spectacular. And, we're all on a budget these days!

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

A: I will deliver something musical, executed professionally, with great tones that will enhance your music and take it up a few notches from where it started. My goal is to take a great song and present it as it needs to be presented.

Q: What do you like most about your job?

A: The surprise that every single day brings with it. Every day is a different day, every project is a different project. I can't imagine doing exactly the same thing day in and day out, so I really enjoy that I get to have a black slate each day.

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

A: Biggest thing would be, "can you play a part like, (fill in the blank)?" The answer is "yes, I can do that." the answer is ALWAYS yes. I can play a part like whatever you need. That being said, if the part they are hearing doesn't quite fit what the song seems to be asking for, I'll gently suggest alternatives and try to steer the ship towards what maybe makes more sense. At the end of the day, ti is their music, and if they're happy, I'm happy. But I'll always try to bring my two cents to the equation if it seems like there might be a more appropriate part that maybe the client hasn't "heard" yet.

Q: What questions do you ask prospective clients?

A: I focus on what they are after, what records they really love, and what motivated a song in the first place. I of course ask the "nuts and bolts" questions about timeline, end game, etc, but for the most part I'm interested in why they are doing this, and what I can do to help musically.

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

A: Make sure whomever you hire understands what you're after! Your vision doesn't have to be crystal clear, but having a direction that makes sense for your music helps us find the right path! Sometimes I'll get a song sent that sounds like a warm, organic song but the references will be whatever is big on the radio that week. I feel like artists should trust their music and not feel the need to chase a sound that doesn't necessarily fit it. Remember: whatever is huge this week might not be huge by the time your record comes out, so you might as well play to your own strengths, maybe that will become "the sound!" The point is, let your music be your music, don't try so hard to sound like whatever is popular!

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

A: Since I'm guessing the island has no electricity, I'd of course want them all to be acoustic guitars! Ha! The most magical acoustic guitars in my arsenal are: 1968 Martin D-35 1949 Gibson J-45 1949 Martin 000-28 2010 Martin 000-18 Golden Era 2013 Collings D1A

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

A: I have been a full-time musician since around 2001-ish, I think? Long story short, I always played in bands. IN college I started a band that played around Hollywood, which led to playing in a few other bands. One of the band ended up signing to Atlantic Records. As these things go, the label deal didn't work out, but the A&R Guy who had singed us is ultimately who connected me with an artist named Josh Kelley, who was my first "sideman" gig. Josh;s brother is Charles Kelley. CK is one of the lead singers of Lady A, but when I met him he was just a guy who had just graduated from college and was out on the road with his brother to have some fun and sing a little. We became great friends, started writing songs together, and eventually he talked me into moving to Nashville, just to see what would happen. As fate would have it, I got to Nashville on April 1, 2007, played a showcase with Lady A, and on July 1 I found myself in the studio to record their first album with the great producer Paul Worley. From there everything took off, and a lot of doors were opened. I sent all those early years in Nashville writing, picking up sessions, and cutting song demos at my house, all while spending a LOT of time on the road with Lady A. These days the road stuff is way more subdued, so I spend a lot more time in my home studio. That is, when I'm not driving my kids around to their various activities!

Q: How would you describe your style?

A: Organic, tasteful, but I tend to bring some rock n' roll abandon to the equation.

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

A: Jason Isbell. Top 5 greatest songwriters ever for me, and I just think his records are SO reflective of him and his band, they always just nail it.

Q: Can you share one music production tip?

A: It's all about the client. We are there to enhance their music, not change it. I'm always happy to add my musical sense, but if the client just isn't into my idea, it's OK! 9 times out of 10 we find a great middle ground that ends up being "the right thing."

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

A: I love it all! But by virtue of where I am and what I've done, a lot of mainstream and pop/country, acoustic music, Americana/roots, and of course I drift into contemporary jazz, funk and R&B as well. Sometimes a full on prog rock or guitar nerd project comes on my desk. So, a bit of everything! But I'd say the bulk tends to fall into the mainstream country and Americana/roots stuff.

Q: What's your strongest skill?

A: Beyond playing the right parts, I would say communication and logistics. I'm a stickler for efficiency, and keeping everyone in the loop constantly. There is a lot of "checking in" and "following up" in my world!

Q: What do you bring to a song?

A: Expansive knowledge of many genres, and experience playing and recording. I have a good senes of melody and particulary of structure. I also tend to speak both "artist" and "Musician" so I consider myself a great go-between on sessions as a musical director. On overdub and demo sessions I feel that I know how to play for the SONG, find the right parts, find the right vibe. I dropped my guitar player ego a long time ago and learned to serve the music I;m being asked to perform. It's not my music, it's the clients, so I am there to add as much as I can hopefully to really take their music to where they want it to go. It isn't about me, it is about them, and I bring that awareness at all times when I am handling a client's songs.

Q: What's your typical work process?

A: Depends on the project and what I'm doing! For basic acoustic demos, I get my template set up with click, chart out the song, kind if listening to the vibe as I go. If a client has sent me a demo to click I will usually put that into my session and play my base guitar track to that. If not I usually have it handy as a frame of reference but will play the chart down while I'm thinking about the tune. I tend to memorize music quickly so after a couple listens I will usually have a soldi sense of the song; melody and structure and overall character so even without a vocal to play to I can generally catch a good vibe on a tune. Once I have a soldi base track I get into overdubs if that's what is appropriate for the song. For full production the process is way longer of course. I make a plan with the client and chat through options for musicians, studio, and schedule. Then I start the process of booking the studio first, followed by musicians and engineer. Approaching the session I will nail down arrangements with the client, keys, tempos etc. and chart out all the songs. When we go in for tracking I have the client demo all ready to go so we can be as efficient as possible in the studio with the band. Then I start the process of going through tracks, consolidating, editing, to get a solid full track for the client to sing to. Once client has delivered final vocal passes I organize it all to get off to the mixer. This is of course a moving target, every project is different and brings with it a different set of challenges and coordination! But that's where I tend to thrive!

Q: Tell us about your studio setup.

A: Pretty simple really--I only really do overdubs and edit here, so I'm running Protools through UA hardware. Lots of great vintage guitar amps (lots of fender and Silvertone stuff, but also a great old AC30), a ton of vintage acoustics guitars from a '49 J-45 to old 000-18's and 28's and Martin Dreads all the way to modern Collings acoustics, also a lot of great electric guitars, from 60's Gibsons to a bunch of newer Suers and boutique stuff. Favorite preamps are generally Neves and API 512's, favorite compressors are always British Modded Distressors, 1176's for electric, LA4A on acoustics, and a variety of great mics. For direct recording I have a couple of Kempers and an ox box as well.

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

A: I love the work of Dave Cobb--the Stapleton stuff of course but he works with this full on rock band Rival Sons and just gets killer sounds on them, and really makes a diverse array of artists sound amazing. I'm a HUGE Jason Isbell fan as well, and the Cobb-produced records are some of my favorites. Isbell also produced a band called American Aquarium and I think that record is way up there in the world of Americana. Jay Joyce is another one I dig here in Nashville--he's the rare "country" producer that I feel really takes chances and gets super creative on his projects, like always puts his stamp on it. I'm loving some of the yacht rock sounds happening lately--Dann Huff is doing it, this cat name Lindsey Rimes and another up and come named Sam Ellis are both just unbelievable at getting those vibes nailed.

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

A: There's a fair amount of acoustic song demos--just a polished way to get a new song across, where I cut one to three nice acoustics for the client to sing over. Additionally, a BIG chunk is in overdubs--that is, a client may have bass, drums, and keys and I will layer acoustic guitars and electric guitars. Sometimes it's less, sometimes they want it stacked! And on occasion, I organize an entire track, EP or album for a client, basically Executive Produce, where I set up the initial tracking session with high end Nashville musicians, studios and engineers, help organize overdubs, I do all the editing, then the client has a great track to sing to. From there I can comp vocals, coordinate mixing and mastering and even help with the process of uploading to streaming services! Basically I can be a one stop shop when needed, or I can throw down a quick guitar part, and everything in between.