Session Pianist & Keysplayer

Q: Analog or digital and why?

A: For production, I choose digital. Modern plugins and software instruments sound so good that almost no listener can tell the difference, and the speed, flexibility, and recall they offer are unbeatable when time matters. For live performance, I still choose analog. There’s nothing like playing a real acoustic instrument—if I’m on stage, I’ll take a Steinway grand over a digital piano any day. In the studio, though, digital wins for efficiency and creative freedom.

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

A: I’d love to work with artists like J.P. Saxe, Lizzy McAlpine, and Tiny Habits. Their music lives in the space I feel most at home in—strong songwriting, emotional vocals, and arrangements that leave room for subtle details. Jacob Collier is also a huge inspiration. His creativity across harmony, rhythm, and production is incredible. While his world is very broad and experimental, I’d be excited to bring my own perspective into that kind of musical conversation as well.

Q: Can you share one music production tip?

A: Less is more. As pianists, it’s easy to overplay, but most songs don’t need constant movement. Sometimes the strongest choice is to let the chords breathe, leave space in the phrasing, and let the vocal lead. Serving the song always matters more than showing technique.

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

A: I work across a wide range of styles, from pop and singer-songwriter to rock, country, and electronic music. As a contemporary player, I’m comfortable adapting to different genres and production styles. That said, most of my work is in pop music, especially ballads and vocal-driven songs. I love working on tracks where piano and keys support storytelling, emotion, and strong melodies—that’s where I feel most at home and where most of my experience lies.

Q: What's your strongest skill?

A: My strongest skill is emotional playing. I specialize in making simple piano parts feel special—adding just the right touch of movement, color, and detail so a part supports the song without ever getting in the way. In pop and vocal-driven music especially, I focus on turning minimal ideas into expressive performances: a small voicing change, a subtle rhythm shift, an extra note at the right moment. Those details are what lift a part from functional to memorable, and that’s where I do my best work.

Q: What do you bring to a song?

A: I bring the perspective of someone who has dedicated their life to music from multiple angles. As a multi-instrumentalist, producer, songwriter, and session player, I understand how every part affects the whole. When I add piano or keys to a song, I’m not just playing notes—I’m thinking about arrangement, vocal space, emotion, and how the track will translate in the real world. Because I’m also an artist and songwriter, I approach every song from the inside. I pay close attention to what makes people connect to music and try to reflect that in every part I play. My goal is always to serve the song and help the vocal and story shine. On a personal level, life experience matters. I try to feel what a song needs emotionally and translate that into the performance. For me, a great part doesn’t just sound right—it feels right.

Q: What's your typical work process?

A: I start every project by gathering as much information as possible from the producer or artist. I ask about the sound they’re aiming for, reference tracks, and the exact role the keys should play—whether it’s a simple supportive piano, multiple variations, or a more expressive, pianistic approach. Once I’m clear on the direction, I listen carefully to the song. If sheet music or guides are provided, I work alongside them while exploring musical variations, transitions, and details that can elevate the part. I then choose the best instrument for the job—whether that’s a specific plugin, hardware synth, or acoustic piano. Most parts are recorded in one or two takes to keep the performance natural. In post-production, I do light editing where needed—small MIDI tweaks, gentle timing corrections if it serves the track, but never heavy quantizing that kills the feel. I deliver clean, production-ready WAV files and fully edited MIDI, clearly labeled by version and shared via a download link. From there, we review together, make revisions if needed, and once everything is approved, I finalize the delivery and send the invoice.

Q: Tell us about your studio setup.

A: My main studio is currently being remodeled, and in the meantime I’m working from a dedicated secondary space that’s fully set up for professional recording and production. I use a Mac Studio system with a Universal Audio Apollo handling all I/O and routing. For most production work, I primarily use software instruments and plugins, which makes it easy to tweak MIDI, sounds, and arrangements together with producers. I work with a wide range of piano and keyboard plugins, from well-known libraries like Keyscape to more niche tools for creating unique textures. I also integrate guitar and effect pedals into my workflow, routing keys, synths, percussion, and guitars through stomp boxes to create organic textures and soundscapes. For songwriting and organic recordings, I use a Yamaha upright piano and a collection of guitars. I occasionally use hardware like the Prophet-6 for more character-driven synth parts, but my workflow is mostly centered around flexible, producer-friendly plugin-based production. This setup lets me move quickly, revise easily, and shape piano and keys so they fit perfectly into each track.

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

A: I’m inspired by artists and producers who combine strong songwriting with detailed musicality, like J.P. Saxe and Lizzy McAlpine. Their ability to make simple arrangements feel emotional and honest really influences how I approach piano parts. I’m also heavily inspired by Tiny Habits and their close-harmony writing, as well as Jacob Collier’s harmonic language and production creativity. I love weaving close harmonies and rich chord colors into modern productions while always keeping the song and the vocal at the center.

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

A: Most of my work involves recording piano parts for large television productions and backing tracks, where I deliver clean, production-ready piano that fits tightly with picture, vocals, and arrangement. I also work closely with original artists, writing, arranging, and recording piano parts for their songs from my own studio. Alongside studio work, I’m an active live pianist, performing as a session player for television programs and large-scale shows in major venues across the Netherlands. This mix of studio and live experience helps me create parts that feel natural, musical, and ready for real-world performance.