Guitars & Bass for CCM/Indie

Q: Tell us about your studio setup.

A: My studio is intentionally simple and efficient, and is designed to stay out of the way of creativity while delivering consistent, professional results. Earlier on, I ran outboard gear, including dedicated preamps and SSL-style EQs, and even worked on a console. Through blind listening tests while working with Off the Coast, the results consistently favored my in-the-box recordings, so I committed to the setup that sounded best and delivered the strongest sonic results. Instruments: Fender P Bass; Fender Telecaster (’52 RI + custom build); Eastman T386 (basically a Gibson 335, but built like the good ol days); Gibson J-45. Signal Chain: A flexible pedalboard with Line 6 HX Stomp at the core currently. Most tones come from custom-built presets (Ampeg-style bass amps; Fender/Vox-style guitar amps). I always record both amp/processed tones and provide a clean DI for maximum mix flexibility. Interface: Universal Audio Apollo Twin with tailored channel strips using select UA plugins. Monitoring: Audio-Technica M50 headphones and Yamaha HS5 monitors in a treated room. DAWs: Logic Pro X for sessions; Ableton Live for programming and backing tracks.

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

A: Early on, The Medicine by John Mark McMillan deeply shaped my playing, especially the slide guitar work of James Duke, which left a lasting impressionon my approach to tone. Other core influences include Death Cab for Cutie (favorite band of all time), Kings of Leon, The Killers, Radiohead, and U2. As I began playing regularly in church, I was introduced to CCM and worship music, and drew inspiration from the polished tones and production styles of Bethel Music, Elevation Worship, Hillsong, and Chris Tomlin, which refined the rawness of my earlier influences. From a session and production standpoint, I admire Tim Pierce for his simplicity and professionalism, and I’ve more recently gained insight from Nashville player Justin Ostrander. Another noteable one is Bobby Strand. He's a former guitar player at Bethel, and I'm a big fan of his creative production style these days. If these influences align with your sound, I’d love to connect always happy to talk shop.

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

A: You've heard a lot now about Off the Coast. This was so fun, because despite the fact we recorded this from 3 different cities (during COVID), it felt like we were all in close proximity. We had a real band chemistry, and nothing was off limits. For example, I was brought on for bass, but really had begun experimenting with Keys and Background Vocals around that time. To that, I'm proud of what we were able to accomplish together.

Q: What are you working on at the moment?

A: Right now, I’m focused on bringing a new level of intentionality to my work as a musician by organizing the experience I’ve gained through live performance, band work, and recording into offerings that provide greater value to artists and producers. The goal is to deliver more thoughtful contributions and services that elevate projects from the earliest stages through final production. To rather specific, I'm building the "brand" of my collective experiences.

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

A: Yes. You should work with Kendall Osborne from Closet Studios. He mixed all the tracks so far for Off the Coast. https://soundbetter.com/profiles/7137-the-closet-studios

Q: Analog or digital and why?

A: I LOVE analog. And, there is digital gear that simply does what analog can't. Both have a place.

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

A: My promise is to listen first, serve the song, and deliver musical, tone-conscious parts that elevate the track without distraction. You’ll get thoughtful communication, reliable turnaround, and tracks that feel intentional, polished, and ready to drop into your session.

Q: What do you like most about your job?

A: The People! I love building relationships, and sharing a vision toward a common goal. I have so much to learn as a human, and all the crucial connections I've made over the years have taught me so much.

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

A: Q: What files do you need to get started? A: All i really need is a WAV file of the track. With and without any prerecord guitar or bass parts. The BPM of the track is also great to have.

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

A: Most of us (if you're the type of person reading this) know the misconceptions for guitar. So to that, I'll say that people think bass is simple, and they often treat it like guitar. But it's actually very hard to get bass right, and often it's misunderstood. It represents a frequency range of it's own that when tampered with too much, can create issues with your tracks. Not just from an engineering perspective, but also from a composition standpoint... you can throw off an entire groove and derail a good song with the wrong bass parts. That said, being creative with this is a challenge, and getting the low end right, is an entire specialty in of itself (just go on YouTube, you'll find no shortage of videos on webinars on this topic alone).

Q: What questions do you ask prospective clients?

A: What’s the vision or emotional goal of the song? Are there reference tracks or artists that capture the sound you’re after? What role do you want this part to play? Supportive, melodic, or driving the whole song? Is this a demo, release-ready track, or part of a larger (more cohesive) project? Are there any timelines, constraints, or specific needs I should know about upfront?

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

A: Look for a provider who listens first, and who could be a good long term partner. Not just a provider. Clear communication, references, and a shared musical language go a long way toward a great result and even friendship. The more context you can provide, what you like, what you don’t, and what the song needs to say, the better the final track will be. Most importantly, hire someone who’s focused on serving the song, not showcasing themselves.

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

A: Instrument: Acoustic Guitar Pedal: Boss RV5 (tuner is in the laptop) Interface: UA Apollo Twin Microphone: Shure SM7B Laptop

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

A: I started playing regularly in church over a decade ago, serving on guitar multiple times a week and developing consistency, feel, and adaptability. Over the years, I’ve played on a wide range of stages from youth rooms of 100 students to church conferences of 5,000+ people working with different artists, styles, and production demands. In 2018, I began playing live guitar for singer-songwriter Jessi McNeal and for the local indie band Good Job!, primarily in regional and local venues. In 2020, i began recording with the Seattle based band Off the Coast as their primary Bass Player, Keys Player, and background vocalist. Alongside my music career, I built a professional background in marketing, consulting organizations (of all major industries) on brand image and storytelling through my work at the Portland Business Journal. That experience sharpened how I think about cohesion, narrative, and audience connection, an angle that directly informs how I approach songs, arrangements, and tone today. I’ve been doing this for over 10 years, and I bring both musical and strategic perspective to every project.

Q: How would you describe your style?

A: Professional. Easy-Going. Clean. Responsive.

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

A: Taylor Swift. I'm not ashamed to say it. (okay, and there is a really cool band right now called Seer Believer, and everything on those records, from bass, drums, guitar, melodies, writing, vocals) are everything I want to sound like in my own endorsers.

Q: Can you share one music production tip?

A: Too many options is where creativity goes to die: Less plugins leaves more room for collaboration with others. Templates are your best friend and save you time. Less pedals in your chain will give you a better signal. Knowing one DAW well is better than knowing them all at surface level.

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

A: I primarily work across indie music and contemporary worship/CCM. Lately, that’s included creating gear demos and custom presets; often by covering songs and emulating existing recordings to help musicians develop their tone and musical voice. Alongside that, I work with local indie artists and my church, where I support original music, host workshops, and help players elevate their performance and sound.

Q: What's your strongest skill?

A: My strongest skill is thinking like both a songwriter and a producer. I approach songs as stories, where the instrumentation exists to support the narrative, highlight key moments, and enhance a listeners emotion. From a producer’s perspective, I make intentional creative decisions that clarify a vision and help it translate to the listener. While tone matters, I care just as much about writing parts that are memorable and engaging, the kind of moments that make you smile when they come in.

Q: What do you bring to a song?

A: I bring tone and parts that support the song without distraction. I’m intentional about how my parts layer with other elements to create size, depth, and clarity, to to protect the vocal and message.. I listen for melodic opportunities and reinforce them with my parts whether on bass, guitar, keys, or vocals. When I deliver tracks, I aim for them to feel complete and musical out of the gate, so when a client listens back and thinks, “Does this even need mixing?” that’s when I know I’ve done my job.

Q: What's your typical work process?

A: I typically start with a brief call or message exchange to understand the project, the artist or producer’s goals, and whether I’m the right fit. We’ll discuss challenges, preferred sounds or references, and the specific role the part needs to play. If a project falls outside standard scope, I’m happy to tailor a session package. Before recording, I spend time simply listening; and often living with the song on repeat until the feel and direction are clear. I may work from reference tracks (these are helpful), write parts from scratch, or re-record existing demo parts at a higher production level, depending on the need. Once tracked, I deliver clean, session-ready WAV files and make refinements as needed to ensure the part serves the song.

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

A: Most of my work has been as a trusted hired-gun, supporting artists by learning parts from records, shaping songs at the demo stage, and contributing parts that strengthen composition and arrangement. I started primarily on electric guitar, which led to a deeper appreciation for bass and subsequent recording work with Off the Coast, later expanding into keys/synth and background vocals. I tailor every session/offering to the artist/producer needs and listen first, understand the vision, and deliver parts that best serve the song.