Acoustic Guitarist

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

A: I find this a difficult question because, as a perfectionist, I am proud of most of the work I do for my clients. Before delivering a project, I always listen to it as if it were my own and ask myself, “Would I be happy to receive this?” I think this is one of the most important parts of my work. I don't like delivering something that I wouldn't be satisfied with myself. I feel the same way about my own experimental compositions. I can spend a long time working on a piece until I feel that it is as good as I can make it. I have one progressive/orchestral composition that took me about four months to finish because I kept refining and experimenting with it until I was satisfied with the result. My role in both cases is essentially the same: to take responsibility for the music and keep working on it until I feel I have done it justice.

Q: What are you working on at the moment?

A: Aside from my clients' projects, I’m currently working on several personal and collaborative projects. I’m producing an acoustic album with a singer from South Africa, as well as working on my own compositions. Most of these are experimental pieces where I try to use everything I know without imposing stylistic limits, for example, combining orchestral and cinematic elements with folk-oriented acoustic guitar and even rock/metal sections. I also have a world music/cinematic collaboration with a German singer, and an experimental band with some friends. The band is also a way for me to keep playing music in person, rather than working exclusively through remote sessions.

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

A: I’m brand new to SoundBetter, so I haven’t had much time to explore the community and get to know the other professionals on the platform yet. As I become more familiar with the people here and their work, I’ll be happy to recommend those whose skills and approach I believe would be a good fit for my clients.

Q: Analog or digital and why?

A: It depends on the scope and needs of the project, but today I mainly work digitally. My recording setup is entirely digital, which gives me the accessibility, flexibility, and efficiency I need for remote work. For me, one of the biggest advantages is cost. Maintaining vintage preamps, tape machines, and other analog equipment can be very expensive, especially for a home studio. That doesn't mean I don't value analog gear, though. I have a vintage microphone and several guitar pedals that I use as creative tools to explore different sounds and textures. Ultimately, I believe the tool should serve the music, rather than the other way around.

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

A: I work for the music. My promise is simple: I will do my best to understand your song and give it exactly what it needs. I can assure you that I will use all of my musical experience, technical knowledge, and attention to detail to serve the song and help bring your vision to life.

Q: What do you like most about your job?

A: What I enjoy most is the opportunity to work with different people, musical styles, and creative perspectives. Every project brings something new, and I really enjoy contributing to other artists' music while learning from each collaboration. I also value the freedom to organize my own time, which allows me to maintain a flexible workflow and dedicate proper attention to each project, and to my personal life.

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

A: Two questions I commonly get are about turnaround time and whether I can make a 1-to-1 recreation of an AI-generated guitar part. My typical turnaround is 2–3 days, with same-day delivery sometimes available depending on my schedule and the urgency of the project. For very busy periods or particularly complex projects, I generally deliver within 5 days. As for 1-to-1 recreations: yes, I can do them. However, some AI-generated guitar parts contain playing that isn't physically possible on a real guitar, for example, notes extending beyond the instrument's normal range or combinations of low and extremely high notes that cannot be played simultaneously on a single guitar. In those cases, I may need to use multiple recorded tracks or a different recording approach to reproduce the original arrangement as closely as possible while keeping it playable on a real instrument. Depending on the complexity, this can affect the scope and price of the project.

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

A: I think one common misconception is that, because I can get a very wide range of acoustic guitar sounds, I can simply reproduce any guitar sound I hear. In reality, copying another artist's guitar sound is not always that simple. There are many variables involved: the instrument itself, microphones, the room, preamps, effects, mixing, and, most importantly, the unique way each musician plays the instrument. In the great majority of cases, I can achieve something in the same style or get as close as possible to the original, especially when recreating a specific part. However, I cannot promise that the exact same sound and performance will be reproduced. Nowadays, this has also extended to AI-generated guitar sounds. These can be even harder to reproduce, because they are often created from averages of already processed and mastered sounds, resulting in synthetic guitar tones with a lot of punch, sometimes sounding like several guitars layered together or even producing combinations and extensions that aren't physically realistic on a real guitar. I can get very close to many different sounds, but sometimes the original sound is the result of a combination of things that cannot be completely reproduced.

Q: What questions do you ask prospective clients?

A: my first questions are usually about what the client already has and what they expect from me. I get very different types of projects. Sometimes a client comes with nothing more than a phone recording of themselves singing and playing guitar, and wants me to help from the initial arrangement and stylistic direction all the way to the final recording. Other clients come with a complete production and only need me to add the acoustic guitar. Some hire me to be the first musician to record, because they know I can provide a solid guitar track that can serve as a foundation for building the production around it. etc. Once I understand what my role will be, I ask the more technical questions about the project, such as sample rate, BPM, file format, and delivery requirements, as well as project deadlines, etc

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

A: My main advice is to choose a provider whose work already sounds close to what you are looking for. Listen to their demos, check their previous work, and make sure they understand the style and role you need them to play. I would also consider whether their personality and working style fit yours. Every musician and producer has a different approach, background, strengths, and way of working. Finding someone who is a good fit for the kind of collaboration you want can make a big difference in the final result.

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

A: I’m not sure gear would be my first concern on a desert island , surviving might come first! haha But if we imagine I’m going there voluntarily, with some time to myself and the possibility of making music, I’d probably take: - My steel-string acoustic guitar - A good condenser microphone - A good dynamic microphone - A laptop with my recording setup - Another instrument, midi keyboard, bass, electric guitar, ukulele, flute, harmonica, hand drumms... The last choice would depend on what kind of music I planned to make. I’d probably need to stop and plan the project before deciding!

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

A: I started studying music at 11, playing recorder in classical ensembles, where I learned to read music and was introduced to European musical traditions, including harmony, counterpoint, and multi-part writing. At 14, I started playing nylon-string guitar, and by 17 I was playing electric guitar in rock bands around my hometown. At 23, I began a Music Education degree, where I deepened my knowledge of music as a whole, studying subjects such as orchestration, harmony, music history, and arranging. During this period, I also sang in choirs, played in experimental university bands, taught private music lessons, and worked as a live musician accompanying artists and bands in bars, pubs, weddings, and other events. Eventually, I decided to focus on steel-string acoustic guitar and recording, as studio work suited my personality and lifestyle better than working primarily as a live musician. I wanted to be involved in creating and producing new music rather than only performing it. Several years ago, I entered the online recording market and gradually built a network of clients from around the world. Today, I have completed nearly 1,500 remote recordings. I still perform occasionally with artist friends and maintain an experimental original band as an outlet for creative freedom.

Q: How would you describe your style?

A: I would describe my style as music-first and song-oriented. My background covers a wide range of musical styles, so I don't try to fit my playing into a single genre or aesthetic.

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

A: This is honestly a difficult question for me because I listen to and appreciate so many different artists and styles. Rather than having one specific dream artist, I would love to work with artists who are open to collaboration and experimentation, regardless of genre. I find the most interesting projects are often the ones where everyone involved brings something to the table and the final result becomes something that none of us would have created alone. So, if the right artist and the right song came along, I would be interested in the opportunity, whether it was a folk singer-songwriter, a rock band, a cinematic composer, or something completely unexpected. Count me in!

Q: Can you share one music production tip?

A: Listen. Really listen. Listen to the song to understand what it needs. Listen to the client, composer, or producer to understand the direction they have in mind. And listen to the musicians, they know their instruments better than anyone and can often bring ideas or approaches that improve the arrangement. Also, develop your interpersonal skills. For me, music production is a collaborative process. Some producers and composers have a very specific vision and simply need people to execute it, which is perfectly valid. My approach is a little different: I believe everyone involved can contribute something interesting, or simply point out something that you may not have noticed. Sometimes the best idea comes from the person you least expect.

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

A: I am a full-time studio musician and have been working remotely with artists and producers for several years, across a wide range of musical styles. A large part of my work naturally comes from genres where steel-string acoustic guitar plays an important role, such as folk, country, singer-songwriter, indie, and world music, as well as rock, pop, reggae, cinematic, and medieval-inspired projects. I also work on genres such as gospel, funk, soul, and, more recently, a growing number of AI-generated songs from different genres that need real acoustic guitar recordings.

Q: What's your strongest skill?

A: My strongest skill is knowing what the song needs from the guitar, and having the technical and musical experience to deliver it. This comes from the combination of a trained ear, solid instrumental technique, and extensive experience across many musical styles. My background in music production, composition, orchestration, editing, and mixing also gives me a broader perspective when making decisions about arrangement, tone, technique, and the role of the guitar within the production. I believe this combination allows me to approach each recording with both musical sensitivity and technical precision.

Q: What do you bring to a song?

A: I bring more than 20 years of musical experience and over 1,000 recordings for clients across different genres and around the world. That experience has given me a deep understanding of my instrument, my recording equipment, and how to use both to serve a song. I know the different tonal possibilities of my acoustic guitar, how to bring them out through performance and microphone placement, and how to choose the right approach for each production. My playing includes a wide range of techniques, from overdub strumming and layered acoustic guitars for country and pop to different fingerstyle and fingerpicking approaches, allowing me to create different textures, dynamics, and levels of expression. Just as importantly, experience has taught me what to play and what not to play. I don't approach a session as an opportunity to demonstrate everything I can do. If a song calls for simple, open chords played with space and restraint, that's what I will play. My goal is to make musical decisions that support the song, rather than draw attention to the musician. Years of playing have also refined my sense of timing, dynamics, articulation, and musical phrasing. Combined with advanced knowledge of editing acoustic guitar, I can make small corrections when necessary while keeping the performance natural. Ultimately, I bring experience, musical judgment, and a deep understanding of how to make an acoustic guitar serve the song rather than simply play the instrument.

Q: What's your typical work process?

A: My process starts with understanding the client's vision and the direction they want the song to take. I listen carefully to the demo and any references, then collect the essential project information such as BPM, sample rate, tuning, and preferred delivery formats. I then prepare the DAW session, organize the relevant musical information, and listen to the song several times to internalize its feel, tempo, and overall atmosphere. I record a couple of initial takes and listen back carefully, focusing on what works and what could be improved. I then make the necessary adjustments, record the final take, and prepare the files for delivery. After the first delivery, I wait for the client's feedback and make any necessary adjustments according to the agreed direction. Up to two revisions are included for corrections or changes related to the arrangement and instructions established before recording. When the initial briefing is clear, one revision is usually enough to finalize the project. If the client decides to substantially change the creative direction, requests additional parts, or adds services outside the original agreement, I discuss the new requirements with them and adjust the scope and price accordingly. For delivery, I normally provide the clean, unprocessed guitar tracks, along with a rough mix using the client's arrangement for quick checking and, when appropriate, a version with my suggested guitar processing.

Q: Tell us about your studio setup.

A: My studio is a compact, acoustically treated home recording space focused on achieving a natural, detailed acoustic guitar sound. My main recording instrument is a steel-string acoustic guitar that has been with me for more than 10 years, which means I really know what kind of sounds it can produce and how to get the most out of it. I also have a second guitar kept in Nashville tuning, which I use when that particular tuning and tonal character are appropriate for a project. For recording, I primarily use an Audio-Technica condenser microphone, with a vintage 1990s Shure SM7 when its particular character is better suited to the song. I also have extensive experience with overdubbing and double-tracking acoustic guitars. I don't offer a direct/line signal, as my guitars are exclusively acoustic. The sound in my demos represents the actual instruments, room, microphones, and recording approach I use.

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

A: I don't have a single set of direct influences, as I tend to listen to a very wide range of music and draw inspiration from different styles. As someone who loves the art of sound, I am more interested in music as a whole than in being focused on a single genre. For acoustic guitar, I enjoy artists ranging from Johnny Cash, Joni Mitchell, and Cat Stevens to more recent acoustic-oriented work such as Eddie Vedder's Into the Wild and some of Damien Rice's records. I also enjoy discovering new artists. The last good folk album I discovered was Edwina Hayes's Pour Me a Drink. I love the raw mix and the simplicity of just acoustic guitar and voice on that album. My listening goes far beyond acoustic-oriented music. I am also strongly inspired by orchestral and cinematic music, including composers such as Basil Poledouris, Vangelis, Hans Zimmer, and John Williams. I also enjoy Japanese composers such as Yuki Kajiura and Hiroyuki Sawano, particularly their work in anime and video game soundtracks, along with world music artists such as Loreena McKennitt and many artists from my own country.

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

A: In terms of quantity, the most common work I do for clients is steel-string acoustic guitar recording, since it’s faster and simpler to do, as well as more accessible in terms of price. It ended up selling more and becoming more common. I also do a lot of work in music production and arrangement, although this kind of service is more sporadic due to the scope of the job, time, and price. I like doing both, from the simplest acoustic guitar parts to full productions with full bands and complex orchestral arrangements for more cinematic songs. In short, my main focus is acoustic guitar recording, but I can contribute anywhere from a single instrument recording to a complete production.