Production, mixing, sax, flute

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

A: Know what you're looking for. But don't worry, we can figure it out together! Whether it's a particular vibe, an exact line or arrangement, some background stuff "in the style of" a particular player... the more concrete an idea you have, the better you'll be able to communicate it, and the closer to your perfect vision we can get as session players.

Q: Tell us about your studio setup.

A: UAD Apollo Twin X plus Octo Pre, extensive UA plugins Focusrite Clarett 8Pre Audioscape Golden 58 2-channel tube preamp Audioscape SSL style Buss Compressor Mic-parts S3-87 vintage U-87 style mic Mic-parts V-251 vintage ELAM 251 style mic Neumann Kh 120 speakers with Kh750DSP sub Full acoustic treatment, room measures =/-3db in the listening position BEFORE correction 1936 Selmer Balanced Action alto sax, custom Ted Klum Versitone mouthpiece, Selmer Series III neck 1954 King Zephyr tenor sax, custom Ted Klum Versitone mouthpiece 1964 Haynes Commercial flute Moog Subsequent 37 ASM Hydrasynth Paul Reed Smith Custom 24 10-top core model Custom Kiesel Delos D6 strat-style guitar with Mojotone quiet coil pickups Fractal Audio FM3 amp modeling Extensive mixing and production plugins... autotune, melodyne, vocalign, izotope RX 10 advanced, Softube Weiss DS1-mk3, Native Instruments Komplete, Omnisphere 2, Trillian, Superior Drummer 3, XLN XO, Aly James VProm Linn Drum emulator, Synapse Obsession, Softube Model 84, etc.

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

A: Sax, flute, guitar, audio interface, laptop.

Q: What do you bring to a song?

A: Musicianship, professionalism, communication, a phenomenal sound, an ear for genres and a commitment to deliver a product that my clients are thrilled with.

Q: What's your typical work process?

A: First thing is to try to get an idea of what the client is after. Reference tracks are great, written descriptions or even a video chat. By the time I'm talking to the client one on one, I like to have their track in hand already, with the melody and at least the vibe of the lyrics mostly memorized. I think this gives me the ability to "play to the song," rather than blow some generic sax solo. For instrumental works with written music or scratch MIDI takes, the same applies. Even if the client and I have a remote recording session set up, I will usually try to get a few takes in the bag beforehand and send them to the client just to get a sense of what they like about each take. It helps them to produce the session, and helps me to know what they're after. After that point, it's time for the final recording session, so I'll do it until I feel I have a perfect take, and if the client and I agree, it's a done deal! Saxophone isn't always the most common instrument to mix these days, so if time the client has questions about what effects or what types of effects to use, where it should sit in the mix, etc., I'm always happy to share my opinions about that and show them how I do it.

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

A: Cooper Anderson, Ken Lewis, Krysta Youngs

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

A: I've been doing music professionally since 2000 or 2001. I studied at Berklee, graduated with a performance degree, worked on cruise ships, hooked up with producer Cooper Anderson and his associate Ken Lewis to do the track that wound up going to Ariana Grande, then re-recording it for her. Meanwhile, I continued my studies with some of the best sax players in the world and kept playing clubs up and down the East Coast with jam bands and cover bands while working on my jazz chops in my own time. Over the past 20 years, I've done arrangements for The Voice finalist Will Champlin, performed with Grammy and Oscar winners from Cheryl Pepsii Riley to Russell Malone to Charles Mack, and done work for hire (what I offer here).

Q: Analog or digital and why?

A: Why not both? My studio is all digital due to budgetary constraints, but there are some analog boxes that are simply magical.

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

A: Club date performances, recording session work.

Q: What do you like most about your job?

A: The MUSIC!!! And the people I get to work with. I really wouldn't trade this for the world. It's a wonderful thing to play music for a living and wake up every day loving what you do. It makes the hard times (and there are hard times) worth it.

Q: What questions do you ask prospective clients?

A: First up I ask about the scope of the project. Are you looking for a single saxophone playing tasty lines behind a vocal, or a solo or something? Alternatively, are you looking for a horn section to fill out your recording? The time commitment on my part will be different depending on how many parts I have to dub. By the same token, if you have really complex chord changes or horn lines, do you have them written out? I'm very quick to learn things by ear, but if it's a very complex chart, that will take longer and add time to the process. Of course, time is money...