Dan Perez

Saxophone, Flute

4 Reviews (3 Verified)
Dan Perez on SoundBetter

I played saxes and flute on Ariana Grande's demo, and well... look how that worked out for her.

I play alto sax, tenor sax, flute and wind synthesizer, with a specialization in alto sax. My background is in recording and sideman work, which prizes the ability to play many styles authentically. This past year, I've performed pop music, rock, jazz, r&b, soul, hip hop and flamenco.

I have a recording studio at home, will turn around a project in a week (rush jobs can be negotiated and turned around faster). I offer a Zoom session and studio quality audio streaming through Audiomovers for tracking so you can be "in the studio" with me, three free revisions for each project, and will happily include a horn stem mix if you are using several horn tracks in your piece.

Tell me about your project and how I can help, through the 'Contact' button above.

4 Reviews - 1 Repeat Client

Endorse Dan Perez
  1. Review by Darren Fewins
    check_circleVerified (Client)

    Dan was an absolute pleasure to work with. Awesome communication and great ideas. He gave a really fun song to sing and I had a great time working on it.
    I can highly recommend working with him

  2. Review by Zucco
    by Zucco

    Dan Perez is top tier talent! He uses very high quality mics and equipment. Best Saxophone player I've ever worked with. Very patient and understanding. Book him every time, guy is incredible at what he does!

  3. Review by Junta P.

    second time working with dan,high quality recording, great laying, gave me multiple takes. Reccomend!

  4. Review by Junta P.

    super great playing. But also the recording sound production/microphone sounds super professional- the best I've heard on soundbetter.

Interview with Dan Perez

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

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

  3. Q: What do you bring to a song?

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

  5. Q: What's your typical work process?

  6. 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.

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

  8. A: Cooper Anderson, Ken Lewis, Krysta Youngs

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

  10. 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).

  11. Q: Analog or digital and why?

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

  13. Q: Tell us about your studio setup.

  14. A: Light and tight... UAD Apollo X with Octo Satellite, micparts S3-87 with the U-67 capacitor which sounds gorgeous on horns and flute, variable acoustic treatments to the room so I can get a nice room sound or a dry sound as needed depending on mic pickup patterns. I run into Logic and usually use UAD's Neve 1084 emulation for my mic preamp.

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

  16. A: Club date performances, recording session work.

  17. Q: What do you like most about your job?

  18. 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.

  19. Q: What questions do you ask prospective clients?

  20. 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...

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

  22. A: Well, without talking to each individual, it's hard to say... I guess my general advice is necessarily generic, but I still think it's good: know what you're looking for. 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.

Dan Perez, Star Rise

I was the Everything except guitar in this production

  • SaxophoneAverage price - $125 per song
  • FluteAverage price - $100 per song
GenresSounds Like
  • Cannonball Adderley
  • Maceo Parker
  • Kenny Garrett
Gear Highlights
  • UAD Apollo with lots of plug-ins
  • Microphoneparts.com's copy of the U67 mic which sounds brilliant
  • Selmer Balanced Action Sax
  • Haynes flute
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More Samples