As a Songwriter/Producer & Bassist I have toured & recorded with musical talent such as Yuna, Avi Buffalo, Brandon Eugene Owens (Lauryn Hill, Kendrick Lamar, Kelis). I started out making demos for Lauryn Hill and playing bass for Ikey Owens (The Mars Volta, Jack White). Currently producing indie/pop like Liz Hope, Ofer Moses, Sachi M, and more!!
I'm offering professional mixing & producing services, songwriting & arranging, acoustic guitar, electric bass, keyboards & synthesizers, effects, and more!!
Send me a note through the contact button above.
1 ReviewsEndorse DeRock
I have hired DeRock time and time again for a ton of different projects. He is super talented and super fast. I've had him mix things, engineer sessions, play on live gigs, and program/track software and live instruments. 10/10 recommend. Great communicator as well, really wants to make sure you are happy with the final product!
Interview with DeRock
Q: What are you working on at the moment?
A: Singles for a few artists, and my solo LP
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Liz Fohl is an amazing songwriter and emerging producer
Q: What's your 'promise' to your clients?
A: i will show up for work, and deliver an excellent track.
Q: What's the biggest misconception about what you do?
A: A lot of people don't know the difference between producers, mixers, and mastering engineers. Also, there are many different types of producers, as well as production styles... A lot of this will depend on what the artist brings to the table - there is no magic wand and everyone has a unique style. If you are hiring a producer or mixer, make sure you actually like their production style (as opposed to their client roster).
Q: What questions do you ask prospective clients?
A: I like to get to know prospective clients tastes in music, and these will largely inform how they hear the mixes I deliver. Also, I think it's important to really understand what kind of art they are trying to make - which usually lies outside of their musical tastes. Getting people to understand that they will not sound like their favorite band is important. Helping them sound like themselves is key.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Fail at recording yourself a bunch. Then you will understand how to collaborate and what to look for in others.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Gear is just a tool. Your ears are more valuable than anything. That being said: Apollo, BeyerDynamics, 610, tape, compressor.
Q: What was your career path? How long have you been doing this?
A: I started as a classical bass player at age 10, went to jazz school, started writing songs in college, recorded and toured with bands for a bit. My first paid recording gig was making demos for Lauryn Hill. This helped me realize that I like working with singer/songwriters, and I have taken every opportunity to make records since then.
Q: How would you describe your style?
A: Forward-thinking and experimental, yet rooted in the classics.
Q: Can you share one music production tip?
A: It's art not science
Q: What type of music do you usually work on?
A: Folk, R&B, Rock, Electronic. Sometimes Hip-hop and Reggae
Q: What do you bring to a song?
A: ambience, dynamics, concise arrangement, warm yet crisp tones, spatial diversity
Q: What's your typical work process?
A: If I'm mixing - this usually involves a bit of discovery. Upon listening to the track for the first time, I will generally have an idea of the direction I'd like to take it. More often than not, people will send me songs that have some really stellar features. My job is to accentuate those, much like a make-up artist. The discovery process involves digging through all the stems and figuring out how to make room for these features (volume, space, density). Determining what is necessary and what is not. What is more important, and what is less. Typically I can sort this out within a couple of hours and then discuss the direction further with the client before making the first draft of a mix.
Q: Tell us about your studio setup.
A: I'm an in-the-box type of guy. I understand the benefits and drawbacks of both digital and analog systems, but find that my workflow is maximized in a software environment. I work on an Apollo, using a combination of Logic, Reason, UAD, Waves, Izotope, and some other obscure plugs.
Q: What other musicians or music production professionals inspire you?
A: In terms of mixing, I'm a fan of Jack Joseph Puig's sonic approach. It's clear and present yet gritty and earthy. I've gained much of my recording mindset & philosophies from Eric Serafin aka MIxerman. I highly recommend that every recording musician at any level read his books.
Q: Describe the most common type of work you do for your clients.
A: Lately much of my workload has shifted towards mixing/mastering songs for Film & TV. There are also several singer/songwriters that I have developed tracks with from scratch. My strengths are songwriting and arrangement, which translates nicely in the context of mixing. Understanding structure and the relationships between harmony and melody can greatly inform mix decisions. As a producer, I prefer to work with artists who are open to fine-tuning the arrangement in order to make the track as banging as possible. Dynamic contrasts and a sense of movement are a must, otherwise the listener will just get bored.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Yuna tour. Bass & Moog
Q: Analog or digital and why?
A: Digital. the workflow is easier!
Q: What do you like most about your job?
A: the feeling of getting it right
Q: Which artist would you like to work with and why?
A: FKA Twigs - she's innovative
Q: What's your strongest skill?
A: cutting the fat