Online Session Drummer.

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

A: That was an album called "As I am" by Agatha. I played drums, arranged some of the accordion and cello parts and co-produced it. The songwriting and recording process was one of the most beautiful times of my life. Mainly because of great people. Any other project felt more mechanical even though I always put my whole heart into it, process of songwriting, arranging and recording of this one particular album was truly magical.

Q: What are you working on at the moment?

A: I'm in the middle of engineering a session for black metal band. Only as a recording engineer. They did use my kit though. I'm also involved in two of my main original projects - heavy rock Ace Mafia and soul / r'n'b The Fedz in collaboration with James Poyser from The Roots.

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

A: Chuck Sabo and Mark Cross. Chuck used to be my teacher and Mark played with the same covers band as me. Both nice people and monster drummers. I would strongly recommend them to my clients knowing that they wont disappoint me.

Q: Analog or digital and why?

A: In regards to strictly recording - digital, because it's quick and easy. In regards to mixing and production of some sorts of sounds, genres and types of recording - analog. I like that old school style of recording through modern system. Hard to answer. Both ways have their own pros and cons. I like old school approach to recording when you really need to be on top of your game like if you were recording onto analog gear to get the best results. A lot of bands these days rely on "fix in the mix" rule. I'm not strongly attached to the old generation of recording for ages to make sure I got it all perfect in one take, because we don't have to do that these days. It's so much easier with computers, but preparation does make a big difference and makes later process quicker and easier for everyone.

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

A: "It will feel and sound the way you like." So far never failed. Fingers crossed :)

Q: What do you like most about your job?

A: I like that I can add a bit of my personality onto someones creation.

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

A: Q: Can you do this? A: Yes.

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

A: People that know me from rock session can't really imagine me playing jazz or anything different than rock or metal and vice versa, which is a compliment, but it also means that sometimes I'm not being hired for the job.

Q: What questions do you ask prospective clients?

A: Pretty much something along the lines of - "What do you want from me?" :) I ask for some other artists reference song samples in regards to the sound of the kit and style of playing (mp3s or youtube links), so I can get the idea of what direction we're going for. I then ask if they're ok with me recording a couple of takes and sending them mp3 mixes of all takes to listen, because if let's say I record 5 takes of the song, but my client only likes the second and third one, then there's no point of sending individual files for all the takes.

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

A: Make sure that samples available to listen on potential session drummers website reach the quality of sound and feel for groove that you are happy with. While listening to demos keep close attention to the amount and complexity of fills. Usually the less complicated fills you can hear - the better. That usually means that drummer is musical, wont overplay and play for the song.

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

A: I'd like to say some basic recording gear, but together with minimal instruments, one microphone, cable, computer and power generator that would altogether exceed the limit of 5 pieces, so I guess it has to be a snare, kick drum, pedal, ride cymbal and a knife so I can make the rest of the gear needed.

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

A: I started to study classical percussion at the age of 5. Since then I was in classical, pop, rock, jazz and latin bands. I started recording onto cassette tape recorder sometime before I turned the age of 10, then studied jazz and contemporary styles. I'm now nearly 32 and not much changed. Still have the same passion for all the music. I discovered that there is no bad music. Only bad musicians and performers, but again, what is bad or good? It's irrelevant. Music is art, not a sport.

Q: How would you describe your style?

A: I'm still looking for my own style, so you can probably hear which drummers influenced me when listening to my playing live or on albums I have recorded, although some people somehow recognise my style just by ear. I personally don't know what it is. Maybe I'll never feel like I have found my own style. I am looking for it though.

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

A: Depeche Mode. To me personally, they are the only band that makes every second of the show special. Every song they play live could be that last one.

Q: Can you share one music production tip?

A: Make sure that you and your instrument are always on top of your game, meaning be prepared and take care of your gear. That is the first and most important step to get the best possible sound in the studio or on stage.

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

A: Pop, Rock, Metal.

Q: What's your strongest skill?

A: Versatility.

Q: What do you bring to a song?

A: Before the session I always like to know what my client expects, so I try my best to deliver that plus a bit of extra spice of my own identity. Never fail with great sound because of the gear I use. On top of that my tuning plus muffling techniques are always appropriate to the genre. A lot of artists these days try to be original, so I always keep my clients directions in mind, but if there're not many then I just play what I feel is right for the song. Also the only times I overplay are when I feel like I want to add extra fills for my client just to have different variations.

Q: What's your typical work process?

A: After I receive the track I decide if I need to transcribe it or not. If grooves and structure is pretty straightforward I don't transcribe it. While listening I decide what instrumentation I need to use - what cymbals and toms (if any) and what sizes, then I create new session on my Logic template, connect it to the interface, mic up the kit and record at least two takes. If track is a bit tricky at any point I will make a quick transcription, so I'm most efficient during the session, but that will happen before I even drive to the studio. I might record 3, 4 or maybe even 5 takes of the track if I think I can add something different that my client might like. It doesn't take much time to have fun with the track and record extra few takes. So far I haven't been asked to make any revisions of tracks, because my clients get enough material to work with after one session. That saves everyone time and money.

Q: Tell us about your studio setup.

A: It's Tama Starclassic Bubinga 10", 12", 14", 16", 22" with 14" x 6" Exotic Snare which is extremely versatile with massive tuning range. Big selection of Zildjian Cymbals, Remo and Evans skins recorded onto Logic X on Macbook Pro via Mackie Interface and mixture of Shure, AKG, Audix and Rode microphones.

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

A: Dennis Chambers, Danny Carey, Buddy Rich, Tony Williams, Simon Phillips, Lars Ulrich, Mike Portnoy, Vinnie Colaiuta, Steve Smith, Fredrik Thordendal, Pat Metheny, Steve Lukather, Jeff Porcaro, Mike Porcaro, Victor Wooten, Richard Bona, Marcus Miller, Miles Davis, Keith Jarrett, Joe Zawinul, Steve Albini, Chris Lord Alge, Elliot Scheiner and many more.

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

A: Usually I record rock and pop. Occasionally metal. I used to record more jazz and funk, but that was when I used to study jazz. After I graduated from contemporary music university I started to work with my fellow graduates or getting sessions via word of mouth because of uni connections and it just happened to be mostly pop and rock artists.