Pop/EDM Composer, Producer

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

A: I co-wrote and co-produced a record titled 'Crying at this Party', with fellow collaborators, Matteo Scher (songwriter), Rosie Scher (songwriter), and Ilan Pomerance (co-producer/co-writer). The record was produced for Australian producer/artist Jordie Ireland, featuring Norwegian singer/songwriter Bby Ivy.

Q: What are you working on at the moment?

A: I am working on short-form audio NFT's that I can pair with my personal noDavid! releases.

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

A: I value the music over the money. If you don't pay me, there will be consequences. However, I am lenient when it comes to revisions and fine-tuning because I am an artist. I know the feeling of listening to a pristine finished track, as well as the hopeless feeling of a piece not turning out how it was imagined. My promise is that I will do everything in my power to make sure you connect with your music, within reason.

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

A: The biggest misconception is that a music producer simply executes the vision of the artist with no creative input. While this may be true of some producers, I am not that guy. I can keep my creative opinions out of a project to get it done, but my services will be most efficiently utilized when I'm able to suggest harmonic, rhythmic, and arrangement edits.

Q: What questions do you ask prospective clients?

A: What kind of feel are you going for? What sounds/instruments do you like? Do you prefer syncopated or smooth rhythms in your music? Can the piece have drastic silences? Less layers that stand out confidently, or more layers that balance together and hide in the mix? What kind of drum beat are you imagining? (that one is crucial)

Q: How would you describe your style?

A: My style is in limbo between vintage and modern, in the sense that I use jazz- and R&B-inspired progressions but tend to give my sounds and energy flow a modern edge. This is usually via pop/electronic drums combined with classic live instruments and an array of synths.

Q: Can you share one music production tip?

A: Sidechain compression is the cheat code for a mix thats lacking dimension and movement.

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

A: My ideal style of music to work on would be a balanced combination of pop, electronic, and R&B. Since living in Manhattan, I have found myself producing mainly pop/electronic records, though heavier EDM was my first musical passion. For artists like Noah Guy, I utilize my music theory and live instrumentation skills to create stripped-back indie records that are far from electronic. I also produce rap & hip hop beats, which I sell on my BeatStars profile.

Q: What's your strongest skill?

A: My strongest skill is picking out minute details within the rhythmic, harmonic, or melodic structure of any musical element that can be improved upon to create the smoothest transitions and general flow of energy throughout a piece. I have found myself in creative slumps due to my tendency to spend time on small details, but I believe that it serves me extremely well in standing out. As a drummer, my rhythm is spot-on, making it easy for me to keep time and feel the cadence of the music.

Q: What do you bring to a song?

A: The main thing I bring to any song I provide services for is undeniable musicality and a love for the entire process. Beginning my studies of rhythm at 7 and practicing all types of chord progressions through my teens and early 20's, I value music theory as much, if not more than interesting sounds within a song. With that being said, the overall balance of every fathomable attribute of a song takes precedence over any one specific item. Additionally, I like to utilize sounds and techniques in my music that others would never expect (or be able) to hear. Being able to tell a quirky, unique story about a specific stage of the process makes the final product 10x sweeter.

Q: What's your typical work process?

A: This question varies by service. For from-scratch production, I start with a chord progression or drum groove, then build out the first minute or so of the song, and then lay down vocals. After these steps, I arrange the latter part of the track and begin to add layers & fine-tune. For mixing, I like to start at the bottom of the frequency spectrum, usually cleaning and tightening the low end elements, like kick, bass, and toms. From there, I move on to low-mid harmonic elements, referencing the vocals consistently to keep the mid balance even. I then move on to high-frequency layers, finishing out the mix with a rigorous top to bottom scan and fine-tune.

Q: Tell us about your studio setup.

A: My setup contains midi keyboards and live instruments, as well as microphones for tracking vocals and a recording booth for drum kit. I'm in the process of building out my studio; I don't have my drum kit fully miked up, but I can get a kick-ass sound by recording with one mic and then layering programmed drums where I see fit! Other instruments include tambourine, congas (various sizes), theramin, cajon, and shakers. For monitoring, I use a pair of Yamaha HS8 speakers, a 10" subwoofer, and a Scarlett 18i20 audio interface.

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

A: My two top favorite musicians of all time are polar opposites: Stevie Wonder and Skrillex. Stevie Wonder creates pure emotion and connection with life & love, while Skrillex harnesses pure energy and adrenaline through uniquely unrecognizable sounds. Additional inspirations include Flume, Calvin Harris, Party Pupils, Disclosure, Justin Bieber, Whethan, Zedd, Bruno Mars, SG Lewis, Diplo, Young Thug, Future, Madison Beer, Katy Perry, Astrid S, and more across a wide variety of genres. I love music that hits me a certain indescribable way, regardless of genre or era.

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

A: I tend to work with artists on tracks from the ground up, helping shape their vision through conception, composition, arrangement, and fine-tuning. Other times, I'll send an instrumental demo that fits the client's style and continue the aforementioned process when a top line has been laid out. For these projects, I'm usually in charge of comping, tuning, timing, and mixing vocals, as well as mixing other elements.