Producer / Engineer / Mixer

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

A: The project I am most proud of so far is MOOR CHORES by Lord Kayso. I was requested and honored to serve as the executive producer, engineer, and mastering engineer for the entire album. The recognition the project received was special, but what meant the most was the alignment in time and story between me and Kayso. The biggest song on the album is Uncle Mark, which I produced. There were two other producers on the project, each of us contributing roughly a third of the total production, but I handled every other aspect to bring it all together. What makes this song deeply personal is that I actually knew Kayso’s uncle, Mark, before I even met him. His uncle lived in my neighborhood, and we would see each other often. I remember him once telling me he had been diagnosed with schizophrenia. I was young at the time and did not fully understand, but his words and presence stayed with me. Years later, when I began working with Kayso, I would visit his home to record and mix tracks, and his uncle was there, the same person I had known growing up. Uncle Mark became a heartfelt song where Kayso reflected on their relationship in a bittersweet and honest way. He approached it with empathy, acknowledging that people go through struggles and still deserve compassion. The song became the most recognized record on the album. It was highlighted by Bandcamp and NPR Music, and covered by multiple journalists around the world. About a year after the album’s release, Uncle Mark passed away. Looking back, I believe that song happened exactly when it needed to, it honored him while he was still here.

Q: What are you working on at the moment?

A: Whether this interview is updated or not, I have to speak on my greatest creation yet, Traumas of Character. It is an album I self produced alongside my close collaborator and best friend in production, Hajino, and another longtime friend and artist, Lord Kayso. This is my first full album as an artist and producer, after more than a decade of creating for others. People who have followed my writing and performing have been waiting to hear this body of work come together. For me, Traumas of Character is a reclaiming, an investment of time, energy, humility, and vulnerability. It is me giving myself fully to the listener. I approached this project with everything I have. I did not know it was being made at first, it simply became what it was meant to be. If I were to count the time each song has taken, it would be over three years and still evolving. We are in a period of transition in music where independence is rising, and I feel I am in a position to show nearly all of my skills within one project.

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

A: If I encounter someone on SoundBetter who I genuinely align with and believe in, I would not hesitate to recommend them. I just do not know anyone directly from this community.

Q: Analog or digital and why?

A: It is not easy to choose between the two. With digital, the greatest advantage is being able to emulate almost anything with speed and accessibility. Technology has made it possible to do so much within one space, which is why most people move in that direction. But you can never deny analog and its character, warmth, and sense of timelessness. It carries a type of originality that cannot be duplicated. Both serve their purpose, which is why it is not easy to choose.

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

A: REGARDLESS OF THE CASE, YOU WILL ALWAYS FIND WHAT YOU ARE LOOKING FOR. REGARDLESS OF THE CIRCUMSTANCES, IT WILL BE DONE.

Q: What do you like most about your job?

A: What I like most about my job is knowing how technical I can be with my approach and knowing when something is truly complete. There is no looking back once it feels right. That sense of completion means everything, it is the moment I know the mix or the song holds exactly what it needs. I never want to hear something later and wish I had done more, so I put everything I know into the process to ensure it is at its highest capacity. For me, that is what defines quality.

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

A: Most of the time, clients ask when a song will be complete. If not that, they will ask how well they did on their performance tracks. I always try to be honest, but I believe the real answer comes through the work itself, through how I shape their sound and bring the best out of what is already there. With returning clients, the common question becomes whether the song is ready. I take that seriously because it shows they value my perspective. I always listen closely to my clients, ask for references, and do my research so that every decision reflects their intention. In most cases, even if I am hired for one part of the process, I end up completing the entire song, from mixing to editing and mastering, because they trust my ear and direction.

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

A: The biggest misconception about what I do is that it is just about pressing buttons and making people sound good. It is much deeper than that. Regardless of a client’s performance level or experience, everyone brings something valuable to the table, and collaboration is what shapes a record. I remind clients that I believe in their vision, and I make a point to understand them quickly and without bias. When I am producing, my focus is on direction. When I am engineering, my focus is on texture, because texture creates the atmosphere we are building together.

Q: What questions do you ask prospective clients?

A: Beyond understanding their vision for where they would like the song to live, I ask about the purpose behind it. I want to know what inspired the record and what feeling it is meant to evoke. I also ask for references, not always for the mix itself, but for the emotion or energy they want to capture. Understanding the intention helps me apply my skills and suggestions in a way that truly serves the song. Sometimes, if a client is unsure how to express what they want, I remind them that music outlives us. It remains in the world long after we are gone. So I ask, how would you like to be heard through this song? That question usually brings out their most honest answer.

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

A: MacBook Pro M1, Shure SM7B microphone, Roland SP 404SX sampler, Audio Technica M50X headphones, and the Stylophone GEN X 1 analog synth.

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

A: I started in 2007 when I discovered LimeWire, which opened the door to music production for me. A friend gave me FL Studio 7 back in seventh grade, and neither of us had any idea what we were doing. We just explored, followed our instincts, and tried to recreate what we were hearing. That curiosity became the foundation of everything I do. After graduating high school in 2013, I was unsure about my direction, but music was the one thing that never left. One day, I searched “music school in New York City” and found SAE Institute of New York. I enrolled, learned about audio engineering, and realized that this was exactly what I needed to refine what I already knew. It was there that I became fluent in Ableton, Logic Pro, and Pro Tools, expanding my understanding of how each DAW could shape my workflow. By 2017, I began taking things more seriously as a professional, freelancing independently and working with both new and established artists. Over time, I have built my experience across recording, mixing, and production while helping artists define their sound and direction. Today, I see myself as both a creative director and collaborator, guiding independent artists toward fully realized projects.

Q: How would you describe your style?

A: My style in production as a beat maker and sound designer is rooted in layering. I like every sound to have intention, with one element that leads, often the drums. While that rhythm drives forward, I build around it so the sound travels and evolves until it makes you feel something. That feeling might be excitement, triumph, or emotional depth that invites reflection. If it is not about searching, it is about the vibe. I treat drumming as the main layer that guides everything else into an immersive experience.

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

A: Pusha T would be my first choice. His approach to music is intense and intentional. Every line has weight, and that level of precision speaks to me. Being from Brooklyn, I have always held deep respect for Biggie Smalls, who also influenced Pusha T’s direction and delivery. I can hear that lineage, but Pusha made it his own. He has worked with Pharrell and Kanye, two producers whose influence I naturally embody in my own production. From Kanye’s sample choices and melodic storytelling to Pharrell’s drum work and bridge structures, their imprint shaped the culture, and I resonate with that balance of innovation and rhythm. I genuinely believe I have a sound that aligns with what Pusha T looks for, even if he does not know it yet. Another artist I would love to work with is Erykah Badu. She is a world builder. Her lyricism, performance, and energy extend beyond sound, they are metaphoric, spiritual, and timeless. As a fellow Piscean, I understand her wavelength before the music even begins. She is a legacy of sound, an innovator, and I am drawn to that kind of challenge. Lastly, I am deeply inspired by Haitian folk music, the drums, the rhythm, and the affirmation that comes through invocation. It is cosmic, spiritual, and eternal. I would love to collaborate with artists who share that connection to rhythm, ancestry, and trance, where music becomes more than sound, it becomes a state of being.

Q: Can you share one music production tip?

A: Pink noise is your mixing friend. When pink noise is heard, all frequencies are heard. Level each track while the noise plays, lowering each one until you can barely hear it, then move to the next. When you mute the noise and play your mix back, the balance will surprise you. It is a simple way to create clean headroom and balanced frequencies.

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

A: Hip Hop, Rap, R&B, Ambience, House, and Sample based music.

Q: What's your strongest skill?

A: Clients often tell me I bring their imagination to life. My strength lies in balance, creating clarity, space, and cohesion so the artist’s vision translates exactly how it is felt. I aim to exceed expectations, not just meet them. Most revisions happen because the artist wants to revisit this new standard we have built together. That collaborative process is where my best work happens.

Q: What do you bring to a song?

A: I approach every song cinematically, aiming to create space, depth, and dimension where every sound feels alive and intentional. I want each element to stand out as its own entity while serving the whole. Every song deserves to be treated like an album because each carries its own story and atmosphere. My process is both technical and empathetic, understanding the emotion behind the performance and amplifying it through texture, rhythm, and tone. I love drums because they direct that emotion and give the record its pulse and personality.

Q: What's your typical work process?

A: It is all about detail and structure. I like to fully understand what the client envisions and provide thoughtful ideas or solutions when needed. Every project starts with organization, clean file management, clear communication, and intentional arrangement, so that creativity can flow without confusion. From there, I sculpt the sound carefully until the emotion feels right.

Q: Tell us about your studio setup.

A: I work entirely in the box. My services are executed on a MacBook Pro 2012 and a MacBook Pro M1, using Ableton Live as my primary DAW. I also work comfortably in Logic Pro X, FL Studio, and Pro Tools when needed. I am familiar with analog environments as well, especially the Yamaha O2R, SSL 4000 G, and my favorite, the Audient 8024i console. My process is built on precision, adaptability, and feel.

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

A: I love all forms of sonic expression, from Daft Punk’s Something About Us to Flying Lotus’ Getting There. Wu-Tang’s 36 Chambers shaped my rawness, while Washed Out’s Life of Leisure taught me atmosphere. Growing up in a Haitian household deeply influenced my sound too, from Sweet Micky’s I Don’t Care to the spiritual trance of Racine Mapou’s Dangere. I am also inspired by great engineers who redefined my perspective, MixedByAli, Ariel Borro, Dave Pensado, and Dr. Dre. And above all, J Dilla saved lives.

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

A: I usually record, mix, edit, and master. Since many of my clients also know me as a producer, I am often asked to create beats, either sample based or programmed from scratch, depending on the artist’s direction and tone.

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

A: To some, trust is earned. To others, trust is given. Give us a chance.