Remote Session Drum/Percussion

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

A: Tepetricy, the first band I was in and co-founded, had some of my favorite music. It was different enough to be progressive and dynamic but still accessible to the masses. Every show we played, I poured my soul in. It is so beautiful to lose yourself in the music and let the energy drive you through.

Q: What are you working on at the moment?

A: My solo instrumental electronic project called Copper Core. I call it live drumming DJ. It's improvised and all original music. That and some drum tracks for a TV show on the Smithsonian Channel.

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

A: Not right now.

Q: Analog or digital and why?

A: I like digital because that's all I've known. I've dabbled in analog but I haven't had the opportunity to own a lot of analog gear.

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

A: As long as you KNOW and can accurately describe what you want, I will guarantee you will like the parts I give you. Or, I won't charge you.

Q: What do you like most about your job?

A: The interesting music I encounter and that I get to interject my own creative twist into the drums and percussion.

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

A: Do I have to tell you what to play specifically? The answer is no. I can come up with something interesting and inspiring to help you finish off your track.

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

A: That what I do is easy. I like to charge project prices because I am efficient at what I do. Nobody should get paid $25 to record a drum track, no matter how simple.

Q: What questions do you ask prospective clients?

A: How many layers of drums and percussion do you want on this track? What genre of drumming do you hear over this track?

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

A: It's not the gear they have but the player they've made themselves to be.

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

A: Macbook Pro/Ableton Live, my Zildjian cymbals, Kick, Snare, Hats

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

A: I wanted to be a touring musician when I was younger. I still like that a lot but I love working in my home studio too. I've been playing for almost 20 years.

Q: How would you describe your style?

A: I'm a rock musician that likes to mix styles together. I like dynamics in music that I play. Above all, I am very passionate and it shows in my live playing every time.

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

A: Dave Tipper. He is a master in the studio and I love his music. I would love to collaborate on an electronic album with live drums and percussion.

Q: Can you share one music production tip?

A: Learn your gear! Instead of always waiting until you get that new piece of gear, make sure you can get everything out of the gear you have. Some producers can do so much with so little so you shouldn't need to wait for that next expensive piece. Get to work and the new gear will come naturally.

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

A: I am usually working on electronic music or a combination of electronic rock.

Q: What's your strongest skill?

A: Composers have told me they like the way I can come up with tasteful drum and percussion parts very quickly and then turn around and record them for their tracks. I've had as little as 4 hours to complete a drum and percussion job and the client did not need any revisions.

Q: What do you bring to a song?

A: I have been told numerous times that I bring a unique perspective due to my eclectic musical taste. When I play in a rock band, I get compliments on how "jazzy" I play. When I record tracks for composers, I am told that I can play very dynamic and still lay down a hard groove when it's necessary.

Q: What's your typical work process?

A: I usually get a 1-2 minute cue for a movie or TV show sent to me as a wave file. Sometimes it has drums or percussion on it and sometimes it doesn't. I usually get a midi file to go with it to import tempo and time signature changes. Then, there's usually three ways the composer will communicate what they want. They will either give me creative control with very little input; an outline with measure numbers explaining where there are general changes, fills, or dropouts; or they will send me the sheet music. I will come up with the part, record it, curate it for quality takes, and send it to the composer. At this point they will let me know if they want to do any revisions or if they are satisfied with their part.

Q: Tell us about your studio setup.

A: Studio Room: 20'x10' with a 9' ceiling Ableton Live Focusrite Scarlet 18i20 Shure Microphones ElectroVoice Microphones RODE Microphones

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

A: Hard-rock and metal are in my roots but I am really into jazz and electronica. So to name a few in those genres: The Bad Plus, Esbjorn Svensson Trio, Avishai Cohen Trio, Donny McCaslin, Dave Tipper, Aphex Twin, Boards of Canada, Autechre, Mux Mool, RJD2, Karnivool, Fair to Midland, Testament, Death, Sepultura, Soilwork. As far as drummers? Dave King, Deantoni Parks, Mark Guiliana, Jim Black, Dave Lombardo, Igor Cavalera, Gene Hoglan.

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

A: I usually track drums or percussion for short 1-2 minute cues for films or TV. Sometimes I fulfill these duties for singer-songwriters and other composers.