Producer, Mix Engineer, Guitar

Q: What's your typical work process?

A: My work process starts with organization. I like to plan the week clearly so I can meet each client’s goals, deadlines, and expectations. From there, my approach depends on the type of project. If an artist comes without a demo, I help develop the first version of the song with them. If they already have a demo, I listen carefully, discuss their vision, and give creative feedback on structure, arrangement, production choices, and possible ways to take the song to the next level. For recording projects, I think carefully about the context before making technical decisions. That includes choosing the right musicians, studio, microphones, and recording approach for the style of the song. A pop production, a rock track, and a jazz recording do not need the same treatment, so I always try to make choices that serve the music. For mixing, I usually ask clients to send properly exported WAV files, with all tracks consolidated from the same start point, in the correct mono or stereo format. Once the session is organized, I focus on understanding what the project is trying to say and what I can bring to make it feel more polished, emotional, and professional. When it comes to guitar recordings, I adapt to what the client needs and specifies. If I feel that some details are missing, I have no problem asking the necessary questions to make sure I understand the goal clearly. If the client wants me to create something with little direction, I usually ask for sonic references so I can understand the guitar style we are looking for and deliver the right tone, feel, and musical intention. I try to approach every project as if it could become a future success. My goal is to make the client’s vision stronger while adding enough care, taste, and detail that the final result feels memorable.

Q: Tell us about your studio setup.

A: My setup is designed for professional remote production, mixing, guitar recording, and audio post-production. I work from an acoustically treated room, measured and calibrated with Sonarworks SoundID Reference, so my monitoring translates well across real-world listening systems. For monitoring, I use Yamaha HS7 studio monitors and Audeze LCD-X headphones, both calibrated with SoundID. My main interface is an Apollo Twin X Quad, which gives me high-quality conversion, reliable recording, and access to a wide range of UAD processing. For guitar work, I use high-quality instruments including an American Fender Stratocaster and a Gibson Les Paul Standard, along with guitar pedals and professional amp-sim tools such as Neural DSP Archetype plugins. I also use a Kemper Profiler Stage for live guitar tones and specific tone-shaping needs. My plugin collection includes UAD, Soundtoys, Waves, iZotope RX, Melodyne, and other professional tools that allow me to shape the tone, texture, and polish each project needs. Because my setup is powerful and portable, I can work remotely with artists, producers, and clients from anywhere while maintaining a professional and consistent workflow.

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

A: I’ve been playing guitar since I was 6, learning by ear, listening and copying my favorite guitarists. When I was 15, I started producing music by making soundalikes of the songs I loved, paying attention to the sounds and details in each production. At 19, I began studying music professionally, and I’ve been growing ever since.

Q: How would you describe your style?

A: The Blues taught me one thing: don’t overplay. Less is more. Always.

Q: Can you share one music production tip?

A: Don't overthink too much! Focus on identifying the need within the production.

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

A: I usually work across pop, rock, blues, R&B, indie, funk, and singer-songwriter styles, but I’m open to many genres. I like adapting my approach to each project instead of forcing one specific sound. Whether the track needs organic instruments, modern production, or a more experimental direction, I focus on serving the song and the artist’s vision.

Q: What's your strongest skill?

A: My level of organization and commitment. I take every project seriously, plan my work carefully, and make sure I understand the client’s goals before making creative or technical decisions. Beyond that, I bring musical taste, attention to detail, strong communication, and the ability to adapt my workflow to each project, whether I’m producing, mixing, editing, recording guitars, or working on post-production too.

Q: What do you bring to a song?

A: I bring musical taste, emotional intention, and technical care. Before adding anything to a song, I try to understand what the track is trying to say. Whether I’m producing, mixing, editing, or recording guitars, my goal is to enhance the song’s identity and make it feel more complete without losing the artist’s original vision.

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

A: I’m inspired by musicians, producers, and engineers who serve the song first. As a guitarist, I’m influenced by John Mayer, Eric Clapton, and blues-based players who focus on feel, tone, and expression. I also admire Glyn Johns and Al Schmitt for their natural, musical approach to recording. As a mix engineer, I really connect with Lewis Pickett’s work and the way his mixes feel modern, detailed.

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

A: Clients usually contact me when they already have a song demo or a clear idea, and my job is to work with the artist to enhance their vision, not completely change it. I help refine the structure, suggest adding or removing elements, and develop the demo into a more complete production. Depending on the project, I may be involved in the full process, from production planning to recording coordination (or even engineer it) and final mixing. In other cases, I only work on specific parts, such as mixing, vocal editing, tuning, timing alignment, or cleaning up and aligning drum sessions using tools like Beat Detective in Pro Tools. I’m also often contacted to add guitar layers depending on the genre, style, and emotional direction of the song. This is one of the parts of the process I enjoy the most, because it allows me to bring musical character and texture while still serving the artist’s vision. I also work on podcasts and video-based projects. Clients often send me video, audio, and any additional materials they want included, and I organize, edit, sync and integrate everything in Pro Tools or Adobe Premiere depending on the needs of the project.