Expert Song Production

Q: What do you like most about your job?

A: That tiny moment a song comes alive. When I hear something that gets me super excited, I cannot control myself - I'll go show someone, play it on repeat 5-6 times and have literally had moments where I've giggled to myself. Helping artists feel all of that about their own ideas is why I do this.

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

A: A lot of people think production is searching through snare drum samples and choosing presets. But at its core, it’s none of that. Production is truly song architecture. Carefully placing notes, chords, textures, and creating brand new sounds and space in a way that pulls something real out of the listener. The gear matters, but the emotion is the ENTIRE point.

Q: What questions do you ask prospective clients?

A: What's the feeling we're going for? Sad lyrics doesn't mean sad sound. What artists are doing something similar to understand the vibe? Any reference tracks? What kind of musical direction are you aiming for? Slow start big finish? Ambient? This sort of insight helps map out the emotional song architecture we’ll build together.

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

A: Choose someone who understands your vision and your vulnerability. Sure, I've written a bunch about me but this is about YOU. Production is intimate. It’s not just about skill (so many people have that!), it's about trust. Work with someone whose sound moves you and whose energy feels safe, expansive, and collaborative. Authenticity is the key, so finding a place where you can be you, fully, is crucial.

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

A: Music is in my blood. I’m a fourth-generation drummer, raised in Europe by a family where rhythm wasn’t a hobby but a professional passion. I picked up my first sticks at age four, learning from my father (Stray, The Footprints), before being shaped by legends like Richard Beasley (Gary Numan) and Joe Barbosa III (Tarpan Studios - Mariah, Whitney). But pedigree only gets you so far. I literally had to carve my own trail. College. Punk bands. Dive clubs and sticky-floored bars packed shoulder to shoulder. Progressing to national stages with Billboard top-five artists. Then production grabbed me by the collar and pulled me across borders - LA, London, Denver, and everywhere life called for a new chapter. Now, after nearly two decades of drumming, writing, experimenting, producing, charting on Billboard, scoring syncs, lighting up radio, and working with incredible collaborators, I’m still chasing the high of creating an amazing song.

Q: How would you describe your style?

A: I bring analog warmth and human feel into modern electronic productions. That really sums it up - I like the sound of real things and then will blend them into the perfect little box that today's industry tends to require.

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

A: I work on synth-pop, synthwave, drum-forward productions, rock, and pop, focusing on rhythm, texture, and clear, impactful arrangements. Nostalgic sounds are what get me really excited though. Let me work on something that triggers memories and I'll be ecstatic.

Q: What's your strongest skill?

A: Absolutely drums - I'm a 4th generation drummer and was raised playing on stages across the world. That being said, I've been programming music in various DAWs since, well before they were even called DAWs (yes, original Fruity Loops, Cubase and Atari ST person here).

Q: What do you bring to a song?

A: I bring movement. Emotionally lifting sound design. Being able to identify the mood and feel of a song before you even start to analyze it. One thing I love about music and I say this a lot to those that care to listen, is that it is as much about what you feel on any given day - it can create moods, change moods, and that largely all comes from what the artist was putting into it on the day it was created. A different day, different set of emotions may have created something wildly different to the music you know and love.

Q: What's your typical work process?

A: Sound design is huge, and using that to set emotional landscapes. Other things kind of find their way in depending on the style of music. The goal I have is to create movement, not stale pieces - always dropping in ear candy or things to be there if you listen for them but never to take away from the vocals or main purpose of the song. If something needs drums or live instruments, they come about 60% of the way in - I'll write everything by hand first, program things in then once it's dialled in, I'll go play it live and hit record. Then the final 35-40% is editing, mixing, mastering.

Q: Tell us about your studio setup.

A: I work out of two highly equipped studio rooms that are always evolving. The live room is built for drums and anything that needs to hit hard or sound huge, while the production room is more laid-back, surrounded by synths and a collection of special guitars (some with seriously famous histories). It's a sanctuary. Everything runs through Ableton as a primary but I also have a full Pro Tools rig ready to go. More VSTs than I care to list (from beat creation and soundscapes to orchestral scoring). It's a fully professional production studio geared around writing and creating high quality music.

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

A: My inspirations live all over the map and across far too many decades :-) Phil Collins is the creator of the live 80s drum sound - how could I not idolize that?! Ash Soan reminds me that groove can be a love language. Jeff Porcaro defines pocket. Steve Gadd’s feel is the blueprint everyone studies. On the production side, I adore the synth world architects: The Midnight storytelling, Kavinsky’s midnight-drive electricity, and the nostalgic side of Gunship. And then there’s my pop side - One Republic and Dua Lipa are high up there.

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

A: I take your raw idea (your voice memo, your half-finished verse, your melody) and build it into a breathing, moving, emotionally charged piece of music. I sculpt drums or synths that move with and support the flow, production that wraps around the song, and songwriting support that helps your story find its true shape.

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

A: The first time I co-wrote and drummed on a track that made it to the Billboard Hot AC chart. But charting isn't why it stays with me, it was the ride, the creation from playing in the studio, to production, tracking and then the laying on the bed moments listening to the radio song introductions and mentions. The first time that happened will stay with me forever.

Q: What are you working on at the moment?

A: Right now though, my priority is connecting with new artists I vibe with and creating tracks together that make an impact. I thrive so much on working with repeat artists and have some that I do that with locally - it's so gratifying for all involved to be part of a journey and not just a one-off.

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

A: Yes absolutely - if you need additional specialists (other killer instrumentalists), I’m happy to recommend collaborators I have worked with, depending on your project’s needs. From Phil Collins and David Bowie's mixing and mastering engineer, to the most incredible Saxophone recording artists. Ask and I can direct you to them.

Q: Analog or digital and why?

A: My gut screams “Analog!” as that’s where the warmth, grit, and delicious imperfections live. But I’m equally in love with digital for its speed and ability to move around productions super quick. I literally remember using tape to cover recording elements on cassette decks so I could record multi-tracks before I had a multi-track - now, so many people even get the basics like garage band with an iPad. Digital helps with access and maneuverability, Analog helps with the feeling and movement.

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

A: “Can you take my rough idea and turn it into a finished track?” Absolutely. It’s what I do best. Whether you send me a voice melody memo or a full demo, I can build out the arrangement, drums, production, and polish until your vision is fully realized.

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

A: My drums (of course), my Oberheim, a solid audio interface, and a laptop with Ableton, and a mic (I want to say a 57 just because of the versatility!), because with those five things I can pour out my soul.

Q: Can you share one music production tip?

A: Get all of the ideas printed in some way. Then mute something. Then mute something else. Great production isn’t about adding, it’s about stepping back and revealing. The fewer elements you use, the more powerful each one becomes. I have had records with 30+ tracks and dropping that by a 3rd created immensely more movement. It's very easy to just keep adding but sometimes the magic is in taking away.

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

A: I promise to bring soul, intention, and craftsmanship to your music. This is a collaborative, welcoming space where your ideas matter and your sound becomes its best version.

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

A: I'd love to work with any artist honestly, that can value both the whisper and the explosion. Someone that wants to tell a story and has the skill to deliver, and will to adapt.