I have been producing singers and musicians since the early 1990's. During that time, I've been fortunate to be entrusted with the production for some extraordinary artists. A few examples are presented below:

• Ester Nicholson: Make Me Stronger :: Album: Child Above the Sun
• Charles Holt: Tapping :: Album: I Am
• JD Martin: Everywhere :: Album: One Heart
• Jami Lula: Imagine :: Album: Something's Calling Me
• Equator: Starting Over :: Album: Equator
• David Newman: Soul Freedom :: Album: Soul Freedom
• Andre Delano: Footsteps :: Album: Full Circle

Even though I'm a musician with a lot of technological background, my commitment has been to use technology as an enabler, but not as a guiding force. Many producers allow the technology to define the way the music turns out. I am not one of those. It starts with the song and the artist voice and works outward from there. Otherwise, my productions will all sound the same and the artist will not be served by the outcome. Also, I produce each song as a singular entity. Some may require a live band, others a simple synth setting, others piano/vocal. In our digital downloading world, each song has to live by its own merits. The "sell the single and deliver the album" days are gone forever. It was never very honest in any case.

My studio is comprised of a ProTools HD3 system combined with great microphones, mike pre's and my living room for live sessions. It's a home grown thing, because it is my home. I have two extraordinary grand pianos (1920's vintage Mason & Hamlins), a Korg Oasys (the most powerful synthesizer in the world), a ton of special sonic software tools and the best synth voicing and sound libraries anywhere. This system permits me the freedom to develop each song the way it needs to be done, using the very best of the very best.

I use live musicians where ever I can within the limits of budget. I have found that - over time - live playing brings an energy and sound that can not be captured by sampled instruments or performances. Yes, sometimes a sampled part actually works for the production. Interestingly, if a live performance is what is needed, it is typically cheaper to use a real player than to spend the hours needed to sculpt a sampled performance to an equivalent level.

My rates are scalable, in order to get the project as a whole to the finish line. My deal is that my time is paid for, so I can make the time available for your creative project. Then, if I am the producer of the recording, I get an industry-standard percentage of the sales. These future sales are how my creative work is paid for. This model allows an artist to have a lower cost of entry - while being fair to my creative efforts in their behalf.

Often, I am consulted on a recording project as an executive producer. This allows an artist who has another producer to plan their production and costs in such a way as to get the best result from their work. This is an invaluable service for an artist who has yet to put their production plan into form, and it is the same consultation I give to any artist that I produce. During the executive production consultation, we get under the hood on who the artist is, how they need to present themselves and work up a rough budget for getting the project to reality - at the kind of quality required for today's market.

For more information regarding my production services, lease contact me.