Calgary, Alberta, Canada<\/p>\n\n\n\n
Although I played for many years prior, I became a full-time working musician in 2009. I began in music performance as a freelance musician for hire and started moving into music production in 2017. I wouldn\u2019t say either performance or production are my primary focus, as my time is split fairly evenly between the two.<\/p>\n\n\n\n
When it comes to playing bass guitar, my biggest influences are Jimmie Lee Sloas and Justin Meldal-Johnsen. It\u2019s safe to say a big part of my sound has been inspired by their many unique tricks, nuances, and general styles. Although they are very different, there\u2019s so many things to learn from them (and many others, of course) that challenge me to explore and develop as a player. When it comes to production, my biggest influence is whoever the client is that we are working with at the time. Nothing is more important to me than capturing the essence of each artist, and therefore I try to ensure that their personality, style, preferences, and character are what influence each decision throughout the process.<\/p>\n\n\n\n
I can honestly say that each day is a little different from the last. It really depends on what\u2019s needed of me from any given client at any given time. In my music-director role it may be writing set lists, creating show transitions and moments, creating medleys, producing live-show tracks, or rehearsing the band. In my music-producer role it may be song writing, pre-pro, tracking, programming, or editing. Again, it all depends on who needs which services at the time.<\/p>\n\n\n\n
My personal setup is quite minimal, as my own space is used primarily for overdubbing, programming, and editing. Therefore, it\u2019s simply a computer with a UA Apollo, monitors, headphones, and a whole bunch of instruments.<\/p>\n\n\n\n
As much as I love being in the studio with others, remote collaboration has become increasingly common as well as increasingly effective. Programs such as Audiomovers<\/a> have made it incredibly easy to create in real time with other musicians and producers remotely, and file sharing platforms such as Byta<\/a> have made it easy to share material amongst a group of collaborators. I work with a co-producer on nearly all my production projects, so file sharing is something that\u2019s done almost daily while we work collectively to bring a song to life. I\u2019d say that at this point, there\u2019s on small differences between working in-person vs working remotely in terms of efficiency and effectiveness and getting a great end result.<\/p>\n\n\n\n My preference is to hold off on sharing a work-in-progress with as many people as possible until the work is complete.<\/p>\n\n\n\n I do not – We generally keep work-in-progress projects fairly under wraps. <\/p>\n\n\n\n The default ability for the receiving party to choose between streaming and downloading media can save valuable time (and hard drive space!) while in the heat of a collaboration.<\/p>\n\n\n\nAt what point(s) are you comfortable letting other people hear what you are working on?<\/h2>\n\n\n\n
Do you share your work in progress (streams or downloads)? Any technical frustrations? <\/h2>\n\n\n\n
What are the advantages<\/a> of using Byta as part of your workflow compared to other platforms?<\/strong><\/h2>\n\n\n\n