What I need from you.
A rough mix, timing info, and a few notes are enough to get rolling.
I love tracking drums.
I play drum sessions for artists, producers, and songwriters because I like being part of records, helping shape songs, and contributing something musical from behind the kit.
Most of that work happens remotely from my studio in Kennett Square, PA. Here’s how a remote session with me works.
How we work.
My studio is set up to make remote sessions straightforward, but if you want to get in a room together, we can make that happen too.
- In a studio
In the room.
If you want to build the drum part together in a traditional studio environment, I’m always open to discussing travel for in-person sessions.
- Remote
From my studio.
I track here and send you mix-ready, organized files.
My hybrid kit captures live cymbal audio and shell performance MIDI in the exact same take. You preserve full performance nuance while keeping the drum sounds completely flexible as your production evolves.
How a remote session works.
The process is simple: send the track, we get on the same page, I play the drums, and you get files that drop right into your session.
Send the song
Send me a rough mix, a tempo map if you have one, and any notes on the feel or direction. Songwriter demos, full productions, and anything in between are fine.
Reference tracks are helpful if you're chasing a specific pocket, density, or cymbal vibe.
Get on the same page
We’ll talk through the details, including deadlines, file formats, and the overall arrangement, before I start tracking.
If you have specific DAW requirements or drum sound references, this is where we dial that in.
Track the part
I play the part. My focus is entirely on time, motion, dynamics, and playing what the song actually needs.
The performance is captured through API and Universal Audio gear, grabbing live cymbals and shell MIDI simultaneously.
Deliver the files
You get the live cymbal tracks, rendered shell stems, and the raw MIDI performance.
Everything is delivered as organized WAVs starting at Bar 1, so the tracks drop right into your DAW without any manual nudging or lining things up.
A few practical details.
Working remotely is a simple process, but here is what you can expect when we team up on a track.
What you get back.
Organized files that are meant to drop cleanly into your mix.
Timing, tweaks, and rates.
We figure out the boring stuff before the fun stuff begins.
Finding the right brass.
I can pick the cymbals, or you can point me toward a sound.
Studio
Want to hear the room?
Jump over to the Studio page for listening examples, a breakdown of the remote signal path, and more notes on the gear.
Visit the StudioStart a Session
Send the track.
Send over a rough mix, your tempo map, the deadline, and a few notes about what the drums need to do. I’ll give it a listen and hit you back with the next steps.
Get in TouchDial in the cymbals.
This is the actual Zildjian inventory I pull from in the studio. I'm happy to pick the cymbals once I hear the track.
But if you already know the vibe you want, use this to build a setup. Start with a preset, tweak it, and your choices will carry right over to the contact form.
Preset kits
Four reliable starting points. You can load one up and swap out whatever you want.
The Indie Rock Setup
Dark, warm K Custom voicings with a musical wash suited for guitar-driven and alternative tracks.
The Modern Pop Kit
Brighter A Custom voicings with a fast attack and clear top end that cuts through a dense, produced pop mix.
The Vintage Acoustic Kit
Dry, dark, and complex. Built around my K Constantinople voicings for jazz, ballads, or anything needing vintage character.
The Heavy Rock Kit
Bright, aggressive attack with a heavy ride bell designed to sit on top of loud, dense rock arrangements.