My goal as an artist is to focus music production to its core tradition: musicianship, original sound, and community. I write this with gratitude, understanding the privilege of inheriting context for my work from the many great musicians and producers I’ve been blessed with the opportunity to work with. Some of my first experiences in music were listening to legendary musicians such as William “Benny” Benjamin, Antonio Carlos Jobim, and Bill Evans. This background in R&B and Jazz eventually led me to introduce myself to Los Angeles’ Jazz scene, performing as a drummer at venues such as the world-famous Lighthouse Cafe. These experiences led me to appreciate jazz harmony. As such, much of my current work is created in the context of the nuanced harmonic structure of jazz music. This has been further solidified through my current study of theory under Grammy award-winning record producer Kamau Kenyatta, whose approach to music has shaped many of the technical aspects of my writing. My roots in percussion additionally led me to perform as a drummer with UC San Diego’s gospel choir. Under nationally recognized director Ken Anderson, I studied the structural elements of gospel arrangement, something that now informs my choices in vocal arrangement and structure. I am incredibly grateful to Ken and Kamau for their contribution to my musicianship. As a producer, the majority of my work has been in R&B writing, arrangement, and production. My recent work has targeted the listener’s subconscious, utilizing harmonic nuance. This is done in the context of modern soundscapes while adopting complex harmony, continuing the work of composers such as Bill Evans and João Gilberto. Regardless of the modern sonic context I work within, I place a strong emphasis on original sound, striving to incorporate the organic texture of live strings, guitars, percussion, and vocals. Recently, I’ve had the opportunity to record with vocalist Emma Lee and conductor of the Con Brio String Orchestra Johannes Eberhart. Working with musicians is among the most rewarding parts of my life. My recent work has a significant reliance on the creation of bass, keys, and drum sounds in an effort to, again, create original sound. This is done using synthetic sound design. My background as an Electrical Engineer with a focus in signal processing provides me with a unique perspective on the technical aspects of sound design, as a large portion of the sound design process revolves around frequency domain analysis. My Electrical Engineering background has additionally contributed to my technical understanding of audio engineering and composition, as these fields are also heavily dependent on frequency domain analysis. It is my belief that original sound should always be paired with intentional audio engineering. As of 2025, I am further developing my skills in mixing and mastering techniques under musician and audio engineer Luke Nuyen, who has been paramount in the fine-tuning of my technical skills. One of the most pivotal experiences in my musical development has been my time spent with musician, writer, and producer Robert DeLeo of the rock group Stone Temple Pilots, who has acted as a mentor to me. Learning from Robert has helped me understand the importance of modesty and respecting the musicians who came before me. His humility and musicianship have shaped my collaborative approach during studio sessions. Although I do not plan to follow in Robert’s footsteps as a rock musician, I aspire to continue his legacy of humility and authentic music. Through my technical work as a recording engineer and producer, I aim to present listeners with an honest portrait of musicianship.