When did you begin lessons?

I began taking summer violin lessons at the age of 7 with a Suzuki-trained teacher. Eventually, I quit the violin at 9, but at age 10, I found a drum set at a yard sale for $5 and taught myself to play, learning many of my favorite songs. At 12, I began taking guitar lessons with a Berklee graduate, which provided me with a significant boost in music theory and valuable guidance. Those lessons pushed me toward sophisticated styles, such as jazz and jazz fusion, and helped shape my musical direction.

Did you (or do you) play any other instruments?

I’ve always been a multi-instrumentalist. It began in middle and high school when I formed bands with my friends and taught them drums or bass so we could all play together. While guitar was my primary focus early on, I explored drums, bass, and other instruments. I started producing music on a computer at the age of 14 after acquiring my first audio interface. I studied classical piano on a music scholarship at the University of New Hampshire before transferring to Berklee, where I was awarded the Young Composers Scholarship in 2010.
After graduating from Berklee, I studied with some of the best vocal coaches in the U.S. to unlock the techniques and artistry of great vocalists. I’ve always viewed instruments as tools for making music, and I’ve invested the time to develop my skills on piano, vocals, bass, drums, and music production. This versatility has enabled me to create a substantial body of work and deliver genuine value as a music producer for my artists and clients.
From teaching hundreds of students, I’ve seen how easily a lack of direction in rhythm studies can hold musicians back. I recommend that every student learn to play the basic drum beats of every style on a drum kit to open the doors of rhythmic perception and truly learn to feel music.

What was your most memorable musical performance?

One highlight was being selected to perform at the Berklee Performance Center by Garrison Fewell, one of my musical influences, author of Jazz Improvisation for Guitar: A Melodic Approach. After my performance, I told him how much I loved his book, and he told me I had “transcended everything in the book.” That was a powerful moment for me.
Another unforgettable experience was performing at Academy LA, a major music venue in Hollywood, with my solo project. I’ve also performed internationally in Canada and at numerous music festivals across the East Coast. Recently, I performed at the legendary Hotel Café in Hollywood with my project, Viktoria Vera - a venue renowned for attracting top artists, including John Mayer and Chris Martin.

Who are some of your most inspiring teachers?

Singing has been particularly inspiring for me because it’s one of the most challenging instruments to master - it’s your body. Justin Stoney of New York Vocal Coaching has been a significant influence due to his profound understanding of the voice and its anatomy. Other inspiring teachers include Richie Hart (pedagogy of Wes Montgomery/George Benson), George Garzone (chromatic jazz and saxophone-inspired phrasing), Tim Miller (modern musical architecture), and Wayne Krantz (thinking outside the box and developing advanced rhythmic concepts).

How often did you practice as a kid, and how has your practice changed as a professional?

From the ages of 11 to 12, I often stayed up all night writing songs on my Yamaha PSR keyboard and recording them on my Power PC using Audacity. I spent hours practicing guitar and teaching myself drums. By age 14, I was practicing at least 3-4 hours a day, eventually reaching 8 hours daily, thanks to independent music studies at school, playing upright bass in the orchestra and symphony, and guitar in the jazz ensemble, as well as leading my own jazz fusion group.
At Berklee, I practiced 8-10 hours per day, training for guitar competitions and working toward becoming a “jazz virtuoso.” Eventually, I shifted my focus more toward pop and singer-songwriter styles, concentrating on music production and vocal training. I believe in the “10,000 hours” principle - once you’ve put in that time, you can step away for a while and still return to form.
As a professional, my practice now focuses on expanding skills, such as piano and classical repertoire, while I believe every serious musician should explore. I also spend a lot of time developing my audio engineering and production skills using Ableton Live, which I consider to be a powerful instrument in its own right. Working in music for a living means continually finding ways to contribute value to the music industry. Advancing my production skills and deepening my work with sound and frequencies has also taught me a great deal about the science behind how we hear music.

What do you like most about teaching?

I love guiding students through my methods and helping them develop skills and musical awareness that took me years to acquire. I enjoy instilling proper rhythmic technique through what I call “The 3 Rules of Playing in Time” and helping students truly embrace the metronome.
I’ve also come to love teaching younger students, and what I learn from them often improves my lessons with advanced students. Music education should be fun. Teaching discipline and practice habits is essential, but so is avoiding perfectionism - especially with adult students who sometimes take their musical “obligation” so seriously that they forget to simply enjoy the instrument.
I love getting students to be creative and musical because it activates a different part of the brain than reading sheet music (which is also essential). Ultimately, it’s about more than just learning to play the notes and rhythms - it’s about experiencing, living, and breathing it. Helping students do that is deeply rewarding.

When you’re not performing or teaching, what other hobbies or interests do you have?

Outside of music, I’m passionate about meditation. I was recently featured at the Brahma Kumaris Meditation Institute, and meditation has helped me maintain clarity and focus while managing the demands of running a music label, working with professional artists, and continuing my teaching practice.