How to Collaborate With Me (A Producer's Guide)
I've been collaborating with musicians, vocalists, and producers since I was a kid taking violin lessons in Oakland. Over the last few years—writing Ch.1, running teaching sessions, and working with the local music community—I've learned what makes collaboration work and what doesn't. This is a guide for anyone thinking about working together. It's not a price sheet; it's an honest breakdown of how I approach music, what I need from collaborators, and what you can expect from me.
My Production Style and Influences
I'm a multi-instrumentalist first. I play piano, guitar, drums, violin, and keys—I started on piano at three and picked up everything else by ear over years of listening and playing. That background shapes how I make music: I think about counterpoint, harmony, and rhythmic displacement rather than just loops and beats. I chase clarity and movement in a mix, not density.
The influences are funk (Parliament-Funkadelic, Earth Wind & Fire), soul (Marvin Gaye, Aretha Franklin), jazz (Miles Davis, Rahsaan Roland Kirk), and electronic/experimental (Radiohead, Tool, Aphex Twin). Those worlds collide in my work. You'll hear warm analog warmth and digital space. Pocket-first arrangements that breathe. Lots of space for individual voices to land without muddiness.
I'm not interested in making the loudest thing in the room. I'm interested in making the thing that makes people lean in and listen.
My current project is Ch.1, a personal artist album that sits in that funk-soul-electronic space. But I'm also open to producing for other artists, remixing tracks, writing features, and collaborating on full projects. I work with vocalists, horn players, string players, and fellow producers. The through-line is always: does this music have something to say? Does it have pocket? Does it breathe?
What Kinds of Collaborations I Take On
I approach collaboration in a few different ways:
Feature Production & Songwriting
You bring an idea—a vocal melody, a song concept, a rough stem—and I arrange, produce, and mix it. I'll add keys, layered instrumentation, processing, and the production polish. Typically 2-4 weeks, 3-5 rounds of iteration, and we end with a final stereo mix (plus stems if you want to use it elsewhere).
Full Album/EP Production
We develop the sound together over multiple sessions. You bring performances or demos; I build arrangements around them. This is more of a partnership—creative feedback flows both ways. Timeline is usually 8-12 weeks depending on scope, number of tracks, and iteration depth.
Remixing
Send me the stems from your existing track. I'll reinterpret it—new arrangement, production choices, maybe a different energy or genre angle. I treat remixes seriously; it's not just adding bass and reverb. I'm reimagining the song. 1-2 weeks turnaround, typically one or two revision rounds.
Band Collaboration
If you're building a band or ensemble sound, I can help arrange for your lineup (strings, horns, keys, rhythm section), play an instrument in the band, and/or produce the recordings. This is what I'm doing with my working trio right now, and it's collaborative in the deepest sense.
What I don't do: heavily trap/EDM beat production, heavily metal production (not my world), or work that requires me to compromise on the clarity-first aesthetic. I'm happy to talk through any idea though—sometimes constraints breed creativity.
What I Need From You
To make collaboration smooth and actually good, here's what helps:
Clear Communication About the Goal
What does success look like? Are we making something introspective or something that makes people move? Is this a single, an album track, or a remix? Do you want the final mix to feel organic and band-like, or polished and electronic? The more specific you are, the more I can deliver what you actually want (not what I assume you want).
Reference Tracks
Send me 2-3 songs that capture the vibe you're going for. Not necessarily songs you want me to copy, but songs that embody the energy, the clarity of mix, the instrumentation approach you're chasing. References cut through a lot of subjective back-and-forth.
Stems or High-Quality Demos
If you have recorded vocals, instruments, or a rough arrangement, send me the individual tracks (stems) as WAV files at the session's native sample rate and bit depth. If it's just a concept, a rough voice memo, or MIDI, that works too—just be honest about what you have. Don't send compressed MP3s if you have the original files; I need the quality to work with.
A Timeline You Can Actually Keep
If you say you'll send revisions in a week, send them in a week. If you can't, let me know early. I build my schedule around collaborations, and delays cascade. If you need more time, I can usually accommodate, but communication is everything.
Open-Mindedness About the Process
You might come in wanting a track to sound one way, and after we get in the studio together and play with it, something better emerges. I respect your vision, but I also expect you to trust my ear. Collaboration means some ideas come from you, some from me, and some from the conversation between us.
The Collaboration Process: What to Expect
This is how it typically flows:
First Conversation
We talk about the project, the vision, reference tracks, timeline, and logistics (rate, payment terms, deliverables). This might be a call, email chain, or in-person if you're local (Oakland area preferred for full collaborations, but I work remote too).
Initial Production / Demo Stage
I'll take your vocal, demo, or concept and build an initial arrangement or production pass. This usually takes 5-10 days. I'll send you a rough mix (MP3, unlabeled, no final mastering). We listen together (ideally in the same room, or over a call if remote).
First Revision Round
You give me notes. Too much synth? The kick needs more presence? The vocal should be higher in the mix? I'll make those adjustments and send a new version. This round usually takes 3-5 days.
Middle Iterations
Depending on the project scope, we might do 2-3 more rounds here. I'm listening to your feedback and refining. If something isn't working, I'll propose alternatives. The goal is to get to a point where we're both excited about the direction.
Final Mix & Master
Once we lock the arrangement and sound, I'll do a final mix pass (balancing all elements, subtle EQ and compression, depth and dimension). I'll then send it to a mastering engineer (I usually work with Casey Johnson, who gets this sound) or do a transparent master pass myself if budget is tight. You get the final stereo file plus, if requested, individual stems so you can use it in other contexts.
Typical Timeline
Single track: 2-4 weeks. EP (3-4 tracks): 6-10 weeks. Full album: 12+ weeks depending on number of tracks and revision depth. These timelines assume you're responsive with feedback. If you ghost for two weeks, obviously that extends things.
Being Honest About Money and Rates
I'm a working musician and producer, not a charity, and I'm not slashing my rate because you have "exposure" to offer. That said, I'm flexible.
For a single track production/mix: $1500–$3500 depending on complexity and scope. For full projects, I usually work on a per-album rate ($5000–$12000 range depending on the project and my available time). For remixes: $1000–$2500. For band arrangements and collaboration: it varies, and sometimes I do it for the love of the music if I'm genuinely excited.
If budget is an issue, let's talk. I've traded production work for other things (recording time, gear, lessons, performing at your event). But "I'll pay you when I get famous" isn't a negotiation; it's a non-starter.
Communication Style
I'm straightforward. If something isn't working, I'll tell you directly but kindly. If your vocal take is a little pitchy, we'll discuss whether to retake it or pitch-correct it rather than dance around the problem. I'm here to help you make great music, and that requires honesty.
I respond to emails and messages within 24 hours usually. If I'm in the middle of a session or a show, it might be 48 hours. I prefer email for detailed notes and calls (or in-person) for creative brainstorms. I'm on Instagram (@simonoto) too, but it's not my primary comms channel for work.
"Let's make something real. Something with pocket. Something that says something."
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