I proposed the idea of recording Segovia's original compositions to GuitarCoop, and they liked it.

I recorded the project at USC because I didn't want to risk taking Segovia's guitar to Brazil.

The project 'The Segovia Sessions' started with me trying out guitars at the Guitar Salon in Los Angeles, where I found a Ramires guitar that I was instantly blown away by.

I recorded my album 'Mysterious Barricades' in Brazil with Guitar Co-op, a label focused on promoting guitar repertoire and commissioning works.

The recording at USC went great, and I'm really proud of this niche project, even if only a few people buy the disc.

The church where I recorded has a unique acoustic quality due to its mix of brick and wood, which enhances the guitar's sound.

I recorded my NAXOS album as part of the GFA prize, and it was unique because I had the freedom to create something that I wanted, rather than what a record company might typically push for.

My way of playing reflects my perspective on the guitar and its sound; it's essential to love the guitar for what it is and recognize its beauty and potential.

I find that collaborating with different musicians helps me think about instruments in new ways, especially since a significant portion of my music features guitar.