Music and audio production

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: The album Rearview by Two Cheers. This artist was the first one to find me on SoundBetter back in the day and I'm still just so thrilled by how the mix came out. It was a little outside of my comfort zone at the time since the artist really loved long reverbs and drums that weren't particularly snappy, but I was so happy to go through the experience of getting to what they liked it to sound like and whenever this comes on in a shuffle playlist it's such a cool record!

Q: What are you working on at the moment?

A: After I finish typing this I'll be completing a video podcast episode for one of my regular clients. Next week an audiobook is scheduled and beginning production on two songs for a local singer-songwriter.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I haven't actually searched for that yet. Maybe I'll come back and update this.

Q: Analog or digital and why?

A: Digital all day, for cost. If you want a particular analog distortion sound we can achieve that without the expense. Unless you have unlimited funds and time, there's no point anymore messing around with large analog setups. (though it sure is fun when those situations show up!)

Q: What's your 'promise' to your clients?

A: Whatever comes out of my studio sounds the best it can! I want it to sound so good the listener doesn't notice the production, or if they do notice, they want to ask who did it! This reflects best on the client, and me.

Q: What do you like most about your job?

A: I love working with audio but I've also come to love the variety in what I do. Music projects are fun and engaging but I also like the change of pace when I switch into an audiobook for a while, and I love all my podcast clients who's episodic work I fit in between larger projects.

Q: What questions do customers most commonly ask you? What's your answer?

A: "How much do you charge per hour?" My answer is almost always... "I don't" because I want to charge for finished, great sounding projects. Many clients don't have a correct expectation for how long things will take so asking me about a price per hour tells us both almost nothing about what it will cost to get their project sounding great.

Q: What's the biggest misconception about what you do?

A: That it's always glamorous and listening to cool music. The majority of my time is spent on the small details in editing, because that's what makes the fun part really sound great.

Q: What questions do you ask prospective clients?

A: What are you goals? What is your previous experience? What are your primary inspirations for this project? And what is your budget and timeframe?

Q: What advice do you have for a customer looking to hire a provider like you?

A: Send me a message with details about what you're working on and what your goals are! No two projects are alike and pretty much every one gets a customized plan of attack. I can help with advise early if you're still early in the process and want to make the most of your time and effort.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Does my computer count? My UAD Apollo, a few SM57s and my U87

Q: What was your career path? How long have you been doing this?

A: I've been doing audio professionally for over 20 years now. I started working on only music in Boston but when I went out on my own I spread out into audio-post production on audiobooks and podcasts, which has been great for me as I've weathered several recessions in the industry and seen studios in my city close up shop.

Q: How would you describe your style?

A: I think it's still evolving but for now I strive for clarity and punch. Trying to have a creative use of volume faders (and mute buttons!) to make space for the most important things at any moment, rather than trying to let everything play loud all the time

Q: Which artist would you like to work with and why?

A: Jimmy Eat World. One of my favorite bands and one who's sound changes and flows back and forth over the decades. I think there's always some interesting idea they are working with.

Q: Can you share one music production tip?

A: The earlier to you can get things sounding "right" the better the mix will come out. That means recording as close as possible to the exact sound you want the eventual mix to. There's a lot we can do in editing and mixing, but it's all more work than just getting it right to begin with.

Q: What type of music do you usually work on?

A: Rock is most central to me, but I slide into pop-rock and folk, and in the other direction into hard-rock and metal quite often. And I've done plenty of hip-hop projects also!

Q: What's your strongest skill?

A: Attention to detail in editing, and then compartmentalizing the creative part of mixing, usually by a little time separation.

Q: What do you bring to a song?

A: I try to hear each song freshly except for quick checks on references from my client. I'm most at home in rock and pop-rock genres.

Q: What's your typical work process?

A: Most of my work is remote so typically I'm receiving and checking files from the client to make sure I have what I need, then going over their references and style notes from our meetings. Mixing and editing is done unattended and sent to the client for review. We may schedule a meeting to go over notes, but many times a list is sufficient.

Q: Tell us about your studio setup.

A: UAD Apollo, some preamps from Audient and some 1073 clones, Adam monitors. Various microphones, software from UAD, Avid, Reaper, Melodyne, Waves, Slate, etc. Mac Studio-based. and a macbook pro for remote sessions.

Q: What other musicians or music production professionals inspire you?

A: Josh Wilbur, Rick Rubin, Greg Wells

Q: Describe the most common type of work you do for your clients.

A: Music mixing is very common, but I also do a lot of audiobooks and podcasts in audio/video. I like the variation in my work