Here to support the vision and audio needs of artists - focused on the artistry of mixing and bringing the most life and nuance into every song, with each unique case treated attentively.
I approach audio engineering and solving problems from a perspective of artistic meaning and relevance (with respect to technical needs), crafting a stable but interesting mix in whatever way supports the atmosphere and visual nature of a given song or project. I enjoy a range of contemporary musical styles (current and older hip hop, r&b, ambient, dub techno, footwork, etc), but am also very influenced by the essence of 70s recordings from jazz/funk/soul artists like Weldon Irvine, Lonnie Liston Smith, George Duke, etc. I appreciate the warmth of those records, and how foundational they are to many styles of music that followed and are popular today. While currently only in a digital domain of mixing, I go for a more manual and dynamic feel, prioritizing the song's character second by second. Sensitivity to an artist's vision and intent with the song is very important - my priority is to bring out the sonic mood a track wants convey to the listener, including how the artist's concept behind it will influence such decisions - I might focus on the sense of color for one song, and the textural story for another. These aspects can be determined per the artist's specific vision or my ear's intuition if input is desired. No matter the genre, I will break the elements down into visual roles that assist the overall image as a visitor in your musical landscape.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
Interview with ri
Q: Tell us about your studio setup.
A: My setup is simple, but I know it well. I have grown accustomed to my Audio Technica ATH-M50x headphones over the years and have grown much faster at accurately understanding its frequencies to the point that my work tends to translate when I check on monitors and weaker systems, as well as reference tracks. I highly trust my ear and tend not to worry too much about metering until everything starts to sit right and sound good! From there, I begin aligning things on a technical level, alongside any client reference material. Ultimately, I would love to get into a big studio with analog gear and high-end monitoring, but with my current 'in the box' phase, I am quite confident in what I can deliver with my acclimation to setup. Mics: Shure SM7b + cloudlifter and Rode NT1A mic, along with Steinberg UR22 audio interface. DAW: Ableton Live 10 + VSTs (Fabfilter, Izotope, Valhalla, Spectrasonics, Auto-Tune, Tape Emulation/Vintage Wah + Dualphaser, etc) Audio Editing: Izotope RX Pro (audio repairs, spot enhancement, etc) Controllers: Launchkey 49, Ableton Push
Q: What advice do you have for a customer looking to hire a provider like you?
A: What I lack in gear, I make up for in artistic insight, dedication, and taste (that last one can be subjective). I want to work on projects that strike my passion, and use clever and creative approaches that my insular path in audio education can provide. I look to make a living from this not as a way to just pay the bills, but to never be separated from this craft. I find it quite hard to not think about music all day.
Q: What was your career path? How long have you been doing this?
A: I have been producing and mixing my own material over the last five years as a hobby alongside visual art - however, my love for music prevails over other artforms. During the pandemic, I sat down every day and put myself through a self-imposed course for improving my fundamental understanding and instinct in audio. I now feel ready to share my education for the service of others and slowly begin making this my living.
Q: Can you share one music production tip?
A: Music is heard by the ear before it can be 'seen' by the mind's eye. Numbers and visuals are to assist the ear and are quite valuable, but can never replace the ear.
Q: What type of music do you usually work on?
A: My personal music is often very ambient/bass focused and utilizes minimalism, texture, and an overall visual/fourth-wall breaking experience. I like to be de-constructive in my own production, and evoke a sense of 'post-digital' aesthetic. I am very comfortable producing/mixing hip hop (trap, plugg, etc), dance genres like footwork/juke, and have an affinity for funk and jazz tunes with a vintage character. I can tune/time-edit/retouch any vocals tracks or instrumental recordings needed.
Q: What's your strongest skill?
A: Being a multimedia artist, I have used many different programs in both the audio and visual sphere. I believe I have a unique perspective on what audio programs are capable of and how one can edit within them, especially after years of high-end visual retouching (which operates on a pixel by pixel level and can be quite akin to programs like RX). Above all, solving problems is key - there is often not a single solution but multiple, each with their own sense of character and intent. I appreciate post-modernity in art, and while respecting the fundamentals of sound science, I also like to utilize that understanding for unconventional approaches when invited. However, such practice is best handled in moderation, and I find it important to use tastefully, once again serving the song and its energy at the end of the day. The diverse range of music I enjoy results in an ear that can appreciate the full spectrum of audio possibilities that have been proven, and curiosity for what is beyond.
Q: What do you bring to a song?
A: I like to bring out what the song itself seems to want, simply put. As a producer, I understand very well how mixing one's own work can lead to overthought, stunting the rapid evolution of how a track is staged when it is still fresh in the ears. I value that visceral moment of hearing something new, and letting intuition take control before ear fatigue sets in.
Q: What's your typical work process?
A: I will speak to the artist and figure out what they are meaning to convey with the song, as well as what their logistic needs are: Should it be 'competitively' loud, or more dynamic? What streaming platforms will this be mastered for? What environments/context is this music meant to be played in, if any? Are there any songs that should be referenced when leveling the tracks? What is the desired timebox for turnaround? From there, stems can be sent and the work will be put into motion. I will notify you when I begin and make myself available to ask or receive any needed questions as the process goes on. Upon my delivery of the product, one revision per project is available. I always will work to complete a product the client can leave very happy about, and be willing to accept feedback and perspective from another point of view.
Q: What other musicians or music production professionals inspire you?
A: -Current ambient/dub artists from labels such as Sferic, Enmossed -Stefan Betke, Jan Jelinek -Jazz Fusion recordings (Lonnie Liston Smith, Hiromasa Suzuki, etc)