Mix Engineer

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

A: Speed Of Light's first EP (which isn't out yet). The recordings were less than ideal so I had them re-track everything. All the drums were done at revolver recordings in Thousand Oaks California. After that we tracked the guitars, bass, and vocals at my home studio where I mixed the rest of the EP. It was a really fun learning experience. I think the best part of it was getting paid! I've never met a mixer who got paid their full fee on their first mix job. =P

Q: What are you working on at the moment?

A: I'm working on some mixes with the band Get Carter for their new EP releasing next year through BMG. Aside from that, I'm scoring a new horror feature film and a new video game.

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

A: I saw Darrell Thorp on here! While I don't know him personally, he's an amazing mixer and I would highly recommend checking out his work. I was lucky to watch his live Q&A on puremix.net awhile back.

Q: Analog or digital and why?

A: Both! There are so many pros and cons to both worlds. From my experience, hybrid setups are the future and my favorite way to work. While mixing in the box 100% digital is way more convenient, these types of mixes tend to sound more flat and less 3d. I've never met a plugin that beats a piece of hardware. Anyone who says an analog modeled plugin is 100% accurate to a piece of hardware is lying or has a bad ear. It's all just marketing hype to get you to buy plugins. Plugins tend to sound more dark and flat. Hardware tends to sound more wide, add depth, and sparkle more. I don't think I could ever go 100% in the box because of how beautiful hardware sounds. I think those that do mix 100% in the box choose to out of convenience.

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

A: The mix won't be done until everyone is happy. I'll always have your best interest in mind while providing my expertise and creative opinions.

Q: What do you like most about your job?

A: Getting to experience so many forms of art and music. It's also interesting to meet so many new people. It keeps things fresh and exciting! Oh and I like turning knobs too, it makes me look like I know what I'm doing! =)

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

A: Usually balance issues. Clients most often ask for small changes in volume on certain tracks like bass or vocals. My answer is usually "Lets try that and see what everyone thinks!" I also get asked about mastering a lot. Who to use, how much it costs, etc. I usually refer clients to my most trusted mastering engineers that I've worked with before and do a great job. I don't master. I just mix. I tend to believe mastering is best left to actual mastering engineers. Having a second unbiased ear on the final outcome of the song is never a bad thing.

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

A: That I'm like any other mixer. We are all different. You're literally paying for our ears, not our gear. Gear means nothing. Many great mixers today can do a killer album with only stock plugins. And many have switched to 100% in the box mixing. I've heard horrible mixes come out of studios with tons of expensive gear and consoles. The point here is, I could do a great mix on headphones while traveling with a laptop, or in my home studio with my hybrid setup.

Q: What questions do you ask prospective clients?

A: Some typical questions may include; 1. When do you need the mix / album done by? 2. What other similar artist mixes do you like? 3. What kind of emotions do you hope to convey with your music? 4. What kind of music do you enjoy? 5. How can I help you achieve your goals and meet your needs? 6. What are some common issues you've faced in the past with mixing? 7. What are some amazing mixing experiences you've had?

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

A: Have a pro tools session with a rough mix printed on it ready to go. It will increase productivity by a lot! If you don't have Pro Tools, Logic Pro X is also ok but Pro Tools is much preferred. Name all of your tracks! This saves a ton of time. Also be sure to know exactly what you want. Uncertainty leads to frustration and wasted time. Clients who aren't sure of themselves often ask for way too many revisions and nothing ever gets finished. Focus on and decide your goals before contacting me.

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

A: An SSL bus compressor, Manley Massive Passive, Dangerous Bax EQ, Api 512v pre, Bricasti m7 reverb.

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

A: I started professionally mixing in June 2018 (for other clients). I've been mixing my own film and video-game soundtracks since 2010. While I may not have a huge track record yet (as I'm just starting out), I think my mixes speak for themselves. If you like them, let's work together!

Q: How would you describe your style?

A: I love wide mixes. I don't know why, but when I hear anything narrow it sounds really boring to me. I like my mixes to have this huge 3d sound (front to back, left to right) while the transients just punch you in the face. I also like my mixes to have some balls to them. Meaning, a good amount of healthy low end and smooth top. A lot of punk recordings for example, have like nothing below 80hz. To me, that's not really my cup of tea. One thing I like to do is try something new with every artist. This gives everyone their own unique stamp so to speak. Experimentation is key to growth.

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

A: Circa Survive. I think they have amazing production value in the way they orchestrate their parts. Plus I love Anthony Green's voice.

Q: Can you share one music production tip?

A: When I set reverb levels on dense rock songs, I tend to hit play and then stop right away to listen to the tail (if I'm going for a tail style reverb). If the volume of the tail is the same volume as the dry signal or louder after I hit stop, then I know the reverb is too high and I need to back off a bit. This is mostly a common case for a subtle reverb when I want the reverb to be not so obvious.

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

A: Rock, pop, jazz, film, video games, indy, metal, funk, reggae.

Q: What's your strongest skill?

A: As a mixer I suppose my strongest skill is my ear. It's different than everyone else. So you're getting my bias and subjective sonic opinion. Our collaboration will be based on what I like to hear, and what you want to hear. I always enjoy a new challenge! It's the best way to learn.

Q: What do you bring to a song?

A: Emotion and honesty. I think a good mixer is able to enhance the emotion that the artist was striving for. To help the artist reach their fullest sonic potential in order to convey their message to their audience. I can help you get the bigger more badass version of your song! It's also important to be honest. If a song needs work or there is some sort of weak link, we can discuss ways to solve common problems. I'm always a man of solutions and will do everything I can to make things work and keep people happy. If my name is going on the album, I want to be proud of your work and mine.

Q: What's your typical work process?

A: I use a template that usually translates well to any mix I do. So I start there, and if needed, I'll make small adjustments. I'll do all the technical work first like organize tracks, groups, get all the boring stuff out of the way. Then once I feel like I got all the pre-mix elements taken care of, I'll start working on the creative part. I begin with balancing all the tracks together and getting the spatialization part right. Usually I do LCR method of mixing, but it really depends on the style of music or artists vision. I tend to like wide mixes with a lot of depth. Once I get the balance right, then it's time to polish the mix with eq, compressions, and other tools. I usually start polishing on my master bus first by adding some hardware, and a few plugins for sweetening. Once I feel it's got the right vibe, i'll tweak any groups or individual tracks that require attention. Sometimes I'll eq or tweak things as I'm doing the rough balance if I hear a problem that needs fixing right away (like clipping or a muddy low end). I'll add reverb and effects as I go depending on what needs extra help with creating a space within the mix. After getting the balance and polish right, I'll end with any last minute creative effects (delay throws, flangers, etc) and use automation to make the song dance and tell a story. Nobody likes a chorus that feels like it didn't go anywhere. When that chorus kicks in, I want it to punch you in the face! It needs to feel like we've all gone somewhere new and exciting. I'm not a fan of static mixes. Music needs to evolve and grow.

Q: Tell us about your studio setup.

A: I have a hybrid analog / digital setup. An ever growing collection of hardware preamps, eqs, compressors, etc. I run pro tools on a Mac trash can along with my Universal Audio Apollo 8 and Apollo Twin. I mix inside of pro tools but combine my outboard hardware with my in the box plugins (Uad, waves, soundtoys, slate, and more). The hardware gives a little added vibe and flavor that I really enjoy. It adds the depth and overall 3d image that I am always striving to achieve. I like big wide 3d mixes.

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

A: Chris Lord Alge, Andrew Scheps, Mick Guzauski

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

A: Well to be honest my main gig is film and video game scoring. But I've recently fell in love with mixing and hope to do a lot more work in that field as well. So I'm using this website to focus mainly on the mixing aspect of my career.