I am a musician, songwriter, producer, and mixing engineer. The most recent record I mixed was given 5 out of 5 stars by Confront Magazine. 

I have been making records for about a decade. I started out producing my own albums with my band and have branched out to mixing for other artists and other kinds of audio projects.

My goal is to provide artists of all kinds at any level with affordable, high-quality mixes that exceed their expectations.

 I got my start working on shoestring budget mixing projects for garage bands and home studio-based projects, so I know how to achieve pro-quality results very quickly and for very little money.

I am proficient with Apple's Logic and have a large assortment of specialty plug-ins, including numerous vintage emulations including Cytomic The Glue (SSL G-series emulation), PSP Vintage Warmer 2 (analog tape emulations), Valhalla VintageVerb (Lexicon PCM 42 emulations), and many, many more. I have a large selection of high-quality samples of found sounds, vintage drum machines, and production-quality sound effects. 

I also have a number of excellent hardware outboard pieces, including a Dave Hill Designs Europa-1 preamp, Golden Age Projects Comp-54, FMR RNLA, and several more pieces including tube preamps, VCA compressors, FET compressors, and more.
For re-amping I have the original Radial ReAmp box and a handful of excellent amps, including a Fender Twin Reverb, Roland JC-120, Vox AC15, and more.

I specialize in indie pop/rock and indie hip-hop productions but also have experience with many other styles of music. 

I am also equipped to do post-production for voice-over audio, audio books, and other specialized audio work.

My credits include

Gear highlights

  • Dave Hill Designs Europa-1
  • Golden Age Projects Comp-54
  • Cytomic The Glue
  • PSP VintageWarmer2
  • Valhalla VintageVerb
  • Waves Eddie Kramer Tapes Tubes & Transistors
  • Fender Twin Reverb
  • Radial ReAmp
  • Apogee

Genres I specialize in

Endorse Two Cheers Audio

or

Interview with Two Cheers Audio

Analog or digital and why?
I have found that factoring in many analog elements during tracking adds a lot to a recording. During the mix however, the power and flexibility of today’s software is utterly incomparable. A hybrid approach is ideal, but if I had to choose, I would choose digital.
What advice do you have for a customer looking to hire a provider like you?
Having been an independent artist myself, I have had more misses than hits when hiring a mixing engineer. Be sure to listen to as many mixes from your prospective mix engineer as possible. Don’t go by their name and good reputation alone. Ask a lot of questions. Lastly, ask for a partial mix of one of your songs for a reduced fee to get a feel for the mixing engineer's workflow and - more importantly - the results.
If you were on a desert island and could take just 5 pieces of gear, what would they be?
I can’t answer that, but here are my current favorite pieces of gear: Dave Hill Designs Europa-1 preamp Rode NTK with NOS Telefunken tube upgrade and capsule upgrade GAP Comp-54 compressor Sansamp Classic Does a plug-in count? The Glue by Cytomic
How would you describe your style?
I like to keep the vocals, drums, and main melodic elements very clear and upfront, like a Top 40 pop album or something mixed by Bob Clearmountain. On the other hand, I like a certain amount of movement and chaos too, like a garage rock record or something mixed by Dave Fridmann.
Which artist would you like to work with and why?
Probably Bjork, as I think I would learn a whole lot from her very original and distinctive approach to making records.
Can you share one music production tip?
I think parallel compression is an infinitely useful tool when doing a mix, and that goes for virtually any instrument be it voice or drums. With a large selection of compressors, I can control the subtle dynamics and tone contours of the elements of a mix without flattening out all the punch and impact.
What type of music do you usually work on?
I have a lot of experience with indie rock bands, but also indie electronic music and indie hip hop.
What's your strongest skill?
While I definitely think very holistically about the music I am working on, I am very methodical about the details. This might come from my past career as a chemist writing and testing formulas: I have a scientific approach to the technical aspects of mixing but an intuitive approach to the musical aspects.
What do you bring to a song?
I have always been particularly good capturing the passion of a song with my mixes, and making it sound like the performance is happening for the first time. I try to impart a sense of movement that is always engaging the listener. Lastly, I try to make a song sound larger than life.
What's your typical work process?
I will get the tracks from the session, import them into logic, and begin editing. If there are vocals, I start with those: comping, editing, and tuning as necessary. Then I set up my aux sends and get the rhythm section grooving. Then I start applying EQ, compression, and other techniques to make a static dry mix that sounds good. Lastly, I use reverb, delays, and FX to add depth, atmosphere, and excitement. Once I have a mix I am happy with, I submit the mix to the client for review. Based on his/her feedback, I make whatever adjustments are necessary to get the track where the client wants it to be.
Tell us about your studio setup.
I used a hybrid of in-the-box and out-of-the-box tools, like most professionals today. I have host of plug-ins from some the big brands like Waves, PSP, and FabFilter, but also plenty of lesser-known gems that can work wonders like Valhalla, Cytomic, and SoundRadix. I use Logic for mixing on a MacBook Pro and I use Apogee AD/DA. I also have a handful of outboard pieces, including the exquisite Dave Hill Designs Europa-1 preamp, the GAP Comp-54 Neve-style compressor that makes almost everything pop in a mix, and the Sansamp Classic for achieving a huge range of tones when plug-ins don’t cut it. I typically mix through Yamaha HS 80 monitors.
What other musicians or music production professionals inspire you?
My mixing heroes are: Bob Clearmountain, Tchad Blake, Mark Saunders, Jimmy Douglas, and Dave Fridmann
Describe the most common type of work you do for your clients.
I am usually the mixing engineer for music projects like bands and hip hop artists, meaning I get the individual files recorded by the artists and mix them here in my studio. If the artists are local I can also provide some recording services like recording vocals, guitars, synths, drum machine, etc. Lastly, I am able to make nice, loud, competitive masters of their recordings as well using a suite of cutting edge plug-ins.