Make your songs pop with colour, dynamics, and clarity! Subtle use of reverb, delay, automation, and compression is the difference between amazing tracks and squashed, lifeless ones.
The most important aspect of production is communication, something that is often overlooked. I have lots of experience recording artists and developing an understanding of my client's vision. My process starts with listening to demos, talking to a client about their sound and style, and requesting references/examples of songs they want their song to play next to.
Music is my passion, and everything I release needs to satisfy my standards, every second of every track!
I specialize in pop, rock, and rap songs and usually aim for clean, punchy, and colorful tracks. I have learned my craft through online resources, practice, and internships with professional engineers in studios. My engineering is done in the box with top-of-the-line plugins from Waves, Slate Digital, iZotope, and Fab Filter in Pro Tools 2019.
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Interview with Vibrant Vinyl Productions
Q: What's your typical work process?
A: Mixing: I start by importing the tracks and listening to the whole song, getting an idea of the intention of each element and the vision of the overall song and importing a reference track. Then I label each track and strip any silence, and get a balance between them. After routing all my sub-busses and FX aux, I mute all tracks and start my first pass starting drums, followed by bass, rhythmic/harmonic instruments, melodic instruments, and vocals. I then compare the mix to the reference track and make further tweaks and listening on different devices until i can't hear anything that needs changing. I come back to the song the next couple days with fresh ears to see if there's anything I missed, and if not I send it your way! _________ Mastering: I start with importing the track and listening to the whole song to get a sense of the sonic characteristics and overall vision. I then choose a reference track to compare the master to, and start making changes. I start with a transparent digital EQ to straighten out the tone and tame problem frequencies. Depending on the track, I may use console, tube, and tape saturation to add colour and saturation. I usually use an emulation of an SSL buss compressor or a Fairchild compressor to add punch and add "glue" to the track. In Ozone 8, I use the multi-band imager to adjust the stereo image, a dynamic EQ to compress the most dynamic areas of the spectrum, an "analog" limiter to tame the loudest peaks, and a brick-wall limiter (maximizer) to tame the peaks in a different way. Finally, I automate the master buss to enhance contrast and movement between sections in the song, and listen to the master on several devices over the next couple days while making tweaks before I send it back to you!
Q: What advice do you have for a customer looking to hire a provider like you?
A: Reach out! talk to lots of providers and see which ones you find a personal connection with. It's not all about expensive gear, at the end of the day music production is a collaborative effort and synergy is incredibly important.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My computer, headphones, interface, microphone, and guitar.
Q: What was your career path? How long have you been doing this?
A: I started producing and recording when I was 15. Recording my own band, spending hours mixing, and releasing demos at my school. I did this all throughout high school and started taking my own clients after graduation. I interned with and got feedback from freelance producers/engineers I knew and grew my skills through practice. I am now in my 4th year of freelance production and spend everyday delivering top quality content and try to improve my skills everyday!
Q: How would you describe your style?
A: Clear, punchy, and colorful. I grew up on modern rock and rap, and fell in love with sounds that so beautiful and creative that they seemed to be performing right in front of me. I aim for that quality with everything I create.
Q: Which artist would you like to work with and why?
A: Steve Bays from Hot Hot Heat because I love his production style and he grew up in my home town!
Q: Can you share one music production tip?
A: Listen! Many videos and blogs tell you to "high-pass here" or "compress with these settings" but if you aren't listening you can't know if you're improving or ruining a track. Practice your craft, ask for feedback, know your DAW/instrument inside-and-out, and you'll see massive improvement.
Q: What type of music do you usually work on?
A: I usually work on rock and pop songs, but often on fusion songs with rap and trap elements.
Q: What's your strongest skill?
A: Communication, I love talking to artists and finding what it is that makes them unique and how I can help enhance those qualities. I have worked with other producers and engineers in the past, and I sometimes found it hard to describe what it is I wasn't satisfied with. I'm committed to listening to my clients and delivering work that we can both be proud of!
Q: What do you bring to a song?
A: A passion for music, collaborative spirit, years of production experience, the best software, professional techniques, and an unbiased perspective.
Q: Tell us about your studio setup.
A: I work in-the-box, mostly on Slate Digital Virtual Mix Rack, FabFilter Pro-Q 3, and iZotope Ozone 8 in Pro Tools 2019. I monitor my mixes on Mackie MR5 MKIII speakers through a Behringer U-Phoria UMC1820 in a controlled environment.
Q: What other musicians or music production professionals inspire you?
A: Travis Scott, Steve Bays (Hot Hot Heat), Dan Auerbach (Black Keys), Leland Wayne (Metro Boomin)
Q: Describe the most common type of work you do for your clients.
A: Producing, recording, mixing, and mastering