Analog or digital and why?
I'm mainly digital. I would love to own more analog gear, but typically for the price of one high quality analog compressor, you can buy a boutique plugin manufacturer's entire line of products. For that reason, the "analog gear" that I care about most these days are high-quality microphones, preamps, and instruments. The mixing and mastering plugins are so good these days, and I'm able to create precise, repeatable results with them. As great as many people will tell you analog gear is, when you are using it for mixing and mastering there is always a certain "disconnect" of having to move to adjust the dials, then move back to hear the results, etc. Its a pitfall that not many people talk about, but it's one more reason that digital compressors and eq's can be superior in terms of workflow. I am a huge fan of tube preamplifiers and tube microphones though.
What's your 'promise' to your clients?
I will always do my best to create the sound that YOU want, regardless of my own preferences or what the industry is doing.
What do you like most about your job?
I love helping clients create their "dream recording". I love being a part of the process and I've been humbled to work with some incredibly talented artists on their music.
What questions do customers most commonly ask you? What's your answer?
"Can you save that take?" - YES I save every take, we can always create a "master compilation" after the fact.
"What's the difference between mixing and mastering?" - Mixing means blending all of the individual elements of a song together into a cohesive whole, mastering means taking that cohesive whole and making it sound the best it can on all systems.
"Can you fix that in the mix?" - Many times, mixing and editing are able to help parts that could have been better, whether due to recording quality, tuning, etc, but it's always better to get a great take of each part at the time of recording rather than trying to fix it later.
What's the biggest misconception about what you do?
There are a lot of misconceptions that the recording process somehow makes a song better. In truth, when the musician/band spends time honing in their tones, making sure they are 100% in tune, and producing the song itself as much as possible, it makes the recording process so much easier and more fun, and you don't have to rely on the engineer to "save the song". However, I've been in many situations where I've had to "save the song" and I've gotten very good at it.
If you were on a desert island and could take just 5 pieces of gear, what would they be?
Apogee Ensemble, Oktava MK319, Royer SF-24, Slate VMR, Slate FG-X.
What was your career path? How long have you been doing this?
I've been producing and recording since 2009. I've had "real world" experience in all facets of production, recording, mixing and mastering since then as well as being in the studio learning from great engineers. I've set up about 6 of my own studios in that time, the current one is located in North Hollywood, CA.
How would you describe your style?
I try to ride the fine line between "natural" and "polished" and veer in one direction or the other as the client requests.
Can you share one music production tip?
Be wary of your room - If it sounds good in a great acoustic room you can probably trust it, but many rooms will mask frequencies or cause you to think something is great that might not translate everywhere else.
What type of music do you usually work on?
I work on all styles from singer/songwriter to hip-hop, rock, electronic and everything in between.
What do you bring to a song?
I always bring a combination of creativity and technical skill, and I do my best to create a product that the client can be proud of.
Tell us about your studio setup.
Microphones from Rode, Shure, Oktava, and AKG. Apogee Preamps and Converters. KRK monitors. Acoustics designed by acoustic fields.
Describe the most common type of work you do for your clients.
Producing, Recording, Mixing, Mastering