Production, Mixing, Mastering

Q: What are you working on at the moment?

A: Lots of different album mixes right now. 2023 has been incredibly busy for me, and 2024 is starting to look even busier. So if you're looking to get some work done, get in touch as soon as possible please!

Q: Analog or digital and why?

A: Doesn't matter how it starts, everything is going to end up digital when it's streaming to someone's phone. So it really doesn't matter if it starts off as analog or digital, or a combination of both. I have a lot of analog AND digital gear here, and I use whatever works. If it sounds good, then it is good.

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

A: A laptop loaded with PreSonus Studio One (my favorite production environment), my ESI monitor speakers, my Waldorf Blofeld synth, my hand-built BPM vocal mic, and my Yamaha guitar.

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

A: I did my first production in 1985. It was rough, but it sold enough to get me started as a professional. I have been working as a producer and performer ever since. I have also worked closely with companies such as Steinberg and PreSonus helping to design the digital music technology we use today.

Q: Tell us about your studio setup.

A: I have a small boutique studio in Venice Beach, California, equipped with rare hand-built German mics and monitor speakers. I also have some great old synths (and some great new ones too), along with hundreds of top-quality plugin instruments and effects.

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

A: Die Krupps - Fatherland. This was a remix of an amazing song by a pioneering German electronic group. I worked on the remix with Andrew Eldtritch of The Sisters of Mercy and together we turned this song into an anthem. It went to number 1 in the German Alternative Chart, and it's still a classic.

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

A: To listen, to understand, and to really bring out the emotional essence of their music, not just "make it sound better".

Q: What do you like most about your job?

A: I get to work with great people making great records. That makes everything worthwhile! :-)

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

A: That it's just about making everything louder. I do like making loud records but it's important to make sure that your record will work well on a modern streaming system and not get crushed by it.

Q: What questions do you ask prospective clients?

A: A lot of time and energy can be wasted dealing with technical issues like file conversion, sample rates etc. so I have a checklist of stuff that the client can go through to ensure their work is in the best shape it can be for production, and to reduce time going back and forth to fix technical problems. That makes communication a lot easier and means we can get to working on the production much faster.

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

A: Most of my productions fall into the rough area of "electronic rock". That can be everything from Nine Inch Nails-influenced industrial guitars and synths, all the way into ambient synth music.

Q: What do you bring to a song?

A: Decades of experience in the business mean my productions stand the test of time. If you want to make a record that is still going to be getting airplay 20 years from now, I'm your guy.

Q: What's your typical work process?

A: That really depends on what the artist needs. I'm always willing to go the extra distance to make a record sound great. I mainly work inside the computer, that's where I really feel most at home, but I also have a bunch of vintage hardware that I like to add for that extra special something on a production.

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

A: I have a wide range of influences when it comes to production. Some of my favourites include Phil Spector's great 60s sounds; Tony Visconti's work with T.Rex and Bowie; Martin Hannett's work for Joy Division, New Order, and Factory Records; and Trevor Horn's work on Frankie Goes to Hollywood, ABC, and Pet Shop Boys.

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

A: I do everything in the music production process from mixing and mastering single songs up to full album production from start to finish. I also edit and mix sound for A/V such as video, podcast, and independent movie sound production.

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

A: New Order, because their songs are incredible and their music is timeless.

Q: How would you describe your style?

A: Analytical yet passionate. I love music, and I love working with artists to help show their talent to the world.

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

A: Have a conversation. Let the provider know what you like and what you need. Make sure you can communicate with the provider and feel comfortable having that conversation.

Q: Can you share one music production tip?

A: Get a good mastering engineer. The difference that makes is the difference between a song sounding good and a song sounding great.

Q: What's your strongest skill?

A: A very analytical approach to mixing and mastering. I like to get deep down inside the song and bring out the best of what the artist needs.