Tracking, Recording, Mixing

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

A: There are many projects I really have enjoyed. I think the first album at my studio in 2010. Partly because it was such a grind. Partly because the band got a big break from the work we did. I recorded and mixed Kyng's album Trampled Sun. I grew up listening to metal/hard rock so it was awesome to capture all those guitars and bass performances. Eddie is a great singer too so the vocals were fun as well. I was such a rookie too, I was just cutting my teeth. Some of the bass tones are still some of my favorite I've ever gotten. We recorded all guitars and bass through real amps with real equipment. Usually double mic'ed. SM57 and Royer 121 and the bass was a D112 and an e609 for the brightness.

Q: What are you working on at the moment?

A: I teach music production, recording and mixing at MTSU in Murfreesboro TN. That keeps me busy a couple days a week. I have a film I'm mixing and I just submitted two songs this week (May 4th, 2026) to Curb|Word for Sarah Reeves.

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

A: I have not spent much time here, but looking to change that.

Q: Analog or digital and why?

A: I was all analog up until 2018, then I was hybrid until 2021. Technology has improved so much and I can move much faster in the digital world with less headaches trying to recall a mix on an analog console. It took some getting used to, but by now I really feel at home in the digital realm. If the client requests to mix their song/album on a console I would ask if they can afford studio time and suggest I can do a better job in the digital world. I love analog and could go back to that workflow. I would just have to bring my speakers to the studio we pick to mix at. I have done that a couple of times since letting go of my console. The mixes turn out great either way.

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

A: I will work as hard as you need me to make your mix dreams come true. It's very natural to me by now so I can easily manipulate sound to do what I need it to do, so it translates into what you want.

Q: What do you like most about your job?

A: Every song is a new song. Even if they are on the same album, they are all different, they have a different voice.

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

A: Q: What is the time frame to mix one song? A: It takes as long as it takes, but usually 2 - 3 days. Depending on how fast we move through any changes you want to make.

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

A: That just getting a balance of instruments is enough to getting a mix. Mixing is about energy and groove. Levels are an important step but the end all...

Q: What questions do you ask prospective clients?

A: Are you happy with your production up to this point, or do you think there are still aspects that you need to look into still?

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

A: I have probably mixed many songs that are similar to the song you're working on. I ended up becoming an engineer because the first audio engineer that worked on my project was a terrible mixer and I had world class musicians on the record and he couldn't get it to sound right.

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

A: Assuming that I have the coolest cave/house and that there is electric power. 1) Computer & Pro Tools rig with a UAD Apollo X4 2) Fender American Strat 3) 88 Key Controller maybe Arturia 4) Sennheiser MD 441 5) Fabfilter Total Bundle.

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

A: Undergrad in Guitar Performance from Berklee College of Music '05. I arranged and produced my first record that was commercially released in 2002. After producing several records in the mid late 2000's I realized that audio engineering was something I really enjoyed. So I immersed myself in that field, and have not stopped.

Q: How would you describe your style?

A: Very Los Angeles, Hollywood. My training is based mostly on the techniques that were used in the major studios from the 1980's. Larger than Life is what I shoot for, but sometimes the song has a different voice and I also like adjusting to what the song needs not what I want.

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

A: I want to work with you. I have already worked with many big name artists and that is fun. But the new artist with lots of vigor and drive is more exciting.

Q: Can you share one music production tip?

A: Don't over think things. At this moment the song you are working on is just a small glimpse of your overall portfolio as an artist, it's a small piece of a much larger work. Don't produce with your engineer hat on and don't mix with your producer hat on.

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

A: Anything from Rock to Pop is most of what I do. Having lived in Mexico and Brasil I love working on latin music too. I have mixed a K-Pop record before. I occasionally do mix film scores as well and love the beauty of orchestral music.

Q: What's your strongest skill?

A: Problem solving is my greatest strength. I enjoy a challenge. Hopefully your mix won't be very challenging but I do love what I do and will work hard to make your music sound great. I love the puzzle that is mixing and solving it.

Q: What do you bring to a song?

A: My commercial facility was home to one of my audio engineer heroes. Benny Faccone was my tenant for nearly 9 years and I got to see more than 9 grammy award winning productions come through his room. I also have worked on Grammy winning productions the lates one was Heart of a Human by Doe. I bring decades of the right kind of experience.

Q: What's your typical work process?

A: I listen to the song, I listen to the client's reference tracks and their reference mix. Then I methodically clean up the tracks provided to make sure I can get the biggest(heartfelt) mix possible. I have been doing this for a long time. I want to make my client happy so they are really in command of the final product.

Q: Tell us about your studio setup.

A: I work from home and I also finalize mixes in professional rooms. Having owned a commercial facility I understand the importance of a great sounding clean space for mixing. My setup is simple Avid MTRX Studio in a good sounding room with my vintage Tannoy monitors and have most or all the plugins from manufacturers like UAD, Fabfilter, Waves, Soundtoys and many more.

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

A: People who care about their craft inspire me.

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

A: Mixing is what I do most. I did have a commercial recording studio in Westlake Village Ca, for 9 years so I'm a great tracking engineer too. I have expanded my work to Film and Documentaries and can mix from Stereo to Atmos and Surround 5.1 and 7.1 Deliverables.