Engineer

Q: What do you bring to a song?

A: In additon to my technical skills I have a music degree and can read scores. I lend a sense of immediacy, power and realism to my recordings, as if the band is right in front of the listener.

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

A: I would have to say my favorite was recording the souce music for the film "The Aviator". We recorded most of the big band music performed in the club scenes with Vince Giordno and the Nighthawks They specialize in music from that time using period style instruments and they are are hands down masters of it. We would do a session every few months over the period of a year. I got to pull out all of the stops with the vintage microphone collection we had at Clinton Recording. I love recording big bands!

Q: What are you working on at the moment?

A: Designing additional recording space.

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

A: That an engineer/producer can make anyone sound good.

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

A: I am new here so there may be some folks that I know...

Q: Analog or digital and why?

A: I have worked many years with both. Finding analog multitracks is rare these days I like to combine analog and digital as much as I can using the warmest analog front end I can while recording and (especially) editing in ProTools. While I mix "in the box" at home, I really enjoyed mixing with a great analog console.

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

A: That I'll provide a musical high quality product with great sounding equipment. I will be supportive, enthusiastic and put in my best effort to show your art in the best light possible.

Q: What do you like most about your job?

A: What's not to like? I get to listen to music, expeience an endless variety of styles, I am constantly learning and I make new friends.

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

A: Believe it or not one of the most asked questions is, "What do all of those knobs do?". I tell them only the volume knob works.The rest is just for show!

Q: What questions do you ask prospective clients?

A: Other than the regular type of music, size of group and instrumentation questions, I like to know if they have had any studio experience, favorite recordings (and ones they hate). Also, any specific needs they may have as far as amenities, equipment or session musicians.

Q: How would you describe your style?

A: Musical, clean and creative, with an attention to detail.

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

A: I'd loved to have worked with Frank Zappa. He was just fantastic. I also would love to work with Steely Dan and Donald Fagan (I did work on some overdubs for a few days for Donald on Kamikiriad). Their recordings are a standard in how it should be done. Peter Gabriel, Yes, Tool... There are a lot.

Q: Can you share one music production tip?

A: Getting a great headphone mix for the performers is critical. If they aren't comfortable, they won't perform at their best. Keep the artists relaxed.

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

A: I have worked on a variety of musical styles from Classical to Rock, Broadway to film scores, although the majority of my recordings have been acoustic jazz.

Q: What's your strongest skill?

A: My musical sense and listening ability which enables me to qickly establish a solid mix. This is a great asset, especially in recording direct to stereo, as there is no fixing it in the mix. It has to be perfect the first time.

Q: What's your typical work process?

A: Record using the best equiment available, add the needed overdubs, edit and mix. Sometimes I am called on to master but I suggest going to a Mastering engineer for that. I also am very skilled at recording direct to stereo.

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

A: I have worked with and admire many great engineers and producers over the years, Phil Ramone, Tommy LiPuma, Al Schmidtt and Elliot Scheiner to name a few.

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

A: I have recorded, edited and mixed over 200 albums, although now I am finishing my personal studio for small combos, editing and mixing. I will track larger groups at local studios.

Q: Tell us about your studio setup.

A: It is a privately owned, Pro Tools based project studio. I spent a lot of time designing and building the acoustic treatment. It is an accurate and comfortable listening environment. I am currently expanding the recording space.

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

A: A Neve 8078 console, a Neumann M-49 microphone, a 2 inch 16 track, a ProTools rig and a satelite modem! Maybe a sea plane, food and water instead...

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

A: I started at Clinton Recording Studios in NYC in 1984 and worked my way up to house engineer. Around 2000, I began doing freelance work as well. In 2008 I moved to the mountains of Wyoming psudo-retiring and woking in radio. Two years ago I moved back to my hometown in Wisconsin and decided to start my own business.