Your Sound. Elevated.

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

A: TOX (2026). I scored the entire film. It's a dark psychological drama about a woman who's transformed herself physically, hoping that external perfection will heal internal wounds. The director gave me real creative freedom, especially with the sound design. I built these unsettling, dissonant textures for the nightmare sequences, then contrasted them with this cold, almost too-pristine sound for the "perfect" reality scenes. The tension between those two worlds is what I'm most proud of. Premieres at Sundance.

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

A: For bass music production: Noah (Haterade). For mastering: Tom Frampton. Both are excellent at what they do.

Q: Analog or digital and why?

A: Both, and neither matters as much as people think. I'm not a gear snob. I've been down that road. I use what works for the song. If a plugin does it, great. If I need to reach for hardware, I will. The ears matter more than the tools.

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

A: You'll get back the song you heard in your head. Not my version of it - yours, just fully realized. I'm not here to put my stamp on your music. I'm here to make your vision louder, clearer, and undeniable.

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

A: "How do you like to receive files?" Stems, clearly labeled, with a rough mix for reference. Include any notes about what you love and what's bothering you. The more context you give me, the faster I get to where you want to be. I'll send a checklist after we connect.

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

A: That mixing is just technical cleanup. It's not. A mix is where the emotion of a song either comes alive or dies. Two engineers can mix the same stems and get completely different feelings. The technical stuff is table stakes - the real job is making people feel something.

Q: What questions do you ask prospective clients?

A: "If your song showed up in a Spotify playlist, what other tracks would be next to it?" That tells me more than any genre label ever could. I want to know what you're reaching for, not just what box you think you fit in.

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

A: 15+ years, full-time. Started as an assistant engineer, worked my way up to chief engineer, then pivoted into production, mixing, and composition. I've also toured internationally as an artist, so I understand both sides of the glass. The ups and downs taught me that reliability matters as much as talent.

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

A: Christopher Nolan. His films demand scores that are felt as much as heard. The way he uses music as a narrative tool - not just underscore but actual storytelling - that's the kind of project I live for.

Q: Can you share one music production tip?

A: Reference relentlessly. Put a track you love in your session and A/B against it constantly. Your ears lie to you after an hour. A good reference keeps you honest.

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

A: Electronic, indie, pop, and cinematic. I love music that blends genres and doesn't fit neatly into a box. If your track has texture, emotion, and something to say, we'll get along.

Q: What's your typical work process?

A: For mixing: you send stems and references, I listen to everything before I touch a fader. First mix usually lands within a week. Most clients approve it right away. If we need revisions, I'm fast and I don't charge extra for reasonable tweaks. For scoring: we talk about the project, I send demos, we refine until it's right.

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

A: Mixing. Artists send me stems, I send back a release-ready track. Most of my clients are indie artists and producers who've finished their production and need someone to bring it all together with clarity, punch, and polish. I also score for film, ads, and games, but mixing is my bread and butter.

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

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Q: What are you working on at the moment?

A: Just finished scoring a feature film called TOX, premiering at Sundance. It's a psychological drama about identity and the cost of perfection. Heavy, unsettling, beautiful. I got to play with the contrast between nightmare sequences and these eerie, "perfect" reality scenes. One of the most creatively satisfying projects I've done.

Q: What do you like most about your job?

A: That moment when a client hears their song back for the first time and goes quiet. Then they replay it. That's the whole game right there.

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

A: Ableton Live Suite, RME interface, Shure SM7B, Genelec monitors, and a coffee machine. The coffee machine is non-negotiable.

Q: What's your strongest skill?

A: Listening. Not just to the audio - to what you're actually trying to say with the song. Most of my clients approve the first mix because I spend time understanding the vision before I start tweaking knobs. The technical stuff is easy. Understanding intent is the hard part, and I'm good at it.

Q: What do you bring to a song?

A: Clarity without sterility. Punch without harshness. I make your song sound like the version you heard in your head but couldn't quite get there on your own. I also bring 15 years of pattern recognition - I've heard a lot of songs, fixed a lot of problems, and I know what works.

Q: Tell us about your studio setup.

A: I built my studio from scratch on my property outside Nashville. Purpose-designed acoustics, Genelec monitoring, zero guesswork. When I hit play, I hear exactly what's there. That's why my mixes translate everywhere - your car, your earbuds, a club system. The room doesn't lie to me, so I don't lie to you.

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

A: Hans Zimmer, Ludwig Göransson, Deadmau5, Le Castle Vania. I'm drawn to people who blur genre lines and treat sound design as part of the composition. Music that makes you feel something physically, not just emotionally.

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

A: Listen to their work, not just their credits. Find someone whose taste matches yours. And trust your gut - if the communication feels off before the project starts, it won't get better. Pick someone who gets your vision and actually wants to help you realize it.

Q: How would you describe your style?

A: Warm. Wide. Punchy. I like mixes that hit you in the chest but still have room to breathe. Forward without being fatiguing. Emotional without being muddy