Prod/Arrangement and Mixing

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

A: I would love to work with King Gizzard because their energy and tenacity inspires me more than any other band right now. I love bands that make and release music non-stop.

Q: Analog or digital and why?

A: Both because there are advantages and disadvantages to both workflows.

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

A: To work hard and communicate with you while we get your track done.

Q: What do you like most about your job?

A: Music! I love listening to artist's interpretations of the world through the music they make, and helping elevate that music into something special for the artist.

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

A: That mixing or production will complete or fix a song. The song has to stand on its own two legs before we can put pants on it.

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

A: Don't be afraid to ask questions and be honest about your budget. I won't turn something down if we share a vision for something.

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

A: I started out writing songs and touring as a solo artist before getting into production in 2016. Since then I've been working in or building studios with friends and mentors and recording/mixing as many projects as possible.

Q: Can you share one music production tip?

A: If it doesn't sound good to your ears in the room, then it probably won't sound good on the mic. There are so many variables before the microphone, and the three most important are player, instrument, and room.

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

A: I personally make psychedelic pop music, but have worked on folk, americana, jazz, synth-pop, rock, and avant garde records.

Q: What's your strongest skill?

A: I'd like to think that I'm a pretty good listener, both to the song and to the client. The beauty of making music is it's collaborative nature, and I never want to overshadow an artist's vision so I can get my signature "tricks" in on a track. I like clients who enjoy working together in close communication until the project is feeling right for everyone.

Q: What do you bring to a song?

A: I hope that I can bring character and charm to a song, so that it feels as musical and human as possible.

Q: What's your typical work process?

A: I mostly mix and build tracks from home, and do larger scale productions with my band and other close collaborators at our shared location. I mix mostly in the box, with the exception of a few outboard reverbs and delays, compressors, and EQ's. If something calls for it, I'll often run mixes through the Tascam M3500 at my other studio to get some good analog "glue" before printing it through 1 of 2 tape machines of your choice: Telefunken M15 or a Studer A812.

Q: Tell us about your studio setup.

A: I have 2 setups, one at home and one at another location. My setup at home consists of an Apollo Twin in tandem with the UAD 4-710 preamp/compressor unit and SSL Alpha VHD. I have a Fostex spring reverb and several Wollensak 1/4" tape machines for outboard processing, and Dynaudio BM15A's. Instruments and mics are shared between the locations, which consist of loads of drum kits, synths, guitars, basses, amps, and other esoteric instruments. My second studio setup consists of an Antelope Orion32, Tascam M3500 console and Adams A7X speakers. There's also tons of outboard effects processing there.

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

A: My number one is George Martin, as I don't think I would have fallen in love with the recording process if it weren't for The Beatles. Other key inspirations along the way have been Nick Drake, Fela Kuti, Brian Eno, Emitt Rhodes, and all in-between. I like productions and mixes that push forward sonically but pull philosophically from the classic cannon of albums and recording techniques.

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

A: Most of my clients come to me for production and arrangement, whether it be re-harmonizing some chords under a melody or doing a full blown instrumental recording. Over time I've found that it's easier to get a mix done as well since I usually am mixing as I go along. I have other clients who record everything at home and send me stems for mixing and "vibe" production. It all depends on the need and the budget, but I enjoy helping artists in whatever way I can.