Online Mixing & Mastering

Q: What are you working on at the moment?

A: I’m working on two album projects involving cover songs and originals with musicians from Nashville, Houston, Phoenix, London, Portugal, Spain, Argentina, and the Philippines.

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

A: If you’re looking for female vocalists, I love working with Andrea Santachica, Amber Sweeney, Audrey McDonald, Jessica Jolia, Aika Zabala, Mariana Gouveia, Tammy Berman, Christina Hall, Angela Gooden, and Ines Vera-Ortiz, all of whom are consummate professionals. And if you need a guitarist - Federico Tarquini is a master (and teacher); also Pedro Silveira is superb.

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

A: - What types of music do you Edit, Mix & Master? Pop, Rock, R&B, Jazz, Blues, Adult Contemporary, Orchestral, Country, A Capella Vocals. I can handle pretty much anything except Heavy Metal, Rap, or Hip Hop. - Do you have Samples of your work I can listen to? Sure. There are some examples here in my profile page and on my website. - How long can my tracks/songs be? Songs don’t need to be a specific length. The average song length of a Pop song or one you might hear on the radio is about three and half minutes. Cover song licensing can cost more if a song is more than five minutes long. But you have to ask yourself, “Who is my target audience?” Would your fans listen to and enjoy an eight-minute song, or would they rather hear a radio-ready hit? As for my editing, mixing, and mastering services, my prices are the same regardless of song or track length. - Can I get Revisions? Yes! I will do up to three free revisions per Service (Editing, Mixing, or Mastering) – after which they are $25 apiece. And I will do unlimited revisions on any package deal (Edit & Mix; Edit, Mix & Master; or Mix & Master).

Q: Tell us about your studio setup.

A: I use a Dell 8930 server running ProTools, Reaper, and host of supporting software from Waves, Native Instruments Toneboosters, iZotope, TSE Audio, Voxengo, among other programs and plug-ins. I mix using various studio monitors such as Yamaha HS8's, Roland Micros, headphones, and various other playback test systems in a dedicated, acoustically treated facility. I record using Shure and MXL microphones.

Q: Analog or digital and why?

A: I prefer mixing “in the box” because I like the way it sounds, the efficient and productive flexibility of it, and it’s very efficient for turning around any changes or revisions.

Q: What questions do you ask prospective clients?

A: What do you consider to be your genre? What artists have influenced your music? Is there recording of a song/performance similar to yours that you admire? What is your schedule? When do you need the final product? What media are distributing to (streaming, CD, MP3, Film, TV)? Do you need any alternative mixes (a capella, instrumental, backing track)?

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

A: On the production side, I get to work with singers and instrumentalists from all over the world - and I'm always impressed with the way music brings us together in a positive way no matter where you're from. As far a famous artists are concerned, I'd love to see how Chris Botti and Paula Cole do a recording session together - because the "conversation" between those two is stunning.

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

A: Amber Sweeney is a powerhouse singer whose career is skyrocketing right now. She recently had an #1 R&B single in the UK. It was my privilege to work with her on a project covering a song by the Eagles, “I Can’t Tell You Why.” I did the production, arrangement, instrumentals, editing, mixing, and mastering for that song – which included 26 vocal tracks of Amber’s Lead, Harmony, and Ad Lib performances, including a spectacular duet with herself. I’ve featured this track here on my profile page.

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

A: I know that clients aren’t always comfortable working with a remote service provider in a virtual environment. It’s hard to reach out and risk your music with someone you’ve never met. And it can be personal – after all, your music is something you’ve put your heart and soul into, sometimes for many days or weeks. I’ve been in the same boat myself as a session musician hiring other performers, and it can be nerve-wracking until you’ve got that great-sounding final track in your hands. But please remember, I’m here for you. Without you – I’m out of a job. So I’m dedicated to your success and the part my service plays in getting you there.

Q: What do you like most about your job?

A: I love working with other musicians and helping artists achieve their dreams of producing a great sounding song.

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

A: That every song is mixed and mastered the same. Each mix is unique and mixing/mastering engineers approach each project with a fresh perspective and a commitment to making the final recording sound the very best it possibly can.

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

A: You may have the absolute best raw recording ever made, but in order for it to have the professional sounding finish of radio-ready songs, it needs to be mixed and mastered. Ask yourself some of these questions about your mix: Does it have contrast? Does it build? Are sound elements like instruments and vocals in different areas of the stereo field? Does it have a lead that carries the focus of the song? Is it noisy? Is it clear? Does it have punch? Does it sound too far away? Can you hear every word and note? Does it have dullness? Is it uninteresting or boring? Does it groove? The services of a mixing/mastering engineer will address all of these issues and more – so let us help you take your recording to the next level.

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

A: Mostly Pop and Adult Contemporary, but I've done Rock, Jazz, R&B, and CCM as well.

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

A: I trained in classical piano, then got into popular music, and percussion instruments. I played with bands and solo gigs until I was drafted for the Vietnam war. Then music was a sideline until I retired from the military in 2001, and have finally been able to do it full time since then.

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

A: Keyboard, keyboard amp, my DAW computer, USB interface, and I guess a generator to power it all...

Q: How would you describe your style?

A: Plain speaking, roll up your sleeves, and keep going until it sounds the best you can make it.

Q: Can you share one music production tip?

A: Never be afraid to try something new - but be honest about whether it really works or not, and ask others for feedback if you're not sure.

Q: What's your strongest skill?

A: I'm usually able to balance dynamic range and loudness in a way that makes customers happy.

Q: What do you bring to a song?

A: I'm also a musician and producer myself, so I like to think I bring that perspective. I'm always looking for that perfect marriage of a great hook, outstanding contrast, and something unique or different in the performance that makes it special. I think in this business you've got to be passionate about what you do - and I absolutely love it.

Q: What's your typical work process?

A: Upon receipt of the customer's mix or track files, I organize and label everything into groups, subgroups, tracks, and FX, work with the customer on any final decisions on takes/comps, and delete empty or unused tracks, and ensure no plugins or automation is in use. If there are vocals, I edit them for noise, de-essing, or pitch issues. Then I work on any obvious timing or tempo issues and tighten up any instruments that need pocketing. Next I work gain-staging and make a backup. If the customer has provided any reference tracks or song/performer type guidance I listen to all of that, or if not, I discuss and choose a reference mix with the customer and use that to begin a static mix with volume and pan only in mono, then stereo. After that, I use EQ, Compression, Reverb & Delay as needed, and then sweeten the mix using automation. Then I usually break for a day to let my ears rest and re-engage with fresh ears and make any final changes before printing a file for mastering. Then I master the mix using my referencing, width, depth, loudness experience and tools - optimizing for the desired media, and working back with the customer to make sure he/she is satisfied.

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

A: I provide Editing, Mixing, and Mastering services for music audio tracks.

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

A: I especially admire the work of Chris Lord-Alge, Bob Brockman, Benny Faccone, Jon Gass, and Dave Pensado, among others.