Mixing & Mastering

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

A: Mixing and Mastering "Fortune Selector" by Other Houses, since I was good friends with all involved and the label supported a vinyl release.

Q: Analog or digital and why?

A: I see the limitations of analog, while also understanding the desire most artists have to imbue their music with as much old school character as possible. I would say I have one foot in the old world and the other in the new. I track most things digitally but through an analog console, and sum in analog. Sometimes I will run my mixes through 1/4'' tape before mastering.

Q: What do you like most about your job?

A: I love getting to work on music, it's what I live for and was born to do.

Q: What questions do you ask prospective clients?

A: If you had to compare this material to one album, what would it be?

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

A: Learn how to send individual tracks or stems.

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

A: There are no famous artists I'd particularly care one way or another about working with. I much prefer working with new and up and coming artists who are looking for a break. If I had to pick someone today, I think it would be Father John Misty.

Q: Can you share one music production tip?

A: Mix with plenty of headroom, otherwise, your effects will get choked off and become hard to hear, among many other reasons.

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

A: I work on a lot of Americana, rock, and reggae music primarily. Also, any kind of singer-songwriter genre can be heard in my studio on a regular basis.

Q: What's your strongest skill?

A: I can work quickly and I'm great with deadlines.

Q: What do you bring to a song?

A: I'm a songwriter and arranger myself, so I try and approach every song as if I had written it. Music is very personal, and it's important to treat each song like its someone's baby, because it is.

Q: What's your typical work process?

A: Typically I build and edit my mixes from the bottom up, creating a nice sonic bed for the vocal tracks. I use a mix of outboard and in the box effects, and occasionally even analog tape to achieve desired results.

Q: Tell us about your studio setup.

A: Focusrite 8PreX Focusrite Octopre Tascam 388 1/4’’ Tape Machine Art Pro VLA Tube Compressor El Capistan Tape Delay Benidub Spring Reverb PC-2 Percussion Synth SubPac S2 Soundtoys 5 Bundle Izotope Ozone Melodyne Nord Electro Stage 61 Keys 1972 Custom Fender Telecaster 1996 Fender Jagstang Fender Jazz Bass Custom Epiphone Les Paul w/TV Jones 60s Supro Amplifier Melodica Various Percussion Instruments Silver Fathead Ribbon Pair Gold Fathead Ribbon Pair Cascade M39 Pair D112

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

A: Al Schmidt is my hero. I was lucky enough to watch him work countless times at Capitol Studios while I was a runner there for a few years.

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

A: Typically, clients will send me their audio files for mixing or mastering. I work very quickly but have no problem working intimately with the artists to make sure their music turns out exactly how they want.