Boutique Mastering Engineer

Q: Analog or digital and why?

A: I prefer a hybrid approach-analog and digital are different mediums that have different advantages and disadvantages that can be combined in ways that are beneficial.

Q: What are you working on at the moment?

A: Currently, I'm finishing up some samples and revisions for several different local Phoenix artists.

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

A: One of my first albums was Herbert Walker's "On Flat Earth". I played a lot of roles in this one, from mastering engineer to string arranger to trumpet player to songwriting, and it was an incredibly collaborative experience that was very artistically satisfying to everyone involved.

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

A: Hugo Nicolson in LA-his work on "In Rainbows" was very special.

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

A: All engineers have different styles, and it's important to check an engineers portfolio in detail to make sure that style aligns with your creative vision. Communication and professionalism are actually much more important than any awards a potential engineer exhibits.

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

A: Justin Vernon, for his ability to innovate and write in an abstract yet musically expressive and accessible manner.

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

A: Honesty, integrity, creativity, and highest quality.

Q: What do you like most about your job?

A: The variety-every project is unique and different in interesting ways. It's always very satisfying to put the icing on the cake working as a creative, as is helping fellow artists put out work they can be proud of.

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

A: Probably that mastering is a cold, sterile, technical process. Nothing could be further from the truth. It's a lot like putting icing on a cake-it's the first thing people see so you want to get it right, and there's a ton of room for creativity and expression.

Q: What questions do you ask prospective clients?

A: Which track is the sonic centerpiece of this project (for an album)? What are some albums whose sound you love and find inspiring and exciting? What are you career goals for this project, and what are you hoping this project will achieve in your life and career? Where do you find creative inspiration, and how should this project reflect that inspiration?

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

A: I didn't start out as an audio engineer-I have a graduate degree in Trumpet Performance, and believe that musical education gives me a unique perspective on the creative side of the engineering fields. I've been a studio owner for almost 10 years, and a mastering specialist for around half that time.

Q: How would you describe your style?

A: Clear, transparent, warm, open, impactful, honest, exciting.

Q: Can you share one music production tip?

A: Working with bass is counterintuitive-if you want a thick, warm, punchy bass sound try shelving or cutting in the lowest sub regions. Excessive boosting in this region often leads to bass that is less punchy and less focused. Bonus tip: a thorough understanding of phase is one of the most important tools an engineer has at their disposal.

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

A: I pride myself on having the practical experience to be able to cross genres effectively and work in any style, and I believe that characteristic is essential for any professional mastering engineer to exhibit in their work. Unlike mixing engineers, where individual styles tend to be very focused, the best mastering engineers in the world often have the flexibility to work in many different styles. Because I often work with a lot of smaller, independent artists, my work tends to be focused in that style, but that's more due to coincidence then a preference on my part. I love making all music sound amazing!

Q: What's your strongest skill?

A: As a working performing artist myself, I have an intuitive ability to hone in on the elements of your creative work that make your sound truly unique, and then expand and extend that vision in a transparent way that doesn't interfere. I am an extremely musical engineer because I am also an artist. That's a skill that is becoming rarer as mainstream recording education focuses more on technical skills, and less on creative/musical skills.

Q: What do you bring to a song?

A: I bring a unique and flexible artistic sensibility that both respects and enhances your original creative vision. My work tends to be innovative and dynamically impactful.

Q: What's your typical work process?

A: I always prefer to chat directly with artists I'm working with and make the process as collaborative as possible. The beginning of the process involves either a quick chat or a small form to fill out, where we discuss your objectives for the project, technical items, distribution plans, and your creative/stylistic preferences. Then, I'll take a look at your final mixes, and if any adjustments need to be made to ensure a successful mastering process I can offer suggestions or liaise directly with your mix engineer. Once we're good to go on mixes and we've agreed on turnaround time, I'll quote the project, take payment, and deliver your masters. After delivery, all revisions are free for 30 days. Once revisions are handled to your satisfaction and you've approved the masters, I'll send along a final ZIP archive containing your files, then you're ready to move on to distribution!

Q: Tell us about your studio setup.

A: I have a studio space focused on acoustics and the highest audio fidelity. In mastering, the room is your canvas, and my gear choices have been focused on providing as clear and transparent a window for making artistic decisions as possible. I'm one of relatively few mastering engineers at my price point whose studio features active acoustic control in the form of PSI Audio AVAA C20 active bass traps. This equipment allows me to achieve extremely accurate bass monitoring for a thick, sculpted, and warm sound, while keeping prices affordable for smaller artists.

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

A: I love supporting the indie scene, and helping new and innovate artists realize their visions. Rick Rubin would be a production professional I admire, because of his ability to cross genre and work with artists of all sizes and styles. George Martin would be another, Justin Vernon another, for the same reasons.

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

A: I specialize in mastering, but I also can be as involved in the mixing process as the client wants me to be-since I often work with a lot of smaller indie artists, it helps to have my ears and expertise earlier in the process as needed. You can't get to a great master without starting from a great mix, and so all of my jobs include a free mix consult-I'll take a look at your files, offer suggestions if needed, and then once everything is sounding great we can get to it!

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

A: Q: How can I make better recordings on my own? A: A lot of time, practice, and a clear idea of both what you want to accomplish and the technical ability to achieve it. Finding qualified mentors to learn from directly is much more effective than internet research.

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

A: Great speakers, great conversion, great headphones, and somehow building a great mastering room on the island :-)