Mixer - Producer

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

A: Culture Abuse's "Peach" was an interesting experience. I was Producer / Mixer / Master on the entire record. It was crazy to track, we really pushed to achieve the sounds we eventually came up with and the support for the record was an unexpected surprise. Getting #4 on the Noisey albums of the year, between Kanye and Beyonce.

Q: Analog or digital and why?

A: I'm fortunate enough to say both! I'm big on analog summing and saturation. I also have an tube and solid state analog mix bus before everything goes back into my Apogee Symphony. I like to run specific tracks through gear as well, but those are printed in to make recalls easy.

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

A: Being efficient, true to the artist vision, and responsive through the entire process.

Q: What do you like most about your job?

A: I like turning raw tracks into something special that my clients are excited to share with the rest of the world. Record making is a vulnerable place, and when you start to hear it come together the way you always thought it would, it makes the whole process easier and lighter.

Q: What questions do you ask prospective clients?

A: What inspired you for this song or record? Where do you want me to take it? Every project requires different needs and the desired outcome is always in the artist mind. It's my job to figure out the best approach to take the production in the right direction.

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

A: Ask questions and really feel confident in hiring an engineer. A real professional will work with you through your project and address any concerns on either end. The biggest part of a great record is communication. It needs to be open for everyone involved to do the best job.

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

A: Good speakers, Undertone Audio Mic Pre-EQ, SM7, Distressor, Fast computer with good WiFi to Record and call for help.

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

A: I have been in music production for 10+ years now. I started at 13 years old recording bands in my parents garage. I eventually started working out of The Panda Studios in Fremont, California, as well as working on the The Waiting Room show sponsored by Alternative Press. From there I took over Nu-Tone Recording with a business partner and am now Owner / Producer / Mixing Engineer at that facility.

Q: How would you describe your style?

A: I like to describe it as a modern polish with grit of our favorite records from the past. I think relying solely on the computer can provide you the clarity, but lack the push and immediacy of analog. Combining the two worlds brings you the best of both. Amazing top end with the excitement of real analog gear passing sound.

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

A: John Mayer. His new singles are the perfect blend of modern and vintage, great tones that are fat and warm to the ear with clear and pop style vocals.

Q: Can you share one music production tip?

A: How about two! First off, as a mix engineer I get files that were recorded in studios and at home. The biggest thing to focus on in either environment is PERFORMANCE. A cheap mic, recording a beautiful vocal at a proper level, can create an amazing result. Tip 2, play around with layers! When tracking have a few instruments playing the same part to create a deeper sonic landscape. I like adding acoustic guitar to a chorus even if it's heavy distorted guitar. Synths, either analog or virtual, can add to this as well. Auxiliary percussion can really bring certain parts to life too. There is no rules, add things until it feels right.

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

A: I'm usually working in rock with a heavy pop influence. Virtual instruments blending with real instruments to create a cohesive sonic character.

Q: What's your strongest skill?

A: I work very effectively, but more importantly fast. With the combination of both of these elements, not only does the artist get the track hat wanted, but they get it in a timely manner that allows them to focus on the next step in the album/single cycle process.

Q: What do you bring to a song?

A: It's a cliche answer, but perspective. You have been listening to the same tracks over and over again for months, maybe years. It's all fresh to me, so I know immediately where it needs to fit sonically in the stereo image.

Q: What's your typical work process?

A: Once I receive files, I do a general clean up and try to get a balance going immediately. I feel like the quicker we get it sounding like the final record, the more time we can spend on fine tuning the small details that add up to the bigger picture.

Q: Tell us about your studio setup.

A: I'm big on analog gear. I enjoy the flavor and cohesiveness it brings to my mixes. Outboard summing and hardware pieces across drums, vocals, guitar, and bass really bring things together that a computer can't achieve.

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

A: Mark "Spike" Stent is a huge inspiration. I like how he can take rock bands and a pop sensibility and blend it all together seamlessly. Just because we have loud drums and guitars, doesn't mean it shouldn't be able to stand up anything else in the modern era of music.

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

A: I am a Mixing Engineer. I take the tracks you recorded in a studio or yourself and make them fit out of two speakers. I think the artist, should worry about creating and amazing takes. You can easily record yourself at a high quality, take them time to make it right and send it to me to make sure it all comes together the way you envisioned.