Christian Music Mixes & More

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

A: I was the supervising sound editor for the first musical written for virtual reality, Say it With Music. I help with the arrangement, performed in the songs, assembled the team to work on it, did a lot of the editing, and was able to travel and share with people how we pulled off an immersive mix when most VR was in mono.

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

A: Daniela Rivera is remarkable. She will make your song sound excellent.

Q: Analog or digital and why?

A: Both! Analogue is what digital has been trying to sound like for decades, and digital does a great job of sounding like analogue. Digital also has more consistent performance, instant recall, and less maintenance.

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

A: My career started in live sound, moved into live broadcast and post-production sound, then went to grad school for Sound Design for film and television. Now I regularly mix immersive live audio. As of January 1st 2025, I've mixed over 1060 front of house events/shows/concerts/services, over 820 broadcasts or streams, and many songs in the studio.

Q: Can you share one music production tip?

A: A good arrangement makes for an easy mix. Clarity is easy when each part takes a turn rather than all parts playing constantly.

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

A: My career used to center on Southern Gospel, specifically mixing a vocal quartet. Now I mostly work with student artists and I strive to make sure each student's contribution is heard.

Q: What's your strongest skill?

A: Clarity has been my primary pursuit in mixing in my career. I aim to make every part stand out just enough while maintaining the principles of a traditional 'pyramid' mix.

Q: What's your typical work process?

A: Initially on a session I handle all of my routing first. Once things are routed I listen through tracks to see if any edits and fades are necessary, and then from there I dial in sounds track by track, then group by group, then for the overall mix. I tend to do some mix passes in latch mode to get the mix where I like it and go back in touch mode to refine moment to moment mix positions.

Q: Tell us about your studio setup.

A: Our studio's mix room has a SSL Duality Delta for analogue mixing and monitor control, Adam, Focal, Dynaudio, and Genelec speakers, a Dolby Lake Processor for room EQ, loads of external gear (Neve, Avalon, Summit Audio, API, Millennia, GML, Pultec, Mercury, Manley, Distressors, 1176s, Chandler Limited, AMS, Eventide, Lexicon, Sony, TC Electronic, Roland, Bricasti, etc.) and a bunch of plugins (Waves, UAD, Eventide, Antelope, OekSound, Empirical Labs, iZotope, Bettermaker, SoundToys, Valhalla, etc.).

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

A: Tom Dowd.

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

A: Our arts building can facilitate many formats and purposes for audio. Our clients have done live events (mixed in 7.1.4), recording sessions to be mixed elsewhere, and mixing sessions in stereo and Atmos.