Mixer and Engineer

Q: What are you working on at the moment?

A: I just finished a Gramps Morgan reggae record, I mixed a couple songs for Chingy, a few songs for country artist Jerrod Niemann, and I'm currently mixing a classic country record for Canadian star Johnny Reid.

Q: Analog or digital and why?

A: Both for me. I have most of the tracks hit pieces of outboard gear to get the tone shaping and color, then I use plugins that do things that you cannot find in the analog world. That way I can get big sounds while also using modern mix techniques and quick recalls.

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

A: Generally they ask what gear I like or what I think about a specific piece. I used to work almost exclusively in the box. I've now started using a lot of outboard gear, and I feel that it really adds dimension, color, and life to the mixes.

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

A: Probably that I can just import a session into a template. I do not. I mix the song that you give me and let that guide the sound.

Q: What questions do you ask prospective clients?

A: I always ask my clients for a few song references that go in a similar direction as well as any rough mixes. Sometimes explaining sounds and colors is tricky, so being able to say, "listen to the snare sound on this track" is very helpful.

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

A: Neve 1073, Urie 1176, RCA BA6A, Neumann U67, Neve 33609 and 2254

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

A: I cut my teeth in 2002 under mixer, Chuck Ainlay at Sound Stage Studios in Nashville, TN. I was night manager at Sound Stage before being hired by master mixer, Mike Shipley. After that, I engineered in LA with many pop, rock, and hip hop artists before moving back to Nashville where I began working with producer Bob Ezrin (Pink Floyd, KISS, Alice Cooper, Peter Gabriel). I recently partnered with a client on a state of the art private, boutique studio in Berry Hill (Nashville). I recently mixed the Andrea Bocelli record, "Si", which was nominated for a Grammy in 2019

Q: How would you describe your style?

A: Modern, punchy, energetic, and polished.

Q: What's your strongest skill?

A: The power and energy of the mix, but also finding the musical moments and featuring them in a way that does not impede on the vocal or the message of the song.

Q: What do you bring to a song?

A: I bring musicality, experience, and energy to the mix. What sets my mixes apart is the depth and width of the mixes, attention to the musical phrases, and most importantly the vocal.

Q: What's your typical work process?

A: I like having a rough mix to listen to in order to make certain that I have all of the required files and to reference general values. This gives me a look into where the artist's mind was during creation. I can see what instruments they feel lead the way, etc. I like to mix no more than two songs a day. I have hardware inserts that I use to either put things through the desk or through the outboard gear, then I commit so that recalls are fast and easy.

Q: Tell us about your studio setup.

A: I have a state of the art full commercial studio which includes an SSL 4000E 40 channel console, great sounding live room with house kit (Gretsch Renown Maple kit), Yamaha C7 grand piano, Hammond B3 with Leslie 122, amazing mic assortment featuring Neumann U67's, U87's, M249c, KM56, SM2, KM140, U47FET, Telefunken U47's, AKG C12, Sony C800G, and many many more, a rack of gear featuring 16 channels of UTA MP-DI's, Coil Audio CA-28's and CA-70's, API 3124's, 4 x 1073's, 2 x 1081's, Neve 2254 (pair), 33609 (metal knob), API 550b's, 560's, 529, Shadow Hills Mastering Compressor, EMT 140 (stereo Tube), EMT 250, RCA BA6A, UTA Unfairchild, Retro Sta Level, 4x Distressor EL-8, AMS RMX, Burl Mothership, Bricasti M7, and a list of plugins.

Q: Can you share one music production tip?

A: Leave space for the vocal. If you have fills, riffs, or melodic licks, build them in around the holes of the vocals.

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

A: The Hollywood Vampires record was just an amazing experience. It spanned almost two years and I flew back and forth from Nashville to LA. We recorded much of it at Johnny Depp's house, and had some surreal musical guests including Paul McCartney, Joe Perry, Joe Walsh, Brian Johnson, Dave Grohl, Marylin Manson, Perry Ferrell, and many more.

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

A: There are so many great artists, producers, mixers, musicians, and mastering engineers on this site.

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

A: I promise that I will put all of my focus on your song and material until it is finished. I've never had a client come back unhappy, and I believe its because of that focus and communication between us.

Q: What do you like most about your job?

A: I love when I get a song that is really creative, and that could be in any genre. When the artist is truly tied to the song, it really raises the bar. Those are the songs that I just can't wait to finish so I can take off my mixer hat and just listen for the pleasure of listening.

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

A: Communication is key. My job is to enhance your song and get it to where you absolutely love it. I enjoy hearing feedback from my clients. It's not my record I'm mixing, its yours.

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

A: Any artist that brings creativity.

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

A: I work in all genres. From country to rock, from classical to pop. It's all music, and my goal in the mix is to honor and enhance the song.

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

A: Michael Shipley (Def Leppard, Maroon 5, Shania Twain, etc) was one of my favorite mixers and my mentor. I worked with him for several years, and that really influenced my approach to mixing.

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

A: I am a mixer of all styles of music, ranging from old school rock, to pop and classical.