Recording Studio

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

A: My carreer path has always been music. I've been a touring musician for almost 10 years and have been playing on bands for over 15 years. I've had odd jobs at home in between tours that allowed me to pay my bills and live, but music has always been my life and passion. I've been recording all my bands demos and my own songs for over 13 years and I've recently decided to start offering my recoding services to everyone else after being asked hundreds of times why I don't.

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

A: No promises, just proof.

Q: What do you like most about your job?

A: I love being able to work on different music and really see what the thought process behind the musician really is. It's fascinating to see how differently people can approach the same thing differently. I truly enjoy the journey from start to finish and being able to see where a project started and what it became.

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

A: Client: "Can't you just fix that?" Me: "It's not quite right, so unfortunately no. We gotta capture the right take to sound right, you've got this!"

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

A: That I can take a turd and turn it into diamond. I can't take iphone band practice and make it sound like a studio session.

Q: What questions do you ask prospective clients?

A: 1. How many songs are there? 2. What kind of sound are you trying to achieve? Provide mix samples. 3. Are you going to want live or midi drums? If live, what is your drummers EXACT set up? Drum brand, shell sizes, cymbal brand and sizes. 4. What kinds of guitars do you use? Whats the string count and tuning? 5. Are you open to a producer outlook on your songs? 6. Are you going to be hiring an outside mastering engineer. If so I need their contact information so I can deliver them exactly what they need. Same would go if I was just the recording engineer and if you wanted it mixed by someone else.

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

A: Know your songs inside and out along with an idea of where they lie on a tempo map. I track everything to a click so being able to know how to play your songs on time is as important as knowing how to actually play them. One without the other is call for sloppy performing in most cases.

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

A: 1. Full Drum Kit 2. Guitar (probably acoustic, assuming there's no electricity) 3. Cajon 4. Violin (re-learn) 5. Saxophone (to learn) I chose the last two because if I'm stuck on a desert island I'd have plenty of time to re-learn how to play violin and I've always wanted to learn how to play a Saxophone so I'd take that because I'd have loads of time to learn.

Q: Can you share one music production tip?

A: Get it right at the source. Capture the sound your envisioning, don't chase it in the mix. You'll never be quite there unless you get it right at the source.

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

A: I love to work with any instrument and music but I'm strongest at anything that's got a full band and live instruments driving it. I love bringing the character and passion of the playing out in perfect balance with each other.

Q: What's your strongest skill?

A: I'd say my strongest skill is NOT saying "No" to any ideas in music, I may be hesitant at times but I have to remind myself of my outlandish thoughts that pass. It never hurts to try out an idea if you have the access and means because that idea could very well be the one that makes ALL the best difference or it could totally suck, but at least it's been tested and proven.

Q: What do you bring to a song?

A: If I'm hired for my producing then I like to try and find the best part of the song, take it to the next level and build up the rest of the song to that energy. It could be something as simple as adding a guitat lead, vocal lead, or a strong fill to make a powerful transition really hit. If I'm brought in just to mix then I do my best to make sure there's something in every song that pops out as a little treat. That could be something as simple as a bit-crushed sounding intro or a reverse cymbal swell to raise the intensity for the next section.

Q: What's your typical work process?

A: I don't have a very typical work process only because every song and every project requires something a but different. But if I'm doing a project from start to finish, recording-mastering, I'll take plenty of time for drum tuning and mic placement before tracking begins. Then I like to take the time to make sure the takes are as close to perfect as possible to bring your vision to life. Then I'll begin any editing, start mixing, and once approved begin the master.

Q: Tell us about your studio setup.

A: I run my studio out of my house so my live room is my grarge but it has been properly treated and set up for a clean and natural drum sound for live tracking. I have 16 microphone inputs to capture a full band session or to precisely track a full kit.

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

A: Some of my favorite engineers and producers currently are Nolly Getgood, George Lever, Will Putney, Andrew Wade, Brian Hood, Kurt Ballou, Dave Otero, Kris Krumet, Taylor Larson, Sam Pura, Eric Ron, Joey Sturgis, and Henrik Udd just to name a few.

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

A: My most common type of work is recording, editing, mixing, and mastering. I also take on just mix work, but either way I will always make sure everything is edited nice and tight to ensure you have the best on time sound you expect.