Remote Mix Engineer

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

A: Penny & Sparrow's Struggle Pretty album. The songs and performances are great and there are tons of interesting sounds. The band and I are both really proud of how it turned out and they got to quit their day jobs and sign to a label because of it!

Q: What are you working on at the moment?

A: It's July in Texas and the heat index is 107. A Christmas album!

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

A: One of the Grammy winners probably!

Q: Analog or digital and why?

A: Who cares? Is the song good? Are the sounds compelling?

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

A: To do my best to understand where they're headed and to help them get there.

Q: What do you like most about your job?

A: When we arrive at the point where everybody is happy.

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

A: Can you turn 'x' up? Yes, is that better? If not, what were you trying to achieve with that move? Maybe I can find a better way to achieve the same result.

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

A: That I can turn Barry White into Betty White.

Q: What questions do you ask prospective clients?

A: In this order: Have you used an outside mixer before? What did you like or dislike about that mixer? What are you hoping to get out of this experience with me? What do you like about your rough mix? What bugs you about it? What are your favorite records? Whats your budget? Timeline?

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

A: Compare your rough mix to reference recordings throughout the process so you're prepared to be mixed.

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

A: Generator, laptop, headphones, shotgun mic w/ windscreen and sunscreen.

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

A: I was a bassist first and would produce and record my friends between gigs and touring. After about 10 years, I now squeeze in gigging and touring between recording.

Q: How would you describe your style?

A: A blend hi-fi and lo-fi sounds and a sense of space/depth.

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

A: Gillian Welch. The more I produce, the more I'm in awe of artists that need only to be documented.

Q: Can you share one music production tip?

A: If you want dynamics, think in terms of contrast not in terms of volume.

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

A: Singer-songwriter/Americana and Indie rock.

Q: What's your strongest skill?

A: An ability to blend hi-fi and lo-fi sounds and create a sense of space/depth in a mix.

Q: What do you bring to a song?

A: Openness. How does the song want to be mixed?

Q: What's your typical work process?

A: Typically for mixing, a mix takes a day and then we do two rounds of revisions. For pocketing, a full-track usually takes a day. Depends on length of song and number of tracks though.

Q: Tell us about your studio setup.

A: I have a treated room and great converters and monitors. I mix ITB primarily with UAD plugins.

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

A: Favorite producers are: Daniel Lanois, Blake Mills, Nigel Godrich, Ethan Johns, T Bone Burnett, Tom Waits, Wilco, Rick Rubin.

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

A: Remote mixing Track Pocketing - This is different than quantizing. I manually will move performances around in time until they feel good. This can really take a track to the next level. Remote Session Bass - You send me a track and I play upright or electric bass on it.