Mix Engineer

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

A: My first solo album. I wrote, produced, tracked, mixed and mastered the entire album on my own.

Q: What are you working on at the moment?

A: Magnifier EP, Indie Hip Hop Albums with two separate artists, Gospel album and with a producer on EDM singles.

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

A: Not that I know of.

Q: Analog or digital and why?

A: Both. I am a hybrid mixer. Both platforms bring so much to the table.

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

A: I treat every song as if it were my own. I treat every project like a new new project. No presets. Just a blank canvas of stems that needs color.

Q: What do you like most about your job?

A: Variety. Every new project is a new job. There is never two alike.

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

A: Can you make me sound like somebody else? I usually reply, "Wouldn't you want to be that somebody else?"

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

A: That a tracking, mixing and mastering engineer are all the same.

Q: What questions do you ask prospective clients?

A: Mainly BPM, what energy level are they looking for and what is the song about?

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

A: Try and be organized with the direction you want to take with your project. It can be all the difference in the world on getting that amazing mix.

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

A: Mac Pro (with UAD Plug ins), Apollo x8, Neumann U-67, UA 610, Barefoot MM27

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

A: I started just like most artists with being in several garage bands back in the late 80s and early 90s. I knew that music was my life and I went on to intern for Mark Levy at Capitol Records. Later, he left Capitol with another executive to start an indie label "Red Ant Records" I followed him there. Mark turned me on to a few producers to work on my music and I became good friends with Jon Parker, who I worked with for 4 years. We were writing jingles and working with other artists on song arrangements. I decided to leave and go my own. Since then, I have been producing and recording various artists for the last 20 years.

Q: How would you describe your style?

A: I just love the sonic waveform. It amazes me how you can blend certain frequencies and compression to color the way we hear sound. Do it right and you can make every component sound like one instrument.

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

A: I've always wanted to sit down and pick the brain of Trent Reznor from Nine Inch Nails. I think he's an absolute genius.

Q: Can you share one music production tip?

A: When a famous producer took me under his wing, he told me something that just stuck with me for over 20 years. He said a hit is a hit is a hit. Doesn't matter if it's just piano and vocals. You will know when it's a hit, even at its rawest form. Most musicians feel that they need better equipment, a big studio or just a marketing arm. But the most important thing you need to focus on is your lyrics, soul and arrangement. Doesn't have to be complex all the time. You just need to sell an emotion and be real.

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

A: Alternative, Rock, Hip hop, EDM and Pop

Q: What's your strongest skill?

A: I would say my strongest skill has to be foresight. I know where the song is headed and know how to get there.

Q: What do you bring to a song?

A: I think in color and I treat every song like it's my own. I take pride in my work and nothing feels better than a satisfied client. I realize how important these songs are for the artists and producers because I am one of them.

Q: What's your typical work process?

A: Normally, I receive the stems and a basic idea from the client on the direction of the song. I tend to import the stems and listen to it a few times. I write notes on where the energy and focus needs to be directed. Then I will gain stage in mono. I start creating sub groups and routing to my external summing mixer, busses for effects. I work on kick and bass first, then the rest of the drums. Gotta build that foundation! I work my way to the guitars, then keys and finally vocals. After I dial them in, I will work on panning, always focusing on the vocals. After the mix is finished, I will bounce to a stereo stem, then send that mix to the client for approval. If they want it mastered, I will create a new session and have various EQs, Compression, Limiting and processing.

Q: Tell us about your studio setup.

A: I used to work in a large studio a long time ago and love the Neve sound. I had to go full Rupert Neve 5059, 5060, Portico MBP. Can't live without my LA-2A, 6176 and 710d. Of course I have a NI S88 for my synth, samples and box sound keys. My AD/DA converters are the Apollo x16, x8, x4, and Ferrofish 16x16.

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

A: I am a huge fan of Trent Reznor. The way he layers instruments and vocals is a work of art. In the pop and rap field, I loved Timbaland. His work on Missy Elliott's tracks were so out of the box. My favorite musician has to be John Squire. One of the best guitarists ever!

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

A: Production and mixing has been my wheelhouse.