Tracking, Mixing, Production

Q: What's your typical work process?

A: I like to approach mixing holistically, and try to honor the intent of the artist.

Q: Tell us about your studio setup.

A: I have the full UAD suite, a pair of Unity Audio Super Rock monitors, Sennheiser HD650's, and a Drawmer monitor controller, Melodyne Studio, Izotope RX and Sonarworks. The room is professionally treated and mine alone, so I always have access. For tracking, I work Reservoir Studios in NYC, which is a beautiful facility where I can get killer rates. Otherwise, I'm happy to record anywhere! The process is part of the fun!

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

A: They often wonder if they should just mix it themselves. I tell them there is a lot of power in specialization. Mixing and tracking are what I focus on. If you are an independent artist, then you already have enough on your plate that has to be done by you. There is more music released now than ever before. How will your songs stand out from the rest? Hiring a pro to make your mixes sound better is a big step forward on that path.

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

A: 1 great mic (like a 67 or a 251), Neve 8058, Neve 33609, my Unity Audio Super Rocks, and an Ampex 102. (I'm embarassed to tell you how long I sat here and thought about this...)

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

A: I originally started recording on a 4-track reel-to-reel in my parent's garage in the early 90's. Most of that time though I was focused on drumming. After a long-term band ended, I decided to switch over to engineering full-time. I went back to school at CRAS in Arizona, and moved to NYC in early 2007. I cut my teeth right way at Soundtrack NY and have been working steadily with bands and musicians ever since.

Q: How would you describe your style?

A: I work really hard to not have a style. You have a style. I want to help you find it, and evolve it.

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

A: The Hard Times EP by The Bushwick Hotel was one of the best experiences of my career. We spent 10 days at the beautiful Firefly Studios in Fischer, TX (http://sffirefly.com/). The Bushwick Hotel drove down from NYC and the entire time there was a fun, creative vortex that had us elated for months afterwards. There is something magical about making a destination record, where the entire focus of everyone involved is to bring life and spontaneity to their music.

Q: What are you working on at the moment?

A: So many things! After years of working as one of the lead instructors at SAE, I'm also starting my own Youtube channel and in the beginning phases of putting together a course on microphones. I also make videos for Melodyne, and there is always another track to mix!

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

A: John Siket is a mentor, and a fantastic producer and engineer.

Q: Analog or digital and why?

A: Whichever is available, and right for the project and budget. We can't be dogmatic about our tools. I love working in the analog realm. I'm completely comfortable working on consoles and tape (I can even align the tape machine to dial in that perfect sound). Digital is easier, faster and saves money. Great records are made because of people, not tools.

Q: What do you like most about your job?

A: Honestly, I like helping people, and solving puzzles. Each project is a perfect blend of those two tasks.

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

A: That you need a million dollar studio to make a good sounding record. You don't. However, quality gear and a good room make it much easier.

Q: What questions do you ask prospective clients?

A: Ultimately, what their goals are with the music. Some people have very clear intent, focus, and sound. Others want to spend time in the discovery phase and let experimentation decide where the track will go. There is no one way to work, and there is no wrong way to make music.

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

A: Price matters, but attention moreso. I can't count the number of people I know who sent their material to name engineers, only to get rushed treatment. Find someone who genuinely cares about your needs. You'll know it when you see it.

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

A: Jack White. Like all geniuses, he loves to collaborate and isn't afraid to bring in unknowns and try something new (much like Bowie and David Byrne too).

Q: Can you share one music production tip?

A: Try something new every time.

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

A: Generally rock, with that ranging from fuzzy garage to high-gain modern. I love working with acoustic instrumentation, but lately have been enjoying the sound design freedom inherent in electronic music.

Q: What's your strongest skill?

A: Listening to my clients.

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

A: This list is too long! Volume 1 alone would fill this whole page! I find inspiration in the unique and weird. I love professionals who can find success across genres and aren't bound to one style or sound. Rick Rubin is a perfect example. So is Mark Ronson. They work with a ton of artists, and those artist put out their best work with the guidance of those guys.

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

A: Most often I mix remotely for clients (although I LOVE tracking too. There is something special about taking the time to get great sounds and build a record from the ground up). This includes a zoom meeting to talk about how I can best help you get the sound and vibe you are looking for. Mixing isn't about me. It's about you and what I can do to help bring out what is best in your music.