Producer/Mixer

Q: Analog or digital and why?

A: A hybrid system works best for me, Analog is valuable for a more creative workflow. Digital is valuable in the domain of editing and fine tuning.

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

A: Patience, my intention is to make the process as cooperative with your artistic intentions as possible. People change their minds, my patience can account for that, at least I hope.

Q: What do you like most about your job?

A: The physics of sound and its relationship with the human body and mind.

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

A: Good question.

Q: What questions do you ask prospective clients?

A: I like to get references to songs that the client likes as well as a short description of what the client would like to borrow from said reference. Does your project have a set timeline? Do you have any demos? Are you looking for experimental or creative work or simply engineering services?

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

A: Have a good idea of what you want, it'll more likely result in something you wanted.

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

A: 1) LAPTOP 2) UAD TWIN (with my plugins) 3) SHURE SM7b 4) DT 990 PRO HEADPHONES 5) AIRLINE GUITAR

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

A: I've spent the better part of my teen years studying audio, mainly through my experience in studios around the world. Over a decade I've come to collect enough gear of my own, so now i'm able to produce my own music with complete freedom. Zig Mentality is the project I've been able to produce for within that time.

Q: How would you describe your style?

A: Open, wide open.

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

A: Kevin Parker is probably the biggest my head could dream. That's an artist who is extremely dedicated to his craft, he'd be a pleasure to watch as he's reliably able to independently produce his music in extremely unique and compelling ways.

Q: Can you share one music production tip?

A: Anyone looking to mix acoustic drums, always correct your phase, it will do most of the work. This is not only true of drums but of any source with more than one microphone on it.

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

A: I love working on Rock and Hip Hop as well as whatever odd blend of both comes up in my original projects.

Q: What's your strongest skill?

A: I feel most comfortable reamping signals. This is the method I use to create layers out of minimal stems to embolden a production without adding additional parts that aren't preformed by the artist.

Q: What do you bring to a song?

A: I don't like to think I explicitly bring anything to a song unless I'm specifically asked to by the artist. I want my contribution to manifest more as a highlighting of whats already there, to showcase what I would consider the best aspects of any given recording or performance.

Q: What's your typical work process?

A: I like to take breaks gradually throughout the day to rest my ears, best done via a quick walk in the forrest behind my studio. It sounds strange, but thats the heart of my work process. This allows me to stay fresh and engaged with the music I'm working on without losing perspective.

Q: Tell us about your studio setup.

A: I have 48 in 48 out converter paired with a 24 Channel GS300 Console for recording purposes. I mix through a 16 Channel Neve Orbit using a variety of state of the art plugins as well as outboard gear. It's a great place for intimate projects but can also handle highly demanding acoustic drum and band scenarios.

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

A: I mostly act as an overall audio engineer across the entire process of my client's song production process. I love processing signals aggressively and in untraditional ways, this is more of a producer responsibility, but in most cases, the roles spill into each-other.