Mixing & Mastering

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

A: Lately I've been really into working on music in the indie pop genre because it pulls a lot of influence from R&B, Jazz, and even Funk. So I feel like it's always fresh and inspiring.

Q: Tell us about your studio setup.

A: Currently my studio space includes a pair of Neumann KH-120 monitors, a 27" iMac, and a UAD Apollo Twin X Quad as my audio interface. The room has been treated with acoustic paneling and my monitors have been calibrated for the room to ensure that they are producing a flat frequency signal. Making it an optimal space for mixing and mastering.

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

A: I've been working in music for about 10 years now. I studied audio engineering at the Musicians Institute in Hollywood, CA. After my time at MI, I started out as an assistant engineer at the legendary Grandmaster Recorders Ltd. in Hollywood. Within about 6 months, I was running my own sessions as the lead engineer for the studio. I ended up doing that for many years, but relocated to New Orleans, LA in 2019 to check out the music scene there for a while. I've recently moved my studio back to California, where I reside currently in Los Angeles again.

Q: What do you like most about your job?

A: It's extremely gratifying when a mix of mine exceeds the expectation of the client. In addition, listening a song or album that I've worked on after its been published is also very fulfilling experience to me. I'm really proud of my work and seeing it on Spotify makes it feel official.

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

A: I'm very inspired by the vibe that artists like Frank Ocean and Foster The People bring to their music. I'm also inspired by most things that Mark Ronson is apart of as well.

Q: What's your strongest skill?

A: I'm very dedicated to making sure that the client's vision is the target and their word is final.

Q: Can you share one music production tip?

A: Less is more! The more tracks you try to squeeze into a 2-track stereo out the smaller it can sound. Theres a reason the Beatles and Motown records sound so big even though they only used 4 and 8 track machines.

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

A: I feel like it's the fact that most people think they don't need a professional to mix and master their music. It's a VERY crucial part to the process of making a record and shouldn't be taken lightly. A professional engineer will give not only a fresh ear to the project, but they are going to be well trained in the specifics that go into these final stages of music production. This is where a song/recording that you might have worked on for months, can be elevated or ruined, if not handled correctly.

Q: What questions do you ask prospective clients?

A: What are your goals and visions for this project and how can I help make sure you are able to attain those goals and visions?

Q: How would you describe your style?

A: I'm a huge fan of things that sound "vintage" and "analog", so I'd say that style definitely finds its way into the music I tend to work on.

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

A: Foster The People. They have such amazing and elaborate productions that sound incredible.

Q: Analog or digital and why?

A: Digital, because of the ability to recall sessions quickly even when traveling. The analog emulations are becoming so indistinguishable from the originals.

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

A: My promise is to treat you and your music with the utmost respect, to give you a memorable experience.

Q: What do you bring to a song?

A: I love to bring emotion out of every project I work on. I want my mixes to make the listener feel exactly how the artist did, when they wrote/recorded the song. That is what I believe resonates with people most, so I strive for that in my process.

Q: What's your typical work process?

A: Before starting a mix I like to get all of the organization done first, such as editing, track labeling, grouping. After that I can start the mix with fresh ears and let my creative side work without worrying about any editing getting in the way of my focus.

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

A: Usually just Mixing & Mastering, but I also offer Drum/Instrument editing and Vocal pitch correction.