Mix Engineer / Mastering

Q: What are you working on at the moment?

A: I am currently producing several projects and mixing songs from talented artists worldwide every day.

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

A: Absolutely! Jabe Beyer is among the most creative and talented songwriters and producers I know.

Q: Analog or digital and why?

A: Both! Analog because it's a better experience for the listener, and digital because it's a better workflow for the creator.

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

A: It's not done until you are happy.

Q: What do you like most about your job?

A: My favorite part of mixing is listening to the song emerge by taking the tracks that have been recorded and shaping them into an experience.

Q: What questions do you ask prospective clients?

A: - Tell me about you as an artist and who inspires you. - Can you send me some references that you would like your song to sound like? - Where are you from? - What records or bands are you currently listening to?

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

A: Hire the right person, let them do what they do best, and don't over-steer when providing direction.

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

A: 1) Neumann U47 2) Neve 1081 3) Neve 2254 Compressor 4)1994 Fender St-62 MIJ Strat 5) '65 Fender Bassman amp

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

A: Born in Los Angeles, raised in St. Louis, and educated at Berklee College of Music in Boston, I started my career at Syncro Sound Studios, working with producers Maurice Starr and Donnie Wahlberg, engineer Perry Geyer, and The Cars keyboardist Greg Hawkes. After graduating from Berklee, I worked as a re-recording film mixer and sound designer at the famed NFL Films studios outside Philadelphia. During my eight years at NFL Films, I was awarded four national Emmy Awards ®, nine Emmy Award ® nominations, and two International Monitor Awards ® for my work with HBO, ESPN, Sony Pictures, and the Philadelphia Film Festival. My journey led me to Nashville, TN, in 2003, where I delved into my passion for music. Over the past two decades in Music City, I've had the pleasure of working with a diverse range of artists, including Patty Larkin, Josh Ritter, Erin McCarley, ROAR!, Jeff Adamczyk, Peyton Rodeffer, Boys Club For Girls, Hannah Bethel, and Liz Kate. I've also had the opportunity to tour as the FOH mix engineer for a variety of acts, from Josh Ritter to Brothers Osborne, Kacey Musgraves, and Death From Above. As a composer, I have secured worldwide sync placements with MTV, CMT, Ford Motor Company, Sony Pictures, and others.

Q: How would you describe your style?

A: As a mixer, I like a big, precise, clear mix. I want to hear all the instruments and parts and feel the space between them so the listening experience is immersive.

Q: Can you share one music production tip?

A: Less is always more. The soul of the song is in the space that you leave.

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

A: Indie rock, Americana, Pop Country, Singer-Songwriter

Q: What's your strongest skill?

A: patience

Q: What do you bring to a song?

A: A lifetime of listening to all genres of music and knowing how the parts need to fit together to convey the song.

Q: What's your typical work process?

A: I start every mix by just listening to the tracks, and they are, making sight fader and level adjustments. Then, as I get a feel for the vibe and direction of the songs, I'll start to shape the tracks into what my instincts tell me the listening experience should be.

Q: Tell us about your studio setup.

A: I use a hybrid of vintage analog and state-of-the-art digital gear that includes analog equipment from API, Neve, Universal Audio, MCI, and Ampex and a full suite of UA, Waves, Izotope, and Soundtoys plug-ins. I mix in Pro Tools and sum my mix stems through a Neve 5057, an API 2500, and a Heritage Audio Symph Mix Buss EQ. I use Apogee converters going in and out of a Universal Audio Apollo interface. Mixing "in the box" allows for a better workflow and the ability to 100 recall mixes for revisions, while the analog mix bus, especially the Neve 5057, gives the mixes that analog "glue" and warmth that creates a better listening experience.

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

A: Rick Rubin Andrew Scheps Brandon Bell

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

A: Mix and master single songs and EPs.