Grammy Winning Mixer&Producer

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

A: U2's How To Dismantle An Atomic Bomb (Mix Engineer) would be a big one, because they are one of my all-time favorite bands, and we won the Album Of The Year Grammy. No Doubt's Rock Steady (Engineer) because it's a great record, and it helped put me on the map professionally. It also started my relationship with No Doubt and Gwen Stefani, who I've worked with many times over the years. Tracy Bonham: Blink The Brightest (Producer/Engineer/Mixer) is an album that I put a lot into musically, and I consider it some of my best work.

Q: What are you working on at the moment?

A: Mixing live recording for The Last Dinner Party. Mixing Nashville singer songwriter Jenny Teator. Mixing KISS's final concerts for a VR release.

Q: Analog or digital and why?

A: When I started out everyone was still recording mostly to analog tape and mixing on analog consoles. It was better in many ways, though not all the benefits were sound-related. The process had a much different feel to it. Everything these days is about immediate gratification and constant tweaking, for better or worse...

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

A: That they will get the absolute best that I have, regardless of budget or time spent.

Q: What do you like most about your job?

A: I get to make a living making music.

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

A: How much do you charge? - Depends on the project and scale of the budget

Q: What questions do you ask prospective clients?

A: What other artists's music moves you most? Who's your audience? What are you trying to say? It's ok if the answer is "I don't know", as long as you do know the feeling you're trying to convey.

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

A: Let your music speak for itself!

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

A: Water desalination system Sturdy tent or portable shelter Fishing gear Knife Neve 5432 Console

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

A: From Bio: "Greg began his professional career as a staff engineer at the world-renowned Record Plant and Ocean Way Studios in Los Angeles where he learned the art of production under such industry legends as Don Was, Rick Rubin, David Foster, and Al Schmitt. His first major engineering gig was on The Red Hot Chili Peppers landmark album, Californication, and from there he quickly joined the ranks of LA's top engineers. In 2001, Greg was tapped by UK producer Nellee Hooper to engineer tracks for No Doubt’s Rock Steady album which yielded several hit songs, including “Hella Good”, a track who's signature drum sound has made it a touchstone reference for both recording and live sound engineers. Work with Hooper continued on a string of highly successful albums, including two Gwen Stefani solo records, L.A.M.B, and Sweet Escape and culminating with U2’s highly-regarded, How To Dismantle An Atomic Bomb, which earned Greg a Grammy Award as mix engineer on the chart-topping songs “City Of Blinding Lights” and “Sometimes You Can’t Make It On Your Own”. Greg’s prolific association with Gwen Stefani also led to his teaming up with producers Andre 3000, Akon, and Dr. Dre. He has worked in every genre from electronic to country to hard rock and everything in-between. Greg has studios in Los Angeles and Nashville."

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

A: John Lennon, because he is my hero and it would be cool to work with a ghost.

Q: Can you share one music production tip?

A: Don't get too attached to specific parts or moments. Sometimes you have to sacrifice a really great musical idea or sonic element to allow the song to shine.

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

A: Wide range. I tend to work with a lot of pop and alternative/indy rock, singer-songwriters and a bit of country and Americana as well.

Q: What's your strongest skill?

A: In mixing, my greatest skill is identifying what a song needs to have a profound emotional impact.

Q: What do you bring to a song?

A: My personal taste, my esthetics, and the knowledge & skill gained from having worked on a lot of great music over the last 20+ years.

Q: What's your typical work process?

A: Varies, depending on the project and what is being done.

Q: Tell us about your studio setup.

A: I have studios in Los Angeles and Nashville. My main mix room is based around a Solid State Logic AWS900+ console, and features a Neve sidecar, a large compliment of high-end outboard gear and a Pro Tools HD system. Monitoring is by ATC.

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

A: I've honed my skills working with Rick Rubin, Don Was, David Foster, Babyface, Andy Wallace, Chris Lord-Alge and many others.

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

A: I work with a wide range of artists, from chart-topping pop acts, to indy singer-songwriters, hard rock/metal bands, and everything in-between. I've also produced and mixed scores for feature films and TV shows.