Recordist-TV-FOH-Mixing-Synth

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

A: The Brimstones - Satan's Crate. It was a 45 RPM record release in 1999, and really sounds like old school surf/garage music. I mic'd the amps and drums in the bands basement, wit a lot of bleed and near reflections to grab the room and ran it to ADAT. That got mixed it down on a simple Mackie board with very little tweaking and just a hint of reverb on a few elements. The mix was run to DAT and then at the end, a wet master was made post-EQ by running it overdriven onto 1/4" with an Otari for some texture and compression. It really captured the vintage Surf and Garage sound the band was looking for.

Q: Can you share one music production tip?

A: ALWAYS try to cut before boost. Start at zero db and go from there. Louder may sound better, but is almost never what you want. Also, Compress before EQ.

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

A: I usually find myself doing voiceover work, rock songs, vocal pieces,live work has been with bigger bands and stage miking and recording, school productions of brass and jazz.

Q: What's your strongest skill?

A: Its all in the ear. You have to listen to what the rig and the talent is doing to know where the problems my be, and what to do to fix them. Too many shows ignore gain structure and balance and just want to be loud. Too many voiceover artists want to use loads of compression.

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

A: I am a fan of the pioneer producers and engineers like Martin, Eno, Moroder and Alan Parsons. Today's artists seem split between true singer/songwriters and composers, and the less inspiring overproduced pop artists.

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

A: I have worked mostly as a recordist with vocal artists, coaching them during recording and getting the persona to shine through. My side gigs are varied and include recording vocal/bands either on stage or in studio. I also do a bit of live sound, either miking the stage and instruments or sections, or running the board at FOH for small and medium venues. Currently I am working on an audiobook which will be released soon.

Q: What do you like most about your job?

A: The music, the people, and above all the vibe of the show.

Q: What are you working on at the moment?

A: Rekindled by Theresa Irizarry. Audiobook.

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

A: That anyone can do it. Too often a show is terrible, a recording un-listenable, because somebody didn't care to think about having a pro on board.

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

A: Get in touch, be ready to talk about the job and equipment involved. Be open to the recommendations I make for you.

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

A: A matched pair of AKG 414 mics. A Sound Devices 744. A Yamaha Electric Piano and a Roland Juno.

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

A: I started in this business thinking I would enter the music business through a back door. I ended up in corporate audio. I have worked with so many great people in the past 25 years I feel blessed. The side jobs I have done have kept me vital and interested in the work.

Q: How would you describe your style?

A: Realistic. I don't complain about the rig, because any rig has its capabilities. The key is to maximize what a rig can do.

Q: What do you bring to a song?

A: I listen for balance, a punch to the vocals, and an openness to the sound.