Mixing & Mastering

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

A: The last album Kate Lynne Logan and I did together made it onto the Grammy ballot in several categories, which was very satisfying. My role was to help shape the sound and flow of all the songs. I played most of the instruments. Recorded, mixed and mastered it, plus designed the photography and packaging.

Q: What are you working on at the moment?

A: I just finished a new album with Kate Lynne Logan.

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

A: I love using Samantha Blanchard for vocals.

Q: Analog or digital and why?

A: I've owned some of the best analog gear in the world. Today's digital, when used with high quality clocking and converters, is as good or better than analog, and a lot faster (which translates to less expensive). Gone are the days of digital sounding harsh or narrow. At least in my studio.

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

A: If we get in to your project and you don't like how it's going, you can have your money back and we'll part as friends.

Q: What do you like most about your job?

A: People come to me with loose ideas, and leave with tangible finished product. That's really satisfying. And because it's a respectful collaboration, they are usually quite happy with the finished product.

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

A: They usually ask about price. That's a tough one because, you can't really compare hourly rates one studio to the next. One person may charge $50/hr, and another may charge $125/hr. But what if the $50/hr person takes three hours to get the result, and the $125/hr person takes one hour? There's no way to compare the "value" without trying them both out — and nobody has time for that goose chase. So I don't like to quote hourly rates. I instead ask about what we're trying to accomplish, then I set a fair fixed-price for it so we can work without worrying about the clock.

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

A: The music industry pushes this notion that anyone can buy an interface and a mic, and make their own recordings. This is sort of true, but it really does take many years and lots of experience to create results that transcend. Gear is important, but it's more important to work with someone who helps you get things done and be your best. You'll save a lot of money and time by going straight to a producer like me, rather than trying to do it yourself. Big expensive studios are dead — we all know that. Everyone works out of their home for 99% of the project. So it comes down to the people or persons you're embarking on the journey with.

Q: What questions do you ask prospective clients?

A: What do you want to accomplish? What are some of your favorite recordings, songs which you'd be proud to be sort of like? What schedule pressures are you facing? Do you have a deadline?

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

A: Have an open mind. Go with someone who communicates well and responds in a timely way. There are so many flakes in the world, and people who talk big but actually don't know how to DO stuff. I don't have advice on how to tell the good from the bad just based on a profile. Just start a conversation, and give it a try.

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

A: My 1948 Gibson SJ, my 1967 Martin D35 Brazillian, my Neumann U67 mic, my Black-Lion-Modified Apollo 8p. However, those last three require power. Is there power on the island? And I'd need my Mac too. And my..... LOL... I have a lot of gear.

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

A: I was a music education major in the early 1980's. I taught elementary and high school for eight years, then started a graphic design firm. In the mid 90's I began fulfilling a decades-long dream of starting a recording studio. I've been fully "into" design, photography, and music creation ever since.

Q: How would you describe your style?

A: R&B, blues, pop, jazz, and americana influences. I'm a student of many styles and music history, so I'm genuinely comfortable and proficient in a wide range of styles.

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

A: I like working with Kate Lynne Logan because we respect what each other bring to it, and accommodate each other's opinions in a balanced way. I like working with Samantha Blanchard because she has a fantastic attitude and delivers vocal tracks above and beyond what I expect.

Q: Can you share one music production tip?

A: Record vocals early in the process rather than last. Vocalists typically don't like this because they feel exposed... but it's worth the effort because the rest of the arrangement comes together quicker, in a way that lets the vocal be the center stage.

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

A: Acoustic singer-songwriter fits my style pretty well. But I like variety, so I'm always interested in other styles too. I get a thrill out of helping an artist be their own best self.

Q: What's your strongest skill?

A: I'm a good listener. I have the leadership skills to push momentum forward, but I also have a lot of respect for the artist's vision, even if they are new with little experience. I don't assume that I know everything. Our work truly is a collaboration of respect.

Q: What do you bring to a song?

A: Musicality. I'm an educated arranger and player, who also knows how to get good sounds through microphones. I play most instruments at a studio level, and can contribute that as part of working on a song. Saves time and money. If a part or a song needs a different person, I have a network of individuals I'm used to working with remotely and getting great results at attractive prices.

Q: What's your typical work process?

A: It goes in layers. We often start from a voice-memo, or some lyrics and a melody... then figure out good chords, and lay out the song in an intentional form. I like to record lead vocals early in the process so that other instruments support rather than collide with it. Sweetening, refining, deleting... all toward an end mix that is satisfying to listen to. I mix and master as I go using the latest tools. The finished track is loud and clear, competitive with other leaders in the same genre.

Q: Tell us about your studio setup.

A: Great collection of classic microphones... U67, U47, U87, c451's, Royer 122's, KM184's, TLM103's. Classic preamps... Manley VoxBox, Universal Audio LA610, Vintech x73, Avalon, Focusrite. But I've found the biggest difference when I had my Apollo modified by Black Lion Audio and began using their clocking. I love great sound.

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

A: I like John Mayer because he is continually growing, and always very "into" whatever phase he is in. He inspires me to be myself, and pursue that which interests me.

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

A: Many clients come to me with song or lyric ideas which we complete together. Doesn't have to be that way, but I enjoy helping and collaborating.