Dolby ATMOS Audio Mixer

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

A: On time...every time. And you will enjoy working together. I will always tell you the truth.

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

A: That somehow you can magically do this from your laptop and some software! And, surely someone can in fact do it that way. However, having an experienced ATMOS mix engineer, in a real physical space that can bring your sonic ideas to life, is priceless!

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

A: I worked on a live Kenny Chesney PPV concert with no rehearsals, no real prep time, a truck that was not familiar with and a crew that had (for the most part) never worked on such a high profile gig. I was the live audio truck mix engineer. Im especially proud of the entire Production. All of Kenny's team were fantastic and all of the bodies we hired for the job showed up to ROCK! And we did just that.

Q: What are you working on at the moment?

A: An ATMOS mix for an artist named: Michael Zucker. It is gonna rock the foundation of the studio. Very very aggressive, like the original Smashing Pumpkins records. The real challenge for harder rock music is finding the proper placement AND movement along the XYZ axis' that make you feel like you are in the middle of something great!

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

A: No as this is my first time here. Hopefully there will be some soon!

Q: Analog or digital and why?

A: Both. Even though I work largely "in the box", A good mix of the two is healthy and sometimes no piece of software can truly emulate what I need for the moment. lucky for you, I have access to some of the most in-demand Hardware both new and vintage gear you could ever want or need. Additionally, I have one of the most extensive plugin libraries in the world. We have a lot on keeping current.

Q: What do you like most about your job?

A: Even though it sometimes feels like we are never appreciated enough, being part of an elite group, in an even more elite profession is almost unbelievable. I think that most of us known and not as know engineers wake up hopeful and amazed at our good fortune!

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

A: How long will it take and how much will it cost! My answer is, how much do you value your creations! But I will always do everything In my purview to work within you budget. I will always be honest with you as well.

Q: What questions do you ask prospective clients?

A: What is your timeline for the project. What are your goals How many songs will we be working on within your time limits.

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

A: Be equally as patient as I am. This business is always a scheduling challenge. Come with real, achievable goals. be flexible and trust that we will get there together!

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

A: Fairchild 670. Mainly to keep me warm at night! Telefunken ELAM 251, cause you must have this mic handy at all times! A V76 mic pre (modded to allow you to actually control them on a desert island)!!! Pro Tools Ultimate Galaxy 64 I/O

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

A: My real Audio Engineering / Producer career began in Winter Park, Florida in 1988. It was there in 1989 I began working on a Television show as the Recording / Mix engineer for the Disney Channel's biggest show calledw: The New Mickey Mouse Clubz! The show featured (at one time or the other) kids that would go on to have monster careers like: Britney Spears, Christina Aguilera, In Sync, Justin Timberlake, and many more. Working alongside great Music supervisors and Producers, created a work ethic that I continue to this day. It was brutal, long hours, remixes, crazy parents and everything you could imagine. Disney threw MILLIONS of dollars at producing the show. And it showed. So, add up the years from then and you'll get to the number. But as long as I have been lucky yo work in this profession, I am still excited every day to get to work on projects that explore the boundaries of what is now possible in the Immersive Audio space.

Q: How would you describe your style?

A: Laid back and simple. Having been around some of the biggest artists in the world and been on literally every position has taught me one very important thing...breath through the difficult moments. It has been at the heart of every project I have been a part of.

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

A: Pink Floyd. Simply because if you are an Immersive mix engineer, there just is not a better catalog to work with. Every one of their records DEMANDS that they be mixed in ATMOS. And, of course, James Guthrie has that covered!

Q: Can you share one music production tip?

A: Rehearse the song until you can't stand it anymore. Period. There simply is no other way to get the best performance out of yourself or others who are working with you.

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

A: Lately it has been varied. From Americana, to Bluegrass, to Heavy Rock, I have been blessed to have a wide variety of projects needing ATMOS mixes. I know that once artists understand the process and have a partner in the space that they trust, the sky is really the limit.

Q: What's your strongest skill?

A: Patience! Having a great set of ears means nothing if you can't breath through difficult moments! And there WILL be those moment. But having faith in the people you are working with and TRUSTING them and knowing that I have their best interests at heart can make all the difference.

Q: What do you bring to a song?

A: Almost 40 years of dedication to THE SONG. I live to serve the song. Due to the wide scope of artists that I have been fortunate to work with, I believe that this is what gives me the edge. And that will never change regardless of the delivery format.

Q: What's your typical work process?

A: I work as closely to the artist as is possible from the very beginning. The artist ALWAYS comes first. Period. If they cannot be at our studio complex, I have made available all forms of modern communication tools that allow the artist to hear in real time with almost Zero latency, and at every relevant stage! Communication is key and I am a very patient person. After we discuss the nature of the project, I will ask for the session files in (preferably) Pro Tools format as this is my DAW of choice and a Stereo Reference mix. From that stage we will discuss the vision that the artist has as to where in the XYZ space, the instruments, vocals and effects will live. Typically I will then retreat to my studio and get to work with the editorial part of the mix. Creating Objects that can live in the available sound field. Throughout the process, if the artist is in residence, we will work collaboratively in the studio. If the client is remote, I will send work progress files in whatever format the client can handle for approvals along the way. Finally, a master listen session is scheduled and any notes will be taken. I will then retreat to the studio to address all of the notes and then go back to the client in person, or remotely for a second listen and hopefully, final notes. Once finalized, the track will be bounced and mastered in my studio and distribution to whatever outlets are relevant.

Q: Tell us about your studio setup.

A: Studio B @ Sonark located in beautiful Hillsborough North Carolina, has full DolbyATMOS mixing capabilities, the room features a Neve Genesys 24 ch with 1073 preamps, 1084 EQ and 8 channels of dynamics. Full encore automation and recall, 48 channels at mix down, 8 busses, 8 effect returns. The isolation booth is ideal for overdubs and voiceover recording. ​ All of the monitors are ATC. in a 7.1.4 configuration. Additionally, there are 3 subs that are part of the soffit mounted front LCR speakers. Sonark studio B also has many recording options and configurations available. Both rooms can be connected with the Dante System or analogue. In total 32ch at 96K sample rates or 64ch at 441K sample rates can be sent between the rooms. The patch bays are connected up to 24 channels of audio. Video feeds can be sent between the rooms and displayed on video screens allowing very large sessions when both rooms are combined or used at the same time.

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

A: Since I was very young, music resonated in my bones. I simply could not, and would not enjoy life without being immersed in it at all times. I am a lover of almost every style of music that exists. My favorite Composer / Producer / Musician is Frank Zappa.During his lifetime, I followed every thing that he ever did.

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

A: As of 2022 I am only taking clients that want to work in the Dolby ATMOS / Immersive audio space. I mix records and television programs / series in Dolby ATMOS up to 7.1.4