Let's Make a Record!

Q: Tell us about your studio setup.

A: My mix rig is a hybrid setup centered around Pro Tools Ultimate, Lynx Aurora, Apogee Rosetta & Antelope Eclipse converters and a Dangerous 2 bus summing mixer. I use a combination of choice "analog plugins" (including DBX, Universal Audio, Chameleon Labs, Groove Tubes, Avalon, Joe Meek & Furman) and digital plugins (including Antares, Avid, Izotope, Plugin Alliance, Slate, Sonnox, Soundtoys, & Waves) to help realize my client's vision for their project.

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

A: Most recently, I was part of the team that was responsible for the live capture & remix of the 2017 Newport Folk Festival. We recorded 60 bands on 3 stages over the course of 3 days, then remixed 15 of the acts for NPR. I was responsible for the event preparation & staging for all 3 stages, the capture on the Harbor stage & the remixes alongside Steve Remote. The remixes included Big Thief, Brent Cobb, The Drive By Truckers, Hurray for the Riff Raff, John Paul White, John Prine & Friends, Joseph, Julia Jacklin, Margaret Glaspy, Marlon Williams, Pinegrove, Shovels & Rope, Wilco, and the WIld Reeds.

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

A: The majority of my work is editing (session preparation, tuning & timing correction of vocals & instruments, midi "humanization" of drum parts, etc...), mixing and mastering projects for clients.

Q: What's your typical work process?

A: 1. Put on pants. 2. Make a record. 3. Eat pizza. (but seriously, no two projects are alike and each deserves to be treated as such. There is no "typical" process)

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

A: If I were on a desert island, I'd bring ice, margarita mix, tequila, a blender & sun block (super high spf) and enjoy my vacation 8-)

Q: Analog or digital and why?

A: Both (I know...is a cop out) Nothing beats the speed, flexibility and recallability of digital, however the sound and the ability to get completely engrossed into an analog project is second to none. Working analog draws you in in a way that digital never can.

Q: What do you like most about your job?

A: The idea of creating something from nothing is definitely the best part. Taking an idea, translating it to a sound, sculpting these sounds to a cohesive mix and finally getting it out there for an audience to enjoy is an unbelievable feeling.

Q: What questions do you ask prospective clients?

A: What is your goal with this project? What other songs/artists do you want your songs to sound like? Are you having your project mastered?

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

A: Don't be afraid to ask questions and provide direction. My job is to see your vision through to fruition, but that will only happen if you let me know what direction you'd like to head.

Q: Can you share one music production tip?

A: There is no such thing as being "too rehearsed"

Q: What's your strongest skill?

A: My attention to detail is my strongest skill. I try to take as much off of my client's plate as possible so they can focus on their main task, bringing creativity to their project.

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

A: Ron Saint Germain has been one of the biggest inspirations to my career. He and I have been working together since 2007 and there is not one session we do together where I am not learning a new trick or technique to improve myself.