Mix Engineer/Producer

Q: Analog or digital and why?

A: Both, honestly. I mix through a hybrid analog/digital chain — there's a warmth and glue you get from analog gear that's hard to fully replicate in the box, but digital gives you precision and recall that analog can't match. I use whichever gets the song where it needs to go, not one for the sake of purity.

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

A: Your song gets treated like it's mine. I'm not chasing a preset or a trend — I'm mixing for what the song actually needs. You'll get honest communication, a fair turnaround, and a mix that translates on everything from earbuds to studio monitors.

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

A: That mixing is just "make it louder" or "make it sound professional." A good mix is about decisions- what to bring forward, what to let breathe, what to leave alone entirely. Sometimes the best move is doing less, not more. Listening to what the song is telling you.

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

A: Listen to the samples in the genre you're actually going for, not just the overall vibe of a profile. A mixer who's great with polished pop might not be the right fit for something rawer and guitar-driven, and vice versa. Also — send a rough mix or reference track up front. The clearer the direction, the better the result.

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

A: I've been in and around studios for 30+ years, starting in tape-era tracking and working through to modern ITB workflows. I cut my teeth at Soundtrack Studios in NYC, where I was an intern/assistant exposed to engineers like Andy Wallace and Butch Vig. I spent time touring and playing in bands before moving fully into engineering and production, and I've been mixing and producing independently ever since.

Q: What's your typical work process?

A: You send me your rough mix or stems, along with any reference tracks. I dig in, gain stage, get a static mix up fast, then spend the real time on the details — vocal clarity, guitar tone, making the low end sit right, the drums smacking. You'll get a mix back within a few days, and we go through up to 3 rounds of revisions to get it exactly where you want it. I keep communication simple and direct — no jargon, no runaround.

Q: Tell us about your studio setup.

A: I run a hybrid analog/digital chain — mixing through LUNA, Pro Tools. Master in WaveLab, with iZotope RX for cleanup and restoration and Melodyne for pitch and timing work. Apollo interface and vintage Urei 1176's, and Neve 1073's. That combination gives me the warmth and glue of analog gear alongside the precision and recall speed of working in the box — I use whichever the song actually calls for, not one over the other out of habit.