Remote Alt./Rock, Mix/Master

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

A: I did a rough mix on a well-known album that made the final cut, after a trio of other very talented mixers tried and failed to match it.

Q: What are you working on at the moment?

A: A feature documentary film.

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

A: I just arrived here so I’m not sure yet.

Q: Analog or digital and why?

A: Either. No reason to choose.

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

A: That the finished product is sonically competitive.

Q: What do you like most about your job?

A: Working with artists and helping create an artistic tradition that they find satisfying and representative.

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

A: How did you get that sound/performance? Great studios, talented artists and well maintained gear help but vision, confidence, and collaboration matter more.

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

A: That it’s fast, easy, or free. It should be none of those things.

Q: What questions do you ask prospective clients?

A: What kind of statement do you want the mix to make? Are you establishing a sound? Introducing a new path? Trying to get gigs? Get a deal? All paths forward need some consideration to execute properly.

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

A: If you’ve spent the time tracking and making sure your sounds and performances are what you want, there’s no reason we can’t get a great mix. Make sure you start strong.

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

A: Great speakers, a laptop, small interface, a guitar, and a keyboard controller.

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

A: I started as a teeny in the very late 1980’s so more than 35 years.

Q: How would you describe your style?

A: I prefer performances that are full of character rather than perfect technique and look to pair those with mixes that are immersive.

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

A: Paul McCartney because he’s Paul McCartney.

Q: Can you share one music production tip?

A: One mixing tip I use every time I start to mix is to build the initial balance between the vocal, kick, snare, and bass. Starting there makes me confident I have a solid back one with space to fit all the other elements.

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

A: I’m normally attracted to alt. Rock and Indy rock but I love music that crosses over into other genres. My best known work is from the broad rock genre but I work on everything from jazz (Pat Metheny), to new wave (Rick Ocasek), to R&B (Stevie Wonder; Tony, Toni, Tone), to pop (Mariah Carey).

Q: What's your strongest skill?

A: I have many skills learned over decades of work but mixing is the skill I choose to highlight.

Q: What do you bring to a song?

A: I began my career at. One of the most renowned studios in the world (Hit Factory in NY) during the transition from analog to digital. As a result, I’ve worked with and learned from some of the best artists and production teams in the business. My projects have been Grammy nominated, gained a great deal of radio play, and sold millions of RIAA certified copies. I understand how best to bring creative and commercial balance to projects and much of my work shows that. I’m passionate about working with artists and think I can help them to best serve their own impulses and to present their art in the light that most reflects their creative visions. I also know what will work sonically to get attention from radio, A&R, and fans.

Q: What's your typical work process?

A: I prefer to receive multitrack as WAV files (any resolution/bit rate above 16/44.1 will work), in either a project folder or as individual files all of the same length and able to be lined up from the same point. The files should be clean (no plugins) unless a tonal choice has been decided. This helps me not have to undo levels, compression, eq, etc. please include a stereo rough mix for reference and some notes if you want me to refer to them.

Q: Tell us about your studio setup.

A: My studio is setup around ADAM near field monitors and an SSL interface with analog mixdown capabilities to an Otari MTR-12. I mix in the box (use an original Mackie HUI for moving faders) and have (or will get) any plugin necessary to complete a project. I also use a much desired pair of Apple monitors for checking mixes, as well as Sony, Grado, Beats, and many other headphones for different mix checks.

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

A: Beck, Radiohead, Gaz Coombes, My Bloody Valentine, David Bowie, Lou Reed, Stevie Wonder, IDLES. Tony Visconti, Flood, Bria Eno, Nigel Godrich, Niko Bolas, Bob Clearmountain, Neil Dorfsman.

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

A: Mixing, engineering, producing, editing, sound design, composition.