Mixing Mastering Producer

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

A: I have been in the music industry in some capacity for over 25 years since I was 18 years old. I started playing guitar around 10 years old and recording music on a 4 track in my bedroom as a teenager. I toured with a band in my early 20's and then got into the recording side after being on the road. My path has been broad ever since then as an engineer and musician.

Q: How would you describe your style?

A: My style is very song oriented and to remain true to the artist! If something helps the song or to convey the emotion then that is great. If it doesn't or gets in the way of the song's story and the vocal then I mute it or turn it down no matter how cool the part is.

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

A: Country / Pop / Rock / Americana as well as mixed genres between those which is so common now especially in Modern Country.

Q: Tell us about your studio setup.

A: My studio setup is very workflow oriented for me. I use a hybrid mixing setup with some analog outboard gear when mixing. That said it was extremely important to me for it to be 100% repeatable as I do alot of work in TV Sync as well and need to be able to get exactly back to a mix. Analog outboard gear includes, Neve, API, Chandler and Summit (tube) mic preamps, Tube-Tech CL1B, UREI LA-4, Audioscape 260VU and DA-3A, 1176 and LA2A compresssors, Neve summing, A Designs HM2EQ, Heritage Audio Successor, Overstayer MAS, Audioscape SSL style bus compressor, SPL BIG, and a Dangerous Convert AD+ used for the stereo buss as well as master clock. As for the brains of the studio Pro Tools Ultimate with Avid HD i/o along with all of the major plugins from UAD, Sound Toys, Slate, Antares Autotune Unlimited bundle, Apogee, Waves Platinum and Mastering bundle. Lots of virtual instruments as well from Slate, Spectrasonics, Native Instruments, Toontrack, XLN Audio, East West, Output and many more. A Native Instruments keyboard is my main midi controller for playing keyboard, organ and piano parts and programming other sounds. Various microphones are around the studio as well for anything from vocals, to acoustic instruments and guitar cabinets. As guitar is my main instrument, there is also a number of electric and acoustic guitars, bass, mandolin, resonator guitar and percussion around the studio.

Q: Analog or digital and why?

A: I use both because analog outboard gear still matters and does somethings better to my ear. That said I feel whatever works in that moment is still the right choice. If it sounds good and inspires you then that is all that matters.

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

A: That I have all of the answers. No one ever knows everything. I am always looking to learn a new technique or try something new.

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

A: So many artists come to mind but I think Chris Stapleton would be fun since I know that he records his vocal and plays guitar at the same time. This even applies to acoustic guitar and vocal at the same time. I love that live feel challenge including embracing the bleed between microphones.

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

A: I will always give 100%.

Q: What do you like most about your job?

A: I love hearing or seeing the excitement of the end result from the artist.

Q: What questions do you ask prospective clients?

A: What is their vision? Who inspires them? What artist or artists do they want to compared to?

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

A: Hmmm, that is tough. I think probably just an acoustic guitar as I would probably be laying on the beach quite a bit.

Q: Can you share one music production tip?

A: Let the human feel come through. Stop putting everything on a grid or quantizing everything. Sometime that is appropriate, especially in some genres and I understand that. But, the flip side is pro musicians have spent years developing a feel and pocket that they are known for and everyone loves. That is why they are hired. That is part of the emotion in music. That will set your production apart from others.

Q: What's your strongest skill?

A: My strongest skill is not being afraid to delete or mute a part I have created or played in a song if it makes the song better or artists vision more clear. I am not precious about anything I play. The most important thing is the lyric and melody. Everything else should create emotion or a feeling surrounding that which is appropriate, supports the artist and keeps the production clean and engaging.

Q: What do you bring to a song?

A: I bring a diverse experience in styles from all of the TV sync work I have done and large variety of artists I have worked with as an engineer.

Q: What's your typical work process?

A: For producing or creating a track for an artist I like to work from a worktape of acoustic guitar and vocal if possible or even a little more broad demo if appropriate. I want to help the artist realize their vision before mine. Sometimes an artist might want my vision and I can do that but I have heard other producers say that they are always aware of "not ruining the magic" or inspiration they heard in a demo or idea. I feel that is really important.

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

A: For Producers, the list is very diverse. Dan Huff is probably one of my favorite producers. Greg Wells and Butch Vig as well. I also have recently been inspired by Mark Ronson. As far as musicians it is a very very wide net. Literally someone in every genre from Chet Atkins, Dann Huff, Brent Mason, Keith Urban, Dave Grohl to Eddie Van Halen. I could name so many more. I appreciate any unique musicianship.

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

A: The most common thing I do is help realize a vision of someone's song. Whether it be mine or someone else's I love the process of bringing the vision to life.