Engineer/Mixer

Q: Can you share one music production tip?

A: When tracking drums, try using some packing blankets to cover the kick drum once you have placed the microphones. This will give you full control over the EQ of those microphones. It will also be a help if you plan on editing the drums as the leakage on those tracks will be reduced dramatically.

Q: Analog or digital and why?

A: This discussion can go on for days...ha! I have no preference really. I am comfortable working in both realms. Each platform has its strengths and weaknesses. If the client wants to record to tape, then we are recording to tape. If the client wants to go to pro tools, then we are going to pro tools! Some people get too caught up in this battle. At the end of the day, its about the artist and the song, never let the technology get in the way.

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

A: I would have to say engineering the latest Tea Party record 'The Ocean At The End' was a highlight for me. They are an iconic rock band from Canada who have been active since the early 90's, they also happen to be from my hometown, Windsor.

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

A: Mac Pro (with pro tools and plug ins), UA Apollo, U87, PMC Monitors, The Internet

Q: What do you bring to a song?

A: Excitement. Emotion. Feel. Impact. Creativity. Oh, and my years (and ears) of experience!

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

A: Mixing. These days, with the opportunity to connect with people from all over the globe via the internet, it has never been easier to collaborate and work with new and interesting talent, regardless where they are located.

Q: What do you like most about your job?

A: My favorite part of my job is when I get an email or a text from a client saying how happy they are with the mix.

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

A: I think the biggest misconception when sending your song to a mix engineer is that they are always able to 'fix it in the mix.' For the most part this is not true. If the song and the production just isn't there, the mix won't be able to change that.

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

A: I would say have a conversation and do some research. Make sure that the mixer you are hiring is the right fit for your project.

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

A: I have been doing this professionally for about 8 years now. I started in big commercial studio facilities and climbed my way through the ranks from intern to assistant to engineer.

Q: What's your typical work process?

A: Generally I would have a conversation beforehand with the producer/artist/label/management etc.. Once I have established the end vision for the song and have some notes from everyone, I can start mixing. I always start with listening the the rough mix a few times to get the feel of what the intention was. From there I mix the song, then send it off to the team for approval. I usually end up doing a couple revisions, then send the final mix outs (Main, Music Only, Vocals Only, TV Mix, Vocal Up)

Q: How would you describe your style?

A: Chameleon. I try to be an extension of the artist. My goal when mixing is taking what is already there and enhancing it in a way that draws the listener in and makes them want to turn it up.