Award Winning Mixing

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

A: One project that holds a special place in my heart was the creation of the home opener trailer for the Vancouver Canucks. As a passionate hockey enthusiast, being entrusted with this project was a dream come true. My role in this project involved utilizing a significant amount of analog gear to infuse the trailer with a distinct, immersive sound that resonated with the excitement and energy of the game of hockey. What makes this project particularly memorable is the fusion of two of my greatest passions: music and hockey. The opportunity to contribute to the exhilaration of a live hockey event through music was a unique and deeply gratifying experience. It allowed me to channel my enthusiasm for the sport into the creation of a sonic masterpiece that perfectly complemented the thrill of the game. The combination of analog gear and my love for hockey resulted in a project that I'm exceptionally proud of, as it seamlessly blended my personal and professional passions in a way that resonated with both sports and music fans.

Q: What are you working on at the moment?

A: Currently, I'm deeply immersed in the captivating world of crafting cinematic trailers and composing custom music for the films you adore. My creative journey is dedicated to shaping the soundscapes that bring those cinematic masterpieces to life. Every project is a unique adventure, where I pour my heart and expertise into creating the perfect sonic atmosphere that resonates with your favorite films. It's an exciting and rewarding endeavor, and I'm always eager to explore the next musical frontier in the world of cinema.

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

A: I have yet to find his profile but his name is Brody Low, He is a great producer friend of mine and makes some incredible pop/electronic music.

Q: Analog or digital and why?

A: In practice, many engineers employ a hybrid approach, combining both analog and digital elements to leverage the strengths of each. For example, using analog hardware for certain coloration and digital tools for precision and recall. The choice may also depend on the specific genre of music; some genres benefit from the warmth of analog processing, while others thrive with the precision of digital tools. Ultimately, the decision comes down to individual preferences, project requirements, and budget constraints. The beauty of today's audio production is that you have the flexibility to choose the tools that best suit your artistic and technical needs. (I love both)

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

A: Artistic Collaboration: I understand that your music is a reflection of your artistry. I promise to work closely with you to understand your creative vision and bring it to life, making sure your music represents your unique style.

Q: What do you like most about your job?

A: What I like most about my job is the ability to bring music to life. There's a special joy in taking raw audio tracks and transforming them into a polished, captivating piece of art. It's incredibly rewarding to work with artists, hear their creative visions, and help them achieve the sound they've been dreaming of. Every project is a unique journey, and being a part of that creative process, whether it's enhancing a vocal performance or perfecting the mix, is truly fulfilling. The satisfaction of knowing that I've played a role in making music that resonates with audiences is what keeps me passionate about my work.

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

A: What Format Should I Provide My Audio Files In? My Answer: I prefer high-quality WAV or AIFF files with a sample rate of at least 44.1kHz and a bit depth of 24 bits. Ensure your recordings are free from clipping. Can You Work with Different Music Genres? My Answer: Yes, I have experience working with various music genres, from pop and rock to electronic and classical. Each genre requires a unique approach, and I adapt accordingly. Can You Provide Test Mixes or Masters Before We Commit? My Answer: I can provide a short test mix or master to showcase my capabilities and ensure that we align with your vision and expectations.

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

A: The biggest misconception about mixing and mastering professionals is that their role is solely about making a recording "louder" or adding effects to make it sound better. In reality, the role of a mixing and mastering engineer is much more complex and nuanced. Here are some common misconceptions: It's Just About Volume: Many people believe that mixing and mastering are primarily about making a track louder. While loudness is a component, the primary goal is to achieve a balanced, clear, and polished sound by adjusting various elements like levels, EQ, dynamics, and spatial qualities. Fix-It-All Magic: Some think that mixing and mastering can magically fix a poorly recorded or performed track. While professionals can enhance the quality, the original recording and performance quality play a significant role in the final outcome. One-Size-Fits-All Approach: There's a misconception that there's a single set of settings or presets that can be applied to all tracks to make them sound great. In reality, each song and genre requires a unique approach, and personalization is key. Instant Results: People may expect instant results from mixing and mastering, but the process often takes time and involves back-and-forth communication to fine-tune the sound to the client's vision. It's All About Gear: While high-quality equipment and software are essential, it's the knowledge, experience, and skill of the engineer that have the most significant impact on the final result. Expensive gear alone cannot replace expertise. It's Only for Professionals: Another misconception is that mixing and mastering services are only for established or professional musicians. In reality, artists at all levels can benefit from these services to improve the quality of their music. It's a One-Time Process: Some believe that mixing and mastering happen in isolation, without client input. In truth, collaboration and communication between the engineer and the artist are key to achieving the desired sound. It's Costly: While professional mixing and mastering services have associated costs, they offer value by enhancing the quality of the final product. It's an investment in the presentation and impact of the music. It's Inaccessible: Many may think that only major studios or well-known artists have access to professional mixing and mastering. In reality, there are many skilled freelance engineers and studios that offer affordable services to independent and emerging artists.

Q: What questions do you ask prospective clients?

A: - What do you love about music? - What is the meaning behind this song? - What is the best reference you have for this mix?

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

A: - Define Your Goals - Review Samples - Communication

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

A: - Macbook Pro - External 5TB SSD - Headphones - Solar Powered Power Bank - Large Crate of Oreos ;)

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

A: I was lucky enough to become working on music full time out of high-school. I was apart of a music duo called Wild Cards, we had a lot of success In over seas markets, when the project ended and we started our own journeys the music we previously released allowed myself to work and continue diving deeper into this passion. Forever thankful.

Q: How would you describe your style?

A: Large, Wide and Dynamic all around productions.

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

A: I would love to someday co -compose something with Ludwig. Love his hybrid crossover with the cinematic world.

Q: Can you share one music production tip?

A: Take breaks. Always take breaks. Even if its only 20 minutes to let the ears rest.

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

A: Trailer Music, Pop, EDM and Hip-Hop

Q: What's your strongest skill?

A: Mixing has always been a strong skill, over the years I have gotten better and better. You know what they say... you never stop learning.

Q: What do you bring to a song?

A: The love and passion for music. I have loved music since I was young it was always a big part of growing up.

Q: What's your typical work process?

A: Every work process is different, When working on my own music it may be different than working with a client. If I am building out a cinematic piece i start with ambience and pads, if i am working on a pop, hip-hop or edm piece i usually dive into percussion or chords first. Mixing and mastering is a very fun process as well. I like to really listen to what the artists vision was on the piece of music and really try and bring it to life.

Q: Tell us about your studio setup.

A: I currently work out of two studios, my home studio is set up with Adam A7x monitors with a PreSonus Quantum audio interface, Moog, Prophet 6, Arturia Midi Keyboard, Pro Tools and Ableton 11. A lot of the plugins I work with rage from Isotope, Waves, Kontakt, Fabfilter and many more.

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

A: One of my biggest inspirations musically is Hans Zimmer or Ludwig Göransson. Raw and cutting edge compositions are what keeps my musical mind moving.

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

A: I currently work as film composer. I a lot of the work i get is requests from clients looking for custom music to be written for trailer or spot cues. More recently I decided it would be fun to mix and master for individuals.