Produce/Record/Mix/Master

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

A: Started recording when I was 11 years old. I've been improving my skill set professionally for 30+ years.

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

A: Too many to list. The key is to be open to every possibility, adjusting my role as needed.

Q: What are you working on at the moment?

A: The Hustle. Always. It's that fine line of running a business and helping artists make their best work.

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

A: The one that inspires me to do my best work

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

A: API Lunchbox loaded with 512 preamp, 560 eq, 525 limiter, AEA A440, Avid HDX system

Q: Can you share one music production tip?

A: Listen first, then speak

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

A: Ones that would be answered by some basic research. Please do some homework before you decide to hire an engineer, producer, mixer or mastering engineer. The experience can be a great one with some basic knowledge.

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

A: Josh Dodes, Malcolm Gold, Tim Leitner and Clara Lofaro

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

A: "Anyone can do it". Incorrect! Production, recording, mixing and mastering are highly skilled careers. Buying software and a microphone does not make someone an engineer, mixer or mastering engineer. If you want your music to sound 'professional', hire a professional.

Q: What questions do you ask prospective clients?

A: 1. Budget 2. Goal. The two answers affect the entire process

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

A: I'm not 'done' until I think its as great as can be.

Q: What's your typical work process?

A: My process revolves around the client's needs. Its all about creating an environment that is conducive towards creativity. That includes making the gear 'disappear'. Once an artist starts questioning gear choices, we're doomed. Its never about the gear, its about the music. If I'm working on my own I have a usual method that allows me to be very productive. A mix is a solid day's work, with a second day to touch up the mix. There's always some little thing I catch on that second day that I want to change. I prefer to mix on my own, the mixes always come out better that way. I'd rather have the artist see the 'big picture' of the mix than the minutiae of the mechanics of it.

Q: How would you describe your style?

A: Transparent

Q: Tell us about your studio setup.

A: Pro Tools HDX & API console, with the best outboard gear

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

A: Before you hire a producer, engineer, mixer or producer, make sure you hear something they've done that YOU love.

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

A: Phil Ramone, Prince, Neil Dorfsman, Adrian Sherwood, Flood, Brian Eno, The Blue Nile

Q: Analog or digital and why?

A: It doesn't matter. The important thing is to embrace whatever system you have available and maximize its possibilities

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

A: The best possible

Q: What do you bring to a song?

A: A mission to make the song the absolute best it can be

Q: What do you like most about your job?

A: It's a life, not a job.

Q: What's your strongest skill?

A: Focus, infinite patience, and attention to detail

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

A: Production, recording, mixing and mastering