producer / mixer / technicolor

Q: What are you working on at the moment?

A: Currently returning from the UK, working on an amazing project with three incredible, groundbreaking, legendary artists.

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

A: How much do you charge....

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

A: That I can fix a poorly composed song. Or that I am simply a technician, though most don't assume that.

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

A: Bob Weir's "Blue Mountain". I tracked and mixed the record. I also took photos that became the record artwork. I'm proud of it, because when I heard the music, I saw the west. I saw the plains and the mountains, and the vastness. I feel like I made that record. A record that paints that picture perfectly.

Q: Analog or digital and why?

A: Both. Both are good. Both are just tools.

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

A: I make no promise, but for the fact that I will put my spirit into my work. I do promise they will feel that, no matter what.

Q: What do you like most about your job?

A: All of it.

Q: What questions do you ask prospective clients?

A: Too many to list here. Most importantly, what does this record mean.....

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

A: If you are looking for artistry, look in the right places, at the right people. Don't worry about what records they've done. Vision says it all.

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

A: There would be no electricity, so it wouldn't matter! I'd take my old nylon string Martin.

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

A: Began assisting at age 16. Haven't looked back since, 23 years later.

Q: How would you describe your style?

A: Widescreen. Technicolor. High Fidelity with character.

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

A: Any artist I would love to work with has already made records that I love, so no need to worry about that. I want to work with artists who want to do something new and say something new, with a profound respect for the art form we know as music.

Q: Can you share one music production tip?

A: Be kind. Kind with ideas, kind with relationships, kind with interactions. That kindness will always speak through music.

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

A: Most often, left of center pop and rock music. Often, avant garde and experimental jazz and instrumental music.

Q: What's your strongest skill?

A: Making records sound deep and wide. Setting a landscape.

Q: What do you bring to a song?

A: Again, depends on the music. I like to think on the most basic level, I can light the song in such a way that tilts a listener's head in a different direction, whilst being true to the aim of the music at hand. I want each new listen to be a revelation, an unveiling.

Q: What's your typical work process?

A: Depends on the music.

Q: Tell us about your studio setup.

A: My studio, The Isokon, is setup for my perfect workflow. Ex Machina Quasars, Harbeth P3ESR mini monitors, dozens of odd reverbs, compressors, distortion devices, color boxes, etc..... I mix using digital medium, and analog hardware, always. I have far too much interesting hardware to mix in the box.

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

A: Alan Parsons, Tchad Blake, Rick Hall, The Swampers, Phill Brown, Milestone recordings to me : Miles Davis' Bitches Brew Talk Talk : Spirit Of Eden & Laughingstock Tortoise: Standards Pink Floyd: Dark Side Of the Moon Fleetwood Mac: Rumours Portishead: 3 Latin Playboys Neil Young: Harvest

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

A: Producing. Recording. Mixing.