Mixing engineer and producer

Q: What do you bring to a song?

A: I bring a strong sense of melody, arrangement, and emotional texture to a song. Whether I’m working behind the board or co-writing, my goal is always to elevate the core idea with thoughtful decisions that serve the song. Because of my background in composition and part-writing, I naturally hone in on how different elements interact—I’m always thinking about counterpoint, space, and dynamics. I can hear where a song wants to go and start building it out almost immediately, whether it’s harmonically, sonically, or rhythmically. With a hybrid setup that combines analog summing through my Soundcraft 600 and handmade gear (like my Sta-Level, 1176, or tube preamps), I add that lived-in, textured feel that’s hard to fake. Whether we’re going for vintage, hi-fi, lo-fi, or something totally experimental, I’m about dialing in sounds that feel real, rich, and alive. Above all, I bring taste—I’ve spent years developing a refined ear and an instinct for what a song needs (and what it might not).

Q: What's your typical work process?

A: My typical work process is fluid but always grounded in capturing great sounds at the source. Here’s how it usually goes: Pre-production & Planning: I talk with the artist about their vision, influences, and goals for the project. We’ll listen to demos, discuss instrumentation, and plan the session layout. Tracking: I record through my Soundcraft 600 console, using analog preamps (many of which I’ve built or modified myself) to shape the tone from the beginning. I aim to mic things so well that minimal EQ is needed later. One of my key philosophies. Overdubs & Layering: I love building up arrangements with a focus on melodic interplay and harmonic richness. My background in composition and part-writing comes in handy here—whether I’m coaching performances, arranging parts, or playing instruments myself. Mixing: I mix through analog gear, summing everything through the board and outboard compressors like my Gates Sta-Level or SSL 4K bus comp. I do most EQ and compression with hardware, but I’ll pull in Waves, FabFilter, oeksound, or Valhalla plugins for precise tweaks or effects when needed. Final Touches: Once I’ve got a mix where I want it, I’ll take a break and come back with fresh ears. I make sure every element feels musical and intentional—my ear is especially tuned to melody and vibe. At every step, I try to keep the process collaborative, creative, and efficient—I pride myself on being able to conceive and execute musical ideas quickly while keeping the artist’s original vision at the heart of the project.

Q: Tell us about your studio setup.

A: My studio is a hybrid analog/digital space centered around a Soundcraft 600 console, which I use for both tracking and analog summing. I route audio through the board into my interface, then back out for final mix summing, which gives everything a warm, cohesive vibe that I find less intuitive to replicate digitally. I’ve built or modified a lot of my own gear, including a Gates Sta-Level compressor, a custom 1176, an SSL 4K-style bus compressor, and a few homemade tube mic preamps. This hands-on approach lets me tailor my own sound and workflow exactly as I want it. While I lean heavily on analog EQ, compression, and effects, I also integrate top-tier plugins from Waves, Valhalla DSP, oeksound, FabFilter, and Celemony to round things out and get surgical when needed. Everything’s designed to be as streamlined and robust as possible, making the whole recording and mixing process smooth and intuitive.

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

A: I’m deeply inspired by Brian Eno and Lô Borges—both for their innovative production styles and their ability to create rich and emotional sonic landscapes. Eno’s approach to texture, space, and atmosphere has hugely influenced how I think about arrangement and mixing, especially in creating depth without clutter. Lô Borges, and the Clube da Esquina movement in general, inform my melodic sensibilities and harmonic layering. Beyond them, I draw a lot from Paul McCartney (especially early '70s), Harry Nilsson, Marcos Valle, Gilberto Gil, and bands like The Beach Boys and Roxy Music. On the modern side, producers like Weyes Blood and Chris Cohen inspire me with their ability to merge vintage aesthetics with fresh songwriting.

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

A: Full-spectrum music production—recording, mixing, and engineering—from initial tracking through final analog summing. I work out of my own studio, where I use a modified Soundcraft 600 console, a mix of high-end and DIY analog gear, and a hybrid workflow that blends analog warmth with modern digital precision. I take clients' demos or rough ideas and help shape them into fully arranged, professionally mixed tracks, with a focus on melody, tone, and vibe. I also do instrument repairs, build or modify audio gear, and have engineered live sound for events and festivals.

Q: What are you working on at the moment?

A: I'm releasing a single very soon I'm extremely proud of that I wrote, recorded, and mixed. It's the first of a few songs that will be released this year.

Q: Analog or digital and why?

A: Both. Both different cons and benefits. Feel comfortable using both to get the sound you want.

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

A: One of the biggest misconceptions about what I do is that music production is just about hitting "record" and tweaking knobs until it sounds good. While that’s part of it, there’s a lot more involved. It’s about understanding the song’s essence, knowing how to bring out the best in it, and being able to adapt creatively and technically to make it sound exactly how the artist envisions. It also involves a lot of behind-the-scenes work: arranging, editing, sound design, mic placement, EQing, mixing, and sometimes even helping to shape the overall direction of a project if the artist is still figuring out the sound they want. It’s a collaborative art, where you have to connect with the artist’s vision and bring it to life—whether it’s through sound choices, arrangement ideas, or even emotional direction. There’s a deep understanding of both technical and creative aspects, and it requires a lot of patience, attention to detail, and flexibility. It's not just about “fixing” things, it’s about shaping the music into its best version.

Q: What questions do you ask prospective clients?

A: What’s your vision for this project? This helps me understand the mood, style, and direction you’re hoping to go in—whether it’s a specific genre or vibe, or something more abstract. What artists or sounds inspire you? Knowing who inspires you, whether it’s specific artists, albums, or producers, gives me insight into the sound you’re aiming for and the influences you want to incorporate. What’s your desired outcome for this project? Are you aiming for a polished, radio-ready mix, or something raw and organic? Understanding your end goal helps guide the production process. What’s your timeline and budget? It’s important to know how much time and resources are available so we can plan accordingly and make sure everything stays within the scope of your needs. What’s your preferred process for collaboration? Some clients like to be hands-on with every step of the process, while others prefer to step back and let the producer handle things. I want to make sure I’m respecting your workflow and making the process as comfortable as possible for you. Do you have any references or demo tracks? If you’ve already got something recorded or have a reference track, it helps to know where we’re starting from so we can match or elevate your current sound. What instruments or sounds are essential to your project? If there are specific instruments, tones, or textures you want to highlight, I can make sure those elements are prioritized in the production. Are there any parts of your sound or vision you’re unsure about? I love to explore and help bring clarity to any creative uncertainties. This is where I can offer suggestions and add value to help refine your ideas.

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

A: Know your vision: Before reaching out, have a clear sense of what you want to achieve with your music. Whether it’s a specific sound, vibe, or emotional direction, knowing your vision helps guide the collaboration and ensures we’re on the same page. Trust the process: Music production is both technical and creative. Don’t be afraid to let the process unfold. Sometimes the best ideas come from experimentation or unexpected changes along the way. If you trust the workflow, the results will often exceed your expectations. Communication is key: Be open and specific about what you like or don’t like during the process. The more you share your preferences, the better I can tailor the work to your needs. Collaboration is about finding that balance between your ideas and my expertise. Embrace the technical side: While it’s easy to focus on the musical aspects, don't overlook the importance of sound quality—whether it's choosing the right instruments, mics, or gear. I’m passionate about making sure every detail is dialed in, so trust me to handle the technical side while you focus on your performance and creativity. Be open to creative suggestions: My role is to bring out the best in your music, and that sometimes means suggesting new arrangements, sounds, or approaches you might not have considered. If you’re open to trying new ideas, it can take your project to a whole new level. By partnering up with someone who is dedicated to understanding your sound and vision, the results will speak for themselves. Let’s make something amazing together!

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

A: Assuming I have electricity on the island? Neumann U67 Microphone – It’s a classic, versatile mic that captures beautiful detail and warmth, whether I’m recording vocals, acoustic guitar, or anything else. My Computer – It’s the heart of my recording setup, and with my DAW, plugins, and all the tools I need, I can record, mix, and experiment with sounds. Audio Interface – To connect everything, ensuring clean, high-quality sound input and output, and allowing me to make the most out of my setup. Headphones – A good pair of headphones would be crucial for mixing and listening critically to my recordings while I’m on the island, especially if I’m working in a space with limited acoustics. My 70's Tama Acoustic Guitar – It’s been with me for years and has that vintage warmth and tone I love. Plus, an acoustic guitar is versatile for songwriting, recording, and keeping things creative. With those five, I’d be all set to make music, record, and explore new ideas, no matter where I am.

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

A: My career path has been a mix of hands-on learning, experimentation, and collaboration, and I’ve been building it for over a decade now. I started out studying music composition at Columbia College Chicago, where I focused on arrangement, counterpoint, and orchestration for both small ensembles and full orchestra. That gave me a strong foundation in music theory and composition, which I still use when approaching songs and production today. After graduation, I worked at Dusty Groove Records in Chicago, where I developed my tastes in music through the countless jazz, soul, world, and soundtrack records I listened to while working there. This experience helped broaden my sonic palette and deeply informed my musical influences. I also dove into the practical side of things, working as a guitar instructor and later managing an online vinyl record store. But the heart of my career was always in audio engineering and live sound, so I moved into more technical roles like sound technician, studio owner, and audio electronics repair. Throughout the years, I’ve built up a custom studio setup, focused on analog recording, and worked with local musicians in both Austin and Chicago. I’ve also toured as a musician, played live shows across the U.S. and Canada, and collaborated with some amazing artists, which has expanded my understanding of production even further. I’ve been working in the music industry since around 2012, and I’ve continued to grow as both a technician and a musician, always seeking new ways to merge vintage influences with modern techniques.

Q: How would you describe your style?

A: I’d describe my style as a blend of melodic richness, atmospheric depth, and a healthy dose of experimentation—with a strong nod to the sounds of '70s pop, folk, and Brazilian music. I pull a lot from the lush harmonies and intricate arrangements of artists like Paul McCartney, Lo Borges, and Harry Nilsson, but I also love playing with textures and sonic layers in a way that’s inspired by Brian Eno and early Roxy Music. There’s a natural, analog warmth in my recordings, thanks to the way I blend DIY gear, vintage gear, and modern plugins. But at the heart of it all is a focus on songcraft—whether it’s an intricate guitar line, a soaring vocal harmony, or a subtle production choice, everything I do is about supporting the song and making sure the emotion shines through.

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

A: I’d love to work with early '70s Paul McCartney—he’s just the GOAT when it comes to melody, production, and creativity. His ability to seamlessly blend pop hooks with experimental sounds, emotional depth, and a sense of adventure is unmatched. Plus, his hands-on approach to recording, especially with analog gear, aligns with a lot of how I work. I’d be thrilled to dive into that era of his music, where the balance of raw emotion, warmth, and innovation is just magic. Getting to work with him would be a dream come true, especially with his fearless approach to blending genres and textures.

Q: Can you share one music production tip?

A: Absolutely—here’s one I live by: When EQing, find the boost or cut that sounds good to you—then dial it back by half. Your ears often get excited by drastic changes, but pulling it back a bit usually lands you in a more natural, musical place that holds up over time and translates better across systems. Bonus tip: Mic things so well that you don’t even need EQ. Spend time choosing the right mic, placement, and space. If the source sounds great going in, mixing becomes way easier—and way more fun.

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

A: I usually work on music that lives somewhere in the world of psychedelia, classic pop, folk rock, soul, and Brazilian-inspired grooves—genres that lean heavily on melody, vibe, and rich arrangements. Think: early '70s Paul McCartney, Lo Borges, Harry Nilsson, Marcos Valle, and Gilberto Gil, with a little modern touch from artists like Weyes Blood, Chris Cohen, or Mac DeMarco. A lot of the projects I take on have vintage influences but aim for a fresh, emotional sound—often blending analog textures with modern songwriting sensibilities. Whether it’s dreamy folk-pop, fuzzy psych rock, or breezy MPB-inspired tunes, I love helping artists bring warmth, depth, and color to their recordings

Q: What's your strongest skill?

A: My strongest skill is my refined musical ear—especially for melody and arrangement. I can quickly hear where a song wants to go and bring it to life with strong part-writing, harmonic depth, and creative production choices. Whether it’s building vocal layers, crafting interlocking instrumental parts, or sculpting a mix, I’ve got a natural instinct for what makes a song feel emotionally compelling and sonically cohesive. That, paired with my technical chops—like working fast in both analog and digital realms, soldering gear, wiring studios, or dialing in live mixes—makes me a versatile and reliable collaborator in just about any musical context.