Recording & Mixing Bands

Q: Analog or digital and why?

A: I actually wrote a short piece about this because there are important differences. I prefer the tactile nature of analog and the commitment it requires, since decisions have to be made intentionally rather than endlessly revised. I also value the speed and flexibility digital offers, so using a hybrid approach lets me stay focused on performance while keeping the process efficient.

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

A: A common question I get is, “Can we record together?” The answer is yes. I find that tracking together is often the best way to capture strong, cohesive performances.

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

A: I ask about the goals for the project, what you want the music to feel like, and how you imagine the finished record.

Q: What questions do you ask prospective clients?

A: It really comes down to understanding what the main goals and objectives are, what sort of vision you have for your music, so I can help us get there.

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

A: Come in prepared but open-minded, and work with someone you trust to help achieve your vision. Knowing your material and having clear goals makes sessions smoother and less stressful, allowing us to focus on capturing great performances rather than managing logistics.

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

A: Definitely the Auditronics console. I don't think I will ever go without it. Other than that, I would say a Distressor, an 1176, a dbx 160, and a Sennheiser 441.

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

A: My first studio experience was in my early teens, recording with a well-known local engineer while playing in a band. That experience was frustrating, as my performance was heavily altered to fit someone else’s idea of a sound, and it left me with a clear sense of how damaging the wrong recording process can be. After that, I started recording my own bands on a cassette recorder and quickly fell in love with the process. I went on to study music and recording, interned at a local analog studio after graduating, and eventually began building my own setup. Over a decade later, that early experience still shapes how I work — prioritizing trust, communication, and making sure artists feel heard and represented in the final result.

Q: How would you describe your style?

A: I don’t approach projects with a fixed style. While certain characteristics show up naturally, like hard-hitting, real drums, the goal is always to serve the song and the performance rather than force a signature sound.

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

A: Rather than a specific artist, I’m most interested in working with bands who are committed to honest self-expression through recording. I focus my time and energy on projects I genuinely connect with, because that always leads to a stronger and more authentic result.

Q: Can you share one music production tip?

A: If it sounds good, it is good and......FIX IT IN PRE

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

A: I primarily work on band-driven music across many styles rather than a single genre. The focus is always on serving the song and the performance, allowing each project to sound authentic to the artist.

Q: What's your strongest skill?

A: Listening closely to the song and identifying what it needs to best serve the artist’s vision, then making clear, intentional decisions to get it there.

Q: What do you bring to a song?

A: Ideally, very little. My goal is to capture your music as organically and accurately as possible, preserving the intent, feel, and identity of the song. When needed, I am happy to help with arrangement, selecting takes, or filling in missing pieces, always in service of the material.

Q: What's your typical work process?

A: When tracking, most or all of the band is in the live room with the drums to preserve feel and interaction. Amps are typically run to separate spaces for isolation, and each performer can dial in their own headphone mix. Once mic placement and tones are set, we focus on capturing full performances rather than piecing things together. After a strong take is captured, any necessary overdubs are recorded. Mixing follows with an emphasis on clarity, balance, and preserving the character of the performance. Revisions are handled collaboratively to make sure the final result serves the song.

Q: Tell us about your studio setup.

A: Common Man Studio is built around a 24-channel Auditronics Grandson console, with all tracking running through the desk and then either to an Otari MTR-90 or into the computer via a Lynx Aurora. The setup is designed to capture performances decisively while keeping a hands-on, analog workflow. There is a mix of studio staples like an 1176 and Distressor alongside more underrated pieces such as the Valley People Dyna-mite, FMR RNC, and Louder Than Liftoff Chop Shop units. Plug-ins are used where they make sense, either to complement the hardware or add tools that aren’t practical in analog. There are also various plug-ins that emulate classic hardware or bring their own unique characteristics that aren't practical in analog.

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

A: I’m inspired by engineers like Steve Albini, Eric Valentine, and Butch Vig, less for specific sounds and more for their philosophies and commitment to serving the material. I’m equally inspired by DIY bands and artists who prioritize honest expression over copying trends or following formulas.

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

A: Most of my work involves tracking and recording bands, followed by mixing the material. In some cases I also handle mastering when it makes sense for the project. I’m also available for remote drum tracking for artists who need live drums added to their song.