Producer, Mixer, Guitarist

Q: Analog or digital and why?

A: Tools are tools - what separates good from great is how those tools are used to create a record. There is no substitute for ears and experience.

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

A: Will you master my song? If I mix your song, I will always provide you with a release-ready mix. It will sound finished, polished, and will be the appropriate loudness for the platform you are releasing to. This mix does not need to be mastered and in most cases, my clients stick with and release this mix. As often as not, clients prefer my loud mix over a mix mastered by another engineer. If requested, I will also provide a quiet mix suitable to send to another engineer for mastering. Mastering is an art that few have mastered and the work of a great mastering engineer can sometimes dramatically improve the final product. Mastering is especially valuable because it provides a fresh perspective on the song. I always recommend working with a good mastering engineer but I also stress that good engineers tend to charge accordingly. A second-rate mastering job will not tend to be better than the polished mix I can deliver, although you never know! I do not, however, master music that other people have mixed. This is because mastering is a different skill than mixing and not in which I consider myself an expert.

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

A: 1. Accurate monitors 2. Logic Pro 3. Sturdy dynamic mic 4. Big-sounding condenser mic

Q: How would you describe your style?

A: I write dacnceable indie pop with retro elements that is equally comfortable in coffee shops and clubs.

Q: Tell us about your studio setup.

A: I work out of an acoustically treated home studio. I monitor on a pair of Presonus S8s and matching sub in a treated room. I work in Logic and Reaper. For synth sounds, Spectrasonics Omnisphere, NI Komplete 10 and a handful of other pluginss in addition to outboard guitar effects and a Korg Minilogue. I run a range of guitars through a Fractal Audio Axe FX II for a wide range of very realistic amp and effects models.

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

A: Production: Sound Awake by Karnivool, To Pimp a Butterfly by Kendrick Lamar, The 1975 by The 1975, Black on Both Sides by Mos Def, Lover by Noah Gundersen // Mixing: Only Way Out by Madeon, 21 by Adele, TwelveFour by The Paper Kites // Guitar: Jeff Beck, John Mayer // Bass: Pino Palladino

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

A: I have been recording and mixing for around 14 years. I started mixing FOH for churches and concerts and went on to produce and mix EPs for four bands I played in, as well as working for musician friends of mine. I have played guitar for 17+ years, bass for 7 years, and synth for just 3.

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

A: indie-pop, indie rock, synthpop, rock, deep house, singer-songwriter stuff, old-school hip-hop,

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

A: Music is not about about gear, tips, or tricks! There are no magic shortcuts - a great song requires a solid emotional message and great composition, performances, and arrangements built around that message. From there, my job is to make sure your music will translate emotionally to your listener, whoever and wherever they may be. I make music the hard way - no presets or automatic fixes. I listen carefully and manually apply automation to every element that needs it to create a dynamic mix that puts the listener in the same place you were when you wrote the song.

Q: What's your typical work process?

A: For me, the first and most important step is to identify the mood and message of the music I am working on. I believe that all choices in the production, mix, and master process should serve the vibe the artist hopes to achieve and that this is always more important than technical perfection. I want the music I work on to put the listener in a place and experiencing a feeling that matches the lyrics and artist's intent. Production: I usually start with a few layers of percussion to develop a groove that matches the feeling of the song. Then I add a guitar or synth idea and build from there. My productions tend to be layered with multiple instruments contributing to a melodic idea. I try to use unconventional percussion parts and groovy basslines because music should make you dance. Mixing: I start by hearing the artist's vision for the song, what it means to them, what they like about it, and what they hope to improve on during the mix process. Then, I make notes of the elements of the rough mix I want to be sure to preserve. From there, I typically start from the ground up. First, I address any issues in the project (vocals that may need tuning, clicks/pops that need to be removed, etc). Next, I balance the elements of the song, paying particular attention to how each part contributes to the mood and meaning of the song. Finally, I address the dynamics of the song. I use parallel compression and automation to maximize the dynamics of the music while keeping the energy even in quiet parts. I typically get feedback from friends whose musical opinions I trust to make sure I haven't missed anything. Session work: I listen for space in the song to make sure my parts do not interfere with other aspects of the music. I am not afraid to play simple parts in the background but can add spice when needed. I often like to record double-tracked guitar and synth parts for extra stereo width in case that is needed later on.

Q: What questions do you ask prospective clients?

A: What emotion do you want your listeners to feel when they hear this track? Where do you want it played? What message do you want them to gather? What are your favorite parts of this track as it is? What do you not want me to touch? What are the limitations of this track to you? What are you hoping we can improve? What platform will this track be distributed on? This will affect how loud or dynamic it should be.

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

A: Have a vision for your work and make sure you find someone who can help you realize it.

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

A: I recommend working with Chris Gala for mastering because he and I are on the same page when it comes to putting emotional content first. While some mastering engineers are hands-off and just want a finished mix to smash with their limiter, Chris will take the time to make sure the mix is as good as it can possibly be before he takes over to work his magic. https://soundbetter.com/profiles/45893-chris-gala-mastering

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

A: I'll work with you to fit your vision into the song you have written. I'll go the extra mile, add extra parts, and remix until your record says what you want it to say to your listener. Most of my projects go beyond the terms we initially agreed upon because I would rather do more for you than deliver a finished product that doesn't capture everything you had envisioned.

Q: What do you like most about your job?

A: I love hearing from a client that I have taken the song beyond even their vision for it. It's hard work but these are the reactions that I work for.

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

A: Pino Palladino is, to me, an artist who elevates every song he works on to be above what it could have been without him. His work is subtle but priceless. This is what I strive toward in every area I contribute to as I work with clients.

Q: Can you share one music production tip?

A: Treat your song like a place and let every decision be about describing that place to your listener or decorating it to make it more interesting. This applies to the chords you use, the effects you use, the balance of the mix, and even the final mastered loudness.

Q: What do you bring to a song?

A: First and foremost, I bring a focus on the emotion and meaning of a song. I approach each song differently, depending on what the artist wants the song to communicate and will break whatever production rules I need to in order to make this happen. Because I have skills across the writing/recording/production process, I can contribute whatever is needed for a song, even if it isn't what you originally hired me to do.

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

A: Mixing, composition/production, electric and acoustic guitar work. Because I have experience with each step in the recording process, I can be your one stop shop to perfect your song.

Q: What's your strongest skill?

A: Capturing emotion while keeping the song commercial-ready