Audio-post specialist

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

A: One I'm especially proud of is the audio restoration of "Summer City" (1977) — Mel Gibson's film debut. My role was restoring the audio for the digitized release: cleaning up decades-old source material, dealing with the noise, wear, and inconsistencies you'd expect from a 1977 mono track, and bringing it up to a standard suitable for modern release. It's the kind of project I like most — technically demanding archival work on something with real cultural/film-history significance.

Q: What are you working on at the moment?

A: Right now I'm working on a feature film and a restoration project with Multicom — a good mix of new mixing work and the archival restoration side I especially enjoy.

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

A: I'm new here

Q: Analog or digital and why?

A: Digital. In post-production you need a deep plugin toolkit to get a clean, precise edit and mix — the flexibility to fix, layer, and shape audio non-destructively is hard to match with analog gear when you're doing this volume of dialogue editing and mixing work.

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

A: Broadcast-level quality at a fair price. You get 20+ years of TV/film post-production standards applied to your project, without paying a big-studio rate for it.

Q: What do you like most about your job?

A: The whole process, start to finish—from the first edit pass on dialogue through the final mix. I like that it's not just one narrow task; I get to shape the sound at every stage, from cleanup and SFX to how it all sits together in the final mix, and see the full arc of a project rather than handing off a piece of it.

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

A: "Can you source your own SFX and music, or do I need to provide everything?" — I have my own SFX/ambience library and I'm comfortable working inside a client-provided library (Epidemic Sound, etc.) when that's what's available; either way I track the source/license of every asset I use, so nothing ends up unclearable. "What formats/specs can you deliver in?" — Stereo, 5.1, or Dolby Atmos, and I can hit Netflix streaming spec or DCP for theatrical when that's what the project needs. "How fast can you turn this around?" — Depends on runtime and complexity, but because I don't split cleanup/SFX/mix into separate slow stages, turnaround is usually faster than people expect once I have the raw material in hand.

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

A: hat audio is the last step you bolt on at the end, or that it's just "turning the volume up until it sounds good." A mix is doing a lot of invisible work — dialogue intelligibility, consistent levels, pacing, spec compliance for wherever it's delivering — and most of the effort is stuff a viewer never consciously notices unless it's missing.

Q: What questions do you ask prospective clients?

A: Send me the actual raw material up front — script, reference video, voice-over, and any style references — rather than just a description. Audio post is a lot easier to quote and nail on the first pass when I can hear/see exactly what I'm working with instead of guessing at tone. And don't be afraid to point to a reference mix you like; "make it sound like this" is more useful to me than a long list of adjectives.

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

A: 0+ years in audio, starting in broadcast television and film post-production (Caracol Television, RTI Studios), which is where I built the foundation in dialogue/ARD editing, dubbing, and re-recording mixing. Over the years that expanded into work with Sony Television Latin America and XAI, plus theatrical DCP mixing and streaming deliverables to Netflix spec. More recently, I've taken that same broadcast-level workflow into freelance and long-form YouTube/documentary content, so I bring TV-grade standards to projects that don't always come with a TV-grade budget.

Q: How would you describe your style?

A: Punchy mixes for TV — I like a mix that hits with clarity and impact without losing dialogue intelligibility. Nothing overly polished or sterile; the goal is broadcast-ready punch that still feels natural when someone's watching at home.

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

A: Not an artist so much as an institution — I'd love the chance to work with a restoration facility like Warner Bros' archive/restoration team. Audio restoration for older audiovisual material is one of the things I do and enjoy most, and getting to work on catalog titles at that level — with access to proper archival source material — is exactly the kind of technically demanding, detail-driven work I find most rewarding.

Q: Can you share one music production tip?

A: Don't reach for compression first when something needs to sit "bigger" in the mix — try a touch of saturation instead. A little harmonic saturation on a track (dialogue, bass, whatever needs presence) adds perceived loudness and warmth without squashing the dynamics the way heavy compression does, and it often helps an element cut through a busy mix better than an EQ boost would.

Q: What's your strongest skill?

A: Speed without cutting corners. I can turn around a full dialogue cleanup and mix fast because I don't treat it as separate steps — leveling, SFX, and music integration happen in one efficient pass, backed by broadcast-level habits (consistent workflow, organized files, spec-correct deliverables) that keep me from having to redo work later.

Q: What's your typical work process?

A: I start by getting the picture lock/reference, script, and any raw voice-over or dialogue, then do a first pass cleaning and leveling dialogue — noise reduction, de-essing, consistent gain staging before anything else gets layered in. From there I build out SFX (pulling from my own library or designing/refining what's needed, including cleaning up AI-generated placeholder SFX into production-ready sound) and integrate music, checking pacing against picture the whole way. Final mix goes out to spec — Stereo, 5.1, or Atmos, DCP or Netflix streaming deliverables as needed — with a revision round built in before final delivery. For ongoing/episodic work I keep a consistent workflow and file structure across episodes so handoffs stay predictable.

Q: Tell us about your studio setup.

A: 5.1 Surround sound set up, Yamaha Hs5 and sub wouffer, acoustic treatment, Eucon q2 fader mixer, 22 mics to record foley, about 122 plugins including RX-11, Acon digital, Soothe3, VocAligin, Accentize, The Cargo Cult, Sonnox McDSP, Krotos Todd-AO, Penteo Dolby Atmos for Headphones.

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

A: Most of my client work falls into two buckets: broadcast-grade audio post for film/TV (dialogue and ADR editing, re-recording mixing in Stereo/5.1/Atmos, and Netflix-spec streaming deliverables), and long-form YouTube/documentary-style content, where I clean and level voice-over, then build the final mix — sourcing or designing SFX from my own library, integrating licensed music, and keeping consistent levels across 20–60 minute runtimes. Either way, the core job is the same: take a voice-over and turn it into a polished, broadcast-quality mix.