Remote Mixing and Mastering

Q: What are you working on at the moment?

A: Three production trailer tracks for a large trailer music company, An Artist release on Feb 14th 2019 (Valentine's Day), Managing a local Orchestra, Continuous Ongoing Production for a Music Library, Developing a new brand with my Partner

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

A: My original 12-minute long orchestral piece "The Darkness and the Light" premiered in July 2018 by the Orlando Contemporary Chamber Orchestra. I was the composer, and months later became the Executive Director of the Ensemble.

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

A: I am new to this platform.

Q: Analog or digital and why?

A: There is no right answer to this. A healthy mixture of both is needed to achieve a great final product.

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

A: I promise to get it right.

Q: What do you like most about your job?

A: The flexibility, and rendering the final mixdown for delivery to a client.

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

A: Typically most clients want to know what the turn-around time is, and how pricing works. I explain that I don't use price sheets and it's impossible to guarantee a 1/2-day turnaround on a platform like this and please every client. That is unrealistic, so I work with the client and find out their expectations and determine a realistic time frame based on my current workload.

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

A: That it is easy.

Q: What questions do you ask prospective clients?

A: I've learned that simply asking "What is this for?" gives the client plenty of room to explain their vision and what they want to do. Most clients just want to be heard and understood.

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

A: Make sure the producer or engineer has a full understanding of what you are trying to achieve, and agree on concrete milestones for the project.

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

A: Any PC with Cubase, my 88-key, my Teenage Engineering OP-1, Decent Monitors, and a good power supply.

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

A: I have been engineering for over 10 years, and producing for around 5.

Q: How would you describe your style?

A: Minimalist and clean.

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

A: There are plenty of established artists I would like to work with, but what excites me is unknown or undiscovered talent.

Q: Can you share one music production tip?

A: Boost wide, cut narrow.

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

A: I work on mostly orchestral music, but also work on all kinds of production music ranging from "quirky" to Trap music.

Q: What's your strongest skill?

A: Bringing a client's vision from their mind to the speakers.

Q: What do you bring to a song?

A: My uncluttered, clean style.

Q: What's your typical work process?

A: I first like to consult with the client to discuss the project and their vision, and to figure out if I am a good fit to bring the project to life. Then I provide a simple list of what I will need to get started (which will be different for nearly every project) and help to walk you through the process, all the way from a project's inception to the final product.

Q: Tell us about your studio setup.

A: I have a small space with lots of equipment from Universal Audio, Moog, Focusrite, Dave Smith Instruments, Teenage Engineering - if you need a sound just ask!

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

A: There are too many to name.

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

A: About 90% of my work is Production. This typically includes mixing, mastering, and finalizing the product for general consumption.