Recording Studio

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

A: I've recorded a few releases with The Washout. They had their tracks mixed by Terry Date (Pantera,Slayer, Slipknot, Def Tones, etc.) and Jamie King (Between the Buried and Me, The Contortionist, Scale The Summit, etc.) and mastered by Troy Glessner (Underoath, August Burns Red, Demon Hunter, etc.)

Q: Analog or digital and why?

A: Analog for warmth and depth, digital for flexibility and clarity. I use a combination of analog and digital gear/software to create my music. If something sounds the best, I don't care if it's analog, digital, or some combination. I generally prefer analog gear for recording, then I will mix and master "in-the-box" with mostly digital effects.

Q: What do you like most about your job?

A: I like the creative aspect of it all. Subjective things like tone shooting, placing mics, crafting vocal harmonies and layers...that's my bread and butter.

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

A: I get a lot of questions about the process of recording from demo to completion. Basically, we start by running through the songs live and building a metronome tempo map. From here, we record scratch tracks or have the guitarist play along with the drummer while he records. Then we time-align drums and record everything else. Then I finish editing, mix, master, and then we go through rounds of revisions until the client is 100% happy with the final mix.

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

A: People seem to think most of my quality comes from the mixing stage. I think the quality of my mixes is dependant on the tracking and editing stage. You just can't make gold from poorly recorded/engineered tracks. By the time I'm done tracking anad editing a band, it already sounds professional and somewhat mixed/mastered.

Q: What questions do you ask prospective clients?

A: I ask for demos and reference mixes upfront, so I can get an idea of the sound my client is going for. I also ask about drum kit set up and cymbal placements, sometimes I like to know what gear the guitarist/bassist is using. I also think it's important to ask logistical questions, like deadlines and scheduling.

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

A: Do your research and listen to my mixes compared to other studios. The quality of my work speaks for itself.

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

A: I would take a versatile badass compressor like the Distressor, then some kind of transparent equalizer (probably digital vst like the fab filter pro series), a kemper for bass and guitar layering, my ozone software for mastering, and a really versatile mic like the SM7B (I use that mic on all kinds of things). I think between those pieces of gear, you can make a lot of magic happen.

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

A: I started recording when I was in college getting my electrical engineering degree. I was taking classes about analog circuit theory and digital systems while recording bands on the side for beer money. I think my background in Electrical Engineering has given me a leg up on other studios. I built a theremin for my senior design project. I know what goes on under the hood of a lot of recording gear. I've been recording for 8 years and officially opened my business in 2016.

Q: How would you describe your style?

A: Big natural sound. Polished, but not plastic. Some artists want a raw DIY kind of sound, others want the super shiny digital production. I like the balance of both. I love big natural punchy drums combined with thick gritty bass and guitars that absolutely cut through the mix without sounding harsh.

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

A: I'm a total nerd for progressive metal bands like Between the Buried and Me. It would be a dream to work with a band like BTBAM that has so many different layers and unique tones to their sound. Just thinking of the mix makes me drool a little...

Q: Can you share one music production tip?

A: One production tip I always tell artists trying to DIY record is to record and edit your tracks to a metronome.

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

A: I do lots of heavier music, like rock, metal, and even rap/hip hop that SLAPS.

Q: What's your strongest skill?

A: I am both personable and easy to work with. I am also highly analytical. I think the combination of these skills brings out the best product and best experience for the artist.

Q: What do you bring to a song?

A: Quality gear with an experienced ear. I have heard songs recorded in multimillion dollar studios that really weren't that great. When I record my clients, I am constantly providing feedback to bring out the best performance possible. I am always down to try out new ideas, but I am always guiding the project with my professional experience and opinions.

Q: What's your typical work process?

A: The first day of recording will start by building a metronome time map (click track) and recording a scratch track of all the parts. From here we will individually track each part isolated for the best quality and clarity in your mix. Before any tracking begins, we will tune the drums in the studio to get the most professional sound possible. We will take time to dial in a good guitar/bass tone on the amp and pedals as well. Once we are happy with the tones from the source, we will try out as many microphones as needed to get the right sound. After tracking, I will spend time editing, and then mixing. Once the artist is happy with the mixes, I'll finish up the song by mastering them.

Q: Tell us about your studio setup.

A: My recording space includes a sound-treated 600 square foot live room that will be used for your live take. My live room has been professionally sound treated by the acousticians at Perfect Wave Productions and has 14' ceilings and an optimized frequency response that also maintains a natural decay to bring out the best in your instrument’s overtones. With a growing collection of over 30 microphones, the opportunity to find your band’s unique sound has never been easier. I mix using a multitude of professional digital and analog effects to achieve the best balance of warmth and clarity. The process involves listening to the mix through a variety of different headphones and speakers to ensure that your record will sound great through any kind of audio playback system. With a sound treated control room and calibrated monitors/subwoofers, the studio achieves a near-flat frequency response with minimal phase cancellation.

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

A: Rick Rubin, David Bottrill, Terry Date, Jamie King, Devin Townsend, Joey Sturgis, Grant McFarland, Michael Keene

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

A: Full recordings with a mix and master are the my most typical projects. I occasionally take on smaller pieces of projects like mixing or mastering, or just recording for another engineer to mix/master. I do lots of heavier music, like rock, metal, and even rap/hip hop that SLAPS.