Mixing, Mastering, Production

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

A: I recently finished an indie-punk project with a local group called "Sinking Dolls" that I think turned out awesome. I recorded, and mixed the whole project. Also my own band called "The Nightshift" released some new music that I feel really good about. I play drums in that project as well as handle all the production.

Q: What are you working on at the moment?

A: Currently recording and mixing a few indie bands in the Seattle scene. Also mixing a couple heavier-rock projects for remote clients. Will likely be doing some mastering soon as well!

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

A: I've worked with Justin Colletti a lot. He's mastered a few personal projects as well as projects for clients, and he does a superb job. Highly communicative, knowledgable and tasteful.

Q: Analog or digital and why?

A: I do think there is something to be said for the sound of analog gear, and especially recording mediums like magnetic tape. There's an unmistakable vibe you get when you record like that. But the reality is that digital recording is much more flexible and accessible for most people. I think it's possible to get the best of both worlds, especially with choosing the right pre-amps and using saturation in the box to get some of that old-school vibe back in to your productions. It also depends on the project. If I have a really tight 4-piece jazz band. I think tracking on a 4-track tape machine would serve them wonders. If I have a technical metal drummer, I don't think that would be the best way forward, unless they really want an unconventional sound.

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

A: I will keep trying new things until you're happy with the final result. I have no preconceptions about how things should be done or how they should sound. Of course I have my ideas and my instincts, and I rely on my experience a lot, but I will always try new things and wont stop until you're happy!

Q: What do you like most about your job?

A: I like that it's creative and fulfilling. There's nothing more rewarding than providing a high-quality service to someone, and knowing you've helped their art manifest in the real world!

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

A: I think sometimes clients can be afraid to ask for changes in the direction of the production or mix. Or sometimes it's a small thing, like a drummer worried about asking if they can move where a cymbal is placed. And my answer is always YES! My ultimate goal is for you to be stoked with the final product, and comfortable all along the way.

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

A: I would say it's that mixing is going to be able to fix problems with the production. I think it's sort of obvious, but the quality of the initial recording is going to have a bigger impact on the final product than any mix decision will. Yes, the goal of mixing is to polish everything to a higher standard after the recording phase, and I can do a lot to shape sounds. But there's nothing I can do about a guitar being out of tune.

Q: What questions do you ask prospective clients?

A: Do you have a rough mix? How close do you feel the production is now relative to where you want it to be? What are some records you love that inspired your current work?

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

A: The most important thing in the process is good communication. I should have a good sense for your style, inspirations and references. We should also be up-front about elements like cost, timeframe, and exactly what kind of work the track needs.

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 UA Apollo, and SM7B, Yamaha HS8's, Audeze MM-500's and a AKG C-414. Hopefully other people brought their instruments : )

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

A: I've been recording and mixing since high-school. I started out working with my friends recording hip-hop vocals and making beats. When I went to college I fell back in love with rock music and started producing my own band. From there it's been constant learning and growth to try to make each production better than the last. So it's been more than a decade!

Q: How would you describe your style?

A: I want my productions to feel naturalistic and authentic, while also sounding hi-fi and larger than life. Again, I feel like Abbey Road by The Beatles is my north star in production.

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

A: I would love to work with The Strokes. I just think they are such a cool band with a great musical aesthetic. I love simple and elegant productions, and I think they are kinda the masters of that.

Q: Can you share one music production tip?

A: The absolute most important thing in any production is balance. Is the element you've decided should be the focal point loud enough? Is the relationship between that element and the accompaniment appropriate? If you get those two things right, you are probably 60-75% of the way there.

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

A: I generally work on indie-rock / punk music. But I've worked on everything from acoustic folk to hip hop and metal. I don't feel there's any boundary for me in terms of genre I can work with, but I have a particular ear for the rock side of the musical spectrum.

Q: What's your strongest skill?

A: My strongest skill is recognizing what makes a song tick. As a mixer and producer it's incredibly important to identify the emotional core of a song, and highlight the elements that express that emotion in the best way.

Q: What do you bring to a song?

A: I bring and outside ear and a different perspective to every production. In recording I'll provide my input every step along the way. I always respect the artist's intent, but I'm not afraid to voice my opinion or share an idea if I feel it will improve the final product. At the end of the day, the artist has the final say, but I'm comfortable sharing my opinion, and my clients trust me enough to consider it.

Q: What's your typical work process?

A: If I'm recording a band, the first and most important step is to capture a good drum sound. In my experience, the drums are going to define how everything else in the production works together. I take in to account the style of music when choosing mics for the kit, as well as where to place room-mics. From there I usually do guitars, and work methodically to get the best possible guitar tones before any processing is done. We'll tend to do bass and vocals last, and I favor a DI on the bass, as it gives the most flexibility at the end stage. Vocals mostly come down to choosing the right mic for the performer, but 9/10 I find the SM7B is the winner. Every step along the way I'll be comping and editing takes together to save time down the road. Once the initial production is wrapped up, I'll then move on to mixing. When it comes to choosing a direction for the mix, I just follow my instincts as well as references from the clients. I try to work efficiently and follow the creative energy wherever it takes me, and I don't stop until every moment of the song feels right to me!

Q: Tell us about your studio setup.

A: My setup is modest but very dialed in. I record in a relatively small but well treated extra bedroom, and use the attached bathroom as an echo chamber to capture room tones, especially for drums. I have a solid mic-locker filled with studio work-horse mics. The control room is across the house. I have high-end recording and mixing gear. The centerpiece is a UA Apollo interface and their full plug-in suite. For monitors I rely on Yamaha HS8's and a mono Mix-Cube. I always check my mixes on my Audeze MM-500 headphones as well, those things are great for hearing tonal imbalances, especially in the low-end.

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

A: My all time greatest inspiration is the work George Martin did with The Beatles. I genuinely don't feel there's an album produced better than Abbey Road. That being said, I really like the work of contemporary producers like Will Yip, or Chris Walla. I favor a naturalistic, yet larger than life sound, and I feel these producers all hit that mark.

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

A: I most commonly provide recording and mixing services. Most of my clients I work with from start to finish, but I do occasionally mix projects that I didn't record. I will sometimes master the projects I work on, but I generally think an artist will be better served if they can find another engineer with a fresh set of ears for the project.