Produce/Mix/Master

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

A: I love all my work for other artists. I'm also very proud of my own projects-Jimmy Right Now (dance) and Kendrick James (rnb/soul). It is extremely challenging–and rewarding–to write, record, perform, mix and master one's own projects, and release them.

Q: What are you working on at the moment?

A: Everything

Q: Can you share one music production tip?

A: How about 5? haha Red means stop! Haha the most common problem I see in beginner productions is pushing fader levels up or preamp gain far beyond where they need to be. In digital recording, you can have each track meter not hit above -10db for optimal results and add volume where needed at the master fader–no need to go near the red. Also don't automate any volume levels on the faders as that just makes the engineer's job harder. Instead, you could automate volume plugins on the tracks Another important thing to remember: you can't turn something up without turning something else down. For example, if you turn up a snare sound in a song, this will start to compete with a vocal in the same frequency range. You turn up the bass, the kick will be quieter. A mix is a compromise of elements to achieve a balance. Don't get "demoitis"! Be aware when you've fallen in love with your own demo, and try to be objective about it. Lastly, be yourself. Find out what is unique about you and cultivate that in the style of music you love–don't chase trends.

Q: What's your strongest skill?

A: My strongest skill is my collection of skills all honed to bring any project at any stage to completion. I can start at the ground level, or do the mastering of a finished mix, or work anywhere in-between to make a song the best it can be. I'm an excellent communicator–I've been a professional singer, performer, engineer, musician, and producer so I understand the psychology, language, and skill set of each position on a project and can wear any one of those hats. Beyond the technical work, I have a strong ability to figure out what is special about an artist or song and bring that to the forefront, i.e. "mine the gold."

Q: What's your typical work process?

A: I first consult with the artist/client, often asking for reference tracks or songs, until I have a clear picture of what they want. I start working and send drafts for feedback, incorporate their ideas until they are thrilled with the result, and send them the files.

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

A: I mostly do full production (tracks, beats, instruments), mixing and mastering–a complete song start to finish, but I do lots of anywhere-in-between jobs. Sometimes mixing and mastering, sometimes adding a few instruments, editing, tuning vocals, mixing, sometimes just mastering, which I also love doing.

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

A: I started playing professionally at age 13. I started playing drums at 10, guitar at 12, and by 13 I was making money touring with a rock act (guys in their 20s who could drive lol). I went to music school on scholarship and won awards for performance and composition, moved with my band to Chicago, got signed, toured internationally playing guitar and bass, landed some billboard #1 dance tracks, moved to Los Angeles, moved to Atlanta, later LA, then Nashville, then LA, then London, now working out of my private studio in Berlin, Germany.

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

A: That I don't actually write, produce, play guitar, keys, bass, drums, sing, mix, and master in all the styles that I do with the level of skill that I have. I started working in music before I was old enough to drive, and it's really all I've ever had an interest in professionally, so hopefully I developed some skills after this amount of time :)

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

A: "What is your specialty/favorite music to work on?" Many of them! If I liked one style the best, I would probably only be a recording artist/performer. It's because I like working on so many different styles that I produce, play, mix and master–all the jobs are fun for different reasons and it keeps things interesting!

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

A: If we're talking production gear, that'd be: mbpro laptop, nice controller, my custom guitar, p bass, and NOS audio u47. If it's mixing/mastering: Tegeler Schwerkraftmaschine, Dramastic Audio Obsidian, Manley Massive Passive, Serpent Audio SB4001, and Apogee Symphony–the stuff I use everyday

Q: What do you like most about your job?

A: Being creative, making dreams come true, making people happy.

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

A: Be realistic and as professional as possible. Give as much direction with as much clarity as you can. Have references available for similar things you like. If you don't know what you want, listen to more music until you have some idea. Don't get super stuck on small details, take the advice of the person you hire–that's why you hired them!

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

A: There are tons of greats on here, search!

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

A: They will love the result!

Q: What questions do you ask prospective clients?

A: I love to get references for what the client wants. If the vocal is already written, I love to get a scratch vocal recorded in time to a (not audible) click–anyone can do this with a laptop. An instrumental is great too if I'm doing something similar. Having the BPMs for a track is key. Obviously, if we're starting from scratch or one of my tracks these don't all apply.

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

A: Any talented artist that is talented, passionate, determined, and understands the value of great production work.

Q: Tell us about your studio setup.

A: I have a great selection of gear, centered around a Neve 88m interface. A great-sounding room with excellent balanced acoustics, and a warm vibe. For mics, I have one-of-a-kind handmade U47 from my friend at NOS Audio in Los Angeles, a Shure SM7b, and others... I have all the best plugins including many before they are released to the public.

Q: Analog or digital and why?

A: Both are absolutely necessary–there are things plugins can't do and vice versa.

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

A: I work daily on electronic, rock, country, pop, funk, soul, urban, and folk music in popular and underground styles.

Q: What do you bring to a song?

A: I bring an open mind, creative ideas, and a desire to serve the song and artist, not my ego. My highest goal is to make a client/artist happy with the end result. I bring as much or as little as a song needs–if the mix is 90% there and the song only needs vocal tuning, a bit of balancing/eq, and mastering touches, that's what I do! If the song is great but what the artist wrote for the bridge is weak, I'll work with them until that part is as strong as the rest. If an artist brings me nothing but a melodic sketch, I will work from the ground up with drums/percussion/rhythm section parts, bass, keys/guitar/other instruments, help on vocal writing/lyrics, editing, recording/adding elements, then take it step by step through each phase until there is a commercial quality master recording the artist and I are proud of.

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

A: Anyone that is expressing themselves rather than following trends.