Indie/pop Mixing, Mastering

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

A: After 4 years of recording school in Boston, I have been working professionally as a Free Lancing Engineer for 3 years.

Q: How would you describe your style?

A: I think I tend to reach for the darker tones in my palette instinctually, which stems from my heavy influence from artists like Massive Attack and James Blake. I like a lot of depth and width in music, where my speakers disappear and I am submerged in a new otherworldly blanket of sound that punches me into my seat.

Q: Can you share one music production tip?

A: A little goes a long way, but 'a lot' can be very fun and unexpected. Don't be afraid to push your sounds/gear/plugins to their limit in context of your production, your ears and body will react if it works or not.

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

A: As an Engineer I like thinking of myself as 'Genre Agnostic', being open to work on very different styles and sonic palettes. This has allowed me to expand my skillset, where every style is informative to opposite genres' workflows. This said, I always enjoy working on any music with vocals the most; there's something about the human character that just makes every voice so unique and can't be replicated by anyone else's voice or sound

Q: What do you bring to a song?

A: To any project I work on, I bring the experience and perspective of not only an Engineer, but a musician, songwriter, producer, and music lover, to the table. This has allowed me to have improved understanding of what my clients want and being able to communicate with them the process that we are embarking on.

Q: What's your typical work process?

A: Be it Mixing or Mastering, any process in music is entirely reliant on Communication, so discussing project needs and expectations comes first with any new track that lands on my hands. Session/file organization comes next, making sure I have everything that I need from the production, this usually happens while I listen to the Mix/Producer's Mix. And the rest is pure sonics massaging, taking plenty water breaks and making sure I am sticking to the main vision. For a Mix I usually like taking at least 2 separate days to finish a first draft, which allows my ears to rest over night and my perspective to refresh for more detailed work; of course, if the deadline allows. For Masters you can usually expect them the same day or the following one, depending on the time of file delivery and if there are any issues I'd need the Mixing Engineer to address themselves.

Q: Tell us about your studio setup.

A: I have a beautiful acoustically treated medium sized room with the right amount of vibe to never want to leave, equipped with a pair of PMC Twotwo.6 monitors that take your ears to another dimension of clarity and depth. I run through my Apollo 8 interface, which in turn powers most of the software I use for processing your lovely sounds. Besides this I have a humble mic locker and instrument selection in the case Over Dubs are needed on your project (drum set included).

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

A: Probably Spike Stent, Sean Everett, and James Blake, are all culprits of making some of my favorite sounding records. But more than anyone, my mentors and colleagues with whom I've grown in this industry and been constantly pushed to improve and learn.

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

A: Taking an artist's song and elevating their vision to its fullest sonic potential. Be it a freshly finished production, or a polished mix, I love the interpersonal exchange of ideas and values that join together for a common goal: the best sounding music possible.