I strive to bring a high level of quality to the average person/animal/entity who makes really amazing songs/chirps/rustling noises, but who may not, on a whole, be getting paid much to do so.

Recording and Mixing

There are so many different sounds in this world and endless ways to capture and process each one. I have a strong affinity toward the rich tone of an acoustic guitar or the voice of a snare drum as it fills a room, but at the same time am really drawn toward the creative liberties that can be taken with modern mix wizardry or by making that snare drum roar like a gun shot. One of my highest priorities in creating an album is to tastefully retain, create, and/or enhance the feel of the recorded music. Whether making sparse or heavy use of recording technology and production tricks, the end result can drastically affect how many times that girl or guy down the street is going to spin a new record.

Production

One’s definition of “produce” can vary widely, from having a hand in many different components of a recording to what might seem like not much at all. Being aware of a band’s energy to avoid the realm of frustration and diminishing returns, offering ideas to help shape a melody, and suggesting overdubs to use as textures in the mix can all fall within this range. I’ve helped put together a lot of albums and have an experienced viewpoint in this regard. At the same time, I’m always cognizant of the fact that an album belongs to the artist, and serving this end is my ultimate goal as a producer.

I’m Portable

I have made recordings in nuclear reactor cooling towers, serene woodland chapels, former Union Stations, and plenty more. Creating an album in a new and unordinary space can dramatically shape its final sound, whether simply because of a unique sonic character, or because of the inspiration and atmosphere that working in a special place can provide.