I studied music at Berklee College of Music. After graduation I went to New York City then got a job at Sigma Sound Studios and trained under the best engineers and producers in the business. At some point in the development of the song, mixing becomes part of the production.

R&B, Hip-Hop, Punk, New Wave and Rock.

When you’re talking about artists at that level, they are all remarkable. Their complete immersion into their art is exactly the same. Actually, the only differences are in the final product. My job remains the same; be as creative as I possibly can and help them see their vision for the song to fruition.

Jason Mraz, Beyonce, Lady Gaga, Judith Hill, Jason Derulo, and I think the stuff I’m hearing from Aloe Blacc is amazing. The new record I’m working on for Shiny Toy Guns has beautiful textures, and that along with mixing in Logic has really helped me push the envelope further.

My favorite situations are those that include creative collaboration with the artist or production team and give me room to try different ideas that interest me – as opposed to just trying to fit into a market.

Whether I’m replacing drums or augmenting what’s in the track, the Slate Digital Trigger plugin provides the manipulation of decay time and tuning, along with accurate timing, I need to do the job. I’ve also started to use the FG-X as my pre-mastering bus compressor and maximizer. I immediately like the ‘smooth sound’ and ease of use it has. I print a version of the mix through it to maximize the level and ‘glue’ the mix together in a way mastering does. My clients seem to respond well to the warm yet vibrant sound of my pre-mastered in progress mixes. I’ve certainly appreciated the ability to offer an alternative sonic quality to my clients.