Most of what I do consists of managing a record from beginning to end on some level. Sometimes that means managing the budget to get the best situation for what money is available, sometimes it means helping a band or an artist solidify arrangements, or put studio musicians together for solo artists. Sometimes
it means staying out of the way and letting the band do it’s thing and just helping to facilitate the best environment for that to happen in. Often I co-produce with bands, artists or other producers. We figure out together, create consensus. The most important thing for me is making a great and original sounding record.
When I’m not producing, I engineer records for recording artists and producers. I have available to me several situations that make recording affordable for everyone, and at the same time, I am not married to any particular studio or recording situation. I’m as happy to fly off to your city or town to make your record as I am to make it in a studio nearby me. I’m also just as comfortable on tape as I am on Pro Tools, so the medium is also flexible.
My basic idea is not to have any rules or preset concepts. Every record is unique. It’s all about what kind of record we want to make together and I learn a lot of new stuff every time I make a record.
I do get hired a lot to simply edit. I mostly do it for record labels, producers and engineers, or bands that I know pretty well. There are a lot of pragmatic reasons that editing can be important, regardless of the supposed soul-ripping it is rumored to do to a record. This might sound cheesy, but I edit with the intention of keeping the soul in a record. I think it makes a big difference to approach it that way.
Sometimes editing can actually help avoid myopic decisions that can kill a record by losing the larger perspective. When perfection is achieved by doing something too many times, the performance can lose energy and freshness, intention and story. That is something I know how to help with, ironically, by providing the right kind editing skill and approach.
Mixing and Mastering
As I mentioned in the editing and engineering sections, I often get hired to just mix and/or master records. Most of the music in these various playlists are songs and records that I mixed. During pandemic times it seems like mixing is mostly what I’ve been doing, and it is definitely one of my favorite parts of making a record. So many possibilities and directions. I enjoy being that person, that filter, that brings a record together and potentially to places no one had yet imagined before I got to lay my hands on it! That being said, many times, before I mix a record, the client(s) and I might just listen to records and talk about influences and directions the mix might go. Such a fun part of the process. I have enjoyed slowly incorporating mastering into my skill set. I resisted for a long time, and I often still send stuff out to be mastered, but many times I find that the client prefers the direction I had been taking their music and asks me to also master the record. Now that I’ve had a chance to compare my masters to the many, often more expensive pros out there, I find myself comfortable and confident in their company mastering records.
- If I Was Your Wine Victoria George 4:05
- I Can’t Be Your Anything Greg Loiacono 6:24
- Carolina San Geronimo 6:13
- Stick With Me Nicki Bluhm 3:09
- The Ticket Animal Liberation Orchestra 5:51
- Propaganda Soul Ska 4:46
- Shaky Ground Jackie Greene 4:02
- One Way Out The Mother Hips 3:34
- Hunting Season Chris Velan 3:37
- Time And Heat Animal Liberation Orchestra 3:27
- Clean Walking Spanish 4:45
- Calling Everyone Brad Brooks 3:58
- Little Too Late Nicki Bluhm & The Gramblers 5:03
- Jefferson Army The Mother Hips 5:55
- The Holy Land Jackie Greene 6:02
- 1000 Pieces Essence 4:24