FAQ
Tell me a little about yourself.
I live with my wife and our dog in Saint Paul, Minnesota. When I’m not doing music-related work, I spend a lot of time on two wheels–I bicycle commute all four seasons and ride my motorcycle for three. I'm usually picking away at several books (usually philosophy or history these days). I like archery. My favorite way to get out in nature is backpack camping/hiking. Breakfast is the best meal, hands-down. My day-gig is managing facilities and operations for the University of Minnesota School of Music and Ted Mann Concert Hall.
What services do you offer?
Mixing, studio recording, location recording, and other audio production services.
What are your rates?
Mixing: Contact me for a quote. Not sure I'm a good fit? Ask about getting a sample mix.
Studio recording: $40/hr
Location recording: $75/hr + equip rental (if necessary)
Other services: Just ask!
What is your experience in audio engineering?
Like a lot of recording engineers, I first got into this because I had to figure out how to record my own rock band back in high-school. At college I majored in music performance and earned a bachelors in music production. From 2004 - 2013 I was on staff at the 10-studio recording complex of the former McNally Smith College of Music, eventually working my way up to studio manager from 2008–2013. During that time I had the good fortune to gain experience in a lot of challenging roles, from component-level maintenance of tape machines, large-format consoles, and outboard gear, to training and coaching student-engineers. Since around 2004 I've done a lot of different freelance audio work, but I've primarily focused on my passion for record production: recording and mixing studio records, classical recordings, concert recording, and a lot in-between. I still play in a rock band.
How do you approach making good sounding recordings?
This might seem obvious, but a good performance in a flattering acoustical environment recorded by a competent engineer using professional equipment will tend to yield high-quality results. That formula isn't rocket-science, and you (the client or artist) should probably care as much or more about your engineer's taste and personality as you do about their technical knowledge, assuming they’re proficient at a basic level. My approach varies depending on the circumstances and the client's vision, and every situation is unique. For example, a pristine-sounding trumpet concerto in a cathedral is a wildly different exercise than a crusty rock band in a basement, though both are challenging in different ways, and both, in my opinion, require the highest quality recording possible (even if the end aesthetic is intentionally lo-fi). I do a lot of planning before every recording session, but I'm also prepared to be flexible and ready to use the back-pocket solutions I've gained over the years. Microphone choice and placement are the most important thing to me after the performance and the space, and so I almost always bring my own familiar microphone collection. But mixing is probably my favorite part of the process. It's such a rewarding challenge to make a recording that can carry the listener on an emotionally compelling journey, while also ensuring that emotion translates to a variety of playback systems.
What's your approach to project collaboration and client involvement?
Making music should be a joy! It’s really important to me that everyone is comfortable and relaxed, and I try to do that by leaning into my own openness and sense of humor. Recording sessions are naturally collaborative to some degree simply because everyone is working together, so everyone’s choices inevitably influence everyone else. Mixing usually happens without client attendance, with any necessary revisions happening after the client has had some time to listen in an environment familiar to them.
In any case, I usually see my job as bringing out the best in a work of art, not influencing the artist’s vision. Although sonic refinement is a creative process, and my tastes and inclinations will influence my choices, it’s not about me– it’s about the song. All that said…. Do you need me to add a guitar part? Does that chorus need some auxiliary percussion to give it a lift? Want some arrangement advice? I can do that too, just ask.
Cheers!
