When composing, make sure there are not too many instruments in the same octave. Even if a part sounds great in a certain register, it may service the song better if you change the octave. Prioritize what is most important, let it live in the octave it wants to, and as soon as there is “mud” from other parts start to find other octave for supporting tracks.

Psychedelic music, indie music, rap, hip hop, r&b, rock and roll, country, americana in no specific order

The ability to listen to the artist and trust my ear.

An objective ear and suggestions to getting a sound. The song is yours, so the final decision is yours. I will not force you to accept a mix that I hear as better. That being said, I will guide you through the process. A good example is movement of a song. When I mix a song, I am looking for how it moves to the next part. Some remote projects I have gotten, the excitement is there for a part but not in the transition. I am good at creating movement with the parts you give me.

Most projects start with pre-production, which can include talking about influences of the artist, swapping music playlists, to recording demos and potentially rearranging a song (only if the artist is open to it). I work out of multiple different studios, and bring the tracks back to mix when we are done with tracking.  It is also common for me to just mix stems that you have recorded elsewhere.

Mixing or projects requiring primarily midi/sampled instruments usually happen at my own personal space: There I record/mix on logic pro x. All the gear I listed I keep there. It’s also ideal for overdubs.

Brian Eno, Danger Mouse, Brian Wilson, Kevin Parker, Kanye West, Phil Spector, Nigel Godrich, Bjork, Andre 3000, Steve Albini, Quincy Jones, Johnathan Wilson

Recording in various studios, Mixing, Sampling, Playing drums, Writing midi drums for beats, Producing, Live sound