Mixing &
Mastering
Bring me the song you believe in. I’ll send you back the record you’ve been hearing in your head since you wrote it.
Charlottesville, Virginia — and remote, worldwide.
Before / after
Hear the difference, not the description
Same passage, same moment. The toggle holds your position, so you compare like with like.
Send me
How to prepare your files
Send it right and we skip a day of back-and-forth.
- WAV, 24-bit, at the session sample rate. No MP3s.
- Stems from zero. Every track exported from the same start point.
- Mostly dry. Strip the mix bus. If an effect is part of the writing, keep it and tell me which.
- Peaks under −6 dBFS. If something clipped on the way in, send it anyway and flag it.
- Name things like a person. "Lead Vox", "Alto Dbl 2", "Kick In". Not "Audio 14".
- Send a reference and a line about what the song is about. Both change decisions.
The work
What happens to your song
Listen
You send a reference and the rough. I tell you honestly what the mix can fix and what needs a re-take. This call is free and it saves everyone money.
Edit
This is where most of the result lives, and it’s the part nobody sees. Comping, timing, tuning, sibilance and plosive repair, breath shaping, matching the noise floor across takes.
Mix
Built around the voice. On close harmony I match timbre and align phase before touching a single fader — that’s the difference between “blended” and “stacked”.
Revise
Two rounds included. Timestamps get us there faster than adjectives.
Master
Streaming, broadcast, and reference masters delivered separately. Stereo or Dolby Atmos.
Songs
The work
Records I mixed and mastered. Same playlist as the front page — the work speaks either way.
Also on the desk
Live & broadcast
Not every mix starts as a studio file. A good share of mine arrives off a stage.
I run live capture and broadcast post on a weekly clock — multitrack off the desk on Sunday, mixed and mastered for release during the week. I own the broadcast chain end to end at a multicultural congregation in Virginia, and the live albums in my catalogue were cut the same way: one take, a full room, no second chance.
The work overlaps more than people expect. Close harmony recorded live has the same problems as close harmony in a booth — timbre matching, phase on doubled passes, a noise floor that has to hold across a whole service — only you cannot re-track it. If you have a service, concert, or live session that needs mixing for release, it comes to this same desk.
- Multitrack live capture
- Stream and broadcast mix
- Broadcast post, weekly turnaround
- Live albums, mixed for release
Artists
Some of the artists I’ve worked with
This list is the short version.
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