My story starts as countless others’ do: in high school, I started recording my own bands, then moved onto my friends’ bands as I got more confident (which, as I’m finding out years later, doesn’t necessarily mean “better”).
I earned a bachelor's degree in audio production & sound design from Emerson College, where I cut my teeth at WERS 88.9 FM, consistently among the highest-rated and most competitive student-run radio stations in the world. It was also at Emerson that I laid the groundwork for what would become The Office Recording, the home studio I founded in 2010. I had the privilege of making hundreds of records over 6 years there – hardcore & metal, bluegrass & folk, ambient & neoclassical and everything in between. Ramshackle operation that it was, The Office was able to attract artists from all over New England, then eventually touring acts from as far as Louisiana, Kentucky, Nevada and beyond. I've even mixed and mastered releases for bands from Singapore, Australia and Italy.
These worldwide connections are due in no small part to my own bands, most notably my alternative/hardcore group Aviator, who put out two full-length albums with No Sleep Records – you may or may not have heard of us, but if you live in the continental US or western Europe, there’s a good chance we’ve performed within a couple hours' drive from you in the last few years. I've also done road dates with acts like Alcoa, Long Lost, Ember Wreath, Amory Sivertson and others you don't know (but ought to).
Today, The Office has shuttered for good and Aviator has run its course. Now the lion's share of my recent output has been spoken-word audio, whether it's hosting and producing my own Sellin' Out podcast; producing, editing and composing for Decoding Health Care for athenahealth; or my career as Technical Director of Here & Now, NPR's midday news magazine from WBUR 90.9 FM. But don't be fooled – I’m still as motivated as ever to work on music. In the two years since my own space closed, I've had the privilege of working at Converse's Rubber Tracks Studio (Boston, MA), Maximum Sound Studios (Danvers, MA), Wachusett Recording (Princeton, MA), Format Audio (Amesbury, MA), The Record Company (Boston, MA), Blackheart Sound (Manchester, NH) and Great North Sound Society (Parsonsfield, ME), so we can work your record at one of several facilities currently at my disposal. I'm also willing to travel to you and engineer or produce at the studio of your choice.
My goal is to make records with character; a distinct sonic “fingerprint,” if you will. For this reason I tend to shy away from drum triggers, sample replacement, excessive use of auto-tune, amp simulators, MIDI instruments and the like – I’ll always prefer to capture the physical displacement of air by musical instruments, even if it’s not comparatively “clean” or “polished” by contemporary standards.
I think of a studio as a lens through which music can be explored both sonically and spatially, but one which is ultimately focused on some realistic iteration of you or your group. We will work together best if our shared vision for your final master is grounded in a holistic, “natural” arrangement (i.e. one that could be reproduced in a live performance without much fuss), allowing for tasteful embellishments from there.
I’m happy to first discuss your project with you in detail, whether it’s in an abstract sense like I’ve done here, more technical audio jargon or in plain old English.