"I have a pretty old-skool approach to recording, and prefer the sound of records where you can hear that the artists have been pushed to deliver a great performance, and the energy of their music has been captured. That's a priority for me, capturing the essence of a band or singer. I like my recordings to be organic sounding, generally pretty saturated, and with plenty of character. I love to experiment with different musical ideas and recording techniques to achieve the desired result."
My interest in recording and production work began as a result of numerous studio visits as a teenager with my bands.
I started out small, experimenting with tape recorders, 4 tracks, 8 tracks, notepad mixers and eventually digital recording software, using what skills I had to record demos and rehearsals of my bands at the age of around 15.
Over the following years I managed to gather up quite a collection of recording gear and develop my skills through trial and error (and a lot of late nights) to a point where I was achieving results that I was pleased with. Eventually other bands heard my recordings, and I began to pursue a career as a recording engineer at a more serious level.
16 years down the line, several studios, more late nights and thousands of recordings later...
Some of my favourite sounding records have been produced/mixed by the following. All very different, and loveable for a number of reasons:
John Congleton (Amanda Palmer, Explosions In The Sky), Dave Sardy (Marilyn Manson, Oasis, Helmet, Dandy Warhols), Charlie Francis (Kill It Kid, Graveltones), Owen Morris (Oasis, Ash), Kurt Ballou (Converge, Rainy Day Fuck Parade), Steve Albini (Owls, Shellac, Nirvana) Alan Moulder and Flood (Smashing Pumpkins), Alan Parsons (Pink Floyd), Brendan O'Brien (Pearl Jam, Limp Bizkit, Soundgarden), Leo Abrahams (Kill It Kid).