I moved to San Francisco in the mid-90’s. It is one of the great recording art scenes in the country. Eventually, I began interning at Hyde Street Studios. As I took my first step into the legendary facility, the manager took one look at me and implored me to leave and never come back (everyone who wanted to intern there got the same treatment it turned out). “You work long hours, deal with difficult artists and the money’s no good,” she said. It only made me want it more. I started my internship by cleaning bathrooms and answering phones. I graduated to organizing the mic locker, exercising the Neve board in Studio A, and untangling rats’ nests of XLR chords left by the engineers after long sessions. Everyone there was determined to test you. I loved it. 

At Hyde Street Studios, I was able to learn from some of the best engineers and producers in the business. People such as Tom Dowd, Mark Needham, Cookie Marenco, Stephen Barncard, and Ed Thacker. From the engineers, I learned about the great pieces of recording gear, and more importantly, how they were used. From the producers I internalized their mantras: “Always Perform Sincerely,” “Vibe Is Everything” and “Produce Me a Cup of Coffee.” Green Day recorded their Insomniac album during my time at Hyde Street. Artists such as Digital Underground, Bob Weir, Jello Biafra, Steel Pole Bathtub, The Neville Brothers, and Chris Isaak also came through the studio, just to name a few. 

In 2000, I moved to Colorado. For many years now I’ve been running a recording/production/songwriting studio under the umbrella of What Are Records? (An indie record label) and United Interests (artist management). Its first iteration was called the What Are Records Studio. I focused mainly on American Folk music and traditional African Folk and World Fusion. The highlight of this time was producing a single based on an improvisation of a traditional Senegalese theme featuring Béla Fleck and Boubacar Diébaté playing banjo and kora, respectively. 

A great moment for me came just after I produced this single when I was contracted to co-produce and perform on Kreg Viesselman’s album at Red Kite Studios in Wales. I collaborated with Martin Levan, famed producer/engineer for Andrew Lloyd Webber. We spent two weeks in the studio where I learned many recording craft secrets. At nightly dinners, Martin told wonderful stories like the first night Cats opened on Broadway, what gentlemen the members of Iron Maiden were, and that Cat Stevens apparently wasn’t very nice. 

Next came UI Sound Studios. An endless stream of Indie Rock bands recorded here. I was promoting the everyone-live-in-the-room sound. We were affordable and offered top-shelf tones and production, not to mention had the ears of a record label and management company listening through the walls. Shortly thereafter, I began working almost exclusively with Birdland Records, a UK-based label, with legendary manager and producer, Nick Heath. He schooled me deeply in the ways of minimalist Pop production and vocal performance coaching. Although I mainly work in ProTools, we collaborated regularly with Ableton producers and mixers, creating a hybrid of recorded art and EDM-aesthetic content. UI Sound still operates mainly as a recording studio. 

In the last several years, I’ve partnered with my long-time musical collaborator, Dango Rose, bandleader, bass player, and songwriter with Colorado’s beloved, Elephant Revival. Dango curates projects through his broad network into our music production funnel at Broadway Music Studios. Our focus is on artist empowerment programs, co-songwriting, and content generation. My highlight to date may be working through a Canadian government arts grant to co-write and produce a Worship album for Instagram sensation, Jules Schroeder, in Vancouver, BC, at the legendary HippoSonic Studio with veteran Pop producer, Winston Hauschild.