The Recording Room

Where this comes from

I spent nine years inside the rooms at Sunset Sound in Hollywood.

It started life as a car repair shop. The walls and the floor ended up at odd angles by accident, nobody planned it, and that accident is a large part of why the records made there sound the way they do. You learn one thing in a room like that and you never stop using it: the room is an instrument. Most of the job is deciding where to stand in it.

I have been the lead engineer on the session — the person who builds the chain, picks the mics, and calls which take we keep. Whole albums, start to finish. Five hundred records mixed and mastered.

I play guitar, bass and drums. Not well enough to tour on all three, well enough to know when a part is fighting the song and to pick up the instrument and show someone what I mean. That is the difference between capturing a take and knowing which take to keep.

I have made records with In Flames, X Ambassadors and Joe Bonamassa. Swedish melodic metal and American blues rock have nothing in common. That is rather the point.

Sessions have run a month. One ran seventy-two hours straight. That is not a boast — it is what the work occasionally costs, and it is why I do not book two records in the same week.

It started life as a car repair shop. The walls and the floor ended up at odd angles by accident, and that accident is a large part of why the records made there sound the way they do. The room is an instrument. Most of the job is deciding where to stand in it.

Lead engineer on the session — the person who builds the chain, picks the mics, and calls which take we keep. Whole albums, start to finish. Five hundred records mixed and mastered.

I play guitar, bass and drums. Not well enough to tour on all three, well enough to know when a part is fighting the song.

Records with In Flames, X Ambassadors and Joe Bonamassa. Sessions have run a month. One ran seventy-two hours straight — which is why I do not book two records in the same week.

Engineer at Sunset Sound — In Flames · X Ambassadors · Joe Bonamassa

Come with nothing, leave with a record.

Or come with stems and leave with a mix. Either way you are talking to the person who does the work, not to a booking desk.

Service

Live Recording

A room, a band, and someone who has done it enough to keep out of the way.

FROM [PRICE] · DAY RATE [TBD]FROM [PRICE]

Service

Music Production

Start with nothing, leave with a record. Arrangement, players, tracking, the lot.

FROM [PRICE] · PER RECORD [TBD]FROM [PRICE]

Three ways, and none of them is the default.

In Los Angeles

I work out of rooms here. You come in, we track, you hear it in the room it was made in.You come in, we track, you hear it in the room it was made in.

In your room, anywhere

I travel. If your band has a studio, or a room you love, or a residency somewhere I have never been, I will come to it. Day rate, travel at cost, and you book the room — I bring ears and a plan, not a rider.I travel. Day rate, travel at cost, and you book the room — I bring ears and a plan, not a rider.

Remote

Send me the stems. We talk before I start, you hear every stage, and you leave notes instead of sitting next to me. I will tell you honestly if something needs re-recording before I waste your money mixing it.Send the stems. You hear every stage and leave notes instead of sitting next to me.