I have always been interested in the audio aspect of music. Even way back in high school (circa '92) I "invented" a way to have multi-tracks by means of over dubbing. and that was exciting! I received official certification and I'm part of the Alumni of The Institute of Audio Research. Formal education open my mind to intuitive ideas I had about audio. From then on, I started working on unique ways of processing audio in both the digital and analog realm. The efforts have resulted in a culmination of unique and disparate ways of processing that I incorporate into my work.

I've got a psychological take on the loudness issue (see my blog, here). How do I feel about it though is that it's really the aspect of what happens to audio (like 'Death Magnetic') in the quest for loudness that turns me off. Loudness is important to a certain degree in accordance with Fletcher-Munson but not when it compromises the sonics or plain ole sounds like crap. Ultimately, a track can be loud and visually (waveform) they may "look" terrible, but I don't care about that. Only the sound of it is an issue for me.

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I've a pristine 64-bit path in Sonar 8 x64 on an end-to-end 64-bit system to work with for accuracy and UAD-2, Sonitus, Antares, & Voxengo, etc. for convenience as well as Wavelab 6 for compiling masters. Interconnecting with that are my analog devices, such as Drawmer, Focusrite, API, Neve to name just a few. The heart of all this, keeping it together are my outstanding Lynx Aurora converters. Using Adam & Event monitoring & incorporating sub's along with my other analog and digital elements, a few custom built, it all creates my own fingerprint upon the music I work on. I like unique variables with a sense of privacy and respect for one's craft. I've performed & compensated for acoustic calibration of my work space via diffusion and low frequency traps, created and custom assembled the wiring thru out using Mogami & Beldin cable with Neutrik connectors, and optimized both my analog and digital gain structures.

Through the years I've produced bands that have gotten record deals thereafter and have personally been in bands I've mixed that got signed thereafter and that experience has helped regarding perspective. I've been playing music now for about 18+ years. My two major metal endeavors: Divine Rapture and Randall Flagg. Divine Rapture has a world release on Listenable Records. Randall Flagg released a full length now available thru The End Records Omega. I like to compose classical pieces and soundscapes as well. Between all of that and essentially 10+ years of applied audio practice I've got a good hold on how to convey 'my sound.'