Audio Production Samples

I used to like to say that "space is intrinsic to music," which was a fancy way of saying how important is is to capture a good ratio of direct to reverberant sound. Performance space can make or break a recording, and when it's a good one, the engineer owes it to the music to get it right. That's another thing that I take very seriously.

These examples are mostly classical chamber, but large ensemble and popular idioms are also represented, with some (ahem) unorthodox techniques in the latter examples. And don't think I haven't done my fair share of radio production—jump to the bottom for almost 100 hours of that.

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Pre-baroque: solo viol.

Credits: engineer, editor, and session co-producer.

Early twentieth century: chamber.

Credit: engineer.

Pre-baroque: large chorus, children's choir, soloists, baroque chamber orchestra.

Credits: engineer, editor, session co-producer.

Romantic: solo piano.

Credits: engineer, editor, session co-producer.

Twentieth century: viola and piano.

Credits: engineer and session co-producer.

New(ish) music: voice and piano.

Credits: engineer, editor, session co-producer.

Twentieth century: saxophone and piano.

Credits: engineer, editor, session co-producer.

Pre-baroque: chamber trio.

Credit: engineer.

Twentieth century: orchestra.

Credit: engineer.

Folk-rock. This is basically the best engineered and most tastefully produced rock album of all time.

Credits: engineer, editor, mixing engineer, session co-producer.

Jazz. Trying to channel Rudy Van Gelder here.

Credits: engineer and editor.

Radio Production

I was held prisoner in a podcast factory for almost five years, where I produced all 97 hour-long episodes of this beloved radio program.