My Portfolio

Welcome to my favorite page on the internet: the place where I get to show off. This is where you’ll find my favorite projects I’ve gotten to be a part of, as well as a demonstration of how versatile my skillset is.

Before we go any further, I just want to leave the following disclaimer: All media presented on this website is used exclusively for educational and professional purposes to illustrate my skillset for potential clients and employers. I do not claim any ownership or rights to the content displayed. No reproduction, distribution, or commercial use of these materials is intended or permitted. All copyrights and intellectual property rights remain the sole property of their respective owners.

How About Some Music?

Every element of the following recordings have been under my direct control. The cable running, mic placement, gain staging, tracking, session management, editing, effects, mixing, mastering, and exporting – all touched only by me. These are pure examples of my work at every single stage of the process.

Multiphonics – “Sunday Morning” (Cover)

This was actually my very first recording session at BRC, and it was a doozie. A two hour non-stop session with a seven member band, recorded in a live format with re-records on solos and backup vocals. This was intense, fast-paced, and I loved every single second of it.

I’ll never forget the interaction I had with their drummer. In the week leading up to the session, I was trying to iron out the fine details on my build. No matter what I did, I could not make myself happy with the kick sound. I tried every kick mic we had, taking the outer head off and back on, and even rotating the whole set inside the iso booth. Nothing worked, that is, until I finally stumbled upon my super secret technique that I will never ever reveal not even after 5 bourbons. I was playing back the first take as the band came back to the control room to give it a listen, and as soon as the drummer walked in he was losing his mind. No eq, no effects, just a very specific mic and placement. He couldn’t beleive it. It turned out so great, that even Bill, the owner of the studio, gave me a compliment on it. I kept that raw, untouched recording through the entire process. What you hear above has the slightest touch of reverb in the mid-highs to give it the smallest breath of air.

The Bob Harvey Five

I love jazz so much you guys. You have no idea. Getting to work with this group is an experience I’ll never forget. Local Kansas City legend Bob Harvey came in with four of his closest friends and laid down standards for three solid hours.

Prior to this recording session, I went through all of our cables, wall plates, and preamps to find the cleanest possible lines. I wanted absolutely zero noise in these tracks, and it paid off so damn well.

BOOM! KC – “Run to You” (Cover)

Taking place towards the end of my time at BRC, BOOM! KC, a local classic rock cover band, stopped by to lay down a couple tracks in Studio A. This was some of the most fun I had there, getting to run a session full of retired jokesters and pranksters. It was a very light-hearted atmosphere that I like to think comes through in their recording.

The tones and presets for their instruments were all chosen by them, but the microphones and effects were all chosen by me. I had two goals going into this: Make it sound like it came straight out of the 80s, and get as close to the original as possible.

Glass Bandit

Oh boy. Glass Bandit. My second project at BRC. The recording was done back in 2019, pre-pandemic when Vulfpeck and Snarky Puppy were in their prime, and these cats wanted to be them real bad. All of them being music majors fresh out of college, these kids had a lot of energy, huge ambition, and a pretty solid approach to self-marketing. They were trying their hardest to break into the funk-rock scene. I really did enjoy them and their writing, but may they never find this entry cuz I’m about to get real. *sips some tea*

Before I start, I want it to be known that I am a firm believer in “studio magic.” A tone-deaf goat could sound as great as Adele, with the right tools (and enough work of course).

It took a ton of work to make this band sound as good as they do in the above recording.

And after all that work, they still don’t even sound that great. This was early on in my career and I haven’t touched it since, but I still wanted to include this here because A) It taught me a TON about how to correct pitch and tone, and B) There are some really cool things I did in here that I want to highlight.

Let’s start with the singer. This poor guy could not find center pitch to save his life. I had to pitch correct over 95% of his entire recording. If you listen closely, you’ll hear that synthetic quality in a few of his extended notes that I could not get rid of.

The horns. The saxophonist was consistently flat throughout every single take, and the trumpeter was consistently sharp. I don’t remember the exact numbers, but I bumped the entire take for each player in their respective directions and that actually (kind of) solved the problem.

Alright. The cool part. The lead guitar. Thank. God. I recorded a second clean signal from him in parallel with his dirty line. He had a very dark, thick, mucky tone and distortion that made it impossible to edit or even clean up/sculpt. I ended up dumping the whole dirty track and redesigning his entire sound using that DI feed and amp plugins.

The really cool part? I completely rebuilt his solo from three different takes. This guy could not lay down a full, clean solo before we ran out of time. So I went through each take and took the best, coherent ideas he had, and with a little bit of my own re-writing (using pitch adjustments on his clean DI takes) I was able to piece them all together to make the solo you hear above.