I began working in recording studios at 18 in Boston. While at Berklee College of Music, I interned at a few places, and by 20, I was a full-time “professional” recording engineer. That studio operation was a little sketchy, but after being thrown into the deep end during paid client sessions, I knew that I could actually do this work. I almost quit school to just focus on the studio work, but ultimately decided to stick with it. After earning my degree in Music Technology, I worked odd jobs in Boston, while trying to focus more on being a performing musician.

In 1999, I moved to Seattle and right away joined Bear Creek Studio in Woodinville, WA. This was a real studio. For two years, I spent almost every day there, learning from producers like Terry Date, Phil Ek, and Joe Chicarelli, while working with artists like Built to Spill, Blonde Redhead, and the Deftones.

By 2003, I co-founded Chroma Sound in Seattle with a partner. Housed in a repurposed paint factory, it was designed as a laid-back space for making music. The open room layout fostered easy communication without a separate control room. At Chroma, I collaborated with a variety of Seattle acts, and the studio became a fixture in the thriving local music community at that time.

The economy and music industry's downturn in 2009 led to Chroma Sound's closure. I continued independently producing for local artists in different Seattle studios and formed a band of my own. Closing the studio was tough, but once the dust settled I found that my production skills actually grew as a result of working in different rooms. 

In 2013, after 15 years in the industry, I sought new horizons. I delved into web development and enrolled in a Master's program in Media Studies at The New School in New York City. I was headed toward a career in academia, however, a trip to Nashville altered my trajectory. A week of good vibes and a captivating Time Jumpers performance at the Station Inn inspired me to move to Nashville instead of New York. Once there, I joined a tech company and pursued my graduate studies remotely. Midway through my first year of grad school, a candid conversation with one of my professors about the realities of academia led me to drop out at the end of that semester. 

Time marched on and I put down roots in Nashville. I hung on to some of the gear and guitars that stuck with me after the studio closed, and had everything kind of crammed in a small room in my house. I had a workshop in a detached building behind my house (because I got really into woodworking for a bit), and had always thought “you know, this would make a nice little studio”. Over time that idea turned into the actual drive to make it real. What I’ve come to accept is that a music studio is my happy place, and where I feel like I’m supposed to be, doing the work that I most want to do. This is now my third studio construction, but it’s entirely mine this time—no business loans, leases, or landlords. Though not a commercial facility, it's great for mixing, overdubs, and writing sessions.

This is such an exciting time for music production. I learned the craft using large format consoles and tape machines, and those approaches and techniques are still relevant today. The state of recording technology has advanced to a place where the digital tools available now are at the same level of quality as their analog predecessors, in a much smaller footprint. I’ve learned to adjust my technique to this new era, and at the same time feel like I’ve come back home.