I am a Brooklyn-based audio engineer, composer, and musician. I’ve been working in radio and podcasts since 2012.  

I’ve been a student of guitar since age 12 (a very long time ago), and I have developed my passion for documentary sound alongside my continued musical creation.

I am currently Sr. Technical Director for podcasts at Slate.  Previously, I worked at WNYC Studios, and Trout Recording before that.

I have served as a recording engineer for a diverse array of artists including members of R.E.M., Pearl Jam, Blues Explosion, The Jayhawks, Polyphonic Spree, as well as;  Joseph Arthur, Charlie Hunter, Kandace Springs, Carl Barat, Anohne, Spacehog, Gary Go, Reni Lane, Akron Family, Marco Benevento, Jolie Holland, Roseanne Cash w/ John Levinthal, Erin Mckeown, Allison Miller, Todd Sickafoose, Marc Stewart, Harvey Brooks, Adam Levy, Anton Fier, Erik Deutsch, Charlie Hunter, Smokey Hormel, Tony Mason, Ben Perowski, Ches Smith, The Spring Standards, Timo Ellis, Mary Halvorson, Shahzad Ismaily, Michael Imperioli, and others.

Musician
The guitar is the instrument that kicked off my lifelong obsession with music and sound. After studying with Gene Pino for over a decade, I played throughout the United States with a number of different rock and jazz outfits. I’ve expanded to composition and arranging for full ensembles, while contributing as a bassist, keyboardist, and drummer/drum programmer, in this environment.  

Composer
After focusing on jazz and rock theory for over a decade, my music studies at the University of Arizona (‘03) led me to analyzing the great works of Bach, Mozart, Wagner, Hayden, C. Schumann, Debussy, Shubert, Stravinsky, Shoenberg, Berg, and Webern. This expanded my palette, and my innate confidence for chord selection and harmony.  

Audio Engineer
My passion for excellence in sound has run alongside my passion for music since the beginning. My guitar teacher’s studio was heaven, and I’ve been tweaking ever since — from 4-track recordings to open reel decks, and onward. At Trout Recording, I worked alongside industry greats such as Bryce Goggin, Adam Sachs, Joan As Policewoman, and the Apples in Stereo to create sounds for albums in a hybrid analog/digital setting (Neve / Studer / Ampex / Protools HD etc). See album credits.

Through my work at WNYC on narrated feature reporting, then with Freakonomics Radio, and onward in my career at Slate, I have developed the highest possible standard for smooth and publish-ready dialogue editing and mixing. I feel this is the foundation for all great documentary sound design and scoring.