I am an audio engineer specializing in avant garde music, including acoustic and electroacoustic improvisation, creative jazz, contemporary music, experimental electronic music, and noise rock. For my day job I do live sound for Cal Performances at UC Berkeley. We present jazz, classical, and world music, as well as dance and contemporary theater, primarily at Zellerbach Hall (a 2,000-seat auditorium). I reserve as much time as possible for working on independent concerts and albums. Get in touch!



Services I offer include:

• Multi-track location audio recording and live concert recording
• Live sound engineering and sound design
• Editing, mixing, and mastering
• Single camera video recording of live concerts
• live streaming

My technical audio work is deeply informed by my own musical practice, which emphasizes attention to sound itself as a main parameter. I have a deep understanding of music and how the quality of sound functions as an element of music.



Selected Live Sound Experience:

• Cal Performances 2011-present
• Paul Dresher Ensemble 2016-present
• Active Music Series 2012-2020
• Recombinant Media Labs 2005-2012

Selected Discography (recording, mixing, &/or mastering):

• Keiji Haino & Guro Moe, Drums & Octobass [Conradsound, 2023]
• MUSIC RESEARCH STRATEGIES (Marshall Trammell), Eleven Postures [Sige, 2021]
• Tim Berne/Matt Mitchell Duo, Spiders [Out Of Your Head, 2020]
• Burmese, Privileged [Fuck Yoga, 2018]
• Tiger Hatchery, Breathing In The Walls [ESP-Disk', 2017]
• Las Sucias, ¡Salte del Medio! [Ratskin, 2016]
• Black Spirituals, Of Deconstruction [Sige, 2014]

Here's a more complete portfolio of my technical work for albums, in reverse chronological order. (You can also check out my technical credits at discogs.com.)

mastered (2024):


live sound, recording (2024):


live sound, recording (2024):


recorded, mixed (2024):


recorded (2021), mixed, mastered (2024):


live sound, multitrack recording (but I think they used my live board mix) (2024):


recorded (2021-2022), mixed (2024):


live sound, recording (2024):


live sound, recorded, mixed (2023):


recorded, mixed (2023):


recorded, mixed (2023):


live sound, recording (2022):


recorded, mixed (2022):


recorded, mixed (2022):


mixed (2022):


live sound, recording (2022):


live sound, recorded, mixed (2022):


mastered (2022):

live sound, recorded, mixed (2022):


recorded, mixed (2019/2021), mastered (2021):


mastered (2021):


live sound, recorded, mixed (2021):


sound supervisor (2021):


recorded (2021):


recorded (2019/2020), mixed, mastered (2021):


recorded (2019), mixed, mastered (2021):


mastered (2021):


recorded, mixed, mastered (2021):


recorded (2020):


recorded (2019), mixed (2020):


mastered (2020):


live sound, recorded, mixed (2020):


recorded (2019), mixed, mastered (2020):


recorded, mixed, mastered:


mixed, mastered:


recorded, mastered:


live sound, multitrack recording (2019):


live sound, multitrack recording (2019):


recorded, mixed:


mastered:


mastered:


recorded, mixed, mastered:


mastered:


recorded, mixed:


live sound, recorded (2018):


mastered:


mixed, mastered:


additional recording:


recorded, mixed:


recorded, mixed, mastered:


recorded:


recorded, mixed, mastered:


live sound, board recording (2016):


recorded, mixed, mastered:


live sound, board recording (2016):


mastered:


mastered:


mastered:


recorded, mixed, mastered:


mixed, mastered:


assistant mix engineer:


recorded, mixed, mastered:


recorded, mixed, mastered:


recorded:


recorded, mixed, mastered:


mastered:


mixed:


mastered:


recorded, mixed, mastered:


mixed, mastered:


recorded, mixed, mastered:


recorded, mixed, mastered:


recorded (2010), mixed, mastered (2011):


additional recording:


mastered:


mastered:


recorded, mixed, mastered (2010):


additional recording:


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