- Career Highlights
- B.S., Massachusetts Institute of Technology
- Alumnus, Berklee College of Music and Columbia University
- Independent record producer and recording engineer
- Recordings with the Wayfaring Strangers, Apollo Sunshine, Dry Branch Fire Squad, Andy McGhee, Bill Gordon, Hanneke Cassel, Peter Parcek, Lissa Schneckenburger, Steve Rochinski, and others
- Principal, Rapid Eye Media, multimedia consulting and development
- Designer and developer of interactive exhibits for the American Jazz Museum (Kansas City, Missouri) and Longyear Museum (Brookline, Massachusetts)
- Winner, Gold Medal, NewMedia INVISION Festival (1999)
- Winner, MIMC Award, Massachusetts Interactive Multimedia Council (1999)
- Author of Pro Tools 101 and Pro Tools 110 online courses for Berklee Online
- Member, National Association of Recording Arts & Sciences
- Member, Audio Engineering Society
- Former assistant chair of Berklee Music Production and Engineering Department
In Their Own Words
"If a course is working, my students are going to learn more about how their brains work, their instincts, their strengths, what's compelling to them, and what they gravitate towards. Students are required to articulate their goals and plans, then critique their own and each other's work. It sounds easy enough, but is often quite a challenge. Trying to describe what we're doing and why, and attempting to understand other students' motivations, often reveals biases and discontinuities in our own perspectives and assumptions. 'Why?' is often the hardest question."
"In my introductory course, I try to demystify music production and bring a sense of reality to what many seem to see as a fantasy playground. Students often come in with wide eyes and incredible hopes and dreams. Dreams are great, even essential, but they need to be balanced with a fuller sense of what you're getting into, from the joy of creative expression to all-nighters, difficult people, and frustrating limitations. I realize this sounds kind of negative, but being better prepared and knowing what to expect—the positive as well as the challenging—makes it more likely you'll achieve your goals."
"In Music Production for Records, our students do a demo version and a full production of the same song. The point of the demo is to develop and explore the concept so that a version with high production values can be done successfully. It's rare that the demo plays out exactly as expected. What happened? Why? What can you learn from the experience? As you slowly realize that the initial concept isn't the be-all and end-all, that there are other possibilities, maybe you adjust the way you're seeing things."
"State-of-the-art recording studios, although quite nice, are not available to recording artists as often as in the past. But it can be motivating, even freeing, to divorce yourself from traditional practices. Lacking all of those high-end options, perhaps you'll think more creatively. You might come up with things you didn't have before, like interesting acoustics or a different vibe, and that in turn will affect the way you go about the project—often in a highly positive manner."