biography:
My career began at Media
Sound Studios in New York City in 1981 where I had the opportunity to
work along side some of the industry's top engineers and producers including;
Mike Barbiero, Michael Brauer, Fred Christie, Doug Epstein, and
Mike Thorne. At Media Sound I learned a great deal about recording
technique, microphone placement and producer artist relations. I went
on to work with one of the studio's long standing clients, Contempo
Communications as their audio visual technician. At Contempo I filled
a multi-faceted niche, assembling soundtracks for award winning corporate
presentations, and going on site as a project supervisor. All the while I was also producing local talent and playing guitar, bass and keyboards in a variety of local bands. One of the bands I played in called Critical Mass was signed to Epic Records and in 1989 we released our self titled debut album under our new name; See No Evil. We toured the USA opening for Cindi Lauper, and Modern English, and released a follow up album, titled "Songs". Both albums were recorded at The Hit Factory in New York. My experience recording keyboard tracks and backing vocals with producer Richard Robinson gave me valuable insight into the artist's perspective on production.
Following the disbandment of See No Evil in 1992
I did some studio work assisting Chris Albert on some Paul Griffin
sessions at The Hit Factory. It felt good to be back on the other
side of the glass. In the fall of 1992 I moved to Dallas Texas where I
joined forces with studio owner Gary Long and helped him design,
build and wire his new facility Nomad
Recording Studio. I became Nomad's chief engineer, producing and
engineering projects for numerous local acts, and for internationally
acclaimed artists such as Absu, Billy Club, Cherry Blossom Clinic,
King Diamond, Mercyful Fate, Michael Harris Project, Phantom Rockers,
Pitbull Daycare, Roller, Skunk Anansie, Speed Dealer, and Usurper.
In 1999 I built my own production project studio
called MSI, which featured a Digidesign Pro Tools system,
lots of outboard gear and a Massive Synthesizer Installation
(thus the name) with many new and vintage keyboards. Here I did pre and
post production for many of my clients and also produced some underscores
and bumper music, including the theme song for a local sports radio show
on The Ticket, called The Dallas Stars Playoff Post Game
Show. I also recorded soundtrack music with Mike Scaccia, (of
Ministry and Rigor Mortis) and we formed and produced a
band together called League Of Blind Women with guitarist Rob
Buck (of 10,000 Maniacs) bass player Casey Orr (Beefcake
The Mighty of Gwar) and singer Chris Kelly.