I am an audio engineer, music producer, and sound designer living in Virginia. Audio has been a part of my life since I was ten, and by sixteen I was getting paid to engineer sessions. Since then, I have split my time between recording studios, post production rooms, and audio restoration suites.  I went to the F.I.R.S.T. Institute in Orlando, graduating with honors in Recording Arts & Show Production. That program put me right in front of large format analog consoles like the SSL Origin, SSL XL Desk, and Digidesign C24 and taught me signal flow from the ground up. Having that hardware foundation makes routing complex setups in a DAW feel second nature.  While I still love tracking live bands and running physical gear, most of my work these days is in post production, dialogue editing, original scoring, vocal tuning, and pulling usable sound out of compromised files. I spend most of my time in Pro Tools, Logic Pro, FL Studio, Studio One, Melodyne, and spectral repair software like iZotope RX.  A quick look at some of the work I've done over the years.

Film & Commercial Post: I handled post-production audio for Ripley's Believe It or Not! on their Artemis segment. On the narrative side, I spent five years co-creating, scoring, engineering, and sound-designing an award winning short film/musical called 21 Days with Ben Rawlins.  

Album Production: I have produced, engineered, mixed, and mastered complete catalogs and discographies for acts like Redwood and Judith, alongside my own artist releases.  

Studio Client Work: Did session tracking, vocal comping, pitch correction, and final mixes for artists like Roachie, Elizabeth Waltz, Brandon Bowman, Next of Kin, and Stephen Earl.  

Field Sound & Audio Rescue: Spent time on set as a boom op and location mixer. When a 15-minute film's location audio was ruined by external noise, I rebuilt the entire soundtrack from scratch using ADR, custom Foley, and sound design.  At the end of the day, my goal with any project is simple: make sure the audio sounds clean, balanced, and ready for commercial release without getting in the way of the performance.