I began my professional career in sound mixing at 15 years old in Denver, CO. I began self-teaching at a young age and was nurtured by both parents, teachers early in my youth recording films, theatrical, and musical events. Early mentorships in broadcast (ESPN), studio recording, and live tapings for camera in the smaller Colorado marketplace shaped me to be a swiss-army knife between production and post production.

I entered higher education to study Film and Music at the University of Colorado Boulder before transferring to Metropolitan State College of Denver to study Technical Theater, Music, and Psychology.
In 2007, I moved to New York City to venture into larger theatrical engineering and mixing while still maintaining work in film production. I traveled on tour with James Devine and Tapeire as their FOH sound mixer and "VJ," before returning to Denver as an adjunct member of the Colorado Film School, where my education was reinforced against the developing minds of fellow young filmmakers. In 2013,

I moved to Los Angeles to immerse myself in the largest filmmaking market, where I was given opportunities in live comedy and event tapings to use my accumulated experience. I quickly became known among the local sound mixing community as a bridge of knowledge between production and post production and have been given numerous lectures and seminars on the rapidly advancing technology and processes that inform both how we capture performances in production to how we can shape, preserve, or recreate them in post production.
I have enjoyed working with fellow sound mixers, standup comedians, singers, musicians, and filmmakers big and small, broadcasters, studios, and streamers big and small, and have earned the trust of artists, producers, and performers to shape the recorded relationship of their connection to their audience. Helped produce and design sound for Lizzie and the Triggermen, a prohibitionist era jazz band for several years, finishing up their album in 2020. I returned back on tour with James Devine in 2022 for Velocity, a live Irish dance and music show (with zero pre-recorded taps). Also in 2020, I entered the world of podcasting with Gates McFadden (of Star Trek), and, in 2022, was invited to consult and work with comedian and actor Andrew Schulz' Flagrant podcast as they transitioned their podcast format to use lavaliere microphones.

Career highlights

1996-2007: Freelance Broadcast / Live Event / Music in Denver, CO
2007-2009: James Devine and TapEire tour and NY residency
2012: The Invisible War - (theatrical documentary (Oscar Nominated)
2012: Hellbound (theatrical documentary)
2015: Iliza Shlesinger: Freezing Hot (comedy special)
2015: The Painter (short) - supervising sound editor / re-recording mixer
2016: The Crossroads of History (tv series) - production sound mixer (Emmy Nominated)
2017: Jim Gaffigan: Cinco (comedy special)
2017: Maria Bamford: Old Baby (comedy special)
2017: Nick Offerman & Megan Mullally: Summer of 69 (comedy special)
2017: Bebé (short) - producer, production sound mixer, supervising sound editor, re-recording mixer (HBO)
2017: Tiffany Haddish: She Ready! (comedy special)
2017: Brody Stevens: Live from the Main Room (comedy special)
2018: Henry Rollins: Keep Talking, Pal (spoken word, comedy special)
2019: Joel McHale: Live from Pyongyang (comedy special)
2019: Sterling (short) - supervising sound editor, re-recording mixer (HBO)
2020: Maria Bamford: Weakness is the Brand (comedy special)
2020: Jimmy O. Yang: Good Deal (comedy special)
2020: Jim Gaffigan: The Pale Tourist (comedy special)
2021: Lavell Crawford: The Comedy Vaccine (comedy special)
2022: Only In Theaters - producer, production sound mixer, supervising sound editor, re-recording mixer (Theatrical Documentary)
2022: Andrew Schulz: Infamous (comedy special) - production sound mixer, re-recording mixer
2022: Hasan Minhaj: The King's Jester (comedy special) - re-recording mixer
2022: Ari Shaffir: Jew (comedy special) - re-recording mixer
2023: Jim Jefferies: High n' Dry (comedy special)
2023: SmartLess: On the Road (tv series / live podcast)

Favorite DPA Microphones

Where to begin? The 4000 series microphones are my go-to microphones for accurately capturing an audience in the most intimate or grand rooms in the world. The nuance of a performance, not only in the performer's direct performance, but also the audience response, or the shape and response of a room. The 4011, 4015, 4017, 4018, 4041, 4060, 4062, 4080, 4097, 4099...they're all brilliant tools in representing the world.

Contact information

Company: Scopic
Country: USA

Profile information

Speaks: English
Segment: Film, PA & Rental / Live Performance, Theatre, Recording & Studio

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