GC Pro Systems Engineer

Grew up in Cleveland, Ohio. where I learning bass lines from Funk, Soul, R&B, Jazz and Rock records of the 60, 70's and 80's. When not performing, I worked various recording and pro sound gigs. Being in countless original and unsigned bands since I was 15 years old, I have a Ph.D in the Music Business from the University of Experience. Became interested in electronics and studio construction in the 70's and starting designing and building studios in the 80's. managing a band is second nature. Been a Music Director for emerging artists and very much enjoy the artist development experience when working with talented people.

Based out of Tempe, AZ from 1983 - 2003, I learned the art and science of acoustic design by building at first, rehearsal rooms and basic home theaters then moving on to more involved studio construction projects. After arriving upon solid techniques and great sounding rooms, I began refined an equation, which I regularly share. "Room Compression as Natural Equalization" This recipe will produce great sounding rooms. Various elements such as SPL, Frequency Bandwidth, Room Dimensions, Materials, Construction Methods, Emotional Vibe...all have equal importance.

After dozens of recording studio construction projects and music venue installations of PA and Lighting rigs, I have gained valuable knowledge. Areas of expertise is designing and building great sounding as well as great feeling acoustic spaces.

I enjoy discussing analog and digital recording technology as well as applied techniques. I learned how to record using an MCI 24 track 2" recorder; yes, I edited by cutting tape! However, I do utilize digital technology when it can be applied creatively to making art.

Even though I have hundred of hours on Pro Tools systems, I still prefer to track to tape through tube equipment and then mix on an old fashion analog console. My preference for mastering is to have someone else perform this function if I mixed the session and vice verse. I believe mastering should be performed on a different system and in a different room/studio by a dedicated mastering engineer. However, when I do mastering, I keep the signal path a simple and as high fidelity as possible, which means no patch bays or unnecessary equipment. Cable lengths are kept to a minimum and only the best interconnects are used.