Thanks for stopping by. Below you’ll find how I work, what I’ve built, and where I’m headed. Always growing, always looking for the next great project.
How I Work
Large projects don’t fail because of bad audio. They fail because of poor communication, missed deadlines, and disorganized file management. I’ve spent 20+ years making sure that doesn’t happen.
Project Management & Communication
Every project gets a clear scope, a timeline, and regular check-ins. I use project management tools to track deliverables, flag bottlenecks early, and keep clients informed at every stage. I’m reachable, I respond fast, and I do what I say I’m going to do. For large-scale or multi-phase projects I break work into staged deliverables so nothing falls through the cracks.
File Organization & Delivery
Every session is organized from the start. Tracks are named, color coded, and archived in a consistent structure. Final deliverables are clearly labeled by version, format, and date. No hunting through folders. No mystery files.
Industry Formats & Specs
I deliver to spec the first time. Common formats and standards I work to:
Sample Rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz
Bit Depth: 16-bit, 24-bit, 32-bit float
File Formats: WAV, AIFF, MP3, FLAC, AAC
Loudness Standards: -14 LUFS (streaming), -16 LUFS (podcast), -23 LUFS (broadcast/EBU R128), -24 LUFS (US broadcast/ATSC A/85)
Metadata: Embedded ID3/BWF tags, ISRC, ISWC, cue sheet delivery
AI Audio Data Prep: clean mono/stereo splits, consistent naming conventions, silence trimming, noise floor specs, batch processing via Python/ffmpeg
Volume Capacity
I’ve handled projects ranging from single-track sessions to multi-hundred file batch deliveries. Whether it’s one song or a thousand audio files for an AI training dataset, the workflow scales without the quality dropping.
Software & Plugins
DAWs: Pro Tools, Reaper
Restoration & Audio Repair: iZotope RX 9 (full suite), Supertone Clear, Harrison DeNoiser, Accentize dxRevive Pro, SPL De-Verb Plus, VocAlign, RePitch
EQ: FabFilter Pro-Q 3, SSL 4K E/G/B, Eiosis AirEQ, Pultec EQP-1A, UADx Pultec series, Slate Digital Virtual Mix Rack, Harrison Mastering EQ, Waves
Dynamics: FabFilter Pro-C 2/Pro-L 2/Pro-MB, SSL Bus Compressor 2, UADx LA-2A/LA-2, Weiss Compressor/MM-1, Slate Digital FG-X 2, Waves CLA series
Reverb & Delay: Valhalla full suite, SoundToys EchoBoy, FabFilter Pro-R, SSL PlateVerb/SpringVerb, Lustrous Plates
Instruments & Production: Arturia V Collection, Native Instruments Kontakt 8, Spectrasonics Omnisphere, Spitfire Audio BBC Symphony/LABS, Superior Drummer 3, Xfer Serum
Additional: Full suites from Slate Digital, SoundToys, FabFilter, SSL, Softube, Harrison Audio, Waves, and Melodyne
Hardware
Monitors: Focal Twin 6 BE
Interface: RME UFX
Preamps: Universal Audio 710, Universal Audio 610, Heritage Audio 73X2, Avalon M5
Microphones: Neumann TLM 103, Audio-Technica AT4050 (pair), Vanguard V13, Shure SM7B
The Studio
SongBuilder Studios has been open at 709 Frederick Road in Catonsville, MD since 2010. Full-service recording, producing, mixing, and mastering for singer-songwriters, bands, and commercial clients. We also handle audiobook recording, post audio production, and dialog restoration. Two tracking rooms, two control rooms, and a large lounge. 15+ years in business. 200+ projects recorded. 40+ five-star reviews.
Listen
Over 1,000 songs produced, co-written, or engineered across two decades. The playlist below is a cross-section of that work spanning rock, pop, soul, R&B, and everything in between. Artists from Baltimore, Nashville, New York, and beyond. Some of these tracks have landed on national TV. All of them started with a conversation in the studio. There is nothing quite like the moment a client hears their finished song for the first time. That moment is why I do this.
SongBuilder Spotify Playlist
Sync & Publishing
Songs produced and co-written at SongBuilder have landed on 60+ TV shows including Discovery, TLC, MTV, Lifetime, and Fox. 300+ works registered with ASCAP. Writing and producing with sync in mind is a skill set built over 20 years. The music covers a wide range of genres and moods because that’s what gets placed. As VP of Operations for Maximus Music Group, a sync collective of 100+ writers and producers, I know how to get music placed and delivered correctly when it lands.
Wanna chat?
Let’s have a conversation!