In the summers of 1993 to 1998, I worked as a recording engineer at the Aspen Music Festival. My main mentor during the time was Ron Streicher who is known for his knowledge of classical stereo recording techniques and also as a long time member and president of the Audio Engineering Society. In addition I learned a great deal from Jurgen Wahl who has worked for Sennhesier and Neumann as a senior engineer and lectured each summer at the audio institute. At the Stanton Audio Recording Institute, we recorded a wide variety musical ensembles ranging from Mahler sized orchestras, string quartets, large jazz ensembles, fully staged operas, and contemporary classical music.  Many of the live recordings from the institute were played on National Public Radio and Public Radio International. I also engineered live national broadcasts of festival concerts in cooperation with the WFMT Arts Network in Chicago. The Stanton Institute provides a five week summer workshop on audio recording and at the time I taught a class or two on digital signal processing and audio techniques for the internet. After working at the Aspen Music Festival my primary mentor was Tom Erbe who taught digital recording at CalArts. Under Tom’s tutelage from 1997 through 2001 I learned a great deal about experimental music, computer editing, mastering techniques, studio management, and people skills.

From 1996 through 1999 I worked with composer Mort Subotnick in the development and performance of his interactive opera, Intimate Immensity. Serving as assistant sound designer, computer programmer, and audio engineer for the opera I traveled with the piece to Lincoln Center in New York, ZKM in Germany, and Site Santa Fe in New Mexico.

Since 1998, I have been an active recording engineer in the contemporary music world of Los Angeles. I have engineered for a number of experimentally minded composers including David Rosenboom, Michael Pisaro, Wadada Leo Smith, Marc Sabat, Anne LeBaron, Mark Trayle, Ulrich Krieger and others.
Since 2004 I have been serving as the Director of the Experimental Media and Computer Music studios at CalArts and working to make improvements to the Dizzy Gillespie recording studio.