Let's make a record.
I work with artists on production, recording, editing, mixing, mastering, and whatever else it takes to make the record work.
Sometimes that means being involved from the first demo through the final master. Sometimes it means stepping in for one specific part of the process. Either way, the goal is the same:
Figure out what the record needs and make it better.
Every one of these works remotely. Production, engineering, recording, editing, mixing, mastering, mentorship: in the room at The Panda Studios, or with you wherever you are.
Production
I take responsibility for whether the record actually works, not just whether it gets finished.
There is no single way I produce a band. Every artist, every musician, and every record needs something different. Some people need to be pushed. Some need space. Some need help rebuilding an arrangement, changing a part, finding the right tone, or getting a performance they didn't know they had in them.
My job is to figure out what this record and these people need, then build the process around the time, talent, and budget we actually have.
That means songs, structure, arrangement, instrumentation, performances, tones, editing, and sound design are all on the table. Part of my job is noticing when a decision is making the song smaller than it wants to be. After 20+ years of making records, I've learned how choices that feel small in the room can shape how a record feels months or years later.
If I push back on something, it isn't because I'm trying to make the record more like me. It's because I can hear a better version of what you're already going for.
You're hiring me to have opinions about your record, not just to operate the gear.
"He had a different way of working with each of us individually."
Recording
Great records aren't made by putting up microphones and pressing record. The engineer has to know what they're hearing, recognize problems before they become expensive, know when the take is there, and know when everyone needs to do it one more time.
After 20+ years engineering records, I work quickly because I know what I'm looking for. The right mic, the right source, the right chain, the right performance. I'd rather spend the session making music than burn hours troubleshooting decisions that should take minutes.
By default, I'm an active engineer. I'll tell you when I hear a problem, push for another take when I know there's a better one available, help solve performance issues, and keep the session moving.
But not every project needs me to lead creatively. If you already have a producer, have a specific vision, or simply want me to capture exactly what you're asking for, I can do that too. You can hire me to drive the session, or you can drive and hire me to make sure everything gets captured at the highest level.
And none of it requires you to be in California. If you have a working setup where you are, I can run the session remotely: you track in your own space on your own DAW, the audio streams to me in real time, and I'm recording, evaluating takes, and directing live, the same as I would in the room.
"I recorded some of the best drum tracks I've ever done with him."
Editing
This is for records that are already tracked but aren't finished yet. Sometimes the performances just need tightening. Sometimes the sounds need rebuilding, parts need reamping, vocals need comping, or something has to be re-recorded entirely.
Drum editing, vocal tuning, guitar and bass editing, timing, sound replacement, arrangement adjustments: none of it is sterile grid-correction. The goal is to figure out what actually needs fixing without editing the life out of everything that already works.
"The credit goes to Sam for making it sound like an actual song."
Mixing
Send me the multitracks and I'll figure out what the record still needs. Sometimes that means preserving a production that's already fully realized and just needs to be finished. Other times the record needs real intervention: rebalancing, rebuilding, making calls the original session never settled.
Either way, the goal isn't loudness or generic polish. It's finishing the record so it hits the way you meant it to.
Remote mixing doesn't mean disappearing with your record and sending files back into a void. I use live Zoom reviews so you can hear decisions and changes happen in real time, talk through them with me, and stay connected to the record while we finish it.
"We got to watch him make tweaks to our songs in real time."
Mastering
Mastering is often treated as a final technical checkbox. I don't approach it that way. Twenty-plus years of producing, engineering, and mixing records means I'm making mastering decisions with the same instincts I'd use anywhere else in the process: what does this song actually need, not just what a mastering chain typically does.
Level, tone, translation across systems, sequencing, and consistency all matter. But the goal is never to flatten the personality out of the mix. If the mix has an edge, a mastering pass shouldn't sand it off.
And because I spend the rest of my life producing and mixing records too, I can recognize when the problem isn't mastering. If something in the mix is holding the record back, I'd rather tell you than try to solve the wrong problem with a limiter.
Private Mentorship
Already making records and want direct help improving the way you hear, decide, and work? Private mentorship now has its own program, built around your actual sessions, mixes, clients, and projects.
Explore Mentorship →I want to hear the music first.
Send me a demo, rough mix, finished mix, voice memo, whatever you have. It does not need to be ready. I'll actually listen to it, read what you're trying to accomplish, and get back to you personally.
If it feels like a good fit, we'll talk through the project, figure out what you actually need, and build the right plan from there.
"Every time we've recorded with him, it's been extremely comfortable."
That's completely fine.
Send me what you have and tell me what you're trying to accomplish. Figuring out what the record actually needs is part of my job.
How much does it cost?
Every project is different, and I don't want to quote a number before I've heard what we're actually making. Pricing depends on the scope, how involved you want me to be, how much material there is, and what the project needs. Send me the music and the budget you're working with and I'll tell you what I think makes sense.
Do I need to come to California?
No. Every service on this page can be done remotely, including recording and production. Mixing, mastering, editing, and mentorship always could. For tracking, I run the session with you in your own space, with the audio streaming to me in real time, and I'm producing, engineering, and directing it live. The Panda Studios is there when you want it, not a requirement.
Can you just mix my record?
Absolutely. You don't need to hire me for the entire process.
How involved are you creatively?
As involved as the project needs me to be. If you hire me to produce, you're hiring me to actively lead, challenge decisions when necessary, and help drive the record toward the strongest result. If you already have a producer or a clear creative plan and only need engineering, mixing, mastering, or another specific service, I can stay focused on that role. We'll establish what you want from me before we start.
Do you work with unsigned artists?
Yes. I care much more about the music, the artist, and whether I think I can help than what label is attached to it.
How far in advance should I reach out?
As early as possible is always better, especially for full production or recording projects. But reach out even if you're already deep into the record. If I have availability, I may be able to jump in quickly.
What should I send?
A link to whatever best represents the project right now. Demos, rough mixes, released music, Dropbox, Google Drive, SoundCloud, Spotify, whatever. It doesn't need to be polished.
Do you only work with punk, hardcore, and rock bands?
No. That's a big part of my history, but I'm interested in good music and interesting ideas. I've worked across punk, hardcore, metal, alternative, indie, pop, electronic music, and plenty of things that don't fit neatly into one category.
Can we stay at the studio?
Yes. For artists traveling to The Panda Studios, on-site lodging may be available depending on the project and schedule. Mention it when you reach out and we'll figure out what makes sense.