Hey everyone, thanks for having me. Honestly, sitting down to write this doesn't feel like working on a resume, but more like trying to summarize seven years of chaos and coffee into manageable notes. I've been in this industry longer than I care to admit, and let's be real—my first five years mostly involved chasing deadlines until they forced me to stop skipping my house chores. That's not a failure, actually. It's just a lesson in prioritization, one that I think is still being practiced today. So where did I come from? I started out in a small podcasting studio in Portland, coffee on my lap, talking to strangers who sounded exactly like people just like me. We were all trying to figure out why our voices sounded so beatable and how to make the bad ones sound better without lying. It was lonely but sweet, mostly because no one else was complaining about the sheer volume of our own internal monologues. Eventually, the studio became a career, but the sound of my own voice became my signature. I learned that every audio engineer is actually a storyteller, just with a different genre of music and a slightly different pitch. Now, I'm working in a huge studio in New York, where we spend eight hours a day mixing tracks and sometimes getting lost in the mix completely. That's the kind of thing you do while staring at a blank spreadsheet for three days straight, but there's a certain satisfaction in finally getting it right and hearing the magic happen. My main focus these days is AI-driven signal processing, which sounds like a lot of buzzwords but is basically just learning to guide the data to speak a language it never had before. The work is intense, often involving hours of staring at waveform visualizations while trying to make a robotic assistant understand human nuance. I've been lucky enough to collaborate with a lot of people from different backgrounds, from engineers who hate math to artists who treat noise as an essential texture. Some of our projects have been so controversial that people called our studio "a screaming machine" during recording sessions, but I think that's actually honest. It builds resilience, which is the core skill I'm going to bring to this interview. When I think about my strengths, the first thing that comes to mind is adaptability because the industry changes faster than most people realize. I've seen trends shift from traditional mixing techniques to more experimental approaches, and I've been able to pivot quickly enough to lead a team through a full studio rebrand. One specific project I'm proud of involves re-aligning a retro synth track that I'd accidentally left half-dead during the editing phase. It took three weeks of trial and error, mostly squashed in my head, but the result is a track that actually holds up to modern streaming algorithms without sounding dated. The client loved it, mostly because they wanted an analog warmth that the team had jokingly promised we'd never lose. It turned out the algorithm just happened to react well to that frequency range, and that's when we realized the real magic wasn't in the software but in how we listened to the feedback. I also spend a lot of time mentoring junior engineers, which is where I've started noticing that sometimes the best advice is to just let them make mistakes even if it means the project gets delayed. A recent team member got so lost in a mixing session that he stopped editing and started experimenting with unconventional effects, and I had to gently pull the strings to keep the project on track. I know it feels like that's rushing things, but sometimes that's how you find the next big hit if you don't plan every single possibility out. My role here is to be the buffer between the raw human input and the final product that people actually enjoy listening to. I don't just fix mistakes; I often add surprises that surprise the audience, and that's a rare trait in this job because we all want perfection. Looking back, I realized I started as someone just trying to get by, but now I'm someone who wants to push the boundaries of what audio can do for someone else. I have a reputation for being a late-night drinker and a morning person, which means I sleep in until two and get up at four to chase the next gig. That's the office I'm describing now, the one with the bright lights and the endless whiteboards. But I've also found that the best times to work are often in the quiet hours when the room is empty and the only sound is my own breathing. I'm looking forward to talking about how I'm going to use this interview to share some of my personal anecdotes and maybe even throw out a few wild ideas. I'm not perfect, but I'm learning every day, and I think that's more important than having a resume to show anyone. Let's get started.