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“There are a couple qualities about Aaron that set him apart from most of the producer/engineers I’ve worked with.  He’s what I like to call an outsider-producer.  Many folks who have been in the game for a while are concerned with producing material that sounds like what’s popular right NOW.  Everyone’s trying to get their stuff on Sirius, Spotify, TV placements, etc.  But I find that the next big thing rarely sounds like the last big thing.  And you can spend a lot of money and a lot of time trying to sound like whoever is on the radio, and then end up with a record you can’t stand in one or two years.  You’re better off just making honest music, the cleanest and clearest representation of YOU–I feel like Aaron gets that.  Most producers don’t.

Also, Aaron knows that you can’t just throw a lot of money and expensive gear at a project and expect it to sound like a Grammy.  He’s very expedient and it enables him to offer his services at a much more affordable rate than most of the brick and mortar studios that have closets full of three thousand dollar microphones that they barely ever use.  He’s got good equipment, and he knows how to use it.

Finally, Aaron also has a knack for making his clients comfortable–there’s a whole psychological element that goes into making good music, and it’s not something they teach at recording academies–it comes from having been on the other side of the glass.  He’s got his own ideas, and they’re often great, but he’s not married to them, and he subscribes to the “try everything” philosophy–which always results in the best song.

Aaron’s a friend, but I don’t send him a lot of my projects because of that–I send him a lot of my projects because he does good work.”