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SOUND ENGINEER

Sucked in by the “Dark Side of the Moon” back in ʼ73, Tom was intrigued by the way this album sounded—and it led him to discover his passion.

Though he initially studied electronics at Cal Poly, San Luis Obispo and Broadcast En- gineering at San Francisco State (thinking this was the way to get into the music busi- ness) his first real job in the industry came at the Music Annex in Menlo Park, California where he built studios by day and engineered in his spare time. “The owner, David Por- ter would let me bring in ʻspecʼ projects, which helped me hone my engineering chops.” But the Music Annex was mainly a commercial house, and Tom knew he wanted to work on music projects.

His desire soon came to fruition when he was offered a staff engineering position at Fantasy Studios in Berkeley, California where his first major project was Sammy Ha- garʼs VOA, the album with “I Canʼt Drive 55” on it.

During his seven years at Fantasy Studios, Tom was fortunate enough to work with an incredible array of music producers and talent: David Foster, Ted Templeman, Todd Rundgren, Richie Zito, Jim Gaines, and Tom Dowd just to name a few on the producer side. And amazing artists such as Aerosmith, David Lee Roth, Huey Lewis, Eddie Money, Mr. Big, Y&T, Europe, Steve Miller Band, Joe Satriani, Ella Fitzgerald, and Joe Pass … and the discography goes on.

With the advent of the ADAT in 1991, Tom built himself a home studio for doing over- dubs and mixing a few projects. As the gear got better so did his studio. While home studios are now the norm, Tomʼs had a 20 year head start on most, and his own studio is still one of his favorite places to mix.

Tom has toured the world with a number bands and continues his career as a Sound Engineer/Producer—both in-studio and mixing live for bands on tour.

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