Photo credit: Ken Stewart

“As a tracking engineer, my intent is to be on top of the session's set-up from each musician's point of view – such that the technical reality of separation in the studio, and all the cables, headphones, microphones and various other studio paraphernalia disappear (or are at least minimized) in the minds of the musicians so that their performance as a whole is their primary focus. Once this is achieved then it's easy to get good sounds.”









“As a mixing engineer, I first identify the overall vibe of a particular song, then I try to respect and bring to life all the musical nuances that have been captured in the recording process so that the final mix is dynamic and interesting.”


In addition to playing in studios as a session player for artists such as Shari Ulrich, Tom Taylor, Hedley and most of the artists with whom he backs on stage, Eric is an accomplished studio engineer who has recorded hundreds of large multi-musician sessions with producers such as Rolling Stones manager/producer Andrew Loog Oldham.

He has worked extensively with producer-extraordinaire John Ellis as both a tracking engineer and mixing engineer, and has produced, co-produced, mixed or engineered for artists inlcuding Wyckham Porteous, Ridley Bent, The High Bar Gang (which was nominated for a Juno), Jenny Allen, Emily Taylor Adams, Bruce Coughlan, Angela Harris, Tiller's Folly, Matt Masters, Wayne Lavallee, Taylor James, Nolan Murray, Melanie Dekker, Caryn Fader and Barney Bentall.





Engineering this award winning album at the late Paul Baker's studio was a blast. Lots of musicians coming and going, players jammed in every corner of the studio, good hangs. Most of the album is live off the floor and everyone totally rocked it. Rids is a one of a kind songwriter who has the ability to draw your imagination into his musical-yarns, whether he's in the studio or live. (Produced by John Ellis)

Jenny was a musical inspiration for me when I first started in the biz so I was thrilled when John asked me to engineer and mix her album, Blanket. I ended up playing some electric guitar on this track as well. Jenny is the real deal – as her sultry vocal affirms. (Produced by John Ellis)

Matt is one crazy dude. What can I say – I had a lot of fun recording the guys up at "Nashcroft" and mixing the album! (Produced by John Ellis)

This was one of my favourite and most challenging engineering sessions. The album was recorded almost entirely live off the floor – with Wyckham and a plethora of musicians sitting with their acoustic instruments or beside their amps and whatnot in one fairly small room. Everyone kept their volumes low (drummer included) so that Wyck's compelling vocal could drive the bus. They would spend hours hanging in the lounge – getting the inside scoop about the Rolling Stones from Andrew – and then saunter into the studio and lay down some killer take. It was also nice to see John Ellis and Steven Drake leave their Producer hats at the door and play off each other. And, of course, Andrew is a fascinating cat...(Produced by Andrew Loog Oldham)

Bruce introduced me to the acoustic side of things back when I was pretty much just an electric guitar guy. He is a walking library of music and history blended in song. I'm always drawn to his music, whether he's singing his own songs or his adaptations of other writer's material. We recorded this celtic-ish solo album in a couple days and, although drinking and engineering strictly don't mix, more than a wee nip of singlemalt went down the old hatch... oh well, whatever – the good old days, haha.
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