Medusa wears headphones and smiles over a microphone, surrounded by music equipment, on the stage of National Sawdust

Music is feeling made audible.

And I love to be that translator. The first thing most of us do is scream-cry in a hospital; everything after that is language-learning. Music's full of dialects. We have accents. Here's mine: 

Two decades of classical training in the performing arts—piano and ballet (thanks, ma)—shaped not only my knowledge of theory, but the way I experience music itself. This fluency allows me to intuit what emotions demand of composition, ensuring pieces are both technically correct and emotionally effective.

After attending Alfred University, I built my skills in post-production at the Digital Film Academy. At SUNY University at Buffalo, I focused on Digital Media Studies across mediums. Then, I loaned my experience to progressive causes by owning audio on commercial sets for NGOs across New York State.

I learned to produce, mix, and master through doing so with every Medusa release, earning >6 million streams on my first album alone. This success afforded me the privilege of producing for other artists, for a total of over 75 unique credits. As Medusa, I am a 2x Showcasing Artist at SXSW, a 2x Wavy Awardee, and NYC Pride performance veteran. My work has been featured in Spin, iHeartRadio, and Them, among others, and I've discussed my process with outlets like GRAMMY.com and Audiofemme. 

I've been invited to speak at Berklee College of Music—where I also served as a CareerJam mentor—at Joshua Tree, at Reel Abilities Film Festival, and on behalf of Keychange US at the Wavy Awards. I've written for a GRAMMY®-nominated album about the neurodivergent experience, produced alongside fellow queer artists at the internationally acclaimed Anti Social Camp, attended listening parties at both Tidal and Amazon Music Headquarters, and sharpened my craft songwriting for companies like Netflix through Recording Artists and Musicians with Disabilities (RAMPD).

These are all places where I've learned. I am the sum of everyone who's ever taught me. And, while I'll never be done learning, I am motivated to put what I do know to use for others.

PRODUCTION — you might come in with a voice memo, a demo, or just an idea. I compose bespoke instrumentation and develop your song into a fully arranged track. Includes mixing. Deliverables: final mix and stems, in lossless + mp3.

  • Instrumental: $450 / song
    Includes pre-production meeting. Up to 3 revisions. 
     
  • Instrumental + Vocals: $750 / song
    Includes pre-production meeting. Up to 3 revisions + 1 dedicated acapella pass. 

MIXING — you arrive with the individual tracks (stems) of an instrumental piece. I shape them into a cohesive whole, ensuring your song sounds clear, vibrant, and full. Note: Mixing can only begin when production is complete, as additional elements cannot be added during the process. Delivered in lossless + mp3.

  • Instrumental: $250 / song
    Includes 2 revisions.
     
  • Instrumental + Vocals: $550 / song
    Includes 2 revisions + 1 dedicated acapella pass.

MASTERING — your song is already mixed; this is about making sure it sounds right everywhere: headphones, car speakers, streaming platforms. I adjust loudness, EQ, and dynamics so your track hits the way it deserves to—no matter where someone listens. Delivery in lossless + mp3.

Note: Mastering is a specialized skill. Experts recommend taking your final mix to a different engineer for mastering, for a fresh ear. I am qualified to make your release hit certain metrics, such as loudness and EQ balance, to ensure your song sounds as good on streaming services as it does in your head. I do not specialize in mastering, and I am not qualified to master for vinyl.

  • Mastering: $100 / song
    Includes 1 revision. 

$75

per hour

includes pre-meeting agenda, review of materials, post-meeting summary, & action plan (if applicable)

PRE-PRODUCTION & STRATEGY — I'm proud to offer structured creative sessions designed with my neurodivergent community in mind. These help us tackle the parts of your music project that happen outside the studio. Formal collaboration is neither a prerequisite nor an expectation. These aren't meetings where we hang out and chat (though we'll still have fun!); each session has an agenda I design—and you approve—based on your project's needs.

Sometimes, we want a second brain who's as all-in as we are, but who doesn't have to say what they think we want to hear. Perspective on a lyric that might not fit. A conversation about a tracklist that reveals the storytelling pathway we're too close to see. Sometimes we want body-double to finish that grant application, or pointers on our artist statement, or an outside ear to catch what 10 more listens can't. 

In our sessions,

  • The camera is truly optional; no social implications, no stigma.
  • Meeting times are flexible, and not just 9-5; we can work with your nervous system.
  • Rescheduling is guilt free; migraines, flare-ups, timeblindness are understood.
  • Asynchronous communication is cool—and something I love too!
  • Breaks are our friends and never count against your session time.
  • I plan and summarize our meetings, to stay on track, and so nothing's lost.
  • Text-based communication is seamless—I type 1 million WPM /j

Capped at 3 consecutive hours per session; split sessions available. Some ways to effectively apply these to your project include: concentrated into an intensive, placed at strategic intervals (e.g. 1 per week, bimonthly), or deployed a la carte to address a specific goal. 

Detailed critique: 

  • evaluating a song's melody against its emotional cues
  • polishing existing work for new opportunities
  • analyzing an arrangement's efficacy & impact
  • discussion of genre adherence versus intentional dissent
  • identifying what's working—and what's holding a track back

WRITING: 

  • writing or changing lyrics
  • guided writing exercises
  • quick "let's see what comes out" writing sessions

Project development:

  • defining an era's visual & sonic identity
  • deciding which tracks "make the cut" vs. which are “b-sides”
  • concept album worldbuilding & storytelling exercises
  • finding aesthetic cohesion, from fonts to LUTs 
  • sequencing & track order

Press & Pitch Materials:

  • artist bios (short-form & long-form)
  • EPKs & one-sheets
  • grant application consultation
  • playlist pitch copywriting
  • festival & showcase applications