About/Contact

ABOUT GREG: 

A musician since his teenage years in Upstate New York, Greg began his career in Los Angeles as a staff engineer at the world-renowned Record Plant Studios where he learned the art of production under such industry legends as Don Was, David Foster, Jim Scott and Al Schmitt. In 1998 Greg moved on to Ocean Way Studios where he took over the engineer seat to complete the recording of the Red Hot Chili Peppers' Rick Rubin-produced landmark album, Californication. Further engineering work for Rubin soon followed with System Of A Down’s Toxicity and Steal This Album.

While honing his studio skills, Greg also cut his musical teeth in the legendary late 90’s music scene centered at LA's famous Largo nightclub.  As a regular guest musician in Jon Brion’s fabled Friday night resdiency shows, Greg played with such featured artists as Colin Hay, Aimee Mann, Glen Tilbrook of Squeeze, Elliot Smith and many others. The production of Brion’s own masterpiece album, Meaningless featured Greg’s engineering, mixing, and instrumental work.

In 2001, Greg was tapped by UK producer Nellee Hooper to engineer tracks for No Doubt’s Rock Steady album which yielded several hit songs, including “Hella Good”, a track whose signature dry, punchy drum sound has made it a touchstone reference for both recording and live sound engineers. Work with Hooper continued on a string of highly successful albums, including two Gwen Stefani solo records, L.A.M.B, and Sweet Escape (to which Greg also contributed bass and guitar) and culminating with U2’s highly-regarded, How To Dismantle An Atomic Bomb, which earned Greg his first Grammy Award as mix engineer on the chart-topping songs “City Of Blinding Lights” and “Sometimes You Can’t Make It On Your Own”. 

Greg’s prolific association with Gwen Stefani also led to his teaming up with producers Andre 3000, Akon, and Dr. Dre, the latter yielding the hit duet with rapper Eve, “If I Were A Rich Girl”. 

By the mid 2000's Greg was an in-demand engineer and mixer of recordings by The Eels, Matchbox Twenty, The Dixie Chicks, Meat Loaf, Rob Thomas, Courtney Love, Jewel, & Santana.  During this period Greg moved into production, helming albums by Tracy Bonham, Rob Dickinson (of Catherine Wheel), Break & Repair Method, and The Push Stars. 

In 2006 Greg took over the former Studio CIty, CA location of Casey Kasem's Studios, establishing a creative home-base where he could produce and develop new and independent artists including Meiko, Cary Brothers, Greg Laswell, Ingrid Michaelson, and Girl In A Coma.

In 2008 Greg co-produced, engineered, and mixed the first new album in over ten years from hard rock legends, KISS. The album Sonic Boom debuted at #2 on the Billboard album chart and was widely heralded by both critics and fans as a return to the sound and spirit of the bands 1970’s heyday. Greg’s ongoing association with KISS has been highly productive, yielding a follow-up studio album, Monster, a chart-topping Japanese single, “Samurai Son” (co-written by Greg & Paul Stanley) a live album and concert film, KISS Rocks Vegas, and a VR concert recorded at London’s 02 Arena, among many other projects. Greg also traveled to Japan in 2008 to produce the No-Doubt influenced, all-girl group, Oreskaband, returning to produce their follow-up album in 2009.

In 2010 Greg began the new decade by recording the #1 hit “Everybody Talks” by Neon Trees, and working on new albums by No Doubt and the Eels.  Greg also collaborated with two of the world’s most well-known EDM artists. With DJ Tiësto, Greg co-produced and mixed several tracks, & co-wrote a song for the singer-songwriter collaboration album called Kaleidoscope. With BT, Greg contributed production and guitar on two tracks featuring Rob Dickinson for the album These Hopeful Machines. 

In 2013, Greg broke new ground in his career by composing the score for an animated feature called Scooby-Do & KISS: A Rock And Roll Mystery. Further scoring work followed for Comedy Central, includinga series of documentary/comedy concert specials featuring the “Roastmaster General” Jeff Ross. Greg also engineered the score for the DreamWorks Animation feature film Turbo in 2013.

In 2015, Greg produced and mixed the final live album and concert-film for Mötley Crüe. The End, Live In Los Angeles was recorded over three nights at LA’s Staples Center. Greg provided the theatrical surround mix of the film and also composed the score for the film’s extensive documentary scenes and the song, “The End Of It All”,  featured during the end-credit sequence.

In 2016 Greg was tapped by Tom Morello and co. to work with a new collaboration between members of Rage Against The Machine, Public Enemy, and Cypress hill called Prophets Of Rage. Greg toured with Prophets Of Rage, recording tracks for their debut EP and mixing front-of-house in stadiums and arenas around the world. In 2017, Greg also mixed what would turn out, sadly, to be the final concert by the band Audioslave at Teragram Ballroom in Los Angeles.

Greg's experience mixing film scores, orchestral recordings, and large scale -concerts made him well prepared to handle his next big project. The highly ambitious Game Of Thrones Live Concert Experience was a massive, in-the round presentation of the epic musical score from the wildly popular HBO series. Featuring an 80-piece orchestra, pyrotechnics, and one of the world’s largest video display arrays, it proved to be an astounding feast for the eyes and ears of Game Of Thrones fans. In addition to handling the audio mix, Greg also contributed sound design to the larger-that-life spectacle.

Two more world tours with Prophets Of Rage took Greg to South America, Europe, and Japan in 2018.

2019 saw Greg return to the studio to co-produce, engineer and mix the album "Now & Then" by Paul Stanley’s Soul Station, a Motown-inspired project that features the iconic singer's take on classic hits and original songs in the style of 60’s and 70’s soul.