Producer/Engineer, Writer/Arranger, Guitarist, Bassist. I’m your “one stop shop”. My forte is guitar and post production mixing. If you have a song I can turn it into a hit song. If you need rhythm or lead guitar, bass and/or drums I can play beyond your expectations. I'm your "track doctor". If you have a bad recording I can turn it into gold.
I've worked with Bernard Edwards of Chic, Donny Wynn, Frank Blair of Robbert Palmer, John Staehely of Jo Jo Gunne, Tony Brock of the Babys, Steve Isham of Autograph, Pianist Clarence McDonald, Drummers Jody Cortez, Mike Hansen, engineers Jason Corsaro, Michael E Hutchinson. As a result of rarely finding other musicians that hold musical integrity to heart, I've learned to play many instruments myself in order to maintain the musical direction of my song writing. Good music production takes much thought in searching for what sounds right and having the creativity and experience to know when it has correlated into the intended mood. What good are the best musicians if the music has little effect? The artists that I have worked with didn't hire me to work for them but rather as my friends, chose to work with me because of the potential they saw in my music. I met most of these people when I was very young and it is their talent and professionalism that influenced me to excel in my skills. Great music is in the “ear of the beholder”. If enough people like it then who am I to say it’s not good but if you’re looking for highly creative, innovative, musical production, I’m your guy. I can take you music to a level beyond your expectations. I’m the writer, producer, guitarist (rhythm & Lead) and engineer of my music. I can meet all your needs, so have a listen and decide for yourself.
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with Matt Hirte
Q: Can you share one music production tip?
A: There are many, but I think the biggest mistake, as far as engineering goes, is working too long. A lot of musicians want to get too much done and will work for many hours, trying to get the most out of whatever they're doing. This wears out the engineer and can be counter-productive. When you are listening to music - not so much when recording but definitely when mixing - after about 4 or 5 solid hours (no breaks) your ears are shot. If you continue beyond this, you can be changing sounds and EQs in vain because your perception of tone and frequency become dull, especially the high end (treble). The next day you come in, things sound out of place with too much high end and you are now back tracking, trying to get things back the way they were. If you're taking too many breaks, you're paying for a lot of down time. Another thing to think about is the longer the time in between sessions, the more time you have to listen to your rough mixes on other devices, which gives you a better perception of how it sounds, and can give you ideas that you wouldn't have come up with, when pressing to finish quickly. In between sessions you have a different mind set – you’re not looking at the clock every 10 minutes. It's actually better to cut one long session into two shorter ones. You'll get a lot more done in the long-run, and still probably finish earlier.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometimes I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I add the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion, and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Digital. I used to hate digital, but software is getting rapidly more and more impressive. It's easier, faster and cheaper, which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built, and its sounds are incredible. I have one, but the software that I use for reverb and delays are just as good or even better in some cases, so I've pretty much stopped using the PCM70. Analog is still great for recording main tracks, but once you have recorded your music it can be mixed digitally without losing any of the analog qualities. Personally though, I think it's all in the mix. You can end up with an analog recording mixed horribly, and you can get digitally recorded music to sound like it was recorded in analog. Nowadays if the mix is done with the know-how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine, and in most cases, beyond the best. I don't just turn knobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long-lasting impression. Nowadays music is mostly background noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do – the kind that made you turn your head and say “What's that!? The kind of song that you remember for the rest of your life when you first heard it, what you were doing, where you were, and who you were with.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on rock, hard rock and metal.
Q: What's your strongest skill?
A: Mixing, mastering, guitar rhythm and solos, bass, songwriting, arranging, composing, and producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or what is too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or it’s not mixed well, it will drive the listener away. You could have a great song that no one finishes listening to because of its harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing, or impressionable tones that should be created or enhanced. In mixing it is the same thing, only a matter of frequency which can be brought out or eliminated by equalization. This of course starts with the drums, then bass, guitars, keys/piano and other instrumentation, most of the time in that order. The process is usually to start with the worst sounds first, to eliminate frequencies that are interfering with sounds that may also be misplaced or harsh, which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered, the mix gets cleaner and clearer, allowing the listener to hear more of the effects and placement of the instrumentation. This is what makes a Pink Floyd record sound so good.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to say on this subject because pretty much - “If it sounds good then it IS good". I use ProTools and mostly software and it does the job nicely. The only question is, what's other people's interpretation of what sounds good or what good music is? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Alan Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather, guitarist/vocalist of Toto. I’m also a big fan of Pat Travers, Zakk Wylde, Janick Gers, Glenn Hughes and many others like them. I think one of the greatest songwriters of the rock genre is Peter Frampton, who I had the pleasure of meeting while hangin' out with Jason Corsaro. I was friends with Donny Wynn who was Robert Palmer's drummer, during the start of my venture in meeting and learning from many great professionals in the music business, one of which was Jason. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop, and the list goes on. I learned a lot sitting next to Jason, watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason was known by everyone "big" in the industry, and of course he's best known for his work with Robert Palmer and Power Station, both produced by Bernard Edwards, bassist of Chic.
Q: What questions do you ask prospective clients?
A: What mood, impression and message are you looking to put across in your music? What are your favorite bands or artists? What music or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: I'v been writing and playing music all of my life since about 11 years old. I went to high school with Chris Botti. We were in music theory class together. Chris and I were friends but not enough to stay in touch after high school, and we still have not crossed paths– yet. My major in college was music theory and at the end of the first year the thesis was to write a score for the school symphony. To my surprise I got an A+. Actually I was shocked. My professor pulled me aside soon after this and we had a conversation about what I wanted to do in my life, and basically he encouraged me to follow my dream of having a music career. So a couple of months later I was off to Los Angeles. To make a long story short, after a few months of being in LA, I met a girl that I became friends with who was a good friend of Prince's manager, Jamie Shoop. That was the beginning of my path that led me to meeting all the music industry elites – some of them being the biggest rock stars in the music industry of that time. I was playing in bands and recording music the whole time, but after a while I started dabbling in engineering and eventually started my own studio, and have been doing it for over 20 years now.
Q: Analog or digital and why?
A: Digital. I used to hate digital but software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine– in most cases, beyond. I don't just turn nobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long lasting impression. Now days music is mostly back ground noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do– the kind that made you turn your head and say "what's that!? The kind of song that when you heard for the first time, you remember what you were doing, where you were and who you were with for the rest of your life.
Q: What questions do you ask prospective clients?
A: What mood, impression and message are you looking to put across in your music? What are your favorite bands or artists? What music or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: I'v been writing and playing music all of my life since about 11 years old. I went to high school with Chris Botti. We were in music theory class together. Chris and I were friends but not enough to stay in touch after high school and to this day we still have not crossed paths. My major in college was music theory and at the end of the first year the thesis was to write a score for the school symphony. To my surprise I got an A+, actually I was shocked. My professor pulled me aside soon after this and we had a conversation about what I wanted to do in my life and basically he encouraged me to follow my dream of having a music career. So a couple of months later I was off to Los Angeles. To make a long story short, after a few months of being in LA I met a girl that I became friends with who was the best friend of Prince's manager, Jamie Shoop which was the beginning of meeting all the music industry elites that that path led me to– some of them being the biggest rock stars in the music industry of that time. I was playing in bands and recording music the whole time but after a while I started dabbling in engineering and eventually started my own studio and have been doing it for over 20 years now.
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think, as far as engineering goes, is working too long. A lot of musicians want to get too much done and will work for many hours trying to get the most of what ever they're doing. This wears out the engineer. This can be counter productive. When you are listening to music, not so much recording but definitely when mixing, after about 4 or 5 solid hours (no breaks) your ears are shot. If you continue beyond this you can be changing sounds and eques in vain because your perception of tone and frequency become dull, especially the high end (treble). The next day you come in things sound out of place with too much high end and you are now back tracking trying to get things back the way they were. If you're taking to many breaks you're paying for a lot of down time. Another thing to think about is the more time in between sessions the more time you have to listen to your rough mixes on other devices which give you a better perception of how it sounds and can give you ideas that you wouldn't come up pressing to finish quickly. In between sessions you have a different mind set– your not looking at the clock every 10 minutes. It's actually better to cut one long session into two shorter ones. You'll get a lot more done in the long run and still probably finish earlier.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mixed well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, impressionable tones that should be created or enhanced. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of course starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer allowing a listener to hear more of the effects and placement of the instrumentation. This is what makes a Pink Floyd record sound so good.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to speak of about it because in todays world "if it sounds good then it is good". I use ProTools and mostly software and it does the job nicely. The only question is, what's other people's interpretation of what is good music? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of course he's best known for his work with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Digital. I used to hate digital but software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine– in most cases, beyond. I don't just turn nobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long lasting impression. Now days music is mostly back ground noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do– the kind that made you turn your head and say "what's that!? The kind of song that when you heard for the first time, you remember what you were doing, where you were and who you were with for the rest of your life.
Q: What questions do you ask prospective clients?
A: What mood, impression and message are you looking to put across in your music? What are your favorite bands or artists? What music or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: I'v been writing and playing music all of my life since about 11 years old. I went to high school with Chris Botti. We were in music theory class together. Chris and I were friends but not enough to stay in touch after high school and to this day we still have not crossed paths. My major in college was music theory and at the end of the first year the thesis was to write a score for the school symphony. To my surprise I got an A+, actually I was shocked. My professor pulled me aside soon after this and we had a conversation about what I wanted to do in my life and basically he encouraged me to follow my dream of having a music career. So a couple of months later I was off to Los Angeles. To make a long story short, after a few months of being in LA I met a girl that I became friends with who was the best friend of Prince's manager, Jamie Shoop which was the beginning of meeting all the music industry elites that that path led me to– some of them being the biggest rock stars in the music industry of that time. I was playing in bands and recording music the whole time but after a while I started dabbling in engineering and eventually started my own studio and have been doing it for over 20 years now.
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think, as far as engineering goes, is working too long. A lot of musicians want to get too much done and will work for many hours trying to get the most of what ever they're doing. This wears out the engineer. This can be counter productive. When you are listening to music, not so much recording but definitely when mixing, after about 4 or 5 solid hours (no breaks) your ears are shot. If you continue beyond this you can be changing sounds and eques in vain because your perception of tone and frequency become dull, especially the high end (treble). The next day you come in things sound out of place with too much high end and you are now back tracking trying to get things back the way they were. If you're taking to many breaks you're paying for a lot of down time. Another thing to think about is the more time in between sessions the more time you have to listen to your rough mixes on other devices which give you a better perception and can give you ideas that you wouldn't come up pressing to finish quickly. In between sessions you have a different mind set– your not looking at the clock every 10 minutes. It's actually better to cut one long session into two shorter ones. You'll get a lot more done in the long run and still probably finish earlier.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mixed well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, impressionable tones that should be created or enhanced. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of course starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer allowing a listener to hear more of the effects and placement of the instrumentation. This is what makes a Pink Floyd record sound so good.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to speak of about it because in todays world "if it sounds good then it is good". I use ProTools and mostly software and it does the job nicely. The only question is, what's other people's interpretation of what is good music? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of course he's best known for his work with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Digital. I used to hate digital but software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine– in most cases, beyond. I don't just turn nobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long lasting impression. Now days music is mostly back ground noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do– the kind that made you turn your head and say "what's that!? The kind of song that when you heard for the first time, you remember what you were doing, where you were and who you were with for the rest of your life.
Q: What questions do you ask prospective clients?
A: What mood, impression, message and/or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: I'v been writing and playing music all of my life since about 11 years old. I went to high school with Chris Botti. We were in music theory class together. Chris and I were friends but not enough to stay in touch after high school and to this day we still have not crossed paths. My major in college was music theory and at the end of the first year the thesis was to write a score for the school symphony. To my surprise I got an A+, actually I was shocked. My professor pulled me aside soon after this and we had a conversation about what I wanted to do in my life and basically he encouraged me to follow my dream of having a music career. So a couple of months later I was off to Los Angeles. To make a long story short, after a few months of being in LA I met a girl that I became friends with who was the best friend of Prince's manager, Jamie Shoop which was the beginning of meeting all the music industry elites that that path led me to– some of them being the biggest rock stars in the music industry of that time. I was playing in bands and recording music the whole time but after a while I started dabbling in engineering and eventually started my own studio and have been doing it for over 20 years now.
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think, as far as engineering goes, is working too long. A lot of musicians want to get too much done and will work for many hours trying to get the most of what ever they're doing. This wears out the engineer. This can be counter productive. When you are listening to music, not so much recording but definitely when mixing, after about 4 or 5 solid hours (no breaks) your ears are shot. If you continue beyond this you can be changing sounds and eques in vain because your perception of tone and frequency become dull, especially the high end (treble). The next day you come in things sound out of place with too much high end and you are now back tracking trying to get things back the way they were. If you're taking to many breaks you're paying for a lot of down time. Another thing to think about is the more time in between sessions the more time you have to listen to your rough mixes on other devices which give you a better perception and can give you ideas that you wouldn't come up pressing to finish quickly. In between sessions you have a different mind set– your not looking at the clock every 10 minutes. It's actually better to cut one long session into two shorter ones. You'll get a lot more done in the long run and still probably finish earlier.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mixed well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, impressionable tones that should be created or enhanced. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of course starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer allowing a listener to hear more of the effects and placement of the instrumentation. This is what makes a Pink Floyd record sound so good.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to speak of about it because in todays world "if it sounds good then it is good". I use ProTools and mostly software and it does the job nicely. The only question is, what's other people's interpretation of what is good music? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of course he's best known for his work with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Digital. I used to hate digital but software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine– in most cases, beyond. I don't just turn nobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long lasting impression. Now days music is mostly back ground noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do– the kind that made you turn your head and say "what's that!? The kind of song that when you heard for the first time, you remember what you were doing, where you were and who you were with for the rest of your life.
Q: What questions do you ask prospective clients?
A: What mood, impression, message and/or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: I'v been writing and playing music all of my life since about 11 years old. I went to high school with Chris Botti. We were in music theory class together. Chris and I were friends but not enough to stay in touch after high school and to this day we still have not crossed paths. My major in college was music theory and at the end of the first year the thesis was to write a score for the school symphony. To my surprise I got an A+, actually I was shocked. My professor pulled me aside soon after this and we had a conversation about what I wanted to do in my life and basically he encouraged me to follow my dream of having a music career. So a couple of months later I was off to Los Angeles. To make a long story short, after a few months of being in LA I met a girl that I became friends with who was the best friend of Prince's manager, Jamie Shoop which was the beginning of meeting all the music industry elites that that path led me to– some of them being the biggest rock stars in the music industry of that time. I was playing in bands and recording music the whole time but after a while I started dabbling in engineering and eventually started my own studio and have been doing it for over 20 years now.
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think, as far as engineering goes, is working too long. A lot of musicians want to get too much done and will work for many hours trying to get the most of what ever they're doing. This wears out the engineer. This can be counter productive. When you are listening to music, not so much recording but definitely when mixing, after about 4 or 5 solid hours (no breaks) your ears are shot. If you continue beyond this you can be changing sounds and eques in vain because your perception of tone and frequency become dull, especially the high end (treble). The next day you come in things sound out of place with too much high end and you are now back tracking trying to get things back the way they were. If you're taking to many breaks you're paying for a lot of down time. Another thing to think about is the more time in between sessions the more time you have to listen to your rough mixes on other devices which give you a better perception and can give you ideas that you wouldn't come up pressing to finish quickly. In between sessions you have a different mind set– your not looking at the clock every 10 minutes. It's actually better to cut one long session into two shorter ones. You'll get a lot more done in the long run and still probably finish earlier.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mixed well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, impressionable tones that should be created or enhanced. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of course starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer allowing a listener to hear more of the effects and placement of the instrumentation. This is what makes a Pink Floyd record sound so good.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to speak of about it because in todays world "if it sounds good then it is good". I use ProTools and mostly software and it does the job nicely. The only question is, what's other people's interpretation of what is good music? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of course he's best known for his work with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine– in most cases, beyond. I don't just turn nobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long lasting impression. Now days music is mostly back ground noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do– the kind that made you turn your head and say "what's that!? The kind of song that when you heard for the first time, you remember what you were doing, where you were and who you were with for the rest of your life.
Q: What questions do you ask prospective clients?
A: What mood, impression, message and/or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: 30 Years
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think, as far as engineering goes, is working too long. A lot of musicians want to get too much done and will work for many hours trying to get the most of what ever they're doing. This wears out the engineer. This can be counter productive. When you are listening to music, not so much recording but definitely when mixing, after about 4 or 5 solid hours (no breaks) your ears are shot. If you continue beyond this you can be changing sounds and eques in vain because your perception of tone and frequency become dull, especially the high end (treble). The next day you come in things sound out of place with too much high end and you are now back tracking trying to get things back the way they were. If you're taking to many breaks you're paying for a lot of down time. Another thing to think about is the more time in between sessions the more time you have to listen to your rough mixes on other devices which give you a better perception and can give you ideas that you wouldn't come up pressing to finish quickly. In between sessions you have a different mind set– your not looking at the clock every 10 minutes. It's actually better to cut one long session into two shorter ones. You'll get a lot more done in the long run and still probably finish earlier.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mixed well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, impressionable tones that should be created or enhanced. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of course starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer allowing a listener to hear more of the effects and placement of the instrumentation. This is what makes a Pink Floyd record sound so good.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to speak of about it because in todays world "if it sounds good then it is good". I use ProTools and mostly software and it does the job nicely. The only question is, what's other people's interpretation of what is good music? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of course he's best known for his work with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What's your 'promise' to your clients?
A: I will work with the client to give them the best results that they could imagine– in most cases, beyond. I don't just turn nobs and move sliders to an industry standard. I try to create something original to give the music character, personality and a long lasting impression. Now days music is mostly back ground noise for a party or for media of some sort. I try to bring out the qualities that grab a person, like music used to do– the kind that made you turn your head and say "what's that!? The kind of song that when you heard for the first time, you remember what you were doing, where you were and who you were with for the rest of your life.
Q: What questions do you ask prospective clients?
A: What mood, impression, message and/or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: 30 Years
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think as far as engineering goes is working too long. A lot of musicians want to get too much done and will work for many hours.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, hear them in my head while listening to the music when they are not there at which point I create for the artist to listen to. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of corse starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have a lot of outboard gear and a great board (Midas 32 channel). There's not much to talk about because in todays world "if it sounds good then it is good". I use ProTools and mostly software and it does the job nicely. The only question is, what is other people's interpretation of good? All one has to do is listen to the tracks I have recorded and decide for themselves.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of corse his best known work was with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Analog or digital and why?
A: Software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Analog is still great for recording main tracks but once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can end up with an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What questions do you ask prospective clients?
A: What mood, impression, message and/or artist do you want your music to sound like? Are you creating music for the enjoyment of it or do you want a career?
Q: What was your career path? How long have you been doing this?
A: 30 Years
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think as far as engineering goes is working too long. A lot of musicians want to get too much done and will work for many hours.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, hear them in my head while listening to the music when they are not there at which point I create for the artist to listen to. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of corse starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. I have outboard gear and a great board (Midas
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of corse his best known work was with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think as far as engineering goes is working too long. A lot of musicians want to get too much done and will work for many hours.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, hear them in my head while listening to the music when they are not there at which point I create for the artist to listen to. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of corse starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. Software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Now days analog is best for recording main tracks. Once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can have an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of corse his best known work was with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: Can you share one music production tip?
A: There are many but the biggest mistake I think as far as engineering goes is working too long. A lot of musicians want to get too much done and will work for many hours.
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away. You could have a great song that no one finishes listening to because of it's harsh frequencies.
Q: What's your typical work process?
A: I have a knack for hearing what is right or wrong for a song. I hear melodies and harmonies that are clashing or, hear them in my head while listening to the music when they are not there at which point I create for the artist to listen to. In mixing it is the same thing only a matter of frequency which can be brought out or eliminated by equalization. This of corse starts with the drums then bass, guitars, keys/piano and other instrumentation most of the time in this order. The process is usually to start with the worst sounds first to eliminate frequencies that are interfering with sounds that my also be misplaced or harsh which would not be heard otherwise. This cleans up the mix in order to hear the other instruments that need adjustment. As this process is administered the mix gets cleaner and clearer.
Q: Tell us about your studio setup.
A: My studio set up is state of the art digital. Software is getting rapidly impressive more and more. It's easier, faster and cheaper which saves time and money for the client. For instance the Lexicon PCM70 is the best effects processor ever built. It's sounds are incredible and I have one but the software that I use for reverb and delays are just as good or even better in some cases and I've pretty much stopped using the PCM70. Now days analog is best for recording main tracks. Once you have recorded your music it can be mix digitally without losing any of the analog qualities but personally I think it's all in the mix. You can have an analog recording mixed horribly and you can get digitally recorded music to sound like it was recorded in analog. Now days if the mix is done with the know how, you can't tell the difference.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of corse his best known work was with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What's your strongest skill?
A: Mixing, Mastering, Guitar rhythm and solos, Bass, Song Writing, Arranging, Composing and Producing most genres of music.
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting while hangin' out with Jason Carsoro. I was friends with Donny Wynn who was Robert Palmer's drummer and was the beginning of my venture in meeting and learning from many great professionals in the music business in which Jason was one of. I also had the pleasure of working with Jason on my music. He was engineering at a very young age for artists like Madonna, The Call, The Cars, Duran Duran, INXS, Chic, Motorhead, Jeff Beck, Iggy Pop and the list goes on. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world. Jason's was known by everyone "big" in the industry and of corse his best known work was with Robert Palmer and Power Station, both produce by Bernard Edwards, bassist of Chic.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change, create or manipulate with Melodyne. Occasionally I get artists with a simple vocal and guitar or piano line and I've added the bass, guitar rhythm, solos and/or keyboard pads to fill up empty space if needed. So basically I can create an entire ensemble to their song if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away.
Q: What other musicians or music production professionals inspire you?
A: I have been hugely inspired by Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Yannick Gers, Glenn Hughes and many others like them. I think one of the greatest song writers of the rock genre is Peter Frampton which I had the pleasure of meeting hangin' out with Jason Carsoro I had the pleasure of working with Jason Corsaro. He was engineering for Madonna when he was 21 or maybe younger and went on to work with some of the biggest names in the music business at the time. I learned a lot sitting next to him watching and listening to the conversations going on between him and some of the biggest rock stars in the world in which I met many of them but his big claim to fame was of chorse his work with Robert Palmer and Power Station.
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change or manipulate with Melodyne. Sometimes I get artists with a simple vocal, guitar or piano and I've added the bass, guitar rhythm and solos. Also I add keyboard pads to fill up empty space if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
Q: What type of music do you usually work on?
A: I can work on any genre but I mostly work on Rock/Hard Rock/Metal
Q: What do you bring to a song?
A: I always absorb the contents of the melodies, chord structure and bass line to determine what is missing or too much in a song. Frequencies are mathematical and in an improper structure they can create a harsh or muddy tone which can be irritating to the ear or cover up the cleverness of the instrumentation. It doesn't matter how good a song is. If it has inadequate sounds or not mix well, it will drive the listener away.
Q: What other musicians or music production professionals inspire you?
A: I'm a big fan of Pink Floyd and Allen Parsons who was the engineer of "Dark Side of the Moon". I am a big fan of the music of Steve Lukather guitarist/vocalist of Toto. Also a big fan of Pat Travers, Zack Wylde, Glenn Hughes. I had the pleasure of working with Jason Casoro
Q: Describe the most common type of work you do for your clients.
A: For most of my clients I mix and master their tracks. Often I suggest arrangement Ideas which are usually accepted. Sometimes I'm asked to record a bass line or some guitar lead in places which enhance the song. Sometime I suggest a vocal line or harmony which I can easily change or manipulate with Melodyne. Sometimes I get artists with a simple vocal, guitar or piano and I've added the bass, guitar rhythm and solos. Also I add keyboard pads to fill up empty space if needed. I do not charge for the time I spend creating a sound or arrangement for a suggestion and always let the artist make the decision without pressure. Like I've said, "the music is in the ear of the beholder".
I was the Mixing Engineer, Writer, lyricist, Guitarist, Bassist and singer in this production
- Electric GuitarAverage price - $70 per song
- Bass ElectricAverage price - $70 per song
- Mixing EngineerAverage price - $400 per song
- RemixingAverage price - $400 per song
- Songwriter - MusicAverage price - $70 per song
- Songwriter - LyricAverage price - $70 per song
- Programmed drumAverage price - $70 per song
My work is absolute quality. I'm quite fast at the process wether it be mixes or instrumental arrangements. By chance if you're disappointed (you wont be) I will work with you on the issue(s).
- Ozzy Osbourne
- Iron Maiden
- Queensrÿche
- ProTools
- Midas 32 channel mixing console
- 3.6 GHz 8-Core Mac
- Lexicon PCM 70 Effects Processor
- Focusrite TwinPack Stereo Compressor
10% Discount off average price
