Graham Wolfe

Mixing, Recording, Performing.

Graham Wolfe on SoundBetter

I am a Pianist, Flutist, and Audio Engineer who has had the opportunity to work with many different kinds of groups in professional studio and live environments. I specialize in classical and jazz engineering. I also make backing tracks for jazz. I am Pro Tools User Certified and am looking to expand my career online!

I studied both Piano Performance and Music Audio Technology at Schenectady County Community College and was always ahead of the curve. My highly developed ear has helped me break into the mixing and engineering field with a lot of success locally. I am looking to continue to expand my career and get ahead as I begin working on my Bachelor's degree.

I have been playing both flute and piano for 15 years now and have reached a high level of skill. I do original recordings and arrangements of jazz and classical music

Because I am a student and new to the field I charge low rates for high quality work. You can hear a few examples of works I have recorded and mixed on my fiverr page at: https://www.fiverr.com/grahamwolfe/do-audio-mixing-editing-and-recording-for-your-projects

Tell me about your project and how I can help, through the 'Contact' button above.

Interview with Graham Wolfe

  1. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  2. A: I think by far, the most interesting project I worked on was a student's composition at Union College in Schenectady. She wrote a modern piece for an ensemble of varying instruments, including vocals, horn, strings, and reeds that included all sorts of extended techniques. I did every single step, from setting up the studio for the musicians, mic placement, mixing, mastering, and meeting with the composer several times, and we created a product we were very proud of.

  3. Q: What are you working on at the moment?

  4. A: I am currently an intern at White Lake Music and Post (actually my last day is today!), but I also work as a freelance engineer, and also work for the United States Postal Service as a Post Master Relief.

  5. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  6. A: I don't know of anyone in particular, but I was recommended here by the Nephew of one of the members of OK Go because he does work on here. I do not know him personally though.

  7. Q: Analog or digital and why?

  8. A: Both. Digital gets better and better every day, the cleanliness of signal lets you shape things exactly how you want to. But at the same time, nothing beats the sound of classic analog gear if it's a sound you want to achieve.

  9. Q: What's your 'promise' to your clients?

  10. A: I promise I will make you better, both as a musician, and on your recordings.

  11. Q: What do you like most about your job?

  12. A: Meeting talented and interesting people and getting to make them sound the way they want to sound.

  13. Q: What questions do customers most commonly ask you? What's your answer?

  14. A: Oh can you just edit out the part where I messed up? It depends on how it was recorded and whether there was any bleed into other mics that were recording.

  15. Q: What's the biggest misconception about what you do?

  16. A: That engineers can make anything sound good. Sure, we can layer endless amounts of processing onto a track to get something that might sound "good", but truly good sounding music comes from the source. This is why mic and placement and choice is the most important step of recording.

  17. Q: What questions do you ask prospective clients?

  18. A: How long have they been studying their instrument/voice? What do they know about recording and production? What are their musical goals?

  19. Q: What advice do you have for a customer looking to hire a provider like you?

  20. A: Be critical of yourself, and ask for criticism back. The only way you can improve as a musician is to point out your flaws and fix them. One of my favorite things is helping people with those types of issues.

  21. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  22. A: Roland RD-2000, Shure SM7 (would help me build a shelter), Neumann U67, Royer SF12, and my Flute.

  23. Q: What was your career path? How long have you been doing this?

  24. A: Originally I went to school for classical piano performance. I had a change of heart after finishing my Associates and decided to restart college for Audio Technology. I fell in love with the field and dove right in head first. That was 2 years ago and I have grown more as a musician learning this side of the field than ever before. Someday I want to be a professional studio engineer and mixer.

  25. Q: How would you describe your style?

  26. A: I tend to have a very clean and accurate style

  27. Q: Which artist would you like to work with and why?

  28. A: Keith Jarrett, because he is an immensely intimate soloist and I would love to be able to dig into every note of his music.

  29. Q: Can you share one music production tip?

  30. A: Always try new types of projects when you can. The skills you learn from working on one type of music may translate at least partially to other types of music.

  31. Q: What type of music do you usually work on?

  32. A: I got my associates degree at a primarily classically trained school, so I started working on a lot of classical music, including chamber music, wind ensemble, choral, and soloists. I also became heavily involved in jazz and started recording jazz groups as well.

  33. Q: What's your strongest skill?

  34. A: I have a very keen ear and strong relative pitch skills. As a result, I have a very natural ability to pitch correct, rhythm correct, quantize, and balance a mix accurately.

  35. Q: What do you bring to a song?

  36. A: I try to bring out the natural sound of a performance as best as possible. I have a picture in my head of what the group/musician would sound like on their ideal performance, and I set realistic goals to get them there. I also have tons of musical experience and training and offer advice for performers to use and improve themselves.

  37. Q: What's your typical work process?

  38. A: Typically I go through a song track by track making pitch edits first, then elastic audio edits where needed, then making creative edits where I deem necessary. After that I usually take a break from the song and listen to any other genre of music for the rest of the day. I come back the next day to begin mixing, where I start by balancing tracks, then riding faders where necessary. After I get a very good sounding, balanced mix, I will begin processing with EQ, compression, and then effects.

  39. Q: Tell us about your studio setup.

  40. A: I have a large spare bedroom which I lightly sound treated and set up for recording and mixing. For listening I have 2 JBL LSR308 monitors, a set of Logitech surround speakers for reference listening, and 2 EV ZLX 12p PA's as well. I have a Roland RD-2000 for a keyboard and controller. For microphones, I have 2 Lauten LA120 small frame condensers, a CAD m179 Large condenser, and a Sennheiser e609 dynamic mic.

  41. Q: What other musicians or music production professionals inspire you?

  42. A: My biggest influences have been my teachers along the way, including Sten Yngvar Isachsen and Mark Evans at SCCC. As far as musicians who inspire me, my biggest musical influence is probably Bill Evans.

  43. Q: Describe the most common type of work you do for your clients.

  44. A: Recording in studio and live environments, and then mixing and editing their work for them.

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Walking in the Woods by Chujun Li

I was the Studio and Mixing Engineer in this production

Terms Of Service

Mixing usually takes me 2 days for up to 4 songs. Editing time varies based on performers. I typically allow 2 or 3 revisions of a mix or edit.

GenresSounds Like
  • Bill Evans Trio
  • North Texas Wind Symphony
  • Robert Glasper
Gear Highlights
  • Roland RD-2000
More Photos