Providing mixing and mastering services that preserve the natural elements of a recording. Your music is special, and should still remain that way after post production is completed. Let's make your music shine!
I have been a professional audio engineer for the past ten years. I have worked at prestigious studios including SugarHill Recording Studios and Atlantic Records. I have been fortunate to work with some of the following artists:
Here are Grammy award winning engineers that I have been grateful to mentor for:
I would love to help make your music come to life! Mastering is the final stage of post production before a song is released to the public, and should be dealt with accordingly with care and precision.
Here is a list of gear that I have at my studio. I have access to other equipment at other facilities as well:
Apple MacBook Pro '15
Pro Tools 2018
Universal Audio Apollo
API 512c (primarily for recording)
Elyssia Xpressor Compressor
Waves, Universal Audio, Soundtoys, Fabfilter plugins
Contact me for more info. Would love to make your music shine!
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
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Interview with Kornhauser Sound
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Recording Kurt Carr. A phenomenal composer, arranger and performer, his music says it all. I was very proud to have made great recordings with him and his team. Everyone was so professional which made the working very smooth and efficient.
Q: What are you working on at the moment?
A: Hip Hop and Rock tunes for New York City artists.
Q: Analog or digital and why?
A: Both: emulations sound great while certain hardware unites give sonic qualities that digital might not exactly give.
Q: What's your 'promise' to your clients?
A: To ensure a stressless, exciting and joyful experience.
Q: What do you like most about your job?
A: Making clients happy about their hard work!
Q: What questions do customers most commonly ask you? What's your answer?
A: How loud can it get? I respond by saying as loud as you want, but a recording has limits regarding sonic alteration and can potentially diminish the track's quality.
Q: What's the biggest misconception about what you do?
A: Mastering can now be completed automatically due to loudness normalization algorithms set by music providers. It is critical that this stage is handled delicately rather than be an automatic process.
Q: What questions do you ask prospective clients?
A: Background of the music so I can understand the clients intention for a final product.
Q: What advice do you have for a customer looking to hire a provider like you?
A: If your music already sounds incredible, but want more clarity, look no further. Unless told otherwise, I am here to provide fantastic sound without compromising dynamics, timbre and more.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Universal Audio Apollo: incredible interface with tons of great unison preamps and plugins Fractal Audio Axe FX: for my guitar and bass needs, this can do everything you would ever want in a small footprint Manley Vari-Mu: simple and effective compression, for any need of dynamic control Tannoy Speakers: every time I get the chance to use a pair, I get goosebumps listening to music on them Ampex ATR-102: while I use a emulation of this, this tap machine consistently makes great sound
Q: What was your career path? How long have you been doing this?
A: To become a versatile audio engineer. This is a lifetime career path and goal, and I had made the design to start this path about 15 years ago.
Q: How would you describe your style?
A: Critical, calm and supportive
Q: Which artist would you like to work with and why?
A: Dream Theater, their production and focus to clarity is astounding. Considering the dense style of music they play, each instrument compliments each other in the final presentation (master recording).
Q: Can you share one music production tip?
A: Be willing to try new techniques and philosophies. Since every recording is unique, experimenting can go a long way in a production. Really focus as to how the song changes when altering sound.
Q: What type of music do you usually work on?
A: Rock, R&B, Soul, Gospel, Metal
Q: What's your strongest skill?
A: Attention to small and critical changes in music. Having studied music and audio production in higher education, I pride myself with the ability to take proper care of clients work without making artifacts.
Q: What do you bring to a song?
A: I provide a new dimension to songs, one that enlightens and showcases the natural playing of musicians. A great recording starts and ends with a great performance: mastering will showcase the performance even more.
Q: What's your typical work process?
A: For mastering, I usually will analyze the song in comparison with a song that sounds very similar. I consistently level check audio to ensure that each track is balanced with another. After a master is complete, I will sit with it and listen with other playback systems. It is critical that a master can compete outside the space of a studio, therefore listening on headphones, laptop speakers, car speakers and more will revel pros and cons.
Q: Tell us about your studio setup.
A: I have a room setup for mastering and recording. Everything is run with Pro Tools using a Universal Audio Apollo as my interface.
Q: What other musicians or music production professionals inspire you?
A: Dream Theater, Counting Crows, Snarky Puppy, Jens Bogren, Andrew Scheps, Butch Walker, Andy Wallace, Richard Chycki, Ted Jenson, Scott Hull.
Q: Describe the most common type of work you do for your clients.
A: I provide mastering services for albums, singles, ep's and more.