I'm a Montreal native, Vancouver based professional recording and mix engineer actively involved in the music industry. Prided on detail, professionalism and punctuality, I always give every project the love it deserves.
I offer mixing services for a wide variety of music genres.
I offer multiple options from:
Complete "in the box" mixing via Pro Tools
Full analog mixes in studio with digital source and destination
Master files will be provided in any file format, bit depth and sample rate requested.
Send me an email through 'Contact' button above and I'll get back to you asap.
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Interview with Karl Dicaire
Q: What's your typical work process?
A: I like to meet the artists and producers in a creatively conducive environment to get to know them, if I don't already, and to discuss their vision and expectations. I take all steps required to bring ideas to reality even if my role is simply on the engineering side. We record everything we possibly can. Then begin editing, clean up, tuning, whatever is required Evaluate and make critical decisions whether to add or cut any elements. Complete mixing in thorough detail. Connect with a suitable mastering engineer.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I take a lot of pride in every project I work on but if I have to say any at this current moment I would say its a tie between my engineering roles on Big Wreck's upcoming album, Devin Townsend's latest album "Transcendence."
Q: What are you working on at the moment?
A: Currently producing an 8 song EP for a local band called Ripple Illusion Engineering and mixing for a local singer songwriter's album by the name of Larry Edward Mixing live material for a band called JPNS GRLS
Q: Analog or digital and why?
A: Both but mostly analog. I recognize the importance of being able to integrate both realms, however, aside from the whole "analog sounds better or colours your sound more" I feel that in the analog domain there is something special about being able to turn pots, move actual faders, hear the dirt in the gear when its oxidized and you have to work out the crackles. That being said digital is also very important because its our media format for today and it also provides advantages that I like. The obvious one is plugins and we have come very far with plugin design, they are sounding better and better every year. It's also important to have both worlds because artists and music professionals or any client you work with can always deliver something in a format that you have no choice but to adapt to. Plus the state of the industry today doesn't allow for big budget recording and mix sessions as much anymore.
Q: What's your 'promise' to your clients?
A: To deliver something exceptional that we can both be happy about
Q: What do you like most about your job?
A: Every aspect of it
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: SSL Console Mac Pro w/ Pro Tools/Logic Pro AKG C24 Pultec EQP 1A Trackball mouse
Q: What was your career path? How long have you been doing this?
A: I started by studying sound and audio production and engineering, as well as working on small projects for about 5 years. I then made the move to Vancouver where I began as a runner at Mushroom/Hipposonic Studios. Shortly thereafter I had pushed my way up to assistant engineer and started to meet and work with the top professionals in the music business learning valuable things along the way every day. I went from runner to runner/assistant engineer to just assistant engineer all within a year. I then branched out to multiple studios and began as 2nd engineer and 2 more studios in Vancouver including Armoury Studios and The Farm Studios. After 6 years I am currently Engineering at Garth Richardson's Farm Studios working on numerous projects with as well as at Hipposonic Studios, 604 Studios while still continuing to be 2nd engineer on roster at Armoury. I have taken on a lot independent freelance projects as well that include recording/mixing/production and composing. I have also taken on a job a Nimbus School of Recording Arts and Media as a teaching assistant. All in all I have been at this about 11 years.
Q: How would you describe your style?
A: Honest, efficient, creative and stubborn
Q: Can you share one music production tip?
A: Keep everything as natural as possible. Aside from an amazing performance, instrument tone and miking are the two major aspects for me. If you can achieve what you need at the source then do so and eliminate the need to "fix" anything after the fact or with an EQ.
Q: Tell us about your studio setup.
A: At home I use a simple Pro Tools 10.3.10 setup on Mac OSX, with a UAD Apollo Twin DUO A/D and D/A converter for in the box mixing. I use full size studios equipped with SSL 4K G series and WBS L3242 consoles and an impressive selection of outboard equalization, compression and effects. All studios are setup with NS-10 near field monitoring and a variety of reference monitors from PMC to Genelec to Hafler
Q: What type of music do you usually work on?
A: I work on anything from rock to hip hop. I have a very versatile taste and love all the variations in style between genres.
Q: What's your strongest skill?
A: I am extremely attentive to even the smallest of details and do not settle for OK even if it takes me all night long. It has to be great!
Q: What do you bring to a song?
A: I have a developed ear not only sonically but subjectively in terms of genre. I always strive to stay true to the performance that was originally given, because that is ultimately what we want to hear.
Q: Describe the most common type of work you do for your clients.
A: Engineering/mixing/production/editing in both large and small format studios. Live recording engineering and mixing FOH Mixing in some cases (depends on the details) 2nd engineering for numerous producers, engineers and artists