Geoff Saba, Sound Artist. Experimental drives, respectfully critical of tradition. Heavily informed by critical theory, post-structuralism, Jungian psychoanalysis, and the physical / intellectual / spiritual desires to create and produce art in the world.
• More than a decade of professional freelance experience
• A.A. in Recording Arts obtained from Mira Costa Community College
• B.A.S. in Sound Arts obtained from Ex'pression College for Digital Arts
• Engineered / Produced in Bay Area studios: Tiny Telephone, Tiny Telephone Oakland, New and Improved Recordings, Sharkbite Studios, Different Fur Studios
• Owner / Operator of Itinerant Home Recordings
• Specializes in experimental pop, noise, drone, sound design.
• 14 years classically trained in piano
• Highly adept in synthesis, guitar, percussion, bass guitar
• Extensive knowledge of music theory
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
- Golden Drugs
- False Priest
- Sun Kin
- Di Leo
- Algae & Tentacles
- Double Libra
- Forest Floor
- Mu Vonz
- Like A Villain
- Sucker Crush
- Abe Hollow
- Silver Chem
- Primal Wound
- Alek Barkats
- The Leave Me Alones
- Quinn Walker
- Michelle Schmitt
- Tar Of
- Our Brother The Native
- Tone Ranger
- VVD WNDWS
- Glass Atlas
- Big Paradise
- Miserable Chillers
- Pure Bliss
- Owen Adair Kelley
- T. Bell
- Cheap Charms
Interview with Itinerant Home Recordings
Q: Tell us about your studio setup.
A: I've designed my studio according to my client's needs. The equipment collection at Itinerant Home offers versatility, utility, quality, and range of control. Itinerant Home is designed to get the best possible sounds as efficiently and accurately as possible. Some gear at our disposal: Burl B2 Bomber ADC, Manley TNT Microphone Pre-amp, Summit Audio 2ba-221 Microphone Pre-amp, Golden Age Projects Comp-2A, Urei LA-4, Urei 565T, Dizengoff LD1948 Condenser Microphone, Moog Matriarch, Moog Mother32, Nord Lead 2
Q: What other musicians or music production professionals inspire you?
A: Sun City Girls
Q: Describe the most common type of work you do for your clients.
A: I am hired to guide projects through the technical process of recording production while maintaining the client's artistic vision.
Q: What's your strongest skill?
A: Willingness to consider all available options in order to produce an honest work of art.
Q: What type of music do you usually work on?
A: Experimental Pop
Q: Can you share one music production tip?
A: Be sensitive and aware of the factors that motivate your decision making in the studio. Frequently ask the question "Am I doing this for the right reason?"
Q: Which artist would you like to work with and why?
A: I would want to work with anyone who is deeply interested in pushing the limits of music further into the unknown.
Q: How would you describe your style?
A: Open to learning, open to exploring. I love complex textures, I love directness and simplicity in overall delivery of messages.
Q: What was your career path? How long have you been doing this?
A: I've been a freelance sound artist / engineer for more than 10 years.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Minimoog Model-D, Neve 1073, Pulteq EQP-1A, P Tubetech CL-1B, Tascam 488
Q: What advice do you have for a customer looking to hire a provider like you?
A: Hire me ;)
Q: What do you bring to a song?
A: I bring my philosophy of creation to every song as well as my sensibilities and judgment, my openness to collaboration and cooperation, my sense of humor, my own experience of being a recording artist, and the notion that we're all simply trying to create meaning in an absurd cosmos so that we can foster connectivity and a strong sense of community with one another.
Q: What questions do you ask prospective clients?
A: What motivates you to create art?
Q: What questions do customers most commonly ask you? What's your answer?
A: Q: What do you think of (insert sound here)? A: I think it sounds fucking tight.
Q: What do you like most about your job?
A: Working on art with people who push themselves to create honest, intrinsically motivated art.
Q: Analog or digital and why?
A: Both. Analog for aesthetic, digital for documentation, duplication, and distribution.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not at the moment.
Q: What are you working on at the moment?
A: Forest Floor full-length, Sun Kin full-length, Phil Di Leo full-length, Alex Gair full-length, Silver Chem E.P.
Q: What's your 'promise' to your clients?
A: I promise I will always encourage you to live fully in the moment.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Producing a 6 person band at Tiny Telephone Oakland was a really fun challenge. To manage a group of very opinionated, talented musicians with their own creative projects as a cohesive band for the Sun Kin full-length was exhilarating. At the end of the sessions, I felt like I successfully engaged everyone involved, made everyone feel like their input was necessary to the release, and channeled everyone's full potential into the product.
Q: What's your typical work process?
A: Meet with the client to discuss the drives and vision of the project, determine the scope of the project, determine the budget of the project, move forward having negotiated terms in which both parties are comfortable, then have the inaugural session be sensitive to the dynamic between the client and me in order to henceforth create a working relationship that encourages open communication, clear role boundaries, openness to experimentation, and steadfast loyalty to the initial intentions and visions of the project.