Audio engineer at Platinum Sound Recording Studios, and mixing / running recording sessions on the side. My credits include Lil Durk, Trap Manny, Smoove'L, Pasto Flocco, etc. Former VP of Audio Engineering for Small Town Records. As a perfectionist I will dedicate more time to your record than most engineers would to ensure the perfect sonics!
Check out my past work: https://open.spotify.com/playlist/2VYxxbqtDXbuVKgqaqBzGG
Send me a note through the contact button above.
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Interview with Eric "eQ" Morgenstern
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Focal Trios, Apollo Twin, AKG414, the Maag eq, and an LA-2A
Q: How would you describe your style?
A: My style is definitely cleanliness, especially in the vocals. While I can add grit / a rough sound when needed (like in hip hop mixes), my instinct is to make the vocals as pure and nice sounding as possible
Q: What other musicians or music production professionals inspire you?
A: Getting to work under Jerry Wonda and Serge Tsai has had a major impact on my sound and style, and all the classic records they have done together is very inspiring
Q: What are you working on at the moment?
A: I currently work with Atlantic Records signed artists ppgcasper and Pasto Flocco on a fairly regular basis, as well as countless other label artists at Platinum Sound. At my own home studio, I'm working with my talented production team and mixing records for my clients.
Q: What's your 'promise' to your clients?
A: I'm a perfectionist, and I will not stop working on your mix until you are 100% satisfied with the end result!
Q: What do you like most about your job?
A: I get to make music for a living! Nothing beats that
Q: Describe the most common type of work you do for your clients.
A: Generally run recording sessions for my clients and then mix on my own time, or get sent stems to mix that were recorded elsewhere. Also have a team of artists that I believe in who I executive produce for.
Q: Analog or digital and why?
A: I mix pretty much entirely digitally, it allows for me to have more concentrated and direct control over exactly how everything sounds, and companies like UAD do such a great job at simulating how analog gear sounds with their analog-modeled plugins that the benefits of mixing fully in-the-box outweigh those of mixing analog, in my opinion. Also, as a former computer science major in college, it intrigues me how my former colleagues can simulate the analog artifacts digitally, and love to support their work.