Hello! My name is Michael and I would like to help YOU with all your mixing, mastering and production needs. I am a University of Southern California student studying music business and music production. I have worked on numerous projects for artists ranging from Hip-Hop to EDM and Pop. I am currently working on a project for Sony and Shiseido.
Over 11 years of music production experience and 4 years of experience working with artists for their mixing, mastering, and production needs.
My strengths are adding that extra 10% to a track to make it shine.
Done original work for AZU, Clarence The Kid, Kabwasa, Steady Cam, JVSE, Doug DuFur, Natasha Shields, Jay Kurt, and Shilpa.
Done remixes for Jynjo, Gryffin, Illenium, Autograf, Dillon Francis, Avicii, Ember Island, Petit Biscuit, Whethan, Cheat Codes, Mothica, Hikaru Utada, Amir Kelly, Kabwasa, DVBBS, and LAUV
Currently working with Sony Extreme for sync licensing production and Audioforce for original commercial soundtracks.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
Would love to hear from you. Click the contact button above to get in touch.
Interview with musicbyAZU
Q: Describe the most common type of work you do for your clients.
A: Mostly in-person production or vocal recording. I also do mixing and mastering services outside of client sessions.
Q: What other musicians or music production professionals inspire you?
A: Skrillex, Kenny Beats, and JPEGMAFIA are my top 3 producers/artists.
Q: Tell us about your studio setup.
A: Rokit KRK5's using an Apogee Duet 2 running through Ableton Live. I record vocals with my Shure SM7B.
Q: What's your typical work process?
A: I generally meet with the client 2-3 times to work on the track and then I clean up what we've created over the off days. The post-production generally takes about 2-3 weeks depending on how complex the songs are.
Q: What do you bring to a song?
A: One of my best strengths is adding that extra 10% to a track to bring it to life. Whether it be manipulating stems, adding foley sounds for texture, or adding another harmony line.