Your music is your art, and my mission is to help transform every song into an immersive, visceral sonic experience.
I offer high quality mixes and unique production ideas to bring life and depth to your song. My father fostered my love for music from a young age, and in 2016 I received my Bachelors of Science in Audio Production and Recording Industry with a minor in music from Ohio University. In the years since, I've worked and performed with many successful bands in Columbus, namely "wyd" and "The Cordial Sins". I have also spent time as an assistant engineer to Boo Mitchell at Royal Studios in Memphis, Tennessee, where I had the pleasure of working with the renowned Hi-Rhythm section, as well as world class drummer Steve Jordan and many other incredible artists.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
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Interview with Maddy Ciampa
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Piper Payne recommended this site to me! She is an incredible Mastering Engineer and a very cool person as well. Would recommend her to anyone looking for a stellar Master.
Q: Analog or digital and why?
A: I have witnessed the incredible quality that analog gear produces from the Neve console in the studio at Ohio University, to the MCI console that once resided at Compass Point in the Bahamas and now lives at Royal Studios in Memphis. There is nothing that truly compares to what analog can do. However, because it is so oversaturated, most of us in the music industry will never be able to afford this kind of gear. So, we are left with digital! Which, in my opinion, is getting better everyday. Quite frankly I would rather have a simulation of a Pultec EQ to make my snare sound fat af, then wait however many years to be able to afford the hardware, because that day may never come.
Q: Can you share one music production tip?
A: Sometimes the thing a song needs is something already in the mix that just needs to be taken a step further. I love to take a section or an individual instrument in a song and re-amp it in weird ways. One technique I've used is to play the verse of a song from my phone speakers pointed at the pickup of a guitar, while tracking the signal from the amp. Putting that pretty low in the background of a single verse creates a subtle lo-fi effect, producing a tension due to the phase relationship of the re-amped track (you may have to mess with the timing to get the feeling just right). When the listener is released into the chorus afterward, they can feel that something has changed; there's a relief that can't be identified.
Q: What do you bring to a song?
A: I give a song only what it needs. My production ideas are often things that I imagine hearing, usually from reflections or harmonics created by existing tracks. I try to make sure everything is always balanced so as not to take away from any one aspect of the song. That goes for my mixing as well. In my mind, mixing is just the last part of the production process. If I were Bob Ross, I would talk about adding the defining lines and the shadows to make everything in the painting distinguishable and three dimensional but also clearly in the same space and time.
Q: What other musicians or music production professionals inspire you?
A: Annie Clark, Laura Sisk, Catherine Marks, Mandy Parnell, Linda Perry, Kesha Lee, Wondagurl, Willie Mitchell, Boo Mitchell, Mark Ronson, Andrew Schepps, Rick Rubin...
Q: Describe the most common type of work you do for your clients.
A: Most of what I have done has involved working start to finish recording an EP or Full length album with an artist, and co-producing along the way. I specialize in vocals and textures, often involving strange household objects. As a former high school choir nerd, and in working with trained vocal professionals in the studio, I have picked up techniques to coach vocalists and help them feel comfortable and empowered in the studio. Performing in a studio can be a very vulnerable experience, especially to those who have never done it before, and prioritizing their comfort and confidence in a session is very important. A convincing lead vocal is key to a good song. If the vocalist is believable, powerful and emotive, I can tailor the production around them to create a genuine cathartic experience for the listener.
Q: How would you describe your style?
A: Weird. Unique. Queer
Q: What was your career path? How long have you been doing this?
A: I went to Ohio University from 2013-2016 graduating with a Bachelors in Science in Audio Production and Recording Industry with a Minor in Music. Since then I have worked free-lance out of my fathers studio, Studio Orange, in Columbus, Ohio. I worked as an Engineer and Synthesizer teacher at Vaughan Music Studios for two and a half years. I have also been an Assistant Engineer under Boo Mitchell at Royal Studios in Memphis, Tennessee.
Q: Which artist would you like to work with and why?
A: Annie Clark. I just want to experience how her brain works and see if I can level up when I absorb her powers.
Q: What's your strongest skill?
A: Working in tandem with others to create genuine art that brings about catharsis for a broad array of listeners.