Max Feldman

Pro Mixer Making A Comeback

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4 Reviews (1 Verified)
Max Feldman on SoundBetter

I'm a former professional mixer (check out my credits) who took a few years off to raise kids. Now I’m making a comeback, and I need your music to do it. Hire me to mix your songs and I promise you won’t be disappointed.

With unique experience working on both studio albums and mega-budget TV shows, I've worked with all the biggest producers, artists and engineers. I'll mix your music with as much attention to detail and passion as I did for all of them.

Send me an email through 'Contact' button above and I'll get back to you asap.

Credits

AllMusic verified credits for Max Feldman
  • Bobby McFerrin
  • Korn
  • Ronan Keating
  • Sometymes Why
  • Sometymes Why
  • Bryan Scary & the Shredding Tears
  • Korn
  • Gena Perala
  • Gena Perala
  • The Mammals
  • The Mammals
  • The Mammals
  • Ashley MacIsaac
  • Triumph the Insult Comic Dog
  • Paul Bryan
  • The Music Workshop for Kids
  • Jane Monheit
  • Luther Vandross
  • Dave Matthews
  • Dave Matthews Band
  • Bobby McFerrin
  • U2
  • The Mammals
  • The Mammals
  • Spouse
  • Lauryn Hill
  • Dashboard Confessional
  • Tess Wiley
  • Jack McDuff
  • Candy Dulfer
  • Pat Metheny Group
  • Pat Metheny
  • Richard Bona
  • Richard Bona
  • Cindy Blackman
  • Michael Merenda
  • Michael Merenda
  • Michael Merenda
  • Jason Miles
  • U2
  • U2
  • U2
  • U2
  • Lan Xang
  • The Drowners
  • The Drowners
  • Half-A-Mill
  • David Murray
  • Elton John
  • Steve Wilson
  • Nnenna Freelon
  • Nnenna Freelon
  • Capone-N-Noreaga
  • Elly Rosenthal
  • Curtis Lundy
  • Curtis Lundy
  • Jewel
  • Luisa
  • Patti LuPone
  • Patti LuPone
  • Janis Siegel
  • Candy Dulfer
  • U2
  • U2
  • U2
  • U2
  • U2

4 Reviews - 1 Repeat Client

Endorse Max Feldman
  1. Review by Benjamin J.
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    Max did an excellent job mixing my song. For my jazz-influenced arrangement of a famous 1960s pop song, I have lots of instruments including harmonica and I needed every instrument to sit well together in the mix. Max provided the perfect balance in terms of each instrument’s volume, panning, etc. People who have heard this tune say that it is sonically beautiful, and I owe much credit to Max. He is a consummate professional, a great communicator, and I would definitely recommend him.

  2. Review by Mat Marolla
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    by

    Max produced and mixed our NYC rock band's very first album - and we never looked for anybody else for the next 3. He was instrumental not only in getting a great sound (from advising us on acoustics and equipment pre-session all the way through fixing an off beat drum fill with his pro-tools magic), but Max also as a patient and thoughtful collaborator who taught me much about how to make a good record. I would recommend Max to anyone. I should also note that he once mixed a record for my band in Seoul when he was back in NYC. Remote sessions are no problem for Max.

  3. Review by Jeff Rothman
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    by

    Max is an absolute joy to work with. Very easy going and fun in the studio. His ears are incredible. He was able to take some decent tracks and make them absolutely pop out of the speakers. A complete wiz and I can not wait for another opportunity to put his vast talents into action again soon. Highly recommended.

  4. Review by Graham Norwood
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    by

    I had the pleasure of working with Max on several different projects. One was a super-elaborate prog record with well over 100 tracks per song, which Max navigated like a champ. One was a more rootsy band that Max tracked live (he did a beautiful job engineering) and then made sound fantastic at mix time. Perhaps the most impressive job I’ve seen Max perform, though, was taking a really low-budget side project, tracked with cheap mics on a Roland VS hard disk recorder, and making it sound huge and totally pro. Max is a total sweetheart who will work with you to get something you love!

Interview with Max Feldman

  1. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  2. A: I worked as an engineer/Pro Tools guy on U2's Live from Boston DVD. It was a massive project that was one of the first music DVDs mixed in 5.1 surround. I worked with The Edge, Steve Lillywhite, and John Harris for weeks, months maybe. I feel like we were on the cutting edge of surround mixing at the time. I also worked as an engineer on the broadcast mix of the Grammy Awards for 14 years in a row. That show was a new challenge every year.

  3. Q: Analog or digital and why?

  4. A: They each have their pros and cons, but in the end digital is just so much more flexible, cost efficient, easier to recall, less maintenance... and it's getting to the point now where resolutions are making it sound better than tape. Analog has some advantages, but it just doesn't add up to the ease of use and flexibility of digital.

  5. Q: What's your 'promise' to your clients?

  6. A: I won't be happy until you're happy.

  7. Q: What advice do you have for a customer looking to hire a provider like you?

  8. A: Just do it.

  9. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  10. A: It's not the gear that makes the mix, but I'll answer the question anyway. I'm on a desert island in my house really, compared to the studios and trucks I used to work in. I need Pro Tools, a pair of ATC speakers, and some UA plugs. If I were recording, I'd need great mic preamps. John Hardy M-1s or Millennia. I also love Distressors, but a good plugin will do.

  11. Q: What was your career path? How long have you been doing this?

  12. A: I started as a general assistant in an NYC recording studio in 1998. I worked up to being the head assistant engineer there, before moving to a specialized remote-recording company called Effanel Music in NYC. I worked as a staff engineer there until 2003, when I went freelance. I continued to freelance in the remote recording field, doing massive TV awards shows, DVDs, and smaller live shows, as well as recording several studio albums and branching out to do post-production, playback, and FOH. I took time off to move out of the city and raise two children. Now they're in school and I'm ready to start pushing faders again. I bought a new rig, and here I am on SoundBetter. I want to mix in my home studio so I can be with my kids and not out on the road constantly. That's why you can get me for so cheap!

  13. Q: How would you describe your style?

  14. A: I've had other people call me Mr. Clean. I'd say my sound is clean, open, and detailed.

  15. Q: Which artist would you like to work with and why?

  16. A: I've had the pleasure of working with many of my favorite artists already, but Janelle Monet is one I'd still like to work with.

  17. Q: Can you share one music production tip?

  18. A: It's all about balance and space, not just EQ.

  19. Q: What type of music do you usually work on?

  20. A: I've worked on lots of pop, folk, singer-songwriter, hip hop, jazz. I've done it all.

  21. Q: What's your strongest skill?

  22. A: There is no technical challenge that I can't remedy. If the song is good, the mix will make it better.

  23. Q: What do you bring to a song?

  24. A: I like to make the music speak for itself. There's a perfect balance where the song should roll along and feel natural.

  25. Q: What's your typical work process?

  26. A: My typical work process is to put up all the faders, and get a balance of the song to start. Once I get the balance, the sounds start to speak to me. Frequencies that need to be ducked or boosted, but no major EQing to start. I start adding effects to build a space for the song. The end product should be musical, exciting, and present a space that is cohesive for the song.

  27. Q: Tell us about your studio setup.

  28. A: I work in Pro Tools. I have an Ultimate HD system, D-Command surface, monitoring through ATC speakers. I love UA and Waves plug-ins.

  29. Q: What other musicians or music production professionals inspire you?

  30. A: I've always loved Jon Brion's production work. Kevin Killen is one mixer who I admire, but there are many. I've had the pleasure to work alongside many producers as an engineer or assistant. Steve Lillywhite, Frank Filipetti, Phil Ramone to name a few.

  31. Q: Describe the most common type of work you do for your clients.

  32. A: I do anything audio related, but I mostly mix music. I've mixed studio albums, musical performaces live on-air or for DVD, music TV shows, festivals, and even some post-production sound for TV. I've recorded albums in the studio and multitracked live shows, and mixed shows live on-air. I've also mixed Front of House and monitors.

Gear Highlights
  • It's not the gear
  • it's the ear! But: Pro Tools
  • ATC monitors
  • Waves plug-ins
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