Mixing and Mastering

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

A: The track in my example audio from Anna Joy Tucker is one of my favorite projects of all time. Besides the fact that Anna is an incredible vocalist and musician, I had the chance to collaboratively write with Anna, produce a sound that mixed my vision and annas vision, write lyrics, create arrangements, run sessions and play music that I had a passion for and allowed me to express my creativity. I also got to see this album all the way to completion and even host a listening party at my studio. If I never work on another project again, I will be forever proud of the creation I was able to produce with Anna.

Q: What are you working on at the moment?

A: Producing a new album for Lauren Pearson. Mastered a new album for Kanola band. Finalizing a mix on a new album from Matthew Fries and Phil Palombi. Arranging a choral version of a song I wrote called "Harbor" for a choir program in South Dakota. Recording a new personal EP as I find time!

Q: Analog or digital and why?

A: Digital. I love analog. Truly I do and I attempted to purchase a variety of analog gear at my studio. However, with the cost of analog gear, the demand of the market I work in, and the wonderful sound a uniquely flexible ability of modern digital emulators, I found that many clients didnt find value in the analog gear I purchased ($10000 for a outboard processors... but clients don't like the upcharge when they difference is so subtle...) I think major studios in the world should continue to purchase and utilize analog gear and we free-lancers should go and use their gear when a client finds it valuable. However, I can operate all over the world from my laptop and hard drives without having to send gear in for repair, recalling sounds at the touch of a button, and have a huge variety of sound options for much less. I sure wish I could do all that with analog gear because it sounds incredible!

Q: What's the biggest misconception about what you do?

A: We cannot "fix" everything in post all the time. While there is some great magic we can do, we cannot turn a "bad" performance into a "good" performance. We can't make a poor/broken/distorted recording into a "good" recording. There is a saying in mathematics and programing - "GIGO" - it means "Garbage In, Garbage Out". No matter how good the program, formula, equipment...etc if you put in "garbage" only a different version of "garbage". I will always do my best, but it gets frustrating when a client asks for the impossible and is upset when I can't deliver.

Q: What questions do you ask prospective clients?

A: What sound are you looking for? Give me some examples of different recordings where you liked the sound - even specific elements like "I like the violin sound here" "I like the guitars here" "I like the final overall sound of the mix here". Are you looking for a live "warts-and-all" vibe or are you looking for a more produced sound with pitch and timing alterations? What is the primary medium for the final product (film, CD, radio, etc...)

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

A: Don't just look at price, make sure they match your sound, your vibe, your vision. High price doesn't always equal the best fit. And a good deal low price may let you down with a "get-what-you-pay-for" situation . Its hard to know, but do your research and then trust your gut.

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

A: (Limited to my own gear) 1 - My Pro Tools Computer and Rig (hard drives etc) 2 - My discrete 8 interface 3 - My Focal Monitors 4 - My Taylore 314e acoustic 5 - My WA-49 Unlimited Gear 1 - Still my Computer and Pro Tools Rig 2 - Apogee Duo Interface 3 - My Taylor 4 - Naumann 147 Tube Powered 5 - ATC studio monitors

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

A: I started making music as a child with formal piano, French Horn, and Trumpet lessons. I have always sung in school and church choirs. Then, in 1999, I began playing drums in for the church and local bands as well as eventually bass, guitar, vocals and worship leading. I began to study guitar formally and entered Western Michigan University to study Jazz Guitar and Voice. I also began the formal studio of audio production at the same institution and was later hired by the school as a recording engineer and educator. After earning my bachelors in 2008, I began working as a full time worship leader. I earned a Masters in Music Composition in in 2010. At that time I decided to utilize my variety of skills to begin working formally on my own production company which I named GvG Productions. As this company grew into full-time work, I joined forces with a sister video company called Overneath Media and together we formed Overneath Creative Collective in 2014. We purchased a large recording studio and production house and operated it until 2019 when we sold the studio and focused our company in on high-end video production. I decided to offer my audio services still as a free-lancer and the demand has allowed me to continue this work on my own while still operating Overneath.

Q: How would you describe your style?

A: I am a recovering work-a-holic and perfectionist. I have been prioritizing the enjoyment of life since I sold my recording studio and only like to work on projects that share that value. For me, music and media are supposed to be enjoyable. I like to stay away from self-importance and focus more on the creativity and the enjoyment of the art that we create.

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

A: Michael Gungor. He is sort of my personal musical and production hero. I enjoy his musicianship, his poetry and content, and his unique production elements. I have read his books as well and would enjoy chatting with him through those topics as well.

Q: Can you share one music production tip?

A: Listen to the advice of those who share your vision for the project. Fans can be distracted and biased. Pros can be overly critcal. Friends and Family love you but often don't know how to give you effective input. Find thsoe who share your understanding of what you are doing - in content, in sound, in musicality, and even in things like marketing and financials.

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

A: Jazz (Pop, Blues, Vocal, Swing, Bop, Modern), Folk, Rock, Alt-Rock (Indie-Rock), Acoustic, Film, Classical (Choral, Symphonic, Chamber), Gospel, Contemporary Christian/Worship.

Q: What's your strongest skill?

A: My strongest skill is probably my multi-faceted skillset and expertise. I am a multi-instrumentalist and vocalist having formally studied Jazz Guitar, Classical Voice and Composition formally at Western Michigan University. I have been a working musician and educator as well as a worship leader in the Christian community. I have worked in a paid professional capacity as a drummer, bass player, guitarist, vocalist, and composer. I have been trained on brass instruments and keyboards and I have been a writer and producer. I ran a large-scale recording studio and I have had successful recordings in a variety of genres (which I can specify as I do not claim to be an expert in ALL genres)

Q: What do you bring to a song?

A: While I believe my creativity can be helpful, I am very interested in helping an artist or director express THEIR creative vision as effectively and beautifully as possible. I believe my experience and multi-faceted career give me a unique perspective on music and audio production. I can speak the language of a variety of genres and technical fields and can help shape music and audio to fit a variety of genres or concepts.

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

A: I will do my absolute best I can with what I am given for every project I am entrusted with. I am a big fan of honesty and transparency so I am always willing to share truths about myself and my work without being withholding or exaggerating.

Q: What do you like most about your job?

A: I love that I can work with clients from all over on their creative projects. I love when I can be of value to a production and client and that my skills will benefit. I also love being able to work from my home at my leisure and set my own schedule.

Q: What's your typical work process?

A: For Mastering: Receive the highest resolution stereo/surround files from the mixing engineer/artist. I ask for comparative recordings that the client likes and listen a bit to those recordings before beginning. I ask for formal artist names and titles for the tracks for all CD text needs as well as any special requests or concepts requested for track transitions or spacing. After a first master is provided digitally (at the full resolution requested). A round of revisions is done if needed/desired and a second master is provided. (any additional rounds of mastering and experimenting are an additional cost) For Mixing: Receive the highest resolution session or stems from the tracking engineer/artist. I ask for comparative recordings that the client likes and listen a bit to those recordings before beginning. I like to discuss a bit of the vision for the way the client would like the mix to sound as well as any special production concepts that may add to the mixing process (ie. Reverbs, Delays, Chorus/multing, Sounds, Overdubs, etc...). Then I begin my preliminary mixing which can include: -File and session organization to fit my workflow -Take and track comping (if requested) -Quantizing and time alignment (if requested) -Vocal and instrument tuning (if requested) -Establishing sounds of individual instruments and then a starting setting for the full track -Special production or additional tracking (if requested) -Mixing automation and production elements as need and requested -Preliminary mix with notes sent to client -Revisions and new mixes based on client notes -Final mixes established and delivered to client or Mastering house.

Q: What questions do customers most commonly ask you? What's your answer?

A: What is mastering! haha. Mastering is the process of taking the final tracks and setting them properly in their order, give them their final spacing for the disc, applying intricate and powerful compression and EQ tools to both make the tracks “shine”, remain “up to volume” for playback, and stay consistent in their sound. For me, I do listen-throughs and tweaking on up to 5 separate playback speakers including earbuds and vehicles. The purpose is to maintain the best overall sound quality in any setting.

Q: Tell us about your studio setup.

A: I operate out of my home office/studio after selling my recording studio and focusing on post-production work with lower overhead. I run an 2019 Macbook Pro and interface audio through an Antelope Discrete 8 and monitor through a pair of Focal Alpha 65s. I use Avid Pro Tools Ultimate and mix/master in the box. Allong with the full gamut that comes with Avid these days, My software library includes large East-West Instrument samples, Spectrasonics Omnisphere II, Waves, Slate Digital, Sonnox, Antares, IK Multimedia, Izotope, and others. I have a couple keyboard controllers for keyboard work as well as an assortment of guitars and amps. For Microphones I use a pair of WA-49s, pair Cascade Fathead IIs, pair Rode NT5s', some SM57s, and Audix D6 and a pair of PG 81s.

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

A: As a creative, my personal favorite artist is Michael Gungor (Gungor). Everything from his compositions to productions. I love his blend of genres and his musicianship along with his lyrical content. I am also a huge fan of blending of style blending and mixing with artists such as Queen, Jack White, Cee Lo Green, Meghan Trainor, Bruno Mars, Bishop Briggs, and so many others.

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

A: Mixing, Mastering, and Producing are my most common projects. This can also include session musician work when I am producing. I also am hired to track on location for live projects, run live-sound operations for live events, and consult on a variety of audio, music, and recording types of projects.