I'm a Recording Engineer/Mixer/Producer based in western Virginia. I work closely with my clients to help get the song out of their head and "onto the tape." No matter the size of a project, or what aspect I'm involved in I always strive to understand what the artist is after and help them make that a reality.
I bring years of experience working in studios of all sizes in various markets, primarily cutting my teeth in Nashville, TN. I've been very fortunate to learn from some of the best in the business, and I enjoy offering a high level of service to clients in all stages of their careers.
I provide mixing and mastering services via the internet using a combination of tools to aid in the communication factor so we can ensure you get exactly what you're after. Real-time high quality monitoring of mixing and mastering sessions can be provided via Source-Element Source Live. Full remote tracking sessions can be handled via Source Connect for an additional fee.
I work out of Blue Sprocket Sound in Harrisonburg, VA. A studio in which I am a partner and the head of the engineering team. If you are looking for a studio in which to record, I highly encourage you to check it out. The studio provides spacious recording and lounge spaces, with great vibe, at a fraction of the cost of major city facilities and you get the relaxed atmosphere of the beautiful Virginia mountains! Harrisonburg is the home of a major Virginia university so we have many of the amenities one expects from a larger metro area without the cost, or distractions.
Please reach out, I'd love to talk about your next project!
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1 ReviewsEndorse Chris Jackson
Spent a week tracking an EP with Chris and now we're into post-production. The whole process has been great. He knows his mixing-console and recording rig so well! He is truly an artist behind his rig. Everything from setting up meetings beforehand, to long days of tracking, to getting contacts for mastering has been effortlessly harmonious.
Interview with Chris Jackson
Q: Analog or digital and why?
A: Yes. Because they both have their own strengths. But they both have quirks. There are things you almost can't do in the analog domain that digital makes a snap. Analog is fast and generally sounds good, but requires constant maintenance and doesn't recall so easily. In the end, its about what comes out of the speakers, and knowing which tools will get you where you want to go.
Q: What questions do you ask prospective clients?
A: I like to know what type of music my clients listen to for fun. When its a music project I usually ask for a list of "5 songs" that they were listening to when they wrote the song, or that they'd love to capture the vibe of with the tune(s) we're working on together. That way I can start to get into their head and hear things the way they do, and temper my own opinions just a little bit in the direction they want to go. Sometimes that list spins off a few songs that I think they might like and we can start having a dialogue about other ways to take the song. Then I ask what their goals are for their music and try to help them find the best way to go about achieving those goals.
Q: Tell us about your studio setup.
A: I almost always work in a hybrid fashion with an analog desk and Pro Tools. The big room at Blue Sprocket Sound currently has a Neve Genesys which is automated and fully recallable, so between that and Pro Tools I am able to recall mixes and sessions quickly if necessary but I still get the sonic benefits and tactile speed of working on an analog desk. After that I have access to some great outboard gear to help shape the sound of things on the way in, or bring a little vibe to tracks that are coming from home studios or smaller production spaces that don't have a ton of options while tracking.
Q: Can you share one music production tip?
A: Less is more. I find my favorite songs are ones that can stand almost completely on their own with only a few elements. Try to create arrangements that don't need tons of elements to get a point across. If you find the "anchor" in the arrangement then you can play with layers and bring stuff in and out to make the song really fun and exciting. But all that window dressing wont save a song that can't stand alone on a vocal and rhythm guitar.