With a background in musical theatre and a side passion in heavy rock, EM-Jay Media is a versatile audio provision business with an interest in helping niche passion projects, home recordings, and local talents get the attention they deserve.
EM-Jay Media is a budding studio engineering business, having worked on live musical theatre projects for three years and on album releases and cabarets for five years. EM-Jay Media is now turning attention to studio projects in the wake of international economic crisis, offering low budget, reasonable quality mixes in a variety of genres, including pop, rock, musical theatre, and cabaret. EM-Jay Media's founder is still studying audio, but given her years of experience, is more than capable of providing good customer service and high quality mixes at affordable prices.
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Interview with EM-Jay Media
Q: Analog or digital and why?
A: I'm a hardcore digital fan, which is a very controversial opinion I'm aware. However, when working on tight budgets, financing the latest SSL mixing desk and 6 different 'classic' analogue compressors is prohibitive and given the quality of modern digital plugins entirely unnecessary. This carries through from the start of my mix to the end, as my own home recordings are entirely recorded with sampled drums and Amplitube 4 amplifier simulations. While there are cases where Analogue is just 'better' (especially for those with a well established sound), I find it a pointless exercise to snub digital when in most cases it is more than sufficient for the task at hand.
Q: Which artist would you like to work with and why?
A: Lzzy Hale and her band, Halestorm, have always had a unique style that really speaks to me as both a mix engineer and as a lover of rock music. The way she approaches songwriting, with her guitar complementing her vocals, as well as the saturation and definition of the mixes published by her band melt my heart every time I hear a new track.
Q: What's your strongest skill?
A: As a mixing engineer, my greatest skill is to listen. Not only to reference tracks, to identify what clients enjoy in a mix, nor to a mix itself, to identify its qualities inspirational and detrimental, but to what a client wishes to hear in their mix. While there are always limits to what one can do with source material, EM-Jay Media prides itself on the ability to focus on what a client finds important, and to dedicate the time necessary to make sure the mix is 'right' within the confinement of the resources available.
Q: What other musicians or music production professionals inspire you?
A: I'm incredibly inspired by the sound design of Gareth Owen. His work on Come From Away both in terms of theatre sound design as well as his mix from a commercial perspective opened my eyes to what 'perfection' sounds like. My other inspiration is John Feldmann, who contributed to most of the albums that inspired me to enjoy rock as I developed my personal style as a musician.
Q: Describe the most common type of work you do for your clients.
A: The majority of my work is on live musical theatre productions, where I must find "the sound" in 3 rehearsals as well as learn every audio cue with precision. It is this efficiency that I harness in my studio projects to ensure that mixes sound great from the first rough mix through to the final bounce.
I was the Performer and Mixing Engineer in this production
- Mixing EngineerAverage price - $400 per song
2 revisions per day of work, EM-Jay Media operates on a 4hr/day day-rate payment system, files requested at bit/sample rate of 24bit/96kHz, though minimum is 24bit/44.1kHz.
