I aim the best sound with an artistic mix. Focused in alternative rock, I’m a music producer with more than 15 years of experience. With solid background: Bassist by the Villa-Lobos music school, Audio Engineer by the Musicians Institute (M.I.T), and Bachelor in Music Business by Berklee College of Music.
"He says the whole production process is like playing in a band: ' The DAW and the speakers are like instruments. It’s an ensemble composed by Man and Machine. It's not meant to represent opposing factors as separate phenomena, like night as its own occurrence, or day. When does day become night, and night become day? They are the same essentially, yet different. In an analogy, they represent the connection between two opposing energies, which one balances the other. It’s ‘the way’ of things. Perhaps it could be the way of things in music, where two musical concepts are different, but part of the same art'".
Marcio Hendrik started in 2005 and he's sure that it was the best decision ever made. Since then, he began his path as a music producer. The activities accomplished since then created diverse parallel projects that can be easily found on the internet: Marcio Hendrik, 8 Grave, Artigo Audio, Noise Punch, Domestic Junkies, Savana, Basttardos, Canalhocratas & Delta Rock Rio.
In 2016, he did Audio Engineering at M.I.T, to improve his mixing. Thanks to the large number of projects, the experience acquired through it had complemented the academic knowledge.
Now as a sound engineer in world renowned, top-notch Wisseloord Studios, with a BA in Music Business by Berklee College of Music, he foresights pursuing a M.A in songwriting and in the future, a Phd study.
Send me an email through 'Contact' button above and I'll get back to you asap.
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Interview with Marcio Hendrik
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Savana. I was the co-songwriter. The band lasted for 10 years and opened possibilities for many parallel projects. We would perform our songs, and record it in a simple voice recorder. Then we would listen and choose what parts would fit better and how. Then we would perform again in a different recorder, and so on. We wouldn't care about the source, we would just make our music and experiment, iterate, gathering through music theory, music production, philosophy, study, research, and psychedelic trips.
Q: What are you working on at the moment?
A: I'm working in my own EP. I'm transferring all the grunge rock I used to play into the electronic environment with Reason. I think is just fun to experiment anew.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
Q: Analog or digital and why?
A: Both. Because you can use both of them depending of the approach you wanna have. Just rehearse first, hahaha.
Q: What's your 'promise' to your clients?
A: I promise to deliver a good mix.
Q: What do you like most about your job?
A: I like human relation. And the thought of "work delivered... And it sounds great"!
Q: What questions do customers most commonly ask you? What's your answer?
A: They commonly ask me how much I want to be paid. I usually say, nevermind.
Q: What's the biggest misconception about what you do?
A: I'm not a producer! I'm a musician and an audio engineer. You see... Nowadays songwriters became audio engineers as well. Independent musicians must wear many hats, from production to catalog administration, from performance to marketing. Yes, I do all of that. But that doesn't entitle me a marketer, or a publisher, etc. A producer assist the band, while the engineer get hands on.
Q: What questions do you ask prospective clients?
A: I ask if they are in a hurry, and if they want quality instead of quantity...
Q: What advice do you have for a customer looking to hire a provider like you?
A: You can trust in my dedication. My best advice is to send me good recordings. In this way, I'll be able to make the machine work in your favor.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I don't know. If I was in a deserted island, this place either would belong from a friend of mine, or I was there by accident. In the first case, I would probably have a studio available with top-notch gear, otherwise, I would be thinking in ways to survive! then, the "5 pieces of gear" would start with a flare gun, a knife, a fishing net...
Q: What was your career path? How long have you been doing this?
A: I began playing with bands as a bassist and being a songwriter. I followed the whole production process and toured. I went to M.I in Los Angeles to learn more about audio engineering. I wished to catch the perfect moment of inspiration and make the best out of it, keeping its original sound. I've been doing this for 17 years already.
Q: How would you describe your style?
A: My style is... Take art in consideration. Praise noises, imperfection! The best records out there never had stereotypes in consideration. Things like "surgical mixing" sounds ugly. Please, just press play and listen!
Q: Which artist would you like to work with and why?
A: Nirvana! Because I think all their records has the best conceptual sounding ever. In actual days, I would like to work with Jack White.
Q: Can you share one music production tip?
A: Yes! A good mixing may not need mastering at all.If you're looking to do both processes, please make sure you'll find a masterer with no involvement with the mixing process.
Q: What type of music do you usually work on?
A: I usually work with grunge-psychedelic rock. But I have worked with reggae dub, electronic, jazz and classical music.
Q: What's your strongest skill?
A: My strongest skill is listening. Paying attention to what must be emphasized, or disregarded. In a world where's a lot of information, and high amounts of serotonin, I believe that one true message has more importance than a thousand lies. I try to transfer this concept to music-making, treating each track like one unique piece of art.
Q: What do you bring to a song?
A: I bring viscerality, as well as psychedelia, because that's what I'm specialized in. I like to make the song loud in relation to all the recorded instruments of the session. Different than most "pop" music out there, where the compression makes all the transients equally LOUD, I like to respect the dynamics of each instrument as well as the multiple parts of a song.
Q: What's your typical work process?
A: I typically write music together, record together, mix, master and upload it. In the case of doing a remote job, where I have no involvement in the project, I can do everything is needed to do remotely. I can record the bass, edit the tracks inside a session, by checking ALL DETAILS to ensure the mix will deliver best. I think that a good mixing may not need mastering at all, so if you're looking to do both jobs, I recommend you to seek a masterer that has no involvement in the mixing process.
Q: Tell us about your studio setup.
A: A pair of Genelecs, Pro Tools, Reason, Steinberg UR-T4 Interface, Rupert Neve DI, Royer R-10 Ribbon Microphone, Shure B-52A, Shure Sm58, Seinheiser 906e, Telefunken M80, Bluebird condenser Mic. AKG and Seinheiser headphones. Instruments: Danelectro Guitar, Warwick fretless bass, Gibson Thunderbird Bass. Digital: Novation 49 MIDI controller, AKAI MKII (25) Midi controller.
Q: What other musicians or music production professionals inspire you?
A: I'm inspired by the 90's legends - Nirvana, Soundgarden, Alice In Chains, Melvins. Morphine, The Chemical Brothers. I'm inspired by the classic rock legends - The layered recordings made by Led Zeppelin, the heaviest guitars and vocals by Black Sabbath, the diverse mixing techniques by Eddie Kramer, which allowed Jimi Hendrix to deliver his message crystal-clear.
Q: Describe the most common type of work you do for your clients.
A: I'm usually called to do mastering, although my focus is on mixing. I'm often called to record bass, because of the good bass sound.