I'll mix and master your song to an industry level for an affordable price.
Comprehensive knowledge of studio techniques as well as operating digital and analog recording equipment. In-depth knowledge of different musical genres. Possess sound knowledge of budgeting with good business acumen. Good listener with excellent communication and project management skills.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
Interview with z12
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Drakes' "Room For Improvement" project
Q: What are you working on at the moment?
A: Music Production
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
Q: Analog or digital and why?
A: Digital because everyone's on digital so everyone's ear is trained to hear it.
Q: What's your 'promise' to your clients?
A: That I'll make your music sound GOOD!!!!!
Q: What do you like most about your job?
A: Making music sound GOOD!
Q: What questions do customers most commonly ask you? What's your answer?
A: How are you so good? (Not to be cocky ;)
Q: What's the biggest misconception about what you do?
A: That we don't care about the quality of our work.
Q: What questions do you ask prospective clients?
A: Do you care? If so I'm a perfect choice.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Expect a high-quality product and nothing else.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Rogue RA-090 acoustic guitar, OSP STM-1300, Focusrite Octopre 8-channel preamp /compressor /limiter with ADAT output, M-Audio Oxygen 49 MIDI keyboard (which allows inputting a large variety of digital instruments), and various percussion instruments such as Cajon, bongos, shakers, tambourine, cowbell, etc.
Q: What was your career path? How long have you been doing this?
A: Producing diamond records. Till I die.
Q: How would you describe your style?
A: Pop, crisp, and High-Quality.
Q: Which artist would you like to work with and why?
A: Rick Ross because he's an underrated legend.
Q: Can you share one music production tip?
A: Tracking There are probably as many ways to record a project as there are recording engineers. One choice is to record everything live. That is, each instrumentalist and vocalists is recorded at the same time with each instrument/voice being recorded on separate tracks. The advantage is that you tend to get more spontaneity when everyone is playing together. However, there are a number of disadvantages.
Q: What type of music do you usually work on?
A: Hip-Hop/Rap & R&B/Soul
Q: What's your strongest skill?
A: Editing Once the all the overdubs have been completed, the tracks are edited. This is when things get fixed, and many things may need fixing. For example, this is when you remove all unwanted sounds and noises. From snap, crackle, and pops to lip smacks, coughs, and heavy breathing, any undesired sound should be edited out. In the digital age, this is much easier to do than it was with analog tape. There are a number of ways of removing such noises. You can simply highlight the noise and erase it or you can use automation to drop the level or mute the signal when the noise is present. Editing may be the time when comping takes place. While this procedure is done most commonly with vocals, it can be applied to any instrument that has multiple takes. Sometimes comping takes place during the tracking process to insure that a complete take can be accomplished before moving on to the next overdub. Another thing to fix is timing issues. While it is possible to quantize tracks so that every note occurs on the beat, this often produces an unnatural mechanized sound. The goal should be to make sure that no instrument or vocal note is obviously out of sync. With careful listening you will hear an occasional instrument that is slightly out of sync with the rest of the band. That note or notes can be shifted in time to bring it back into sync. If the vocalist occasionally hits a note that is flat or sharp, this is the time to correct it using pitch shifting software such Autotune or Melodyne. While Autotune can be used to the extreme to create the so-called “Cher effect” that is so popular in today's hip-hop, it can be used more judiciously to subtly correct the occasional missed note in other genres of music. While some people take this as cheating, it is preferable in most cases to getting the vocalist back into the studio to rerecord the offending section of music. Of course, it does allow the run-of-the-mill singer to produce a great sounding vocal.
Q: What do you bring to a song?
A: Mastering The goal of mastering is to create a cohesive sounding album. Levels and tones are adjusted so that the sound of all the songs on the album match one another. Within each song a variety of tools are used to improve the sound and give it that extra “punch.” These tools include multi-band compression and equalization, among others. Finally the songs are placed in the order they will appear on the album and proper spacing is placed between the songs. The mastering engineer will also insert text such as artist and title into each song. If desired he or she can add IRSC codes. Mastering can be done in the original recording studio or in a specialized mastering studio.
Q: What's your typical work process?
A: Mixing Mixing is the art of combining the various multi-tracks into a pleasant sounding stereo track. (The meaning of the term pleasant here is in the ear of the beholder.) Although we list this as a separate phase, it is not uncommon for many engineers to be mixing while still in the tracking stage. The goal during mixing is to not only to get all the various instruments to blend together but for each to contribute to the overall sound without drowning out or masking other instruments. This process is accomplished through a carefully selected blend of panning, EQing, compression, reverb, and delay. Mixing is also the time to eliminate some instruments during certain passages and other instruments during other passages. For example, you may want to have just an acoustic guitar during the intro with the bass and drums coming in at the beginning of the first verse. In this way mixing can become part of the creative process as well. With today's high quality software plug-ins, it is possible to use only the effects in the computer. This is the so-called “in-the-box” approach to mixing. On the other extreme is the mixing engineer who uses only outboard gear, effects created with hardware. And of course, you can use a combination of the two approaches. While there are proponents of each approach, the key to getting a great sound is a mixing engineer who knows how to use the tools he has effectively.
Q: Tell us about your studio setup.
A: Audio Interface, Microphone, Microphone Cable, Microphone Stand, Pop Shield, Headphones, Monitor Speakers, Acoustic Treatment.
Q: What other musicians or music production professionals inspire you?
A: Mike Dean, Quincy Jones, Dr. Dre, Rick Rubin
Q: Describe the most common type of work you do for your clients.
A: I mix and master my clients' songs to maximum quality.