My unique sensibility comes through in my work in music production, radio serials and film. Cartoonish, cerebral, satirical, and engaged. I want to collaborate to amplify your vision.
I've created sound design and music for several films by Academy Award-nominated animator Gary Schwartz, cofounded Erie Canal Theatre, producing dozens of original radio dramas for WFMU, and produced numerous jingles and themes for podcasts.
A graduate of Ohio's Recording Workshop and holding a BA in Media Arts from Wayne State University, I recorded and mixed around a dozen albums for Detroit-area bands before transitioning to several years working in film production. There I assisted in as many departments as I could to maximize my real-world film education all while becoming a Detroit ambassador for visiting productions. When the nascent industry collapsed, I pivoted, founding Backseat Detroit Tours, which I ran until the pandemic. I also used this time to build my home project studio, "Bumbleplex."
One of my longest-standing projects is Zelda and the Unibrows, winning awards for the "Greens" album, getting airplay on NPR and CBC radio, and participating in serial international art collaborations, performing remotely to galleries across Europe, including working with a 20-piece orchestra assembled for the event.
I work in Logic Pro X. Music and dialogue editing, composition, tracking, mixing, foley, sampler instruments and design.
I have my own idiosyncratic style and I love collaboration.
Contact me through the green button above and let's get to work.
1 ReviewsEndorse Joseph C. Krause
I've worked in the studio with Joseph C. Krause multiple times in various scenarios -
I've hired him to record and mix multiple albums I've performed and composed with rock bands and I've collaborated with Joe on his own self-funded projects.
Every interaction with Joe has been simultaneously the most professional and the most fun I've had in any studio experience. Mr Krause will work with you on your terms, respectfully submitting his opinion and advise where it's warranted and helping you flesh out exactly what you're looking to produce. Would work with him exclusively if given the choice
Interview with Joseph C. Krause
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Switchboard Infinity, the 18-episode show I produced for radio as Erie Canal Theatre. When the opportunity arose, I got together three other co-producers and together we wrote, directed, recorded, edited, composed music and sound-designed 18 episodes over two seasons. I want to make more.
Q: What are you working on at the moment?
A: I've been presented with a partly-recorded cover of the theme to "Metroid" and I'm filling in the missing parts and mixing it.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not yet. Let's be friends!
Q: Analog or digital and why?
A: They're both valid tools.
Q: What's your 'promise' to your clients?
A: I'll make both of us proud of this work.
Q: What do you like most about your job?
A: The unique challenge of each project reinforces my skills in a virtuous cycle.
Q: What questions do customers most commonly ask you? What's your answer?
A: "Can you do this by Thursday?" "Yes."
Q: What's the biggest misconception about what you do?
A: That I'm primarily a keyboard player. I'm much better at producing music and audio than playing piano.
Q: What questions do you ask prospective clients?
A: It's the journalistic "inverse pyramid." Big-to-small. What's the grand vision? How does this project fit into it? What are the details?
Q: What advice do you have for a customer looking to hire a provider like you?
A: I work in the spirit of trust and good faith. Treat me the same and we can only succeed.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Laptop, keyboard, accordion, iPad, coffee pot.
Q: What was your career path? How long have you been doing this?
A: About 20 years. Out of college I spent a few summers recording bands. I worked on short, documentary and narrative film productions for a few years after that until the local film industry collapsed. Then I continued media work on the side while running Backseat Detroit Tours, which closed due to the pandemic. While running the tour company, I produced three seasons of original episodic shows for radio.
Q: How would you describe your style?
A: Layered, detailed, anxious, intense, cartoonish, playful.
Q: Which artist would you like to work with and why?
A: Anthony Roth Costanzo. His grammy-winning Glass/Handel project from 2018 was a massive collaboration with artists of all kinds, resulting in a moving and inspiring series of recordings, films and performances.
Q: Can you share one music production tip?
A: I use custom key commands while editing to place commonly-used operations together. With practice, this compressed my editing time on an episodic dialogue project from days to a few hours per episode.
Q: What type of music do you usually work on?
A: In-the-box instrumentals, theme music, score, electronic or electro-acoustic ensembles, non-musical audio such as podcasts and audio drama, and indie music of many genres.
Q: What's your strongest skill?
A: Bringing together multiple artists and project elements to make a whole project greater than the sum of its parts.
Q: What do you bring to a song?
A: A perspective trained by working in the "other" genre. I often have the ear of an outsider and discover fresh ways to present an idea.
Q: What's your typical work process?
A: An initial phoe call to discuss the project and timeline followed by emails for any further details. After delivery of the mix, another call to discuss finishing details or revisions when needed.
Q: Tell us about your studio setup.
A: Working from home, I've upgraded from a spare bedroom to a renovated basement, giving me a larger dedicated space and room to experiment. In one corner, I have my workstation with all of the tools for audio, as well as an extra screen for sound-for-picture, and the other end is a configurable space that can transform into a music or vocal studio, or as a space for visual and other media art, all with enough isolation to block out jackhammering coming from the car wash renovation next door.
Q: What other musicians or music production professionals inspire you?
A: Frank Zappa, because I can always tell how much fun he's having creating music. Philip Glass, for his innovation, open spirit and work ethic. "Weird Al" Yankovic for his musicianship, professionalism and attention to detail in a genre that isn't known for these traits. Bedroom producers of all kinds, for following their muse.
Q: Describe the most common type of work you do for your clients.
A: Mixing stems recorded elsewhere, creating original sound design for animation, producing radio drama, writing short scores, such as theme music.