Mixing and mastering engineer with lots of top pop and indie credits
Recently relocated to central Vermont, Rob operates a boutique mixing and mastering studio where he works with clients big and small.
A brief bio:
A classically trained musician, Rob started his career recording live classical and jazz concerts in college. Upon receiving his masters he moved to NYC where he worked restoring and remastering archives for the Metropolitan Opera and US Air Force before becoming house engineer at Downtown Music Studios where he engineered for artists including Britney Spears, Mark Ronson, Mike Posner, Wiz Khalifa, Gavin Degraw and many more. He transitioned into independent mastering where a few clients included David Gray, Sia, Miike Snow, Major Lazer, and ODESZA. Wanting to escape the big city he moved to Austin where he operated Poolside Sound for 6 years offering affordable mixing and mastering to independent and major label artists. At the end of 2019 Rob and his family moved to his home state of Vermont and built a bigger and better studio where he currently works primarily.
*the linked allmusic page is one of several containing credits and even when combined are missing many. If you'd like to know more just ask. More references available on request as well.
Would love to hear from you. Click the contact button above to get in touch.
- Gavin DeGraw
- Britney Spears
- Wiz Khalifa
- Lizz Wright
- Mark Ronson
- Mark Ronson and the Business Intl
- Bronze Radio Return
- Bronze Radio Return
- Running Red Lights
- Joe Miller
- Pee Wee Crayton
- 2000 Lbs. of Blues
- 2000 Lbs. of Blues
- George "Harmonica" Smith
- Smokey Wilson
- Jimmy Rogers
- Johnny Dyer
- Rod Piazza
- Neon Hitch
- Lee Musiker
- Mike Renzi
- Leon Fleisher
- Axel Tosca
- Nathaniel Bellows
- Air Apparent
- Sam Ray
- Air Apparent
774 Reviews - 155 Repeat ClientsEndorse Rob Murray
Rob is always spot-on and very helpful. Thank you again!
Easy to work with professionals who can make your mix shine. Sure, you can pay a lower price somewhere else, but you may not get the level of attention to detail that Rob provides. I am always impressed by his work.
It's alway great working with Rob - he's a clear communicator, helpful and thorough, and has a great ear. Thanks again Rob!
Great job again
Rob is awesome :) Will work with him again!
Very well done! Fast at replying and making changes when asked too.
Another great experience working with Rob..
With his experience, most of the time the first pass is 95% there, and Rob is flexible with making adjustments. I appreciate that when it comes to final tweaks, usually it's less than a day to make changes, which is really exciting. Recommend!
Mastered track sounds great across formats, sounds fantastic. Many thanks!!!
Rob is fantastic! This is my third time working with him, and this time I sent him three songs.
So I now have five songs completed.
He is very patient and understanding, which is important for me considering when it comes to the proper vocabulary, I have absolutely no idea what I’m talking about ha ha
He’s somehow seems to figure it out regardless.
I would highly recommend using him if you’re looking for a cool guy who has a good ear.
He was very fast and his job its world class, really happy with my decision of working with him.
Interview with Rob Murray
Q: Describe the most common type of work you do for your clients.
A: I'm primarily a mixing and mastering engineer. I have clients spanning classical to hip hop, but most of my credits are pop, rock, or elctronic.
Q: What's your strongest skill?
A: I'd like to think my ears, and attention to detail.
Q: How would you describe your style?
A: All-Fi. I can do hi-fi but I'm not opposed to heavy compression, distortion or other lo-fi elements when appropriate.
Q: What do you like most about your job?
A: The Music!
Q: Tell us about your studio setup.
A: I have a dedicated mix/master suite in Austin, TX with select hardware from companies like API, Antelope and GKL and extensive software and plugins, all centered around Dunlavy SC-IV monitors with Perreaux amplification.
Q: What type of music do you usually work on?
A: Honestly a bit of everything. My clients tend to largely come for my pop, electronic and indie credits, but I love mixing more acoustic music, and I have a history getting my start in classical and jazz.
Q: What's your typical work process?
A: Mixing: After I receive files I import everything into Pro Tools, and get a pretty decent rough mix happening. Then I confirm with the client that we're either good to go, or there's something missing or that needs to be fixed. I then put the mix on my schedule and either send it the day I mix it, or sometimes give it a night to finish with fresh ears. I then shoot this first pass to clients, and then if they have notes I recall and address as needed. Turn around depends on my calendar, and the scope of project but is usually around 2 weeks start to finish. Mastering: I generally listen to the song outside of the DAW, making sure it sounds like a decent mix, and that there's no technical issues. Once I've confirmed everything is good to go, I schedule it in and hit it usually within a few days.
Q: What do you bring to a song?
A: As cheesy as it sounds I think I bring the song to the song. I try to find the core of the music and make sure it's presented in the best light. Often it's the vocal, sometimes it's the beat, but I think my strongest asset is my ability to do what the song needs. Whether it's a bright polished pop mix, a lo-fi indie mix, or a clean acoustic song. Clients most often tend to compliment my vocal sound, and I do tend to build a mix around a vocal.
Q: Can you share one music production tip?
A: Here's 3: 1 - "over"-brightening followed by a high frequency limiter can really help add air to a track without making it harsh. 2 - Avoid using phase based stereo processors, while there's a time and place for everything, you'll get a wider/cleaner stereo image through discrete panning. 3 - Fight the urge to make everything brighter and punchier, give everything it's own space (both spectrally and stereoscopic) and make the supporting elements do just that.
Q: Which artist would you like to work with and why?
A: Ryan Adams, Wilco, or Spoon. Great songs, great production, great players every song is great.
Q: What was your career path? How long have you been doing this?
A: I have a masters in sound recording where I cut my teeth largely doing classical and jazz, and many internships at an analog studio, classical festivals, and a mic company to name a few. I assisted at world class studios like Galaxy in Belgium and Downtown in NYC and worked restoration and remastering for the metropolitan opera and US Air Force before freelancing as a recording and mastering engineer in NYC and moving to Austin, TX where I opened my own space. All told, 10-15 years depending on whether you count starting to record/intern or working full time.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Pro Tools, API 2500, my speakers, converters and my hammock.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Make sure your songs/production are good. No amount of mixing can make a bad song a good one. To quote a friend "I can't polish a turd, but I can at least remove the smell".
Q: What questions do you ask prospective clients?
A: Mostly what aesthetic they're going for, who their influences are, what's their audience. The same song could be released with a Pop, Country, Indie, or "Coffeehouse", vibe. I can get clues from the production but ultimately it matters most what the song means to you, and who you're looking to reach with it.
Q: What's the biggest misconception about what you do?
A: On the mastering side people tend to think a bad mix can be fixed in mastering... It can't. On the mixing side, there tend to be people who think that mixing will change the song. In an ideal world, mixing is enhancing/bringing out the heart of the song, but not heavily changing production or basic presentation.
Q: Analog or digital and why?
A: Digital. Recall-ability and control. I like the romance and art of having analog gear and controls in front of me, but end of the day I get better results in the digital domain. That said, I more often than not still use some analog on my 2-buss. Sometimes the downsides of the D/A/D loop outweigh the benefits though. If I were tracking everyday like my younger years then analog would of course be more important as there's no substitute for a good analog frontend during recording. Everything starts in tracking, whether it sounds amazing and it's the producer/mixer's job not to mess it up, or whether there's some shortcoming's that need to be helped.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: As far as close industry friends, two-time Grammy award winning classical engineer Brian Losch. That's who I call when I need a friend to critique or offer advice, and he's the one who told me about SoundBetter. I'm sure there's more if I dug through the lists, and I definitely know a fair amount either personally or by reputation. There's some phenomenal producers on here too, but a lot of them tend to only be client side, and not doing the provider side... yet!