Composer, Producer, Engineer
To have the gift of "big ears" is to first, be grateful for that gift. Next, create aural sensations that actually get a physical response - from tears to goosebumps. This is what I do . . . I have no choice.
Mark Knox’s music has been covered by Norman Conners, Grover Washington Jr., Bob Thompson, Gerald Veasley and others. He’s been involved in such world-class associations as The Philadelphia Orchestra, Standing in the Shadows of Motown, The 12 Monkeys and Carsey-Werner. Mark's compositions appear in many commercials, films, CD's, and corporate campaigns. As a composer, arranger, keyboardist, producer, and audio engineer, his unique perspective on "both sides of the glass" is evident in his remarkably diverse music and productions.
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Interview with NewSound Productions
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm proud of every project. I don't take projects that I feel I won't be happy with. My role varies from project to project.
Q: What are you working on at the moment?
A: Creating music for 3 major music production libraries.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: New here so . . . no.
Q: Analog or digital and why?
A: Each has it's function and place.
Q: What's your 'promise' to your clients?
A: Better than you even imagined.
Q: What do you like most about your job?
A: Getting an emotional response from my work.
Q: What questions do customers most commonly ask you? What's your answer?
A: How much? What's your budget?
Q: What's the biggest misconception about what you do?
A: That anyone can do it if they have lots of gear and plug-ins.
Q: What questions do you ask prospective clients?
A: What do you want to be doing in 5 years?
Q: What advice do you have for a customer looking to hire a provider like you?
A: However you can, test their ears. If they pass your test - hire them. Their gear and toys will tell you nothing.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Any decent mic. Any decent audio recorder. Any keyboard that can create a decent piano sound. Any decent in-ear monitors. Something that can start a fire.
Q: What was your career path? How long have you been doing this?
A: Musician first . . . technician second. 40 years.
Q: How would you describe your style?
Q: Which artist would you like to work with and why?
A: Any artist who can do things I can't. That's how you learn.
Q: Can you share one music production tip?
A: If you have to depend on technology to make is sound good . . . it never will.
Q: What type of music do you usually work on?
A: All the good kinds.
Q: What's your strongest skill?
A: Aural perception
Q: What do you bring to a song?
A: Aural candy . . . you hear it . . . you want more.
Q: What's your typical work process?
A: Give me some examples of what you want I'll give you some choices - you pick one or ask for more Let me do my thing Satisfied customer
Q: Tell us about your studio setup.
A: A small "boutique" room that's comfy and functional. Mac Pro Pro Tools 12 Logic Pro Vocal Booth Soundelux U-195 Big ears at your service
Q: What other musicians or music production professionals inspire you?
A: Anything that sounds amazing
Q: Describe the most common type of work you do for your clients.
A: Music Production Keyboard/Synth/String arrangements Track Mixing Track Mastering Audio Sweetening