I won a Grammy as a producer for Santana, Album of the Year. I love music at all different levels of production— it’s my lifelong passion.
I started my career as a staff producer for the Dust Brothers. My first day on the job in LA was working on Hanson’s “MmmBop.” It was a magical time in music when budgets were high and technology was in relative infancy compared to today. Those early years were packed with projects, working with artists like Beck, Rolling Stones, Smashmouth, Linkin Park, Marilyn Manson, Morphine, Primus, April March, Coolio, and Santana. I also composed and performed a large part of the Fight Club score during this time.
I’ve worked independently since then, producing and mixing for artists such as Scissors for Lefty, Harper Simon, DJ Swamp, Andy Frasco and The U.N., Magnolia Memoir, Young Love, Garfunkel and Oates, Mankind is Obsolete, AL1CE, and Girl Problems.
I work in a hybrid studio environment centered around my 1971 Neve BCM10 and Pro Tools HDX. I use analog outboard when needed and can move between projects fairly easily.
I like mixes that are clear and punchy with fundamental support of the arrangement and vocal. And I try to incorporate an element of quirk or surprise when possible. Helps keep the listener engaged!
I have a BA in Music, Science and technology from Stanford and was one of the very first undergraduates of the CCRMA Computer Music program. I am classically trained on piano, but my perfect pitch has allowed me to expand my musical proficiency in many instruments.
Tell me about your project and how I can help, through the 'Contact' button above.
Credits
Discogs verified credits for Charles Goodan- Various
- Scissors For Lefty
- Scissors For Lefty
- Scissors For Lefty
- Girl Problems
- Scissors For Lefty
- Santana
- 10¢*
- Various
- Flak (2)
- 10¢*
- 10 Cents
- April March
- Scissors For Lefty
- Mankind Is Obsolete
- April March
- The Rolling Stones
- The Rolling Stones
- The Rolling Stones
- Various
- Various
- The Dust Brothers
- Various
- Milla Jovovich
- Harper Simon
- Young Love
- Garfunkel And Oates
- The Rolling Stones
- The Rolling Stones
- Various
- Moby
- Moby
- The Rolling Stones
- The Rolling Stones
- The Dust Brothers
- Moby
Interview with Charles Goodan
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: My 1st film score was the music for Fight Club. It felt so inspiring to create music that mixed quirky and weird with dark and painful. Plugins were in their infancy at that time, so creating new sounds was especially challenging. The score is a mixture of old synths, vinyl and old school Pro Tools layering. David FIncher gave me carte blanche to create whatever music felt right to me. And the film holds up!
Q: What questions do you ask prospective clients?
A: Is the session labelled and prepped? Do you have a rough mix? Similar songs?
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: my Neve BCM10 desk, Collins 26U, Anamod ATS-1, Tabfunkenwerk V72s and an acoustic piano
Q: What was your career path? How long have you been doing this?
A: I graduated from Stanford University with a degree in Music, Science and Technology in 1996. I moved to Los Angeles and became staff producer for the Dust Brothers. They mentored me during one of the craziest times in the music industry - before and after the launch of Napster. I have worked freelance ever since.
Q: What do you bring to a song?
A: I like to bring the vocal forward in a way that it sits in front of the track without being louder.
Q: What's your typical work process?
A: If the vocal is strong, the rest of the the music can be brought into place. I spend a lot of time on the vocals, and how they are presented often indicates where the rest of the instruments sit in the mix.
Q: Describe the most common type of work you do for your clients.
A: I'm often hired to rescue a project gone awry. These projects can turn out great, but it's best when I'm hired to produce from the beginning of the project.
Q: Analog or digital and why?
A: Both. Analog gear usually sounds better. Digital gear can do things analog can't possibly do!
Q: What's your strongest skill?
A: Skill or curse, I have perfect pitch. It can be extremely handy, but once in a while a real mindfuck!
Q: Tell us about your studio setup.
A: My studio is centered around a 1971 Neve BCM10. It's a 10 channel class A sidecar, one of the classic vintage Neves. I use Pro Tools with a sprinkling of Ableton Live when needed. I use a hybrid approach incorporating outboard analog gear alongside DAW editing, plugins, automation and recall.
- Mixing EngineerAverage price - $500 per song
- Neve BCM10
- Collins 26U
- UA LA-2A
- Fairchild 658
- Space Echoes
- 1176 x3
- D3A
- D-Comp
- EQP1 x2
- Anamod ATS-1
