Classically trained musician and engineer pushing the boundaries of modern music while being respectful and faithful to art of production, mixing, and mastering.
I specialize in mixing all genre working closely with my clients to craft the vibe that they hear in their heads.
Client Roster includes Daniel Marley, Jennifer Lopez, Skrillex, Marc Anthony, David Lee Roth, Prince, Jada Pinkett Smith and Willow, Taylor Dayne, Luke James, Nipsey Hussle, YG, DJ Mustard, Snoop Dogg, Kurupt, Mr. FAB, Ginuwine, Daz Dillinger and more.
Would love to hear from you. Click the contact button above to get in touch.
1 ReviewsEndorse FALCONE
Interview with FALCONE
Q: Describe the most common type of work you do for your clients.
A: I help the artist take their vision across the finish line by being the last stage in the creative process. I have been told I have the ability to make their tracks sound like they hear it in their heads :) This is mostly done through mixing, stem mastering, and mastering.
Q: What other musicians or music production professionals inspire you?
A: I have a wide range: Anywhere from Prince, Phill Collins, and 80's music, to 90's hip hop, Pop-Punk, EMO, all the way to modern production like Skrillex, Lido, Diplo, and ZEDD.
Q: Tell us about your studio setup.
A: I have access to a few different studios including an SSL 6056E with ATC and Augspurger Mains and subs. My everyday driver is a Pro Tools HDX setup integrated with WAVES Soundgride Technology, a custom 16-Channel Analog Summing bus with a BAE 1073 gain stage, Nightpro EQ 3D and SSL Buss Compressor as my 2-Buss Processing. I have a full range of Plugin bundles including Fab Filter, Waves, Sony Oxford, Brainworxs, Izotpe and more. I have an; Audio Liner Passive Monitor controller with PCM TwoTwo 8's, Yamaha NS-10's with a Byrston 3B amp, Dual 10" subwoofers, HD 650 Headphones, and Yahama Mini speakers for desktop reference.
Q: What's your typical work process?
A: I start with gain staging. I get all my levels optimized to drive my summing mixer and 2 Buss efficiently. Once I have my level balance, I try to create as much space as possible with subtractive EQ first, stereo imaging processing, then additive EQ. I constantly cross-reference my tracks with similar-sounding tracks to make sure I am on par.
Q: What do you bring to a song?
A: I bring an extra level of creativity to overall picture of the song. Is what I am doing adding to the big picture? Or is it changing the original feel the artist had intended? My approach is simple; DO NOT F**K it up! Make it sound "right". Give it what it needs first, then, if I think I can that extra little something that can take it to the next level, I make it happen!
Q: What's your strongest skill?
A: My ability to hear the song as the artist intended it to be without them having to tell me. It's like a 6th sense. I let the song speak to me and guide me in the direction it needs to go. From a technical standpoint, I excelled in maximize gain staging, creating depth with stereo imaging processing and M/S eq, while being able to get it LOUD without killing the original dynamics.
Q: What type of music do you usually work on?
A: I primarily produce pop/EDM/hip-hop/trap music. My mixing clientele is mostly Pop/EDM/Trap music seconded by indie pop/rock music. I have been told I have a signature sound. Artists that are eclectic and have a unique sound gravitate toward what I do because of my aggressive, clear and punchy sound that makes the mix stand out from the pack.
Q: Can you share one music production tip?
A: Take away the bad stuff before adding anything! I try to eliminate all the "junk" that is not adding to the main source of the signal. Lots of Hi-pass filtering on almost everything. Gain Stage! I maximize my input and output gain to drive level into my dynamics processors.
Q: Which artist would you like to work with and why?
A: I would love to work with ZEDD. His production and masters are so thought out and balanced.
Q: How would you describe your style?
A: Aggressive, clear and punchy. I put the listener inside of the song. I try to find the point where things get to be too much, and back it down just enough so it is living on the edge. I want the drums to jump out of the speakers, but the vocals are buttery smooth, with a depth that allows you to hear through the mix. It is a very 3D experience.
Q: What was your career path? How long have you been doing this?
A: I have done this professionally for 12 years. After working behind the scenes with some of the biggest names in the industry for over a decade in LA, I am looking to establish myself as one of the go-to-mixers for the next generation of artists in Music City, Nashville, while continuing to work closely with major labels and publishers on commercial releases.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Telefunken 251E, Neve 1073, Tube Tech CL-1 B, NS-10s, Laptop with Waves Mercury Bundle.
Q: What advice do you have for a customer looking to hire a provider like you?
A: This industry is a numbers game. Do not get attached to 1 song or 1 sound. Do your best, know when you are beating a dead horse, and keep it pushin'. Spend most of your budget on your personal image and marketing. Set aside a realistic budget to get your tracks mixed and mastered. Always let your mixer know your budget ahead of time and ask them what they can provide for you. I have a standard rate that I feel my product is worth, but I ALWAYS work within the artist budget to help them achieve their goals. I rather charge them less, and have them get the result they want the first time, vs wasting their time and money on someone who is just looking for a paycheck, leaving the artist disappointed and still needing to finish their project the way they want it to be.
Q: What questions do you ask prospective clients?
A: #1. What is your budget #2. What is your timeline? #3. What inspired you to make these songs? #4. What reference tracks do you want your mix to sound like? #5. How many tracks are in your song? #6. Are your Tracks Ready to Mix?
Q: What's the biggest misconception about what you do?
A: That I can fix a bad mix with mastering. While this sometimes can work, most of the time it does not. The most important thing is to gain staging in a mix. I can get my tracks to be commercial loud without using a limiter because I know how to maximize each individual element properly, and sum them together in a way so that the level is hot going into the A-D converter. For an artist that insists on mixing their own tracks, I suggest them bouncing out stems and letting me do a Stem Mastered version. This allows me some flexibility over the individual balance of the track before I do any 2 Buss processing.
Q: What questions do customers most commonly ask you? What's your answer?
A: It is an industry joke, but mostly it is "how much do you charge for a mix and master"? To which I reply, What is your budget? I have scared away potential customers because I tell them what my standard rate is, but you have to say something right? It is each to satisfy cheap, but its something else to satisfy expensive. I never let the price of something change the quality I deliver. If you pay me $1,500 a song or $350 a song, I still put 100% into it. The only thing I tend to restrict is the number of changes. If you are paying me my full rate, I will work on it till you are happy. If I am providing you a discount, I usually limited the rounds of changes to 1 or 2.
Q: What do you like most about your job?
A: I love bringing an artist's vision to life through the art of mixing and mastering. There is no better feeling than hearing" WOW! You made it sound exactly how I wanted it to without me saying anything!"
Q: What's your 'promise' to your clients?
A: I will take your tracks across the finish line and elevate your sound to a new level. I will put my work up against anybody in the business and it will stand up strong side by side. I will do 1 Hour free to show you the direction I am going.
Q: Analog or digital and why?
A: Both. Analog Summing and 2 Buss processing, Digital processing for surgical tasks, M/S Processing, Stereo imaging, and Linear Phase Processing. Analog for Vibe and color, Digital for carving and maximization.