A1-A2 Audio Engineer, recordist, live and studio.
I am one of only a few audio pros in the Poconos; Audio Engineer with over 20 years experience in studio, TV and stage audio engineering. I specialize in voice-overs, and have experience in all types of recording, stage and theater, FOH, and final mixing. Past work include a national record release, small and medium venue stage and FOH, audio-books, live TV A1 audio, TV/video/film production roles, and literally millions of voice prompts and recordings for Fortune 500 clients with dozens of voice talents. I am also a keyboard player with many years experience. I am available for all gigs on stage and in studio, whether it is at a resort, club, school, or multitrack studio. Whatever you need just ask. Rates are usually hourly for studio, or per gig/session/job onsite.
Contact me through the green button above and let's get to work.
3 ReviewsEndorse Charles Rajnai
Charlie and I have worked together for nearly 2 decades. Professionalism, Patience and Perfection are the first words that come to mind. You don't maintain a career for that long unless you've got the talent and expertise to do it, and Charlie is at the top of his game. Besides that, he's an all around great guy, a pure pleasure to work with!
Charlie has a wonderful ear for beautiful sound. He is technically adept at bringing out the finest of any talent through software based techniques and through coaching. Charlie is easy to work with, flexible and patient, and he won't quit until it's just right. That said, he is also clever at finding ways to meet deadlines.
I've worked with Charlie as a voice artist for over the past six and a half years. Rare and fortunate is it to partner with an engineer like Charlie who just "gets it". He brings a palpable love of audio, music and the spoken word to his projects, with a true passion and curiosity for always discovering more. Charlie's one of the best!
Interview with Charles Rajnai
Q: What do you bring to a song?
A: I listen for balance, a punch to the vocals, and an openness to the sound.
Q: How would you describe your style?
A: Realistic. I don't complain about the rig, because any rig has its capabilities. The key is to maximize what a rig can do.
Q: What was your career path? How long have you been doing this?
A: I started in this business thinking I would enter the music business through a back door. I ended up in corporate audio. I have worked with so many great people in the past 25 years I feel blessed. The side jobs I have done have kept me vital and interested in the work.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A matched pair of AKG 414 mics. A Sound Devices 744. A Yamaha Electric Piano and a Roland Juno.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Get in touch, be ready to talk about the job and equipment involved. Be open to the recommendations I make for you.
Q: What's the biggest misconception about what you do?
A: That anyone can do it. Too often a show is terrible, a recording un-listenable, because somebody didn't care to think about having a pro on board.
Q: What are you working on at the moment?
A: Rekindled by Theresa Irizarry. Audiobook.
Q: What do you like most about your job?
A: The music, the people, and above all the vibe of the show.
Q: Describe the most common type of work you do for your clients.
A: I have worked mostly as a recordist with vocal artists, coaching them during recording and getting the persona to shine through. My side gigs are varied and include recording vocal/bands either on stage or in studio. I also do a bit of live sound, either miking the stage and instruments or sections, or running the board at FOH for small and medium venues. Currently I am working on an audiobook which will be released soon.
Q: What other musicians or music production professionals inspire you?
A: I am a fan of the pioneer producers and engineers like Martin, Eno, Moroder and Alan Parsons. Today's artists seem split between true singer/songwriters and composers, and the less inspiring overproduced pop artists.
Q: What's your strongest skill?
A: Its all in the ear. You have to listen to what the rig and the talent is doing to know where the problems my be, and what to do to fix them. Too many shows ignore gain structure and balance and just want to be loud. Too many voiceover artists want to use loads of compression.
Q: What type of music do you usually work on?
A: I usually find myself doing voiceover work, rock songs, vocal pieces,live work has been with bigger bands and stage miking and recording, school productions of brass and jazz.
Q: Can you share one music production tip?
A: ALWAYS try to cut before boost. Start at zero db and go from there. Louder may sound better, but is almost never what you want. Also, Compress before EQ.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The Brimstones - Satan's Crate. It was a 45 RPM record release in 1999, and really sounds like old school surf/garage music. I mic'd the amps and drums in the bands basement, wit a lot of bleed and near reflections to grab the room and ran it to ADAT. That got mixed it down on a simple Mackie board with very little tweaking and just a hint of reverb on a few elements. The mix was run to DAT and then at the end, a wet master was made post-EQ by running it overdriven onto 1/4" with an Otari for some texture and compression. It really captured the vintage Surf and Garage sound the band was looking for.