There's a difference between a simply good mix and a mix sounding like a "record." If you want your record to sound like a "record," get at me. I am a Berklee College of Music alum and solid producer/engineer for over 25 years.
For any song and recording to successfully compete in the market, the sonic quality must showcase the nuances that make them special. I mix every record to its uniqueness in song, sound and flavor. My mixes are transparent, dynamic and finessed to commercial standards. I have a 25-year history working on SSL consoles (of every series) in studios across the US, including: the Power Station (NYC), Westlake (LA), Kampo (NYC), Paramount (LA), the Cutting Room (NYC), Quad (NYC) and Unique (NYC). Now, I mix entirely “in-the-box,” utilizing Solid State Logic’s “Channel Strip 2,” modeled for the 9000K console.
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Interview with Chay Alexander Wright
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I wrote the first book of a four-part series on artist development, called "The Complete Artist Development Series." The released volume is "the Collaboration," and is available on all digital book platforms. This volume serves as a very useful tool for artists, producers and songwriters to protect themselves and each other in music collaborations.
Q: What are you working on at the moment?
A: I am finishing mixing Alternative-Pop artist, v1rian's, debut album, for a November release.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Not right off-hand.
Q: Analog or digital and why?
A: Digital. The absence of electronic noise in recordings and advancement in plugin technology makes it easy to achieve analog warmth, while making the cleanest recordings, possible. I don't miss the days of editing on tape. As much as I'd rather not deal with editing, there was nothing fun about editing tape with razor blades and masking tape.
Q: What's your 'promise' to your clients?
A: I make no promises. I simply do my work to the artist's / client's and my own satisfaction and elation.
Q: What do you like most about your job?
A: I love everything about producing and engineering - except, editing vocals.
Q: What questions do customers most commonly ask you? What's your answer?
A: What do you think of my song? - I give them the truth.
Q: What's the biggest misconception about what you do?
A: That anyone with a computer can do it.
Q: What questions do you ask prospective clients?
A: Where do you hear your song playing? What is the emotional you want to convey or evoke when someone listens to your song? Who/what are you listening to for inspiration? Tell me about your journey?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Select creatives and technicians by the sonic and emotional results of their work, not their credits. A person's credentials mean nothing if your song sounds bad, at the end of the day.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: my computer, a guitar, MPC, Zen Go interface and Sennheiser headphones.
Q: What was your career path? How long have you been doing this?
A: I've been doing this, professionally, for over 25 years. I started producing and engineering in high school and continued on through my time at Berklee. up through now.
Q: How would you describe your style?
A: Urban-Pop: an eclectic mix of genres centered around dope grooves and fantastic stories.
Q: Which artist would you like to work with and why?
A: You. I enjoy working with any artist that contributes something new and strong to game.
Q: Can you share one music production tip?
A: Always dare to be original and figure out how make your uniqueness work within current sounds and trends. Originality distinguishes you from everyone else in the game, which allows you to stand out.
Q: What type of music do you usually work on?
A: Pop, R&B, Alternative, Rock, Contemporary Jazz
Q: What's your strongest skill?
A: Listening.
Q: What do you bring to a song?
A: I bring the ability to maintain the integrity of a song and recording, by ensuring all sonic depth and color are realized to help a record maximize its commercial potential.
Q: What's your typical work process?
A: I first like to find out what some of the favorite things about the song and recording are, from the artist. Then, I listen, make notes and find a solid track to reference for sonic competitiveness. Once, I get the mix close to "final," I send a sample to the artist for approval and notes and then, do final adjustments.
Q: Tell us about your studio setup.
A: My DAW's are: Nuendo, Pro Tools and MPC2. I mainly mix in the SSL 360 environment with hundreds of plugins from Waves, UAD, plugin-alliance, and Antelope Audio, etc. I have Antelope Audio interfaces with Yamaha HS7 and Focal Trio 11 reference monitors.
Q: What other musicians or music production professionals inspire you?
A: Quincy Jones, Bruce Swedien, Mike Dean, Butch Vig, Leslie Brathwaite, the Weekend
Q: Describe the most common type of work you do for your clients.
A: I mainly do mixing, aside from producing.
I was the Producer and Engineer in this production
- Mixing EngineerAverage price - $600 per song
- Dolby Atmos & Immersive AudioAverage price - $200 per song
Two (2) revisions included in initial fee. Each additional revision and alternate mixes are an add'l $125/hour. Dolby Atmos mixes are add'l to stereo mixes. See website for more details.
- Nuendo
- Pro Tools
- Antelope Audio Galaxy 32 and Zen
- Solid State Logic UC1
- Avid Dock
- Yamaha HS7 monitors
- Focal Trio 11 monitors
From September 15 thru October 15, SoundBetter visitors are 25% of of my regular rates: one (1) mix for $375; two (2) mixes for $560.00(US); three (3) mixes for $845.00(US): must be booked/billed in the same invoice.
