Mixing & Mastering

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I created The Cleveland Recording Summit. It is a masterclass to teach artists or fellow audio engineers the recording process. I brought in award-winning audio engineer Mark Hornsby and Carl Verheyen, the lead guitarist of Supertramp and the first-call session guitarist for the stars.

Q: What questions do you ask prospective clients?

A: 1. Are your tracks appropriately named? Not simply named Audio 1-30. 2. What is the beats per minute - BPM - of your song?

Q: What was your career path? How long have you been doing this?

A: I have owned and operated Starsound Studios since 1993. I was self taught. Then, I thought I would go back to school and learn what I have been doing in the studio for decades. I have taken classes in the RAT program at the local community college. Everyone kids me that I am learning what I do everyday!!

Q: How would you describe your style?

A: I mix as the song dictates - so I am not a stylistic mixer. This means I can mix any genre of music, and it sounds like it is supposed to. Many are just pop guys, rock guys, etc. With Tonal Balance, I can always ensure genre-specific accuracy.

Q: Which artist would you like to work with and why?

A: Styx. They are my favorite band. Maybe I shouldn't because I wouldn't be paying attention to details and paying more attention to them...LOL

Q: What type of music do you usually work on?

A: With the use of Tonal balance, I can work on any genre of music and have the result of checking thousands of songs by Izotope at my fingertips. I can ensure genre accuracy and LUFS social media platform accuracy.

Q: What's your strongest skill?

A: Attention to little details that are often overlooked.

Q: What do you bring to a song?

A: I use the process above. I pay attention to every little detail and make sure they are adhered to. This way, the song will always sound the way it should by genre, LUFS standard, and no sounds will be masking each other.

Q: What's your typical work process?

A: I have a digital/ analog hybrid setup. A full Pro-Tools capability digitally. I also have an analog summing box, many analog 500 modules used on the way in, and a plug-in on a track-by-track basis. That is then fed to the mastering Rupert Neve modules and the Black Box, then back into Pro-Tools on an AUX track named return. That return track is bounced to another AUX track. That has Izotope's Tonal Balance, EQ, and Process Audio's Decibel Meter. This allows me to check my work against Izotope's compilation of thousands of genre-specific songs to create their unique EQ tunnels. Then check Decibel for the LUFS social media standard we need. When both of those are satisfied, I bounce the result to an audio track to be recorded as the master for that LUFS standard. Then I repeat the metering process for the other three platform standards.

Q: Tell us about your studio setup.

A: I have all the necessary analog and digital toys. The real-time energy and money were spent on the room. An acoustician professionally treated it. Then, I further enhanced that by purchasing a Trinnov ST-2 Pro. Through its computer, it analyzes the room and fixes any problems the treatment didn't. The result is a nearly perfectly flat room. Nothing is fooling me when I sit in the mix position to evaluate your track.

Q: What other musicians or music production professionals inspire you?

A: I have worked with some Award-winning greats! Fab Dupont in New York. Mark Hornsby in Dallas - He is my mentor and good friend. Ed Cherney - who's credits speak for themselves! Finally, Johnathan Wyner in Boston.

Q: Analog or digital and why?

A: Both at once...because I take advantage of the best in both.

Q: What's the biggest misconception about what you do?

A: That is is not time consuming. It takes time. Clients figure I can do 10 songs and it should take an hour. 5 minutes a song times 10 songs....presto!!

Q: What advice do you have for a customer looking to hire a provider like you?

A: We are all super capable. Who is the man or woman in the seat? Forget the size of the studio and gear. Can that individual see you and get where you project is headed. He/she should ask you questions...not the other way around.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: 1. my Neuman microphone 2. a really good pre-amp 3. a really good converter 4. computer 5. UAD plugins

Q: Can you share one music production tip?

A: One trick I use basically gives you strong mixes. Record to -16dB by setting your pre-amp and testing it with any plugin with a meter. This will insure that you have proper gain staging and your song can grow from there. If you are re-mixing - put clip gain on every track and reduce them to -16dB before you start mixing...basically the same concept only with pre-recorded tracks. This really works!!

Q: Describe the most common type of work you do for your clients.

A: Re-mixes and mastering. Also, recording vocals only over pre-made beats. Full band recording is what we are set up to do. Just bring guitars and drumsticks, we have the rest.