Classically trained but molded by aggressive modern genres, Evan Zegiel is a musical powerhouse. He offers remote mixing services, takes commissions for new musical compositions, and can be heard playing guitar, bass, and tuba on his recent genre-bending album "The Human Element." He also performs regularly on tuba with orchestras in the Midwest.
Evan Zegiel’s musical journey is a testament to relentless ambition and unwavering dedication, resonating deeply with an expanding audience beyond the conventional pathways of recognition. “The Human Element” emerges as a defining chapter in his repertoire, weaving the urgent narratives of climate change, existential uncertainty, and the quest for personal growth. A prolific composer known for his genre-bending compositions, Zegiel has opened a door to the musical underworld for classical musicians.
In his compositions, Zegiel masterfully balances the devastatingly heavy with the soaringly melodic, navigating the intricate dance between finesse and aggression. His classical career is dotted with notable highlights, including performances with the Detroit and Baltimore Symphony Orchestras, a fellowship with the New World Symphony, and accolades from prestigious competitions such as the Falcone Festival and the US Air Force Band’s Colonel George S. Howard Young Artist Competition. Dr. Zegiel holds BM and MM degrees in Performance and Chamber Music from the University of Michigan and a DMA in Performance from Michigan State University, where he studied with Fritz Kaenzig and Philip Sinder, respectively.
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Languages
- English
Interview with Evan Zegiel
Q: How would you describe your style?
A: I strive for honesty, rawness, and power in my work. I’m not sure if that’s a specific style, but it’s what I do. In any genre, these elements are crucial and can mean different things.
Q: What type of music do you usually work on?
A: I have the most experience as an engineer in classical, rock/metal, and electronic. I am very experienced recording both bass and tuba in a variety of genres.
Q: What's your strongest skill?
A: My strongest skill is my sense of rhythm, groove, and pocket. Every project has to groove, or it is worthless! Even an ambient track can groove. It's all about feeling and manipulating the pulse, the tension and release.
Q: What do you bring to a song?
A: I’m a big-picture thinker, always considering the overall structure of my work, whether it’s a 50-second punk song or a 45-minute symphony. Though it may not always be symmetrical, there’s always a plan. That approach allows me to make faster decisions in the writing process, whether I'm alone or working with a group.
Q: What's your typical work process?
A: I almost always start with the rhythmic elements or lowest voices, usually the bass-clef instruments in classical compositions and drums and bass in rock and pop. I prefer laying the foundation first before adding the top layer. It’s uncommon for me to compose a melody without some inspiration from the accompaniment.
Q: What other musicians or music production professionals inspire you?
A: Bass: Victor Wooten, Adam "Nolly" Getgood, Marcus Miller, Les Claypool, Christian McBride Tuba: Jon Sass, Patrick Sheridan, Carol Jantsch, Bill Muter, Nat McIntosh Guitar: James Hetfield, Jesse Cash, Tom Morello, Mark Morton, Joe Duplantier Production: Nolly, Will Putney, Simon Grove, Jeremy McKinnon, Garth Richardson
Q: Describe the most common type of work you do for your clients.
A: Session Work on bass (guitar/upright) and tuba, along with audio engineering. I'm most familiar with producing classical recordings, but I'm well versed in rock and metal production and various electronic genres.
I was the Mixer, Composer (electronic tracks only), Performer (tuba recordings only) in this production
- TubaAverage price - $100 per song
- Composer OrchestralContact for pricing
- Bass ElectricAverage price - $50 per song
- Electric GuitarAverage price - $25 per song
- Mixing EngineerAverage price - $75 per song
- EditingAverage price - $10 per track
- Full instrumental productionContact for pricing
Up to two revisions included. Turn-around varies based on project/track length and scope. Ex. The average 3-5 minute song mix: about a week. Tracking a single part as a session player, 3-5 days. Etc.
- Gojira
- Green Lung
- Meshuggah
