Paul Vazquez is a veteran of location recording and routinely records for artists across wide ranging genres. Labels such as Sony, Glassnote, Windup and more at venues from NYC to D.C., including Bowery Ballroom, Le Poisson Rouge, Mercury Lounge, Highline Ballroom, Music Hall of Williamsburg, National Cathedral, 9:30 Club and more.
Digital Mission Audio Services is proud to be a trusted audio solution to the music industry's wide ranging creative community. Our services span many genres and we have some great gear and the experience to realize your vision:
Flight case on site recording via Merging Horus. 48 Channels of Horus Remote Preamps + additional channels of preamps by Vintech, Midas , Manley and DAV. 48 Channels of back up recording via JoeCoe, ISO transformer split, ambient microphone package. Merging Horus can take Coax and Fiber Madi in for easy integration with touring setups.
We are proud to have been apart of Philadelphia based professional choir The Crossing for a number of years and congratulate them on their second straight Grammy in a row for Best Choral Performance!
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
1 ReviewsEndorse Paul Vazquez - Digital Mission Audio Services
Here at Baeblemusic we often refer to Paul as our secret weapon. His skill capturing and mixing live audio is an essential part of our business and we are grateful to have him. Also of note are his interpersonal skills. He deals with a variety of personnel in challenging production environments and always comes away with superior sound. Hire Him
Interview with Paul Vazquez - Digital Mission Audio Services
Q: Describe the most common type of work you do for your clients.
A: On site multitrack recording, mixing and editing.
Q: Tell us about your studio setup.
A: Merging Horus AD/DA, mics by Neumann, Josephson, AKG. The Horus interface is networked on GB ethernet (Ravenna Protocol) so I can locate the I/O on stage and setup the control room in a less crowded or quieter location.
Q: What's your typical work process?
A: For concert recording, pre planning and communication with the venue, TM's and FOH are key. From there I can assess what's needed for a successful capture.
Q: What's your strongest skill?
A: Strong musical sensibility, troubleshooting skills,
Q: What type of music do you usually work on?
A: indie, pop, classical/choral, music theater
Q: Can you share one music production tip?
A: watch those levels!
Q: What was your career path? How long have you been doing this?
A: I started out with a Music ed. degree. My interest in recording took over after graduating and I've continued to follow that path now for over 15 years
Q: What advice do you have for a customer looking to hire a provider like you?
A: Choose locations carefully. Make sure everyone on a touring team/performing artist/band is on the same page. It's not uncommon for me to arrive on site and not be aware of a recording taking place.
Q: What questions do you ask prospective clients?
A: The most important things I ask for are tour personnel and venue contact info, proper stage plots and input lists for all acts.
Q: What do you like most about your job?
A: Recording artists in unique spaces such as rooftops, pro houses, barber shops. It's always a challenge but the end results are always rewarding.
Q: What's your 'promise' to your clients?
A: For the on site recording gigs, that they trust me with their concert audio. I run my main rig as well as separate backup recorders to ensure a deliverable product.
Q: Analog or digital and why?
A: For my world, digital has become the necessity, with some nice preamps on the front end for some added character. I really like my Vintech 473 and Manley tube preamps.
Q: What are you working on at the moment?
A: Various on site recordings and mix work featuring artists like Colony House, Boy and Bear, Jilette Johnson, Panama Wedding, Bears Den.