Los Angeles native with thousands of disc recordings under his belt. What unique concept does your project have? I would love to help you achieve it.
For over half a decade he learned and worked along side the GRAMMY-Award/Nominated Mastering Engineers at Infrasonic Sound Mastering, he retained a classic Mastering approach through their historic equipment; Old School Roots armed with Modern Techniques. How may i help finish your current project?
Would love to hear from you. Click the contact button above to get in touch.
- Le Butcherettes: A Raw Youth
- Tom Waits: Alice
- Tom Waits: Blood Money
- Tom Waits: Real Gone
- Salems Pot
- Brown Acid: The Third Trip
- Crooked Bangs
- Brown Acid: The Fourth Trip
- Shooting Guns
- Slow Season
- Zig Zags
- Larry and His Flask
- Mother Mother
- Black Pussy: Magic Mustache
- The Wonder Years: Music From The Emmy Award-Winning Show And Its Era
- Elvis Costello And The Roots – Wise Up: Thought - Remixes & Reworks
- Syd Arthur – On An On
- Brandi Carlile – The Story (re-issue)
- Andrew McMahon In The Wilderness – Zombies On Broadway
- The Parallelograms – Stratospheric Dreams
- Quasimoto – Yessir Whatever
- Charizma & Peanut Butter Wolf – Circa 1990-1993
- The Lions meet Dub Club
- Myron & E – Do It Do It Disco
- Homeboy Sandman
- Quasimoto – Further Instrumentals
- Kings of Spade
- Mammoth Indigo
- Be Calm Honcho
- The Non-Commissioned Officers
- Chicano Batman – Black Lipstick
- Gabie Strong – Sacred Datura/Peaked Experience
- More Images Scott Bartenhagen – Black Dane
- Scott Bartenhagen – Black Dane
- Motoaki Furukawa – Sunset Riders
- Takeshi Furukawa – The Last Guardian
- Ron Wasserman – Power Rangers: The OG Soundtrack
- Monument Valley Original Game Soundtrack
- Jonathan Geer – Owlboy
- Runbow Original Soundtrack
- Jason Isbell
- Chris Stapleton
- Paul Haslinger – Resident Evil: The Final Chapter
- Cover Stories: Brandi Carlile Celebrates 10 Years Of The Story - An Album To Benefit War Child
- John Camp – Mistral EP
- Davis – This Time With You
- Benoit & Sergio – Old Streets
- Soul Clap records - Peep This / Slow Motion
- Blue Snaggletooth – Beyond Thule
- The Mantles – Long Enough To Leave
- Ori And The Blind Forest (Original Soundtrack)
- iam8bit - Killer Cuts
- Swiss Army Man (Original Motion Picture Soundtrack)
- Mark Lanegan & Duke Garwood – Black Pudding
- Fantômas – Wunderkammer
- Yasmine Hamdan – Al Jamílat
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Interview with phillip s. rodriguez
Q: What was your career path? How long have you been doing this?
A: i would have first been caught playing drums for numerous groups in East Los Angeles. Always finding visits to recording studios incredibly comforting, leading to the obsession with all that it entailed. Acquiring a formal education at Pinnacle College (aka SoundMaster, founded by Brian Ingoldsby), then gained an internship at Infrasonic Sound Recording Co. during Eric Palmquist's reign as Studio Manager (now Palmquist Studios). During the internship, Co-Owner and Mastering Engineer Pete Lyman noticed my devotion, and offered to hire me as his Mastering Assistant during the swell of the upcoming Vinyl Resurgence. Shortly afterwards, Infrasonic Mastering was opened in Echo Park, where i managed the Vinyl Cutting for the studio for more than four years. In total, i have been Mastering for over 6 years, with years of tracking and mixing expertise to provide a valuable insight that helps keep all our bases covered during the final steps of your production.
Q: What do you bring to a song?
A: My Mastering provides a Deep, and rich low-end. Attention and definition to mid-range enhancing details of your song, and treating the top-end to provide a brilliant presence to your track. A collaboration with my un-biased opinion has helped realize another valuable perspective, offering aid and even enhancing the vision for your project.
Q: What questions do you ask prospective clients?
A: Are you currently satisfied with your track? if not, what would you change or alter? Is it too late to do it? if satisfied, what do you like most about your track so far?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Having references and a concept to discuss greatly helps me understand what you are looking to create and finalize. These examples provide me valuable insight into your vision, and generally give us a more speedy and accurate result. Having all required formats and details of your project helps move things along seamlessly!
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Five unbreakable tools, used to make endless instruments on the island! muahaha! But honestly... (1) 1961 Gibson SG Special, (1) Alembic Series II in Schedua with 1970s Standard Omega Body (installed with a badass II bridge), (1) Cali76, (1) Marshall JCM 2555SL Slash Signature, (1) DT770 PRO
Q: How would you describe your style?
A: Somehow Classic and Modern; a paradox.
Q: Which artist would you like to work with and why?
A: Nils Frykdahl (Sleepytime Gorilla Museum, Fawn Fables, Free Salamander Exhibit) Fantastic concepts featuring beautifully horrific and eerily relevant scenescapes, he participated in works that i can never allow to be too far from my hands reach! Alain Johannes: From QOTSA to PJ Harvey... the approach and execution of his work was immensely helpful to my understanding of conceptual mixing and how essential a vibe is, for each and every track. The Black Dahlia Murder: Detroit badasses who have always been true to their sound and style. Having eight studio albums and successful tours each and every year, these masters ooze experience- you're wizards!!
Q: Can you share one music production tip?
A: Before you pick up your instruments- are you writing a song? If yes, pre-production before production!! Avoid writer's block by having doing a bit of research on what ever you're inspired to write about. Find new ways to say things, and pour yourself into it. It's what will make it truly one-of-a-kind, no matter the topic!
Q: What's your strongest skill?
A: Excellent communication and willingness to understand your project's concept and needs. It is a service industry after all!
Q: What's your typical work process?
A: Mastering: i study the references and concept description alongside the first listen of your mixes in sequence. I take notes to provide a guideline of execution, and then dive in. A dialogue may begin between me and my point of contact before pressing forward with anything that is questionable to my ears. After the Master Reference is approved, final files and required data are rendered and delivered back to you, to ensure safe keeping of your master files.
Q: What other musicians or music production professionals inspire you?
A: I'm inspired by anyone who is willing be vulnerable, and release their art to the ever growing masses; but when all involved are in sync with the same intention, that's when real magic can be recorded... collaboration is my inspiration.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: John Greenham Mastering- amazing works and always a pleasure!
Q: What's your 'promise' to your clients?
A: That we will achieve the best possible result. Once it's out there, there is no taking it back!
Q: What do you like most about your job?
A: Art is decoration for a Space, but Music... that is decoration for Time. To help people decorate their time while they do what life asks of them, provides a most wholesome feeling knowing we are aiding in men and woman's experiences of life.
Q: What questions do customers most commonly ask you? What's your answer?
A: What are your rates? * It actually does vary! i want every artist to have a chance to have their releases cared for, just as any signed artist would be expecting from their hired team. As a freelance engineer, my primary focus is to fulfill your vision- so we can look back at your completed project, and be proud of every second of it. Regardless of what budget limitations may be.
Q: What's the biggest misconception about what you do?
A: "Mastering Engineers make the track(s) loud and professional sounding" I believe the misconception about this, is the fact that we are considering the modern age as the latest and greatest. ...and so, perhaps after a brief discussion many would begin to agree all the best works have been achieved years ago- and a proper Mastering Engineer will find that familiar vibe or sound, and bring it to the forefront, or keep the songs in a consistent space; so it doesn't appear to a listener as a compilation album. Instead we create a cohesive concept you can visit time and time again.
Q: What type of music do you usually work on?
A: Americana, Hard Rock, and Metal
Q: Describe the most common type of work you do for your clients.
A: Digital Mastering: Assemble final mixes, treat audio for maximum clarity and balance, embed data, and create pre-masters (ie. DDP) for distro and duplication. Vinyl transfer Preparation (Treating final mixes to accommodate disc recording limitations, provide all necessary documents for your Vinyl Cutting Engineer) Mixing: Triple check Audio files provided for bad-edits, audio anomalies, and minor/major inconsistencies in tempo or playing. Balancing all levels of your multitrack session down to your project's required format. Achieving a virtual space and performance for your recorded project to perform in/as, via details you instruct to me.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Working alongside iam8bit on some of their wonderful vinyl releases during my time at Infrasonic Mastering. I acted as their audio consultant and Vinyl Mastering Engineer for releases spanning from 2015-2017.
Q: What are you working on at the moment?
A: Tim Hayn's new solo record (live multi-instrumentalist for Igor and The Red Elvises).
Q: Analog or digital and why?
A: My humble opinion, is to first ask "why" analog or digital? There are now clear advantages to each format, and it shouldn't be a contest. Always choose what is better for the song.