Hybrid Analog-Digital mixing and mastering at affordable rates with a weird ear for anything delightfully artful; from bluegrass and singer-songwriters, to post-punk, krautrock and more. Using a digital/analog approach, Graham has over 10 years of experience mixing and mastering albums and film soundtracks for artists and bands around the country.
One-third of Chicago art/space-rockers Fotosputnik, Graham Grochocinski has served as the group's recording/mixing/mastering engineer since day one, utilizing the studio as an important tool in part of the band's experimental sound and workflow. He has since mixed and mastered for other indie, ambient and experimental artists around the country who share his vision for all things oddly hypnotic. Using a hybrid digital-analog mixing and mastering approach, Graham embraces the limitations and happy accidents of working with analog consoles while deploying efficient digital techniques when surgically precise edits are necessary. When not mixing or mastering in his home studio, Graham operates a mobile digital recording rig, preferring to track bands outside of professionally treated recording studio live rooms and instead where they're most comfortable or in unique and interesting spaces that fit the artist's needs.
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Interview with Graham Grochocinski
Q: Analog or digital and why?
A: Both! Analog and digital both offer their own benefits and limitations. In life, everything is best left to a fine balance. I approach music production in the same way. Though analog may or may not sound "better," I feel that it sounds "different" enough to warrant its use and allows me certain creative limitations which put the focus on the vibe, mood and feeling of a track rather than waveforms on a computer screen.
Q: What was your career path? How long have you been doing this?
A: A journalist and marketer by trade, I've been in bands since I was 11 years old. After taking on recording for my own bands, I fell in love with the art and began sitting in on sessions whenever possible in college (Univ of Illinois), Chicago and even in France.
Q: Can you share one music production tip?
A: Beware over-production and spending too much time on one thing. There's a reason why your first rough mixes generally have some "magic" to them.
Q: What other musicians or music production professionals inspire you?
A: Conny Plank, Brian Eno, Ty Segall, Nick Cave, Chris Thile, Wire, Can, Neu!, BADBADNOTGOOD, Califone, Field Music, David Bowie