I'm a 30 year veteran and multi award winning mix engineer in the music industry and current voting and music submission member of the Grammys. I graduated from New York University in audio engineering and music composition, I have worked at such famed studios as Electric Lady, Soundworks, NYU Studios, and my own.

In addition to my work as a mix engineer and studio owner, I am also a former Geffen and Music For Nations touring musician. I created the high fidelity sound at the famed Callahan's Music Hall in the Detroit area. I still enjoy mixing national artists in that esteemed venue.
I've worked with artists such as:
Larry Carlton, Shep Pettibone (Madonna, Janet Jackson), Johnny Winter, Hubert Sumlin, Eddie Clearwater, Tony Levin, Andrae Frappier, Lars Ulrich, Big Head Todd and the Monsters, Lydia Loveless, John Mayall, Dick Wagner, Jimmy Thackery, Nikki James, Joanne Shaw Taylor, Samantha Fish, Rio and the Rockabilly Revival, Coco Montoya, Shaun Murphy, Jim McCarty, Cactus, Corey Harris, Ike Willis, Tab Benoit, Pierre Bensusan, Duke Robillard, John Gorka, Graham Parker, Lonnie Brooks, Ronnie Baker Brooks, Guitar Shorty, Paul Warren, Chris Cain, Janiva Magness, Bruce Katz, Thornetta Davis, Moreland and Arbuckle, Wishbone Ash, Johnny A., Tommy Ramone, John Nemeth, Bernard Allison, Justin Towns Earl, Blackberry Smoke, Ana Popovich, Carrie Rodriguez, Jeremy Spencer, Sarah Lee Guthrie, Warrior Soul, Charlie Musselwhite, The Rockets, Bubby Webb, John Lee Hooker Jr., Cedric Burnside and Lightnin Malcom, Devon Allman, Johnny Thunders, Jill Jack, Motor City Josh, Tino Gross, Billy Duffy,

Gear highlights

  • Universal Audio
  • Waves plugs
  • Steven Slate
  • a host of vintage audio components
  • Adam and NS-10 monitors
  • components used at Motown's Hittsville Studios in Detroit.

Genres I specialize in

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Interview with Peter Jay Mix Engineer

Analog or digital and why?
Hybrid. They both are necessary. Digital is great for editing and speed. Analog is great for coloring and bringing the music out of the sterile, digital world and into a pleasing, aural environment.
What's your 'promise' to your clients?
"I'll work it till its done"
What do you like most about your job?
What I like most is the partnership with an artist. To bring into the world their music how they imagined it, but with some really nice surprises. I want to give them what they want, but I also like to use my craft and artistry to give their vision life.
What questions do customers most commonly ask you? What's your answer?
A common question is "Can you make this sound great?" My answer is, Yes. Is the song great? We'll see.
What's the biggest misconception about what you do?
The biggest misconception is that mixing is crude art form. Like finger painting. It's not.
What questions do you ask prospective clients?
My question is what song productions, new or old, would they feel would benefit or enhance their sonic vision. I ask them to share with me what inspires them. What vibe are they going for.
What advice do you have for a customer looking to hire a provider like you?
My advice would be to hire someone that wants to see your vision through, and even surprise you. Imposing THEIR will on YOUR music, I believe, is arrogant.
If you were on a desert island and could take just 5 pieces of gear, what would they be?
I would take my Apollo, Adam A77Xs, my collection of rare analog components, custom self-made ribbon mic., and self-modified ADK A-48 tube mic.
What was your career path? How long have you been doing this?
My career path was becoming a musician first. Following that I went into composing. I then gained my degree in Audio Engineering from NYU. After college I worked in Sound Works Studio, Electric Lady, and NYU studios. I was then hired to tour as a guitarist in a Geffen band, playing shows with Metallica, White Zombie, Skid Row, etc. All the while I also owned and operated my own studio in Brooklyn, NY. and shortly thereafter, I owned and operated another studio in LA. I then returned to my hometown, Detroit, Rock City, where I have remained and owned and operated Peter Jay Audio Post. I have been on the engineer's side of the glass ever since.
How would you describe your style?
I would describe my style as thick, warm, and a hybrid of digital and analog.
Which artist would you like to work with and why?
Robert Plant because anything can happen!
Can you share one music production tip?
Listening to classical music will show you how the layering in instruments is done.
What type of music do you usually work on?
I usually work on americana/roots, blues, rock, classical and jazz.
What's your strongest skill?
My strongest skill is layering musical events to create a cohesive sound. My editing skills are highly regarded.
What do you bring to a song?
It's what the song brings to me that guides me in my sonic approach. I am a vehicle for the artist's sonic vision of a particular piece of music as heard via my mixing technique. Sometimes I am given free reign, however all of this is done under the umbrella of my signature sound.
Tell us about your studio setup.
My studio is primarily a mix and mastering room that can also facilitate overdubbing. My tools consist of Pro Tools, Apollo, UA plugins, waves, other hand-picked plugins, as well as a fine collection of vintage gear components. My monitoring setup is the Adam Audio A77X, Yamaha NS-10, and Auratones monitors.
What other musicians or music production professionals inspire you?
I am inspired by T-bone Burnett, Sir George Martin, Bob Clearmountain, Bob Rock, Frank Zappa, Mick Guzowski
Describe the most common type of work you do for your clients.
Following an artist consoltation regarding their sound, I clean up submitted tracks and prepare for mixing. In mixing each artist's song it could take 10-30 hours to accomplish the artist's sonic vision. I also master upon artist's request and produce if additional tracks are needed.