I'm a mastering engineer, producer, songwriter and multi-insturmentalist. I've worked along side Grammy winning songwriters such as Carl Sturken (Rihanna) and Andy Cardenas (Notorious BIG). I look forward to working with you to achieve that elusive, impossibly professional sound.
My professional services include:
• Mastering your already recorded music to make it louder, wider, warmer and more professional. When we work together I'll listen to recordings you like. Whether you want your song to be a pounding pop hit, a thick hip hop track or an indie track with the warmth that comes from a gentle and tasteful mastering.
I will work with you to sculpt your audio to sound like the music you love.
• Recording you in my New York studio. Here I have a lot of exciting production gear and a great setup for writing and recording. When you record with me in person, you really get the special treatment. I usually give my in person clients special access to my beats and introduce them to the right people in the New York area.
• Songwriting for pop artists and hook writing for hip-hop artists. I have a talented roster of male and female vocalists that I work with to make sure my clients gets a sound they're excited about. One of my writer's has worked directly with Wokka Flokka Flame, which you know, is pretty cool.
• Mixing for your project sessions. Send me your raw audio files and I will mix them to give create a balanced mix that is ready for mastering.
Send me an email through 'Contact' button above and I'll get back to you asap.
2 Reviews - 1 Repeat ClientEndorse Micah Kohn
Micah has extensive musical background and he is very informative about the foundations of making music. I have been able to jump start my music education with mini quizzes and techniques that have helped me to grasp some fundamental concepts. I will continue my tutoring and studying my notes, an awesome resource from our time together.
Amazing customer service, keeps in contact throughout the whole process, final project exceeded my demands
Interview with Micah Kohn
Q: What was your career path? How long have you been doing this?
A: I've been in music for at least 15 years. I started in competition jazz settings and eventually made my way towards songwriting. I started writing with a friend of mine with a taste for music production and bridged my way into it from there. I lived in Vegas and wrote for artists out there for a few years before moving about an hour north of NYC. I lived in Westchester and taught music lessons during the day while I ran recording sessions deep into the night. I had the chance to work with writers like Carl Sturken who has written for artists like Rihanna and Kelly Clarkson. I also did some writing alongside Andy Cardenas who has done work for Madonna, Boyz II Men, Lil Kim and a long list of other artists. I eventually was able to quit teaching, move from Westchester down into New York City and focus solely on producing.
Q: Can you share one music production tip?
A: People take for granted that what their recording is actually coming in on time. However, there's a lot of room for something to go wrong. If you're recording through a microphone, that microphone has to convert the sound pressure from the source (usually a vocal) to electrical current, your interface has to convert that electrical current into binary information for your computer and then your computer has to interpret that information and have it show up in your digital audio workstation of your choice. So you can check that everything is working as it should by trying this. Take the headphones you're monitoring with and mute them so they aren't playing back what's going into the mic. Next, turn on a metronome, hit record and hold the headphones over the microphone while the click plays. Then go ahead and take a look at your waveforms in your DAW. If the transients (peaks in waveforms) aren't lining up with the grid that divides the musical measures into beats, you've got a problem. If the metronome isn't lining up with the grid in playback, that means that no matter how in time or perfect a take is, it's going to sound out of time. This can usually be fixed by editing the sample delay in the preferences. Whatever you do, please don't try to avoid the issue by just nudging the audio files to the left or right. It's not going to fix the issue. There are so many different things that can cause this I'm going to restrain from writing a whole paragraph. But there's a tip!
Q: What type of music do you usually work on?
A: My work for clients is dominantly pop and hip-hop. I love to branch out but those are the kind of tracks that make their way across my desk most often.
Q: What's your strongest skill?
A: A strong suit of mine having an extensive background in music theory and composition. The concepts required to make a great arrangement are also concepts required to create a great mix and I think that's something a lot of people miss. Sometimes producers identify, "okay, there's a hole in the mix around 500 hertz" so they go and boost in the 500 Hz in an instrument that isn't directly creating the pitch of 500Hz, it's merely creating overtones/combination tones that include 500Hz. That translates to engineers making edits that "help" but don't really give a sound worth chasing.
Q: What's your 'promise' to your clients?
A: I'm not going to tell someone something sounds great when it doesn't. I'm upfront and honest. Sometimes people want things fixed in mastering that really can't be fixed because, for example, a vocal was recorded with poor technique. I'm not going to promise you something I can't deliver. It seems obvious but it happens all the time where mix or master engineers take work they know they can't get to a professional level and they just go "hey, that's what I was given to work with". I think that's dishonest and goes against the ultimate goal, which is to make great music.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I love music, but I'd probably have those 5 pieces of gear be relevant to my survival - if I'm being honest.
Q: What's your typical work process?
A: The first step is always getting to know the client. I want to know what music excites them, who they think has "that sound" and what they feel their strengths/weaknesses are. I'll also ask if they have experience working with other audio professionals to see if I can improve upon their past experiences. Either way, I want to know what they hope to get out of our work together as well as any concerns they might have. More often than not I'll put their file into my software with their reference track (a song by another artist they like) and perform a detailed spectrum and dynamic analysis. It's important to do audio work with your ears, not just your eyes, but this gives me a starting point and allows me to communicate in concrete terms how what they've brought to me differs from what they're aspiring to. I tell them what exactly I'm going to do to their music, how it's going to sound and what things might present issues for them as they chase the sound of their dreams.
Q: Tell us about your studio setup.
A: I have a handful of different studios that I work out of and where I work from is definitely decided on what the right tools for the job are. When I'm working from my home studio, I bounce between Logic Pro X and Pro Tools. I use Rokit KRK's to monitor, an Apogee Quartet with gorgeous transistors and have had my space professionally treated to ensure an accurate acoustic environment. I also check my mixes in Beats headphones which have a tendency to be a little bass heavy but are also representative of the speakers that most people are listening through be it in headphones, a car or a bar. I also check my mixers in a pair of Seinheiser headphones that I check my mixes/masters. You can't really get anything that sounds more accurate than Seinheiser headphones so I love to check my work on them, the thing is most people aren't listening on Seinheisers. I check my work on all 3 and that really gives me a clear picture of what's going on with my work. I mix and master with the Waves bundle with a collective value of over $15,000. I also use some products by iZotope and FabFilter. I also have some hardware gear that I work with. Outside of my personal studio, I work at NYU's flagship studio which features the best audio equipment that money can buy. I also work with a close friend in industry friend with an immaculate multi floor studio and finally I work out of Union Studios in Westchester now and again which is in fact the largest studio in state north of NYC.
Q: Describe the most common type of work you do for your clients.
A: Lately I've been doing a lot of exciting mastering work for clients. More often than not, artists will come to me with a file that came that is either self mixed or comes from an external mix engineer. We then talk about the music they love and who in the industry they think has "that sound". I also produce, sell beats and do other post production work such as cleaning up the pitch of vocals.