WHY SO CHEAP? A musician, FOH mix engineer, Studio Engineer and Mastering Engineer spanning 40 years. While always having a passion for music, during that time I had a corporate job that paid very well. I just took early retirement and can only make a set amount without having my benefit reduced.: [see social security doc. EN-05-10069.pdf] YOU WIN!
Budget mixing ($75.00) and mastering ($15.00) for the unknown and indie artist specializing in small scale projects that need quality sound at a budget price. I want to give back to the music that has been such a driving force in my life by offering services to those start up and indie artists that need help with cost and quality to make their dreams more real. I also am new to Sound Better and need to build a customer base.
I have a full compliment of Slate Plugins (everything) Waves, Gold bundle, Waves L316 bundle, Waves SSL mix buss compressor, Waves SSL G Channel,Waves Scheps Omni Channel, Waves Classic Compressor Bundle, Lexicon MPXi Reverb, Slate Verb Suite Classic Reverb, Eventide Harmonizer, Melodyne Pitch Correction, Eventide/New Fangled Audio Elevate and Equivocate mastering tools, Slate Digital FG-X Mastering Tools, Slate VBC Buss Compressors, PuigChild Compressor. Presonus suite of plugins, Presonus Studio One, Presonus Audiobox 22VSL Interface.
Contact me through the green button above and lets get to work.
2 ReviewsEndorse Budget Mixing and Mastering
- check_circleVerified (Client)
Budget Mixing and Mastering was a pleasure to work with. He let me know exactly what he needed and the whole process was quick and efficient!
- check_circleVerified (Client)
Great working with Joe. He really knows his stuff. Really nice, good communicating, and real professional. Would recommend him! Cool song too!
Interview with Budget Mixing and Mastering
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The song Cool and Johnny Cash, I wrote, produced, mixed and mastered and has been well received by my publisher. Being pitched to artists and labels in Nashville.
Q: What are you working on at the moment?
A: Actually co-writing a song with Frank Maroney and mixing songs that I wrote for my publisher.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Frank Maroney is a fantastic songwriter and singer!
Q: Analog or digital and why?
A: Digital with Analog Emulations. Digital is great for all the things we disliked about tape and analog, like high frequency loss due to wear, print through due to storage, shrinkage, punching in, editing. Analog emulations are great for all the things we love about tape and analog like the warmth and saturation that glues a track together.
Q: What's your 'promise' to your clients?
A: satisfaction guaranteed
Q: What do you like most about your job?
A: During the mixing process I focus on hundreds of individual details, with a laser focus on things like a kick drum attack, frequency balance, snare drum resonance, on and on and on. I like going back after a couple of weeks/months and hearing the mix again as a whole where I can hear the song more like it is the first time.
Q: What's the biggest misconception about what you do?
A: That it takes less time than it does
Q: What questions do you ask prospective clients?
A: Do you have a reference track that you think sounds good, that has similar instrumentation, feel and vibe so that I can get your mix as close to matching the sonic picture in your head?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Have your tracks cleaned up and sorted out so that only what you want mixed is there. For Mastering there is a checklist but no compression on the mix buss and no limiting on the mix buss with peaks around -3 to -6 DBFS.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Studio One, Slate VBC, Slate FGX, Presonus Pro EQ, Lexicon Reverb
Q: What was your career path? How long have you been doing this?
A: My first band was formed in 1975, First sound company owned was formed out of that band, L&L Sound started in the early 80
Q: How would you describe your style?
A: I like to be sure the there is sonic glue to a mix and to use all three dimensions of the soundstage with vertical frequency, stereo width and sonic depth.
Q: Which artist would you like to work with and why?
A: The Impossible Dream would be Jethro Tull
Q: Can you share one music production tip?
A: One thing I like to do is use what I call "Sparkleverb" which is a high pass filter @2K-5K followed by a reverb. Works well on vocals and drums to increase high frequency density versus high frequency amplitude.
Q: What type of music do you usually work on?
A: Country, Rock, Jazz
Q: Tell us about your studio setup.
A: I mix in the box using studio one software and plugins from Slate Digital, Waves, Eventide, Presonus, Voxengo
Q: What other musicians or music production professionals inspire you?
A: It's a very long and varied list, Jethro Tull, Reo Speedwagon, Pink Floyd, Beatles, Uriah Heep, George Strait, Garth Brooks, Kenny Chesney, Johnny Cash, George Benson, Al Jarreau, Hall and Oates, Darius Rucker, Los Lonely Boys, Carlos Santana, The Tubes, Toto, The Police, Queen, Blake Shelton, Glenn Campbell, Roy Clark, Mark Douthit, Bruce Springsteen, Tower of Power, Emerson Lake and Palmer, Badger, Deep Purple, Joe Jackson, The Eagles, Eric Clapton, Jeff Beck, John Sebastian, Ed Sheeran, Carrie Underwood, Miranda Lambert, Ashley McBryde, Reba, Adam Levine, GE Smith, Warren Zevon, James Taylor, Carole King, Billy Joel, Paul Simon and many many more...
Q: Describe the most common type of work you do for your clients.
A: Basic Mixing and Mastering