I have roughly 9 years experience as a sound engineer. It is my goal to make the sounds in your head, the tones that we all feel.
I specialize in Heavy Metal/Alternative Metal/and Hard Rock, but I am familiar with other styles and I am more than happy to explore alternative genres. Until I perfect my recording techniques, I believe that I am better suited for Mixing and Mastering; although I am a studio musician for hire as well (guitarist, drummer, bassist, and background vocalist) If you have guitars or bass tracks that need reamping, I can also facilitate that as well. My main interest is learning, and making music sound as good as possible depending on the clients needs; if you favor volume over dynamics, that is no issue, vice versa.
Would love to hear from you. Click the contact button above to get in touch.
Interview with SilentFair
Q: Tell us about your studio setup.
A: Still in the beginning stages of recording. Nothing too elaborate. I have two series 3 JBL monitors for playback and the matching series subwoofer, Audio Technica ATH-M50's (love them.) A couple MXL condensers for recording. A couple 57's for guitars, and a shure kick mic for the bass guitar. Mesa Boogie: Roadster, Dual Rectifier, and Mark V. (looking at getting a Mesa Boogie Subway head in the future. Not endorsed by Mesa, though I would love that, I just really love their quality and sound.) A Marshall Code 50. Finally, the Roland V-Drums TD-30 (Fricken LOVE it. Most naturally feeling electric kit I've ever played. Hands Down.)
Q: What's your strongest skill?
A: Recording guitars.
Q: What type of music do you usually work on?
A: Heavy Metal.
Q: What's your 'promise' to your clients?
A: If there is any way that I can make this mix sound as good and feel as you want it to, I'll do it.
Q: What are you working on at the moment?
A: I'm currently working on my own album: Silent Fair | Cycles and Waves.
Q: What's your typical work process?
A: When listening to a new song for the first time, I set up my project window by making separate busses for the different instrument groups to help organize and understand the underlying structure of the song. Then I listen to the tracks individually to get a better understanding of the kind of room conditions they were recorded in and miking techniques used to capture the sound. After that it's basically make sure the instruments groove together, and see what I really need to do to make this something you would be happy to show your friends. (Or shove in your ex-lovers face..take that Tracey...)
Q: Which artist would you like to work with and why?
A: Seether would be my dream. I love the feel an honesty of their music, and their latest album Poison the Perish really brought them back to the organic and authentic vibe that I love.
Q: What do you like most about your job?
A: I love the fact that I get to constantly work with new music, and aspiring musicians!
Q: Describe the most common type of work you do for your clients.
A: Mixing and Mastering songs.
Q: What other musicians or music production professionals inspire you?
A: The main producer that got me interested was David Bendeth. The album We Are Not Alone from Breaking Benjamin just really felt so organic an open to me.
Q: What do you bring to a song?
A: I can bring a world of dynamics and punch, or window shattering volume if you like, but it really depends on what the song is calling for. Maybe a little background synth to sizzle the higher frequencies during your chorus, or a soft cello during that slow break, possibly you might need me to turn those guitars up to 11 during your djent breakdown? Music is subjective and the only thing that is truly alive, and in constant flux. (...unlike Tracey...)
Q: Can you share one music production tip?
A: You have to learn how to step away from your mix for a few minutes. I can't count the amount of times where I felt like my mix sounded like complete garbage, and then I'll return to it an hour or even a day later to hear it again with fresh ears. It makes a real difference. You still may not like the way your mix sounds, but you'll have emptied your head and thought of new ideas to try.
Q: What was your career path? How long have you been doing this?
A: I have been recording since I was 16, and went to college to study Sound Engineering. I am currently a full time Meat Department Manager, but would really love to build my musical portfolio here so I can be a full time Mixing and Mastering Engineer
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I've asked myself this many times, but always get caught up in the technicalities of it. This isn't Lost. You won't have electricity on a desert island. Do strings count? Like if I take my acoustic with me, would 4 sets of strings be all I can take? Cuz that sucks...I mean yeah I have some spare sets man, but I don't have any of the equipment to change them...
Q: What advice do you have for a customer looking to hire a provider like you?
A: Talk me through what you want out of the mix, and who you want to sound like. If I'm mixing, I can't fix a shit recording. I can make it better, but I can't polish a turd. It's always very helpful to tell me a specific song that really captures the sound you are trying to emulate, or even something simple like, "Hey can you make the snare sound like the one on Lights and Sounds from Yellowcard? That shitz tiiiiiiiiiggghttt!"
Q: Analog or digital and why?
A: If it's an either or question, Analog. Because there is a difference, and that's not just derived from the obvious amount of professionals that use analog gear for just about all of their recording needs. To me, analog gear just resonates in a way that sounds more real, like the sounds are happening in your room with you. Spatially, digital gear feels flat unless you really stress your CPU with a metric ton of plugins, and it just last that natural harmonic thump or hum or sparkle of analog.