Music Engineering:


As you have seen in other parts of my pages, I have a lot of experience doing sound engineering. My dream is to become a music recording/mixing engineer. I have a LOT of hardware and plugins at my home studio. I have about two racks that are about my height full of vintage compressors and EQ's and reverbs. I've got top of the line plugins that are designed to be either very clean digital effects or designed to emulate specific hardware that you can only find in high end studios. 


Also, my room is tuned for mixing. I used a flat measurement microphone and software that goes with it as well as various acoustic treatment to make the sound as flat as possible. I have Yamaha HS-50M speakers (the newer version of the classic NS-10) along with the HS-10 which is the matching sub-woofer, so I can get more low-end than the average home studio. All of the hardware and plugins ensure that the sound is going to be as good as you could get at a top-notch recording studio. I have spent a great amount of time finding the best plugins, and my favorite are the Slate Digital emulations of console EQ's and compressors and tape machines. I use those all over my mixes and they sound amazing. 


I also have some rare items. Analog delays, including an actual tape delay/echo for that authentic analog delay sound. As well as a BBD analog delay unit. I have several Neve clone preamps and EQ's and compressors. I also have an 1176 clone (with top notch transformers to get that analog saturation that makes it so magical), a Pultec EQ clone, an API mic pre clone, a TL Audio C1 Tube compressor (the best compressor I've ever used, honestly...and that includes LA-2As and 1176s), a Colour Pallette (which is basically a unit where you can switch in different types of actual analog distortion cards to get various analog flavors and subtle distortions, great for adding that magic sheen that is usually only attainable through using old gear) and several Trident clone EQ's (made by Toft, which is designed by the same guy who made trident. This includes a stereo channel strip with Toft (Trident) mic pre's as well as the VERY famous EQ's, some would say the EQ's are among the best in the world, and also includes a FET compressor. With all of this I can give you anything from very clean sounds to very analog-colored sounds. Click here for a list of all of the equipment I have available. Click here  for images of Little Home Studio v2.0.


I also have several mics that I have made myself. Among these I have a clone of the famous Royer ribbon mic, a U47 clone, a C12 clone, and multiple U87 clones. I also have the usual assortment of SM-57 mics and various ribbon mics that are industry standards that you'd expect any/every recording studio to have. I also have a modified SM-57, which is not something you can find at most recording studios, to help you get that unique sound that you are after. The clone mics I have made are outstanding. For my own album, I originally had the opportunity to record vocals on an actual vintage U47, which sounded great, but ended up rerecording many of them through my clone because I liked the sound of it even better.


Unfortunately, I live in a condo, so volume has to be somewhat limited. We can get it fairly loud on playback, but as far as cranking guitar amps or tracking drums, that would have to be done somewhere else. But I have a couple of low-powered tube amps that will give you that tube-driven sound along with a POD amp emulator, along with an arsenal of amp emulator plugins, so the guitar tone you are after will not be difficult to achieve. I also have a jag-stang, Les Paul clones, a Gibson SG, a Fender Duo-Sonic with custom lace sensor pickups, a couple of amazing sounding acoustic guitars, and a Fender Jaguar bass guitar that I absolutely love and is my favorite bass guitar that I've ever played. I also have MANY guitar effect pedals, including various analog delays, so I can guarantee you can achieve whatever sound you envision.


Click here for a sampling of recording and mixes I have done.


I have years of experience mixing various genres, but specialize in rock and/or grunge. I've also done a fair amount of rap tracking, mixing, and mastering. Another thing I've learned is the proper way to mic up a drum set so that there are minimal phase issues. This is something that is learned over years and years of experience and/or through reading entire books devoted to the setup of microphones on drums. I took the route of both experience AND reading. As you will see when you come into the studio, my bookshelves are FULL of books on mixing techniques, interviews with legendary mixers/trackers, and any and every book related to audio and the manipulation of it.


If you want samples of music I have mixed or recorded, send me a message and I can send you song samples. I don't make it a habit to give out client mixes without their approval, so it will be limited to the clients who have given approval for me to share their mixes along with my own musical projects.


I take great pride in my work and almost NEVER use presets with my plugins, I prefer to always create my own sounds for each individual project, so you will not get a preset in your mix, you will get an original sound that is well suited to your artistic vision.


Since it is a home studio and many people have doubts about the quality that can be obtained, I have a policy that if you don't like what you have recorded/mixed for the day, you can leave without paying and without the audio files. But, so far, not a single client has taken this route. Everyone has been extremely pleased with the sound achieved as well the amount of time it took to get a great sound. I work extremely fast and have mastered all of the features of my hardware and plugins, so I can get the sound you hear in your head into the computer extremely quickly.


Studio time is $35/hour, but like I said, I work extremely quickly and do not waste time messing around with bells and whistles in the software or hardware, because I already have mastered all of these, I know exactly which knob needs to be manipulated.


For file delivery, I can give it to you on your thumb drive, I can send it online, I can give you the Pro Tools session, I can make stems, I can give you a pre-mastered mix of the song if you are going to have it mastered by someone else, or I can give you a roughly mastered version. I use the Slate Digital FG-X to get completely transparent mastering levels. If you want to compete in loudness wars with your mix, I am happy to do that, but I generally tend to prefer having dynamics in a mix, which the FG-X excels at. I also like to use the Slate Digital Virtual Tape Machine and Virtual Buss Compressor to add that analog depth, warmth, and magic to the mixes I do.


So, basically, you will get something that sounds original but highly listenable if you hire me to record/mix/master your tracks. And I am highly flexible and if you want to experiment to get some sounds that are really out there, I LOVE doing that as well. Or we can do a more traditional mix if that suits. Or I can use all of my vintage outboard gear (along with some vintage emulation plugins) to get a sound like the sounds of classic albums.