Mixing, Editing, and Post-Production

I usually mix the projects I have recorded, but nearly as often, I’m also mixing projects for other engineers and self-produced bands recording on their own.  If you have tracks you’ve done yourself or at another studio, and you want to see what I can do with them, give me a try.  At my rates it’s pretty hard to go wrong, and I stand behind my work.  If you choose to sit in and attend all the sessions at a scheduled time, my normal block or hourly rates apply.  If I can work on my own schedule, we can negotiate a flat rate per song or budget cap for the project.  That often works better, and I can put more creative time into the project.

I use the industry-standard Pro Tools to do my thing, so chances are that’s how your project was started anyway.  I also have Digital Performer and Logic Pro here, so if your project exists in either of those worlds, I can open them and do the exporting to Pro Tools for you, so you don’t have to deal with it.  I’m running Pro Tools 10 on the newer generation HDX hardware.  I have plenty of analog outputs to feed to my console and route through all the fancy analog gear.  I also have most of the plug-ins available from Universal Audio, Waves, Brainworx, Abbey Road, Fab Filter, PSP, and several more from Sound Toys, Softube, Sonnox, Kush and Eventide.  Basically, if we need a certain sound or effect, we can probably find it!

For the analog summing, I will either use my Soundcraft Ghost with modified mix buss, or a pair of Folcrom passive summing mixers.  What’s the dif?  Well, the Ghost is a great little work-horse console that isn’t super sexy, but really gets the job done.  It has had a few mods done that make it sound bigger than its britches would suggest.  On mixes where I might need to keep my hands on the faders, work quickly, or if there’s a lot of complicated routing, the board helps me do this and allows me to grab a fader or tweak an EQ in the moment.  The Folcroms on the other hand are a little more hi-fi and offer an analog sound to the mixing “in the box” approach.  They also allow me to use my wide variety of mic amps as the make-up gain amplifier for the passive mix buss.  What does that mean for you??  Well, if you want the sound of a high-end tube console on your mix, we can route the Folcrom through my Pendulum mic pre.  Vintage-y tube console?  My Retro Instruments Powerstrips will do that warm and cozy thing.  If you want the tighter, punchy sound of a Trident console, we can route the mix through my pair of Daking preamps.  The fat Neve thing?  I can go through my UA 2108 or Atlas Juggernaut Twin which both do that sound, and maybe even a little better.  This setup gives me the near instant recall of working in the computer, but also allows me to get all the analog vibe we want by utilizing a wide variety of outboard gear and mix buss “flavors.”  In other words, why choose a studio for a particular board?  Choose a dude like me, and we can get the sound of just about any console and find the sound that fits your music.

Did I mention I love to do this, and I’m easy to work with?