He has a great rapport during the whole process, and I always enjoy his insight when ideas are brought up to make the songs more interesting.
— Todd Cramer (Dysphoria)
Recording a song isn’t just about placing mics, turning knobs, and pushing faders. Sure, there’s a lot of that going on, but it’s also about pulling out the stops and letting your creativity take control. No matter how many times you’ve done it, entering the studio should be exciting. It’s that first step to finally printing your slaved-over music and letting the world hear you. Recording should be fun.
In order for you to bring your best performances and attitude to the table, there are some must-haves:
- You need to be comfortable.
- You need the right gear.
- You need the right engineer.
I’ve been through this gauntlet countless times over the years, from dank basements and freezing trailers to decked-out studios. I’ve got the experience and know-how to deliver a great recording. I can get the sonic properties you desire, but I also know when to get involved and when to get out of the way.
As for the comfort and the gear, that’s why we’ll record at Catapult Sound in North Wales, PA. There, we’ll have access to all of this:
- A slew of top-notch mics
- A 24-channel analog Neotek console
- Plenty of out-board gear
- A host of instruments including a piano, drums, guitars (with a bunch of amps and effects pedals), and assorted percussion.
The control room has some comfy seating and there’s a green room with a TV and video games if anyone needs a break. Check out the equipment list and the gallery for more about the studio, and click here for directions.
Recording sessions are booked in 4-hour blocks at $200 per block. Email me for details.
Matt took an album I was happy to be a part of and turned it into one I’m proud to listen to and call my own. He is endlessly patient and shows great care for detail. To top it off, he’s an awesome dude and super easy to work with. I can’t say enough nice things or recommend him any more highly.
— Danny Katz (Dullest Records)
Mixing is where it happens. You’ve spent all that time in the studio making sure you put your best takes on the track, but the song doesn’t become the song until it’s mixed. This is when the important parts become important, the big hits become big, and the subtle touches become subtle. It’s when your hard-earned tracks are brought to their potential. A finished mix is when you’ll step back and proclaim that your song is finally how you’d envisioned it — or better yet, better than you’d envisioned it.
I don’t need to have recorded your song to mix it. A fresh set of ears and a new perspective can be the perfect ingredients to unlock the potential of your mix. Just get me your audio and I’ll get to work.
When mixing your song, this is what you can expect from me:
- I’ll find the artistic intent of your music and craft the mix to realize it.
- I’ll use careful equalization and compression to carve a proper space in the stereo field for each part.
- I’ll make careful use of editing and tuning techniques as needed to bring the recording to its potential.
Of course, while I may be pouring my heart into the mix, this is your song, your art, and your feedback is very important if the mix is to realize your vision. This is why we’ll go through up to two rounds of mix notes together as a part of the mixing package on your song. If you’re local, we’ll meet up and address the notes. If working remotely, we’ll correspond over phone and email so I can get your feedback.
In essence, this means you get up to three mixes — my initial mix, and two revised mixes based on your feedback. This way, we will be able to quickly and effectively establish your vision of the completed mix.
Flat rate of $250 per song. Block rates are available for packages of three or more songs — email me for details.
A better recording artist couldn’t have hit our local music scene. His recording style is crisp, unique, and in-depth.
— Michael Schank (Desperations)
Good mastering is paramount to a polished final product. When done properly, it takes all of that work put into your mix and enhances it while bringing the perceived volume to commercially acceptable levels (without completely destroying dynamic content). When across an album of songs, mastering provides sonic continuity from track to track and establishes proper spacing between songs.
What mastering can’t do is make a bad mix sound good. If your mix is bad, you’ll want to address that with your mixing engineer before thinking about mastering.
While I can provide mastering services on my own mixes, it is best to have your mastering performed by someone who did not mix the recording. Fresh ears and an objective, unbiased point of view can be great assets at this crucial stage. As such, I would prefer that you employ my mastering services on recordings that I did not mix, or seek another mastering engineer for any mixes that I may have completed for you.
When mastering your mix, this is what you can expect from me:
- I’ll make careful equalization adjustments to even out the high frequencies, help clear out the muddy low-mids, and extend the bottom end as needed.
- I’ll adjust EQ and volume as necessary to provide continuity to an album of songs.
- I’ll apply gentle stereo separation to widen the stereo image as needed.
- I’ll work with you to properly space the songs on an album or crossfade as intended.
- I’ll use brickwall limiting to raise the perceived volume to commercially acceptable levels without sacrificing important dynamic content.
- I’ll deliver your finished project in standard DDP format which can be used for the distribution method of your choice.
Flat rate of $100 per song. Block rates are available for packages of three or more songs — email me for details.