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Posts posted by jayecho

  1. 15+ year audio engineer, 8+ concert planner here. PM me for...well, any advice. My knowledge comes free. 

    I auditioned 8+ years ago, had a contract in Tokyo, said eff it, came back to the states, started an LLC, did your favorite boy band concerts in the states, opened up a recording studio, and I'm responsible for mixing all your ringtones and ringback tones for Verizon. :P Ask away. 

    No holds barred. I can be brutally honest. 

  2. Actually, Brooklynj, Scott Bradlee uses multiple $3700 Neumann U87s for their recordings, with strategic placement of various ribbon mics for instrumentals. When they have like ten tracks coming in, they can get an engineer to make that sound smooth like butter. Much respect to Postmodern Jukebox.

    Gracified, while I agree that the engineer is the most important piece of the puzzle to get the best recording, the in-the-box approach will get you only so far. Years ago when I got my first little M Audio $200 interface, I had to get really creative to get a decent sound. The quality of sound on my next purchase, which was a jump from a $200 to a $800 interface, was enormous. Next jump to a $2500 unit was equally impressive. It's a tool...yes, but you still need good tools, no matter how skilled you are. A plumber can't do jack with a plastic wrench.  

    You're welcome to join me at one of my commercial spaces to do a comparison. Without any mixing, we can do a shoot-out. An M Box Pro, my Apollo Quad, Pro Tools HD, and a Symphony. While we're at it, we can do a shoot-out between a C414, an AT2020, AT4060, a Manley, and a U87, through various combinations of preamps and compressors. The point of analog is to give that sound depth and color. There are times I reach into my locker for an SM58 to use over the AT4060 when I think it'll work better for the mix. It's not uncommon for artists to use two, three different mics for ONE song. 

    And yes, the better gear you have, the better your room has to be. :P And that's why my studios are floating.

    While I agree that production is important, and getting the sound right before reaching the engineer is also very important, saying that a song's success is 10% on the engineer is quite insulting. I guess Maserati, Manny Marroquin, Jaycen Joshua and them are buffoons for insisting on running everything analog? 

  3. Hmmm....In response to some remarks about not a lot of people willing to pay for mixing...
    I'm going to just leave this

    You are paying your engineer to record your voice through a high end mic, preamp, compressor, and eq ($20k~) in an acoustically treated room ($1k-$100k~) through a low to high tier recording console ($10k-$100k~) and mix with state of the art licensed plugins ($10k~), monitored via two, three sets of near-field speakers ($2k-$10k), to make sure that your voice sounds great on mono, stereo, in a car, in a bar...
    So yeah. Pay your engineers. And don't bootleg your sounds. 

  4. Hey all,
    Jay in Washington D.C. I also operate in New York.
    If you're in the DC MD VA area, I have a Pro Tools HD set up at the radio station. PM me for rates.
    If you're doing just vocals and instrumentals...I'll do the first hour of mixing for you free (more than likely I won't need more than an hour for a quick mix-tape quality work). When you start layering tracks...then my creative juices start flowing. Again, PM PM PM! 
    For auditions I HIGHLY recommend you come physically to my studio, or go physically to your local studio and record using a high end microphone, and then bounce the tracks over. 

  5. Kyouria said: Hi everyone^^
    I have a small question. Is it possible to improve singing from a bad voice to a good voice..? > < My sister has told me that I sing bad, and that it's a type of voice you listen to and get sick of, and makes you think your own vocal cords will break. She's bluntly honest about these things so I don't doubt her opinion x.x;

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