Q: Which artist would you like to work with and why?Ī: Trent Reznor because is he is one of the most genius creatives of all time I give extra care and attention to effects, i like to mix blending parallel sends to accomplish things as well I worked there anywhere from 40-120 hours a week from 2012-2020.Ī: Heavily based in Rap, Trap, and Rnb. I also produced that whole time anytime there was an open room. A went from an intern, to an assistant engineer, to an engineer, to assistant chief engineer. In 2012 I moved to Atlanta and began at the world renown legendary Tree sound studios as an intern. Q: What was your career path? How long have you been doing this?Ī: In 2010 I began working for a live audio company and learned some audio basics of the next two years. I would offer free consultation for anybody that wants it, to take a look at their recording chain/setup and see if anything can be easily fixed. Q: What advice do you have for a customer looking to hire a provider like you?Ī: To make sure that they have a proper recording setup, that their recording chain is good (doesn't have to be expensive) and that the positioning of the mic and their acoustic treatment is on point (again doesn't have to be much). What is their recording chain/setup like? What do they imagine their song/project sounding like in its finished potential? Q: What questions do you ask prospective clients?Ī: What artists they admire and want to sound similar to. A good song needs to be present first, the Mix and master will enhance it and deliver it with the best possible packaging to the listener Q: What's the biggest misconception about what you do?Ī: That I will take a bad idea and make it a good one. Q: What questions do customers most commonly ask you? What's your answer?Ī: Will you mix/master my song for a cheaper price? And I Tell them Yes, If you have multiple songs we can do a discount/set up a multi-song price. It is a lot of power and a lot of responsibility. So your one of the last chances to "save" the song or transform it into what it could be. I will honor decisions made in the ruff mix and honor your wishes above all else.Ī: I get to bring songs to life, and also mixing and mastering are the last stages of production on the song. Q: What's your 'promise' to your clients?Ī: I will do my absolute best in designing a sound for your track, listening to the track itself for guidance and creating a sound based on what the song calls for. The convenience is unparalleled and the tools are present to make something sound more "analog" anyway, if that's the goal. Q: Is there anyone on SoundBetter you know and would recommend to your clients?Ī: Digital all day, its 2020. Q: What are you working on at the moment?Ī: Working on Producing and Mixing an album for an artist named Rastar A lot of people wouldn't have done that thoroughly. Then after I mixed it, the producer heard it and wanted it all redone with specific things in mind. I only spoke with Grip about it before hand. I am proud of it because i mixed all 8 songs with no direction, I was told to do whatever I though was best. I was the mixing engineer for 8 out of 11 songs. What was your role?Ī: Artist: Grip, Album: Porch. ![]() Also interested in archival projects, she has developed a cataloging system for ethnic recordings with composer Martin Bartlett, and has organized Gunther Schuller’s personal collection.Q: Tell us about a project you worked on you are especially proud of and why. As a soloist and ensemble member she appeared in over 30 CDs and numerous radio broadcasts. Solo performances include concertos with The Pittsburgh Symphony, Simon Sinfonetta, Harvard University Mozart Society Orchestra, as well as solo performances at the International Double Reed Conference in Minneapolis, The Fromm Series at Harvard University, the Gaudeamus Competition in Rotterdam, Holland, The Women’s Avant Festival in Chicago, The Warebrook Contemporary Music Festival in Vermont, The Outoftowners series in New York City, CrossSounds in Alaska, Alea III in Naxos, Greece and Soundwaves in St. Janet is a founding member of Arcadian Winds, a woodwind quintet specializing in contemporary music, which has commissioned and premiered more than 50 works. Currently she serves as a bassoon instructor at The Boston College, Northeastern University, South Shore Conservatory, and Community Music Center of Boston where she also is the Director of their Senior Wind Ensemble. For her ten years of managing and developing the chamber music program for BYSO, Janet was the recipient of the 2001 Kay Logan Award, a national award for excellence in chamber music teaching. A native of British Columbia, Canada, has been a bassoonist, teacher and arts administrator in the Boston area for almost 30 years.
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