Hi,

I'm representing an independant band seeking a sound engineer for mastering
purposes.

Payment is involved.

However, this isn't a task for purists that hate today's sound. It's modern
rock / new metal, and the target end result is to be loud and deep (ie,
Crossfade, Three Days Grace, Linkin Park).

A 24-bit stereo wav of each song would be provided to the chosen engineer
for mastering (appx. an album's worth of material).

I'm new to this group, so please don't take personally that I have no idea
what anyone's credentials are. We will be picking the engineer based on the
usual two criteriae when in doubt : quality and price.

To have some idea of the quality, the band has made a sample 24-bit clip
available for download for anyone who asks to tinker with. It's a shortened
exerpt, so no one has to worry about us running off and making any money
with it. But it does represent exactly what all the songs pretty much
sound like. The idea is to hopefully hear what various people can do with
this clip, and hire the guy (or girl) who ended up most impressing the band
with their end result. Pretty standard stuff.

The band has great opportunities lined up this year, and now is a great time
to spawn a working relationship on the ground floor. Sorry, I couldn't come
up with a better sales pitch than that. I'm new at this.

If you're interested, please email "whisp72" over at Hotmail (spam makes
baby Jesus cry) with your rates, as well as your location (not really
important, but always nice to know where everyone's from).

Thanks.

Dave Schmidt

TCA wrote:

The band has great opportunities lined up this year, and now is a great time
to spawn a working relationship on the ground floor. Sorry, I couldn't come
up with a better sales pitch than that. I'm new at this.

You're not selling. You're buying. Find a mastering engineer whose work
you have liked. Check some albums that you like the sound of and find who
mastered them. Then call and ask for independant rates.

If you're interested, please email "whisp72" over at Hotmail (spam makes
baby Jesus cry) with your rates, as well as your location (not really
important, but always nice to know where everyone's from).

Location is _very_ important. I strongly recommend attending the
mastering session, so pick a place you can get to.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

On 3/22/05 12:27 PM, in article ,
"TCA" wrote:


I'm representing an independant band seeking a sound engineer for mastering
purposes.

Ahh! What you SHOULD be looking for is a MASTERING engineer/studio for
mastering purposes.


Payment is involved.

Isn't that understood?


To have some idea of the quality, ...

Actually, that's not a great way to judge a mastering job. Just using short
clips will not tell you how well an album is paced. Also, without discussion
about what you want and what's important to you (sound-wise) than it's a
complete "shot in the dark" as to whether we give you what you want or not.


with your rates, as well as your location (not really
important, but always nice to know where everyone's from).

As Scott has said already, attending the session is one of the best things
you can do to ensure you're going to like the mastering work. (90% of my
sessions are attended, the other 10% are transfers or other work.)

Good luck with your search.

Allen
--
Allen Corneau
Mastering Engineer
Essential Sound Mastering
Houston, TX

"Scott Dorsey" wrote in message
...
TCA wrote:

The band has great opportunities lined up this year, and now is a great
time
to spawn a working relationship on the ground floor. Sorry, I couldn't
come
up with a better sales pitch than that. I'm new at this.

You're not selling. You're buying. Find a mastering engineer whose work
you have liked. Check some albums that you like the sound of and find who
mastered them. Then call and ask for independant rates.

Not all independant bands can afford major label mastering rates; or else
I'd just pick up the yellow pages. The reason I'm here is that a friend of
mine did it this way a few years ago, and it spawned a great LD working
relationship that continues to exist to this day.

If the proposal is not for you, then no harm done. But it is what it is.

Location is _very_ important. I strongly recommend attending the
mastering session, so pick a place you can get to.
--scott

In a perfect world, I'd just take a week off and fly myself to L.A. and
oversee the latest Grammy winner's work on our material. Unfortunately, the
ideal scenario isn't always an option, especially at this very early stage
of the game. But thanks.

In short, I realize that this isn't for those of you who are used to working
with Celine Dion. And I apologize if I was in any way unclear about that in
the OP.

In article , Allen Corneau
wrote:

[snip]


As Scott has said already, attending the session is one of the best things
you can do to ensure you're going to like the mastering work. (90% of my
sessions are attended, the other 10% are transfers or other work.)

Good luck with your search.

Allen

Is this representative of the mainstream of mastering engineers do you think?
It has been my experience, but I wonder if all mastering engineers welcome the
client's presence.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ------x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x---------- http://ccrma.stanford.edu/~jay/ ------------x

"Allen Corneau" wrote in message
...
On 3/22/05 12:27 PM, in article
,
"TCA" wrote:

I'm representing an independant band seeking a sound engineer for
mastering
purposes.

Ahh! What you SHOULD be looking for is a MASTERING engineer/studio for
mastering purposes.

My wrongful terminology fills me with shame.

Actually, that's not a great way to judge a mastering job. Just using
short
clips will not tell you how well an album is paced. Also, without
discussion
about what you want and what's important to you (sound-wise) than it's a
complete "shot in the dark" as to whether we give you what you want or
not.

My apologies for being unclear. This isn't an album. It's "roughly an
album's worth of material". I was simply trying to quantify what would be on
the plate. It's mixed songs that have (some of them) been chosen to be
featured in independant movie productions and/or local production
soundtracks. One of them won last year's ISC (International Songwriting
Competition).

While the mixes sound good, they were mixed by the band itself, and having a
sound/mastering engineer tweak the EQ/compression of the final wav output is
just what we feel they need to be decent enough for airplay.

The "short clip" is actually 2 minutes long.

As for the sound we're going for, that's already been mentioned.
Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).

As Scott has said already, attending the session is one of the best things
you can do to ensure you're going to like the mastering work. (90% of my
sessions are attended, the other 10% are transfers or other work.)

It's great advice, but I'd like to give this a shot since it worked out so
well for someone I know. If this fails, then certainly we'll reconsider the
plan.

Good luck with your search.

Thanks!

TCA wrote:
"Scott Dorsey" wrote in message
TCA wrote:

The band has great opportunities lined up this year, and now is a great
time
to spawn a working relationship on the ground floor. Sorry, I couldn't
come
up with a better sales pitch than that. I'm new at this.

You're not selling. You're buying. Find a mastering engineer whose work
you have liked. Check some albums that you like the sound of and find who
mastered them. Then call and ask for independant rates.

Not all independant bands can afford major label mastering rates; or else
I'd just pick up the yellow pages. The reason I'm here is that a friend of
mine did it this way a few years ago, and it spawned a great LD working
relationship that continues to exist to this day.

Right, and most mastering houses won't charge major label rates to
independant bands either. Get someone you like, and THEN ask about
rates.

You'll find that the rates are negotiable to some extent, and you will
also find that the folks who charge more per hour may be able to turn
the project around for a lot less money than people with a lower rate.

If the proposal is not for you, then no harm done. But it is what it is.

Find a guy whose work you like and call him. Tell him what your budget is
and what your job is. If he can't do it for the money you have, he will
tell you and hopefully he'll guide you toward someone who can. Possibly
an assistant at his own facility.

Location is _very_ important. I strongly recommend attending the
mastering session, so pick a place you can get to.

In a perfect world, I'd just take a week off and fly myself to L.A. and
oversee the latest Grammy winner's work on our material. Unfortunately, the
ideal scenario isn't always an option, especially at this very early stage
of the game. But thanks.

Honestly, attending the session will SAVE you money. There will be less
second-guessing and fewer phone calls back and forth and less of a chance
of stuff having to be redone. And most engineers will not charge any more
for an attended session. You don't have to go to LA, but you may want to
drive to a nearby city.

Having a good working relationship with a mastering guy is a fine thing
if you intend on putting a lot of albums out. But it's not really
necessary. You're paying a man to do a job for you. Get someone who can
do the job you want for the price you can pay.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

On 3/22/05 1:37 PM, in article ,
"TCA" wrote:

My wrongful terminology fills me with shame.

As it should! (just kidding!) I was just being a little tongue-in-cheek,
but I guess it came out a little gruff.

My apologies for being unclear. This isn't an album. It's "roughly an
album's worth of material". I was simply trying to quantify what would be on
the plate. It's mixed songs that have (some of them) been chosen to be
featured in independant movie productions and/or local production
soundtracks. One of them won last year's ISC (International Songwriting
Competition).

Sound's like an interesting project.

While the mixes sound good, they were mixed by the band itself, and having a
sound/mastering engineer tweak the EQ/compression of the final wav output is
just what we feel they need to be decent enough for airplay.

That's probably true, however any full-time ME should be able to do what you
want and make you happy with the finished product.

As for the sound we're going for, that's already been mentioned.
Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).

I stand corrected, sorry I missed that part.

Just in case, what part of the country are you in? I know quite a few ME's
around the country and might be able to point you in the right direction.

Again, good luck with your search.

Allen
--
Allen Corneau
Mastering Engineer
Essential Sound Mastering
Houston, TX

"Allen Corneau" wrote in message
...
On 3/22/05 1:37 PM, in article
,
"TCA" wrote:

My wrongful terminology fills me with shame.

As it should! (just kidding!) I was just being a little tongue-in-cheek,
but I guess it came out a little gruff.

Don't apologize, the exchange provided my first true guffaw of the day.

My apologies for being unclear. This isn't an album. It's "roughly an
album's worth of material". I was simply trying to quantify what would be
on
the plate. It's mixed songs that have (some of them) been chosen to be
featured in independant movie productions and/or local production
soundtracks. One of them won last year's ISC (International Songwriting
Competition).

Sound's like an interesting project.

Well, we like to think so. But then, so do the millions of other artists
when it comes to their own stuff.

While the mixes sound good, they were mixed by the band itself, and
having a
sound/mastering engineer tweak the EQ/compression of the final wav output
is
just what we feel they need to be decent enough for airplay.

That's probably true, however any full-time ME should be able to do what
you
want and make you happy with the finished product.

I'm getting goose bumps already!

As for the sound we're going for, that's already been mentioned.
Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).

I stand corrected, sorry I missed that part.

Sometimes, a mere apology simply isn't enough, Allen.

(But this is not one of those times.)

Just in case, what part of the country are you in? I know quite a few ME's
around the country and might be able to point you in the right direction.

Montreal, Canada. :-/ Now you understand why we're not just picking up the
yellow pages (other than the limited budget). The band's sound is very
American. People look at us funny when we play them something, here. It's
not what they're used to. Canadian mixes tend to be one step behind American
ones. And given how Quebec is practically a country unto itself, we're
talking several steps behind (everything produced here is french and sounds
like 80's Bon Jovi).

Again, good luck with your search.

Thanks!

Scott Dorsey wrote:
TCA wrote:
"Scott Dorsey" wrote in message
TCA wrote:

The band has great opportunities lined up this year, and now is a
great
time
to spawn a working relationship on the ground floor. Sorry, I
couldn't
come
up with a better sales pitch than that. I'm new at this.

You're not selling. You're buying. Find a mastering engineer
whose work
you have liked. Check some albums that you like the sound of and
find who
mastered them. Then call and ask for independant rates.

Not all independant bands can afford major label mastering rates; or
else
I'd just pick up the yellow pages. The reason I'm here is that a
friend of
mine did it this way a few years ago, and it spawned a great LD
working
relationship that continues to exist to this day.

Right, and most mastering houses won't charge major label rates to
independant bands either. Get someone you like, and THEN ask about
rates.

You'll find that the rates are negotiable to some extent, and you
will
also find that the folks who charge more per hour may be able to turn
the project around for a lot less money than people with a lower
rate.

I've been finding that's very true. People seem to shop by hourly rate,
but right now almost all my current projects are people who have come
to me becuase they've found that it's cheaper to pay me three times
what other places charge. It's taken me years to catch on to that.

"TCA" wrote:

[...] Canadian mixes tend to be one step behind American ones.



You obviously haven't been to Vancouver in the last three decades.

We're waiting for L.A. and New York to catch up! g

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

On Tue, 22 Mar 2005 11:33:00 -0800, Jay Kadis
wrote:

In article , Allen Corneau

wrote:

[snip]


As Scott has said already, attending the session is one of the best
things
you can do to ensure you're going to like the mastering work. (90% of my
sessions are attended, the other 10% are transfers or other work.)

Good luck with your search.

Allen

Is this representative of the mainstream of mastering engineers do you
think?
It has been my experience, but I wonder if all mastering engineers
welcome the
client's presence.

-Jay

It helps lower the anxiety level. I certainly like to work with the artist
or label representative for the first session or two because I like to get
to know their preferences. Whenever I do an unattended session for someone
I've never met I always worry that the final master won't be to their
liking. Fortunately my remote customers have been happy with my work so
far.

Cheers.

James.

Glenn Meadows, "If I do it, it's $200 per hour. If you do it, it's $100 per
hour with my equipment. If you help me, it's $350 per hour."

--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"Jay Kadis" wrote in message
...
In article , Allen Corneau

wrote:

[snip]


As Scott has said already, attending the session is one of the best
things
you can do to ensure you're going to like the mastering work. (90% of my
sessions are attended, the other 10% are transfers or other work.)

Good luck with your search.

Allen

Is this representative of the mainstream of mastering engineers do you
think?
It has been my experience, but I wonder if all mastering engineers welcome
the
client's presence.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ------x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x---------- http://ccrma.stanford.edu/~jay/ ------------x

But having said that, Glenn actually would prefer to have an experienced
client in the mastering room with him. But an experienced client would know
the work Glenn does and likely not want to rearrange his schedule just to
watch Glenn work.

Besides, the real idea is that even if it's $210 per (which is what Glenn
used to charge, don't know about now since the last I heard he was SAE),
Glenn may well find that it's not a project that needs tweaking or he may be
able to do two hours worth of work that applies to an entire CD. Whatever
it is, you can bet that people like Glenn, the Bobs (Katz and Olhsson),
Scott Hull, Bernie Grundman, etc., are well worth their asking price because
they'll make it right with the least cost they can.

On the other hand, one can look at the fact that the normal charges for a
finished album project will run, on average, about $1800 with a known and
qualified mastering engineer. If one doesn't go into an album project with
that in their budget, they are being mislead by their management or
representation and will get what they deserve.

Mastering engineers with quality work as their reputation don't need to bid
on projects. They have more than they can do in the time they have
available.

--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"Roger W. Norman" wrote in message
...
Glenn Meadows, "If I do it, it's $200 per hour. If you do it, it's $100
per
hour with my equipment. If you help me, it's $350 per hour."

--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"Jay Kadis" wrote in message
...
In article , Allen Corneau

wrote:

[snip]


As Scott has said already, attending the session is one of the best
things
you can do to ensure you're going to like the mastering work. (90% of
my
sessions are attended, the other 10% are transfers or other work.)

Good luck with your search.

Allen

Is this representative of the mainstream of mastering engineers do you
think?
It has been my experience, but I wonder if all mastering engineers
welcome
the
client's presence.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ------x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x---------- http://ccrma.stanford.edu/~jay/ ------------x

In the case that the product is mixed by the band itself, I'd turn it down
without all the tracks to be able to remix if necessary. And I'm not a
mastering engineer. However, I wouldn't take on the responsibility of
trying to polish a turd even if the turd is tasty to the band.

What you're asking for is some "I just bought Pro Tools so let me work on
it" guy, and in that I hope you find the right person. But whatever your
guys thought when they started out, they are pretty lucky guys to get even
1/10th of it right in the mix, much less to get lucky enough to find a
mastering engineer from a group of people such as this qualified group to
take on such a project.

There are mastering engineers who are on this newsgroup from time to time,
even daily. I doubt if one of them will contact you, but I hope the best
for your guys. If, however, they don't get what they want, I'd suggest that
they plan better for the future. None of this is just a matter of having
the equipment or time, unless you have both plenty of equipment AND time
because just like any other profession, it takes a lifetime. Or, more aptly
put by George Massenberg, "Guys, it takes a lifetime to get just a little
better."
--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"TCA" wrote in message
.. .
"Allen Corneau" wrote in message
...
On 3/22/05 12:27 PM, in article
,
"TCA" wrote:

I'm representing an independant band seeking a sound engineer for
mastering
purposes.

Ahh! What you SHOULD be looking for is a MASTERING engineer/studio for
mastering purposes.

My wrongful terminology fills me with shame.

Actually, that's not a great way to judge a mastering job. Just using
short
clips will not tell you how well an album is paced. Also, without
discussion
about what you want and what's important to you (sound-wise) than it's a
complete "shot in the dark" as to whether we give you what you want or
not.

My apologies for being unclear. This isn't an album. It's "roughly an
album's worth of material". I was simply trying to quantify what would be
on
the plate. It's mixed songs that have (some of them) been chosen to be
featured in independant movie productions and/or local production
soundtracks. One of them won last year's ISC (International Songwriting
Competition).

While the mixes sound good, they were mixed by the band itself, and having
a
sound/mastering engineer tweak the EQ/compression of the final wav output
is
just what we feel they need to be decent enough for airplay.

The "short clip" is actually 2 minutes long.

As for the sound we're going for, that's already been mentioned.
Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).

As Scott has said already, attending the session is one of the best
things
you can do to ensure you're going to like the mastering work. (90% of my
sessions are attended, the other 10% are transfers or other work.)

It's great advice, but I'd like to give this a shot since it worked out so
well for someone I know. If this fails, then certainly we'll reconsider
the
plan.

Good luck with your search.

Thanks!

I didn't see a published site for the example you wished to give.

--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

"TCA" wrote in message
.. .
"Allen Corneau" wrote in message
...
On 3/22/05 1:37 PM, in article
,
"TCA" wrote:

My wrongful terminology fills me with shame.

As it should! (just kidding!) I was just being a little
tongue-in-cheek,
but I guess it came out a little gruff.

Don't apologize, the exchange provided my first true guffaw of the day.

My apologies for being unclear. This isn't an album. It's "roughly an
album's worth of material". I was simply trying to quantify what would
be
on
the plate. It's mixed songs that have (some of them) been chosen to be
featured in independant movie productions and/or local production
soundtracks. One of them won last year's ISC (International Songwriting
Competition).

Sound's like an interesting project.

Well, we like to think so. But then, so do the millions of other artists
when it comes to their own stuff.

While the mixes sound good, they were mixed by the band itself, and
having a
sound/mastering engineer tweak the EQ/compression of the final wav
output
is
just what we feel they need to be decent enough for airplay.

That's probably true, however any full-time ME should be able to do what
you
want and make you happy with the finished product.

I'm getting goose bumps already!

As for the sound we're going for, that's already been mentioned.
Cookie-cutter new metal (Crossfade, Three Days Grace, Linkin Park).

I stand corrected, sorry I missed that part.

Sometimes, a mere apology simply isn't enough, Allen.

(But this is not one of those times.)

Just in case, what part of the country are you in? I know quite a few
ME's
around the country and might be able to point you in the right
direction.

Montreal, Canada. :-/ Now you understand why we're not just picking up
the
yellow pages (other than the limited budget). The band's sound is very
American. People look at us funny when we play them something, here. It's
not what they're used to. Canadian mixes tend to be one step behind
American
ones. And given how Quebec is practically a country unto itself, we're
talking several steps behind (everything produced here is french and
sounds
like 80's Bon Jovi).

Again, good luck with your search.

Thanks!

I can Master your album if you wish. I'm not a hugely experienced
mastering engineer, but I am a a very experienced
composer/musican/sound-engineer, and have an exceptionally good ear.

I charge 60 dollars per hour. I am willing to Master one track for you
as a test, then you can pay me for that later only if you like what I
do.

Anyone else who might like this service from me at any time in the
future . . . keep my email address handy

my email address is on my website.

http://www.chris-melchior.com

Chris

I'm not a hugely experienced
mastering engineer, but I am a a very experienced
composer/musican/sound-engineer, and have an exceptionally good ear.

And this post proves my point. For $60 per hour you can get Jay Frigoletto
who used to have Atlanta Digital until he moved to LA and then Boston and
changed the name to Mastersuite, which can be found at www.promastering.com.
He may have changed his prices, but then he's worked with some fine people,
including Dave Collins (a very fine engineer to learn from). His projects
have included the X-Men 2 soundtrack, INXS, War, Blondie and others just at
his LA location.

The last I talked to him he gave me a $60 per hour price. I bet it's up a
bit now since he's moved on to some different but still great facilities,
but hey, like I said, at least the man can say "I AM a mastering engineer"
not "I'm not a mastering engineer but I can do the job for $60 per hour".
--


Roger W. Norman
SirMusic Studio
http://blogs.salon.com/0004478/

wrote in message
oups.com...
I can Master your album if you wish.
I charge 60 dollars per hour. I am willing to Master one track for you
as a test, then you can pay me for that later only if you like what I
do.

Anyone else who might like this service from me at any time in the
future . . . keep my email address handy

my email address is on my website.

http://www.chris-melchior.com

Chris

Roger W. Norman wrote:

And this post proves my point. For $60 per hour you can get Jay Frigoletto
who used to have Atlanta Digital until he moved to LA and then Boston and
changed the name to Mastersuite, which can be found at www.promastering.com.

Jay is in Boston now? Sheesh, if I'd have known, I would have roped him
into working Worldcon!
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"Roger W. Norman" wrote in message
...
I'm not a hugely experienced
mastering engineer, but I am a a very experienced
composer/musican/sound-engineer, and have an exceptionally good ear.

And this post proves my point. For $60 per hour you can get Jay
Frigoletto
who used to have Atlanta Digital until he moved to LA and then Boston and
changed the name to Mastersuite, which can be found at
www.promastering.com.
He may have changed his prices, but then he's worked with some fine
people,
including Dave Collins (a very fine engineer to learn from). His projects
have included the X-Men 2 soundtrack, INXS, War, Blondie and others just
at
his LA location.

The last I talked to him he gave me a $60 per hour price. I bet it's up a
bit now since he's moved on to some different but still great facilities,
but hey, like I said, at least the man can say "I AM a mastering engineer"
not "I'm not a mastering engineer but I can do the job for $60 per hour".

Jay mastered a CD for a band that I tracked & mixed last year & he did a
great job.

Neil Henderson

In article ,
(Scott Dorsey) wrote:

Roger W. Norman wrote:

And this post proves my point. For $60 per hour you can get Jay Frigoletto
who used to have Atlanta Digital until he moved to LA and then Boston and
changed the name to Mastersuite, which can be found at www.promastering.com.

Jay is in Boston now? Sheesh, if I'd have known, I would have roped him
into working Worldcon!
--scott

Hi Roger, Neil, Scott and all! Thanks for the kind words, and yes, I'm
in the Boston area just since late summer. My wife convinced me to move
back east to start a family, and that's what we're happily doing. She
was patient while I established a career, but now it's time to shift
priorities.

As for mastering rates, I'm sorry to say that I don't remember being
less than $75/hr, even in the early days in Atlanta, but I probably
offered some r.a.p. buddy deals. These days, with rather an expanded
track record and a lot more invested in gear and room, it's certainly
more, but still cheap considering the studio and the experience. See my
website for the latest info if interested. And all you r.a.p. regulars
feel free to contact me when you're in town and "rope me into" whatever
you want. If I'm not working, I'd be happy to join you.

Best,

--
Jay Frigoletto
Mastersuite
www.promastering.com

On 24 Mar 2005 02:12:01 -0800, "
wrote:

I can Master your album if you wish. I'm not a hugely experienced
mastering engineer, but I am a a very experienced
composer/musican/sound-engineer, and have an exceptionally good ear.

From Chris' web site:

"I picked up the violin before I was one year old . . . a little
quarter-size instrument that my father had . . . he played every
evening. By the age of twelve I was at the Royal college of Music
(junior department) and at the age of eighteen leading Britain's top
youth orchestra.
A few years later I was gaining valuable experience in improvisation,
jazz, composition, and arranging skills during my University Degree at
one of England top performance courses, from which I obtained a First
Class Honors Degree, and more importantly, huge amounts of real
practical experience in different facets of creating a very wide range
of music.

During my many years as a professional musician I have worked with
many groups, including playing with members of the London Philharmonic
Orchestra, Emerald Ensemble, London Symphony Orchestra, BBC Symphony
Orchestra, and London Sinfonietta, and conducting members of the Salt
Lake Symphony Orchestra playing some of my own arrangements.

I have played with the foremost guitar player of traditional and
contemporary Indian music in the UK, created highly praised string
arrangements for a guitarist who toured with Stevie Wonder for many
years, and been flown eight thousand miles to add a few hours of my
talents to a particular recording project. I have created the music
(and all sound FX) for a number one in the world computer game (1997),
and have extensive experience in dance music from drum&bass to trance,
hip-hop to ambient, as well as classical, jazz, rock, funk, folk (I
played celtic music with a top London band, for several years), world
music and avant-garde."

The demo is impressive. But you do yourself no favours with all this
coy semi-information.

WHICH youth orchestra did you lead? (Obviously not the National, or
you'd have said so :-). WHICH "top performance course"? WHICH star
guitarists, WHICH "top London band", WHICH "number 1 computer game"?

Why won't you tell us? Did they all say "mention our name and you're
a dead man!"?

And playing IN the LPO, the LSO etc. would be worth mentioning. But
we've all played WITH people who have played in top bands. They do
the occasional cheap gig too :-)

I think you're better than you make out. Tell us about it!



CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

"Neil Henderson" wrote:


"Roger W. Norman" wrote in message
...
I'm not a hugely experienced
mastering engineer, but I am a a very experienced
composer/musican/sound-engineer, and have an exceptionally good ear.

And this post proves my point. For $60 per hour you can get Jay Frigoletto
who used to have Atlanta Digital until he moved to LA and then Boston and
changed the name to Mastersuite, which can be found at
www.promastering.com.
He may have changed his prices, but then he's worked with some fine people,
including Dave Collins (a very fine engineer to learn from). His projects
have included the X-Men 2 soundtrack, INXS, War, Blondie and others just
at his LA location.

The last I talked to him he gave me a $60 per hour price. I bet it's up a
bit now since he's moved on to some different but still great facilities,
but hey, like I said, at least the man can say "I AM a mastering engineer"
not "I'm not a mastering engineer but I can do the job for $60 per hour".

Jay mastered a CD for a band that I tracked & mixed last year & he did a
great job.

Neil Henderson

And yet another vote for Jay - always great work. Abd Bob Olhsson ain't
exactly 'chopped liver' either.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Laurence Payne wrote:

And playing IN the LPO, the LSO etc. would be worth mentioning. But
we've all played WITH people who have played in top bands. They do
the occasional cheap gig too :-)

I'm installing a church sound system, so I'm adding to my resume that I
shared a stage with god.

Ain't sayin' _which_ god.

--
ha

In article ,
Harvey Gerst wrote:


And yet another vote for Jay - always great work. Abd Bob Olhsson ain't
exactly 'chopped liver' either.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Long live Harvey "Da Pope" Gerst! And Alex Gerst is worth considering
for your mixing needs as well. He recently added an SSL mix room.

--
Jay Frigoletto
Mastersuite
www.promastering.com

hank alrich wrote:
Laurence Payne wrote:

And playing IN the LPO, the LSO etc. would be worth mentioning. But
we've all played WITH people who have played in top bands. They do
the occasional cheap gig too :-)

I'm installing a church sound system, so I'm adding to my resume that I
shared a stage with god.

I have noticed that in a lot of churches, God doesn't get the top billing
anyway.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Richard Webb[_3_]]

Roger W. Norman writes:

And this post proves my point. For $60 per hour you can get Jay
Frigoletto who used to have Atlanta Digital until he moved to LA
and then Boston and changed the name to Mastersuite, which can be
found at www.promastering.com. He may have changed his prices, but
then he's worked with some fine people, including Dave Collins (a
very fine engineer to learn from). His projects have included the
X-Men 2 soundtrack, INXS, War, Blondie and others just at his LA
location.

INdeed, and glad to see some names I haven't seen for awhile posting in this newsgroup. Wondered about both you
gentlemen occasionally.

Regards,
Richard
.... Remote audio in the southland: See www.gatasound.com
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