Testimonies
"Been working with Digital Dust Studio for over a decade whether it's an original record or just another session recording. The producers here make dope beats and I can always guarantee a quality mix on my vocals."
"I am so proud of my album Melancholy made at Digital Dust Studio. They believed in the project from the beginning, and it's exactly what I needed to push myself through it. The team was easy going and open to all my ideas offering incredible support and creative producing."
"As a songwriter I can trust Digital Dust Studio to bring my visions to life. The team has many years of experience playing, mixing and mastering so I never feel restricted bringing new ideas into the studio."
Mixing
When it comes to mixing the song is king. After I listen to the song a few times I begin to start adjusting faders until find a general balance. I then brainstorm what combination of equipment I want to use to enhance the song. I use a hybrid style of mixing 95 percent of the time. This means all of the audio is going out of the DAW and eventually ends up hitting my 16 channel analog summing mixer. In between this path I use different outboard compressors, eq’s, FX’s, to shape the sound of different group busses or individual tracks. Often times before I get into the final mix I may choose to do a couple treatments to a few tracks. This means I will record a print of various tracks in the session through my outboard equipment to sonically bring a new element into the equation. This could be to enhance a vocal, to do some parallel processing, add FX, distort some drums, etc... After the mix hits the summing mixer it then runs into my 2 bus chain where additional sonic enhancements are added by hardware compression, tape emulation, and 2 bus pultec style EQ. I then record the final mix back into the computer. The result I get using the hardware mixed with plugins gives the music more dimension, harmonic content, and an overall warmer sound with character.
Mastering
Mastering records is like putting the frosting on the cake. Over the past few years I have researched and invested in the best outboard eq’s, compressors, plugins, and analog to digital converters to give each song the sonic stamp it deserves. I have studied with Howie Weinberg (16x grammy’s), Robert Margouleff, Streaky, and also David Gnozzi to perfect my mastering skills. I start by listening to the song or project by referencing it on a few different speakers. I take general notes and then come up with an outline for treatments and chains that I think would fit the project best.
Producing
My approach to producing starts with an investigation in the sound and songs I’m working with. Once I hear the blueprint of the song I can begin thinking of instruments and recording techniques that suit the project. I think all the way down to the signal chain for the final mix. I’ll help the artist pick out the different sounds and also help with structuring the musical arrangement. Sometimes we add a bridge, sometimes it’s taking out a 4-bar motif after the 2nd hook. Whatever the case I try to do my best to help bring the overall vision of the project to life sonically, and musically. I have a wide network of great musicians I work and I also enjoy playing instruments and adding soundscapes to productions when needed. I would say my niche is vintage, analog style instruments.
Our Gear
Microphones:
Manley Cardiod Reference
Mojave MA 200A
Shure SM7b
Cascade Gold head Ribbon (2x)
Shure SM57 (x7)
Sennheiser 602
Heil PR22
Preamplifiers:
BAE 1073 (2x)
Universal Audio LA-610
Merris 440
Outboard Gear:
Dangerous Convert AD plus
Dangerous 2-Bus Plus (Analog Summing Mixer
COMPRESSORS:
Empirical Labs EL-8 Distressor w/ British mode (x2)
Wes Audio NG bus Comp
Heritage Audio HA-609
Locomotive Audio Weight Tank Vari Mu comp (2x)Neve 542 Tape Emulators (2x)
EQ:
API 5500 Mastering EQ
Gainlab Audio Empress Tube Equalizer
Tonelux Equilux
Synth:
Oberheim OB8
Moog Polymoog
Moog MG1 Concertmate
Arp Odyssey MK2
Roland VP-330 Vocoder
Arp String Ensemble
Yahama Motif
Guitars:
Gibson Les Paul 56 Goldtop reissue
Fender Frankenstein Strat
Baldwin 1966 Semi Hollow body
Goldfinch 12 string electric
Blue Ridge Acoustic
Epiphone Acoustic
Gold Tone Mandolin
Hammered Dulcimer
Bass:
Lakland P Bass
Epiphone Bass
Washburn Lyon Bass
Yamaha Fretless Bass
Other:
Gold Tone Mandolin
Hammered Dulcimer
Amps:
Fender Quad Reverb
Supro 1606
Mesa Boogie SOB
Vox AC30
Epiphone Galaxie (1963)