Mister Deaf
Belgique
Domaines d'activité
- Nom d'artiste
- Mister Deaf
- Province
- ---
- Date d'inscription
- Mercredi 4 mars 2009
Présentation
Engineering spawned from my love of music and the nature of sound in general. My first instrument was a small drum kit that was a present as a child. I remember playing it incessantly.
Next was the classical piano and classical guitar, but soon my uncle introduced me to the electric guitar and Jimi Hendrix and it was all over from there, I sold my soul to Rock-N-Roll. So I got into experimental guitar and all styles of music and began recording using a reel-to-reel 2 track and a cassette recorder. I discovered how to bounce from one to another and record live at the same time. I thought I was so original, I had no concept at 16 how records were created. Les Paul would have called this Sound-on-Sound which he invented in the 40’s!
I love to read, particularly music history and the liner notes of my LPs and finding out about engineers and producers. So I was bitten by the recording bug and saved up for a 4-track cassette recorder. This opened my world to punch-ins, overdubs, bouncing tracks, and multi-microphone use. My musician friends would spend hours recording and I knew I wanted to play music and learn to record it properly. Then I hung out at a few studios, plus a studio a successful local musician owned. I learned by being a gofer, a studio rat, and recording my band and my own songs in the off hours.
After school, I landed a gig at a mid-level studio complex with a large tracking room, and a second project studio. As anywhere else you start assisting and work your way up. It was a large wood room and a MCI 600 console and an MCI JH 24 2 and DA-88s, plus an original nubus Pro Tools System. We also had a cassette duplication facility that created graphics and on shell printing. A mastering engineer also worked at the studio and I learned a bit about digital mastering from him. Soon I became studio manager, which I began to dislike because it took me away from the artistic side. I got rid of my share in the studio and moved to check out another market. I freelanced in different studios, mainly doing indie sessions and private studios.
Through my career I have been fortunate enough to work with all kind of music styles, from classical to death metal. Now in my little spare time I mix for several artists some sending me files from as far as New York, Berlin or Brussels. I produce indie artists now and then at local studios.
Next was the classical piano and classical guitar, but soon my uncle introduced me to the electric guitar and Jimi Hendrix and it was all over from there, I sold my soul to Rock-N-Roll. So I got into experimental guitar and all styles of music and began recording using a reel-to-reel 2 track and a cassette recorder. I discovered how to bounce from one to another and record live at the same time. I thought I was so original, I had no concept at 16 how records were created. Les Paul would have called this Sound-on-Sound which he invented in the 40’s!
I love to read, particularly music history and the liner notes of my LPs and finding out about engineers and producers. So I was bitten by the recording bug and saved up for a 4-track cassette recorder. This opened my world to punch-ins, overdubs, bouncing tracks, and multi-microphone use. My musician friends would spend hours recording and I knew I wanted to play music and learn to record it properly. Then I hung out at a few studios, plus a studio a successful local musician owned. I learned by being a gofer, a studio rat, and recording my band and my own songs in the off hours.
After school, I landed a gig at a mid-level studio complex with a large tracking room, and a second project studio. As anywhere else you start assisting and work your way up. It was a large wood room and a MCI 600 console and an MCI JH 24 2 and DA-88s, plus an original nubus Pro Tools System. We also had a cassette duplication facility that created graphics and on shell printing. A mastering engineer also worked at the studio and I learned a bit about digital mastering from him. Soon I became studio manager, which I began to dislike because it took me away from the artistic side. I got rid of my share in the studio and moved to check out another market. I freelanced in different studios, mainly doing indie sessions and private studios.
Through my career I have been fortunate enough to work with all kind of music styles, from classical to death metal. Now in my little spare time I mix for several artists some sending me files from as far as New York, Berlin or Brussels. I produce indie artists now and then at local studios.