Some mastering projects in the last 3 months include a split 7″ by Dwight Twilley & Josh Berwanger for Good Land Records, RedHawks, drmanhattan, Air Tight, Xposed 4Heads, Monkeeman (Germany), a split 7″ by Mark Steven Hillstrom & Christopher Gold, introvert, Bullhound Studio Compilation, White Problems, Dope Calypso (Italy), Westrin & Mowry, a split album by Josh Harty & Blake Thomas, King Mastino (Italy), Tara Terra, Old American Junk, Vince Chiarelli, Wealthy Ghost, Paul Trinko, Buffalo Gospel, Elli de Mon (Italy), Michaela Thomas, Daniel and the Lion, Reubens Accomplice, Panalure, The Person & The People, The Kommissioners, Noise Complement, The Girls Upstairs, Dead Modern Villains, The Jeanies, Funktional Family, & Building on Buildings.
Aside from all the above mastering, I continue to master the majority of the output for The License Lab. If you or anybody you know needs music for a video/film production, I highly recommend browsing their brilliant website.
I am also experimenting with a new endeavor. I’ve turned down a fair amount of opportunities over the years to record live concerts, or an occasional album project that I might have been interested in doing but didn’t have time or energy to round up all the equipment needed. Generally speaking, my brain-bandwidth and mastering workflow don’t allow me to get into any recording projects anymore, but putting together a simple but great sounding live recording rig is something I’ve been considering for awhile for unique projects, and rentals to other engineers. I can now say “yes” to the right projects. The system I have allows for splitting up to 24 XLR microphone channels on stage before the signals enter any of the live sound monitor or front-of-house mixing consoles and other equipment. This makes for a nice, clean, and excellent sounding multi-track recording that can be edited, mixed, and otherwise manipulated in the studio. The system itself can capture a total of 26 simultaneous inputs which is ideal for small to mid-size shows by artists that don’t have more than 24 inputs. Even with 24 channels, there are still two inputs for some crowd/ambience microphones.