© 2020 Angel Marcloid

Audio mixing engineering

Mixing consists of layering together different audio tracks (typically recordings of isolated voices and musical instrumentation) to create sonic balance, coherence, and a sense of space with character and power. I do this firstly by taking in the vision and vibe the artist is looking to convey, and making sure I can emotionally resonate with it in some way so that I'm not just going through the motions.

 

Then I utilize the framework of a digital audio workstation, and tools such as equalization, compression, limiting, reverb, delay, panning and stereo imaging, spectral filtering, doubling, convolution, saturation, exciting, chorus, phasing, flanging, pitch or rhythm correction, and so much more, to get the songs sounding strong and ready for the final touches of mastering.

Rates are determined based on the number of multi-tracks/stems per song (or chapter, episode, etc.) Additional charges or discounts may apply for very short or very long recordings. Discounts are also available for voice-based recordings, or long-form pieces which don't have many dynamic of textural changes such as podcasts, audiobooks, interviews, meetings, meditation music, drone music, field recordings, etc.

3 rounds of revisions requested by the client are included in any mixing project. After that, I charge an hourly rate.

Audio mastering engineering

Mastering consists of performing the last steps required to prepare audio for listening, broadcast, and publishing. This includes fine tuning single or multiple audio files that have already gone through the mixing process. Mastering is very vibe/vision/genre-centric as well. You cannot master a dark and brooding rock record like you would a textually-nuanced and largely dynamic experimental electronic record.

 

For the basics, I use a graphic equalizer, multiple compressors, a limiter, and a number of metering plugins. Additionally, if necessary, I have exciters, expanders, stereo imaging tools, tape saturators, and much, much more at my disposal. 

 

This is not only a creative process, but an extremely nuanced and technical one as well. The shaping of the overall sound, facilitating the songs' ability to breathe, and perfecting their dynamic impact, are all part of the audio aspect. But then exporting the final files with the proper specifications for their intended formats, are equally important parts of this process.

I typically offer unlimited rounds of revisions for mastering.

Different masters are needed for different release formats and purposes. All masters come with both 16-bit and 24-bit WAV files in the bit depth of the original project (usually 44.1k). Multiple formats are available for reasonable extra charges.

​Audio post-production

Audio post-production generally involves cutting and splicing audio, mixing multiple sound sources, removing unwanted artifacts (noise, clicks, pops, static, reverberation, hum, buzz, echo, rumble), equalization, stereo imaging, special effects and modulation, sound design, and much more.

I can offer a basic tier of audio post-production in which I perform the most general maintenance and file preparation. Or, I can offer rigorous editing services, including but not limited to noise filtering, removing dead space, tonal rebalancing, audio effects, removing or changing specific sounds or words, etc.

Video post-production

I can offer precise cutting and splicing, smooth or stylish transitions, integrating multiple video sources into split screens or toggling between them, removing noise and artifacts, special effects and unique filters, common video adjustments such as brightness/sharpness/contrast/tint, aesthetically pleasing custom titles/captions/notation, and everything audio post-production involves.​

Music composition and production

Making original music is my #1 interest and passion.

 

I am available to compose and produce music from the ground up, in my home studio, using physical and digital instruments, utilizing DAW and MIDI technology.

 

I have a rich, expansive history in music composition and performance, across a variety of genres. I have over 30 years of experience playing guitar, drums, keyboards, and more. I am in my mid-30s, yet the phrase "over 30 years" is no exaggeration here. I played drums for (and contributed melodic ideas to) my first original band starting at 8 years old. This was also the year of my first live performance. Since then I have been a part of, if not solely responsible for, hundreds of recorded albums.

My personal interests lie in all things experimental and progressive, but my skillset extends into pop and commercial music. My personal music projects currently dabble in jazz fusion, electro-industrial, experimental/noise, ambient/drone, techno, death and black metal, and new age styles. However I also have experience producing pop, hip hop, punk and hardcore, acoustic and folk, and all sorts of rock and metal. 

My most active musical projects right now are Fire-Toolz and Nonlocal Forecast.

Additional Info

Storage

All completed projects are kept on-hand for 30 days, then they are compressed and stored to a secure cloud. If access to the project is needed after 30 days of completion, I charge an hourly rate to recover and prepare whatever it is that you need. If you know ahead of time that a project will need to be accessed after 30 days, let me know and I can keep them on hand for no additional charge.

Turnaround

Turnaround time largely depends on the nature of the project. Rush turnaround is available upon request.

 

On average, most mastering projects are completed within 2-7 days. Turnaround for mixing projects depend on how particular you are, how difficult or easy the audio is to work with, the number of multi-tracks or stems in the project, etc. Audio and video post-production turnaround is similar in that way.

 

I can give you a more accurate estimate once I have an idea of what the project entails, and what you are looking for specifically.

Payments

For most mixing, mastering, and music composition projects, half of the payment is due up front, while the second half is due before you receive the final product. Audio and video post-production jobs sometimes have a different approach; it all depends on the nature of the project.

Digital payments are preferred (Paypal, Venmo, Cash App), but checks and money orders are also accepted. There will be a payment link on your invoice. If you are making a partial payment, please send payment direct rather than through the invoice link, as the invoice links do not allow partial payments.

Shipping

Arrangements can be made for shipping the final product to you. I can provide an audio CD, data CD, PMCD, USB drive, portable hard drive, etc.

Studio Gear & Software

Computer

Mac Mini 2018

 

Software

Logic Pro*, Final Cut Pro, Motion, Photoshop CC 2019, After Effects CC 2018, Premiere Pro CC 2019, Blender, VLC, Quicktime, Audacity, TextEdit

 

Plug-ins

Waves, Izotope, Glitchmachines, Meldaproduction, Apple, Korg, SoundHack, u-he, Goodhertz, Voxengo, Native Instruments, Fab Filter

 

Controllers: Monoprice 60607, Korg nanoKEY2, midiplus AKM320

Monitoring

Alesis M1 active reference monitors, Superlux HD 668-B open-back studio headphones, Advanced Model 3 wireless earphones, LG Ultrawide LCD, Acer AL2216W

Interfaces

PreSonus Audiobox USB, Gefen High Res Analog To Digital Decoder

 

Amplifiers

Roland JC120, Roland Microcube, various vintage amps and speakers

 

Instruments

Fender Highway 1 Stratocaster, Samick fretless bass, Yamaha acoustic, various drums (mostly Sonor Force 3000), many homemade electronic instruments/synths and cheap keyboards, Senheiser 825-S microphone

 

Stomp Boxes & Outboard FX

Earthquaker Devices Sea Machine, Korg Kaos Pad 2, Boss DD7, Boss DD-20, Boss TR-2, Boss RC-50, Boss OD-1, Boss MT-2, Boss OC-3, Boss CH-1, Digitech Whammy, Alesis Bitrman, Cusack Screamer Fuzz 2, Cusack Screamer, Ernie Ball VP JR, Line 6 Space Chorus, Line 6 Verbzilla, Line 6 DL4, Ibanez DE7, Way Huge Swollen Pickle, Electro Harmonix Russian Big Muff, Proco Rat

 

Mixers

Behringer XENYX 1202FX, XENYX 802

 

Why not Avid Pro Tools, the industry standard? Logic Pro can do virtually all of the same things, but it is catered toward music producers. I am partial to the interface, know it fluently due to training with Apple's Garageband, and I like to produce music with the same DAW I use for mixing and mastering.

Why don't I use DDP software for mastering (for now)? I use Logic Pro to perform all audio-related tasks, and I hire another trusted mastering studio to take care of all DDP needs.