Recording and mixing music has been my passion and livelihood for almost 25 years. I’ll find the pocket, the groove, the soul of your song, and build a big, beautiful, balanced mix around it. My mix will make your song sound like a hit.
My career has taken me all over the world engineering live TV shows like The Grammy Awards, CMA Awards, Hip Hop Honors, VH1 Divas, and multitracking concerts by artists such as U2, Smashing Pumpkins, Elton John, Usher, Phish, Korn, Paul McCartney and more. But I’m a dad now, and I want to stay home and mix YOUR music. I will bring all of my experience and knowledge to bring out the heart and soul of your music. I will mix until you are happy, no revision limits. Nothing pleases me more than to hear, “it’s perfect.”
Tell me about your project and how I can help, through the 'Contact' button above.
8 Reviews - 2 Repeat ClientsEndorse Max Feldman
We can only recommend working with Max! He kept the style of the song while giving it a groovy and professional feel. Always polite, responds quickly and accurately. Vielen Dank!
Max has done a fantastic job mixing and mastering our song. He has kept the soul of the song while giving it a groove. The mix is well balanced and stays that way regardless of the medium. We will work again with Max for sure.
This was my second time working with Max. He's a masterful mix engineer whose mix for my Beatles cover song blows me away every time I hear it. Max has great music instincts and uses just the right amount reverb, EQ, etc. to bring magic to a song, especially if the raw tracks are already solid. I wholeheartedly recommend Max because his professionalism, communication skills, talent, and sensitivity to the music are on the very highest level.
Max did an excellent job mixing my song. For my jazz-influenced arrangement of a famous 1960s pop song, I have lots of instruments including harmonica and I needed every instrument to sit well together in the mix. Max provided the perfect balance in terms of each instrument’s volume, panning, etc. People who have heard this tune say that it is sonically beautiful, and I owe much credit to Max. He is a consummate professional, a great communicator, and I would definitely recommend him.
Max did an incredible job mixing my first album. I would be thrilled to work with him again and recommend him to anyone looking for a skilled, collaborative, communicative, and kind engineer. An engaged and creative craftsman, Max has an excellent ear for designing a nuanced mix that honors the strengths of each track as well as the complete song, bringing an inspired cohesion to the project as a whole. Communicating with Max was pleasant and easeful. He was patient and generous in his willingness to hear my vision for the project; his sensitivity and skill brought that vision to life.
Max produced and mixed our NYC rock band's very first album - and we never looked for anybody else for the next 3. He was instrumental not only in getting a great sound (from advising us on acoustics and equipment pre-session all the way through fixing an off beat drum fill with his pro-tools magic), but Max also as a patient and thoughtful collaborator who taught me much about how to make a good record. I would recommend Max to anyone. I should also note that he once mixed a record for my band in Seoul when he was back in NYC. Remote sessions are no problem for Max.
Max is an absolute joy to work with. Very easy going and fun in the studio. His ears are incredible. He was able to take some decent tracks and make them absolutely pop out of the speakers. A complete wiz and I can not wait for another opportunity to put his vast talents into action again soon. Highly recommended.
I had the pleasure of working with Max on several different projects. One was a super-elaborate prog record with well over 100 tracks per song, which Max navigated like a champ. One was a more rootsy band that Max tracked live (he did a beautiful job engineering) and then made sound fantastic at mix time. Perhaps the most impressive job I’ve seen Max perform, though, was taking a really low-budget side project, tracked with cheap mics on a Roland VS hard disk recorder, and making it sound huge and totally pro. Max is a total sweetheart who will work with you to get something you love!
Interview with Max Feldman
Q: Can you share one music production tip?
A: It's all about musicality, balance and space. When the balance is right the song will naturally feel more musical.
Q: Describe the most common type of work you do for your clients.
A: I do anything audio related, but I mostly mix music. I've mixed studio albums, musical performaces live on-air or for DVD, music TV shows, festivals, and even some post-production sound for TV. I've recorded albums in the studio and multitracked live shows, and mixed shows live on-air. I've also mixed Front of House and monitors.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Just do it.
Q: What was your career path? How long have you been doing this?
A: I started as a general assistant in an NYC recording studio in 1998. I worked up to being the head assistant engineer there, before moving to a specialized remote-recording company called Effanel Music in NYC. I worked as a staff engineer there until 2003, when I went freelance. I continued to freelance in the remote recording field, doing massive TV awards shows, DVDs, and smaller live shows, as well as recording several studio albums and branching out to do post-production, playback, and FOH. I took time off to move out of the city and raise two children. Now they're in school and I'm ready to start pushing faders again. I bought a new rig, and here I am on SoundBetter. I want to mix in my home studio so I can be with my kids and not out on the road constantly. That's why you can get me for so cheap!
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I worked as an engineer/Pro Tools guy on U2's Live from Boston DVD. It was a massive project that was one of the first music DVDs mixed in 5.1 surround. I worked with The Edge, Steve Lillywhite, and John Harris for weeks, months maybe. I feel like we were on the cutting edge of surround mixing at the time. I also worked as an engineer on the broadcast mix of the Grammy Awards for 14 years in a row. That show was a new challenge every year.
Q: Analog or digital and why?
A: They each have their pros and cons, but in the end digital is just so much more flexible, cost efficient, easier to recall, less maintenance... and it's getting to the point now where resolutions are making it sound better than tape. Analog has some advantages, but it just doesn't add up to the ease of use and flexibility of digital.
Q: What's your 'promise' to your clients?
A: I won't be happy until you're happy.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: It's not the gear that makes the mix, but I'll answer the question anyway. I'm on a desert island in my house really, compared to the studios and trucks I used to work in. I need Pro Tools, a pair of ATC speakers, and some UA plugs. If I were recording, I'd need great mic preamps. John Hardy M-1s or Millennia. I also love Distressors, but a good plugin will do.
Q: How would you describe your style?
A: I've had other people call me Mr. Clean. I'd say my sound is clean, open, and detailed.
Q: Which artist would you like to work with and why?
A: I've had the pleasure of working with many of my favorite artists already, but Janelle Monet is one I'd still like to work with.
Q: What type of music do you usually work on?
A: I've worked on lots of pop, folk, singer-songwriter, hip hop, jazz. I've done it all.
Q: What's your strongest skill?
A: There is no technical challenge that I can't remedy. If the song is good, the mix will make it better.
Q: What do you bring to a song?
A: I like to make the music speak for itself. There's a perfect balance where the song should roll along and feel natural.
Q: What's your typical work process?
A: My typical work process is to put up all the faders, and get a balance of the song to start. Once I get the balance, the sounds start to speak to me. Frequencies that need to be ducked or boosted, but no major EQing to start. I start adding effects to build a space for the song. The end product should be musical, exciting, and present a space that is cohesive for the song.
Q: Tell us about your studio setup.
A: I work in Pro Tools. I have an Ultimate HD system, D-Command surface, monitoring through ATC speakers. I love UA and Waves plug-ins.
Q: What other musicians or music production professionals inspire you?
A: I've always loved Jon Brion's production work. Kevin Killen is one mixer who I admire, but there are many. I've had the pleasure to work alongside many producers as an engineer or assistant. Steve Lillywhite, Frank Filipetti, Phil Ramone to name a few.