Major Label Music and Audio Professional | Specializations : Mastering • Mixing • Keyboards | Additional Services : Production & Arrangement • Artist Development • Asset Management
As Sr. Manager of Studio Operations with Warner Music Group, I direct and perform audio engineering services for WMG-owned and distributed labels. I've contributed to projects resulting in 20+ Grammy Awards, 50+ Dove Awards, 90+ No. 1 singles/albums, and 285+ RIAA certified Gold, Platinum or Multi-Platinum singles/albums over 25+ years.
I enjoy developing, equipping and helping demystify the music industry for newcomers. Beyond my duties with WMG, I also collaborate with artists and clients as an independent. No job is too big or too small to be thoughtfully considered, so don't hesitate to reach out. If I'm not the right fit for it, I'll tell you up front. For me, relationship is key...if you're cool, honest and respectful, I will be too, and we'll get things right...the music, the vocal chain, the salsa recipe, the soul, whatever the need might be.
Also, lots of providers claim to offer "360°" or 1-stop shop services. While many of us do lots of different aspects of music production, myself included, I ALWAYS recommend distributing the roles of production. Just because someone CAN mix and master doesn't mean you should have them do both. There is tremendous value in collaboration.
Audio portfolio on Spotify: spoti.fi/2Z6PxYS
Contact me through the green button above and let's get to work.
- Blake Shelton
- CREED Original Motion Picture Soundtrack
- Cole Swindell
- Dan + Shay
- Ingrid Andress
- For King & Country
- Tommy Sims
- Amy Grant
- Michael McDonald
- The Greatest Showman
- Brett Eldredge
- Group 1 Crew
- Michael Ray
- Meek Mill
- Ashley McBryde
- Charlie Peacock
- Cardi B
- Meredith Andrews
- Lee Brice
- High Valley
- hunter hayes
- Jana Kramer
- Big & Rich
- Big Daddy Weave
- CeCe Winans
- Bruno Mars
- Bon Qui Qui
- Dear Evan Hansen
- Rachel Lampa
- Point of grace
- Randy Travis
- Family Force 5
- Francesca Battistelli
- Faith Hill
- We Are Messengers
- Cowboy Troy
- Natalie Grant
- Chris August
- James Otto
- Frankie Ballard
- The Last Bandoleros
- Trea Landon
- Gabby Barrett
- Tegan Marie
- michael buble
- Josh Groban
- John Oats
- Charlie Puth
2 Reviews - 1 Repeat ClientEndorse Terry Watson
Yet again, another great experience working with Terry! Very patient, professional and understanding while achieving exactly what I was looking for! Thank you!
I had a great experience working with Terry! He gave me some really valuable feedback on my mix before he started the master which allowed me to make any adjustments necessary to bring the best out of my song. This was such a lovely change, there was a real feeling of care and attention to detail working with Terry, along with great communication which made the whole process truly enjoyable.
The master Terry delivered was perfect and gave the song exactly what it needed. Any revisions were made quickly and effortlessly. I will certainly be returning on my next project.
Interview with Terry Watson
Q: What do you like most about your job?
A: The people I meet and work with.
Q: Analog or digital and why?
A: Both. Analog because it's familiar, comfortable and idiosyncratic. Digital because it's efficient and I'm not interested in pulling all-nighters to print mixes anymore. A quick myth buster: analog gear doesn't "sound better" than digital just because it's analog. There are brilliant designers involved in the development of digital hardware and software-based tools just like there are genius analog designers. There is also a vast spectrum of quality in the marketplace among analog audio gear, and the performance of one processor impacts and is impacted by the preceding and subsequent pieces in the analog chain. (E.g. your $10K mastering equalizer won't fix crappy sound from cheap AD/DA converters.) Likewise, the skill and understanding of the user can't be overstated. A great engineer can usually get excellent results regardless of the tools he/she is using. Having a some level of understanding of music theory, acoustics, audio signal flow, electronics, computer science, digital marketing and the music business value chain are all skills that are just as, if not more important, for producing commercial music in the 2020's.
Q: What was your career path? How long have you been doing this?
A: • Full Sail, Recording Arts Program • Producer Apprentice • Production Assistant/Assistant Engineer • A&R Administrator, Provident Label Artist Development Team • Studio Manager/Producer/Engineer, Provident Music Publishing Creative Team • Freelance Producer/Engineer • Post-Production Manager, Word Records A&R Administration & Production Team • Audio Engineer & Manager, Warner Elektra Atlantic Studio Services Team • Sr. Manager Studio Operations, Warner Elektra Atlantic Global Asset Management & Engineering Team • 25 years & counting...
Q: What do you bring to a song?
A: I think about it more like what does this song want to bring out of me? I have 41 years of musicianship & 25 years of audio engineering experience to draw from, but it's not about showcasing me or my gear. If the song needs something from me, I feel like my job is to find whatever that is in my tool bag, whether it's adding, removing, enhancing or reducing something, with appropriate strength or subtlety. If I can't do that, then I'm not the right guy for that song.
Q: Can you share one music production tip?
A: Consider that the gear you use has been designed and engineered to provide an expansive dynamic range - up to 139dB in some world class converters. 32 bit floating point audio provides the greatest resolution we've ever experienced in digital audio. So if dynamic range and resolution are such desirable attributes in our tools, consider using/exploring the subtleties and nuances of musical dynamics in the music you create. The use of softer dynamics allows for greater impact by stronger dynamics when needed, and our tools have never been more capable of accurately capturing and reproducing these depths of expression.
Q: What type of music do you usually work on?
A: Country, pop and hip-hop most often. But I love doing jazz, funk, gospel and soul styles when I can.
Q: What's your strongest skill?
A: Compassion. I care about the people I work with.
Q: Tell us about your studio setup.
A: It's a bit eclectic and unusual due to the variety of roles I fulfill. • 6x computer workstations (3x PC, 3x Mac) • DAW and analysis tools by Merging Technologies, Avid, Dolby, Adobe, EclipseSuite, Stillwell Audio, iZotope and Flux • Loads of virtual instruments and processor plugins • Interfacing and AD/DA conversion by Merging Technologies, Avid, RME, Benchmark and Dangerous Music • Analog mastering processing by Manley and SPL • Monitoring System by Dangerous Music, PMC Speakers and Grado Labs • Mogami cabling, Switchcraft patchbays, Neutrik connectors • Synths, MIDI controllers, electric & acoustic guitars, drums, ukulele, vintage violin and mandolin in need of restoration
Q: What other musicians or music production professionals inspire you?
A: As part of the professional music community in Nashville, I'm privileged to call many world-class engineers and music makers my friends. I'm inspired by many of them, often in many ways. I'm particularly inspired by David, King of Israel (1010-970 BC), who was one of the most prolific and enduring composers in history, and also a renaissance man in terms of the development and integration of musical instruments within the context of religious worship, which became the leader of worldwide cultural development for several millennia.
Q: Describe the most common type of work you do for your clients.
A: Audio mastering, asset management and quality assurance. I did a lot of track arrangement & producing in the '90s-early '00s, and occasionally now. I also play keyboards live and overdubs.