Multimedia Audio Solutions

StudioSolvere on SoundBetter

StudioSolvere is a project studio that that offers a wide array of multimedia services. StudioSolvere caters to any and all types of projects regardless of genre and works in close conjunction with its clients to achieve the desired result - without compromise and without settling for a subpar final product.

Services Provided:

- Remote Mixing
- Audio Editing and Production (Audiobook Editing/Dialogue & Podcast Editing)
- Audio Repair and Restoration
- Session Bass Composition and Recording

Contact me through the green button above and let's get to work.

Interview with StudioSolvere

  1. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  2. A: I mixed one of my other band's records (Endmember - "Lifeterror"). It was a big project that was recorded at Bricktop Studios, Chicago, IL and instead of having the engineers at the studio do it, I took it upon myself to mix it and was happy with the result.

  3. Q: What are you working on at the moment?

  4. A: I am working on the debut album for a personal project of mine under the name Marrowomb. It's a metal project that incorporates alot of styles of metal. I performed and recorded Bass, Vocals, Guitars, and Synths and I will be mixing the record.

  5. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  6. A: I do not, unfortunately.

  7. Q: Analog or digital and why?

  8. A: Both. Each medium has its own pros and cons and I utilize both all the time. I have an analog sound system in my living room because I love listening to the depth and warmth that you get from old gear. However, with producing audio, I utilize a largely digital setup because maintaining analog gear is both difficult and expensive. ProTools really is a powerful DAW and without it, I could not do what I do.

  9. Q: What's your 'promise' to your clients?

  10. A: That I will work as much as required to deliver a final product that they are 100% happy with. I refuse to submit sub-par work or work that is not reflective of the client's wants and needs.

  11. Q: What do you like most about your job?

  12. A: I like that I get to help people develop themselves. People get a confidence boost when something sounds good, so I love being able to be a part of that process.

  13. Q: What questions do customers most commonly ask you? What's your answer?

  14. A: Customers usually lead with "what would it cost to do ____?" And I respond with "It depends because each project is unique in its complexity and amount of work required."

  15. Q: What's the biggest misconception about what you do?

  16. A: I think the biggest misconception is that people think it's an easy job. Often we are working with less than ideal tracks, complex arrangements, and not all the correct pieces to make a song sound good. So, it takes a really good ear and alot of technical prowess to make audio sound great. Even with great sounding tracks, it still takes knowing your setup and knowing your systems/environment well in order to create a translatable product. We often notice when something sounds bad - but whenever something sounds good, we hardly notice it. It's the ultimate paradox of mixing audio.

  17. Q: What questions do you ask prospective clients?

  18. A: I typically ask what goals the client has, what the background of the project is, when they would like the final product, and what they would like the product to sound like (i.e. what sort of impact/atmosphere/tone etc. are they looking for).

  19. Q: What advice do you have for a customer looking to hire a provider like you?

  20. A: I would say be as detailed as you can with what you want your final product to be. I am a detail freak and the more information I have, the better apt I am to creating something awesome for the client. It's ok if you have trouble articulating everything you want, but that is what good old conversation is for. I love to have a dialogue with prospective clients to get as much information as I can about the project and the artist's background.

  21. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  22. A: Computer, Speakers, CD player, Interface, Bass Guitar

  23. Q: What was your career path? How long have you been doing this?

  24. A: I've been working with audio for a little less than 20 years.

  25. Q: How would you describe your style?

  26. A: My style is dynamic - I don't approach every project the same way. If I did that, everything would sound the same. I tailor my approach to what the client wants/needs.

  27. Q: Which artist would you like to work with and why?

  28. A: I would like to work with Bjork because I find her entire process from composing/creation to performance fascinating and all encompassing.

  29. Q: Can you share one music production tip?

  30. A: Practice! And mess up alot - because that is how you learn to get better.

  31. Q: What type of music do you usually work on?

  32. A: I typically work with extreme metal; however, I enjoy working with many other genres. I really just enjoy working with people in general and I enjoy the process of making someone happy by providing a good mix. There's nothing better than seeing art come to life.

  33. Q: What's your strongest skill?

  34. A: My strongest skill is my ability to deliver what the client imagines their work of art to be. By listening closely to the type of music they are performing combined with the information I gather from the artist themselves, I can find ways to give them what they want.

  35. Q: What do you bring to a song?

  36. A: I bring a meticulous approach to mixing and I try to extract as much uniqueness as I can out of a song. I look for moments where I can create at LEAST one memorable idea per song (such as a cool delay trick, a reverse reverb effect, a fancy edit, etc.) because I like when songs have something that you can always remember, even if it's a small, nuanced idea. I have a good sense of how to transform a song from good to great because I listen to such a variety of music and I am not afraid to go outside the box with my own creative approach.

  37. Q: What's your typical work process?

  38. A: I work quickly and efficiently, but I never take shortcuts. I have multiple systems that I like to reference audio on to ensure that everything sounds as it should prior to delivery. First, I will assess a session and organize the session to optimize my workflow. Once I get working, I will spend time trying to find a way to create a product that is reflective of the artist's intent. I then will keep in constant communication with the client and show works in progress to ensure that everything is on the right track. I will also take any feedback and incorporate that into any revisions and/or will provide my own opinion on the work.

  39. Q: Tell us about your studio setup.

  40. A: I have a home studio treated with professional sound absorption and I own the following gear: Technology: UAD Apollo x6 Interface JBL 2328P Studio Monitors Yamaha MS5P Studio Monitors Windows 10 + Pro Tools Intel Core i7 9700k Processor Professional plugins by FabFilter, SoundToys, Izotope, etc. Microphones: Shure SM57 Shure SM7B Shure UNIDYNE iii AKG C214 AUDIX I5 Amps, Instruments, and More: Two Notes Studio Cab Emulator Friedman JJ Junior 20w Peavey EVH 5150III 15W Marshall DSL1HR 1W Roland JC-40 Mesa-Boogie Titan V12 Hybrid Carvin Xcelerator 4-STR Bass Carvin XB6 6-STR Fretless Bass Jackson S Soloist SL2P Orange PPC212 2x12 Cab (V30s)

  41. Q: What other musicians or music production professionals inspire you?

  42. A: I'm influenced by alot of classic and modern metal (King Diamond, Entombed, Dismember, Strapping Young Lad, Iron Maiden), new age and ambient (Enya, Brian Eno), prog rock (Yes, Rush, Camel), and electronic/avant garde/trip hop (Bjork, Portishead, Hooverphonic, Massive Attack). As far as production professionals go, I have always loved Terry Brown's work with Rush, as he did alot of their big albums between 1975 and 1982. Then, the Morris brothers (Jim and Tom) created a strong foundation for modern metal recording at their Florida studio Morrisound. They recorded everyone from Death to Morbid Angel, Cannibal Corpse, Iced Earth, and Atheist. I believe they laid the groundwork for what metal recordings would later become. I'll also put Bjork on here because while she is the person creating the music, she always found a way to get a large team of collaborators to bring her music to life. To be able to garner the right group of people is inspiring to me. I think it's easy for alot of musicians to get in their own head with a project, but she was never afraid to recruit other people that would help elevate what she created. Without those teams, I do not think she would have achieved the same level of perfection that she did on the majority of her records. Having that sensibility as a musician and producer is invaluable.

  43. Q: Describe the most common type of work you do for your clients.

  44. A: Most of my work is mixing and writing/recording music; however, I am also able to perform dialogue editing, sound design, audiobook editing, and audio restoration and repair.

Endmember - Fated

I was the Mixing Engineer in this production

GenresSounds Like
  • Morbid Angel
  • Strapping Young Lad
  • Akercocke
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