I offer professional audio services, including recording, mixing, producing, editing, reamping, and mastering. I also provide session work as a guitarist, drummer, bass, or keys. I will record remotely or in my studio, and I can work fully remote for services not requiring tracking.
I’m a professional audio engineer, producer, and multi-instrumentalist offering end-to-end music services: recording, mixing, producing, editing, reamping, and mastering. I also provide session work on guitar, drums, bass, or keys. Whether you need a single part tracked or a full production, I can work remotely from my studio or collaborate fully online for projects that don’t require live tracking. Live tracking in my own studio is also available if you’re in the Austin area.
My studio is built around high-end analog and digital gear. This includes Rupert Neve Designs preamps, compressors, and tape effects, Phoenix & Audient preamps, a Lynx Aurora(n) converter with Dante, Benson Tube Spring Reverbs, countless analog and digital effects, a collection of vintage amps (Fender Vibrolux Reverb, Twin Reverb, Gibson Atlas IV, and more). I also have tape machines, Portastudios, and an array of mics that let me shape tones from pristine and modern to warm and character-rich.
As a musician, I bring decades of experience across rock, indie, singer-songwriter, and cinematic/experimental styles. My background as both an engineer and player means I understand what it takes to get performances that feel alive while delivering mixes that translate. I’m detail-oriented but collaborative. I’ll work closely with you to refine your vision, and I don’t stop until the track feels right.
Send me an email through 'Contact' button above and I'll get back to you asap.
Interview with Cory Maluski
Q: Analog or digital and why?
A: Both, but it’s a bit tired. Everything always has an analog front end, but the analog/digital debate (historically) was about recording medium. I rarely record straight to tape (I use actual tape it as an effect often), but the primary recording medium is digital. I maintain a 4 track 1/4” and 2 track 1/4” machine and keep fresh reels of ATR magnetics blue and red on hand (as well as various cassette recorders and portastudios with over a dozen cassette mediums to choose from), but in truth those are effects units. If a client wants to go straight to the 1/4” reel, I will oblige, but only if the sonic blueprint is warranted. That decision will be made through discussion with the client. I also prefer to work with as few A/D and D/A steps as is necessary. If I feel it’s beneficial to go out of the box for a mixing project, I won’t hesitate to do so, but if I’m in control from the beginning, I try to capture as much analog going into the box as possible.
Q: What's your 'promise' to your clients?
A: When recording: to faithfully reproduce what they are able to provide. When mixing: to bring their tracks to their fullest potential. When producing: to bring to life what is already there, and add only what is required to match their vision.
Q: What do you like most about your job?
A: Honestly, it’s knowing that I provided the service that my clients came to me for. It’s the look of satisfaction on a client’s face when they hear their vision come to life for the first time. It’s a moment in time that lasts forever.
Q: What questions do customers most commonly ask you? What's your answer?
A: “Which mic is live?” “They all are. Don’t worry about it.”
Q: What's the biggest misconception about what you do?
A: That you can (or should) do it yourself.
Q: What questions do you ask prospective clients?
A: Why do you want to work with me? Why would I want to work with you? What matters more to you: how you hear yourself or how others hear you? Are you open to hearing yourself as you really sound, or would you rather hear yourself how you could sound? No wrong answers.
Q: What advice do you have for a customer looking to hire a provider like you?
A: If you’re considering hiring a professional producer or tracking, mixing/mastering engineer: do it. Don’t get bogged down with trying to decide what to do with your music. It’s better to get it recorded and out in the world than it is to sit on it.
Q: How would you describe your style?
A: Highly fluid and adaptable.
Q: Which artist would you like to work with and why?
A: Easy answers: Andre 3000 and Billie Eilish. Because they’re brilliant artists with subtlety and nuance to offer … where sonics, tone, mood, and performance matter.
Q: Can you share one music production tip?
A: Never short change the low-end.
Q: What type of music do you usually work on?
A: Rock, alternative, pop, hip hop.
Q: What's your strongest skill?
A: I’m an artist first, and I know that my clients are working with me so that they don’t have to be concerned with anything behind the board. I take client relationships very seriously, and I work very hard to ensure that my clients are comfortable working with me. Whether that be by having everything set up perfectly the moment they arrive on site for tracking, adapting in the moment to adjust to unforeseen circumstances, or just turning a mix around on a tight timeline when possible, I put the client’s piece of mind above all. Of course, that involves having a listening-first policy. I ensure I know what my client’s sonic needs are, I listen closely to the program material, and I adjust to achieve what’s wanted.
Q: What do you bring to a song?
A: The confidence that I can help you achieve your goals with any song. If you know which direction to go, I can help achieve that. And if you don’t, I can help you figure that out.
Q: What's your typical work process?
A: Listen. Learn. Listen.
Q: Tell us about your studio setup.
A: I designed my studio with an in-the-room sonics-first philosophy. My control room is neutral with near-zero ring, and my recording spaces all offer something unique. My equipment is all of the highest caliber.
Q: Describe the most common type of work you do for your clients.
A: Production, Tracking (full bands, solo artists, on-location, even remote reamping), mixing, and mastering. I genuinely love working with artists to fulfill their vision from the ground up, but I’m also equally at home stepping in as the mix engineer after primary tracking & production.
I offer two revisions per project. Anything beyond that is negotiable at my hourly rate.
Turn around is typically 5-7 days. If rush service is required, I’m willing to accommodate if possible.
- Lynx Aurora (n)
- Rupert Neve 5024
- Phoenix Audio DRS-8 mkii
- Rupert Neve 5043
- Rupert Neve 5042
- Benson Studio Tall Birds
- Gibson guitars & amps
- Fender guitars & amps
