Mix, Mstr, Keys, Tuning

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

A: Coldplay X & Y, because I love them so much. Also Antony and the Johnsons material. The new Chris Smither record was also an absolute blast. Mixing, engineering, and mixing/engineering. The Papa Peachez record was also amazing (producer/engineer/mixer). I'm proud of all of my work, even if it never got heard.

Q: What are you working on at the moment?

A: Original piano classical compositions for a large scale performance piece, involving visual improvisational art and a chamber group. In pre-production as producer/engineer/mixer for three projects that I cannot divulge at this time.

Q: Analog or digital and why?

A: Both. I dance between these worlds with grace. In an ideal record situation for me, I record everything analog (most often capturing to Pro Tools instead of tape) in a big room, as much live as possible, and then mix at home in the digital world. Saves BIG bucks on recalls and makes tweaking mixes a breeze. Clients are always very happy with the process.

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

A: I am not happy until you are happy. Period. If you don't use my work, you don't pay for it.

Q: What do you like most about your job?

A: Getting lost in the hours as they pass by, not thinking about time as I lose myself in creativity. And hearing from clients how much they appreciate what I am able to do with their artistic efforts.

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

A: "How did you do that?" "I just do what the song tells me to do."

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

A: The gear makes more of a difference than the performance. It's all about starting with a good performance. If it is well captured, without distortion, it can be molded into a beautiful mix. I know many very famous mixers that opt to use a plug in version of classic compressors over the real deal, because they sound just as good and can be saved in the session without recall notes, failing tubes, etc... I can prove it.

Q: What questions do you ask prospective clients?

A: What kind of record are you wanting to make? What do you respond to when you listen to your favorite music? Do you believe in ghosts?

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

A: Try it. Send a mix to three different mixers (or keys players, or mastering engineers, etc...) and blind test yourself. Which do YOU like the best? Without knowing who is who? Pick that one. I hope it's me (it usually is). I offer a money back guarantee if you are not satisfied (never had to refund any client's money).

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

A: My left ear. My right ear. My piano. My wurli. My computer with ProTools and plugins. (assuming there is electricity on this desert isle).

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

A: I have been doing this for 20 years. Classical piano studies for nine collegiate semesters after beginning to play at the age of 3. 3 years at the Sound Recording Technology department at Texas State University. 3 year apprenticeship with Grammy winning mixer Michael Brauer in Times Square, NYC. 5 years Chief Engineer at destination studio Blue Rock Artist Ranch and Studios in Wimberley, TX. President/CEO Keith Gary Productions since 2011.

Q: How would you describe your style?

A: Class. "It sounds expensive."

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

A: Tom Waits. To be with him and watch his creative process might expand my relationship with the creative force. I find his music honest, quirky, authentic, and ever evolving.

Q: Can you share one music production tip?

A: Performance is king. Everything else pales in comparison.

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

A: All kinds. For real. Classical to pop to metal to hiphop to jazz. Check out my website for examples at www.keithgaryproductions.com/selected-works

Q: What's your strongest skill?

A: Tapping into the spirit of a song and knowing what it takes to get it right.

Q: What do you bring to a song?

A: Life. Excitement. Unknown possibilities. My combination of classical training, creative thinking, and expert training from masters is blended into a style that can only be my own.

Q: What's your typical work process?

A: I like to work with receptive action, honoring instinct balanced with intuition. I am happy to talk to the artist about the feel or sonic textures they want or just go with what comes out naturally. I send a pass to the client, and am happy to takes notes for tweaks. If you don't want to use my work, you don't pay for it. Period. I'm not happy until you're happy.

Q: Tell us about your studio setup.

A: When I produce/engineer, I hire out the big room at The Fire Station Studio in San Marcos, TX. All mics and analog gear do their magic in the tracking stage. I mix at home with my arsenal of plug-ins. It's the ears, not the gears! I always mix a track on spec for free...only pay if you use it. Go on...I dare ya to try it.

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

A: Daniel Lanois, Nigel Godrich, Dangermouse

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

A: Mixing is a big one, and Producing/Engineering when the band is local. I am an expert at recording live acoustic instruments and guiding musicians to their best performances and tasteful arrangements. Mixing at a world class level, thanks to the three year apprenticeship with Michael Brauer in NYC. Piano was my first language, and my keys tracks are always well received.