On our last day in Nashville last week I got an email saying that we’ve been nominated for a Technical Excellent & Creativity Award for Audio Education Technology alongside some of the best in the industry.
I am at a loss for words!
We are absolutely blessed to be mentioned along side the likes of Al Schmitt, Focal Press, Groove3, Hal Leonard Books, and Mix with the Masters!
We’re extremely thankful to everyone who has come together to make Produce Like A Pro such an amazing community!
I’d also like to thank all the amazing mentors who have shared their recording/mixing/mastering secrets, tips & tricks, and given us an insight into their worlds.
Our amazing mentors include:
Mark Needham, Richard Furch, Bob Marlette, Cameron Webb, Ulrich Wild, Ken Sluiter, Glenn Fricker, Bob Horn, Erik Reichers, Warren Sokol, Matthew Weiss, Ariel Chobaz, Rob Mayzes, Phil Allen, Matt Starr, Blair Sinta, Amos Heller, Tony Franklin, Steve Cook and Brad Wood!
Thank you to everyone who has taken the time to sit down for an interview, answer questions and tell us their stories.
These interviewee’s include:
Ken Scott, Eddie Kramer, Jack Douglas, Bobby Owsinski, Eric Valentine, Brandon Small, Dave Pensado, J.J. Blair, Reid Shippen, Mark Endert, Andrew Wells, Dave Way, Shelly Yakus, Johnny K, Joe Chiccarelli, Ben Gross, Matt ‘Linny’ Linesch, Pete Lyman, Graham Cochrane, Barry Rudolph, Chris Lord-Alge, Matt McGlynn, and so many more!
Last but not least, I’d like to thank the Produce Like A Pro team who work around the clock to keep things running smoothly (most of the time haha!) Thank you Eric, Sam, Kasia, Andrew and Matt!
What an amazing few weeks. We hit 200,000 subscribers a couple of weeks ago and now this!
Seeing has this an an episode of FAQ Friday, here are the questions I answer in the video below!
• Would I find more work as a live sound engineer or as a traditional studio engineer? I have the opportunity to study at university in England and I’m very torn between studying a traditional music production course or a live sound course.
• Can you talk about where you draw the line in terms of your agreement with your client in terms of the difference in your rate?
• Can you break down what elements/tasks that fall into producing versus what tasks fall into mixing only?
• Is there a book you would recommend for improving songwriting?
• Why do you print the mix in the session?
• The intro music of your music sounds so damn good that I would like to use it as a reference for mixing. So is this a song released on an album?
• Can you explain why you use delay on the click?
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