Music Audio Studio Recording Engineer Editing Mixing Chris Murphy
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The Beatles were the start of music for me. I had just turned 10, and stayed up late on that famous Sunday night in February 1964 to watch The Ed Sullivan Show. In 1967, after "Sgt. Pepper" came out, there was a magazine article that described how the album was recorded. When I finished reading it, I knew what I wanted to do for a career. Several years later, my high school guidance counselor told me I didn't have the aptitude to do this. I think all she heard was "engineer" and thought mechanical or electrical. Photo
Music Audio Recording Engineer I spent the summer of 1976 as an intern at Track Recorders in Silver Spring, Maryland. For the next seven years I did live engineering for bands and clubs - one year with Danny Gatton, then three years touring with The Allstars from Charlottesville, Virginia. While on the road, I got to work with a lot of the blues greats like Muddy Waters, B.B. King, John Lee Hooker, George Thorogood, J.B. Hutto, Robert Lockwood Jr., John Mayall, Sunnyland Slim, Johnnie Shines, John Hammond, and many others. Often guest musicians joined us on-stage, including  Bruce Springsteen, Southside Johnny, and Cheech and Chong. In 1981, I moved back to Washington DC, and worked with several bands as regular clients (Switchblade, The Slickee Boys, others) and also as house sound engineer at several local music venues (Desperado's, The Psychedelly, The Bayou, Adam's, The Wax Museum, 9:30 Club, Kilamanjaro, Friendship Station, others,) mixing national and local acts.
In 1983, I started working at Startec Recording in Washington DC. Within 2 years, I had worked my way up to Chief Engineer. Then the building was sold, and the studio dissolved. I soon joined the staff of Balance Studios (now called Avalon Studio) in Bethesda, Maryland, and worked there for about 6 months. In November of 1987, I accepted a job offer from Omega Recording in Rockville, Maryland, where I worked for 5 years, engineering sessions and teaching at their Recording Engineering School. I also helped develop some of their instructional courses. In March of 1993, I joined the engineering staff at Cue Recording in Falls Church, Virginia and worked there for 8 years. In the summer of 2001, I started my career as an independent audio engineer.
Discovery Channel
At Cue Recording, Falls Church, VA
Dead Men's Hollow Home Recording
Mono mix, Dead Men's Hollow Living Room

Over half of my recording projects are done in private homes. Sometimes a project will start in a studio, then we'll do overdubs and mixing at home. Other projects have been complete home recording projects from start to finish. Some projects get mixed in my home office. People tend to feel more comfortable at home. Pets and family are there, meals are home cooked, the commute is ideal, and it really helps to lower the budget since you aren't paying for studio space rental.
I have recorded and mixed many soundtracks for film and television projects that have aired on Discovery Channel, The Learning Channel, History Channel, Nickelodeon, PBS, ABC, NBC, CBS, FOX, SHOWTIME, HBO, and many others. I have also recorded and mixed many CD projects. Among these are two albums by SAFFIRE - The Uppity Blues Women! Both were released on Alligator Records. "Ain't Gonna Hush" is a studio album project while "Live & Uppity!" was recorded live at The Barns at Wolf Trap in Vienna, Virginia. Location Recording
T. Edwin Doss, Patty Reese, me, Cue Recording 2009
I also have been doing classical recording churches in northern Virginia and Washington DC, and some jazz recording at the Levine School of Music in Washington, DC. I have recorded live performances at Old Town Hall in Fairfax, Virginia, The State Theater in Falls Church, Virginia, and Blues Alley in Washington DC. Check out my credits to see who I have been working with lately, along with a listing of other projects.
I did a live show mix for The Nighthawks at the Strathmore Arts Center in Bethesda, Maryland. This state-of-the-art performance center seats 2000 in the main hall, and the acoustics can be varied to fit the needs of any particular artist or group. I must say the hall sounds wonderful.

Member of:
AES - Audio Engineering Society
NARAS (Grammy Organization - Voting Member)
                  National Academy of Recording Arts and Sciences
WAMA Logo WAMA - Washington Area Music Association

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