CUBASE WAVELAB AUTO TUNE MELODYNE 30+ YEARS EXPERIENCE of ENGINEERING & PRODUCING ORCHESTRAL SOUNDTRACKS LOCATION RECORDING & MIXING WASHINGTON DC VIRGINIA MARYLAND APOGEE MILLENNIA DEMETER API SCHOEPS DPA FOCUSRITE EARTHWORKS MILAB NTI EQ UNIVERSAL AUDIO UAD-2 QUAD CARD DYNAUDIO ACOUSTICS BM15A's

I want your artistic focus on the MUSIC - not on the studio bill. Recording at a home, your rehearsal space, church, or any other "non-studio" location is now easy and affordable. My mobile recording system provides the highest quality digital audio wherever you want to work. Twenty four (24) simultaneous tracks "IN RECORD" constantly for the whole day with amazing stability, and mixing capabilities of over 200 tracks. We can turn your home into your personal studio for as long as you choose. Or I can seamlessly interface with any commercial studio. I use Cubase Pro 9 by Steinberg. This multi-track audio recording/editing/mixing software program does anything "Pro Tools." does. I switched to Nuendo (also made by Steinberg) in 2002 after using "PT" for several years, because Nuendo SOUNDED better and WORKED faster. Cubase Pro 9 continues to use the same core audio engine developed by Steinberg which is recommended and preferred by many top recording and mastering engineers. Cubase 9 contains more additions and developments that Steinberg has refined in the last 10 years. Almost all TDM "plug-in's" are available in the VST format for Cubase Pro 9. The recording, editing and mixing capabilities along with the standard audio manipulations (pitch shift, time stretch, editing, drum rhythm polishing, looping, fades, crossfades, etc.) are equivalent in both programs. But the basic operation of the program and manipulation of the audio files is significantly faster in Cubase Pro 9. I spend more time focusing on artistic performance and less time managing software. To hear some recordings I have done using my mobile recording system, check out my CREDITS page. My mic pre-amps connect directly to the Apogee/Cubase inputs, bypassing any other stages of amplification. This allows the cleanest, punchiest, most dynamic audio possible. Sending an audio signal through a recording console passes it through multiple gain stages and amp sections, and the sound quality suffers. I HATE "MOUSE" RECORDING/MIXING - it slows down the creative process (and increases the client's bill.) That's why I have the Presonus FaderPort 8 controller. Many of the functions in Cubase 9 can be accessed and operated from the FaderPort 8, which makes the system work faster. Motorized faders and knobs can be assigned to various channels or functions instantly. With the FaderPort 8, my system works comparably as fast as a large console. My main computer is a rack mounted, custom DAW, built with the finest available components. An Intel Core i7 CPU, Windows 10 Professional for extreme stability, Asus P6T Deluxe motherboard, 16 GB DDR-3 1600 RAM, an RME RayDAT audio card (36 ins/36 outs,) 3 500-Gig Seagate hard drives, and a Plextor CD/DVD//Blu-Ray burner. All rack mounted, very stable, and very mobile. All interface cables (DUAL flat panel monitors, USB, etc.) are 50 feet long, so the computer rack and cooling fans can be positioned in a separate space preventing any extra noise from being added to the actual listening area. Back up storage is handled with external hard drives through eSATA, USB 2.0/3.0, and Firewire/IEEE 1394. Included is a Universal Audio UAD-2 Quad PCI-e card. It's dedicated high-speed CPU/DSP hardware handles all of its own audio processing. This results in effects with amazing reality, warmth and complexity, while placing no additional burden on the computer's main processor. Available plug-ins include the EMT 250 reverb (AMAZING!!!,) EMT 140 Plate reverb, SPL Transient Designer, FAIRCHILD 670 Compressor, PULTEC Pro EQ, CAMBRIDGE EQ, Teletronix LA-2A and LA-3A compressors, the UREI 1176LN and 1176 SE compressors, and the dbx 160 compressor, with regular additions and updates. I have selected additional great effects plug-ins from various other sources to add to my collection. I also use the most up to date Antares Auto Tune 8, Melodyne 4, and Steinberg's Wavelab 7 for CD burning. The better the converter, the better the sound. The A/D converter takes your original analog input signal and translates it into digital data. APOGEE has been a leader in the digital audio industry since the 1980's. The A/D16 provides outstanding audio with sample rates from 44.1kHz to 96kHz. It's companion piece is the APOGEE D/A16 digital to analog converter, and it provides the same high-quality audio in the output stage, with a total of 16 separate outputs. This allows me to send discrete audio signals to studio headphone systems capable of multiple mixes, so each musician can have complete control of their personal headphone mix. When mixing, it feeds 14 separate audio signals to my Dangerous Music 2Bus LT analog summing amp which significantly increases dynamic punch and low-end "wallop" in the final mix. A Nuendo 8 I/O 8 channel A/D and D/A converter completes the system so it works like a 24-track tape deck, providing 24 independent inputs and outputs. This unit was manufactured by RME specifically for Steinberg. My mobile recording system can interface with any commercial recording studio, or it can handle all studio console routing functions, providing studio quality recording and mixing in almost any location. For monitors, I use DYNAUDIO ACOUSTICS BM15A's. This accurate nearfield monitor system offers exceptionally high performance. It's extended bass response and extremely smooth high frequency reproduction makes it an ideal midfield monitor for any recording system. It provides exceptional detail and stereo sound field definition, and is comfortable to listen to for long periods of time. You'll find this monitoring system in many mastering studios. For alternative listening, I use pairs of KRK 6's and Auratone 5Cs. A Rosendahl Nanosyncs generates word clock for the entire system. This results in superior system stability, outstanding digital audio quality, and improved stereo imaging. It enables interfacing with other audio and video systems for locking to picture for soundtrack work (NTSC or PAL.) All musicians use Sony MDR-V6 headphones while recording. They sound great and are very light-weight so they can be worn comfortably for long periods of time. These are driven by a RANE headphone amp which has lots of headroom, so they can be VERY LOUD if needed. My mobile location recording system is protected by an APC 1000-Watt Uninterruptable Power Supply, which conditions the power and protects against any data loss in the event of any power problems. The system sets up in about an hour in most locations. Microphones and headphones require additional time, and this depends on how many need to be set up. I meet with clients before we start a project to help create a work schedule that is the most efficient and cost effective for them. With proper prior planning, an extremely comfortable and rewarding recording/mixing experience can happen.