Every person that works on a piece of music will leave some sort of fingerprint on that music. Some marks will be more transparent and some will be less; I believe that an audio engineer, in the arts of mixing and mastering, should leave a fingerprint that enhances but does not disturb the art which he or she is a part of. Just as the musicians create the music that composer has envisioned, the engineer translates that music to the listener through the various mediums by which it will be delivered.
So rather than give you a list of my equipment, or show photos of my home studio at an awkward angle to make it look like it’s not in my basement, I’d like you to listen to some samples of music that I have left my print on to some extent.
In The Tadashi Shiga Incident I did everything from composition to mastering. Tadashi had approached me to create this piece so he could use it as a promotional tool for his real estate consulting business. He has been exceptionally pleased with the work.
The Coming Storm and Conquered are from the debut album by the operatic heavy metal band Ara’Kus (for whom I also play lead guitar). This was a very convoluted project and the early recording processes (before I came around) were pretty rough. The drums were recorded last, which was very difficult to work with. In the end I took it from a low quality demo to what you hear now.
~ Jeremiah Johnson, composer for, and founder of, Ara’Kus.
Gloria and The Wise Men’s Carol are from to the 2010 recording of the Our Lady of Perpetual Help Church’s Immaculate Conception Choir, for which I produce a yearly recording.
~ John Sullivan, Conductor of the Immaculate Conception Choir.
And While My Guitar Gently Weeps was just me having some fun. I consider this one to be demo quality, but as I intend to not publish it, I’m not going to beat myself up for it.
I do not consider myself a professional audio engineer, and like with guitar, I am constantly learning new things about it. I do know that the people with whom I have worked have been pleased with the results and in the end that means a lot more than what kind of D.A.W. I used, how much my microphones cost, or whether I compressed that guitar track. I hope that you at least enjoyed the music I have put up here and as I have often said to my students, “We don’t make music for people to hear, we make music for people to feel.”
I have more samples of my work that can be made easily available, and if you are interested in working with me in any capacity please do not hesitate to get in touch.
Or e-mail me through my contact page.