I am an audio engineer in training pursuing a Bachelor's Degree in Music Production from Full Sail University. I have been producing music for myself and others since 2022. I have more experience than most at my age,…I am an audio engineer in training pursuing a Bachelor's Degree in Music Production from Full Sail University. I have been producing music for myself and others since 2022. I have more experience than most at my age, having produced multiple bands and artists, and mixed small advertisements. I have also worked as an audio engineer for 6 months in a professional setting. For privacy sake of the materials I have produced, I am not directly uploading them to the sight. However, if you are interested in seeing some of my work, I can send you it.WWWI am an audio engineer in training pursuing a Bachelor's Degree in Music Production from Full Sail University. I have been producing music for myself and others since 2022. I have more experience than most at my age, having…
I am an audio engineer in training pursuing a Bachelor's Degree in Music Production from Full Sail University. I have been producing music for myself and others since 2022. I have more experience than most at my age, having produced multiple bands and artists, and mixed small advertisements. I have also worked as an audio engineer for 6 months in a professional setting. For privacy sake of the materials I have produced, I am not directly uploading them to the sight. However, if you are interested in seeing some of…I am an audio engineer in training pursuing a Bachelor's Degree in Music Production from Full Sail University. I have been producing music for myself and others since 2022. I have more experience than most at my age, having produced multiple bands and artists, and mixed small advertisements. I have also worked as an audio engineer for 6 months in a professional setting. For privacy sake of the materials I have produced, I am not directly uploading them to the sight. However, if you are interested in seeing some of my work, I can send you it.WWWWI am an audio engineer in training pursuing a Bachelor's Degree in Music Production from Full Sail University. I have been producing music for myself and others since 2022. I have more experience than most at my age, having produced multiple bands and artists, and mixed small advertisements. I have also worked as an audio engineer for 6 months in a professional setting. For privacy sake of the materials I have produced, I am not directly uploading them to the sight. However, if you are interested in seeing some of …
Available to hire
I am an audio engineer in training pursuing a Bachelor’s Degree in Music Production from Full Sail University.
I have been producing music for myself and others since 2022. I have more experience than most at my age, having produced multiple bands and artists, and mixed small advertisements. I have also worked as an audio engineer for 6 months in a professional setting.
For privacy sake of the materials I have produced, I am not directly uploading them to the sight. However, if you are interested in seeing some of my work, I can send you it.
Skills
Experience Level
Music Theory
Expert
Pro Tools
Expert
Logic Pro
Expert
GarageBand
Expert
Adobe Premiere Pro
Intermediate
Audacity
Intermediate
Language
English
Fluent
Education
Bachelor of Science at Full Sail University
September 30, 2023 - March 28, 2026Qualifications
Louis Armstrong Award
May 24, 2022 - January 28, 2025Industry Experience
Media & Entertainment
Willie Dinardo & the Corporates- Ghost (Your Are No Longer) -2025 Remaster
This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Ghost (You Are No Longer)” is a slightly darker track, blending elements of chill acoustic guitar playing with haunting effect tracks such as reverse cymbal hits and a moody female vocal track in the background. The song gradually escalates into more electric sections, driven by heavier drums and a surge of energy in the bridge. The mood is ominous yet dynamic, perfectly capturing the shift from calm to intensity.
For the remastering, I worked with the final WAV file, which had minimal mastering, and my goal was to polish the track while preserving its dynamic range. I began by applying a mastering EQ to balance the frequencies and give the song clarity. To add warmth and cohesiveness, I used a combination of tape saturation and compression within an enhancement bus chain. This helped the track retain its natural character while enhancing the overall sonic quality.
The real challenge in the remastering process was maintaining the balance between the track's quiet, intimate sections and the explosive bridge. I ensured that the quieter…This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Ghost (You Are No Longer)” is a slightly darker track, blending elements of chill acoustic guitar playing with haunting effect tracks such as reverse cymbal hits and a moody female vocal track in the background. The song gradually escalates into more electric sections, driven by heavier drums and a surge of energy in the bridge. The mood is ominous yet dynamic, perfectly capturing the shift from calm to intensity.
For the remastering, I worked with the final WAV file, which had minimal mastering, and my goal was to polish the track while preserving its dynamic range. I began by applying a mastering EQ to balance the frequencies and give the song clarity. To add warmth and cohesiveness, I used a combination of tape saturation and compression within an enhancement bus chain. This helped the track retain its natural character while enhancing the overall sonic quality.
The real challenge in the remastering process was maintaining the balance between the track's quiet, intimate sections and the explosive bridge. I ensured that the quieter acoustic parts didn’t get lost in the mix while also making sure the loud sections maintained their energy without becoming too harsh. After all enhancements were applied, I set the levels to the appropriate LUFS for the loudest points to ensure consistency and professional polish across the track.
This remaster aimed to bring out the raw emotion and tension of the original track while giving it a polished, refined sound that aligns with the modern expectations of the genre.
https://www.twine.net/signinWWWWWWWWThis is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Ghost (You Are No Longer)” is a slightly darker track, blending elements of chill acoustic guitar playing with haunting effect tracks such as reverse cymbal hits and a moody female vocal track in the background. The song gradually escalates into more electric sections, driven by heavier drums and a surge of energy in the bridge. The mood is ominous yet dynamic, perfectly capturing the shift from calm to intensity.
For the remastering, I worked with the final WAV file, which had minimal mastering, and my goal was to polish the track while preserving its dynamic range. I began by applying a mastering EQ to balance the frequencies and give the song clarity. To add warmth and cohesiveness, I used a combination of tape saturation and compression within an enhancement bus chain. This helped the track retain its natural character while enhancing the overall sonic quality.
The real challenge in the remastering process was maintaining the balance between the track's quiet, intimate sections and the explosive bridge. I ensured that the quieter aco…
Willie Dinardo & the Corporates- Hold On To Me
This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Hold On To Me (Acoustic Version)” blends bluesy verses with rock-driven choruses. The drums, which were recorded on a cajon if I had to guess, add a distinctive, percussive texture that complements the acoustic instrumentation very well.
While this track had already undergone some initial mastering, my main challenge was addressing muddiness in the original mix. The song felt a bit congested, especially in the lower frequencies, so I started by adjusting the EQ to clear up that muddiness and bring more clarity to the instruments and vocals.
From there, I applied my usual compression to smooth out the dynamics and ensure consistency throughout. As with the other tracks, I added sound enhancements and a limiter to ensure the track met streaming standards, but I felt this song specifically would benefit from tape saturation, so I applied that to add warmth and character. The saturation brought out a bit more richness in the acoustic guitars and gave the track a fuller, more textured sound, particularly in the more dynamic choruses.
Despite the limited…This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Hold On To Me (Acoustic Version)” blends bluesy verses with rock-driven choruses. The drums, which were recorded on a cajon if I had to guess, add a distinctive, percussive texture that complements the acoustic instrumentation very well.
While this track had already undergone some initial mastering, my main challenge was addressing muddiness in the original mix. The song felt a bit congested, especially in the lower frequencies, so I started by adjusting the EQ to clear up that muddiness and bring more clarity to the instruments and vocals.
From there, I applied my usual compression to smooth out the dynamics and ensure consistency throughout. As with the other tracks, I added sound enhancements and a limiter to ensure the track met streaming standards, but I felt this song specifically would benefit from tape saturation, so I applied that to add warmth and character. The saturation brought out a bit more richness in the acoustic guitars and gave the track a fuller, more textured sound, particularly in the more dynamic choruses.
Despite the limited amount of adjustments I could make due to the initial mastering, this track still posed a challenge. My goal was to enhance what was already there, without overpowering the raw, natural sound of the original recording. The remaster helped tighten up the overall mix, giving it more clarity while preserving the organic feel of the acoustic performance.
https://www.twine.net/signinWWWWWWWWThis is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Hold On To Me (Acoustic Version)” blends bluesy verses with rock-driven choruses. The drums, which were recorded on a cajon if I had to guess, add a distinctive, percussive texture that complements the acoustic instrumentation very well.
While this track had already undergone some initial mastering, my main challenge was addressing muddiness in the original mix. The song felt a bit congested, especially in the lower frequencies, so I started by adjusting the EQ to clear up that muddiness and bring more clarity to the instruments and vocals.
From there, I applied my usual compression to smooth out the dynamics and ensure consistency throughout. As with the other tracks, I added sound enhancements and a limiter to ensure the track met streaming standards, but I felt this song specifically would benefit from tape saturation, so I applied that to add warmth and character. The saturation brought out a bit more richness in the acoustic guitars and gave the track a fuller, more textured sound, particularly in the more dynamic choruses.
Despite the limited amou…
Willie Dinardo & the Corporates- My Shiny Teeth & Me
This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“My Shiny Teeth & Me” is a fun, high-energy cover from The Fairly OddParents. It is a nostalgic cover and truly does the track justice. The track exudes a raw, demo-like energy with its upfront vocals, dry drums, and a lower harmony during the choruses. The song is playful and upbeat, perfectly capturing the lighthearted nature of the original cartoon.
For this remaster, my goal was to retain that vibrant energy while improving the overall sound quality. The original mix had a slightly too bright sound and muddy quality in the choruses. I tackled this by carefully EQing the high end down to reduce harshness, and gave the mid-lows a slight boost to add warmth and clarity. I then reduced the low end slightly to help clean up the choruses. I applied slight compression to ensure the track maintained its dynamics without feeling squashed, and I created an enhancement bus chain with saturation and frequency enhancements. This helped to add some sonic depth while keeping the track's energy intact.
Once the track was properly enhanced, I brought it into the final mastering chain. I…This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“My Shiny Teeth & Me” is a fun, high-energy cover from The Fairly OddParents. It is a nostalgic cover and truly does the track justice. The track exudes a raw, demo-like energy with its upfront vocals, dry drums, and a lower harmony during the choruses. The song is playful and upbeat, perfectly capturing the lighthearted nature of the original cartoon.
For this remaster, my goal was to retain that vibrant energy while improving the overall sound quality. The original mix had a slightly too bright sound and muddy quality in the choruses. I tackled this by carefully EQing the high end down to reduce harshness, and gave the mid-lows a slight boost to add warmth and clarity. I then reduced the low end slightly to help clean up the choruses. I applied slight compression to ensure the track maintained its dynamics without feeling squashed, and I created an enhancement bus chain with saturation and frequency enhancements. This helped to add some sonic depth while keeping the track's energy intact.
Once the track was properly enhanced, I brought it into the final mastering chain. I applied a final EQ, used a limiter, and employed a meter reader to ensure the track was properly leveled for streaming platforms. Additionally, I created a separate master for CD format, which gave me more headroom to bring out extra detail and richness in the sound.
Overall, this remaster aimed to elevate the track’s fun, energetic spirit while polishing the audio to meet modern streaming standards.
https://www.twine.net/signinWWWWWWWWThis is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“My Shiny Teeth & Me” is a fun, high-energy cover from The Fairly OddParents. It is a nostalgic cover and truly does the track justice. The track exudes a raw, demo-like energy with its upfront vocals, dry drums, and a lower harmony during the choruses. The song is playful and upbeat, perfectly capturing the lighthearted nature of the original cartoon.
For this remaster, my goal was to retain that vibrant energy while improving the overall sound quality. The original mix had a slightly too bright sound and muddy quality in the choruses. I tackled this by carefully EQing the high end down to reduce harshness, and gave the mid-lows a slight boost to add warmth and clarity. I then reduced the low end slightly to help clean up the choruses. I applied slight compression to ensure the track maintained its dynamics without feeling squashed, and I created an enhancement bus chain with saturation and frequency enhancements. This helped to add some sonic depth while keeping the track's energy intact.
Once the track was properly enhanced, I brought it into the final mastering chain. I ap…
Willie Dinardo & the Corporates-Lonely Street-Original 2015 Demo Version] -2025 Remaster]
This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Lonely Street (Original 2015 Demo Version)” is a special track that holds significant personal meaning for me and for Willie Dinardo. It was one of the first Willie Dinardo songs I heard, and I’ve always been drawn to its sound. As this was the original demo version, my goal with the remaster was to do the song justice while respecting its raw, lo-fi nature.
The bright acoustic guitar, reminded me of The Replacements’ “Unsatisfied,” which ended up being a reference track for me. I worked hard to preserve that brightness while ensuring the vocals stayed steady in the midrange without being overshadowed by the guitars. Balancing the clarity of the vocals and the guitars was a subtle challenge, but I aimed to keep both intact without either overpowering the other.
During the choruses, I noticed some muddying from the background vocals in the low mids. While I did my best to EQ them down and clear up the space, they still didn’t become as clean as I would have liked. However, given that this is a demo, I felt it important not to over-edit. I also encountered some…This is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Lonely Street (Original 2015 Demo Version)” is a special track that holds significant personal meaning for me and for Willie Dinardo. It was one of the first Willie Dinardo songs I heard, and I’ve always been drawn to its sound. As this was the original demo version, my goal with the remaster was to do the song justice while respecting its raw, lo-fi nature.
The bright acoustic guitar, reminded me of The Replacements’ “Unsatisfied,” which ended up being a reference track for me. I worked hard to preserve that brightness while ensuring the vocals stayed steady in the midrange without being overshadowed by the guitars. Balancing the clarity of the vocals and the guitars was a subtle challenge, but I aimed to keep both intact without either overpowering the other.
During the choruses, I noticed some muddying from the background vocals in the low mids. While I did my best to EQ them down and clear up the space, they still didn’t become as clean as I would have liked. However, given that this is a demo, I felt it important not to over-edit. I also encountered some timing issues towards the end of the track, which weren’t addressable in the final bounce as I could only master the audio I had.
The remastering process included saturation for warmth, as well as compression to tighten the dynamics, and I applied a limiter to bring the levels in line with streaming standards. I also created a separate master for CD, which gave me a bit more room to enhance the overall sound while maintaining the song’s authenticity.
This remaster was a balance of enhancing the track without losing its original character. The aim was to bring out the best in the song while preserving its demo roots.
https://www.twine.net/signinWWWWWWWWThis is from Willie Dinardo & the Corporates "Fall EP (10th Anniversary Edition Remaster)" in which I did all the remastering.
“Lonely Street (Original 2015 Demo Version)” is a special track that holds significant personal meaning for me and for Willie Dinardo. It was one of the first Willie Dinardo songs I heard, and I’ve always been drawn to its sound. As this was the original demo version, my goal with the remaster was to do the song justice while respecting its raw, lo-fi nature.
The bright acoustic guitar, reminded me of The Replacements’ “Unsatisfied,” which ended up being a reference track for me. I worked hard to preserve that brightness while ensuring the vocals stayed steady in the midrange without being overshadowed by the guitars. Balancing the clarity of the vocals and the guitars was a subtle challenge, but I aimed to keep both intact without either overpowering the other.
During the choruses, I noticed some muddying from the background vocals in the low mids. While I did my best to EQ them down and clear up the space, they still didn’t become as clean as I would have liked. However, given that this is a demo, I felt it important not to over-edit. I also encountered some timin…
Rabbits For Sale- They Don't Know
"They Don’t Know" takes a satirical look at modern "incel" or wojack culture, exploring the delusions of a man at a house party who feels entitled to attention without earning it. The track features a laid-back party vibe, with elements of LA indie rock and 2000s alt-rock, evoking the feel of a band playing in a cramped corner in a LA house by the pool.
To bring the narrative to life, I layered background chatter and dialogue throughout the choruses to evoke the wall of people chatting you hear at parties. During the choruses, I took a separate take of the vocals, treated them with a telephone EQ, distortion, and finally pitched them down a fifth, creating a distorted harmony that represents the character’s internal monologue. This technique was key to capturing the tension between the character’s outward persona and the voice in his head.
The song’s chill vibe slowly builds to a dynamic shift in the bridge, where the party atmosphere suddenly gives way to an intense, chaotic outburst. This is symbolic of the character entering a drunken frenzy as he harasses party guests. The transition to hard rock is jarring, with heavy drums, an electric guitar solo, and a catchy bass line. For this section, I…"They Don’t Know" takes a satirical look at modern "incel" or wojack culture, exploring the delusions of a man at a house party who feels entitled to attention without earning it. The track features a laid-back party vibe, with elements of LA indie rock and 2000s alt-rock, evoking the feel of a band playing in a cramped corner in a LA house by the pool.
To bring the narrative to life, I layered background chatter and dialogue throughout the choruses to evoke the wall of people chatting you hear at parties. During the choruses, I took a separate take of the vocals, treated them with a telephone EQ, distortion, and finally pitched them down a fifth, creating a distorted harmony that represents the character’s internal monologue. This technique was key to capturing the tension between the character’s outward persona and the voice in his head.
The song’s chill vibe slowly builds to a dynamic shift in the bridge, where the party atmosphere suddenly gives way to an intense, chaotic outburst. This is symbolic of the character entering a drunken frenzy as he harasses party guests. The transition to hard rock is jarring, with heavy drums, an electric guitar solo, and a catchy bass line. For this section, I used separate EQs, compression, and effects for each instrument to make sure the energy felt distinctly different. The guitar solo was particularly challenging, as it was recorded with three separate sections, each needing to seamlessly blend together. Using crossfades and cuts, I worked to make the solo sound cohesive. The whole song uses several samples including a police siren and an alarm clock to further push the narrative behind it.
While the track might not be perfect, I’m proud of how I captured the indie rock vibe and created the multiple sections that mirror the character’s unraveling mindset. The goal was to convey the sense of both irony and intensity, and I feel like the mix reflects that. This showcases my ability to shape a mix to a narrative and also the careful usage of sampling.WWWWWWWW"They Don’t Know" takes a satirical look at modern "incel" or wojack culture, exploring the delusions of a man at a house party who feels entitled to attention without earning it. The track features a laid-back party vibe, with elements of LA indie rock and 2000s alt-rock, evoking the feel of a band playing in a cramped corner in a LA house by the pool.
To bring the narrative to life, I layered background chatter and dialogue throughout the choruses to evoke the wall of people chatting you hear at parties. During the choruses, I took a separate take of the vocals, treated them with a telephone EQ, distortion, and finally pitched them down a fifth, creating a distorted harmony that represents the character’s internal monologue. This technique was key to capturing the tension between the character’s outward persona and the voice in his head.
The song’s chill vibe slowly builds to a dynamic shift in the bridge, where the party atmosphere suddenly gives way to an intense, chaotic outburst. This is symbolic of the character entering a drunken frenzy as he harasses party guests. The transition to hard rock is jarring, with heavy drums, an electric guitar solo, and a catchy bass line. For this section, I u…
Rabbits For Sale-Dreaming With Fever
"Dreaming with Fever" is a track that captures the unsettling, disorienting nature of a fever dream. The song evokes a dark, almost apocalyptic atmosphere, as if you’ve wandered deep into a world you were not meant to be in. This claustrophobic vibe was crucial to the mix, and I worked to make the track sound like an audible fever dream, dense with layers and teeming with tension.
One of the first challenges was creating the intro. Initially, there was a kalimba recording, but the quality was not up to par. To overcome this, I combined the kalimba with a guitar version of the intro, and then added my own MIDI kalimba part, blending all three to create a low-fi, crammed feeling. I also took a sample of breathing from the vocal track and placed it at the beginning, adding a subtle but effective haunting element. The time signature is a fast-paced 6/8, with the drums featuring percussive rim clicks and toms throughout the song. I EQ’d the toms and rim clicks in a way that allowed them to breathe but still maintain the claustrophobic feeling behind the kit. I also added slight distortion directly to the drum tracks to destroy some of the quality of the sound but further pushing a…"Dreaming with Fever" is a track that captures the unsettling, disorienting nature of a fever dream. The song evokes a dark, almost apocalyptic atmosphere, as if you’ve wandered deep into a world you were not meant to be in. This claustrophobic vibe was crucial to the mix, and I worked to make the track sound like an audible fever dream, dense with layers and teeming with tension.
One of the first challenges was creating the intro. Initially, there was a kalimba recording, but the quality was not up to par. To overcome this, I combined the kalimba with a guitar version of the intro, and then added my own MIDI kalimba part, blending all three to create a low-fi, crammed feeling. I also took a sample of breathing from the vocal track and placed it at the beginning, adding a subtle but effective haunting element. The time signature is a fast-paced 6/8, with the drums featuring percussive rim clicks and toms throughout the song. I EQ’d the toms and rim clicks in a way that allowed them to breathe but still maintain the claustrophobic feeling behind the kit. I also added slight distortion directly to the drum tracks to destroy some of the quality of the sound but further pushing a feverish sound. The guitars have multiple layers, with one providing a percussive rhythm throughout. The guitar solo was treated with a slight flange effect, adding to the disorienting atmosphere. Synth layering and a distorted bass track further thickened the sound, creating a sense of being trapped in a dense, sonic environment. The doubled vocals played into this as well, adding to the song’s overall haunting quality.
I’m particularly proud of the way the mix turned out on this track. The challenge was to pack the track densely with sound while maintaining the claustrophobic, feverish mood. It’s a song that, in the end, I feel captures the essence of its theme perfectly. This track demonstrates my abilities to experiment with sound.WWWWWWWW"Dreaming with Fever" is a track that captures the unsettling, disorienting nature of a fever dream. The song evokes a dark, almost apocalyptic atmosphere, as if you’ve wandered deep into a world you were not meant to be in. This claustrophobic vibe was crucial to the mix, and I worked to make the track sound like an audible fever dream, dense with layers and teeming with tension.
One of the first challenges was creating the intro. Initially, there was a kalimba recording, but the quality was not up to par. To overcome this, I combined the kalimba with a guitar version of the intro, and then added my own MIDI kalimba part, blending all three to create a low-fi, crammed feeling. I also took a sample of breathing from the vocal track and placed it at the beginning, adding a subtle but effective haunting element. The time signature is a fast-paced 6/8, with the drums featuring percussive rim clicks and toms throughout the song. I EQ’d the toms and rim clicks in a way that allowed them to breathe but still maintain the claustrophobic feeling behind the kit. I also added slight distortion directly to the drum tracks to destroy some of the quality of the sound but further pushing a feveris…
Rabbits For Sale-Hey Fella
"Hey Fella" is a refreshing, feel-good track that serves as a palette cleanser after the introspective tone of "Promenade." Inspired by the early era of The Beatles, this track is all about picking yourself up after a tough day, capturing that upbeat, energetic spirit.
To recreate a vintage sound, I incorporated tape saturation to give the track warmth, alongside harsher vocal EQing to evoke the raw energy of early rock ‘n’ roll. The slappy upright bass also plays a key role in driving the track forward, providing a playful bounce that’s right in line with the Beatles' signature sound. The song itself is swung so another inspiration was 1950s big band jazz. I tried to make the drums fit that sound as best as I could. The drums were played with brushes, which added a soft yet percussive texture. I had never mixed brushes before, so doing so was somewhat a challenge but I feel that I did the part justice.
The vocal harmonies were recording all together in the booth, just like The Beatles. This, although very cool sounding, did have some challenges as I could not individually edit the tracks. Keeping them intentionally low in the mix and slightly abrasive to capture the lo-fi, authentic feel was central to…"Hey Fella" is a refreshing, feel-good track that serves as a palette cleanser after the introspective tone of "Promenade." Inspired by the early era of The Beatles, this track is all about picking yourself up after a tough day, capturing that upbeat, energetic spirit.
To recreate a vintage sound, I incorporated tape saturation to give the track warmth, alongside harsher vocal EQing to evoke the raw energy of early rock ‘n’ roll. The slappy upright bass also plays a key role in driving the track forward, providing a playful bounce that’s right in line with the Beatles' signature sound. The song itself is swung so another inspiration was 1950s big band jazz. I tried to make the drums fit that sound as best as I could. The drums were played with brushes, which added a soft yet percussive texture. I had never mixed brushes before, so doing so was somewhat a challenge but I feel that I did the part justice.
The vocal harmonies were recording all together in the booth, just like The Beatles. This, although very cool sounding, did have some challenges as I could not individually edit the tracks. Keeping them intentionally low in the mix and slightly abrasive to capture the lo-fi, authentic feel was central to keeping the song authentic.
While I was still learning at the time, I do feel that the track leans a bit too heavily into the high-frequency spectrum, but this gave it a unique character. The mix, with its bright, energetic quality, is a direct reflection of the track’s feel-good message and showcases my talent with emulating 1950s-1960s era music.
https://www.twine.net/signinWWWWWWWW"Hey Fella" is a refreshing, feel-good track that serves as a palette cleanser after the introspective tone of "Promenade." Inspired by the early era of The Beatles, this track is all about picking yourself up after a tough day, capturing that upbeat, energetic spirit.
To recreate a vintage sound, I incorporated tape saturation to give the track warmth, alongside harsher vocal EQing to evoke the raw energy of early rock ‘n’ roll. The slappy upright bass also plays a key role in driving the track forward, providing a playful bounce that’s right in line with the Beatles' signature sound. The song itself is swung so another inspiration was 1950s big band jazz. I tried to make the drums fit that sound as best as I could. The drums were played with brushes, which added a soft yet percussive texture. I had never mixed brushes before, so doing so was somewhat a challenge but I feel that I did the part justice.
The vocal harmonies were recording all together in the booth, just like The Beatles. This, although very cool sounding, did have some challenges as I could not individually edit the tracks. Keeping them intentionally low in the mix and slightly abrasive to capture the lo-fi, authentic feel was central to keeping…
Rabbits For Sale-Promenade
"Promenade" is a track that blends youthful longing with a sense of bittersweet nostalgia. At its core, it's about not having a date to prom—a seemingly simple scenario that hints at deeper themes of longing and unmet expectations. It explores the tension between the desire for a perfect high school moment and the feeling of emptiness that can accompany its fulfillment.
To emulate the high school slow dance vibe, I introduced an upright bass track played with a bow—this became a crucial element in bringing the track to life. I made sure to highlight its vibrancy, which not only gave the song its romantic, danceable feel but also underscored the track’s overarching theme of yearning.
I followed general EQing and compression with reverb and delay to create a wistful track. While I do not view this track as perfect as I was still in the process of learning, I feel it serves its purpose well. The biggest challenge for this track came with its complex intro and outro. The intro starts with an acoustic guitar followed by two hits of enharmonic equivalences and a freeform section with no click to follow, making it tricky to align everything perfectly. Once I had that in place, I used automation…"Promenade" is a track that blends youthful longing with a sense of bittersweet nostalgia. At its core, it's about not having a date to prom—a seemingly simple scenario that hints at deeper themes of longing and unmet expectations. It explores the tension between the desire for a perfect high school moment and the feeling of emptiness that can accompany its fulfillment.
To emulate the high school slow dance vibe, I introduced an upright bass track played with a bow—this became a crucial element in bringing the track to life. I made sure to highlight its vibrancy, which not only gave the song its romantic, danceable feel but also underscored the track’s overarching theme of yearning.
I followed general EQing and compression with reverb and delay to create a wistful track. While I do not view this track as perfect as I was still in the process of learning, I feel it serves its purpose well. The biggest challenge for this track came with its complex intro and outro. The intro starts with an acoustic guitar followed by two hits of enharmonic equivalences and a freeform section with no click to follow, making it tricky to align everything perfectly. Once I had that in place, I used automation to pan these sections throughout the song. This technique created a feeling of duality, almost like two people dancing in harmony but with some emotional distance. The song also ends with a similar section in which I follow these same techniques. In the choruses, there was a subtle vocal harmony, panned slightly to the side and treated with a telephone effect. This created an ethereal, wispy echo to represent the fleeting nature of these perfect moments.
Despite its seemingly simple structure, "Promenade" is filled with nuanced details. It sits as the middle track of the EP, but I wanted it to feel like a final closing moment—a bittersweet reflection on everything that has led up to this point. This track is an example of what I can accomplish when a track has unique instrumentation and sections.
https://www.twine.net/signinWWWWWWWW"Promenade" is a track that blends youthful longing with a sense of bittersweet nostalgia. At its core, it's about not having a date to prom—a seemingly simple scenario that hints at deeper themes of longing and unmet expectations. It explores the tension between the desire for a perfect high school moment and the feeling of emptiness that can accompany its fulfillment.
To emulate the high school slow dance vibe, I introduced an upright bass track played with a bow—this became a crucial element in bringing the track to life. I made sure to highlight its vibrancy, which not only gave the song its romantic, danceable feel but also underscored the track’s overarching theme of yearning.
I followed general EQing and compression with reverb and delay to create a wistful track. While I do not view this track as perfect as I was still in the process of learning, I feel it serves its purpose well. The biggest challenge for this track came with its complex intro and outro. The intro starts with an acoustic guitar followed by two hits of enharmonic equivalences and a freeform section with no click to follow, making it tricky to align everything perfectly. Once I had that in place, I used automation to…
Rabbits For Sale-Potatohead
For "Potatohead," my goal was to craft a mix that felt dreamy and introspective, yet carried an ominous undertone—mirroring the song’s theme of self-reflection and searching for something more. The song, at least from my own perspective, was a play on Sisyphus and the boulder. It is someone endlessly chasing the goal of finding perfection, whether through themself or through another, but never reaching it. Ultimately, I wanted "Potatohead" to feel like a hazy, dreamlike journey—almost as if the listener is lost in thought, searching for a better version of themselves, and I feel I achieved that.
Like most songs, EQing was crucial in allowing each instrument to have its place in the frequency spectrum, preventing any elements from clashing. Compression was used to further balance the track, maintaining a smooth and cohesive sound throughout. While standard effects like reverb and delay helped shape the atmosphere, I also incorporated audio enhancements and other time based effects to introduce subtle, unique textures—creating pockets of unexpected sound that added depth and intrigue. During the bridge, I created a new vocal chain with different EQing and effects. I did the…For "Potatohead," my goal was to craft a mix that felt dreamy and introspective, yet carried an ominous undertone—mirroring the song’s theme of self-reflection and searching for something more. The song, at least from my own perspective, was a play on Sisyphus and the boulder. It is someone endlessly chasing the goal of finding perfection, whether through themself or through another, but never reaching it. Ultimately, I wanted "Potatohead" to feel like a hazy, dreamlike journey—almost as if the listener is lost in thought, searching for a better version of themselves, and I feel I achieved that.
Like most songs, EQing was crucial in allowing each instrument to have its place in the frequency spectrum, preventing any elements from clashing. Compression was used to further balance the track, maintaining a smooth and cohesive sound throughout. While standard effects like reverb and delay helped shape the atmosphere, I also incorporated audio enhancements and other time based effects to introduce subtle, unique textures—creating pockets of unexpected sound that added depth and intrigue. During the bridge, I created a new vocal chain with different EQing and effects. I did the same with the acoustic guitar. I did this to attempt the themes shown throughout the song. This was a moment of reality snapping back in and I wanted to reflect that.
One of the biggest challenges was dialing in the bass drum sound. I envisioned something ominous and reverberant, a presence that lingered in the mix without overwhelming it. While I achieved much of this effect, I still feel there was room for refinement. The work I did on "Potatohead" demonstrates my care in understanding the goal of the song. I want to push the motives behind the song in order to create an effective track. That is what a sound engineers goal should always be.
https://www.twine.net/signinWWWWWWWWFor "Potatohead," my goal was to craft a mix that felt dreamy and introspective, yet carried an ominous undertone—mirroring the song’s theme of self-reflection and searching for something more. The song, at least from my own perspective, was a play on Sisyphus and the boulder. It is someone endlessly chasing the goal of finding perfection, whether through themself or through another, but never reaching it. Ultimately, I wanted "Potatohead" to feel like a hazy, dreamlike journey—almost as if the listener is lost in thought, searching for a better version of themselves, and I feel I achieved that.
Like most songs, EQing was crucial in allowing each instrument to have its place in the frequency spectrum, preventing any elements from clashing. Compression was used to further balance the track, maintaining a smooth and cohesive sound throughout. While standard effects like reverb and delay helped shape the atmosphere, I also incorporated audio enhancements and other time based effects to introduce subtle, unique textures—creating pockets of unexpected sound that added depth and intrigue. During the bridge, I created a new vocal chain with different EQing and effects. I did the s…
Rabbits For Sale- I'll Be Ok
"I'll Be Ok" is the sixth song on Rabbits For Sale's debut EP. It is a satirical reflection on one's role in the world—being caught in a greater scheme, feeling the weight of it all yet wanting to remain blissfully ignorant. My goal with the mix was to emulate the darkness behind this realization, crafting an eerie, evolving soundscape that builds tension until it inevitably crashes down.
To establish a sense of mystery, I designed a layered intro using samples from other Rabbits For Sale songs, my own projects, and static—blending them into an unsettling yet intriguing atmosphere. This leads into a lo-fi, telephone-filtered piano, serving as a nostalgic reminder of old school radio, which transitions into the acoustic guitar, grounding the track before its slow but inevitable descent into chaos. Compared to other tracks on Rabbit Stew, "I'll Be Ok" was the most complex mix to navigate. Beyond standard EQing, compression, and enhancements, I had to carefully craft distortion and routing chains to give every element a distinct unsettling characteristic—something that felt chaotic yet controlled. My approach was to make the track feel like a boiling pot, slowly lifting the lid until the tension reaches its…"I'll Be Ok" is the sixth song on Rabbits For Sale's debut EP. It is a satirical reflection on one's role in the world—being caught in a greater scheme, feeling the weight of it all yet wanting to remain blissfully ignorant. My goal with the mix was to emulate the darkness behind this realization, crafting an eerie, evolving soundscape that builds tension until it inevitably crashes down.
To establish a sense of mystery, I designed a layered intro using samples from other Rabbits For Sale songs, my own projects, and static—blending them into an unsettling yet intriguing atmosphere. This leads into a lo-fi, telephone-filtered piano, serving as a nostalgic reminder of old school radio, which transitions into the acoustic guitar, grounding the track before its slow but inevitable descent into chaos. Compared to other tracks on Rabbit Stew, "I'll Be Ok" was the most complex mix to navigate. Beyond standard EQing, compression, and enhancements, I had to carefully craft distortion and routing chains to give every element a distinct unsettling characteristic—something that felt chaotic yet controlled. My approach was to make the track feel like a boiling pot, slowly lifting the lid until the tension reaches its breaking point.
One of the biggest challenges was nailing the crescendo at the song’s climax. I used a combination of volume and effect automations, allowing the drums to act as the carrier of momentum. The final drum fill in the second verse became the pivotal moment—pushing the piano out of its lo-fi haze and into the forefront as the track reached its peak.
Out of all my work on Rabbit Stew, I’m most proud of this mix. The challenge of balancing complexity, chaos, and clarity was immense, but in the end, I feel the mix serves its purpose perfectly. This demonstrates my mixing capabilities and what I can offer creatively.
https://www.twine.net/signinWWWWWWWW"I'll Be Ok" is the sixth song on Rabbits For Sale's debut EP. It is a satirical reflection on one's role in the world—being caught in a greater scheme, feeling the weight of it all yet wanting to remain blissfully ignorant. My goal with the mix was to emulate the darkness behind this realization, crafting an eerie, evolving soundscape that builds tension until it inevitably crashes down.
To establish a sense of mystery, I designed a layered intro using samples from other Rabbits For Sale songs, my own projects, and static—blending them into an unsettling yet intriguing atmosphere. This leads into a lo-fi, telephone-filtered piano, serving as a nostalgic reminder of old school radio, which transitions into the acoustic guitar, grounding the track before its slow but inevitable descent into chaos. Compared to other tracks on Rabbit Stew, "I'll Be Ok" was the most complex mix to navigate. Beyond standard EQing, compression, and enhancements, I had to carefully craft distortion and routing chains to give every element a distinct unsettling characteristic—something that felt chaotic yet controlled. My approach was to make the track feel like a boiling pot, slowly lifting the lid until the tension reaches its br…
Fall EP: 10th Anniversary Edition-Willie Dinardo and The Corporates
Willie Dinardo and The Corporates are an alternative rock band based in Massachusetts. In honor of the 10th anniversary of their EP, The Fall, they did a special reissue, in which I remastered all the tracks.
This was a fantastic, fun experience. I got to personally work with the man himself, Willie Dinardo, in capturing the original essence of this EP while polishing each song with my creative abilities. This remastering was a challenge at times. To start, I only had access to the WAV files of the final product. Some of the songs had never been mastered, while some had some polishing to them, though they were never fully mastered. Whatever mixing had been done could not be edited. So, with that in mind, I did my very best to showcase the raw recordings of these songs. In addition to the standard mastering process of slight EQing, compressing, and metering, I created effect chains with dynamic enhancements. I slightly widened some stereo imaging and added small amounts of tape saturation. I also provided Willie with two versions, one for streaming and one for CDs. Although not perfect, this project represents what I can do with mastering and how my creative ingenuity can…Willie Dinardo and The Corporates are an alternative rock band based in Massachusetts. In honor of the 10th anniversary of their EP, The Fall, they did a special reissue, in which I remastered all the tracks.
This was a fantastic, fun experience. I got to personally work with the man himself, Willie Dinardo, in capturing the original essence of this EP while polishing each song with my creative abilities. This remastering was a challenge at times. To start, I only had access to the WAV files of the final product. Some of the songs had never been mastered, while some had some polishing to them, though they were never fully mastered. Whatever mixing had been done could not be edited. So, with that in mind, I did my very best to showcase the raw recordings of these songs. In addition to the standard mastering process of slight EQing, compressing, and metering, I created effect chains with dynamic enhancements. I slightly widened some stereo imaging and added small amounts of tape saturation. I also provided Willie with two versions, one for streaming and one for CDs. Although not perfect, this project represents what I can do with mastering and how my creative ingenuity can contribute to projects in a meaningful way.
Fall EP: 10th Anniversary Edition is releasing January 31st, 2024 on all streaming platforms.WWWWWWWWWillie Dinardo and The Corporates are an alternative rock band based in Massachusetts. In honor of the 10th anniversary of their EP, The Fall, they did a special reissue, in which I remastered all the tracks.
This was a fantastic, fun experience. I got to personally work with the man himself, Willie Dinardo, in capturing the original essence of this EP while polishing each song with my creative abilities. This remastering was a challenge at times. To start, I only had access to the WAV files of the final product. Some of the songs had never been mastered, while some had some polishing to them, though they were never fully mastered. Whatever mixing had been done could not be edited. So, with that in mind, I did my very best to showcase the raw recordings of these songs. In addition to the standard mastering process of slight EQing, compressing, and metering, I created effect chains with dynamic enhancements. I slightly widened some stereo imaging and added small amounts of tape saturation. I also provided Willie with two versions, one for streaming and one for CDs. Although not perfect, this project represents what I can do with mastering and how my creative ingenuity can cont…
Hire Oliver Kane today
To get started post up your job and then invite Oliver Kane to your job.