Being a member of the AES has put me in the company of some seriously smart people and if you hang around long enough, some of that starts to rub off. I have a friend who is fond of saying audio engineering was the NASA of the 20s and 30s.
That’s where a lot of the foundational discoveries about audio and hearing were made. I’ve learned things from this group of people that I never would have stumbled upon on my own. That can only help one’s career.
I joined NARAS to meet more people in other parts of the industry. We’re all connected in some way so it’s nice to see how we all come together to form the music industry.
Listening to music all day must be hard on your ears. Does working as an audio professional affect your personal listening habits? (i.e. do you like to listen to genres that are different than what you work on during the day; do you avoid listening to music for pleasure, etc.) Do you find that you listen to music critically outside of your mastering environment? If so, how do you find a personal sense of balance?
I don’t think it’s as hard on my ears as it is hard on my brain. The act of critical listening itself can be pretty taxing. That’s why most of my own pleasurable listening is in much more casual environments. I have a decent system in my car and the iPod is always near. I tend to listen to music that is off the beaten path. The more creative and eclectic the better.
I’d like to leave this last question up to you. I’ve enjoyed working with you and want to thank you for taking time out of your busy schedule to partake in this interview. Is there anything I haven’t asked yet that you feel is important for musicians and industry professionals to consider when thinking about mastering their projects?
Thanks, Steve. I think we’ve covered a lot of ground. If I had to sum it all up in a few words: Just serve the music.