I have over a decade of experience as an audio engineer. These days I work primarily as a mixing and mastering engineer and have built Neon Audio for these tasks. But whatever the job, my goal is always the same: to maximize the emotional impact of the music.
The most important thing I've learned is to utilize my technical skills without getting distracted by them. I prioritize the song and its emotional message as the primary focus for any part of the production process.
Greg Abate
Frisson, or “aesthetic chills,” is a physically pleasurable sensation that can be brought on by various beautiful stimuli, but is most often experienced from music. Frisson is something I chase as a music fan, always looking for the next song that can deliver that rush of chills. It also explains my drive to play music: from a young age, I wanted to learn how to delvier that magic sensation that I felt listening to my favorite songs. I studied saxophone in grade school, started teachng myself guitar around the age of 12, and picked up drums in high school. While at The George Washington University I studied percussion and music theory, using the latter to teach myself piano.
After college, I played in several bands, first in New York City and later Oakland, CA. During this time I was exposed to the world of recording, starting out in home "project" studios and eventually working as an assistant engineer at Anchorhold Recording in Oakland.
Upon moving to Durham, NC, I interned with Jason Richmond at SoundPure Studios. There I was exposed to a world-class room, with acoustics suitable for jazz and classical music, as well as an array of top quality microphones and recording equipment. Watching and assisting Jason, I learned some new techniques and recorded in new genres. The exposure to a variety of equipment helped to firm my understanding of the tools of the trade. But the most valuable thing I took away was confirmation that many of the skills I picked up in more modest studios were just as applicable in full-scale facilities.
After college, I played in several bands, first in New York City and later Oakland, CA. During this time I was exposed to the world of recording, starting out in home "project" studios and eventually working as an assistant engineer at Anchorhold Recording in Oakland.
Upon moving to Durham, NC, I interned with Jason Richmond at SoundPure Studios. There I was exposed to a world-class room, with acoustics suitable for jazz and classical music, as well as an array of top quality microphones and recording equipment. Watching and assisting Jason, I learned some new techniques and recorded in new genres. The exposure to a variety of equipment helped to firm my understanding of the tools of the trade. But the most valuable thing I took away was confirmation that many of the skills I picked up in more modest studios were just as applicable in full-scale facilities.
and the Maldives.
After a decade of experience as a professional audio engineer, the most important thing I've learned is to utilize my technical skills without getting distracted by them. I prioritize the song and its emotional message as the primary focus for any part of the production process. In this way, I never lose sight of the creative aspect of my job, and I’m grateful to spend my days helping artists realize their vision. But I also never lose sight of the ultimate goal: the bottling of emotion inside a recording. Sometimes, when I’ve been toiling over minute details of a mix, I’ll remind myself to sit back and just listen to the song as a music lover. When I feel the chills of frisson, I know I’m on the right track.