Well, I started playing drums when I was seven years old. When I was fifteen, my friend bought me studio time as a Birthday present in one of the local studios. That is when I started to write and record multi-tracked percussion compositions. Recording and Mixing always fascinated me. I was always very creative with Orchestration. Sometimes, I would use up to fifty tracks to get my ideas across in the studio. A lot of bouncing and track management had to be done since, back then, we were only using a sixteen track reel to reel recorder. To make a long story short, that was my first experience with recording, and soon, I found myself in the studio on a regular basis either for personal reasons, or to record a drum track for a client.
2. Do you feel that the variety of your background-ranging from music production to musical theater and including audiobooks and film gives you a great ‘toolbox’ when it comes to working with voice over professionals?
Oh. Most definitely. Actually perfecting Audiobook Editing has helped a lot with my ability to clean up vocal tracks in Music, and do Dialogue Editing for film. I use the same techniques for all three platforms. Good mic technique and placement has to be used for for Vocalists/Narrators/VO Pros for Music, Audiobooks, and Film. Music mixing has helped a lot with setting levels for Dialogue and Sound Effects in film projects. My Musical Theater and live performance experience has helped a lot with being sensitive to all of the nuances in Music Mixing, and also it enhanced my creativity with Producing of Music and Audio Dramas. They all work hand in hand. There are many tricks and techniques that cross over to each other.
3. You’ve taken classes with some of the audiobook greats, has this helped you with a wider understanding of the world of audiobook production?
Yes. Definitely. I learned a lot from Scott Brick and Pat Fraley about the Audiobook Industry and Narration. I would definitely recommend their classes to Narrators who are interested in perfecting their trade. In their classes, I learned a lot about pacing, phrasing, projection, and many other important topics. Not to mention the business side of Audiobooks as well. Honestly, most of the tricks I learned for Audiobook Editing though came to me out of frustration. Audiobook Editing can be a very tedious process. Many of the problems that have to be fixed with Editing keep on coming up throughout the Audiobook. I came up with some techniques that fix all of these problems right on the spot before listening to a single chapter.
4. Do you have a favorite project that you’ve worked on? Or perhaps, since you’ve done a lot of music and film as well as voice over work, a favorite per project type?
I am blessed to have worked on a lot of great projects. In Audiobooks, I really enjoyed editing “Games Of Thrones And Philosophy.” I am currently Producing the Audio Drama Version of “Agent 13 (Flint Dille(“Transformers”) and David Marconi (“Live Free And Die Hard”)” for “The Colonial Theater On The Air (Sirius 80).” The movie, ” Agent 13″ will be coming out in, I believe 2015. For Music, I enjoyed working with Julie Brown on “The Homecoming Queen’s Gotta Gun” and I will be writing drum parts for her Musical, “Earth Girls Are Easy.” Also, I recently did some mixes with singer, Jean Michel Byron (Toto). I think performing with The Musicals, “Jesus Christ Superstar”, “Tommy”, and “Evita” were also great experiences.
5. What made you decide to offer a Karaoke demo as one of your services?
ANSWER: There are a lot of singers who are on a budget or who can’t afford musicians to play on their material but they want to have a demo of their singing. Karaoke Demos are less expensive to Produce because there are only two tracks involved per song generally. You have the Vocal and The Music Track. They do not take long to Record or Mix and Master.
For more info about my Services etc., please see my website at:
Keenan Gaynor, Abraham Lincoln enthusiast and audio professional is the subject of my next interview.