Who is Matthew Weiss?

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Who is Matthew Weiss?

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Who is Matthew Weiss?

Instant access to every in-depth mixing course from Matthew Weiss: http://theproaudiofiles.com/members

The story of Matthew Weiss. Learn more from Matthew in his in-depth mixing tutorials: http://weisstuts.com

Transcript Excerpt:

Hey, folks. Matthew Weiss here. Weiss-sound.com, theproaudiofiles.com, mixingwitheq.com, and whole bunch of other dot coms.

This video blog… I hope that you learn something from it, but I’m not sure what you’re going to learn.

Basically, I just wanted to tell sort of my personal story to give you guys a context of who I am and where I’m coming from, and I think that if you are in particular a producer or a mixing engineer, and you’re trying to get into this business and make a living doing it, then there’s probably something that you can glean from all of that.

So, I started in the world of music. It’s hard for me to draw lines, because I’ve always been interested in it for a long time. I come from a very musical family. My dad was a bass player, my step-mother was a singer, my mother was a sculptor. I mean, I guess that’s artistic, it’s not necessarily musical. My sister would basically play every instrument in the world, and even built some of her own, which is pretty cool.

Middle school, I started doing sound for the plays. I remember the very first middle school play I worked on, I shocked myself really, really badly on the sound board. It felt like a small alligator had bit my fingers, and I cried like a little sissy, and it was awesome. It was just – from that moment, I just knew that I really enjoyed working with sound. [laughs]

Once I got into high school, I started making a lot of hip-hop beats, and I was just making them off of this little Roland Groove Machine 303, which is actually a cool little box. I wish I still had it. But in order to make my own beats, I would have to mix them, and it wasn’t really long following that when I started recording rappers and mixing the beats down.

Two things sort of happened at the same time from there. One was that I got into college, and in order to be in college, I needed a job, and the best job on campus was the sound department, and that paid as much as $12 an hour, which back in 2002 was really good money for a college job especially.

So I went there, and within the first year, the head of the sound department actually quit, and I took over as the head. So while I was there, I did all of the concert recordings, a lot of jazz band recordings, and did the sound tech for all of the artists that were stopping through, and it was really cool.

During the summers, I had linked up with a rap group back in Philadelphia, and I started doing production for those guys, and was mixing and recording a lot during that time. So by the time I was out of college, I was already pretty immersed in the world of sound, and I sort of knew already at that point that I wanted to take that on as my professional life, which I think is more advantageous than most people’s stories, because most people don’t figure out what they’re really doing until I think after undergrad.

But maybe I’m wrong about that, I don’t know. I never went to grad school. My grad school, I guess, was going off to New York to work with another Pro Audio Files writer now, actually, named Mark Marshall, who was the first person who really gave me a serious internship/assistantship position, and I say slash assistantship, because it was technically non-paid, but there were definitely some gigs where he was paying me, which was really cool.

Then I started basically following around a woman named Denise Barbarito who I met at an AES convention. She was awesome and took me into a bunch of studio sessions and helped me sort of get a formalized understanding of what the heck I was doing, because I was still just sort of playing it by ear, and trying to figure it all out.

Then I ended up going back to Philadelphia, and I had decided that I wanted to built up my own client reel, so I was going to do that by any means possible, and that meant even if I really loved a band, that meant even paying for studio time myself in order to engineer their work, which I don’t know about the wisdom of that, but it ended up working out, because I took a really, really great jazz band to a studio that was run by a guy named Bobby Eli, who was one of the guitar players and writers and producers for the whole Philly sound movement back in the 70’s.

He was a member of MFSB. If you remember those guys, if not, their music is so good. Anyway, he has his own little personal studio, and I took a session in there, and we did maybe three days of tracking, and I just asked him if I could just do the tracking myself, and I just said, “I understand that this is probably unconventional, but this is what I want to do for a living, so why don’t you just sit back, hang out, relax, and I’ll do all of the work, even though these guys and myself are paying for it.”

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About Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

Who is Matthew Weiss?

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Who is Matthew Weiss?

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