I have worked on many projects while recording, editing, mixing, mastering, producing, and playing. I’ve worked as an engineer or assistant engineer in 7 different studios in the Portland area. Here is a sampling of some recent projects I’ve had the pleasure of working on. For a more complete reel of my work (released and un-released), please email me.
CREDITS:
Bombs Away - Mixing
170 Delancey - engineering, mixing, co-producing, handclaps
River Water - producing, arranging, resonator guitar
Cruel to Be Kind - editing, mixing
Back of My Mind - mixing
Brittle Boulevard - editing, mixing
12.26.2020 - engineering, editing, mixing, guitar & vocals
Wild Dream - engineering (vocal harmonies), creative/ technical advising
Color Monsters - engineering, editing, mixing
Seedlings Sprout - producing, arranging, piano, acoustic guitar, violins
Two of Many Things - engineering (vocal harmonies), creative/ technical advising
Healing Helium - engineering (drums, bass), editing, mixing
Weary Heart - editing, mastering
12.08.2020 - editing, mixing
Your Mercy - editing, mixing
EUGENIA RIOT
170 Delancey was recorded in one day at The Rye Room in September 2020 during the height of the COVID pandemic (we were masked!) The arrangement and production for this song unfolded throughout the day and we were quite lucky to have Sydney Nash (the swiss army knife of Portland musicians) in the studio to play bass, 12-string electric guitar, slide guitar, telecaster, Wurlitzer, and cornet. We also tracked drums and acoustic guitar. In hindsight, that was a lot to accomplish in just one day, but I think we were all just so grateful to be together making music. This was the first song released by Leigh Jones under her new moniker Eugenia Riot.
CREDITS: engineering, mixing, handclaps
DR. TIMOTHY VAN CLEAVE
We recorded Without Words in 2021 in between COVID spikes. Timothy brought a collection of songs he had composed and recorded at his home studio and on his computer. We tracked drums, piano, harmonium and a variety of other instruments at The Rye Room. Some of the fun challenges included getting a harmonium to co-operate sonically with instruments tuned to 440 (the trick here is tuning software in post), and getting midi piano to have the harmonics of a real piano (impossible, but we did some very creative techniques to capture some real piano harmonics). Timothy asked me to collaborate on this song - 12.26.2020 - with him. It was completely improvised and I sang and played guitar simultaneously into a ribbon mic. The crazy ocean sound at the beginning is the sound of the iso booth door opening/closing. In most professional studios the doors have to be sealed at the tops/bottoms/edges so there is minimal sound bleed between rooms. The irony is that they are really loud when you open or close them. Our studio intern, Madi Richardson, remarked on this while she was in the control room, and instead of cutting it out, we decided to over-emphasize it, throw on a ton of reverb, and make it part of the song.
CREDITS: engineering, mixing, guitar, vocals
OLIVIA PHILLIPS
Olivia came to me as a mentee/student in the height of COVID in 2020 while she was taking a gap year. She and her friends wrote and recorded color monsters <3 in one of their houses. I loved the indie/retro vibe of this song and wanted to help keep the warmth and authenticity of that. The band arrived to their recording session at The Rye Room all matching in tie die. The session was all about trying to capture hi-fi sound in a lo-fi way. Or maybe lo-fi sound in a hi-fi way? They were in love with the loose, carefree, creative sound they had on their demo and wanted to re-create that magic in a pro studio. Tommy, her bandmate, programmed several sounds on the demo that we left in the final recording. I hear this song and think of their matching tie die, how much they laughed during the session, and that they truly seemed to love making music together.
ARTICLE: https://www.buzz-music.com/post/olivia-phillips-makes-her-heartfelt-debut-in-color-monsters-3
CREDITS: engineering, mixing
RICHEY BELLINGER
Richey is a singer-songwriter, multi-instrumentalist and recording engineer whose work I’ve admired for years. (He’s also a very talented ceramicist and gifted me a beautiful blue ceramic bowl I use for fruit!) Last year I actually played fiddle in his home studio as he recorded me for a project he was working on! For this song, Brittle Boulevard, Richey wanted to have me mix the song in a studio where I work. He produced and recorded everything at home, and I got to help bring it all together. It is always so much fun to work with another engineer and mixer, and share tricks and ideas. Even more fun to work on such a song during the cozy winter season!
CREDITS: editing, mixing
…FORTHCOMING RELEASES & credits
Rose Gerber & Sweet Relief - mixing (COMING SOON)
Camille Tredoux - production, recording, mixing (COMING SOON)
The Backpeddlers - engineering, mixing, mastering (COMING SOON)
Richey Bellinger - editing, mixing (COMING SOON)