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Background

Axenzo had recently graduated San Diego State University with a degree in mechanical engineering when he found that having achieved a major life goal, namely getting a degree to make his parents happy, had quite an interesting effect on him. Now that he’d achieved that, what else was possible? What could he achieve if he pursued something he was downright passionate about—music.

While an engineering student, Axenzo had tried to double in music but the classes weren’t stimulating and were “very theoretical” with nothing practical or new to offer. Brewing at the back of his mind for years been the idea of learning how to produce EDM. While it wasn’t a choice his mother would consider practical, to him it was the natural conclusion. Axenzo was an active EDM explorer who attended shows regularly, a lifelong musician who played guitar and piano, and even wrote melodies on a whim. Music was just the thing going on in his mind.

After completing his college degree with high marks, Axenzo spent a number of months training with a professional EDM music mentor who taught him Pro Tools and Logic with direct, one-on-one lessons. Although he already knew how to play a couple instruments he’d never set his hands on a DAW. Nevertheless he excelled fast, and consistently challenged himself while getting hands-on training and tips from his music mentor, a longtime engineer and EDM producer himself. During his time in the program Axenzo was able to create his own EDM songs, first starting on MIDI, then composing from within a digital environment. Crossing the bridge from having to play and record, to creating digitally “opened a door” for the EDM creator and DJ.

In the two years since graduating the program, Axenzo has built a promising career in EDM as a DJ who has opened for Bob Sinclar, Robin Schulz, Steve Aoki, Marshmello, Borgeous, Nicky Romero, among others. Nevertheless, for him DJing and especially composing new material as a producer is a never ending journey. The great unifier isn’t by genre or culture for the rising talent. Regularly dipping into multiple genres and researching far and wide, Axenzo is in quest of something singularly specific: “I’m trying to create something that every time people listen to my tracks they’ll know it’s me. That’s my focus right now. I’m working on it every day.”

Now, the melodies and musical ideas Axenzo used to write on a whim are being put to use professionally as he divides his workdays between producing new material and performing at venues. He says, he’s even got a surefire way of capturing the music when it hits: “I open the recorder on my phone and just sing the melody to myself. Even if I’m in the shower, I’ll get out and record it.”

Now versed in Ableton as well as Logic and Pro Tools, Axenzo is fluent in the various DAWS and he’s confident in his capacity to continually explore and grow as an artist. And as for future goals, he’s got a few: “I definitely would like to play in big festivals. Hopefully at Ultra Miami, EDC Las Vegas, and I would like to go worldwide. I’m working on it. I know there’s lots of competition, but I think nothing is impossible.”

As for the time he spent as an extern in the program, Axenzo says, “It was an amazing journey. I am extremely thankful.”

Axenzo currently performs weeklies at The Hard Rock Café in Las Vegas, Nevada, and The Pool House and Sunset Vibes in San Diego, California.

Background

Recording Connection mentor Gregory Hainer is an interesting case. Usually our Recording mentors work primarily in the music industry but Gregory has made a successful career for himself in music as well as film, television, and video game entertainment as a music composer, voice over specialist, Sound FX designer and mixer on numerous projects including: Plants vs. Zombies 2, Batman: Arkham Asylum, Guild Wars 2, Prince of Egypt, Elder Scrolls V: Skyrim, We Were Soldiers, Dishonored, Black Hawk Down, and many more.

Gregory does most of his work from Scorpio Sound, his boutique studio located in the Hollywood Hills. His unique skills-set, talent, and setup enables him to do work larger audio studios can’t. “From a client’s perspective, I own the studio, so there is no middle management overhead to worry about because the owner/operator is also the creative head. This means I have the freedom to choose to spend a little more time with my clients in order to get things perfect versus having to be out of a studio by a specific time.” Specialty might as well be Gregory’s middle name. “I get quite a few calls for the most unusual or difficult to design stuff that many in-house teams can’t quite seem to pull off convincingly, such as creating sounds for creatures, magic spells, sci-fi effects, light sabers and the like. But I will also get the occasional call to do the less-fun direct stuff like cleaning up poorly recorded production audio from a film, or digging out inaudible archival dialogue from excessive background noise.”

On top of working in the film, TV, and video game industries Gregory also takes on Recording Connection externs and teaches them about both the industry and the craft of audio engineering.

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Recording Connection mentor Gregory Hainer on Vibe and Flow

Background

Recording Connection mentor Josh “Igloo” Monroy is proof-positive that getting in and showing your commitment to the craft, day-in and day-out, can launch your career to unprecedented heights. With more than a decade in the music industry, Monroy has worked with everyone from Justin Bieber to Quincy Jones, to The Notorious B.I.G.

Monroy is looking for the same kind of commitment from his externs. Whether it’s during the Recording Connection for Audio Engineering & Music Production program or using Ableton to lay down hip hop or electronic music tracks, Monroy is looking for inspiration, originality, and dedication.

“I do two-hour drills with my externs where they have two hours to make a track, and there has to be a full-on song, or music bed for a song anyway,” Monroy said. “That means intro, verse, chorus, the whole nine yards, Not just an 8-bar loop that’s looped over and over again for three minutes. I don’t want to hear that.”

The seasoned engineer/composer/producer is also known for his longtime work with iconic artist Ludacris. The ability to work with a wide range of acts – and create something extraordinary – is what makes someone a sought-after studio engineer.

“They walk in the room and there’s no expectation, and then they leave six to eight hours later, and there’s this whole freaking song made, and it’s special,” Monroy said. “It’s about them and it’s encompassing their influences and what they love. It’s not just this generic track…That’s what I show my externs, is how to get inside someone’s head in a short period of time [and] use your time wisely so that the artist walks away satisfied.”

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RC mentor Josh Monroy Talks How He Got Hired by Ludacris and Doing JoJo’s “Mad Love”

Background

Asaf Fulks is a record artist, songwriter, music producer, sound engineer, videographer, graphic designer, educator, author, inventor and founder of OC Recording in 2005. He discovered his passion for music production during his college years. While studying Computer Science and Economics at Denison University in Ohio, he also spent time recording and producing in his dorm room. After graduating in 2004, he moved to his family in Hollywood and eventually relocated to Orange County to work for a book publisher. His boss recognized his passion for music and encouraged him to set up a studio in his unused office space. With minimal gear and few contacts Asaf set up shop and The OC Recording Company opened its doors in 2005. [^]

Articles

Recording Connection Grads find work at The OC Recording Company Inc!

Background

Tim is one of alternative rock’s most recognized and respected names. Originally from England, then L.A., and now based in Austin, Texas Tim is a “household name” among famous musicians and record executives. His platinum credits speak for themselves: as a record producer, engineer and mixer Tim’s credits include David Bowie, Tin Machine, The Cure, Pearl Jam, Duran Duran, Tears for Fears and U2.

Background

Columbus Smith III, better known by his stage name Rahki (sometimes Rahk or Rahki Beats), is an American record producer and songwriter from Los Angeles, California. He is known for his work with mentor DJ Khalil and acts such as Eminem, Kendrick Lamar, Currensy, Evidence, Schoolboy Q, 50 Cent, Domo Genesis, Lecrae, Aloe Blacc, and more.

Background

Recording Connection is happy to welcome producer/engineer Matt Linesch from Ocean Way Recording to our mentor-family!

Ocean Way is a world-renowned studio that has worked with many of music’s biggest names. The multiple-award-winning studio boasts four locations including two in LA, one in Nashville, and one in St. Barths in the French West Indies. All told, this powerhouse studio has been in on the ground level of project which have sold more than one billion units globally!

Working out of the Ocean Way Hollywood location, Linesch is an LA native. The producer and engineer’s deep love and dedication for making music was fostered from a young age. An independent musician in his own right, he feels a great sense of accomplishment from working with artists and helping them to develop their own unique sounds. Personal and creative growth are a big part of what he’s about and Linesch is always checking in to see where his expertise and relationships can help take a project and an artist to the next level.

As this pro’s career continues to thrive as a producer and engineer, so does his passion for making his own music. For him, everything is connected. Ultimately, the goal is to share the music he believes in and to continue building a life that’s wholly centered around music.

Background

a two-time GRAMMY®-nominated Producer-Remixer, Artist and Artist Relations Manager for Native Instruments, a leading manufacturer of software and hardware for computer-based music production and performance.

For those of you who are not totally familiar with Carmen, he’s got one very eclectic career! From co-writing, engineering and programming material on Seal’s classic 1994 self-titled album (aka Seal II), to co-producing and co-writing Paul Oakenfold’s Bunkka album; remixing such artists as BT and Tiesto; collaborating with Tuvan Throat singers Huun Huur Tu; and co-founding the ground-breaking World Music act Niyaz, Carmen has done it all!

Background

Michael has become one of the most respected and sought-after sound design consultants to the pro-audio industry as a result of his roles as a preset/algorithm designer and beta-tester for several highly successful, award-winning products from Lexicon, Eventide, Sound Toys and TC Electronics, among others.  He is a long-time endorser of Mesa/Boogie Amplifiers, Tom Anderson Guitarworks, Taylor Guitars, Eventide, Manley Labs, Dangerous Music, Chandler Limited, Avalon Design, Tonelux, Glyph Technology and SIT Strings.

Today Michael is in constant demand as a mix specialist precisely because of his multi-faceted skill set.  As a writer-mixer, he knows when to make the technology get out of the way of the song and the artistry.  As a musician, he can completely rearrange a song when an artist wants to dig deeper—even at the mix stage.  He is frequently hired to do just that, often performing new guitar, bass and keyboard parts at the artists’ request, breathing new life into the song and the mix.

Background

“I’m a Los Angeles based producer, composer, and engineer. I’ve been a part of some amazing productions, and am always excited to hear about new opportunities and adventures.”

Background

Producer/engineer Bill Davidow owns and runs Virlouise Recording in Anaheim, CA. His client list includes names like Israel Houghton, Darren Vegas, Johnny Come Lately, I Am Ghost, Guy Fieri to name a few.
And he’s been mentoring our students for nearly a decade.

The reason? He says he wants to give back and help the next generation of audio professionals but there’s also an ulterior motive at play. Nearly all of the Virlouise’s engineers and studio assistants came through the program. Bills says, “I’m going to hire the guys that I train from the Recording Connection. I’ll just use one of my externs if I’m going to hire someone because I trained them.”

Why? The curriculum is practical, the training is practical, and RC grads are already accustomed to being in a professional environment. Turns out, getting a real world understanding of the craft pays off (duh). Bill recalls trying to hire people coming out of other programs:

“I had a kid come in from Full Sail. He did the four-year plan at Full Sail. He does the L.A. Recording Academy, another $18,000 or whatever. [He] pops into my studio. I point in the corner and say, ‘what’s that stuff in the corner?’ He doesn’t understand what a UPS is.”

Ask Bill about the students who succeed and he’ll tell you, they’re proactive and are really into the program. They “took the initiative and learned the stuff.” Two successes are Recording Connection Nick Becker who’s currently finishing the Master’s program and is gearing up for a job at a solid production house. Coby Thompson, a recent grad, has a paid gig mixing a rock band.

So is learning the gear and technology all it’s about? Not really. It’s about getting a well-rounded skillset that serves you well in the studio and the world. “Sometimes people have a lot of skill on the audio engineering and producing side but don’t have good people skills and don’t know how to make connections. Sometimes they have the opposite.”

No matter where you’re at today, the best externs remain confident and aim high. Speaking of the inner strength it takes to build a career in music, Bill quotes his friend Harriet Schock, the Grammy nominated singer: “‘If you’re trying to hit the ceiling, you probably won’t, but if you shoot for the moon you’ll hit the ceiling.’ And hitting the ceiling in the music industry is making a living out of music. So people have to be confident and believe in themselves.”