Grad Spotlight: Carlos Sanches

carlos sanches emmy

Graduating in 2003 with a 4.0 GPA and perfect attendance, Carlos Sanches has really taken his career to a new level, and has also won an Emmy! Currently he is working as a re-recording mixer in the post production industry, and took some time out of his busy schedule to answer some questions for us!

Did your internship go as expect?

My internship at Signet Sound was a bit disappointing, but not unexpected. I did however learn to make a very nice fruit basket and bread tray! I found that in order to actually get somewhere in my career, I had to take the initiative myself and find a better job. I finished my internship hours at a small local music studio, Sanctuary Studios where I was able to actually do the work i was trained to do at the Conservatory. A big studio internship sure sounds great and is appealing, but rarely leads to jobs at that studio. Interns are simply too inexperienced to get on right away. Working in a smaller studio, where you can gain real world experience is much more valuable when you are seeking that BIG studio job.

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An Afternoon With Manny Marroquin Part 2

From our post last week, recently we had Grammy winning mix engineer Manny Marroquin visit our school and be part of a great discussion on what it takes to make it in the audio industry. His body of work includes Christina Aguilera, John Mayer, Taylor Swift, Lana Del Ray, Dia Frampton, Rihanna, U2, Lupe Fiasco, Whitney Houston, 2 Pac and countless others. He has also recently developed and released a line of high-quality innovative plugins in his signature line from Waves.

manny marroquin

When we left off, Manny was going over his impressions of the “loudness wars” and how it affects the way he listens to and mixes music.

Ike: Talking about dynamics, and the perception of dynamics, and how there’s a variety of techniques both in your end of things, and also in the musical arrangement… The instrumentation that’s happening and when and where it’s happening. The song form being such an important and integral part of how something is perceived on the timeline of the song. How do you approach song form as a mixer, and I wanted to touch on – for a lot of us, part of our curriculum deals with automation on a variety of platforms. When you’re dealing with song forms, that you are clearly very aware of, how do you approach automation in song form and dynamics? How do you use automation in your mixes?

Manny: When it comes to automation I’m old school, meaning that I don’t touch automation until the very, very end of the song. Because what I’m trying to do, I feel like sometimes with automation right off the bat, you are kind of cheating, in a way. At least that’s the way I see it. So I want to work hard for it. If something is not sitting right in the song, I don’t want to grab that fader and automate it. No, I want to work hard. I want to carve out frequencies. Why is it that it’s not sitting right? Obviously there is something fundamentally wrong with the tone, or the part, or something, so it makes me work harder. I’ll try different compressors. I’ll try four different EQs. I’ll try different combinations of compressor and EQ, or parallel compression. An effect, maybe a widener, maybe a doubler. Whatever it is, I need to figure out why I want to bring that fader down.

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An Afternoon with Manny Marroquin

manny marroquin desk

Grammy winning mix engineer Manny Marroquin recently took time out of his busy schedule to stop by the Conservatory and impart some words of wisdom upon our CRAS cadets.

He spent a few hours with us, talking about how his life has progressed since he was born in Guatemala, through what it took for him to succeed and end up making an incredibly successful life as an all around audio engineer, focusing specifically on his dreams of becoming a mix engineer.

His body of work includes Christina Aguilera, John Mayer, Taylor Swift, Lana Del Ray, Dia Frampton, Rihanna, U2, Lupe Fiasco, Whitney Houston, 2 Pac and countless others. He has also recently developed and released a line of high-quality innovative plugins in his signature line from Waves.

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Grad Spotlight: Daniel Hilsenbeck

People ask all the time if going to school is “worth it”. Especially in the field of music and audio recording, there seems to be a divide between pro-school and self-schooled learning. At the Conservatory, we take pride in our strong curriculum that focuses not only on how to run studios and gear, but even takes it to the fundamental aspects of what sound really “is”. I believe that is why we can have countless success stories like the one I’m going to share you with now!

daniel hilsenbeck cras grad student

Starting the CRAS adventure in late 2010 and graduating in mid-2011, Daniel Hilsenbeck has just recently made a monumental achievement. As you can see at the top of this page, we like to collect gold and platinum records that our alumni have worked on, and now we have one more to add to the wall! At this rate we’re going to need to build another campus just to house these things. The other day he was notified that he is eligible for a gold record, and we had the opportunity to go ahead and let him know that it is actually going to be a platinum one instead.

So with pride I write this and I’m looking forward to seeing the platinum version of an album I own and love, The Black Keys “El Camino”. He contributed to engineering this album that has sold over 1 million copies in the US alone, and near a million in other countries world wide, as well as winning the 2013 Grammy nomination for Best Rock Album.

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