Recording studio Miami: Why Josh started working in the music industry

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Recording studio Miami: Why Josh started working in the music industry



Tell me about why you started working in the music industry.


Oh, wow. That’s a great question. Sometimes I think I’m paying the price for making that decision, but I think it was a good one. I was studying economics at Colgate University. In my senior year, I dropped out and decided that I wanted to get into engineering and recording albums. I was doing it with a laptop out of my dorm room, and I had taken a couple course in recording, and I was a keyboard player in a band that would tour the frat circuit all over the north east. I had always been fascinated by the recorded art form, the recording arts; that medium just seemed incredible to me because it was like you could really capture … It was like lightening in a bottle. You were really able to put together something that just kept on giving. I was always amazed by the fact that I could play a song over, and over, and over and still get that feeling. I love what does. I think it really connects people. I think, more than anything else, that’s why I’ve stayed in the business. It’s just I like being connected to people in that way.


I’m a musician also. Let’s see. I got out of school. I graduated, pretty close to the top of my class at full sale, and won a couple competitions there. They had these mix competitions where they’d get like forty or fifty kids and they’d come in and bang some six. They’d give them eight hours to mix a song, and I won. I was like, “Oh, okay. Maybe I’m going to keep doing this.” I got a … What do you call them? Like an internship at Studio Center which was quite a learning experience. What was cool was that I got to sit in on incredible sessions with really famous engineers who were willing to let you hand around and ask questions at the appropriate times and were really cool about sharing what they had learned.


I also scrubbed a bunch of floors and toilets like any other intern would do, and then became an assistant engineer for a while. Then became a staff engineer there. I got to record some really, really cool people. I would say the coolest would have been Cool And The Gang – actually was probably the most impressive set of artists that I worked with. These guys were just consummate, old-school professionals. They would come in and line up perfectly. They performed perfectly, and they just had a ton of class. Guys like Ricky Martin, Shakira; I got to work with. A bunch of rappers; Trick Daddy, Juvenile, Jadakiss. They would come through all the time. Let’s see. A bunch of Latin acts also. I didn’t really know any of these people at the time, but like Willy Chirino. I had no clue who these people were but it was really cool to get to record true vocalists after recording rappers a lot of the time.


After working there for about five years, I started doing freelance work and I worked out of the Hit Factory a little bit and did some sessions out of Circle House and started traveling a little bit and doing gigs outside of Miami. Eventually, I got married. The studio hours are really difficult to maintain especially with a wife – a Cuban wife – who has certain expectations. Yeah, and also, the truth is that it’s difficult to really make a great, great living engineering. I got into other areas of recording; so actually building out studios and getting more heavily into the integration of the equipment. What I like about that part of my carer is that I’ve really gotten to know, in a much more intimate way, what is behind the equipment and how to best use it. Usually, I was just in the



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