INDEPENDENT PRODUCER/AUDIO ENGINEER

Featured Work:
Grammy Award: 'The Live Adventure' by Steven Curtis Chapman.
HYPE!: Recorded and mixed live band performances in Sundance Film Festival entrant and Republic Pictures' feature documentary film about Seattle Grunge.

National Artists worked with:
Fleet Foxes, Vampire Weekend, The Hands, The Hold Steady, Presidents of The USA, Everclear, Producer/engineer Jerry Finn (Blink 182, AFI, Green Day), John Paul Jones (Led Zeppelin) , Robin Wiley (producer/songwriter for ‘N Sync), Gin Blossoms, Sonic Youth, Mudhoney, Pearl Jam, Smashing Pumpkins, Cowboy Junkies, Toad The Wet Sprocket, LoveMongers, Matthew Sweet, Candlebox, The Posies, Kenny G., National Public Radio, KCTS Channel 9 Seattle, Seattle Symphony, Steve Miller, Warner Bros., Disney Corp., Republic Pictures, Pocahontas, Seattle Music.

Northwest Artists worked with: The Saturday Knights, Pills and Jackets, Holyfield, Agapi, The Ellis Armor, The Gits, Dr. Funk, Red Dress, Young Lovers, Tony Gable and 206, Reggie Garret, Grant Stott/Garey Shelton, The Scallywags.

Seattle Studios: London Bridge Studios, Electrokitty, Avast,, Stepping Stone Studios, Robert Lang Studios, Triad Studios.
Mastering: Bernie Grundman Mastering (L.A.), Spectre Mastering, Ross Nyberg Mastering, Studio X Mastering.

Responsibilities included the following areas:
Producer: Coordinated many aspects of production, including musical/arrangement production, interfacing with artist management and record labels during pre-production/recording/mixing/mastering process, and pre-production with artists, budgeting, hiring of recording studio/studio musicians, recording, mixing and overseeing of mastering of projects.

First Engineer: Recording studio and audio gear selection for client satisfaction. Coordination and implementation of production philosophy through interfacing with producers/artists to insure technical/audio engineering facility and staff proficiency. Coordinating studio operations during production. Operation of equipment during tracking and mixing, while advising clients on technical options through engineering input for decisions based on desired production philosophy.

MUSIC PRODUCER/AUDIO ENGINEER: FILM, VIDEO AND TV

Studios: Todd A/O (L.A.), Weddington Productions (L.A.), Studio X, Chapel at St. Thomas, Jack Straw Productions.

Projects: "Hype!", "Capture the White Flag" (Seattle Film Festival), "Vertabrae" (PBS/Russian TV Documentary), "Who’s In Control?" (PBS Documentary) Freelance producer/audio engineer in film, video and television production.

Worked in dialogue/music/effects (DME) using analog/digital 24-48 track recording. Locked audio to picture using MOTU Digital Performer, MIDI sound devices, Avid Final Cut pro and DigiDesign ProTools recording/editing software.

Recording, editing and mixing of dialogue, music and effects in post production.

Responsibilities included the following areas: Produced music scores, coordinated with director/music contractor aspects of equipment requirements for audio engineering technical needs and choices of studios for technical and staff proficiency.

Coordinated with music contractor to ensure compliance within union parameters. Operation of multi-track and DAW systems during recording of score, interacting with director/composer/music contractor during pre-production, recording and mixing process.

Music Mix Engineer: Implementation of final music mix to 5.1 DTS surround-sound format.

Sound Editing Engineer: Responsible for sound editing DME cues and spotting to picture locked to Word Clock and SMPTE. Worked with post production supervisor to implement mix for dialogue/music/effects using ProTools systems locked to picture/AVID.

AUDIO ENGINEER/PRODUCTION COORDINATOR-FILM/VIDEO

Featured Work:
Film: "HYPE!", "Children of The Market", "Capture The White Flag", "Pochahantas"

Long-Form Video: Soundgarden: "Searching With My Good Eye", Gin Blossoms: "Allison Road"

Production coordinator and engineer for all live music recording during pre-production and audio recording of shoots: Music pre-dub mix engineer. Recording of audio multi-tracks (with video being shot) during production phase, including Soundgarden, Mudhoney, The Posies, Seven Year Bitch, The Gits, The Fastbacks, Hammerbox, Dead Moon, and Love Battery. 18 bands mixed in 5.1 surround sound format for final music pre-dubs.

Film Score Engineer: Audio engineer for recording of film score.

Long Form Video: Audio engineer for recording of live performance of band in conjunction with video shoot for major labels.

Responsibilities included the following areas;
Pre-production: Established all technical needs for the recording of audio with film/video shoots through power/personnel/audio facilities/gear requirements. Developed plan to implement recording production in conjunction with producer, director and DP, including legal/protocol compliance with U.S./Canadian customs' laws for equipment rental, transportation and personnel.

Production: Liaison between director, DP, production crew and musicians for implementation of audio engineering requirements in conjunction with film shoots. Established audio crew production protocol for implementation of recording process. Audio engineer for recording of production.

Post-production: Music pre-dub mixer to 2" analog 24 track using Dolby SR to 5.1 surround sound format in preparation for transfer to DME in conjunction w/ Avid System non-linear digital picture editing system. DME transfer used 24 bit ProTools format with Apogee UV-22 converters. Final film format was 5.1 DTS. Worked with director to ensure emotional impact of music soundtrack.

Awards: Grammy for Best Pop/Contemporary Gospel Album-Steven Curtis Chapman; "The Live Adventure"

1996 Golden Space Needle Award for Best Documentary-HYPE!

Affiliations:
Grammy: National Academy of Recording Arts and Sciences (NARAS); Producer and Engineer's Wing Member; Voting member of Grammys.

Technical Addendum:
Equipment and Technical Skills
Equipment and Technical Skills: DigiDesign ProTools software versions 7.3, 7.1, 7.0, 6.7, 6.4, HD-1, HD-2, HD-3, LE, Digidesign 001, 002, 003, M-Box, M-Box2, M-Audio Profire Lightbridge, variety of TDM, AU, VAST, MAS plug ins, Neve 8048, 8248, 8232, SSL 4000 G+ series, Trident 80 series, Harrison Raven, MR4, MR3, Panasonic DA-7, HUI control surface, Sony 3348/3324A digital multi-track recorders, Studer 827, 800, Otari MTR 100, Sony JH-24 2" analog recorders, Tascam DA-98, 88, 38, Alesis ADAT digital recorders, Alesis BRC control surface, TC Electronics 2290, M-5000, M-One, G Major, Lexicon 480L, 300, PCM 70, PCM 42, Sony R7, Yamaha SPX 90/900, Roland SDE 1000, SDE 3000, Joe Meek, Tube Tech, Neve 1073, 1081, API 550, 550B, Summit TPA 200B, Focusrite, Grace, GML, Presonus Mic-Pres/EQs, Urei 1176, LA 4A, LA 3, LA 2, TC Electronics 2290, M 5000, Aphex 612, dbx 172, 166, 160, Drawmer 1960, Eventide H3000, Aphex Compellor, Expressor, Dominator, BBE 422A, 822A, Variety of Apogee Converters, Neumann U-47, U 47 FET, M-50, U-67, U-87, TLM-193, TLM-170, KM-84, KM-100, KM-184, Rode NT 2, AKG 414TLII, C 460, D-112, 528-EB, AT 4051, Sanken CU-41, CU-31, CMS-7, Sennheiser MD421, EV RE-20, N/D308B, N/D357B, Shure Beta 57, SM 57, SM 58, Lynx Microlynx, Ampex ATR 102, Panasonic sv-3700, 3800, Sony PCM-2300, Tascam DA-30, DA-45, Adam A-7, DynAudio BM-15, KRK 703, 7000B, Tannoy Gold 10 and 12" with Mastering Lab crossover, PBM 8, Meyer HD-1, Genelec 1030A, Yamaha NS 10, Sound Designer II, Hafler, Bryston, Yamaha Amps, Mark of the Unicorn MTP AV USB, Midi Time Piece II, Midi TimePiece, Digital Performer, and Performer.

Matt Millikan: Why You Should Work With Us

I'm in this business to create something magnificent. To create a work of art that moves people and will outlast us all. When I approach a project it is with the intent to exceed expectations. People have called me obsessive and insistent on the smallest of details, but I believe that's what it takes. It's not enough to simply create. Talent isn't enough. It's hard work that separates the good from the great. If you want success in this world you need what you do to be in the top 5%. So that's the goal.

Achieving this isn't easy. Nothing worth doing is. In creating a great recording there are many hurdles to overcome. Performance, quality of gear, and budget are just a few and one is forced to work with what you got. I find though that if just insist on the best solution available to you and commit yourself to excellence something really magical can happen. You just have to be willing to do what it takes to get it there and commit to what you are doing on the deepest artistic level.

So bring your best. If you are ready do the best work of your life so far, we would love to work with you. My promise is to commit to your project as an engineer until we have something we can be really proud of and will stand the test of time.

SKILLSETS:

• Fast and proficient at ProTools including the use of automation, software plug-ins and outboard gear.
• Experienced in tracking, overdubs, mixing and mastering.
• Intimate understanding of the art and theory behind various microphone designs, their polar patterns, as well as production aspects like creative placement and manipulation to achieve different sounds.
• Experienced and educated in Musical Instrument Digital Interface (MIDI).
• Good file management. Understands and practices professional standards for backup, documentation, labeling, and digital file problem solving.
• Strong understanding of different file formats, quantization, conversion, and digital signal processing.
• Intimate understanding of acoustic principles, amplification technology, analog signal flow and processing.
• Superb time management, organizational skills.
• Strong critical listening skills.
• Experienced in and understands the principles of running a professional recording studio session.
• Experienced and knows how to effectively collaborate, work with and build trust with different artists to achieve the best performance out of them during a session.
• Professional vocalist experienced in writing and performing lead and harmony arrangements.
• Experienced in music producing and arrangement including song structure and composition, verse, chorus, bridge, and transitions, as well as supporting music theory in melody, harmony, rhythm, and bass lines.
• Experienced in live concert sound, understanding live audio consoles as well as the fundamentals of audio system setup and maintenance, technical system interfaces, stage layout, and show production terminology.
• Working knowledge of entertainment business and law including contracts and copyrights, intellectual property, music publishing, booking, promotion, management, performance rights, and product distribution.