Mike’s Official BIO

This is my REAL long and complete music Bio. It’s a great read for those who want to know how I got into music industry and why I still love helping bands with their dreams.

My fascination with music and electronics began when I was a 12 -year- old kid growing up in Los Angeles. My grandfather gave me his old giant console stereo with turntable. I immediately began taking it apart to see how it worked. I then reassembled it in smaller boxes and built new speaker cabinets that I could use in my room.
I loved listening to all the new music coming out in 1967, especially Jimi Hendrix and the Beatles “Sgt. Pepper”. The ”new sounds” on those records further drew me into music and the processes of recording. That is where my deep interest in modern recording and sound production began.
My older next-door neighbor was in a band, playing guitar. I could hear his Marshal stack through my bedroom window as he endlessly practiced. He showed me how he recorded his songs on a 4 track recorder, playing all the parts himself using overdubbing. My fascination grew.
A few years later I researched and built new speakers after becoming dissatisfied with the sound of my ancient hand-me-down speakers. Friends heard my creation and asked if I could make speakers for them. So my hobby turned into a money-making enterprise. Soon I had my first small business. I was always making or researching better speaker designs.
When I finally got to college, I took electronics classes and really started learning. But I always wanted more – I was constantly doing research on my own. In College I met someone who built speaker systems for live bands. He also had a small sound co. where I learned how to do live mixing and build and set up P.A. systems.
I finally got a break doing sound for a great new band. On my first gig everything clicked, they were really happy and so my live sound mixing chops improved. As it happened, the band’s manager was friends with the head tech at one of Los Angeles’ biggest studio complexes, “Wally Heider’s”. He was looking for a new electronics tech. He called me and interviewed me on the phone. It was a Thursday. At the end of the interview he asked if I could start work on Monday. I was shocked and excited.
So in 1978 I began my career in major recording studios. It was like techno shock. This was the biggest studio in downtown Hollywood. Including the old RCA studios, there were 9 recording rooms and a mastering room.
I worked with some of the best technicians and engineers in L.A. I set up sessions – met and hung out with groups like The Rolling Stones, Fleetwood Mac, The Bee Gees, Michael Jackson, Bob Dylan, The Beach Boys, Alice Cooper, and jazz great Sarah Vaughn. I also watched George Martin work with singers for the Sgt. Pepper movie.
I assisted technically and as 2nd engineer on Direct to Disc recordings, where I received my first album credits. I wanted to engineer more, so I started getting free time after hours to record bands and musician friends. I knew this was what I wan meant to do the rest of my life!
After a few years I grew tired of the Hollywood scene, and decided to leave L.A. My long time friend, musician David Shelley, suggested opening our own small studio. We researched places in northern Calif. and Ft. Lauderdale, where his dad lived. I loved Ft Lauderdale and being right next to the ocean.
Six months later I had purchased enough basic equipment to start a small studio; the tape machine we bought in Florida. I crated up everything and shipped in to Ft. Lauderdale. 9 months later we opened “Ocean Sound Studios”.
After working in my own 8-16 track studio for a few years, I started getting a good reputation as an independent engineer. I started working at other larger 24 track studios, and eventually ended up at International Sound working with a great engineer, Eric Schilling. He taught me a lot, and soon recommended to do sessions when he was overbooked. One of the artists was Gloria Estefan and The Miami Sound Machine.

It became clear to me my future was solely as an independent engineer. In 1984 I closed my studio. It was at this time that the Miami pop dance music scene started growing. I worked with a producer who was at the forefront. He produced and wrote songs for Expose and Pet Shop Boys, as well as other national acts. I also did a lot of live jazz recordings, which I particularly loved.
At this time, my career really took off and I was very in demand.
The Miami Music scene was really exploding then, and I was right in the middle of it!
Emilio Estefan became a major producer of pop Latin music. I continued to work with him and my friend Eric, sometimes working with Gloria Estefan but often with one of Emilio’s many other productions.
In 1989 I mixed a jazz album at the legendary Criteria Studios with owner Mack Emmerman. After that introduction, I continued to do a lot of work there. Then in 1991 after receiving many Gold and Platinum album awards, I received my first Grammy Award for an album I engineered at Criteria.
I later received Grammys for work with Gloria Estefan, Christina Aguilera, jazz great Arturo Sandoval, and for Santana’s “Supernatural” which won eight Grammys including Album of the Year. That album was very intense, as I spent a month recording with the entire band playing live at Fantasy Studio in Berkeley, Calif.
After engineering and mixing so many albums I was sometimes  a little unhappy with the mastering I heard in the final product – even from the major mastering studios. I had attended many mastering sessions, and became very interest in the art of mastering. I decided the best way to get what I wanted was to start mastering myself.
I purchased some of the best equipment I could find and since I had designed and built small studios, I decided to build my own mastering room. The transition to mastering has been a very smooth and easy one because of my skills and reputation as an engineer .I immediately began to get mastering jobs from many indie artist and bands. In 2007 I mastered an album for “Rabanes” at Universal Records. That album won a Latin Grammy for “Best Latin Rock Album”.
After thirty years I continue to enjoy working with new artists as well as major acts. I feel everyone deserves to have their music sound as great as possible, and I add my creativity and enthusiasm to every project. I really want my clients to be satisfied and to know that their project is the best that it can be.

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