STAFF
Sean Boyd
Engineer // Producer // Vocal Coach // Musician
Sean Boyd is a lifetime performer and artisan musician/song-writer. Starting to play and sing when he was five, he has picked up many instruments along the way. A seasoned guitarist and banjo-picker, he also plays organ, bass, and percussion.
Throughout his career as a performing and recording artist, Sean worked with talented producers and meticulously detail oriented engineers (David Swanson, Rick Rowe, Bryce Goggin, Steve Burgh…) at legendary studios (Baby Monster, Powerplay, Chung King, Clinton, Bearsville...) -amassing technical and practical experience in the art of performance and the art of making a record.
One of Sean’s skills is vocal coaching. With a strong foundation in vocal technique, Sean guides singers to get their best performance. Even super talented singers benefit from working with someone with good ears, endless patience and a few tricks, someone like Sean.
“The style of music is irrelevant. If somebody cares enough to write a piece of music then it is my job to make certain we reveal the emotion of the piece through the recording process.”
Daniel Weintraub
Video Editor // Rerecording Engineer // Musician // Producer // Documentarian
Daniel Weintraub is a director, producer, and editor with more than 25 years of experience working across documentary, narrative, experimental film, and television. His feature-length documentary Deep Listening: The Story of Pauline Oliveros is currently screening internationally and has received Best Director honors. Daniel has also created a number of documentary and experimental short films centered on Oliveros’s work, including Don’t Call Them Lady Composers and Montage for Improvisors, which have been presented at museums and festivals throughout the United States and Europe. In addition, he served as video curator for the exhibition of Oliveros’s work at the Centro de Creación Contemporánea de Andalucía in Córdoba, Spain.
Daniel has written and directed numerous narrative shorts, documentaries, experimental films, and dance films that have screened at festivals worldwide. Seasoned in film and television, he has worked as an editor and director on commercials, music videos, television series, and feature films. His work for HBO and Comedy Central has earned ProMax and BDA awards. Most recently, he edited the award-winning post–Hurricane Katrina documentary feature Forced Change.
In addition to filmmaking, Daniel is a musician, producer, and recording engineer, mixing sound for picture and music recordings by artists including Lionel Loueke, The Felice Brothers, Karen Ann, and the album Molecular Affinity with Pauline Oliveros, Thollem McDonas, and Nels Cline.
“Film is inherently musical – the rhythm of the edit, the cadence of an actor, the movement of the camera. A film mixer is like an arranger finding the right place for every element to make a film sing.”
David Andersen
Audio Engineer // Studio Technician
David is a consummate recording engineer, who’s knowledge of the studio environment extends well beyond the perceived boundaries of the modern recording professional. David began his work as a second to legendary engineer Henry Hirsch (Lenny Kravitz) before moving to Los Angeles, where he served as the chief recording engineer for Sound City Studios and a senior technical engineer for the Village Recorder. David has been fortunate enough to find himself working in either an engineering or technical capacity with a who’s who list of recording artists, producers, labels and music tech companies.
Ever in the pursuit of unique sounds and, having used nearly every rare and desirable piece of analog recording equipment that one can imagine, David began to hone his technical design abilities and quickly gained recognition for his audio circuitry. As a result, much of his equipment is of his own personal design or has been heavily modified to meet his demanding specifications.
“Be open minded. There’s no single, absolute solution to any problem in the studio. I view a session as a series of unique challenges that must be overcome in order to capture the artist’s true vision.”