Chris Porro
WHAT DO YOU DO?
“I take raw tracks of audio and make them sound cohesive and finished.”
You know those guys in the studio behind those huge consoles of faders? That's me (although I skip the 100k console and do it 95% with software). It's a mix of listening skills, technical skills and taste or creative skills.
Here is a specific example: the human voice is very dynamic (it has a wide range of volumes). Almost all vocals in modern tracks need extensive volume processing. Some of this comes in the form of writing automation (having the computer or console move the faders as the song progresses) some comes in the form of compressors. Compressors are like very fast faders operating on the range of 1/1000ths of a second. It's surprising, but the human ear can actually detect changes at that level of precision. This type of volume manipulation happens constantly in modern music. On a single track of vocals there might be hundreds of volume changes getting it to sound "in the mix". Vocals are one of the key components that determine if a mix sounds professional.
WHAT STEPS DID YOU TAKE TO GET TO WHERE YOU ARE NOW?
I sang a lot as a kid. this led to my first band at age 16. In college I studied voice under Grayson Hirst at the University of Arizona. However, despite his encouragement, I did not pursue a vocal performance major. Classical voice was too stodgy for me. Instead I joined various original bands. We recorded, played out, and had some slight brushes with success (opening for Modern English, Citizen King, the Fly's).
in 2000 I moved to San Francisco for two reasons.
1) A better music scene than Tucson ( I hoped)
2) To use my degree in media arts in the soon to crash dot.com economy.
After a few years working as an art director in online advertising I decided to quit and finally finish the album I'd been working on. So I did. The album went nowhere leaving me with about 700 CDs to care for.
Then I met Joe Medina and started drumming in his band Merch. This was the start of a long friendship and work partnership. We went on two small west coast tours and finished an album around 2008. I no longer play with Merch but I have mixed two of their albums and am slated to produce the next one.
One key thing that came out of writing and recording my album was an interest in mixing and producing. This started around 2001 with Protools. I got quite good with Protools even taking some of their certification classes. I went though Dave Moulton's "Golden Ears" ear training series two times. But what helped most was logging the hours recording, mixing, and producing. There is no substitute for doing and listening imo.
About 6 years ago I started charging for mixing. I realized, from comparisons to other professionals, that I was finally at the "pro" level. I have a lot more respect for mixing engineers now. It's not easy!
How do you stand out in your field?
I think there are a lot of people who can technically mix. They know how to used the hardware and software. They might have a decent ear. On the other side there are people who don't have the technical skills but they do have a great sense of feel.
I think i've got a foot in both worlds. I write music and lyrics. But I can also use some of the most sophisticated software out there. I have a big picture perspective. I know that everything needs to serve the song and the musician's vision.
Some people (like me circa 2008) get too caught up in things like making the kick sound big or the vocals articulate. The question to ask is "is this appropriate for the song and vision? "
WHAT ARE YOU WORKING ON RIGHT NOW?
Beginning the production of Merch's 3rd album. Also should start mixing for a new client on the soundbetter platform this week.
WHAT'S YOUR STYLE/PERSPECTIVE/TASTE? DO YOU HAVE A PROJECT THAT REPRESENTS THIS?
Here is some work from various genres that I've played a key creative role in.
WE ARE ALL SLASHIES WITH MULTIPLE SKILLS, WHICH ONE DO YOU WISH YOU COULD DO MORE OFTEN?
Producing Music. Writing music. Mixing music. I'd rather be on the creative side than the "engineer" side.
WHAT IS FRUSTRATING YOU RIGHT NOW?
Finding enough work! : ) Finding decent clients. The way the market is flooded with novices which makes it very hard for clients to pick skilled people. Upwork is a good example of this.
IF YOU COULD HIRE SOMEONE FOR $20/HR, WHAT WOULD YOU HAVE THEM DO TO MAKE YOUR DAY EASIER?
Set up my mixing sessions. Maybe operate my DAW at times so I could focus more on listening and less on navigating various interfaces. Perhaps keep track of billing if I had a lot of clients. Maintain my web presence / social media.
LET'S BRING OUT THE TIME MACHINE. WHAT DO YOU WISH YOU COULD HAVE TOLD YOURSELF, WHEN, AND WHY?
I wish I had applied for that masters in data science back in 2014 instead of 2018. Back then I would have gotten in. Now it's hotter than the sun's surface.
IF YOU COULD TALK TO AN EXPERT TO GAIN MORE INSIGHT ON SOMETHING, WHAT WOULD IT BE ABOUT?
The latest AI for music mixing and production. What's on the horizon for professional tools. Will I soon be out of work or just more productive? I have an interest in AI and data science. I still might take it up formally.
WHAT KIND OF OPPORTUNITIES/PROJECTS ARE YOU LOOKING FOR?
People that are fun to work with. I like playful people. But they should also be ambitious. So hopefully they would do something with the music and not let it fade into obscurity. My work should amplify their work much like a good producer. Something with the possibility of a long standing relationship.
DESCRIBE YOUR IDEAL JOB/CLIENT/COLLABORATION.
A talented musical act that I am in tune with. I'd make a sizable and useful contribution to the writing, production, or mixing. They would take the finished work and support its promotion. The recognition/credit would help me get the next great client.
Another ideal project: Being part of a team that makes something like a film or innovative video work.
In both cases I'd prefer a long standing relationship. The longer you work with someone the better you understand their art which leads to better work.
WHAT IS YOUR HOURLY RATE, RETAINER, OR SALARY RANGE?
$30/hr. It's very hard to estimate how long an audio project will take if you don't have the audio. Once I have the audio and an idea of what is to be done I can give accurate estimates. Mixing a song typically takes 2-6 hours.
HOW SHOULD SOMEONE APPROACH YOU ABOUT WORKING TOGETHER?
Let me listen to what you have. As Frank Zappa said "talking about music is like dancing about architecture". Tell me what you want to accomplish. Talk to me and see if we might compliment each other. Be honest. Drop your guard. Use humor.
HOW DO YOU STAY CREATIVE?
By not curbing my play tendencies.
This member profile was originally published in x 2019.