DuoTronik Creative I Audio Visual Services

DuoTronik Sound; recording, production and cut music for competition sports. My name is Joshua Coleman, I was introduced to the world of recording at the age of 12 when after only having played the saxophone for three years I was asked to record an in-studio cover of Jamie Amersold's "Solar Flair" for an upcoming HBO documentary in which my saxophone teacher was responsible for the synchronized mu

sic involved in the production. From that day on I was hooked, trying to listen and learn new things. The son of an NBC broadcasting engineer, my dad could answer nearly any question I had about the busines and continues to show me new things. My teacher; Juan Cruz also did everything he could to keep me in the recording and production game. In late 2009 Juan; also a student of Yusef lateef arranged an over-the-phone audition with one of Lateef's producers and I recieved an offer to travel to Amherst, Massachusetts and be a member of the ensamble for an album Lateef was preparing to record with legendary saxophonist Archie Shepp. Unfortunately due to Lateef's declining health and tour schedule the project never became a reality. But this had an unexpected advantage, Lateef began to make plans to spend a considerable amount of time in New Mexico for the health bennefitts of a dry climate. Because of this he donated a very generous amount of money to my teacher to open a recording studio build in Lateef's image so he could continue his work without missing a beat. opened Juan made the offer of a lifetime; for me to be his assistant. I could run a PA but I was still terrified of production software until one fateful day in 2011 Juan went outside to take a break-- with a client still in the booth and left me in charge of the control room (running AVID Pro Tools I might add), I knew some of the basic key commands that I had seen along the way but was absolutely clueless beyond that. Hands sweating I reluctantly counted down and pressed CTRL+R... Nothing happened, I then quickley tried pressing the record button and it just started flashing. Then whilst stammeringly trying to apolagize to the artist who was paying a signifigant sum of money for me to brain-fart my way through Pro Tools (and would become my saxophone teacher Kanoa Kaluhiwa). I then pressed CTRL+R again and to my amazement the software started recording. I then deleted by brain fart, repeated the process, counted down and we did the take. Afterwards Juan came back in and all was well that ended well. Leaving the studio that day I decided that I never wanted to feel that way again, when I got home I started googling key commands, downloaded some free tracking software and started recording with a computer microphone taped to the bell of my saxophone. For my birthday that year my dad got me my first phantom-powered condenser microphone and a Samson MDR1064 analog mixing board he got from a thrift shop that had retrived the board from a locally-owned dumpster. Perhaps the biggest thing Juan taught me in those years was the concept of three-dimensional sound he had been working on with Yusef in which positioning of nine microphones set up in a circle around the room would create the stereo spectrum from every possible angle. At home I started to experiment with using the powered condenser and the computer mic placed several feet away to make my own three-dimensional sound. This is still very evident in my recording style now in which I rarely use less than three microphones for anything. I won't bore you with the absolute vivid details but over time I have collected more equipment, most of which either home-made or salvaged. I learned how to make hardware alterations on my computers rather than paying for any more than I need and my current mixing console; a Mackie ProFX22 v2 was recovered from a house fire and given to me for free in perfect working order. I also recieved a donation of four Beheringer dynamic microphones and a stereo amplifier from my neighbor who was upgrading his equipment. The computer mic was decomissioned long ago and now has been replaced with an additional full set of powered condenser microphones to record voice and instruments in wonderful detail. Software-wise I am running Mixcraft 7tm with the Kompletetm VST library and UVItm workstation. I am always listening and watching others in the field to see what I can learn from observation and I am always looking for what new (actually pretty old) equipment I can salvage. My mission with this production business is to use the knowlege I have gained and continue to gain to bridge the proverbial gap and bring accessible music production to the artists of my generation that have not grown up around this equipment the way I have. I want to seek out people who are different and may have faced harsh judgement for being the way they are. My goal is to have a space for artists to come, record, relax and have a good time. This way I can take the time I need to understand the artist and their work and be able to produce a sound that is representitive of their individuality and creative process. If the artist is having a good time when they're recording it will inspire everyone who listens to relax and create their own good time when they're listening. I've also been in the tough position where money was a limiting factor in getting my material produced and published correctly, because of this my rates are very very very flexable and I will help an artist in any way I can to raise the money necessary to pay their production costs. All I ask in return is that an artist have the courtesy to cunsult me in person if they are planning to change producers so we can either fix the issue or I can get in touch with the new producer and send over project stems so nothing has to be started over. I will also not publish anything in which the use of automated pitch correction is used for more than an effect, I want to showcase the artist not my computer's ability to try and automatically fill in the holes of something that is not ready to be recorded. I only hope it dosen't come to either of those outcomes. Aside from music I also competitively figure skate as a hobby, from a glance the US figure skating community seems quite large but if one emerses themselves in it, even slightly they will start meeting the same people over and over again. A few years ago I decided that I wanted to use my knowlege of sound design to contribute a valuable role to this discourse community of which I am part of. I began offering music-cutting services for competition sports, so far figure skating is the only sport for which I have cut music but I am equipped to handle it for any sport or any requirements. Since I started offering this service it has brought me so much closer to the skating community then my skating ability ever could. I take huge pride in watching a program I cut be performed and I can't be thankful enough to the figure skating community for allowing me to perform this service. My cutting fee is a simple $30 per hour that I spend editing the music plus an additional $1 per CD, this way the cost of the program depends on it's complexity not it's length the way many people who offer this service require. That about sums it up at the moment, don't hesitate to message me or contact me through www.duotroniksound.com