Singer - Carmela King
Songwriters - Carmela King, Mor Mezrich
Produced, Arranged, Recorded and Mixed by Mor Mezrich

Blowing Through The Seasons

String Quartet

Music score for the cult surfing film "Highwater" by the creators of the classic film "The Endless Summer" 

Film Score sample - Highwater

Jazz (music for TV) sample

All instruments recorded live in the studio.


Soul/R&B -Sophia (sample)

Engineer/Mixer/Producer Mor Mezrich grew up in Israel surrounded by a family of electrical and computer engineers, where his talent for music and technology emerged at an early age.

His career began while still in high school, when he was hired as a studio musician. “I fell in love with the studio environment and the endless possibilities of creating music,” he said. “I wanted to learn everything about music production.”

After moving to the U.S. and spending a few formative years in California — where he was introduced to music from The Beach Boys and the Beatles -– Mezrich attended Berklee College of Music (Summa Cum Laude May 2006), where he was formally trained in music production and engineering. He further mentored with heavy hitters like Al Schmitt at Capitol Studios (LA), Tommy Vicari at Capitol Studios (LA) and Firehouse Studios (Pasadena), George Massenburg and Tal Herzberg (RIP).

Following graduation, Mezrich worked at The Record Plant in LA and Avatar Studios in NYC. He has also worked as a freelance engineer at Westlake Studios (LA), Studio X (Seattle), Red Star Recording (LA), and Flux Studios (NYC), among others.

Armed with experience as both a trained musician and engineer, Mezrich has an in-depth understanding of both the science and the art of recording. “Over the past 20 years, the recording process has changed with advances in technology,” he said. “Yet, the same principles of great production remain. The “Old School” experience I bring to a project is somewhat of a unique experience for many musicians.”

In 2010 Mezrich opened Ears and Gears in New York City inspired by the philosophy introduced to him by his first recording teacher: “it’s the ear, not just the gear.”