The teaching audio of Sylvania C&C Sunday, the young adult ministry of Sylvania Church.

I started my career in the music business.  Oddly enough, I make my living now as a photographer and web consultant.  Backing up a bit, I started recording demos for fun back in '94.  Everything took off from there.  I pursued a degree in Recording Industry Production and Technology at MTSU in Murfreesboro, TN.  I never graduated, just as my counselor said I wouldn't when I asked him for a recommendation for a job doing something in music. 
I was moving to Nashville and intended to commute-- I really didn't want to work at a BP station (gas station).  My advisor reluctantly handed me a posting for a job at a small recording studio in Nashville-- in Berry Hill -- not Music Row.  He said when I get the job (when I get it?), I won't be back.  Well, the studio was one-of-a kind in Nashville at the time in late '98.  It was small.  It was built to track a rock artists not 'Nashville' 11 session-player backed artists.  
East Iris Recording Studios was an officially ranked World Class recording studio.  World Class is a true distinct rating, not like an adjective to describe in conversation, "Hey, this is a great studio... world class."  World Class factors in incredible acoustics-- a control room designed and built from the ground up to be an instrument all in itself-- the studio mains (the large speakers, are but transducers that regulate the sound pressure for a finely tuned instrument without a single poor position for a listener to stand, sit, squat, make a handstand...  Tom Hidley designed the East Iris control room.  The studio-mains were collaboration-- Hidley-Kenoshitas.  Take away the stretched cloth faux walls, and the precisely angled apertures behind, the true walls would reveal that the actual size of the control room was something close to a visitors half of an NBA basketball court.
The other distinction factored in to the World Class ranking is the recording console.  It is an SSL 9000J-- a ninety-six channel in-line console just under 30 ft long with an automation system-- Ultimation, VCA, and Totall Recall.  The owner bought the console used for $900,000.
My first Supervised Assistant Engineer role was a song - a duet for a record that was released to promote Tim Rice and Elton John's collaboration, a Broadway play called "Aida".  Elton John recorded pop versions of the songs in the play for the record.  I had the privilege to assist in the production of Sir Elton's duet with Leann Rimes, "Written In the Stars".
Before I moved on from East Iris, I earned two album credits ("40 Acres" by Caedmon's Call and "Luxury of Time" by David Mead) and credits for songs by artists including Reba, Shawn Mullins, Bare Jr., Keith Gattis, Sara Evans, Michael W. Smith.... I co-produced and mixed with Recording Engineer Charlie Brocco on a single by Soulbread called "Brother".  I may post-- it's an outdated genre, though.
I produced, engineered, and mixed a single by Bill Harper called "Idiot Boy".  Posted here, somewhere. I recorded and mixed a record by Hopsing Project, self titled.  Not sure if I want to post... 
I work on a record every now and again, and I still write. 

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