Kenneth has been working as an audio mastering engineer for 34 years. His career began in classical recording for the Cleveland Opera, sound reinforcement for the Boston Symphony, and as a roadie for the Louise Mandrell show. He was hired as a night-shift disc cutter and production engineer for MasterMix studios in Nashville in 1985, and as the business grew, he got to master records for a variety of gospel, contemporary Christian, country, and rock artists, including Jars of Clay, Rich Mullins, Kiki Sheard, Smokie Norful, the Mavericks, Lonestar, Ashley Cleveland, Easton Corbin, Billy Currington, Toby Keith, Spock’s Beard, and Widespread Panic. He’s been Sweetwater Studios’ audio mastering engineer since 2014, getting the best out of mixes from premium artists, including Marcus Scott, Peter Erskine, Anthrax, Beth Hart, Carl Verheyen, Chester Thompson, Russ Taff, and more.
There aren’t many technical challenges Ken hasn’t faced — if a mix has a weirdness to it, he’ll find ways of dealing with it effectively. His continuing interest in the development of the art and technology of audio ensures that he keeps current with new formats and maintains a fine-grained understanding of established audio formats, including the nuances of digital signal processing and analog disc cutting. Ken loves it when he gets to work on well-recorded music with a sound he’s never heard before: crazy instrumentation, a new blended genre, a unique vocal signature – he’s in!
There are a number of benchmark albums that Ken turns to time and again for reference: among these are Peter Gabriel’s So, Seeds of Love by Tears for Fears, Steely Dan’s Gaucho, and all the Linda Rondstadt–Nelson Riddle collaborations. But there’s one album he thinks of as an old friend: The Folksinger by Muddy Waters.