Steve Fisher

Steve Fisher

Professional Mixer

HOMETOWN

Charleston,
South Carolina

EDUCATION

Bachelor of Arts
in Media Arts
University of South Carolina
Columbia, SC
-1998-

AUDIO ENGINEERING EXPERIENCE

  • 1998-2001 Doppler Studios (3 years)
  • 1999 Tree Sound Studios (6 months)
  • 2001-2006 Patchwerk Studios (5 years)
  • 2006-Present 11th Street Studios (9 years)

A professional mix engineer, Steve Fisher is a 17-year music industry veteran, having worked on over 100 RIAA certified gold/ platinum releases, been a part of over 50 Billboard #1 releases, including 23 Grammy nominated and 5 Grammy winning productions, and over 600 releases to date. See the DISCOGRAPHY PAGE for a complete list of projects.  Steve has had the privilege to work with many talented and accomplished artists, producers, and sorgwriters in the business, including Akon, Ludacris, T.I., Young Jeezy, Future, Lil Wayne, Mario, TLC, Ciara, Chris Brown,  and many others.  See the CLIENT PAGE for a more comprehensive list.

EXPERIENCE: 17 years of engineering
RIAA AWARDED GOLD/PLATINUM PROJECTS: 111
GRAMMY WINNING PROJECTS: 5
GRAMMY NOMINATED PROJECTS: 23
BILLBOARD TOP 10 PROJECTS: 106
BILLBOARD #1 PROJECTS: 55
TOTAL PROJECTS: 600+

BACKGROUND

I began my career back in the late 90’s, when working in a studio meant knowing how to run an SSL 4000 G+ console, how to align a 24-track 2″ analog tape machine, how to sync an Akai MPC 3000 drum machine to tape via SMPTE time code, and how to navigate a massive 96-point TT patchbay with ease.  It was an all analog world, and it was a great learning experience.  Back then going digital meant we would bring out a rack of 16-bit Tascam DA-88‘s, or even the less respectable Alesis ADATs for low budget clients.  Printing mixes to DAT soon became more commonplace over the industry standard 1/2″ 2-track analog tape machines.  Hell, my first couple years it was still normal to print rough mixes to cassette for clients to leave the studio with.  CD-R burners soon came in, along with this new thing called Pro Tools.  It was in version 4.3 at that time, and at 24-bit resolution was quickly becoming a standard fixture in studios, even though we really only used it to fly hooks back then, bouncing from 2″ to PT, then back to 2″.  Everything took longer to do, and therefore, everybody had so much more patience in the studio.  Everybody wanted the best.

MIXING PHILOSOPHY

My mixing philosophy