Hi. I’m Enoch Porch, audio engineer and proprietor of Unconditional Sound. I’ve devoted the last 30 years to music and the art & craft of recording & mixing.

Music keeps us alive, so I want music to translate in a variety of conditions.. That means in the car, at the gym, in the club, in headphones, on bluetooth speakers at the beach.

There are a lot of reasons this doesn’t always happen, and I’ve spent most of my life weeding them out.

Here’s what I’ve learned and apply at Unconditional Sound Studio:

Balance is obviously essential to any mix. In addition to decades of ear training and technical proficiency, accurate and unyielding monitoring is vitally important.

While it’s true that engineers can acclimate to a range of sonic environments, there is, in fact, a limit to how far one’s monitoring conditions may stray from a certain “center of range” without obscuring the truth.

Utilizing a range of calibrated systems in a treated space, I’ve removed many of the sonic obstacles commonly impeding engineers ability to expose and properly manage the the true sound of any given material.

All audio is captured and modified using waves of electricity, and fluctuations in the power supply can cause distortion and interfere with the sound quality of a mix. That's why I employ discrete symmetrical balanced power, which provides each piece of equipment in our studio with its own individual power source. This allows each device to operate independently and without interference, resulting in a cleaner and more stable audio waveform.

In addition to improving the overall sound quality of a source or track, the use of discrete symmetrical balanced power also helps to reduce electrical noise and interference. This can be especially important when working with high-resolution audio while moving between digital and analog domains, as the added detail and sensitivity of the audio can be more susceptible to electrical interference. Using this technology creates mixes that are clear, natural, and free from electrical noise.

Music is delivered over speakers. Whether those are earbuds or massive speaker arrays in a club, there is one inescapable fact; the truths captured in the studio recording must be delivered by a simple magnet glued to the back of a paper or plastic cone. It’s a tall order and, while engineers and inventors have brought us far in this undertaking, negotiating with the laws of physics to deliver the most essential parts of a performance is a very real and human art.

Listening both emotionally and technically constitutes a good engineer’s scale-of-audio-justice and the resulting mix distills the artist and producer’s creation.

Once essence has been distilled, we find space wherein one more more elements of the recording may call for some amount of special attention. Like a spotlight. There are countless ways to feature event or object in a recording. Enlarging, repositioning, tonally altering, reinforcing, clearing the surrounding space, manipulating time, prefacing, or otherwise punctuating an event are a few of the techniques available. The material and content will indicate the most path.

“Beauty of style and harmony and grace and good rhythm depend on simplicity.”

- Plato

We are working for simplicity. Simplicity translates. Even in the most apparently sophisticated and good works of masters, ranging from Tchaikovsky, Joni Mitchell, Nirvana, Jay-Z, you will find simplicity.

Enoch, Unconditional Sound