CAS Quarterly

Fall 2019

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16    F A L L 2 0 1 9     C A S   Q U A R T E R L Y AN INTERVIEW WITH Alexandra Fehrman CAS M E E T T H E M I X E R b y P a t r i c k S p a i n Re-recording mixer Alexandra Fehrman's ascent to the dub stage followed a path of vision, determination, and talent—with a couple detours thrown in along the way. I THOUGHT WE WOULD JUST START AT THE BEGINNING. WERE YOU AN LA KID? No, I'm from a small San Diego suburb called Escondido. HOW DID YOU END UP HERE THEN? Well, audio brought me here. Do you want to hear that whole story? I LIKE TO ASK IF PEOPLE GREW UP HERE BECAUSE THEY MIGHT HAVE SOME KIND OF CONNECTION TO THE BUSINESS. No, no. SO DOES THAT MEAN YOU WERE A MUSIC KID? A LOT OF PEOPLE NOT "BORN" INTO THE BUSINESS HAVE THAT TRAJECTORY. I ended up in the recording studio, initially taking guitar lessons and being pretty frustrated with them. I was having a rough day at practice one day and wandered into a recording studio. WOW, WHAT STUDIO? It was called DML Studios. It was small local… BUT IT WAS THERE AND YOU WALKED RIGHT IN. Yeah, their claim to fame was they recorded Blink 182's fi rst album. So I wandered in the studio that day and said, "Hey, what are you guys doing here?" Now I'd always been around audio equipment because my uncle was a patent attorney for audio equipment, specifi cally for Yamaha. So I was comfortable walking in there saying, "Hey, what's going on in here?" and the engineer, Don, put me to work that day. He was changing his patch

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