David Shuman

Program Director, Audio Engineering Technology; Assistant Professor

Electrical and Computer Engineering

College of Engineering, Technology, and Architecture
860.768.5483 D 113
Education

BM, University of Hartford

Experience

Academic Positions

Assistant Professor, Audio Engineering Technology (AuET) 2008-present

  • Electrical & Computer Engineering Department
  • CETA, University of Hartford, West Hartford, Connecticut

Visiting Professor, Audio Engineering Technology (AuET) 2006-2008

  • Electrical & Computer Engineering Department
  • CETA, University of Hartford, West Hartford, Connecticut

Adjunct Professor, Audio Engineering Technology (AuET) 2006

  • Electrical & Computer Engineering Department
  • CETA, University of Hartford, West Hartford, Connecticut

Adjunct Professor, Audio Engineering Technology 2001-2005

  • Mechanical Engineering Technology Department
  • Ward College, University of Hartford, West Hartford, Connecticut

 

Industry Experience (Technical)

2001 – Present Audio Technical Consultant, Bloomfield, CT.

  • Provide Audio Recording services and consultations to clients, including in-studio sessions, remote recording, recording studio design and installation, troubleshooting both software and hardware via phone and in person.
  • From 2002-2008 I worked out of what would become known as my “Farmhouse” studio, which was not originally intended to be a commercial studio at all. In 2011 I setup a temporary workspace and began construction on a 1000 sq ft professional recording and mixing facility.

2002 – 2004 Telefunken USA, South Windsor, CT.-Consultant

  • Helped source parts and materials for microphone construction, tested and evaluated microphones. Communicated with suppliers and consultants. Wrote press releases and advertising copy. Interfaced with prospective clients and other manufacturers during the company’s debut at the AES convention in Los Angeles.

2002 – 2003 Vintage Tones, South Windsor, CT.-Sales Manager

  • Vintage Tones was a Pro Audio dealer that specialized in high-end microphone sales. I performed typical sales duties plus gave expert advice to clients regarding equipment and techniques.

2000 – 2002 Talcott Mountain Studio, Simsbury, CT.-Studio Manager/Engineer

  • Responsibilities ranged from assisting with construction, equipment purchases, installation and testing, troubleshooting, working with technicians, scheduling clients and working with artists. The studio was a residential facility including recording equipment with a total value over one million dollars.

2000 Mountainside Mobile, Simsbury, CT.-Recording Engineer

  • One of 3 recording engineers manning a fully outfitted remote recording truck for a major 3 day music festival. Duties included constant communication with stage crew, configuring snakes and splits, producing multitrack and simultaneous stereo mixes, all preparation, setup, teardown and equipment maintenance.

1993 – 1999 Recroding Studio, Hartford, CT.-Managing Partner/Engineer

  • The recording studio was a multi room audio recording facility. The studio attracted a diverse clientele, and worked for major as well as independent record labels including SpinArt, Sub Pop, Big Deal/Caroline, Touch and Go, Che, Elektra, Drag City, Warner Bros, Rykodisc, Sire. I was responsible for a myriad of details ranging from artistic to janitorial, Highlights included all aspects of contemporary audio production, equipment maintenance, studio design, and installation, advertising, general bookkeeping, and managing employees/independent contractors

Industry Experience (Performance)

David Shuman has been active as a performing and recording musician since the late 1980's.  Recordings have been released on a variety of independent and major labels both domestically and internationally.  Likewise touring experience includes Europe, the west coast of the United Sates and many performances in New England and the Mid-Atlantic states.

Groups and artists include:
Lilys, Marykate O'Neil, Andre Balazs, Bipolar Jukebok, Bud Collins, Rolla, David Corter, Gran Fury, The Thang, On the Corner with Fuzz, Need, Angry Candy, Super Scenics.

Professional Societies

Memberships in Professional Societies

  • Audio Engineering Society (AES), Member 2006-Present
  • American Society of Engineering Education, 2013 - present
  • American Association of University Professors, 2014 - present

Conferences

  • Audio Engineering Society
  • North American Convention, NY, NY 1993-1997, 2001-2013
  • North American Convention, Los Angeles, CA 2004
  • National Association of Music Merchants (NAMM)
  • Anaheim, CA 2002-2003, 2006-2008

Funded Grant Activity

Audio Equipment for CETA Recording Studios (2005 – Present)
Description: A unique agreement where Telefunken USA supplies
the CETA recording studios with ongoing usage of over $20,000 of audio
production equipment.
Grantor: Telefunken USA
Amount: Equivalent yearly leasing fee = $7000 per year.
Role: Suggested the relationship to both Telefunken and University of Hartford faculty
while I was an adjunct. Consulted extensively with both parties during the negotiation of
the agreement. Ongoing communications with the grantor

Microphone Package for CETA Recording Studios (2009)
Description: Telefunken USA donated approximately $11,000 in new microphones to
our Audio Program
Grantor: Telefunken USA
Amount: $11,000.00
Role: Ongoing relationship with Telefunken USA facilitated donation.

Discography, Broadcast & Film Productions

Discography, Music Recording

Industry Employment ( Music Production ) discography, music recording

Bipolar Jukebox, Museum of Sorts, self-released 2011

  • Recorded and mixed this full-length CD. To be released late Fall 2011.

Theresa Wong, The Unlearning!, Tzadik 2011

  • Recorded on location in Cape Cod, MA, this full-length CD features modern compositions featuring violin, cello and voice.

Mia Theodoratus, Apache, self-released, 2010

  • Recorded, mixed and mastered for vinyl release. A solo harp piece recorded during these sessions was featured on “Rubicon” a nationally broadcast prime time television program on the AMC network.

Marykate O’Neil, Underground, Nettwerk, 2009

  • Overdubs and editing at my Farmhouse studio, Bloomfield CT.

Marykate O’Neil, MKUltra, Nettwerk, 2008

  • Overdubs and editing at my Farmhouse studio.

Tin Hat, Sleeping Giant/Live at MASS MoCA, (unreleased) 2008

  • Remote recording to Protools of a live performance at MASS MoCA, North Adams, MA. The performance was accompaniment to a dance piece titled Sleeping Giant, and the touring performance will utilize this recording.

Need, Fade-In, Readymade Records 2008

  • Overdubs and editing at my Farmhouse studio.

Tin Hat, The Sad Machinery of Spring, Hannibal 2007

  • Overdubs of harpist Zeena Parkins via a location recording in NYC, additional overdubs at Mark Orton’s home studio, Portland OR. I was originally slated to help mix, but scheduling prevented my involvement, although I am credited on the CD.

The Figments, Blood on The Clouds, (independent), 2007

  • Tracked and mixed at RMI, Sturbridge, MA, and my Farmhouse studio. Recorded on 2” analog tape, but mixed via a hybrid approach with protools.

Austin Willacy, 9 Impossible Proofs, Antebellum 2007

  • Mixing of 4 songs at my Farmhouse studio. The clients were on the west coast; so all mixes were submitted for approval by mp3 via email.

Adam Levy & Buttermilk Jr, Humdinger, Lost Wax Records 2006

  • Adam Levy was the guitarist in Nora Jones band, and wrote one of her hits. This recording is more of a traditional jazz organ trio. Mixed at my Farmhouse studio.

The Pixies, Live in Newport DVD, Eagle Vision 2006

  • A remote recording live at the Newport Folk Festival, Newport, RI, to Protools HD. I provided SMPTE time code reference for all of the cameras via master clock and time code slates.

Tim Reale, Story, (independent) 2006

  • Tracked and mixed at my Farmhouse studio.

The McStatics, The McStatics, (independent) 2006

  • Tracked and mixed at my Farmhouse studio.

Doug Wimbish, Various Remixes, 1986, (web release) 2006

  • Doug and I transferred these sessions to Protools from the original 2” tapes. Co-mixed at my Farmhouse studio.

Marykate O’Neil, 1-800-Bankrupt, Seventy-One 2006

  • Overdubs and editing at my Farmhouse studio.

Rolla, Fits & Starts, independent 2006

  • Tracked and mixed at my Farmhouse studio.

The Ambitious Orchestra, The Ambitious Orchestra, (independent) 2006

  • A remote recording tracked in a basement rehearsal space in Brooklyn, NY. A challenging project, the bandleader wanted to derive a rock band sound from traditional orchestral instrumentation (It is an approximately 20 piece ensemble).

Dan Shuman, Dan Shuman, (independent) 2005

  • Tracked at my farmhouse studio and in Brooklyn NY via protocols. Mixed at my Farmhouse studio.

Rolla, La La Land, (independent) 2005

  • Tracked at my Farmhouse studio.

Tatiana Irvine, From Bridge to Boardwalk, Mid Atlantic Arts Foundation 2004

  • Co-mixed and mastered this two-hour audio documentary of the folk culture of Maryland’s eastern shore. Sessions at my Farmhouse studio.

Andre Balazs, Bipolar Jukebox, (independent) 2004

  • Recorded and mixed at my Farmhouse studio entirely on 2” analog tape. Mastered at the Farmhouse with Protools.

Jill Sobule, The Folk Years 2003-2003, (independent) 2004

  • Basic tracks recorded at Krispy Kreme studio, NYC.

Various Artists, Enjoy Every Sandwich: The Songs of Warren Zevon, 2004

  • Tracked at Krispy Kreme studio, NYC. This is the same session as Jill’s Folk Years. This was her submission to this memorial compilation.

Mos Def, New Danger, Geffen, 2004

  • Basic tracks and rough mixes at Longview Farm studios, North Brookfield MA.

Dahlia and the Llamas, I Am Gasoline, (independent) 2004

  • Recorded and mixed this very New York spoken word/poetry band at my Farmhouse facility.

Rob Burger, Lost Photograph, Tzadik 2003

  • Tracked at Globe Studio, NYC and mixed at RMI, Sturbridge MA. Rob is one of the founding members of the Tin Hat Trio and is now a very in demand session musician with musicians such as Sting, Laurie Anderson, Beth Orton, Calexico, Iron and Wine.

Rachel Platten, Trust In Me, (independent) 2003

  • Tracked at Talcott Mountain Studio, Simsbury, CT and my Farmhouse studio on 2” tape. Mixed at the Farmhouse.

Big Fuzz, Exercising The Demons, Harmonized 2003

  • Tracked at RMI, Sturbridge, MA, Talcott Mountain Studio and my Farmhouse studio. Mixed and mastered at my Farmhouse facility. Recorded on 2” analog tape and Protools.

Mawwal, Live at the Charter Oak Cultural Center DVD, (independent), 2003

  • Mixed at my Farmhouse studio.

Will Calhoun Quintet @ Sweet Rhythm, currently unreleased 2003

  • An elaborate remote recording at this famous Jazz club in NYC.

Will Calhoun & David Sanctious @ Sweet Rhythm, currently unreleased 2003

  • Tracked on location in NYC.

Living Colour, Collide0scope, Sanctuary 2002

  • Co-recorded by myself and 4 other engineers at Longview Farm Studio, Tree House Studio, Storrs, CT and The Tracking Room, NYC. Responsibilities included main tracking engineer, file transfers and backups, editing and extensive equipment interfacing (Tree House).

Tin Hat Trio, The Rodeo Eroded, Ropeadope/Rykodisc 2002

  • Initially co-tracked with Mark Orton via remote in Lyme CT, extensive tracking and overdubs occurred during sessions at Sorcerer Sound with myself as engineer. Co-mixed at Dead Aunt Thelma’s studio in Portland OR.

Marykate O’Neil, Marykate O’Neil, Seventy-One 2002

  • Tracking for 2 songs at Studio 45, Hartford, CT.

Various Artists, Right to Chews, Not Lame 2002

  • Tracked Marykate O’Neil’s contribution to this compilation during the sessions at Studio 45.

Richard Julian, Good Life, My Good Man 2002

  • Basic Tracks for 5 songs recorded at 33 &1/3, Williamsburg, Brooklyn, NYC.

Various Artists, Zombies of the Stratosphere, Logan Tapes 2002

  • Tracked Marykate O’Neil’s contribution to this compilation during the sessions at Studio 45.

The Asteroid No.4, King Richards Collectibles, Rainbow Quartz 2001

  • Tracked much of this release at the band’s studio in Philadelphia, PA.

Deep Banana Blackout, Feel the Peel, Flying Frog 2001

  • Co-engineered much of this release, although the highlight was several days recording vocals with legendary producer Tom Dowd at Criteria Recording, Miami, FL. Otherwise tracked and mixed at Carriage House Studio, Stamford, CT and Talcott Mountain Studio.

The Figments, All the Gone Days, (independent), 2001

  • Mixed this release at Studio 45.

Flipper Dave, Something Simple, (independent) 2001

  • Tracked and mixed this full-length CD at Talcott Mountain Studios.

Nada Surf, soundtrack session, 2000

  • Tracked at 33 & 1/3.

Rocket Martin, Rocket Martin, (independent) 2000

  • Recorded and Mixed at Studio 45, additional mixing engineer Mike Ryan.

Aimee Miles, Aimee Miles EP, (independent) 2000

  • Recorded and mixed at 33 & 1/3.

On The Corner With Fuzz, B’Gock, Artkin Touchya 2000

  • Recorded and mixed at Studio 45.

The Figments, Broken Time, (independent), 2000

  • Recorded and mixed at Studio 45.

Dr Zeus, Dr Zeus, (independent) 1999

  • Recorded and mixed this EP at Studio 45.

Lilys, The Three Way, Sire 1999

  • Overdubs including percussion, harp, strings, woodwinds, brass, harpsichord and piano. Mixing of 1 song. All work done at Studio 45.

Lilys, Better Can’t Make Your Life Better (Remix), Che 1998

  • Overdubs including harp, strings, woodwinds and brass. Sessions at Studio 45.

Deep Banana Blackout, Rowdy Duty, Artkin Touchya 1998

  • Remote recording of a live performance in Port Chester, NY. Mixed at Studio 45.

Pernice Brothers, Overcome By Happiness, Sub Pop/Rykodisc 1998

  • Overdubs including string section. All work done at Studio 45.

The Apples in Stereo, Tone Soul Evolution, SpinArt/Sire 1997

  • Overdubbing during ongoing sessions at Studio 45.

The Figments, Won’t Hurt You, (independent), 1997

  • Tracked and mixed at Studio 45.

Deep Banana Blackout, Live in the Thousand Islands, Artkin Touchya, 1997

  • Tracked and mixed at Studio 45.

David Corter and Byron Estep. Aboriginal Bluegrass, Trunkslammer 1997

  • Overdubbed and mixed at Studio 45.

David Corter, Didgeridoo-Mania, ARC 1996

  • Tracked and mixed at Studio 45.

Angry Candy, Aberration, (independent) 1996

  • Tracked overdubs and mixed at Studio 45.

Lilys, Eccsame the Photon Band, SpinArt 1995

  • Overdubs at Studio 45.

 

Discography, Broadcast & Film Productions

Industry Employment ( Broadcast ) discography, broadcast & film productions

2011 Thumbs, MTV

  • Made an initial mix for a full-length movie that tells the story of some of the contestants in a nationwide texting competition sponsored by LG. The edit I worked on was submitted as a full-length movie to different film festivals. Another edit will premier on MTV August 19, 2011.

2011 Empowering, CPTV

  • Mixed audio for 2 episodes of the CPTV produced series documenting green technology and recycling initiatives in CT. Broadcast late Spring/Summer 2011.

2011 The 60's in Connecticut, CPTV

  • Editing and some mixing for this CPTV production which offered “An unflinching look at this turbulent & transformative decade through the eyes of CT residents”. Broadcast in Spring of 2011.

2010 To God's Ear

  • Location recording in Rome, Italy for a full-length documentary movie about a group of Cantors that were performing by invitation of the Catholic church. (Project inspired by the success of 100 Voices) Duties included in-field ENG (Electronic News Gathering), including boom operation, setting up wireless lavalier mics on interview subjects, recording to portable hard-disc recorder, as well as a full concert recording that will eventually be released on DVD.

2010 100 Voices: A Journey Home

  • Editing and some mixing for this feature-length movie that tells the story of 100 Cantors who travel to Poland to take part in a Jewish culture festival and reflect on the tragedy of the Holocaust. Duties included “ADR”, replacing the dialog captured in the field with a clearer version recorded in a studio, which requires extensive manipulation to maintain the correct synchronization with the onscreen image. The film was shown nationally in theaters on October 7 2010, and November 11, 2010. The film won praise at numerous film festivals, and was up for academy award consideration.

2010 30 for 30, ESPN

  • Mixed the audio for ESPN's 30 for 30 Television program featuring interviews with filmmakers and clips of movies that showed at the 2010 Tribeca/ESPN sports film festival. The program aired nationally on ESPN in May 2010.

2009 Romanza, Daniel Strong Godfrey

  • Location recording, mixing and mastering for a performance video of this 10-minute composition for string quartet. The final mix required over 50 edits from various takes, spliced into one seamless sounding whole, and required me to read the musical score while working.

2008 2008 Summer Olympic Games, NBC

  • Premixing and editing for approximately 15 mini-profiles (approximately 2 minutes in duration each) shown during the Summer 2008 telecast

2008 Go For The Gold, MOJO

  • A 10 show series profiling different American athletes that aspired to compete in the 2008 Olympic games. Broadcast in the months before the games, each episode was 30 minutes long. I mixed 7.5 of the 10 shows, which included extensive sonic restoration due to the poor quality of the audio captured in the field.

2005 Winter X Games, OLN

  • Due to tight deadlines, this multipart series was mixed by a crew of 3 audio engineers over the course of a week, with sessions going 24 hours a day. The mixes included extensive sound design as due to the sheer size of the event not every camera shot could have a microphone close to the source.

2005 From the Files of Dr Henry Lee, Court TV

  • In field ENG (Electronic News Gathering), including boom operation, setting up wireless lavalier mics on interview subjects, recording to camera. The shoot was on-location in downtown New Haven revisiting a murder case from the mid- 1970’s. This was one episode in an ongoing series.

2004 Hardwater, Rush HD

  • Mixed 4 episodes of this show detailing a sailboat racing series. The show originally showed in the United States, but was eventually sold to China and other international markets, at which time I derived the international mixes for the entire season.