Jaron Luksa is a classically trained percussionist and drum set principle.  He studied music from the age of 8 years old via public school, private lessons and eventually studied Music Production and Sound Engineering at the world-renowned Berklee College of Music in Boston, MA.

While still in school, he apprenticed with seasoned live sound engineers and production staff from major touring acts.  After finishing his studies at Berklee, Jaron was offered a position mixing monitors for the Clear Channel/Live Nation venue, Axis (the new Boston House of Blues now resides in its place).  He mixed monitors and front of house for hundreds of acts per year, not only at Axis, but also venues such as Avalon, Paradise Rock Club and The Middle East downstairs.

After a few years, his career grew with Clear Channel / Live Nation as a production manager and he toured regionally with local acts playing on large festival stages.  All the while, Jaron dedicated every free moment he had in various recording studios, producing and recording as many local bands and artists as he could.

In 2006, Jaron decided to move out to California with his lovely girlfriend and eventual wife to be, Risa.  Immediately he started working with the Galaxy Theatre and House Of Blues Anaheim as a sound engineer and production manager.  He also built a small project studio in his apartment (which tested his girlfriend’s patience often).  He would record vocals, guitars and small overdubs in his closet and mix everything “in the box”.

It was at the end of 2006, Jaron got a huge break and was taken out on the road to mix monitors for The Dresden Dolls and shortly after started mixing and/or tour managing acts such as Grammy Award Winner Angelique Kidjo, Rock The Bells Festival, The Secret Machines, Amanda Palmer, Margaret Cho, Zoe Keating, Devotchka, Alabama Shakes and Collective Soul.  He spent 250 days a year on tour and got to quite literally, “see the world”.

All the while, Jaron collected gear, upgraded his equipment and kept recording and producing more and more.  His list of studio and post credits grew and now include; John Legend, Foster The People, The Gitas, Amanda Palmer, Dustin Boden, Zoe Boekbinder, Margaret Cho, Quest Pistols, Town In The City, The Grownup Noise and many more.  Jaron’s studio engineering style bridges the gap between the excitement of live performance and the perfection of studio recording arts.  Although he loves all the perks that come with touring and being a rock star tour manager / live engineer, he says, “nothing is more satisfying then being part of a song’s creation and crafting the actual recording”.

In his own words, “Live engineering is a different beast altogether from the studio environment.  Here you are at the console, standing in a crowd of anywhere from 500 to 50,000 fans, with one shot to get it right.  You need to be the star player in that situation, kind of a ‘give me the ball coach’ type mentality.  It’s a trip to drive a half million watts or more of PA (which is an art unto itself).  But there is nothing more satisfying then capturing the power, excitement, beauty and emotion of your artist’s performance and translating it to all those fans.  And when you nail it, it’s like having thousands of people cheer you on while you mix.  It’s an experience like none other and the next closest thing to being the actual performer!”

The emotional rewards for working on a record are a little more subtle.  Getting to experience the creation of a recording is super intimate and unless you are part of this industry it is hard enough to understand, let alone appreciate.  Although there is no one in the studio cheering you on, at least the public can experience your work until the end of time.

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