Christopher P. Stoll
- - Audio Engineer – Sound and Music Instructor – Percussionist – Composer
- - Head Audio Recording Engineer A1 / Producer / Owner /Chief Live Sound Engineer : 33 year
- - College Instructor of Sound & Music / Recording Arts Technology Computer Lab Tech :
16 years - Owens CC / Terra State CC / Washtenaw CC
- - Drummer / Percussionist / Teacher / Composer at UT college drum line and several local high schools,
play rock drums in jam bands at local and regional bars for a living, taught drum lessons in the basement of
Daves' Drum Depot : 1984-1996 = 12 years. Now just play for fun and fill in over 20 years.
Master of Music in Composition, thesis: Traffic Inside for percussion sextet, advisors: Dr. Burton Beerman and Dr. Roger B. Schupp (Director of Percussion Studies), Bowling Green State University, Bowling Green, Ohio, 1996.
Bachelor of Arts in Music, concentration: classical and marching percussion, University of Toledo, Toledo, Ohio, 1989.
Christopher P. Stoll has more than 30 years of experience in the recording arts. He has been recording since his parents bought him a Radio Shack portable cassette recorder in the eighth grade. He went on to interview family members and pets, cooking food and the toilet flushing. He started his professional recording career as an undergraduate at the University of Toledo when he took an electronic music recording class. He was soon recording all concerts at UT and composing “art music” projects on the Arp2600, Korg MS20, original Vocoder and an 8-track analog reel-to-reel for class. He eventually got hired at Audiomatrix Recording Studio in downtown Toledo to do some basic radio commercials and editing.
After graduating from UT with a B.A. in Music (percussion), he utilized the MIDI knowledge he picked up using a Mac Plus and MOTU Performer, and went on to get his Master of Music in Composition from Bowling Green State University. He spent most of his time in the Multimedia MIDI Recording Arts Computer Lab and Recording Studio. This was an exciting time when MIDI was brand new, so setting up the computers and electronic keyboards was crucial. Neither UT nor BGSU had extensive recording classes then, so Chris spent most of the 1990s practicing his audio engineering in the clubs with live sound, and doubling the business and physical size of Audiomatrix.
Utilizing almost every cutting-edge recording medium through the years, he continues to stay up to date with all audio recording technologies: Pro Tools, Digital Performer, Reason, Waves, UAD. He prides himself on working WITH bands and obsessing over getting the best sound for every project. Take a look at his credits and hear samples of recordings on the audio / video page. He’s just as comfortable reading through a classical music score and making edits between takes as he is recording a punk band. He also has extensive experience doing complex full 200-track multi-track live recordings for CD,DVD Facebook streaming and YouTube.
Between 2003 and 2019 (before the pandemic), I spent my time 50% recording and live sound, 40% teaching college 5% drumming and 5% composing. I work on about 20 musical recording projects a year that should end up on a finished CD for release. Most often recording in a studio, sometimes live in a church, bar or random space. I would consider myself to be a “half-producer” on 90% of the projects. I tell musicians when they play something wrong and how to fix it, but I don’t always tell someone how to compose their songs. Unless they ask.
in 30 Years - Over 250 finished CDs I tracked, mixed, and mastered over 1000 other recordings in studios,
(over 5000 songs), over 2000 commercials. (full list of all projects listed in blogs)
750 shows doing live sound for bands in bars like Frankies, Main Event, Headliners (2 years) currently filling in as needed in small clubs and big churches, 750 shows doing live sound at colleges including musicals and all national touring groups, plus classical concert recordings at universities for archives (combined 17 years)
900 live radio shows for broadcast like Tom Kraeutler and Leslie Segrete (TLC’s show While You Were Out + Trading Spaces) of The Money Pit home improvement radio show recording the normal weekly program live to air and doing special live broadcasts from convention centers and Home Depots around America, Los Angeles, Anaheim, Orlando, Boston, Atlanta, Las Vegas. Utilizing ISDN, Nexus, Hotline, T1 technology. Weekly shows had Tom in New Jersey, Leslie in Manhattan and me and Jim in Toledo (2005 - 2010)
Most Recent Gear here at The Davis Building, I combined all of Dave's and iDance with my gear!!!
and it starts with great mics:
(2) Neumann TLM 102, (8) Oktava MK-012, AKG Tube, (4) 414, 214, (4) 451, (2) D112, (2) Sennheiser MD 421, e604, 609 Silver, Electro-Voice ND44, N/D 30, (3) Shure SM7B, (2) Beta 52A, Beta 56, (10) Sm 57, (8) Sm 58, Audix D6, Beyerdynamic M 201 N (2) Cascade Fathead Ribbon Mics, Apex 460 Tube Mic, and all my Mogami cables.
Hooked through 16 channels of some of the best tube mic preamps to set me apart: Avalon vt-737sp, Manley Core, Joe Meek Twin Q2, UA 2-610, Presonus Studio Tube and Focusrite Scarlett Octo.
Into (3) MOTU 8M’s with MOTU AVB switch and MOTU Monitor 8 into PreSonus StudioLive 32R, so 80 track recording!
A maxed out 2020 MacBook Pro 2.4GHz 8‑core Intel Core i9, 8TB SSD, 64GB 2666MHz DDR4 onboard memory, AMD Radeon Pro 5500M with 8GB of GDDR6 video memory. 5 monitors with Plugable Thunderbolt 3 Dock – 3 Samsung 32 inch 4k and 50 inch TV. MalletKAT Pro Grand 5 octaves with gigKAT 2 sound module, Alesis Surge 7pc El Drums with Samplepad Pro, Nektar Impact LX88 + 88-key Keyboard Controller, My Alesis QS8, Kurzweil 2500x with all samples loaded.
Pro Tools, Logic Pro X, Reason, Digital Performer, Studio One, Autotune Pro, Melodyne 5 Full Studio, Waves Mercury Bundle with SSL 4000, API and all Chris Lord-Alge Signature Series, UAD tube compressors, Drumagog, iZotope RX, Garage Band, Final Cut Pro,
I have access to all samples and keyboard sounds from IK SampleTank 4 Max, NI Komplete 13 Ultimate Collector’s Edition, EastWest Composer Cloud X, Spitfire Audio BBC Symphony. 300 pianos, 300 organs, 300 drum sets, 50 scoring strings .
My original M-Audio BX, Daves' totally awesome Focal Alpha-80, Genelec 8040A, Bose L1 Model 2 Tower speakers, JBL LSR 2300, Mackie HR824, and then triple check YouTube mixes on my fully amped surround system. All my mixes sound great on the biggest to the smallest speakers and iPhone with my own unique mastering techniques I have built up over 10 years!!! All my newest modern mixes fit in easily with all the best YouTube and streaming.
3 JVC-GY HM 170 4K cameras, 6 Zoom Q2N-4K Handy Video Recorders and iPhone 12 pro max 500gb.
– plus Behringer Air XR18 for small live system.
(Also 10 years experience with Behringer X32, Midas M32R + DL32 AES50 stage box, Presonus Studio Live 32, SSL Duality, Yamaha TF5, Digidesign Control 24, MADI, Ultranet and Dante networking.)– plus Behringer Air XR18 for small live system.
iDance with Karen Medina brings over 200 crazy different lights and light controllers to create a great live show.
Technically, I'm a classically trained percussionist first. Around 350 shows in West African drum and dance groups, experimental modern music college ensembles, percussion ensembles, classical orchestras, marching bands and Drum Corps. The reason I got into music originally was because my high school band director at L.C.C., John P. Gregory, was in the Crossmen Drum Corps so our marching band became competitive. We also did solo & ensemble contests. I loved practicing snare chops all day. I then performed with General Putnam’s Men Drum and Bugle Drum Corp in Ottawa, Ohio 1981. I did win the John Philip Sousa Band award in my senior year. In college, I played in every ensemble for the experience not just credit: wind ensembles, marching band (5 years), pep band, orchestra (timpani and percussion), percussion ensembles, choir and jazz bands. Other ensembles include: The Adrian Symphony, Perrysburg Symphony Orchestra. During grad school I performed in BGSU New Music Ensemble under Dr. Freeman Brown, Snake Farm: New Music Composer’s Ensemble BGSU (1990-1993) with Johnny A. Rodriguez (San Antonio), The Toledo Drum School Faculty Percussion Ensemble and West African Drum and Dance Ensemble with James Armstrong (1991-1996). I have also performed in many musicals over the years including West Side Story (4 times), Fantasticks, The Music Man (lead voice and drums twice), Damn Yankees (2 times), and the locally produced rock musical Die Amsterdamerung performed at The Collingwood Arts Center in Toledo for many months in a row.
Most recent - Played in the musical The Assassins by Sondheim, done at The Village Players Theatre in Toledo, Ohio with musical director Heidi Clausius, Spring 2019.
Play drum set live or in the studio, 20 bands - 2000 paid gigs.
Some of the rock groups include:
Completed projects where I play standard rock drum set: