Corey Folta
Mixing Pampeliska-a Laurel Parmet short-premiering @ Slamdance.
Non-Union
Connections (42)
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Audio Post Reel
Around 1991, I found my way to Quad Studios in NYC. A friend of a band I was playing in had just begun engineering there and invited us to record a demo with him. I instantly fell in love with the art, math, science and magic of recording and mixing audio.
After a short year living in Athens, GA - playing drums locally and doing short tours to Statesboro and Savannah - I returned to NYC with the intent of wedging my foot into the door of the film and music industry, eventually landing a position at DuArt film labs. After two years of working the midnight shift on films like Fargo and Ace Ventura, I decided I needed to join the land of the living, so I hit the streets in pursuit of a daytime position. I went down my list in alphabetical order. My first call was to a jingle studio, 39th Street Music. I was instantly seduced by their SSL desk. Owner and jingle writer, Michael Karp - composer for Dateline NBC, Presidential Inaugurations and State of the Union Addresses - offered me an internship. I accepted and began the very next day.
After only two weeks, they decided to throw me to the wolves - I was scheduled to assist my first session with Sean Penn for his film The Crossing Guard. So with very little comprehension of the SSL, or of really any of the gear in the room for that matter, I was off and running - trial by fire. I headed into the session, literally a walking zombie - still working through the night at DuArt, rushing off to the internship in the am, and then heading directly into the Crossing Guard session with no sleep. Somehow - though to this day, I still can't get the math to add up - I managed through Penn's music supervisor on that session, to get offered a full time position at another jingle house, Michael Levine Music (MLM).
MLM was the perfect training ground, a busy jingle studio creating ad campaigns for Kit Kat, Kodak, Reebok and more. I was about as green as they come, but I was back to being exposed to daylight and ready to learn. After spending some time at MLM, and subsequently working for and learning from some of the premiere talents in the industry at studios like Big House, Manhattan Center and City Sound, I eventually moved into the word of freelancing.
Over the course of my 17-year career, I've worked with all aspects of audio: sound mixing, sound design/foley work, ADR recording and editing, composing, tracking, mixing and producing bands. I’ve worked on countless films and TV shows, documentaries, industrials, commercials/promos, records, plus works for radio and theatrical productions. My past projects have shown at Sundance, Slamdance and Tribeca film festivals, as well as appeared on MTV, ESPN, PBS, CNN and Discovery.
A few quick highlights: working with Will Calhoun and Doug Wimbish from Living Colour along with Bernie Worrell from P Funk, tracking and mixing Angie Stone for the Eric Sermon produced track, "No More Rain", tracking and mixing Richie Havens, mixing Beenie Man's live concert for a 5.1 DVD release, recording, mixing and co-producing two seasons of music cues for Spin City, recording Kevin Klein's vocals for The Hunchback of Notre Dame, working with director Noah Baumbach for his DVD release of The Squid and the Whale, mixing the Ben Harper documentary, Pleasure and Pain, and of course, many, many more.
Of course somewhere in there, I still find time for my original love, continuing to front my own band, singing and playing drums. One day I'll rest, though probably not anytime soon.
After a short year living in Athens, GA - playing drums locally and doing short tours to Statesboro and Savannah - I returned to NYC with the intent of wedging my foot into the door of the film and music industry, eventually landing a position at DuArt film labs. After two years of working the midnight shift on films like Fargo and Ace Ventura, I decided I needed to join the land of the living, so I hit the streets in pursuit of a daytime position. I went down my list in alphabetical order. My first call was to a jingle studio, 39th Street Music. I was instantly seduced by their SSL desk. Owner and jingle writer, Michael Karp - composer for Dateline NBC, Presidential Inaugurations and State of the Union Addresses - offered me an internship. I accepted and began the very next day.
After only two weeks, they decided to throw me to the wolves - I was scheduled to assist my first session with Sean Penn for his film The Crossing Guard. So with very little comprehension of the SSL, or of really any of the gear in the room for that matter, I was off and running - trial by fire. I headed into the session, literally a walking zombie - still working through the night at DuArt, rushing off to the internship in the am, and then heading directly into the Crossing Guard session with no sleep. Somehow - though to this day, I still can't get the math to add up - I managed through Penn's music supervisor on that session, to get offered a full time position at another jingle house, Michael Levine Music (MLM).
MLM was the perfect training ground, a busy jingle studio creating ad campaigns for Kit Kat, Kodak, Reebok and more. I was about as green as they come, but I was back to being exposed to daylight and ready to learn. After spending some time at MLM, and subsequently working for and learning from some of the premiere talents in the industry at studios like Big House, Manhattan Center and City Sound, I eventually moved into the word of freelancing.
Over the course of my 17-year career, I've worked with all aspects of audio: sound mixing, sound design/foley work, ADR recording and editing, composing, tracking, mixing and producing bands. I’ve worked on countless films and TV shows, documentaries, industrials, commercials/promos, records, plus works for radio and theatrical productions. My past projects have shown at Sundance, Slamdance and Tribeca film festivals, as well as appeared on MTV, ESPN, PBS, CNN and Discovery.
A few quick highlights: working with Will Calhoun and Doug Wimbish from Living Colour along with Bernie Worrell from P Funk, tracking and mixing Angie Stone for the Eric Sermon produced track, "No More Rain", tracking and mixing Richie Havens, mixing Beenie Man's live concert for a 5.1 DVD release, recording, mixing and co-producing two seasons of music cues for Spin City, recording Kevin Klein's vocals for The Hunchback of Notre Dame, working with director Noah Baumbach for his DVD release of The Squid and the Whale, mixing the Ben Harper documentary, Pleasure and Pain, and of course, many, many more.
Of course somewhere in there, I still find time for my original love, continuing to front my own band, singing and playing drums. One day I'll rest, though probably not anytime soon.