pieter_retouchedAmerican-born audio engineer, producer, and composer Pieter Snapper has lived in Turkey since 1999 when he moved to Istanbul to help found MIAM (the Center for Advanced Studies in Music) at Istanbul Technical University. There he taught taught composition and sound engineering from its inception to 2018. Previously he served on the faculties of the Oberlin College Conservatory of Music and Grand Valley State University in the US. He founded the MIAM Studio and was part of the team founding Babajim Istanbul Studios & Mastering where he served for many years as the director of mastering. By popular demand, Snapper now divides his time at Babajim between production, recording, mixing, and mastering.

Albums he’s engineered and produced have won numerous international awards including the 2016 Donizetti Classical Music award for best recording, Best Classical Album of 2015 from Apple iTunes, and the 2010 Record Geijutsu Academy Award (Japan) for the Argento Chamber Ensemble’s debut album “Winter Fragments.” As a producer and mix engineer he specializes in classical, hip-hop, electronica, dance, and contemporary music, and as a mastering engineer he embraces all styles and genres.

His discography lists more than 400 releases ranging from Turkish icons such as Sertab Erener, Teoman, MFÖ, Mor ve Ötesi, and Ajda Pekkan, to recent stars such as Model, Mehmet Erdem, maNga, Mode XL, and Murat Dalkılıç. International clients have included artists such as Ibrahim Maalouf, Titi Robin, Stewart Copeland, and Peter Murphy.

On the classical side, Snapper has engineered five albums (and counting) for Fazıl Say, and has worked with a veritable who’s-who of Turkish classical music. Outside of Turkey, clients have included the Chicago Symphony Orchestra, Lyric Opera of Chicago, the Cleveland Chamber Symphony, Beethovenhalle Orchestra, Bonn, and the Irish National Symphony Orchestra.

Snapper’s compositions have been played in 23 countries, and have garnered awards from BMI, ASCAP, the Union League, and the Fromm Foundation at Harvard University. He has been performed by KammerenseblN, Stockholm, Klangforum Wien, eighth blackbird, among others, and his monodrama “Song of Philomel” was performed by Hezarfen Ensemble in collaboration with computer music pioneer Miller Puckette.

Snapper currently splits his time between Istanbul and Eskişehir, where he lives with his wife and daughter and teaches at the Anadolu University State Conservatory.


Crash Course for Composers in Contemporary Music Recording Techniques

Duration ca. 90’

Composers today live in a world where more and more their compositions do not truly exist unless they are recorded – and recorded with an impact approaching that of a live performance. In a perfect world, there would be experienced recording engineers available at every turn to help composers capture their pieces with maximum musical effectiveness, but in reality composers are usually left to their own devices to document their performances. This workshop is designed to cut through the clutter and jargon to give composers a solid basis for making decisions about recording their own works. There will be a little theory (but no heavy math or physics) and a lot of practical examples.

Crash Course for Composers in Contemporary Music Production Techniques

Duration ca. 90’

Classical music production is the art of sculpting a musical performance beginning with recording sessions in a studio or on location (like a concert hall) and continuing in the editing suite. Musicians perform the work to be recorded multiple times, and in multiple ways, and then the producer or Tonmeister edits these separate recordings into a whole greater than the sum of its parts. The work can be a high art form – and frequently composers are asked to perform it for their own music, as if it’s somehow a natural part of being a composer. This workshop will attempt to demystify the production process and teach composers what to do when they are thrust into the role of producer of their own recordings.