“I believe that my approach to making records is precision. From a sonic stand point I aim to achieve clarity and impact. Trying to make every instrument sound as good as possible and put that together into the perfect mix. From a production stand point I aim to achieve the most impactful representation of the artist and their music. I often put the burden of making a great album equally on the artist as I do myself. I feel that the artist and I collectively need to be equally vested in the art. ” says Derek.

Upon entering the industry, Derek quickly proved he was worthy of acclaim. Making his Nashville debut at the famed Emerald/Masterfonics Recording Studio, he was able to work with engineers such as Chuck Ainlay (Vince Gill, Mark Knopfler, Sheryl Crow), Dan Huff (Faith Hill) and Jeff Balding (MegaDeath). With over a decade of commercial as well as independent work under his belt, it is certain Derek is at the head of his class.

“I love the process of making records,” Garten says, “I can help an artist achieve their music's best representation at the level equal to other major label productions for far less the traditional cost. I have the experience that most engineers coming up today making records in their bedroom studios lack. I learned budgeting, quality techniques, and production under great mentors in some of the finest facilities in the industry.” Although he prefers to work with rock and alternative country acts, Garten is qualified for all genres and is not one to turn down a great opportunity. Over the last few years, Garten has been keeping busy recording and mixing albums for such local and national acts as Pico Vs Island Trees and Parachute Musical. His most recent clients include four time Grammy nominated artist Jewel and Akron, Ohio outfit Lovedrug.

A Washington D.C. native and graduate of Middle Tennessee State University, Derek Garten has a strong vision of completing every project with the upmost level of care and attention to detail, which he is constantly working towards. His unique style of developing an artist's concept and sound through a diverse array of recording techniques has helped boost him to the forefront of a new generation of audio engineers.

“I've done it all. I've made albums that required an orchestral string and horn section on every song down to just making an acoustic album” says Derek. Proving he can handle anything that is thrown at him. Garten has adopted a number of techniques from working under some of the top engineers in the business. His style of engineering can be attributed to the influences of Chris Lord-Alge and Brian McTernan of Washington, D.C.; however, he says every situation is unique and calls for experience and instinct.