Chrissy Tignor Fisher
- Career Highlights
Studied music production and technology at The Hartt School of Music in Hartford, Connecticut, specializing in engineering and production techniques, classical vocals, and composition.
Master's degree in audio production from the the University of Westminster in London.
Has engineered in such studios as Eastcote Studios, Tin Pan Alley Studio, The Canvas Room, Sanctum Sound and Rollover Studios and has worked with production companies and artists such as Alex Clare, Gary Go, Good Old War, Choppa Dunks, Novena, Camille Purcell, Andrea Britton, Indigo Earth, Notting Hill Music, Rollover Music, Odyssey Music and Alive Production.
Has been mentored by Mike Exarchos, Phil Thornalley, Gabe Herman, Ken Steen, Gary Bromham and Kevin Paul.
Produces and remixes under the pseudonym Data Child.
In Their Own Words
"I want students to be able to experience what it's actually going to be like in the real world versus just a classroom setting. I want their work to be able to used either as a portfolio or as professional work. Maybe if they've never done technology before, by the end of my class they'll be able to excel in that, or at least be able to get work in that field, because the most important thing, especially for Contemporary Writing and Production majors, is being able to be versatile, and being able to do several different things. If you can be a multiple threat as a musician and artist, you become more employable."
"Berklee encourages the student to be well-rounded versus just kind of focusing in one area. They're given the skills to be able to survive and meet some really incredible people while they do it. They're taught by some of the greatest in the field, present and past."
"I'm still active as a professional, and I bring that into the classroom in terms of showing pieces of my own work and the background of how it came to be, not just the finished product, but how I got to that point. I am still doing it and I find students to be inspired by that sort of thing, to know that there is someone who's teaching them but also still doing it and can help them do it."
"It's important to be up-to-date on what's very, very current, but also to have the skills to be able to transfer to new technology. The technology itself evolves, but it's the basic concepts that keep current. If (students) understand how a synthesizer works, even the most basic synths—they all look crazy with about a million different buttons on them—but they are essentially the same skills needed to be able to work them. It's the same if you're mixing in ProTools or Logic, the same skills will get you there. And as long as they understand that, that's my main goal, it's like 'get the basic stuff' and realize once you do that, it seems so simple, but once you do that, that's all you really need to keep up, as long as you keep practicing."