ABOUT ME
Jordan Orcaz (AKA No Mana)

"Ruined Sound" is an alias associated with my audio services for artists, creative brands and production agencies, which range from mixing, mastering, production, sound design, recording and implementation. Here you will find information about my services, prices, previous work portfolio and some cool goodies for your own production projects.

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Starting from small bedroom studios and ending up in front of massive crowds, I’ve spent over 12 years immersed in the music industry as a producer, DJ, engineer and visual artist under the alias No Mana, releasing music on esteemed labels such as mau5trap, Monstercat, Anjuna, Universal, and Atlantic, and performing at major festivals like Electric Daisy Carnival Las Vegas and Ultra Music Festival.

I owe much of my journey to the influence of my grandfather, a DJ, vocalist, and instrumentalist. He introduced me to electronic music with "Sandstorm" by Darude in the 2000s, sparking an obsession that mirrored his own. He’d create CDs of his favorite techno tracks for me, much like sharing a Spotify playlist today. This experience laid the foundation for my music taste.

Although he gave me piano lessons as a child, my path into music production and audio engineering was self-driven. He didn’t pass down equipment or techniques, but we shared a deep passion for the same music. It wasn’t until after his passing that I learned he was a vinyl mastering engineer at Capitol Records. It made the phrase "music runs in the family" feel like an understatement — more like a legacy passed down through generations.

Having honed my own sound over the years, I’m now excited to apply that experience to help friends, artists, and clients achieve top-notch audio quality through mixing, mastering, co-production, and consultation.

My dedication to mixing and mastering stems from an innate desire to perfect music to meet high standards. My passion for sound and keen listening skills ensure that every project resonates with listeners. Many today have access to mixing and mastering tools, but several years of technical experience, critical listening, acute musical judgment and the ability to fully understand and realize artist's visions allow me to deliver a proper product that meets release ready standards on a creative and technical level.

Why Me?

In a world filled with talented audio engineers, choosing the right one for your project can be daunting. Many services limit the potential for 100% satisfaction by charging additional fees for revisions and stems, compromising on quality, or using automated systems that lack the nuanced touch of a human ear. Here’s what sets me apart:

• Unlimited Revisions: I believe in working together until you're completely satisfied with your sound. That means you won't have to worry about extra fees for additional revisions.
• Unlimited Stems: The more detail, the better! I work with as many stems as needed to help you achieve your desired sound.
• Consistent Quality: No assistants are involved in the process. I personally handle every quality check to ensure consistent, high-quality results.
• Human Made: I don't use preset mastering chains or AI. Each track is given the specific care it deserves to bring out its unique qualities.
• Budget Flexible: I understand the challenges faced by independent and emerging artists. I'm open to working within your budget and can offer options like bulk discounts for albums and grouped stem mixing to suit your needs.
• Artist Oriented: Your music is a reflection of your vision, and I'm here to make sure it sounds exactly how you want it to. Feel free to communicate any changes or concerns, as collaboration is key to achieving the best results.

The Studio

Sparing any conversation about analog or digital tools, monitoring is my second-most vital piece of the studio when mixing a track (aside from acoustics, of course).

• ATC SCM25a Pro Mk2: These are my primary monitors for mixing and mastering. I rely on them for their exceptional imaging detail, accurate midrange, sensitivity in the highs, and fast transient response. They are incredibly reliable for making precise adjustments, even at a fraction of a decibel, and fine-tuning dynamic punchiness.
• Audeze LCD-X: These headphones have been a consistent and invaluable tool in my work. While my nearfield monitors excel at gain balancing and tone shaping, the LCD-X headphones are perfect for detecting distortion, clicks, pops, and hidden frequencies that might otherwise go unnoticed.
• JBL LSR 310s: This is what I use for a subwoofer. It's not as glamorous as the former, but provides more than enough with accurately extended low-end, especially when working on electronic dance music, hip hop and cinematic mixes.