Charlie began his career at the famed Avatar Studios (formerly Power Station Studios) in New York City. During his time at Avatar, Charlie worked alongside legendary Producer/Engineers Phil Ramone, Chris Lord-Alge, George Massenburg, David Kahne, Niko Bolas, Kevin Killen, Stewart Lerman, Manfred Eicher (ECM Records), Frank Filipetti, Humberto Gatica, Tommy LiPuma and many more.

While at Avatar Charlie worked on projects with Paul McCartney, Tony Bennett, Passion Pit, Elvis Costello, Mary J. Blige, Sugarland, Yoko Ono, Lou Reed, Ray LaMontagne, Josh Groban, Wynton Marsalis, Lenny Kravitz, Diana Krall, Franz Ferdinand, The Jonas Brothers, The Roots, Rufus Wainwright, Jennifer Hudson, Joshua Redman, Brad Mehldau, Liza Minnelli, Marc Anthony, Placido Domingo, Roger Daltrey, Train, Dionne Warwick and many more.

Charlie moved from New York to Austin, Texas in 2012 to work as Chief Engineer at Blue Rock Studios. Conveniently located up the road from Rupert Neve Designs, Charlie had the opportunity to befriend and engineer a number of recording sessions for the legendary audio designer Rupert Neve. He also engineered the 2x Grammy Nominated Album “A Reasonable Amount of Trouble” by Jesse Winchester (Produced by Mac McAnally).

After a few years at Blue Rock, Charlie became a freelance recording and mixing engineer. Notable projects include the 3x Grammy Nominated Album “The Stories We Tell Ourselves” by Nothing More, “The Help Machine” by Fastball, and “Music Played By Humans” by Gary Barlow

Starting in 2021, Charlie oversaw the design and build of Spectra Studios. He took the best of what he learned from studios around the world and brought them together for Spectra Studios. He operates as the Chief Engineer.

GRAMMY Nominated Projects

Best Rock Album (Engineer): Nothing More - The Stories We Tell Ourselves

Best Rock Performance (Engineer): Nothing More - "Go To War"

Best Rock Song (Engineer): Nothing More - "Go To War"

Best Folk Album (Engineer): Jesse Winchester – A Reasonable Amount of Trouble

GRAMMY Award Winning Projects

Best Instrumental Arrangement Accompanying Vocalist(s) (Engineer) Bobby McFerrin – SpiritYouAll

Best Traditional Pop Vocal Album (Assistant Engineer): Paul McCartney – Kisses On The Bottom

Best Comedy Album (Assistant Engineer): Jimmy Fallon – Blow Your Pants Off

Best Instrumental Arrangement (Assistant Engineer) Gil Evans Project – Centennial

Best Compilation Soundtrack For Visual Media (Assistant Engineer): Boardwalk Empire – Boardwalk Empire: Vol 1

Steve Chadie, a 25+ year veteran of the recording industry, began his career as an intern at Willie Nelson's Pedernales recording studio in 1995, quickly working his way up to Assistant Engineer for Larry Greenhill.

Upon Greenhill’s departure he took on the position of Head Engineer, capitalizing on the learning opportunities presented while working alongside many incoming clients’ producers - including John Porter, Paul Leary and a recurring 14-year stint with legendary producer Andy Johns.

He stayed on at Pedernales until the doors closed commercially in 2012. He still records Willie Nelson at the facility, however, including vocals and guitar on “Last Man Standing”, “My Way” (for which he received a GRAMMY® for Best Traditional Pop Vocal Album), “God’s Problem Child”, “Willie Nelson and The Boys”, and “Summertime - Willie Nelson sings Gershwin”. Steve also co-produced “The Willie Nelson Family”, a collection of songs done with his band in March 2019 and with his immediate family at the beginning of the pandemic in April 2020.

Most recently, Steve won a GRAMMY for his engineering work on Willie Nelson’s “A Beautiful Time” (2023 Country Music Album of the Year).

Other credits with Willie include tracking engineer on "Heroes”, "Let's Face The Music And Dance”, “Django And Jimmie” (Willie's collaboration with Merle Haggard in 2015) and mixing on "December Day", a collection of work he recorded with Willie and his sister Bobbie in between touring on impromptu sessions that date as far back as 2004.

Steve has been awarded a double platinum record for Los Lonely Boys "Heaven" and was nominated for a GRAMMY for the song "Heaven", as well. He has recorded and/or mixed five Los Lonely Boys records since their debut release.

Other accolades include a triple platinum record for work done on Sublime's "Sublime" and a platinum record for work on Hilary Duff's self titled recording "Hilary Duff". In addition, he has been awarded a gold record for work done on Kenny Wayne Shepherd's "Live On" CD.

Whether recording major label artists or local bands, Steve approaches the task with the same enthusiasm and attention to detail and artist comfort as he was taught to do from the start.

He has a deep respect for the art and is always willing to lend a helping hand, gear or advice to upcoming young engineers that he collaborates with. He is of the opinion that this is an apprentice-based guild and knowledge should be passed down to these engineers to keep the craft alive.

Will Harrison got his start as an assistant engineer with mentor Malcolm Harper’s mobile recording truck Reel Sound Recording in 1999. During his time there he recorded the live broadcast of the first 11 Austin City Limits Music Festivals, the American Country Music Awards, Bonaroo, Cochella, and Lollapalooza. He also worked on projects with Robert Plant’s, The Band of Joy, Coldplay, MUSE, The Los Lonely Boys, Books & Dunn, Martina McBride, 3 Doors Down, and many more.

In 2007 Will received degrees in Sound Recording and Physics from Texas State University. Shortly after graduating Will moved to Los Angeles and worked across legendary studios like Sound City and Ocean Way. He contributed to the development of emerging artists under the guidance of legendary record producer, Mike Clink. Will also worked for Le Mobile with Guy Charbonneau during his time in Los Angeles; assisting on the live re-recording of Van Morrison’s Astral Weeks recorded at the Hollywood bowl, John Mayer’s Where the Light Is recorded at Nokia Center, and MTV’s Pepsi Smash with Pete Wentz featuring Paramore, The Offspring, Flo Rida and Katy Perry.

In 2008 Will moved back to Austin to work at and eventually become head engineer at Bismeaux Studios and the Texas Music Scene Television Show on PBS, before moving into the touring scene as a Front of House Engineer for Kyle Park, Whiskey Myers, Flyleaf, Sam Riggs, and Granger Smith.

In 2022 Will decided to transition back to studio recording and started his journey with Spectra Studios. Most recently he has worked on projects with Austin Meade, Angel White, Ruthie Foster, and Tim Howls (of The Plain White T’s).

His commitment and excellence in audio engineering have been recognized with multiple GRAMMY nominations and wins, including a nomination for Ron White's “Can’t Fix Stupid” and wins for Kurt Franklin's “Imagine Me” and “Hero,” accolades that underscore the depth of his impact in the music industry.

With an arsenal of skills across front of house sound, broadcast mixing, studio engineering and producing, Will blends artistry with technical expertise to create soundscapes that resonate, entertain, and inspire.