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Baton Rouge, La
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Sockit Studio @sockitstudio and owner @devonkirkpatrick make up The Sockit Engineering Mentorship Program. A program created to teach and mentor those wishing to gain a solid audio engineering foundation and learn the art of recording, mixing, and mastering with Devon as their mentor. Our program’s roots are Devon’s experience at Full Sail University, Unique Recording, Sony Music Studios, and as the owner and head engineer of Sockit Studio for 25 years. This experience is supplemented with six textbooks, one of which was the primary textbook for The Recording Connection. Devon mentored through their program at Sockit Studio over the last 18 years. During his career, Devon has taught and mentored over one hundred studio staff engineers and students.

Full program details can be found on our Linktree in bio. Multiple payment options are available including 24 month financing through Klarna. Due to the extra mentoring time included with prepay, enrollment in this option is limited. Currently, all lessons must be taken in order.

For more information contact @devonkirkpatrick 225-772-2267
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Celebrating 25 years in business 🥂
11/20/2000 -
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#💥studio
#batonrougemusic
#louisianamusic

There are only two pictures taken of me, that I’m aware of, when I was working at Sony Music Studios, NYC.
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It was a different time. Unless you were brought in by the artist or label It was considered extremely unprofessional to take pictures during a session. I had a pager with a 1-800 number and gave Grammy winning, multi platinum artists copies of the mix that was just finished on cassette tape.

This picture is from 2016.

I F’n hate this type of rain. But, I’m still here. Doing what I love 🙏

The glass is half full… even if I don’t want to look at the water.

In the LP era, one disc you had to have was Swiss Movement, the concert tape of a 1969 gig at Montreux by Les McCann and Eddie Harris alongside Benny Bailey, Leroy Vinnegar, and Donald Dean. Merriam-Webster defines “zeitgeist” as “the general intellectual, moral, and cultural climate of an era.” This is a rare occasion when I can write the following cliché about music I really love: The opening track, “Compared to What,” absolutely captures some of that 1969-era zeitgeist.

I have some clients that are surprised I do sessions on the weekends and others that pass out the gate if I don’t book them for a 3am 🤷‍♂️

Who knows… maybe they work nights and need to schedule during their “work day.” Either way… to build a team who is helping you realize a musical vision (while making history) and have it be based solely off convenience and not experience, equipment, infrastructure, professionalism, etc, etc seems short sighted.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Bob Power.If you are unfamiliar with his work, these are a few of his credits:
A Tribe Called Quest’s The Low End Theory & Midnight Marauders
De La Soul’s De La Soul is Dead
Erykah Badu’s Baduizm
D’Angelo’s Brown Sugar
The Roots’ Things Fall Apart, etc.
.
I met Bob when I was a General Assistant at Sony. The GA’s worked out of the Mic locker in the basement near the production suites where Bob was. He would stop by for gear & grab us to help as needed. His mixer was a Yamaha O2R. Conversations with him about the O2R ended up being the main reason Sockit opened with it.
.
Once I moved up to Assistant Engineer, I got my chance to assist him in August of ’98. I got married on 08/08/98 and had a beautiful weeklong honeymoon before returning to NYC. One of the first sessions I was booked for after returning was a data transfer session for Bob’s new project. I did the transfers and a week later he booked time for the mix. An assistant named Rob, who normally assisted Bob, was scheduled but unavailable. I was asked short notice to assist, and since Bob knew me from the mic locker, he was cool with it.
.
I ended up working over 97 hours in the next 7 days.
.
I learned a lot from him. Mainly, his patience to work the low end of a record. He spent hours getting the kick, sub kick, and bass working together. The biggest thing I took away from assisting him was that he knew the sound he was after and would try anything to get there. That comes from experience, knowledge and vision.
.
Bob was a strong ally for those he saw putting in effort. He took time out of his days & sessions to teach and show interns and assistants why and how he did what he did. I got a lot out of our sessions, but they also started me on the course of figuring out a way to do what I Iove and have a better balance of life. I’m sure towards the end of that week Bob could sense my attention was straying and at the time I didn’t care. But now he’s the one I’d most like to say, Thanks for sharing and making the effort. I’m sorry I wasn’t as present as I should have been some of the time. I was just trying to find the balance.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

One of my mentors, Andy Wallace. If you are unfamiliar with his work these are a few of his credits:
Afrika Bambaataa’s Planet Rock
Nirvana’s Nevermind
Linkin Park’s Hybrid Theory
The Cult’s Electric
Beastie Boy’s License to Ill
Guns n Roses’ Chinese Democracy, etc, etc, etc
.
10 years ago Mix with the Masters @mixwiththemasters hosted a seminar with Andy and it was something that I couldn’t miss. He answered all of our questions and showed us some of his tricks to create space and depth that I still use to this day. It was a fantastic experience.

Baton Rouge, LA
This is @devonkirkpatrick Sockit Studio’s owner. His current availability is 12pm-11pm most days with some same day session availability.

He has been operating Sockit Studio in Baton Rouge for over 25 years and has more than 30 years of studio experience, including two years at Sony Music Studios in NYC. For more information about his history, see our Owner highlights and Sony Music Studios reel.

Devon specializes in recording, mixing, & mastering Rock, Pop, & all forms of Urban music. He is often cited for the supreme clarity and sound quality of his work. For recent examples see our HiFi highlights.

To schedule him or any other staff member, call the office during 2:30-6:00pm Mon & Fri or 1:00-5:00pm Tue & Thur 225-216-0167. Or call / text Devon 225-772-2267

Celebrating over 25 years in business 🥂
11/20/2000 -
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#💥studio
#batonrougemusic
#louisianamusic

Lauryn Hill…. The ONLY artist during my three years of working in NYC studios that left me a handwritten note thanking me for my help 🙏
.
@mslaurynhill
@commissionerg0rdon
@tonyprendatt
#grammys
.
#💥studio
#batonrougemusic
#louisianamusic

Lauryn Hill…. The ONLY artist during my three years of working in NYC studios that left me a handwritten note thanking me for my help 🙏
.
@mslaurynhill
@commissionerg0rdon
@tonyprendatt
#grammys
.
#💥studio
#batonrougemusic
#louisianamusic

Drum setup this afternoon & Margaritas with fajitas tonight. Rehearsal space bookings coming soon. New gear for teaching and recording available now 🔥

Drum setup this afternoon & Margaritas with fajitas tonight. Rehearsal space bookings coming soon. New gear for teaching and recording available now 🔥

Drum setup this afternoon & Margaritas with fajitas tonight. Rehearsal space bookings coming soon. New gear for teaching and recording available now 🔥

Halloween 1977. I was a HUGE KISS fan…. Used to put on air guitar “shows” for the family in my bedroom…. Standing room only🤘….Ended up being a musical gateway to influences not so real and larger than life…. Queen, Sex Pistols, Sugar Hill Gang, Kraftwerk, Prince, Adam Ant, Art of Noise, etc.

Halloween 1977. I was a HUGE KISS fan…. Used to put on air guitar “shows” for the family in my bedroom…. Standing room only🤘….Ended up being a musical gateway to influences not so real and larger than life…. Queen, Sex Pistols, Sugar Hill Gang, Kraftwerk, Prince, Adam Ant, Art of Noise, etc.

I am 1 of 15,000 voting GRAMMY members and have been for over 25 years. This is my GRAMMY Ceremony ticket purchase portal for 2026. The tix prices have steadily risen over the years and it tends to be an LA affair….my people are in NYC. I’m content to cast MY vote during a listening party with my daughters and then watch together on the couch 💕🏆🍿