41 years as a musician and 25 years in the professional audio engineering industry puts Tucker in a unique position to understand a client's needs, enabling him to determine and execute the best service or solution to meet those needs.
Tucker's audio engineering experience began 34 years ago while attending Jefferson High School in Cedar Rapids, IA, at the same time that he became serious about music. However, while studying music performance, theory, composition, and technology, first at the University of Northern Iowa and then at Kirkwood Community College, he realized that his career path would be that of audio engineering.
He set off on that path in earnest when he enrolled at Full Sail University in 1997. Upon graduating in 1998, he relocated to New York City, where he began his professional career by working at SONY Music Studios, in various roles in the Recording and Mixing department as well as in the Mastering, Jazz, and Classical department, on numerous sessions and events for high-profile clients and projects.
A sampling of those clients and projects include Nas, Jennifer Lopez, Marc Anthony, Mos Def, Incubus, Michael Jackson, Billy Joel, Gloria Estefan, Joe Pesci, DMX, Simon & Garfunkel, Mahavishnu Orchestra, Sessions at W.54th St, A&E Live By Request, and Who Wants To Be A Millionaire?, and many more.
Additionally, he worked with contemporary classical composer Philip Glass on the recording and mixing of two albums, "Aguas da Amazonia" and “CIVIL warS”, as well as the production of major TV advertising spots for brands such as BMW Motorcycles, Lifesavers Candy & Bain de Soleil while working as an audio engineering consultant for a colleague's company, Dumptruck Music.
In 2002 Tucker returned to Iowa. For 21 years, through his business Tucker Burnes Audio Engineering, he has used his unique and extensive knowledge and experience to serve the needs of a wide variety of clients to support or create nearly every kind of project or event, across numerous musical styles and technical requirements, utilizing an ever-growing list of techniques, approaches, equipment, and systems, in every kind of venue, and delivered through nearly every kind of medium.
Basements to multi-million dollar studios. Garages to arenas. Closets to concert halls. Sidewalks to sound stages. Soloists to orchestras. Hour-long demos or system tweaks to years-long album recording or system-building projects, and everything in between, those 34 years have encompassed tens of thousands of hours of work in the form of thousands of consultations, studio sessions, live sound gigs, system designs and installations, troubleshooting processes, instructional classes, and training exercises, across analog, digital, internet, TV, and radio systems and platforms.
The result: The creation, across the State, nationally, and even internationally, of hundreds of songs, albums, concerts, events, broadcasts, systems, and facilities that have enabled creativity and communication through music and sound.