Twice Emmy-nominated (okay, okay, Daytime Emmys*, in 1990 and 1991 but, still, let’s see your Emmy nomination, huh?) sound engineer, producer, and voice artist Nick Selby has what must be charitably called the weirdest career ever.
In the 1980s and ’90s, Nick mixed live sound at Lincoln Center and at CBGB; worked in the studio as everything from a tracking engineer for Def Jam artists to a studio gofer. In 1987 he was assistant sound designer (to Slash Werner) for Penn & Teller at the Ritz theater on Broadway, where Nick proudly stopped Mofo the Psychic Gorilla from feeding back. A career high.
Nick co-owned from 1988 to 1991 Walker and Six, a NYC recording studio with a 2-inch Ampex MM1000 16 track-recorder, a 24-channel Sound Workshop Gold series console and a whole bunch of cool digital gear like, LOL, an AKAI S-1000 with 32MB of RAM, and a bitchin' MIDI-studio based around an Apple IIe computer; and for three years sat in a 7-foot-by-7-foot booth working with a woman named Barbara who told him when to bring in the music and make it louderlouderlouderlouder on a CBS soap opera.
In 1991 he worked as one of the first producers on Warsaw, Poland-based Radio Zet, where he also was a sometime-morning drive-time DJ. He served as a creative director and production manager for an international ad agency before it fired him unceremoniously. Recently Nick has been working on a range of tape syncs and field production for podcasts, museums, and radio stations in the US and Europe.
In 2017 he reported, produced, voiced, and edited the long-form report, Divert to Where? Mental Health Policing in America, and other features for Quality Policing Podcast.
* Live and Tape Sound Mixing and Sound Effects for a Drama Series on Guiding Light, where I was a music mixer and cable hauler. Music Mixer using a literal cart machine that looked like something out of Captain Video and his Video Rangers, but again, still. If you know, you know, but this is substantially less of a big deal than I think people might imagine.