“When soldiers aren’t outside the wire on patrol, they’re playing video games,” explains Machuga. “Our packages are an immeasurable morale booster for the soldiers; troops are accustomed to getting care packages from strangers full of baby wipes and socks.  Our care packages are designed to blow their socks off.”

Since the charity’s establishment, Operation Supply Drop has raised $60,000 in games and gear, each with an average value of $2000 to units deployed in Iraq or Afghanistan.

Operation Supply Drop’s “8-Bit Salute to Veterans” simultaneously hosted in 6 cities- will be one of the country’s largest support efforts undertaken by gamers in support of Veteran’s Day.

An interesting tie-in from his MOS: Rob deployed to Iraq in 2006 as a field radio operator, which required extreme focus and attention. “If I didn’t fully pay attention for even a second, it’s a possibility that someone could have died.” He was also able to learn the basics of sound and radio transmission – a staple for audio engineering.

Transitioning out of the military was not that easy, however and Rob struggled occasionally with common post-deployment issues. His advice for those in the military preparing for school and a career in the industry: “Have a plan.  Once you’re six months to a year toward the end of your service, start planning, start saving, stop partying!” A major differentiating factor from many others in Hollywood was staying focused on his professional life and his family life, “While everyone else clubbed, I studied…I kept my eye on the prize.”

Once he became proficient on ProTools software and gained experience on the SSL boards, Rob’s ear for music changed.  Crediting his instructors and military background for attention to detail, Rob confesses to being a perfectionist in mixing. His first hit single, “We Won’t Forget” (co-produced with Dirty Plastic Hits) is a story of ingenuity and resourcefulness.  Premiering to 10 million people on Season 7 of America’s Got Talent, Rob fearlessly pursued an “in” and undeniably commanded the attention most independent artists desire toward his music and showmanship.

After studying industry sales and realizing the profitability of fusing Electronic Dance Music (EDM) with hip hop, Rob abandoned his original idea of a career strictly based in rap and hip hop. Now, his music is bridging genres in order to reach a larger audience. “The music industry is in a catch-22 right now,” Rob explains,

“Record companies are afraid since album sales are low that the  industry is crumbling. But for an artist it’s a beautiful thing; there’s a new way to channel your creativity and get the word out via social media. You can spread your message and work to so many people and build your own fan base. Record companies want you to already be developed so this is the chance to do it. Plus it’s a way to express yourself and show who you are. People will like you for being you.”

When asked where he sees himself five years from now:

“Five years from now I’m going to be where Puff is – using my talent to make music but also ushering in new and extraordinary talent. It’s important to reach back and bring up others once you’ve established yourself.”

Rob’s advice for current students looking to get into the music industry:

“Have an undying belief in yourself. So many people will shoot you down, tell you no, use you. You have to grow thick skin and not let it get to you. Don’t look to anyone else to tell you who you are. I believe in God, pray often and have a good family so that all keeps me grounded. Do what you can to stay grounded.”

Watch the interview on our YouTube page.

A lot of mix engineers work at developing their own ‘unique’ sound and that’s cool, but I choose to act as a ‘chameleon’ of sorts by bringing the collective ideas of the producer, label, and artist to life for each individual project… hopefully the finished product results in a mix that best represents their vision.”

..And REPRESENT that vision he does. His technical savvy and creative ability have made Manny Marroquin one of the most “in demand” mixing engineers in the industry, working with such internationally renowned artists as Carlos Santana, Whitney Houston, LeAnn Rimes, 2PAC, Biggie, Alicia Keys, Craig David, Pink, etc.(see Discogrophy) and hit producers like Babyface, Soulshock & Karlin, Warryn Campbell, Kanye West, Brian Michael Cox and Tim & Bob, and many others.

Born in Guatemala, Manny moved to Los Angeles with his family when he was nine. His obvious gift for music became obvious at age 11 when he began playing drums. A few years later, at the prestigious Hamilton High School for the arts, his love of drums was replaced by his passion for the studio: “They had a MIDI studio and I became really interested in electronic music. By 11th grade I was pretty much in charge of the studio and knew that after graduation I wanted to be in a studio and ‘mix’.. I didn’t really know what a mixer did, but I knew that I wanted to mix.”

A teacher advised Manny to “get a job as a runner in a studio” (which consisted of making coffee and taking out the trash) if he was serious about following his dream, but, since several colleges had already offered him scholarships, his mother almost went into shock: “My mom was definitely not happy about my decision, initially,” he laughs.

Manny’s first “real live” studio gig after graduation was as a runner for Enterprise studios, where his first day “was the best and worst day of my life . . . the best because I was at a huge studio; the worst because I was asked to clean the bathrooms. At that point I made it my mission to get out of the ‘runner business’ as soon as possible.” Shortly after, he was promoted to staff assistant.

His professional breakthrough came unexpectedly during a late night session when the producer asked him to do a rough mix because the engineer had gone home: “Once I was done, he immediately called his partner and told him I would be mixing the entire album.” As happens sometimes in the “biz,” the album was never released, but Manny had already begun honing his skills and making a name for himself.

When asked if there was one specific project that got him started, Manny explains; “I can’t really say there was ever one particular project that ‘set me up.’ I met different producers, and one thing led to another. My career has definitely been a steady progression, and I feel blessed to do what I love and still have fun. I treat every mix as if it is my last and never take anything for granted.”

Manny’s humble approach and creative technique have positioned him among the elite in the industry. His ear for sound has helped snag top-40 spots for artists within a wide spectrum of genres, and in 2005 his talent and hard work were acknowledged Grammy style. Manny Marroquin received 3 nominations for his work on the Alicia Keys, Usher and Kanye West albums – all of whom were nominated for “Album Of the Year” – AND took home not one, but two statues for the Kanye West (“Best Rap Album”) and Alicia Keys (“Best R&B Album”) albums. In 2011, Manny took home the prestigious award for best engineered album for John Mayer’s “Battle Studies”, making him a 5 time Grammy Award winning mix engineer and by the looks of things, he’s not done yet!

Ryan began his musical career by taking up drums and piano in the third grade, and set up his first primitive bedroom recording studio at age 10.  His interest in recording prompted his father, remote recording engineer David Hewitt, to take him on the road at age 12.  Over the course of 15 years on the Remote Recording Services trucks, Ryan learned to get sessions going quickly, pay attention to details and capture the moment on tape at all costs.

After receiving a degree in Electrical Engineering from Tufts University, Ryan moved to New York City to take a job at Sony Music Studios.  Once there, he quickly moved up the ranks to assist and learn from some of the best engineers and producers in the business such as Michael Brauer, Phil Ramone, Bob Power and Elliot Scheiner.  Moving to Los Angeles in the autumn of 2000, Ryan landed at Cello Studios, again moving to the head of the class and working with top engineers such as Jim Scott, Richard Dodd and Ed Thacker.

Today, Ryan is emulating his mentors, recording, mixing and producing projects by diverse artists such as the Avett Brothers, Brandi Carlile, Jamie Cullum, Taylor Hawkins and the Coattail Riders, the Leftover Cuties, the Red Hot Chili Peppers, blink-182, Flogging Molly, The Alkaline Trio, Three Days Grace, We Are Scientists, Tom Petty, Lenny Castro, and John Frusciante.  Producers such as Rick Rubin, Matt Serletic, Gregg Wells, Jeff Trott and Max Martin have called on Ryan for his work ethic and sense of humor as much as for his recording and mixing skills.