Edward (Eddie) Vinatea, today an audio mastering engineer, began his engineering studies in 1985 at White Cloud Studio in Long Island, New York. His teacher, Howard Stein, was a former Madison Square Garden engineer in charge of the live audio mixing.

After learning the ABC’s of audio engineering with Mr. Stein, Eddie embraced digital technology almost from its inset, making him one of the first true digital audio engineers of New York City (SoundTools System by DigiDesign), providing digital editing services for the local indie artists.

For many years he wrote and produced records for hire, as well as for artists of his own production company. His music composing and producing styles vary from rock ballads to hard rock, techno and house music.

In 1992 he trained as a mastering engineer at Dick Charles Mastering Studio NYC in Manhattan, New York with Richard Waldspurger a/k/a Dick Charles.
He then became more focused on dance music production after he was asked to DJ at the infamous Tunnel club in New York City owned by Peter Gatien. Although his DJ career started by accident, it was very brief (between 1995-1998).

He also played at other Gatien’s clubs like the Palladium’s ‘Engine Room’, but mainly, he played at at the Tunnel’s Zander’s Cafe (a Victorian library room) and Kosmic Kavern (the room with pink fur all over the walls designed by Kenny Schwarf).

He slammed house and techno music at LIFE on Bleeker Street with celebrated DJ Etienne DeYans, played Nell’s Lounge at 14th Street (right on the dinning area) and also cameos at NV Bar in Tribeca and others.

This is the reason why Eddie’s musical work has remained mainly pop-rock and dance music.

Since 1994, he masters digital music for musicians and bands of all genres. Deriving from his experience as a digital engineer-producer, Edward Vinatea has taken the art of audio cd mastering beyond of what’s expected of this technology.

Creating a music mastering concept of his own, a term he calls Maximum Delivery Potential (MDP in short), Edward Vinatea can be considered one of the most experienced mastering engineers available to the independent artist – producer of today.

About ‘OPUS’ (1991 – 1992)
In his own words: "the group and the songs were turned down because the music was considered too “alternative” for that time and OPUS was fronted by 4 sexy & pretty young girls.

Three years later in England, a group of 5 sexy & pretty young girls, ‘The Spice Girls’, also with an alternative-pop sound, was signed by the same company (Virgin UK) that declined OPUS.

FYI, the poster for the “Earthsong” was conceived after September 11, 2001 and it doesn’t relate to that event, but does honor the presence of our beloved WTC. All the elements on that poster are places and things that I care about: New York, Lower Manhattan, the World and my music".