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About the Website
The Prof Jeff website is honest, real, unique, and creative. It is self-designed using an online website building tool. The look and feel of the site, although consistent in style and large in image and text, is without prefabricated templates, or AI generated graphics. It was entirely built and designed for desktop computer viewing. As you will see, the text, and all the content including audio, photos, and videos, were created, captured and produced by Prof Jeff. This gives visitors to the website a personalized web experience. There is no need for drop-down menus or roll-overs as every page of content is a creative Journey, and just a click away. The ProfJeff website is simple, fast, fun, informative, entertaining, and easy to navigate. Stereo headphones are recommended for music listening. The ProfJeff website contains a fair amount of text-based information. If you have a visual impairment, a learning disability, or suffer from ADHD, a text-to-speech audio reader is highly recommended. Feel free to explore the pages and learn all about Prof Jeff and his art.

Note, much of the text throughout the website has been written with a speech to text and text to speech reader. As these assistive technology applications are fallible, text errors will be experienced. If a text error is noticed, please email ProfJeff with the page and paragraph.
Music Production Process
As an electronic music musician for more than 50-years, I work to composed music that lives outside of the electronic music mainstream. When needed, I begin by creating the sound of the instruments using complex forms of analog and/or digital synthesis. Many of my presets and samples are of my own design. My presets are in some cases melodic, and in others, clearly synthesized. My samples are usually granulated and warped with playback speeds changing over time. The result of the instruments I create maybe recognizable, or perhaps intangible, but certainly impossible to recreate with acoustic instruments, or performed in real-time. Recently, I have been experimenting and working with sample instrument libraries such as Native Instrument’s Kontakt. Even then, I develop my own instrument presets using the samples NI provides. Whatever the case, the original presets and samples I create are very authentic, which is what I strive for within my work.
About Prof Jeff

Professor Emeritus Jeff Crawford is a professor of music technology and the recording arts. He taught at the University of the Pacific’s Conservatory of Music in Stockton California for 24-years and is now a retired.  He was with the University since 1987 when he began working as Production Director for KUOP Public Radio. Prof Jeff managed the Conservatory’s three Owen Hall Recording Studios, and provided engineering services to Pac Avenue Records, the Conservatory’s record label. Prof Jeff is an electronic music composer, sound designer, recording arts instructor, audio engineer, music producer, published poet, songwriter, video animator, and founder of the Church of Universal Spirituality. He is the co-author of numerous articles for the online magazine, Echoes, published by Disc Makers, and has composed multiple full-length unpublished electronic music albums.  With his  vintage collection of analog synthesizers, huge library of plug-in instruments and original presets, along with his unique compositional style and cultural observations, Prof Jeff’s music production and artistic skills are clearly one-of-a-kind.

 

If you would like to contact Prof Jeff and discuss a project you are interested in producing, or just talk about the art of electronic music production, or make a comment on the website, you can email him at: jcrawford@pacific.edu

About the Artist
Born in Queens New York, growing up in College Point, I suffered a partial loss of eyesight (read the story) at the age of seven. Since then, I have been working with sound and creating music. Starting with 7-inch real-to-real recorders in the late 60s, early works include selections in the “Uncle May” and “Irish-Tape” projects. In 1974, I composed three electronic music compositions using an ARP2600 and a Mini Moog synthesizer. The three works, Star-Bird 1000, Spider Piano, and Mini Moog Madness, was recorded on 4-track reel-to-reel, and mix to 2-track analog tape. The three tracks were used as backing tracks for my live electronic keyboard performances. That same year I became the keyboardist and composer for the J-Fingers Band playing the electronic organ. After quitting the band in 1977, struggling through a year of Syracuse University, in 1978, I moved to Stockton California with my mom and opened Fingers Audio Productions, an eight-track, half-inch analog tape recording and electronic music studio. In 1987, I was hired by the University of the Pacific as the Production Director for KUOP Public Radio and in 2001, I moved over to the University’s Conservatory of Music teaching music and computers for the composition department. In 2002, I began working for the Music Management department as an instructor teaching the recording arts, and in 2008 became the Studio Manager for the Owen Hall recording studio until my retirement in the spring of 2025. From stereo sound-on-sound to multi-track reel-to-reel and DAW recording, my time in the recording studio is extensive.  Although the magnetic tape is gone, the recording and microphone techniques I’ve learned throughout my career, continues to be a crucial component to my music and audio production style.
About the Instructor
As an instructor working for the University of the Pacific Conservatory of Music, I taught a variety of music industry-related courses, exploring a wide range of music production topics. The courses included both intro and advanced level student instruction. From Intro to Music Industry Tech where I taught basic story writing, video production, simple music sequencing, and online web design; to recording studio production, where I taught students how to operate a multitrack recording studio and the techniques needed to produce a variety of audio projects, (See In Studio.) From Digital Audio Basics teaching the foundational structure of the MIDI language, along with the basics of digital audio recording using the PCM specifications; to Digital Music Synthesis, where I taught students to explored complex compositional techniques using Apple’s Logic Pro. Sound Recording Fundamentals, one of my most popular courses where I taught students how to identify song form, instrumentation, and a song’s note-worthy value. Then, through a Journal writing homework assignment, students would choose a song and argue whether or not the song was a noteworthy recording. The course also taught students the properties of sound and acoustics, the workings of the human ear, microphone design and application, how to record using Pro Tools, and the basics of tracking and mixing. Sound Recording Fundamentals eventually became a required course for music industry, music composition, and jazz studies students, and was offered every semester with hands-on recording studio labs on Monday and Tuesday evenings. After taking sound recording fundamentals, qualified students could take the advanced course, Recording Studio Production, where students would learn to independently operate the Owen Studio. Many of the students that have worked with me have gone on to audio production, and music industry business careers. They are now industry professionals working up and down the West Coast.
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