My guest today is Jonathan Roye. He is a producer, mixer, musician, and audio blogger from Nashville TN. In his own words he has grown up obsessed with music, playing drums in garage bands, trombone in jazz bands, and guitar in country bands.

He has produced and mixed indie bands that you’ve never heard of as well as working on number one songs that you definitely have heard of. He has a drive to learn more and more every day to fuel his passion for learning music and recording. And he shares that knowledge with you through his audio blog at JonathanRoye.com and Youtube channel called Mix Notes.

Jonathan’s credits include: Kelsea Ballerini, Owl City, Ester Dean, Fearless Records, Forever The Sickest Kids, The Rocket Summer, Sarah Ross, Caroline Kole, Universal Music Grp, Black River Entertainment, Warner Music, Sony Music Grp, BMG Chrysalis, MTV, Fox Music Supervision.

He is also the creator of Woodshedaudio.com a boutique sample and loop library in Nashville TN. If you are producing music using drums samples you can find a growing library of cool sounds to fill in the sweet spots of your production. With sample packs like Shaker & Tambourine they keep it focused and easy to use. 

Q - What was holding you back at the start?
A - Easily just not meeting people. Especially back then because the internet wasn’t what it was, Youtube was just a baby. It wasn’t quite as powerful as it is now. I wasn’t going out to clubs enough, I would just sit at home and tinker in Pro Tools/do my own productions. I should have been going to a show every night.

Q - Share a favorite hardware tool for the studio
A- Speakers. Those are the best investment. Its boring, but true. I dont think people put enough value or focus into speakers and placement of speakers. Especially room treatment. You can do so much with room treatment that will cost you no money.

My guest today is Bob Olhsson a master audio engineer and producer with 50 years of experience. Bob has a truly remarkable career path that has led him from Detroit to San Francisco to Space and finally back to Nashville.

He was one of only two people to ever hold every engineering position at Motown Records in Detroit during which he recorded and mastered 100 top ten singles 42 of which were #1 hits. He even recorded Marvin Gaye’s What’s Going On, Stevie Wonder, and Motown’s first successful rock act, Rare Earth.

Then in San Francisco he mixed dozens of live jazz, folk, and classical broadcasts from Van Morrison to Weather Report at KPFA radio. And built a 24 track recording studio that he managed for over a decade which led to co-producing The Band’s final album for Capitol Records.

Bob also Built the first Pro Tools motion picture post audio system in Northern California and while working as an editor at AW Audio did all of his mixing at Skywalker Ranch (ever heard of the movie Star Wars?).

His freelancing credits in San Francisco included the Grateful Dead, Jerry Garcia Band, Graham Nash, Paul Butterfield Blues Band, Percy Mayfield, Ron Thompson, Harmonia Mundi Records and many others.He also worked with Hearts of Space Records. He mastered their catalog of ambient, electronic and world music. A number of these titles were acclaimed as audiophile reference recordings.

I totally remember loving to hear those recordings on public radio during late night drives!Finally Bob’s career led him to Nashville where he continues to engineer and master records working with clients like Keb’ Mo’, Funk Brothers, Ray Manzarek, Ray Wylie Hubbard, Ian McLagan, The Blind Boys of Alabama, Beth Neilson Chapman, Freedy Johnston, BR 549, Old Crow Medicine Show, Suzy Bogguss, Bettye Lavette, many others.

Whew!

The Motown Control Room

Q - What was holding you back at the start?
A - Confidence. like everybody.

Q - Share a favorite hardware tool for the studio
A The first piece of outboard gear I bought was the UREI-LA3A. It has a switch between compression and limiting. 

​

Today I have a special show for you with two very cool guests, Stephen Turney and Michael Hardesty. These guys produce, engineer, and mix, both records and music videos. Together they created 24HR Records a Youtube web series that hand picks a team of musicians, locks them in a studio, and tasks them with writing and recording three original songs in 24 hours.

Each episode is brought to you from a different recording studio, and even The Toy Box Studio has been home to one of these creative all nighters. Check the episode out!

The entire bleary eyed, coffee addled, musical journey is captured on film, record, and photos. The entire footage is then distilled down to its very essence to create one 12 minute episode and three music videos.

24HR records is also part of the larger Made In Network, an eclectic Youtube network pairing up cool music themed shows like 24HR Records, Find The Beauty, and Music Video Sins.

Stephen Turney is a producer and engineer based out of Nashville, TN. Originally hailing from the great state of Texas, Stephen moved to Tennessee to attend the Belmont University recording program, and has been making records ever since. Musically he’s a pianist by trade, an engineer by necessity, and a producer by proxy. Stephen has also worked with me at The Hay Bale Studio at Bonnaroo, and various records at The Toy Box Studio.

Michael Hardesty is from Ohio originally having also moved to Nashville for the Belmont University recording program. He is Production Director at Made In Network, and continues to produce and engineer in the studio, as well being the head engineer for the Bonnaroo Hay Bale Studio.

Michael Hardesty

Stephen Turney

Jam Session:

Q - What was holding you back at the start?

Stephen: Oh definitely myself, hands down. I probably would not be doing recording and production if Michael isn’t as ambitious as he is and would wake me up when we were in college to go down to the studio to learn more. I’m someone who constantly doubts myself and my work, so that’s something that’s perpetually helped me.

Michael: I think what was holding me back was social skills.The fun parts about music and creativity is that it's generally better when more than one are involved. I had to spend a lot of time figuring out myself and how to communicate to other people so that I could talk to bands and get them in the studio and get them excited. That was a huge barrier for me, and I’m still working on it.

Q- What was some of the best advice you got early on?

Stephen: Something that I did not do that I wish I’d done.. As soon as I was out of school and was trying to make a living for myself, was to go get some other gig that had reliable money coming in. No matter what it is, waiting tables or whatever something that's flexible, but still make sure your rent is coming in. I just rolled the dice on that for like two years living paycheck to paycheck and it was really stressful for me. It’s hard to go present yourself and set rates when you’re like begging for money.

Michael: Early on, a lot of people kept reminding me not to undervalue myself because a lot of the toughest situations that I’ve gotten into in the studio really do come down to those rate negotiations. A lot of gigs I took that ended poorly, would have been better if I would have said, you are trying to undervalue me, it’s literally not worth my time to do this.

Q- Share with us a recording tip, hack, or secret sauce.

Stephen: I know a lot of people probably do this, but I love doing it.. a lot of parallel compression on drums when mixing I’ll usually set up three different aux’s. Paralyzed compression is, say you have a snare drum on one track and you create another track with like an 1176 cranking on the same snare track (hard compressing it) and you blend those two signals together. It’s a good way to get away with a lot of compression without it really sounding like you’re really using a lot of compression.

Michael: One hack I enjoy is realistically to use the room and use the bleed. So much of modern recording is ridiculously isolated. It definitely gives you “a” sound, but why not have a bass amp by the drummer? Like that kind of blend can really work to your advantage.

Q - Share a favorite hardware tool for the studio

Stephen: My go-to thing is a distressor it can do so many different kinds of compression. I don’t know how electronics work, but man you can pull off so much stuff with that box.

Michael: I’m an AEA- R84 fan. That is thee overdub mic. It’s not the most expensive ribbon mic in the world, but for some reason it makes sense to me and it stacks really well. We’ve done entire overdub sessions on that mic from guitar to vocal to aux/percussion and at the end of the day you have 20 tracks that all sound amazing together.

Q - Share a favorite software tool for the studio

Michael: Anything SoundToys. I’ve had the chance to work with UAD, they’re amazing, but not quite affordable. SoundToys is unbelievable. They bridge the gap from technical to creative.

Q - Share with us a tip for the business side of the recording studio

Stephen: Actually for me, a lot of the business stuff I stole from you, Lij. I’m a big fan of that Freshbooks accounting stuff. I hate doing accounting and i always loose track of stuff. That thing is nice, not that expensive and works well for me.

Michael: I use a service called ToDoist, all it is is a to-do list, but it’s free and it helps me when I wake up at 4am thinking about things I need to do tomorrow. It’s really simple.

Q - If you had to start over what gear would you need? How would you find people to record? And how would you make ends meet while you got started?

Stephen: As far as finding people to work with, I would start going out a lot of the local clubs and forcing myself to go up and talk to people. I would also start or join a band. As far as gear, I would get a laptop and depending on money I would get an API 4 channel (mic pres), buy whatever interface I could afford, handful mic and mic stands, and try to be mobile and not relying to stay in one place.

Michael: Gotta echo Stephen, go to all of the places where creative people are, shows, art exhibits, coffee shop, get out and talk to people. In terms of gear get one of the boxes with the pre and converter are in one. I might have to sell something to get my R84.

Q - What is the single most important thing a listener can do to become a rockstar of the recording studio?

Stephen: I think just work really hard. I the people that are really good at recording and producing are the people who stay up all night or all day just playing around with their tools and learning them inside and out so when you’re on a session, you know the answer to whatever problem has come up.

Michael: Keep your musical ties running. I don’t play as much as I want to. Don’t act like it’s just the musicians job to make the music. Be a good musician yourself so when you come into the studio you have the most knowledge about music that you possibly can.

24hrrecords.com

​@24HRRecords

My guest today is Blessing Offor an eclectic musician, songwriter, and producer. Born in Nigeria and raised in Connecticut with cultural and musical influences that span continents, cultures, and decades, Blessing has a life story and a message that he has felt compelled to share through music from a young age.

As an artist and songwriter Blessing has mastered guitar and piano as the tools of composition. But his voice has taken him to studios and stages all over. He has been on the TV show The Voice, and appeared at The Kennedy Center on multiple occasions, and is also an international songwriting competition winner.

I have had the pleasure of working with Blessing in the studio many times, and it is a blast. Blessing has a sharp ear as a singer and producer, and uses the tools of the studio in very unique ways as you will learn on the podcast.

Jam Session

Q. When you started out in recording what was Holding You Back?

A. I think what was holding me back, was making weird faces when I sang. My first voice teacher said, blessing you have open your mouth. No one looks attractive singing. So you have to stop worrying about looking cute. Opening my mouth was really weird for me.

Q. Some of the best advice?

A. If you don’t feel it no one else will. Real simple. If you’re not into it, who else is going to be into it.

Q. Share with us a recording tip, hack, or secret sauce.

A. The one ear trick. If you’re having a hard time hitting a harmony, or a double, just lift one ear off. You actually have to hear yourself sometimes, as well what you’re matching because you have to tune yourself.

Q. Share with us a favorite hardware tool.

A. My favorite microphone. Neumann U87 or 47. When I hear it in my ears, I’m just like, who is that singing? Oh thats me!

Q. Share with us a favorite software tool in the studio.

A. Apple's got a pretty much covered. If it wasn’t for that voiceover app, we wouldn’t even be here right now. But Logic is also pretty cool.

Q. Share with us a favorite tip for the business side of the studio.

A. I have a lot of friends who are much further in the business than I am, and I just pick their brains about everything. I pick their brains about mechanical royalties, what the music industry is doing right now, how to monetize yourself, and how streams of income are happening with streaming.

Q - If you had to start over what gear would you need? How would you find people to record? And how would you make ends meet while you got started?

A. I used to only piano and I thought man, portability is a very nice thing about the guitar. So i started learning guitar. I’m not the best guitar player by any stretch, but I can definitely write and perform on it. I think that my best calling card is my songs and hopefully me singing them. So if i just dropped into a new city, and knew no one I would find the most crowded part of the city and just start playing and I think the rest would just work out on its own. You know, you’d be surprised how many different people that you meet.

Q. What is the single most important thing that our listeners can do to become a rockstar of the recording studio’s themselves.

A. Become a gearhead… That’s a lie, actually quite the opposite. You should have a sound. Have an idea of what you’re trying to do. Conceptually before you go out and do a bunch of things, just know what you’re looking for. For me it’s been really important to know what the end goal is before you just head of on this Don Quixote quest.

My guest today is Shane D Wilson a Grammy-nominated, chart-rocking, multi-genre

music recording engineer. Starting out in the audio technology program at Indiana University, Shane later relocated to Nashville TN in 1991 (same year that I did) and was soon assisting some of the top engineers in town.

Not long after that Shane was able to establish himself as a principal engineer through his work with Charlie Peacock Productions. His career has led him to work with bands like Switchfoot, David Crowder, Derek Webb, Amy Lee, Owsley, Michael W Smith, Mercy Me and Wes Cunningham among many.

Shane often works from his cozy St Izzy’s Of The East Studio using a creative hybrid of analog and digital technologies to create beautiful sounds. And we will talk about how he likes to record and mix music on the show.

Jam Session:

Q - What was holding you back at the start?

A - The tendency to believe that you know it all... really feeling like you have it all together. You need to be open to new ideas, especially starting out. Go learn about new technology to make it the best it can be even with limitations.

Q- What was some of the best advice you got early on?

A - Do your best not to piss anyone off. If you’re really battling a kick drum sound, look around 500 hz. You might find you don’t want it in there so much.

Q- Share with us a recording tip, hack, or secret sauce.

A - The first thing that comes to mind is, I remember when I first got started with audio when I was 13 at a little church where a guy let me help with live sound stuff. Later on someone else took over and rewired everything. The new guy’s defense was, “we are gonna break the console, because we aren’t using stuff for what it’s labeled for.” Even at 13 I thought that was stupid. But later on, one of the most fun ways I work on a session is using pieces of gear for things other than what they have been made for. Just because something is labeled that it does X, doesn’t mean it can’t be used for Y. It can open up a whole new world for sound.

Q - Share a favorite hardware tool for the studio

A- Roland Space Echo RE-201. Love it for tracking, love it for mixing. It is old school, but you can find it on reverb.com, craigslist, or ebay. There are several models of it.

Q - Share a favorite software tool for the studio

A - The Soundtoys suite of plugins. Everything that company does makes me smile. I have multiples of their stuff on every mix. They release their free plugin at South by Southwest every year. They started with the Radiator, and Lexicon Prime Time Delay (Primaltap) and a couple others. Keep your eye out on social media around that time for free downloads. I am also in love with the Fabfilter Pro-Q 2 EQ it's a great surgical EQ. You can actually real-time visualize the problem areas while you’re EQ-ing.

Q - Share with us a tip for the business side of the recording studio

A - This is a bit of advice. One of the guys for whom I was an intern for gave me some business advice specifically about taxes. Every check he has a separate savings account that he diverts money to, so if you’re paying quarterly or annually, there’s always something there. I always take about 25% of every check and put it in a savings account and pay my taxes out of that. Don’t forget about self-employment tax! Plan ahead. If you’re worried about stuff, it affects your art. Gear buying is a deductible, same with medical expenses.

Q - If you had to start over what gear would you need? How would you find people to record? And how would you make ends meet while you got started?

A - It really is a great time to be making music, you can be creative almost anywhere now. So if i was starting over, I would get an affordable laptop, the Apollo UA series of interfaces are the most stupidly, ridiculous, cool things that have come along especially with their plugins that model preamps, a Shure SM7, and some good cans. If i had those tools, i think it would be possibly to realize their art in most situations. I would hope to meet them in local clubs and coffee shops. Price yourself accordingly. Don't be afraid to make money doing something that’s not related to your art to make ends meet, but at the same time, don’t put yourself in such a safe place that you lose track of the ability to keep creating.

Q - What is the single most important thing a listener can do to become a rockstar of the recording studio?

A - Listen. Listen to people for whom you have respect for what they do. Listen to music. It’s easy to stop listening after you’ve been doing this for awhile.

Facebook: Shane D Wilson Recording Engineer/Mixer

http://www.robotlemon.com/

If you have any or questions about recording you would like me to answer on the show or suggestions for the show please email me:

lij@recordingstudiorockstars.com

If you dig the show and find it helpful I would be honored if you would subscribe, and leave a rating, & review in iTunes.

And if you want to get on the email list for free content full of videos, tips, studio tricks, and special offers just text RSROCKSTARS to 33-444 from your phone (super easy and I promise you won’t get spammed!)

Cheers!

Lij

RSR017 - Mark Rubel - Blackbird Academy

My guest is Mark Rubel, the Co-Director of Education and Instructor at The Blackbird Academy, which is an intensive recording school at famed Blackbird Studios in Nashville, TN. Since 1980, Mark has made about a zillion recordings at his Pogo Studio in Champaign IL (currently reopening in Nashville), including such artists as Alison Krauss, Jay Bennett, Ludacris, Hum, Adrian Belew, Melanie, Fall Out Boy, Duke Special, and many others.

Mark has taught audio, music business and other subjects at the college level since 1985, and presents audio panels and workshops for various schools and professional organizations around North America. He writes occasionally for recording magazines, including his Tape Op interviews with Les Paul and Terry Manning. Mark also works as an audio consultant and legal expert witness. His band Captain Rat and the Blind Rivets has been rocking East Central Illinois and beyond for 35 years and counting. Mark continues to cultivate students, cats, songs and friendships in The New Center of the Universe (Nashville), along with his saintly wife Nancy and their intrepid guinea pig, Huckleberry.

We conducted the interview in the truly unique Blackbird Studio C designed by George Massenburg. With walls made of infinitely random lengths of wooden sticks it makes for an ideal space for an interview. All sound is perfectly diffuse.  

Mark also told us about some really cool recordings that were recorded or mixed in Blackbird Studio C:

A video of Dawn (daughter of Anne Murray) recording live in C, a great example of what it was made to do:

Mixed in C, a record that I use to check monitor systems and rooms, produced by Alison Krauss, recorded with an A-team and mixed by Gary Paczosa:

“I want to support musicians and what they do because I think it makes the world a better place…” - Mark Rubel @blackbirdpro

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“Recording is as much of an art as poetry or painting and i think that great recordings will be something that will nourish people in the future” - Mark Rubel @blackbirdpro

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Jim Dickinson -(quoted by Mark Rubel)

The unretainable nature of the present creates in Man a desire to capture the moment. Our fears of extinction compel us to record to recreate the ritual ceremony. From the first hand-print cave painting to the most modern computer art, it is the human condition to seek immortality. Life is fleeting. Art is long. A record is a totem, a document of an unique, unrepeatable event worthy of preservation and able to sustain historic life. The essence of the event is its soul. Record production is a subtle, covert activity. The producer is an invisible man. His role remains a mystery. During the recording process there is an energy field present in the studio to manipulate and to maximize that presence to focus on the peculiar "harmony of the moment" is the job of the producer. Music has a spirit beyond the notes and rhythm. To foster that spirit and to cause it to flourish to capture it at its peak is the producer's task.

“Let the musicians be in control of the music. Capture it well.” Mark Rubel @blackbirdpro

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“Fix it before the mix!” Lij Shaw coining a new Rubel’s Law @blackbirdpro

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The Jam Session:

Q: What was holding you back when you started recording?

A :Uncertainty and over thinking things. I tried to be too practical thinking, “Oh I love recording and being in a studio, but I could never do that.” I’m glad I’ve overcome it.

“If you have your eye on the star that you are following you can derive all those other decisions from that point” - Mark Rubel @blackbirdpro

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Q: What was some of the best advice that you remember receiving?

A: The advice my father gave my sister. My sister is an artist and he was a theoretical mathematician. He said to her, "The important thing about painting, is painting." 

“The important thing about painting is painting…” Mark Rubel on recording music @blackbirdpro

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Q: Share a recording tip, hack, or secret sauce.

A: I can’t believe I’m about to give you a ProTools tip, but this is a fun and hidden trick… When you’re working on a particular place in a song, you can create a moving marker for what you're working on and it is marker number 999. You’re at the place where you’re about to record and you hit period on the numeric keypad, zero, and enter twice. Marker 999 will appear on the marker strip from then on whenever you want to go to the place you’re working now, you hit period, zero, period and it will always take you there.

“Headphones I say are the enemy of music…” Mark Rubel on recording musicians without headphones @blackbirdpro

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Q: Tell us about a favorite hardware tool for the studio.

A: There are so many, but let me mention a few affordable things, Akai made little microphones that go with reel to reel tape decks they start with ADM 9, 11, and 13. They average about $10, they make good drum mics. There's another one I recommend, a remarkable good mic Nady StarPower series, SP5 & SP9 cost me $9.95. They will outdo much more expensive microphones.

“There are some things you can’t do without. Good monitors and a good listening environment” - Mark Rubel @blackbirdpro

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“If you don’t commit to a sound early on then you’re building the rest of the song on shifting quicksan!” Mark Rubel @blackbirdpro

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Q: What is a favorite software tool?

A: I like the emulations of the transient designer, the SPL plug-ins. That’s a highly useful thing for getting drums to speak. A transient designer is an interesting device that has two knobs, attack and release and it actually changes the attack and release times of things.

“How do you make a great sounding recording? You make a great sound and you record it well!” Rubel’s Law @blackbirdpro

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Q: What business advice do you have?

A: A guy named Joe Montarello, he has a company called Studio Insurance Program. Something we don’t think about but is a great resource for a studio of any size. His program is excellent and allows for things like new room treatments or backup hard drives if an unfortunate event would occur. He backs up Blackbird and my own personal studio.

“Invest in capability” Mark Rubel on what recording equipment to buy @blackbirdpro

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Q: If you were dropped into a strange land and could only take a simple setup to record. What would you take? How would you find people to record? And how would you make ends meet to start out?

A: As far as equipment, whatever was at hand. I could be very happy with an Apollo and a laptop and a number of reasonably good mics. I would go to where the artists go to congregate, and making ends meet... That’s difficult to say maybe I would teach. If you can edit well, especially drums, and you know how to tune vocals, I think there’s work in that sort of thing.

“You can have all the best equipment in the world, but if you can’t hear what you’re doing then you’re just groping in the dark!” Mark Rubel @blackbirdpro

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Q: What is the single more important thing to do to become a Rockstar of the recording studio?

A: I would say to be alert and alive, to be engaged and curious, and to always be listening and always paying attention to every kind of art: music, literature, poetry, film. To be completely engaged and passionately devoted to what you do. Always have a quest to learn more.

“Making music is one of the best things that a person can do” - Mark Rubel @blackbirdpro

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Find out more about Mark Rubel and Blackbird below:

BlackbirdStudio.com

TheBlackbirdAcademy.com

mrubel@theblackbirdacademy.com

If you have any or questions about recording you would like me to answer on the show or suggestions for the show please email me:

lij@recordingstudiorockstars.com

If you dig the show and find it helpful I would be honored if you would subscribe, and leave a rating, & review in iTunes.

And if you want to get on the email list for free content full of videos, tips, studio tricks, and special offers just text RSROCKSTARS to 33-444 from your phone (super easy and I promise you won’t get spammed!)

Credits: Thanks so much to Merissa Marx and Hunter Hansen for assisting with editing audio and show notes. You guys totally rock!

Cheers!

Lij

My guest on the show today is Dave Hagen, Head Engineer at Dark Horse Recording in Franklin, TN. Dark Horse is one of the longest lived large studio complexes in the Nashville area featuring multiple studios, and complete artist accommodations amid a stunningly beautiful Tennessee countryside backdrop.

Dave works with an extremely diverse client base including OneRepublic, Relient K, Matthew West, For King and Country, Tenth Avenue North, Ashley Judd, Newsboys and many others.

And not only are his recording credits impressive but so is his beard which has been featured on CNN Money, and many band documentaries.

Dave also helped develop teaching curriculum for the Dark Horse Institute, build and design several new studios, and has taught many students the skills needed to get started in the music industry.

But most importantly, Dave is about to adopt his second child and has the enviable task of struggling to split his time between family and work that he loves.

The Jam Session:

Q: What was holding you back when you started recording?

A : I couldn’t get people in front of my microphones! And finding good instruments and good people to record is really key to getting a good sound. I did a lot of going to shows, talking to bands, offering them free recording time.

Often free means it’s worth nothing. And so there’s a good chance that if you’re offering to record for free that people will assume that you’re no good. And so they might want to go somewhere to spend money because their time is valuable. But by the same token you can’t charge what the real working professionals are charging if you’re just starting out. So there’s always this fine line I wanted to walk between not trying to undercut people who are actually doing all the work. So you have to be careful advertising for something like that, because that can really distance you from all the other professionals in your career.

Q: What was some of the best advice that you remember receiving?

A: Early on the best advice I got about mixing was just don’t do so much. If it’s a great instrument it will sound great with almost nothing done to it. A lot of times I can just turn up the pre amp on the snare drum and it sounds pretty dang good! When I find myself trying to crank an EQ on a snare drum to make it sound good it’s just never gonna sounds good…

When you start overdoing your EQ overdoing your compression, or reverb that stuff to me just never sounded very successful. And a few people helped me find the error of my ways when I was doing that.

Q: Share a recording tip, hack, or secret sauce.

A: I heard people talking about using all sorts of tricks to get that telephone sound. So I just went out and got an old telephone instead and wired it up. It’s very much like a copperphone. So Ill load it up underneath the drums and often it might get deleted, but every so often it gives me this perfect brightness on the snare that somehow doesn’t capture any cymbals. It sort of becomes my snare bottom mic and Ill blend it in with the others. It gives me that texture and grit of the snare but without the individual wires. It’s just a crunch that layers on top of the drum kit. Ill put it on the floor and wrap it in a hand towel. It gives it the “Dave Hagen flair”

Q: Tell us about a favorite hardware tool for the studio.

A: Geffell M71 is great for piano, acoustic, and often wins vocal shootouts. Gefel is the East German side of Neuman. They had all the same patents.

Q: What is a favorite software tool?

A: Klanghelm MJUC and VUMT . Cool Vari Mu compressor and VU meters

Q: What business advice do you have?

A: Dave’s advice for business is to talk to somebody that knows more than you do. He was not an expert so he talked to those who knew more about it

Q: If you were dropped into a strange land and could only take a simple setup to record. What would you take? How would you find people to record? And how would you make ends meet to start out?

A: “The key to being successful in the music industry is just outlasting a whole lot of other people. This is what you do instead of getting a real job. There’s a whole lot of people that want to get out here and do this. And so most of them will realize that this is also hard work and give up on it in a short amount of time. So if you are persistent about it you’ve got a really good shot at making that work.

In terms of a personal setup Lij you’ve got it! You’ve got it right here in a suitcase:

• M-Audio 2626

• Mic Stands

• Cables

• Miktek PM9 microphones

• MacBook Pro

• Pro Tools

• At Dark Horse Institute they are using the Apollo Twin

Get a job that allows you to be flexible enough to take any session whenever it comes along. And surround yourself with great music, people, and every recording session that you can get into.

Q: What is the single more important thing to do to become a Rockstar of the recording studio?

A: Just keep doing it. So many people quit after a couple of years and don’t stick it out. Even though I still feel regularly like I have failed I continue on and don’t quit. But I still strive to balance dedication to work in the studio, and family at home.

DarkHorseRecording.com

DarkHorseInstitute.com

If you have any or questions about recording you would like me to answer on the show or suggestions for the show please email me:

lij@recordingstudiorockstars.com

If you dig the show and find it helpful I would be honored if you would subscribe, and leave a rating, & review in iTunes.

And if you want to get on the email list for free content full of videos, tips, studio tricks, and special offers just text RSROCKSTARS to 33-444 from your phone (super easy and I promise you won’t get spammed!)

Credits: Thanks so much to Merissa Marx and Hunter Hansen for assisting with editing audio and show notes. You guys totally rock!

Cheers!

Lij