Would you say no to a session with Bono and Edge? Dan talked about working at Memphis Sound Productions, recording B.B. King & Paul Schaffer, writing manuals for API, mixing with SSL, and teaching at one of the top recording colleges in Nashville TN.

My guest today is Dan Pfeifer a professor in the Department of Recording Industry and Graduate Faculty Member at Middle Tennessee State University, and a native of Louisville, Kentucky. He got his Bachelor of Music degree from Middle Tennessee State University in 1983 and Master of Arts degree from the University of Memphis in 1987 with an emphasis in audio engineering and music production.  

Before to coming to MTSU, Dan worked professionally as an audio engineer and producer, working with artists that include B.B. King, ZZ Top, Albert Collins, Al Green, Jerry Lee Lewis, and many others. He has also served as 2nd Vice President and member of the Board of Governors for the Memphis Chapter of the NARAS, and he is a voting member of the Recording Academy and a professional member of the Audio Engineering Society. 

Dan has received many awards including the MTSU Alumni Association True Blue Citation of Distinction for MTSU Faculty, the MTSU Distinguished Achievement in Creative Activity Award, the Tennessee Board of Regents Academic Excellence and Quality Award, the MTSU Outstanding Teacher Award, and the Recording Industry Outstanding Alumni Award for University Service, and was inducted into the MTSU Band of Blue Hall of Fame.

But most significantly for this interview, Dan was my audio teacher 30 years ago when I was at MTSU as an undergraduate student learning the basics of audio and recording. Dan taught me with a black board and three recording studios everything audio including the difference between various types of microphones, audio signal flow, the science of sound and hearing, flow charts for mixing consoles, and how to align an analog tape machine. Basically, Dan was the first teacher in my life to teach me stuff that would carry forward to change my life and career and inspire me to make records for 30 years. And the only part I regret is making those stupid bubble charts to represent audio mixes. You know the ones with a big bubble for the kick drum and a little bubble for the hi hat. "Writing (or drawing) about music is like dancing about architecture."

This episode is dedicated to Ben Morton my classmate from MTSU. Ben may your bass have six strings on it in heaven and may you never have to change them again.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

https://www.mtsu.edu/faculty/dan-pfeifer

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko

What does The Scream sound like? Shawn talked about listening to paintings to guide your productions, acoustic guitars as synths, how to record Adele and not f#$% up, room mics on vocals, and how to match real EQs to plugins like a rocket scientist.

My guest today is Shawn Everett a six-time Grammy-winning music engineer and producer originally from Canada and now in Los Angeles whose credits include Alabama Shakes, Kacey Musgraves, The War on Drugs, The Killers, Weezer, Local Natives, and Julian Casablancas to name a few. 

Shawn has previously been a guest on episodes RSR137 and RSR270 when we talked with Shawn about his background and starting his studio in LA, and engineering and mixing Sound & Color by the Alabama Shakes. 

Today we will talk more about recording and mixing and find out what's new at Shawn’s studio. Thanks to Lysee and Vanpelt Management for helping to set up this interview.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

http://subtlemcnugget.com/
RSR137 – SHAWN ÈVERETT – GRAMMY WINNING ENGINEER AND MIXER FOR THE WAR ON DRUGS, ALABAMA SHAKES, WEEZER, MARGARET GLASPY, PETE YORN, WARPAINT, JOHN LEGEND, & THE KILLERS
RSR270 – SHAWN EVERETT – MIXING ALABAMA SHAKES SOUND & COLOR AND KACEY MUSGRAVES GOLDEN HOUR

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko

Don't touch that kick drum! Bryan talked about riding the drums during fills, adding drum distortion, setting up your Pro Tools mix template, how to mix with reverbs and delays, keeping the vocal realistic, and how to use mix bus plugins and stems.

My guest today is Bryan Cook a Los Angeles based mixer whose credits include U2, One Republic, the Raconteurs, Fleet Foxes, Iggy Pop, Queens of the Stoneage, Cold War Kids, Damien Rice, The Eels, and Autolu to name a few. He has been a previous guest on the podcast for episodes RSR333 where we talked about his beginning at Berklee School of Music, working at A&M Studios, mixing with composer/producer Michael Andrews, and his recent work on Jeff Goldblum’s latest album.

Today we will dive back into talking about mixing, and Bryan’s thought process and workflow in the studio to bring his experience to your home studio and help simplify what can seem like a very complex process.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR333 – BRYAN COOK – PRODUCING AND MIXING TIPS – JEFF GOLDBLUM, U2, ONE REPUBLIC
https://www.bryancookmixer.com/

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko

Replace the Replacements? Justin talked about delivering mixes and masters with Samply, remastering Can’t Hardly Wait by the Replacements, the best plugins you can use for mastering, fixed-level monitoring, and mastering with speakers and headphones.

My guest today is Justin Perkins a mastering engineer in Madison, Wisconsin with Mystery Room Mastering who has worked on remastering projects for The Replacements, En Vogue, Ol’Dirty Bastard, Busta Rhymes, Jason Mraz, and mastering projects for Michael Franti & Spearhead, North Mississippi Allstars, Tommy Stinson, Lydia Loveless The Gaslight Anthem, G. Love, Screeching Weasel, The Figgs, and thousands of other independent bands and artists around the world.

Justin also masters nearly all the content for The License Lab which is a library music company based in Milwaukee Wisconsin, and does a monthly livestream for Steinberg Media to help both new and current users of WaveLab Pro get a better understanding of how to use it. And he has also written a number of articles for the popular website The Pro Audio Files on the topic mastering, preparing for mastering, and an overview of what types of master files you may need for various release formats.

Check out episode RSR303 for my previous interview with Justin about his background in mastering. 

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR303 – JUSTIN PERKINS – MYSTERY ROOM MASTERING TIPS FOR HOME STUDIO MIXING & MASTERING
https://www.mysteryroommastering.com
Twitter: @MysteryRoomMKE
Instagram: @mystery_room_mke
LinkTree

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko

Where is the attack of a bass anyway? Damian talked about wireframing production, mixing on small speakers, Pro Tools editing by hand, recording modular synths, pen and paper producing, how to get wide bass, and why you don't need no stinking mono!

My guest today is Damian Taylor a 10 x Grammy nominated producer, engineer, and mixer best known for his work with Bjork, The Prodigy, The Killers, Arcade Fire, UNKLE, TR/ST, Odette, The Temper Trap, City of the Sun, and Dizzy and recently for Bomba Estéreo’s album “Deja” picking up 4 nominations between the Anglo and Latin Grammys, including an album of the year nomination at the Latins. Damian has also been a guest on the podcast previously for episode RSR316 where we talked about his background in recording.

Damian hosts an online community The Complete Producer Network is a positive and supportive place for folks to talk about all aspects of creating and releasing music at www.completeproducer.net and there are a few music production programs within the network.

The Mix Accelerator Process is all about ensuring your vision and creativity are in the driving seat when you mix. The Beats Accelerator Process establishes the foundations of instant creativity through a drum programming and practice system. Damian’s Online Studio makes the community, learning, networking and collaborative aspects of multi-room studio facilities available in an online format for people anywhere in the world.

Thanks so much to Colin Ramsay at GPS Management for making our introduction.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR316 – DAMIAN TAYLOR – COLLABORATING WITH BJORK AND ARCADE FIRE
http://www.damiantaylor.com/
https://globalpositioningservices.net/damian-taylor/
https://www.instagram.com/hereisdamian
https://twitter.com/hereisdamian
https://www.twitch.tv/hereisdamian
https://www.completeproducer.net

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko

I love the smell of analog tape in the morning! Larry shared tips for mid-side two-track remixing, improving your recording craft, four-track cassettes, mixing She & Him, Pavement, mixing in Pro Tools, and referencing with multiple speakers.

My guest today is Larry Crane the founder of Tape Op Magazine, owner of Jackpot! Recording Studio, a producer/engineer/mixer, and recording arts educator. He has been on the podcast previously to talk about starting out in a band, launching the magazine TapeOp, producing records and mixing at Jackpot! He also talked about recording and curating the musical archives of Elliott Smith, and lots of other fun stuff.

Today we will talk about what's new in the studio, various archival/restoration jobs, and more recording and mixing insights.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR385 – LARRY CRANE – RECORDING, MIXING, AND ARCHIVING ELLIOTT SMITH STORIES AND STUDIO TIPS
RSR247 – LARRY CRANE – HOW TO GET A PRO MIX WHILE AVOIDING COMMON MIXING MISTAKES
RSR051 – LARRY CRANE – TAPE OP MAGAZINE AND JACKPOT! RECORDING STUDIO
Instagram: larry_crane_producer
Twitter: LCraneTapeOp
https://larry-crane.com/
https://jackpotrecording.com/
https://tapeop.com/

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

"Damn it Jim I'm a mixer, not a bricklayer!" Collin reminds you to make sure that the arrangement is right before the mixing session, why old houses sound great, how to mix drums with phase and polarity, mix into busses, and soothe bass and vocals.

My guest today is Collin Dupuis a Nashville and Detroit based multi-Grammy nominated and two times Grammy winning mixer, producer, and engineer who has been on the podcast previously to talk about working with artists and projects including, Lana Del Rey, St. Vincent, Dr. John, The Black Keys, and many others. You can catch those episodes at RSR252 and RSR341 

Currently, Collin is busy working as a freelance mixer and engineer, recording, and mixing songs and albums for artists including, Angel Olsen, Yves Tumor, Boy and Bear, Cherry Glazer, Lawrence Rothman and many others.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR252 – COLLIN DUPUIS – STUFF YOU NEED TO KNOW TO MAKE GREAT RECORDS
RSR341 – COLLIN DUPUIS – MIXING ANGEL OLSEN, LANA DEL RAY, YVES TUMOR
IG : @collin_dupuis_mixer
www.collindupuis.com

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Got mixing questions? Vance answered all your questions from the RSR Facebook group, talked about the challenges of mixing in Atmos, multi-miking Chris Stapleton guitars and vocals, the SSL mixing template breakdown, and how to make a washtub bass.

My guest today is Vance Powell, a multi-Grammy award-winning producer, engineer and mixer, and owner of Sputnik Sound in Nashville with Mitch Dane. Vance’s many credits include Chris Stapleton, The White Stripes, Arctic Monkeys, and Wolfmother to name just a few. Vance is a repeat guest on the podcast and you can hear his previous episodes on RSR 002, 171, 293 and 360 to hear about his backstory and get some great tips on mixing and mixing in Atmos.

Today we will catch up with Vance and see what's new in rock and roll, and find out more about mixing in both stereo and Atmos as well. Vance also has a ton of great videos on Youtube if you want to go learn more plus he has some great courses over at Puremix.net

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR360 – Vance Powell – Mixing in Dolby Atmos on Pro Tools at Sputnik Sound
RSR293 – Vance Powell – Answers All Your Home Studio Recording And Mixing Questions
RSR171 – Vance Powell – How To Produce, Record, And Mix A Record That Rocks
RSR002 – VANCE POWELL – GRAMMY WINNING PRODUCTION, MIXING, AND ENGINEERING AT SPUTNIK SOUND
http://www.allmusic.com/artist/vance-powell-mn0000307596/credits
http://www.sputniksound.com/
https://puremix.com/mentors/vance-powell

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Gloria Estefan was right! Stephen talked about Sphere and the history of American consoles, Smoky Joe amps, printing fx plugins, recording drums, acoustic, and electric guitars, deconstructing your tape machine alignment, and stereo ribbon mics.

My guest today is Stephen Shirk an Engineer, Co-Producer and Musician. Stephen has been a guest on the podcast back on episode RSR272 when he talked about his background and starting Shirk Studios in Chicago restoring a beautiful Sphere console and building a dedicated space for recording full bands to analog tape. 

“CONSOLE: 1976 Sphere Eclipse A - Discrete Inline Console.  32 Channels - 24 Mic Pres - 16 + 8 busses (24 outputs during recording) - With Eight 920 EQ’s and twenty four 910 EQ’s - Reichenbach input and Jensen output transformers give the console a punchy tone that defines the pinnacle of the 70’s American console design. Balanced Line Input mod features Cinemag Transformers and Discrete GAR6220 Op Amps (SPA62).” 

In 2019 Stephen open up the studio to Recording Studio Rockstars for a weekend mixing clinic with Anthony Gravino which was a blast! We had Rockstars traveling overnight on the bus from Canada and flying in from New York state just to be there and were able to listen to everyones music and offer feedback. Today we will catch up and see whats new at Shirk studio and learn more about how Stephen is recording and mixing such great sounding records. Thanks again to Anthony Gravino for the introduction.

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

RSR272 – Stephen Shirk – How to Record a Great Band Performance in the Studio
www.shirkmusic.com
Instagram: @shirkstudios

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Is it bad to print your mix offline? John talked about the importance of arrangement, mastering dynamics in your mix, the Fletcher Munson curve, listening loud and quiet, crest factor, customer care, and why some plugins are different every time!

My guest today is John Mayfield a mastering engineer with over 50 years of experience and owner of Mayfield Mastering in Berry Hill. Originally a career musician, John turned to recording and mixing in the 80s travelling to studios all over the world. He has also been a guest on episode RSR036.

Originally a successful touring and studio musician John started out in the studio recording and then mixing all over the world finally settling on Nashville to start his own mastering studio. Dave Matthews Band, Sara Evans, Kathy Mattea, Naturally 7, Warner Brothers Records and Universal Music Group-UK, to list a few.

John notes on his website that everyone in music is trying to figure out what is next and define the new business model. Since records are being made more often by independent sources with smaller budgets that cannot always afford the high dollar mixer the need for quality mastering is very much in demand. “Music will always be a part of our lives. Maintaining and improving the quality of that music has always been at the heart of my efforts. It is not a job to me, but rather a true joy, You would be amazed at what we can do with a project in mastering that might not have been an A+ mix.”

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

⬇︎⬇︎Scroll down to listen⬇︎⬇︎

Listen TO THE PODCAST here⬇︎⬇︎⬇︎⬇︎

Website Links:

https://www.mayfieldmastering.com/
RSR036 – JOHN MAYFIELD – MAYFIELD MASTERING

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson