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Warren Huart

RSR064 – Warren Huart – Produce Like A Pro

RSR064 – Warren Huart – Produce Like A Pro

My guest today is Warren Huart, a producer, songwriter, and multi instrumentalist based in Los Angeles. Warren is the creator of a highly prolific Youtube channel, and audio learning website called Produce Like A Pro, where he teaches you how to record and produce music through tutorial videos, interviews, studio tours, and a dedicated membership site.


(This is my affiliate link for Produce Like A Pro. If you click it and later decide to purchase any of the great courses there I will get a commission for the referral. There is no additional cost to using the affiliate link, same prices. This is a great way to help fund all the hard work that goes into the podcast and RSR. So I thank you in advance for checking it out!)

Warren has been a part of many platinum selling and billboard charting albums over his 20 year career, and has participated in the development of a number of successful artists’ careers. Some of Warren’s credits include: Ace Frehley, Areosmith, James Blunt, Marc Broussard, The Muppets, The Thrills, The Fray, Better Than Ezra, and Vintage Trouble.

Cool stuff we talked about on the show:

  • Growing up with A Sailboat.
  • iPhone vs. Android for music making, and portable recording.
  • The value of limitations in the studio, and what we can learn from the Bauhaus school of design.
  • What we can learn from Malcolm Gladwell’s best selling book, Outliers.
  • How to get the best drum sound ever in your small room studio.
  • The secret snare sound of The Fray, Aerosmith, Nirvana, Mettalica, and many of the great hits from the 90s era records.
  • We discussed the great drummer, Dave Mattocks of Fairport Convention, recording with Glyn Johns.
  • Warren listed some top drum kits you might consider for your studio.
  • ADATS, SMPTE, and MIDI the all caps hat trick!
  • We also talked about many great bands and their production strategies: Aerosmith, Nirvana, The Fray, Led Zeppelin, The Beatles, Jack Douglas, Metallica.
  • Slate Virtual Microphone System, and Mesanovic.

’@WarrenHuart @producelikeapro”]

Leave a comment at the bottom of the post and let us know what you think, and thanks for being a Rockstar!


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RSR046 – Steve Marcantonio – John Lennon At The Record Plant

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RSR007 - David Glenn - The Mix Academy

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RSR046 – Steve Marcantonio - John Lennon at the Record Plant

My guest today is Steve Marcantonio, a Grammy winning producer, recording engineer, and teacher from Nashville TN. He is also a member of NARAS, a Leadership Music alumnus, and winner of the ACM Engineer of the year award.

Steve Marcantonio started his career at the Record Plant Studios in New York City in 1978.

While at the Record Plant he worked with such artists as The J. Geils Band, Aerosmith, Kiss, Heart, Graham Parker, The Blues Bros and John Lennon.

One remarkable and heart breaking story is that Steve spent 8 days in the studio in December of 1980 with John and Yoko. After they left on the night of the 8th John was killed. Quite a shock for a 21 year old who just started in the business 2 years prior.

Steve’s credentials include Rosanne Cash, Rodney Crowell, Vince Gill, Reba, George Strait, Alabama, Restless Heart and Deana Carter. And In recent years Steve has done records with Brantley Gilbert, Thomas Rhett, Band Perry, Taylor Swift, Hank Jr, Steven Tyler and Cheap Trick.

And though he didn’t include it in his bio I know Steve is also dead serious about cooking real Italian food!

For those of you out there that are listening to this either just starting out wanting to be an engineer, maybe working on a session, or just an intern the best quote that I have which was ingrained in me when I first started out is, “As a second engineer you’re to be seen and not heard.” You might be in a session and someone might say something that you know is wrong, don’t come right out and say it. There’s certain ways of going about that, but you should just keep it to yourself. Don’t show up your engineer. When you’re in a session, it’s not about you and what you’re engineering and the gear you’re using. It’s not about the problems you’re having or you may not like the studio, you may hate the studio. It’s about the artist; it’s about the song you’re recording

Steve Marcantonio

“My cousin Joey was the bass player in the Four Seasons” - Steve Marcantonio

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Keep Your Promises

Roy Cicala hired me off the street. I didn’t know anything, so he wanted to teach me his way. I learned a lot of valuable lessons from him. One of which is when you’re booking time with someone you have to keep your promise that you’ll work with them, even if you get booked by someone else who’s a much bigger name. You don’t go by the name, you go by the booking. I was actually involved in a project with the Blues Brothers. I worked on the soundtrack of the Blue’s Brothers movie. It went on for about 6-7 months. I don’t think there was a budget because we spent a heck of a lot of money, a lot of time, and a lot of other things. Along the way I got to learn about a very valuable piece of equipment back then it was called the BTX. It was this white little console that held two tape machines together. Well in September of that year Jonny and Yoko were working on Double Fantasy and they booked the studio and they wanted me because I knew how to use the BTX. I thought for sure that the producer of the Blues Brothers having worked with me for 5-6 months would have said oh sure. He said, “No, I need you here with me.” At the time John Belushi was very famous, the Blues Brother’s movie was going to be huge, but I’m thinking to myself man I have the chance to work with John Lennon. I didn't make any fuss, and as it turns out I missed that chance, but I got my chance late afterwards. You can’t get too bent out of shape with names, you have to keep to whoever it is you’re working with.

“I was known as Roy’s boy” - Steve Marcantonio

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John Lennon at the Record Plant

In 1980 I hadn’t been at the Record Plant for two years and I’m working with John Lennon. It was december that year and they had recorded enough songs on double fantasy to make two records Milk and Honey was the next one. This particular song they brought in was not on Double Fantasy and they wanted to release it as the next single for Yoko. It was a song called Walking on Thin Ice. If you listen to it, it’s sort of like a dance record. I remember the first day, I didn’t even want to look at him because I didn’t know what he was like and I didn’t want him to think that I was [judging him]. So that day I was just really concentrating on what I had to do to keep it together and he had a guy from the BBC there and the one thing I remember him talking about was love me do. When he said that I was like, “Holy Shit! That’s a member of the Beatles sitting 10 ft from me!” It blew me away! By the second day the ice was broken and he was one of the nicest guys I’ve ever, ever worked with. Very down to earth. You know he walked around NYC without any bodyguards. He was such a cool guy and time that was the pinnacle of my career.

                      Yoko Ono - Walking on Thin Ice

I remember the night before he passed it was a Sunday night early Monday morning which is the most desolate NYC night. We were on 44th and 8th about a block away from times square and it was about 3 in the morning and I had already been there close to 20 hours. The producer said let’s take a break and I was fading so I went for a walk. I started to put on my jacket and he said, “Hold on I’ll come with you!” And it was just me and him walking outside and no one was there. No one was there to see me and him, that was so intense for me. Also, the day before he had given me two crisp $100 bills to buy him a clap track because he was collecting studio gear. That night we heard he was shot and I didn’t believe it. I said no way because he just left. But sure enough it turned out to be true. The following day I came into the studio and handed the money back to Roy who then got it back to Yoko.

“Holy Shit! That’s a member of the Beatles sitting 10ft from me!” - Steve Marcantonio

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Gretchen Peters

I would say my number one highlight besides working with John Lennon is I got to record a song with Gretchen Peters. She’s probably one of the most amazing artists I’ve ever worked with. Great singer, great songwriter, she doesn’t write with anyone except for Brian Adams. She had a song she wrote called, “When You Are Old,” and it’s about getting old and tired and grey. My mom had been getting old and she was into music and said, “I want bridge over troubled waters to be played at my funeral.” I gave her this song and she said, “That’s the one I want played.” So sure enough in the funeral home, we played that song and there was not a dry eye in there. That’s one of my major accomplishments besides the grammy. Having that song played for my mom that I recorded was incredible.

                    Gretchen Peters - When You Are Old

Running a Great Recording Session

Obviously you have to pick the right mics to go with whatever instruments you’re using. In order to get a good mix you have to have good sounding tracks. You’d be amazed at some of the stuff I have to mix, I’m not sure where the producer was when they were recording it. In order to get a good sound, you have to have a good sound on the floor whatever instrument you’re recording. Is it in tune? Are the heads changed on the drums? Are they in tune? Does the drummer hit the drums with the right velocity to get a good sound? These are all elements that you’re dealing with as a engineer. I have go-to mics for certain things, but I’m not opposed to trying new things. I have to keep up with the times. I realized in order to stay current I have to try these things. And I love it, I think it’s great!

Secret for Mixing Great Vocals

Country and pop vocals tend to be louder than rock records. What I use mostly in ProTools is RVox, it kind of evens out the vocal. A lot of times too I’ll mult the vocal into where there’s different EQ or compression on it and I’ll use it in different spots in the chorus or verse. And also most female vocalists have an EQ point somewhere around 1k-2k that really hurts your ears during specific spots and a multiband compressor can take care of that or you can just scoop out that EQ. As far as recording vocals, my favorite go to vocal mic is an SM7. It has everything you need. There’s no real, real lows or sparkling highs and the artist can get right up on it. The best thing about’s cheap. When a vocalist says big, most of the time it means a lot of reverb. I tend to use delay most all the time on anything instead of reverb just to give it that width. On a vocal the delay has to be used differently in the verses than the choruses. Instead of sending it to a delay, I duplicate the vocal and I put the plugin right on the vocal. So instead of having the send go up and down, I’ll just clip gain the vocal up or down. I think you have better control over an effect

Tips for Stereo Bussing

When I first started, we never put anything on a stereo bus. These days I start with my slate mix rack which has the meter on it so that I can see, and then I use the virtual console, then depending on the song I go to API or Neve. You can strap the virtual console on groups like all the drums and you can just affect it with just one plugin so they all see the same thing. I don’t use individual faders these days, I’ll bus all of my drums to a master subgroup and on those busses I put my virtual console and I also use a compressor. Sometimes The SSL compressor but lately I’ve been using the Slate virtual bus compressor. When you put a plugin on in protools at first you should always bypass in and out to make sure you’re just not hearing it louder because whenever you hear something louder you instantly think it sounds better, so you should always set your unity gain on a plugin. Having said that with virtual bus compressor its louder because its compressing and limiting and what have you. The last thing I put in the chain in a tape machine.

“Go with your gut and your soul” - Steve Marcantonio

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Jam Session 

Q- Share with us a recording tip, hack, or secret sauce.
A -  There’s not a session that I do that I don’t record acoustic guitars and your listeners might be rock and rollers that have never receded acoustic. I got to work with Rick Nielsen from Cheap Trick and he’s a trip. He played the guitar sitting right next to me while I’m engineering. I asked him if he had any acoustics he looks at me and goes, “Acoustic?! I’m a rock guitar player why should I play acoustic?!” Just last week I was working with Dan Huff who’s a great producer and incredible guitar player and we were doing acoustic on this one song and he wanted a really distressed sound so we went into a distressor mode on the acoustic. After 35 years, I never thought of putting that on an acoustic! In addition to that we also had another mic that was clean. Its nice to commit to doing something, but it also nice to have a fallback. I would never think about distorting an acoustic or a drum, but try it once in awhile, you never know! For distressors, if you don’t have the UA the Waves Eddie Kramer tape machine is cool.

Q - Share a favorite hardware tool for the studio
 Drums are my favorite thing to record. I think a lot of people hire me because they love my drum sounds. When I’m recording a room sound, the UREI 1178 is my go-to. I hit the bottom button and the top button and I just slam it. I get it to where it’s blended in a little bit, but I love having heavy duty compression on my drums. Another thing I’ll do is take a mic, the Buyer 160 or any other kind of ribbon mic or maybe even a 57 and I’ll put it right above the kick drum facing the toms and the snare and just compress the snot out of that too. It really adds a nice effect to the overall drum sound so those are my go-to things in recording.

“Go by your ears, don’t go by your eyes. We listen to music we don’t read music” - Steve Marcantonio

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Q - Share a favorite software tool for the studio

A -As far as plugins go the UA plugins, I can do records only using them. All their plugins sound pretty close to what they’re emulating, slate plugins and soundtoys..those are my three favorite brands. I would say amongst all of them echoboy is one I use all the time. I use that in delays and I always go through all the different modes whether its tape or transmitter or am radio, that’s one of my favorite plugins. As far as software, those are my three go-tos. 

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

A - My wife keeps reminding me I’m a businessman and I’m sure your listeners will hear this and go, “I’m not a businessman, I’m an engineer!” But you’re running your own business and I guarantee you in the course of my career, I’m probably shy $10,000 of bills that I didn’t send. It’s difficult to just go in there and send a bill right away, so I got a guy. Every now and then you gotta call a guy, there’s a guy for everything nowadays. I got a production guy here who does all my billing. He knows every studio here, every record company person. I've waited sometimes for 3 months for a check. You can’t make too much of a big deal with these labels because they might get tired of you and say, “Steve’s a pain in the ass, I don’t want to work with him anymore.” You just have to stay on top of it. I pay Mike Griffith a small percentage to take care of my bills.

"I would hope that engineers get very involved into the song or the track they’re recording” - Steve Marcantonio

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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 - Well the first thing I would say is go wherever the music scene is. Go to clubs and get to know musicians in the area. You might have to work online if you still have clients from where you moved from. Otherwise you just have to scratch and claw your way and find out where the music is and go from there. So I have almost the identical setup you have, but of course nowadays you can just get a laptop and some kind of UA hardware and do it that way. If you want to find a place to record you just have to find someone to go in with you. One of the most important things to do in this business is network. You have to get around and get your name out there, meet people, you never know where they are going to be in a week or year or month from now. Be really nice to people and network.

“Be really nice to people and network” - Steve Marcantonio

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

A - I would say to go with your gut and your soul, listen before you speak, and use your ears not your eyes, especially nowadays there’s too many people coming into the control room going “let me see it.”


Big Thanks to Tyler Cuidon & Merissa Marx for this week's episode!!

RSR042 – David Thoener – ACDC For Those About To Rock

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RSR007 - David Glenn - The Mix Academy

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

RSR042 – David Thoener - ACDC For Those About To Rock

My guest today is David Thoener, a multi Grammy winning producer, engineer, and mixer with a true rockstar list of credits to his discography. In fact David made many of the records that I grew up with that help define rock music for me.

David started his career in 1974 as an assistant engineer at the Record Plant in New York City, and learned his craft creating Aerosmith "Toys In The Attic," Bruce Springsteen "Born To Run," David Bowie "Young Americans," John Lennon "Walls and Bridges," Electric Light Orchestra "Face The Music" and Richie Blackmore "Rainbow Rising."

David then moved on to engineering and mixing records in 1976, and has since enjoyed a thirty year run of hit records including classic records for AC/DC "For Those About To Rock”, John Mellencamp "Little Pink Houses", John Waite "Missing You", all the hits from the J. Geils Band, Matchbox 20 and many others.

In 2000, David won two Grammys -- Record of the Year and Album of the Year -- for recording and mixing "Smooth" by Santana featuring Rob Thomas.

David has mixed hit records for Jason Mraz, Faith Hill, and Sugarland, and has made records all over including South Africa, Sweden, Australia, Mexico, and Japan to list a few.

I am very lucky to be able to have this interview in person since he lives right here in Nashville TN. Please welcome David Thoener to Recording Studio Rockstars.

There are no rules, it's whatever sounds good. The way that you create something, there are no rules on that. It might be the most crazy idea in the world, but if it sounds great and it works... then it works.

David Thoener

Thoughts on Recording Schools Today..

​With all these schools now, a lot of guys that are going to these schools think that they are going to walk out of school, and going to sit behind the board, and going to be working with Jack White on his next record, and that’s just not going to happen. It never has happened that way! Every place that I would go when I would deliver these packages, I would fill out an employment form... I’ll clean the toilet for you, I’ll do whatever. Persistence and luck. And I have to say 50% of being successful in the music business and especially as an engineer is luck. It’s being at the right place at the right time, or some musician that you’ve worked with in the past, that just happens to say to another musician, “Hey, you’ve got to work with this guy. He’s really good, I think you’ll like him.” Then all of a sudden, it happens. It’s getting those relationships together. I want the listeners to realize that you just don’t walk out of school and walk into an amazing job.

Do you see similarities for music releases now vs back then?

Acetates in those days were not to be used for manufacturing purposes, they were just used to take your record around, because every A&R guy and every label had a record player. They didn’t necessarily have a tape player. Acetate was the medium they would play your music on. So I would cut acetate discs of a couple of songs for artists and I would make tape copies. They would take those acetate discs and tape copies around to different places like RCA and CBS. It was hitting the pavement and walking around and trying to make appointments with A&R guys, and sitting down, and they would put your record on, and then give you the thumbs up or thumbs down. And then you’d walk out of there and go to the next place!

Really the consumer is the winner now-a-days. As opposed to an artist or the people that are in the position of making the record, because you have iTunes now, and iTunes takes a fairly decent percentage of the sale of your single. I don't even know what some of the sites like Spotify and Pandora pay. I mean you're paid pennies, to my knowledge, on the amount of records downloaded.

I think there are more one hit wonders these days. There are a lot of bands that I listen to on some of these streaming mediums that I think ‘man that’s a really great song!’ I’ll check out the record and I’ll find several songs that I like a lot. And I would normally become a fan of this band, but a year goes by and they’re gone. I find that more these days. I guess it’s a combination of being able to go in and do a record way, way less expensive than it used to cost, so the bar is lowered. 

“Believe in yourself. You really do have to believe that you can make a difference" - David Thoener

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This J Geils Sound is sort of an introduction to the 80s sound. It seems like there were more effects happening on those records?

I have to credit Seth Justman, the keyboard player. He took over the production reigns on a lot of those records and Seth was into interesting sounds. He had a keyboard with a pitch bend on it, one of the first ones. We were more into delays than reverbs. 

Recording and Mixing AC/CD's
For Those About to Rock 

The drums were cut at the rolling stones rehearsal cavern. It was 20 min outside Paris. We used mobile 1 as the record truck because it was a big empty stone room.The drums were recorded by Mark Dearnley. He ran out of time. He had another commitment to another producer, so they called me up to finish the record. So I came in and finished guitars: rhythms, leads and vocals.

To get the most amazing guitar sounds (they weren’t into layering) we used Neumann's 87’s with a pad so close that they were almost kissing the cloth. That was the mic that got the tone they were looking for.

The AMS-RMX for mixing For Those About To Rock. AMS gave me a prototype of that unit. That’s part of the snare sound, the other part was taking the eventide pitch control and it had a feedback. So we would take the snare down an octave and turn the feedback up.

What advice do you have for us about mixing vocals?

It's the exact thing I’ve been doing for 42 years, I do exactly the same way now as I did back then. Every singer sounds different, right? So, some people say the Telefunken 251 Elam is my favorite vocal mic and I record everyone on that. But one size does not fit all. So what I’ve done since the very beginning, unless you've worked with the artist before and know what they sound good on, I get four different microphones that I have an intuitive from listening to them sing acoustically in a room I’ll choose four that I think will be most appropriate.

If I have an opportunity to use a 251, I’ll put that up, if I have the opportunity to use a Neuman 67, I’ll put that up. I’ll usually use some sort of Audio Technica, sometimes something like an SM7, sometimes a 414. I mostly lean in the condenser direction as opposed to the choice between dynamic, condenser, or ribbon. Ribbon might work for certain sounds, but it's a little bit darker and fuller.

So I’ll have them all lined up and all coming through the board flat. I’ll go through and get gain structure, no compression, very simple. I’ll have the singer sing the first verse and the chorus because naturally the chorus is going to be harder sung than the verses. They’ll try mic one, mic two, mic three, and mic four. And I’ll invite them into the control room to listen to the four mics, I want them to have a say. If it makes you really happy, then we know which mic to go with and clear the other three.

“Manual mixing. You had to use a console like you would a keyboard” - David Thoener

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What are great go-to strategies to make our mix come together if you’re in the box?

There are some great plugins out there and I’ve been mixing in the box since about 2007. Analog tape retains a signal and has a bump around 60 cycles in addition to a saturation quality. But aside from the bump and roll off that you get from a tape machine, it’s supposed to just faithfully playback what was put into it.

I really just want ProTools to play exactly what I put into it, and that’s what it does! The Opticom XLA3 that was offered by Plugin Alliance. I downloaded the trial and put it in to level match to other plugin I was using. Theres a quality to it that I really dug. It has a swtich that you can go fast, normal, or slow for compression times. The drums just felt like they were alive.

I like a lot of the new slate stuff. If I have to get a quick rough mix together, I’ll throw that on between the equalizers and the compressors. You can go through and get things ball-parked really quick. I love the McDSP stuff. The equalizer is like a multi-band compressor but it’s a multi-band equalizer, works just like a multi-band compressor.

Last thing I want to mention is that new Abbey Road Plates that came out about 4 or 5 months ago. Download the trial and try out reverbs have always been the hardest things to try to get to sound (in the digital domain) like they’re in the analog domain. Their echo chambers and rooms sound real. The Oceanway emulation sounds amazing too. P2 audio has a convolution reverb that has different theaters. Try all the trials! See if you believe it's something that can help you.

“When I go into making a record, I go in 150%”  - David Thoener

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Jam Session 

Q - What was holding you back at the start?
A - Really nothing held me back, I knew what I wanted to do. I had a mission. I just had the focus in mind of getting there as fast as possible, whatever that took.

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

A- Back when I came into this business and was assisting some amazing engineers, nobody gave me any advice. They were all very guarded about how and why they did stuff. Honestly, I got no advice. Possibly some bad advice even.

I was thinking about buying some gear back in the 80s. Especially when Record Plant went out of business in ‘89, there were some amazing gear that was going for like nothing. They were telling me, don’t buy the 670 fairchild for like $1,000 because if I’m paying you, then don’t think I’m going to pay for your gear as well.

“I’m always trying to record the end result at any moment” - David Thoener

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Q- Share with us a recording tip, hack, or secret sauce.
A -  1 .Research the band. If they don’t have a record out, go to some live shows and get an idea of what they’re all about. If they have records out research the previous records and make yourself familiar with everything about them

2. Always check your mix in mono! I realize everything's in stereo, but there are phase issues that you won’t necessarily hear in stereo, but you will hear in mono. So every once in awhile hit the mono button and see how your mix folds down into mono.

3. Another cool trick, especially for expressive rock stuff. I personally like to pan my guitars. With your two rhythm guitars, pan one left and one right. I’m looking to get them in balance in the mix. I’ll balance them in stereo and monitor them in mono. Naturally they are going to drop down a level around 3 DB or so, while in mono I’ll raise them to where they are balanced with the drums and the bass. When you go back to stereo, they are kicking your ass.

4. Unless you’re using compression for an effect, I would use compression on the record side to control the guitar, the bass, or the vocal but not to a degree where you can hear it. Pop it in bypass, in and out, and if you can see that the compressor is doing its jobs without hearing it when you pop it in bypass and then back in the circuit then you’ve reached a good spot to stop right there because when you get into the mix mode you can always compress more.

5. As far as getting the low end right on a mix, know your speakers. Take records that you’ve done prior, and when you’re trying to get your bass sounds, you can always use a reference song to see if your mix is close to that. I use a lot of high pass filters a lot of times even on bass, even if it's just taking out 25 cycles. I always try to get my kick and bass to work together so that my kick drum is accenting all the notes the bass is playing together.

“I mix in a DAW all the time now” - David Thoener

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Q - Share a favorite hardware tool for the studio
 If I’ve got one, an ELAM 251 Telefunkin microphone, which is very hard to get.

Q - Share a favorite software tool for the studio

A - I think going back to what I already covered the Opticom, the new Slate stuff, the new McDSP stuff, new Abbey Road Plates.

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

A - For all the rockstars out there, it's very, very important to save your money because this business is feast or famine. At one time you’re the hottest guy in town and you have one gig after another and you think, ‘man I’ve arrived. This is my life for the next 30 or 40 years. I’m just going to do every great record out there.’

Don't ever think like that. Even the best artists, the best engineers, the best producers, the best mixers will have ups and downs, this is 42 years for me and I can think back to the 80s where I would be off for two months and I’d think oh shit it's over, but I was always saving. So even when I’d hit those periods of 2, 3, 4, or 5 months where I would not get called, I never had to worry about paying my rent. I didn't live a high lifestyle, I kept it and I knew every month if money was coming in or not, I could pay my rent and bills.

“A great record is a great record. It doesn’t really matter what medium its recorded on.” - David Thoener

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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’s almost like that desert island question. I’m a huge believer that a lot of the gear doesn’t necessarily matter. If I was in a situation where I had 10 57s and Altec mixer and a two track tape recorder, I’d make it work. So your imagination is the guide for that one. Finding musicians. It has to do with relationships.

Go out to clubs and try the best you can to meet the guys after the shows over. If you’re able to get access to a studio you can mention to them you’d like to go in at their convenience you’d like to go in and record. That’s hard to do because even recording digitally costs money.

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

A - Listen to other bands and other genres as much as possible. As much as I kinda hate the concept of Spotify and Pandora, I hate the fact the artist and people involved in those records aren’t seeing the money that they once saw. At the same time, these different streaming means have become great for the public. It allows me to listen to things my peers have done or a lot of amazing new bands I can find. There’s so many great sounds, they’re inspiring! It gives me ideas, so when a mix comes up I can draw from something I’ve been a fan of. 


Big Thanks to Tyler Cuidon & Merissa Marx for this week's episode!!