Tag Archives for " Brett Dennen "

My guest today is Matt Boudreau, a producer, recording, mixing, and mastering engineer from San Francisco. Matt is also the host of a fantastic podcast that you should be listening to called, Working Class Audio where he interviews many top studio professionals.

His 34 year career path started out in New Mexico before moving to San Francisco in the 80s as a drummer in the bands The Sextants and Seven Day Diary, where he was first introduced to making records with great producer/engineers like Larry Hirsch, Joe Chicarelli and Gil Norton sparking his interest in recording.

In 1994 Matt began his journey to the "other side of the glass" when it came time to trade in his drum sticks for faders. And since then he has worked with a great number of artists in the studio including: Steve Earl, Brett Dennen, Matchbox 20, Shawn Colvin, the BoDeans, The Shins, Death Cab for Cutie, Tori Amos, Florence + The Machine, World Party, Thomas Dolby, The Jayhawks, Ziggy Marley, The Samples, Joan Osborne, Civil Wars, Sarah Bareilles, and George Thorogood to name just some of the credits. Wow!

And on his podcast Working Class Audio you can find all sorts of great episodes with stellar guests like: Dave Fridmann, Niko Bolas, Al Schmitt, Brian McTear, Jim Scott, Larry Crane, F Reid Shippen, Eric Valentine, Kim Rosen, Warren Huart, Joe Barresi, Michael Beinhorn, Sylvia Massey, and Vance Powell. And those are just some of the past guests.

Though we’ve only just met, I am psyched to have my “brother from another podcast” on the show today.

Working Class Audio

I think when you’re mentally present and you’re not distracted by the outside forces of money or personal strife or relationship strife. When you have control over the outside things that are very important, I think it allows you to relax in the studio and pay close attention to what’s in front of you rather than being like, oh god as soon as I get done with this session I have to go and make a credit card payment so they don’t ding my credit report. It’s small weird details like that I think that can play people and they don’t really think about it too much because it’s just a part of their day to day life. Something on the outside, some external force that is creeping into your mind as you're doing the session, I think it manifests itself through you and can affect the people in your session because you behave in a particular way. When you remove those things or have those things in check, you can be relaxed, you can be yourself, and you can get out of your own way and let things happen naturally. When that happens, I think that people get the best of you ,and you help bring out the best in others and it just becomes a reciprocal thing where everybody kind of builds up a teamwork kind of fashion that allows us to make great records

Are there Typical Routines that Allow you to get in the Mindset?

On a day to day level long ago I learned to keep a calendar. I’m kind of a late bloomer and for some of these things I think details like that. Details like that didn’t creep up into my life until I realized I had to get my shit together, so keeping a calendar and knowing what’s going on in your life, keeping your finances in order so you don’t stress about that and those are the bigger picture things. On the small detail level before a session I always think through and have conversations with the artists and say okay what is it that you’re trying to achieve? I will go through the instrumentation on paper and layout a potential mic setup just so I am mentally in the space where I get all the technical done beforehand, then when I get into the studio I have a game plan so that we can just play.

What makes a Great Mix?

The great mix is in the ear of the beholder I think because let's face it you play a mix that you think is great that you did for any other engineer, of course they are going to say, “Oh yeah, that’s cool.” Of course they aren’t going to say, “Yeah, I would have done it differently.” So if you take that element out of it and quit trying to mix for other engineers and you just mix for emotion and for what the artists wants, I think that that’s a good start. Too many times, as many of us have done, I’ve focused on the wrong things. You think oh I’m going to do this because all the other engineers are going to like this, well that’s the wrong position to be mixing from.

Q- What was some of the best advice you got early on?
A - There’s technical advice and there’s career advice. I used to work out of this guy’s studio, and old friend Buddy Salmen in San Francisco. I used to bring bands there and record. I remember in my early days there Buddy stand by me and would making these hand gestures telling me about how I should make my mix super deep and super wide.

Q - Q- Share with us a recording tip, hack, or secret sauce.
A- I think for me concentrate on your monitoring set-up. I think that is key. I think that wherever you’re mixing, make sure your monitoring environment is dialed in. These guys I came across, the Sonar Works people, they make a room analyzing plugin combo that allows you to take a room and find out what the strengths and weakness are from an EQ perspective and it creates an inverse EQ curve that’s applied to the back end of your mix to take those anomalies out of your mix that you might be adding to your mix based on a funky room

Q -Share a favorite hardware tool for the studio
A- I’m not a giant audio file person, but I do own a pono player. I was one of the early kickstarter people, I got a Willie Nelson signature pono player. I love bringing that in and make it so that depending on the type of music that we’re doing and the type of band I’m working with, I like it when they show up and I’ve set the mood with some music. Most of the time with rock records and americana records, you can’t go wrong with some old Stones, ya know? People come in and you’ve got that playing and you’ve got things set up and the lights are done the right way and you’ve got the room laid out, people walk in and go, “All right! Let’s go!” They get excited.

Q -Share a favorite software tool for the studio
A- One thing I really rely on in a session is Google Docs, the spreadsheet section. I’ll set up the session in a spreadsheet as far as instruments and what it's miced with, the outboard gear, all of those details and then I pull it up on my phone. So the google spreadsheet along with my phone at a session, especially when it’s just me doing all the setup becomes an indispensable tool.

My guest today is Matt Ross-Spang, a Grammy winning engineer, mixer, producer and recording historian. Matt began his career at the young age of 16 interning at Sun Studio in Memphis TN, which he revitalized during his decade of work there bringing it back to it’s original analog roots. After his time at Sun Studio He has more recently migrated over to Sam Phillips Recording Services, home office and studio for the legendary Sam Phillips.

In 2015 Matt won a Grammy for engineering and mixing Jason Isbell “Something More Than Free.” And he has recently broken the top 10 Billboard country charts for engineering, mixing, and co producing Margo Price’s debut record “Midwestern Farmer’s Daughter” for Third Man Records.

Matt’s extensive credits in the studio include Mary Chapin Carpenter, Jerry Lee Lewis, Grace Potter & The Nocturnals, Jakob Dylan, Justin Townes Earle, JD McPherson, Chris Isaak, Mark Ronson, The Wood Brothers, and Brett Dennen to name a few. And he has also worked with acclaimed producers like Dave Cobb.

The City of Memphis has even nominated Matt as one of its “30 under 30” Memphians and in 2016 awarded him a key to the city while proclaiming April 25, 2016 as Matt Ross-Spang (day) in Germantown,TN.

Q - What was holding you back at the start?
A -I think being so young, I couldn’t stay out that late. My parents only let me be out till 12:30. I remember when I first started interning I never got to see what happened at the end of mixing, because they’d start mixing and I had to leave because I had school the next day.

Q - Share a favorite hardware tool for the studio
A- Microphones I think are the biggest piece of the puzzle. Everyone loved neves back in the day because it was one of the first pre’s that had clean gain. Now every pre’s got tons of clean gain. So I think mic pre’s do have sounds, but more importantly it's what microphone you have. And instead of EQing you can move a mic an inch and it changes everything especially ribbon and condensers. One of my favorite pieces of gear is the spectrasonic 610 complementor and most people who know me know I’m a geek for spectrasonics. I have tons of their equipment. But a 610, it's one of the world's most fastest compressor. Most people don’t understand how it works because they try and use it like an 1176. It’s so fast it doesn't bump, the limiter comes in at 50 nanoseconds, the compressor comes in at 60 nanoseconds. It's so fast you can pop a microphone into the complementor, plug that into a speaker, you can drop the microphone and instead of blowing out your speaker, it's so fast it tracks the waveform and it'll catch the transient. It’s that fast.