Tag Archives for " eq "

Do you want bigger bass in your mixes? Morgan shared quick tips for producing EDM, staying creative in the studio, how to mix bass for clubs vs studio, distortion techniques, master bus treatment, sub drops and other cool EDM tricks and much more!

My guest today is Morgan Page a GRAMMY-nominated producer and DJ with hundreds of millions of plays, and charted multiple Billboard, Beatport, and US Dance Radio #1s. 

Morgan has built a massive live following performing at major festivals across the world, including Coachella, EDC, Electric Zoo, Burning Man, and Ultra Music Festival, as well as countless shows in the world’s top venues and clubs. He typically tours nearly year-round and holds a Las Vegas residency at Daylight, having previously held a three-year residency at Wynn Las Vegas. 

Morgan also curates and hosts a weekly radio mix show, ‘In The Air,’ which airs on Sirius XM and broadcasting weekly uninterrupted for nearly ten years, and has surpassed episode number 500! 

Outside of music, his two main passions are the environment and technology, and particularly where the two intersect. The Tesla-driving producer installed solar panels to power his recording studio; he is always on the cutting edge and an early adopter and advocate of new tech. 

In 2013, he brought to life the groundbreaking ‘Morgan Page Presents 3D Tour,’ a forward-thinking, immersive visual experience utilizing 3D technology. In 2014, partnering with Oculus, DTS, and Alienware, he also produced the first-ever virtual reality lyric video for his single ‘In The Air.’ Followed by an Oculus partnership to produce a Gear VR mobile experience for his single “Open Heart.” Most recently, he’s produced music for Tesla and SpaceX. 

Morgan’s Quick Tips project is his way to pass on his vast wealth of knowledge and experience to an eager audience of musicians and producers, as well as the broader creator community, helping them crack the creativity code and improve their workflow. MPQT is comprised of a series of 750+ short-form tips and 50+ blog post deep-dives available online and in physical card sets. Recently Morgan partnered up with technology leader OWC to distribute the cards and connect with creators as a brand ambassador.

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What if your first gig ever was working with Jimi Hendrix? John Storyk talked about designing Electric Lady Studio for Jimi Hendrix, working with Eddie Kramer, The importance of Symmetry, live room vs mix room design and much more!

My guest today is John Storyk, registered architect and acoustician, is a founding partner of WSDG (Walters-Storyk Design Group).  He has provided design and construction supervision services for the professional audio and video recording community since the 1969 design of Jimi Hendrix’s Electric Lady Studios in New York City.

John Storyk received his architectural studies from Princeton and Columbia Universities.  As an independent designer, engineer and principal designer of WSDG he has been responsible for over 3.5k world-class audio/video production facilities, including studios, radio stations, video suites, entertainment clubs and theatres.  

His work includes private studios for Whitney Houston, Bob Marley, Ace Frehley, Russ Freeman, Taylor Dayne’s producer Rick Wake; Johnny Yuma Recording in L.A.; Greenway; C & C Music’s Robert Clavicles; Oven Studios (Alicia Keys); Roc the Mic (J-Z) and others.

Professional audio video installations include Soundshop, Nashville; Crawford Post, Atlanta; Talking House (San Francisco); screening rooms for NYC’s Planet Hollywood and Technicolor; conference facilities for Mercury (Polygram), EMI, CEMEX, Sumitoma; large scale educational and performance facilities for Full Sail/Platinum Post (Orlando), Ex’Pression Center for New Media (San Francisco), and Jazz at Lincoln Center / XM Radio (New York city).

He is a member of the American Institute of Architects (AIA), Acoustical Society of America, Audio Engineering Society (AES) and a frequent contributor to AES convention papers and professional industry periodicals.  John is also a frequent lecturer at schools throughout the nation. He has established courses in acoustics at both Full Sail and Ex’pression Center for the Media Arts and is an adjunct professor of Acoustics and Studio Design at Berklee College of Music, Boston.

As an architect turned music producer myself I feel very honoured to have John with us today on the show to see what we can learn about studio design and the ways it can help us make better records.

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What does it take to make great hip hop? Killah Trakz talked about MPC vs Maschine, the benefits of Presonus Studio One, how to upgrade your studio to PC, why your midi controller is giving you trouble, finding the J Dilla groove and much more!

My guest today is Patrick Rene aka Killah Trakz a Miami native rapper and hip hop music producer who has worked with artists like Iconz, Rick Ross, 2 Live Crew, and Uncle Luke to name a few. 

An analog junkie at heart adapting in the world of digital, Trakz has been at the forefront of the digital revolution of music distribution by having one of the most downloaded albums in the MySpace / Napster era titled “ Hoodz Prodigy “. 

Getting his start in '07 at a time when the "Internet" was at its peak of popularity for all advocates of music, sites like AcidPlanet, UGHH, MP3.com, and hundreds more were gaining more notoriety by the day. Within the first week, Trakz saw his debut album surpass 50,000 downloads with ease. Overnight Success was an "understatement" for what would follow.

After landing several placements with his production on numerous indie films, Trakz got calls from everyone wanting his sound. By 2008, his sound was hitting the radio waves but getting heard by millions by "ghost producing" for the likes of many of today's favourites.

I met Trakz through our Facebook group at Recording Studio Rockstars. He kept posting so many great hip hop songs that I knew I had to learn more. So I am excited to have him join us today on the podcast to hear more about his story and see what we can learn about writing, producing, and mixing hip hop in the digital age.

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From Spy To Sphere... Stephen Shirk talked about his Sphere console at Shirk Studios in Chicago, the intersection of espionage and audio, assisting at the Hit Factory, how to create a simple drum booth, recording bands live in the studio, and much more!

My guest today is Stephen Shirk an engineer, producer, and owner of Shirk Studio in Chicago. Originally from Bloomington, Illinois, he began playing in bands through junior high college at Miami University where he earned a degree in Business and Marketing. 

In 1998 he moved to New York City to chase his dream of working in a recording studio where he worked at The Hit Factory, Pink Noise and Three Tree Productions as well as assisting on sessions at many legendary NYC facilities like Avatar (Power Station), Clinton, Right Track, and Sound on Sound. Recording in New York also exposed Stephen to a unique artistic community beyond that of music. His collaboration with Nadine Robinson would ultimately land one of his sound designs in the Museum of Modern Art’s Tempo exhibit in 2002.   

In 2004, Stephen relocated to Chicago to continue producing and recording bands, creating sound for art installations, as well as providing audio services for the advertising community. This was the beginning of SHIRK studios. Through a chance meeting at SXSW in 2006, Stephen partnered with the music blog, HearYa.com, and began recording and filming the HearYa live sessions. 

The video series featured powerful live in-studio recordings of artists like Alabama Shakes, Delta Spirit, Other Lives, Patterson Hood, White Denim, Strand of Oaks, Rayland Baxter and many more. In 2013 he acquired the building that now houses SHIRK studios in Chicago’s West Town neighbourhood. Firmly planted in Chicago, Stephen records, produces and hosts sessions with some of Chicago’s most celebrated artists as well as those just getting their start.

I had the pleasure of spending a day at Shirk studio in 2019 when I hosted a mixing clinic there with Anthony Gravino. We spent the day listening to the beautiful Sphere console and I knew I found a new favourite studio in Chicago. Plus Stephen is the coolest.

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Should you really get the new Mac Pro? Marc Daniel Nelson talked about mixing with Acustica plugins on the new Mac Pro 16 core, finding the perfect headphones for mixing, why you should turn off your parallel plugins, and much more!

Marc Daniel Nelson is a Latin Grammy-nominated producer/mixer. He has been producing, mixing and managing creatives for over 19 years.

Since our last interview, Marc has been diving headfirst into the film and tv world for music. In 2018, Marc engineer and mixed the score for the film “Amanda” that went on to be nominated for the French Academy Award for “Best Score”. That following spring he mixed the score and music for the Ukraine film “Ya, Ty, Vin”, which was the last film Zelinsky Vladimir starred in before becoming president.

“Ya, Ty, Vin” went on to having the largest film opening in Ukraine history. In 2019 and 2020, Marc engineered and mixed the scores for a few Netflix originals movies. Outside of film score work, he has kept busy mixing numerous large action trailers and continuing work in the album world, with mixes for Francesca Battistelli, Eric Burdon / Ben Harper and more.

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What's the secret to mixing the Grammy-winning "Sound & Color" by Alabama Shakes? Shawn Everett talked about mixing in Pro Tools and breaking out stems through his API console for the Alabama Shakes & Kacey Musgraves, layering eq and much more!

My guest today is Shawn Èverett, a Juno and Grammy-winning Canadian producer, engineer, previously a guest on episode RSR137. In that interview, we talked with Shawn about his background schooling and his production and mixing philosophies. 

He has worked with many great artists including Grammy-winning Alabama Shakes, Weezer, Margaret Glaspy, Pete Yorn, Warpaint, John Legend, The Killers, Julian Casablancas, and The Voidz, Kesha, Har Mar Superstar, Local Natives, and many many others.

In 2019 he won his fifth Grammy for mixing Kacey Musgraves Golden Hour which included songwriting and production from Daniel Tashian and engineering from Craig Alvin both previous guests on the show as well. You can hear their episodes at RSR176 and RSR232. I’ll have these links in the show notes.

I have also become a huge fan of Sound & Color by the Alabama Shakes which Shawn engineered and mixed winning a Grammy in 2015. I feel like this record has set the bar pretty high for my own mixes.

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Bill showed off the new STX 600 Complimiter from Spectra1964, explained the importance of accurate phase in mic pre-design, why power efficiency is so important in 500 series modules, How to correctly set your input and output knobs and much more!

My guest today is Bill Cheney co-owner with Jim Romney of Spectra1964. Bill designs mic pre amps, eqs, and compressor limiters for studios following in the footsteps of William Dilley who founded the original Spectra Sonics company in 1964. 

Bill has been a guest on the podcast before to talk about the history of Spectra Sonics and Spectra 1964 on episode RSR227. So if you want to learn more about the background go back and check that episode out. Bill talked about the original Spectra 101 amplifier circuit, its original role in the military as part of the Minute Man missile defence system, and the history of the Spectra consoles at the Record Plant and Stax Studio.

Today Bill and Jim are taking the classic sound of the Spectra 101 amplifier and retrofitting it into 500 modules to allow us to get that same incredible sound in our pro and home studios. Bill has already brought us the STX100 mic pre, the STX 500 eq, and now has also taken the classic C610 complimiter design and found a way to add that as well bringing us the STX600 Complimiter Microphone Preamplifier.

So today we're going to catch up with Bill and Spectra1964 find out what's new and learn more about the new STX 600 module and how to properly record with them.

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Marc talked about engineering at Woodland Studios in East Nashville in the 90s, lessons learned from Peter Collins, Don Was, and David Leonard, and how to get an analog quality mix using templates and plugins in the box. Plus lots more!

My guest today is Marc Frigo a mix engineer, recording engineer, and producer based out of Nashville, TN with multi-platinum credits and over 29 years of experience. 

Marc started out in his hometown of Chicago in 1990 but relocated to Nashville, TN in early 1991 where he became a staff engineer at Woodland Studios. It was there that he was able to work with and learn from some of the best engineers and producers in the world, such as producers Peter Collins, Don Was, T-Bone Burnett, Tony Brown, Josh Leo, Jay Joyce and engineers David Leonard, Steve Marcantonio, Rick Will, Bob Bullock, Steve Tillisch, Bill Schnee, and so many others that were great mentors. 

During his days as an assistant engineer, he worked on projects with Bob Seger, Keith Urban, Restless Heart, Tammy Wynette, George Jones, The Divinyls, Nancy Griffith, Larry Carlton, Gillian Welch, and the list goes on. 

Eventually moving out of assisting and into engineering, Marc engineered and/or mixed projects for The Indigo Girls, K.T. Oslin, Nelson, Dez Dickerson (of Prince & The Revolution) Israel Houghton, Jewel, and Future Leaders of the World to name a few. Marc also recorded and mixed the "Larry Boy" theme song featuring Nicole C. Mullen for the popular Veggie Tales children's video series, which went on to sell 15 million copies.

Marc And I Met when I was interning at Woodland and I’m psyched to be reconnecting 25 years later!

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Dana talked about her father Tom Dowd and shared stories of growing with Eric Clapton and The Allman Brothers at Criteria Studios, recording Aretha Franklin and Charles Mingus, Tom's work on the Manhattan Project, and writing her fathers mémoires.

My guest today is Dana Dowd whose father was the legendary Tom Dowd an American recording engineer and producer for Atlantic Records with a credit list of top artists in jazz, blues, doo wop, soul, and rock records spanning 5 decades of recording from the 50s-90s.

Credited with innovating the multitrack recording method and linear console faders from their original round knobs Tom engineered through the various phases of recording technology starting with direct to disc all the way through analog tape 2 track, 4 track, eight-track, 16 24 and finally Pro Tools in the 90s.

His first hit in the 50s was Eileen Barton's "If I Knew You Were Comin' I'd've Baked a Cake". And he went on to record popular artists such as Ray Charles, the Drifters, the Coasters, the Spinners, Ruth Brown and Bobby Darin. 

He recorded iconic jazz records by John Coltrane, Ornette Coleman, Thelonious Monk, Charlie Parker, Charles Mingus, and Herbie Mann and continued through other genres of music recording Eric Clapton, Lynyrd Skynyrd, Black Oak Arkansas, Derek and the Dominos, Rod Stewart, Wishbone Ash, New Model Army, Cream, Lulu, Chicago, the Allman Brothers Band, Joe Bonamassa, Robin Gibbs, Meat Loaf, Cher, the Rascals, the Spinners, Willie Nelson, Diana Ross, the Four Seasons, Kenny Loggins, James Gang, Dusty Springfield, Eddie Harris, Booker T. & the M.G.'s, Otis Redding, Aretha Franklin, Joe Castro and Primal Scream.

I met Tom’s daughter Dana Dowd more recently when she wrote a glowing testimonial as part of our movement to help save home studios in music city. Dana is an outspoken supporter of the music industry, and expert on her father and his work, and a successful business person and entrepreneur in her own industry of brand marketing.

So It’s an honour to have Dana joining us on the podcast and today we are here to learn more about her dad Tom Dowd and what it was like to grow up around so much incredible music that influences us all.

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