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RSR044 – Jim Reilley – How To Write A Song For Music Row (Or Not)

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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.

RSR044 – Jim Reilley - How To Write A Song For Music Row (Or Not)

My guest today is Jim Reilley, a songwriter, producer, and recording artist from Nashville TN. I’ve known Jim for years as an incredibly prolific songwriter, and have been Jim’s recording engineer when he was producing for the artist Stephanie Quayle.


Jim’s band The New Dylans with Reese Campbell started back to 1986 when they recorded with the rhythm section of 10,000 maniacs and landed critical acclaim for their “folk rock” sound. Michael Stipe of REM called them one of his top ten bands for 1986. The New Dylans continued through breakups and makeups over the decades that follow, and have more recently released a new album called Meta, with Robert Reynolds of The Mavericks, and Ken Coomer of Wilco.

The New Dylans - [Can't Go Home] Again


Jim moved to Nashville in 1998 and landed a publishing deal with Curb Publishing where he wrote songs for nearly a decade. Over 45 of Jim’s songs were recorded by artists including Vince Gill, Hal Ketchum, Jack Ingram, Tim O’Brien, Sam Bush, and many others.


I know Jim from the studio as a producer, where he is also very prolific, and is often producing sessions back to back. He has a no bullshit fast and fearless production style that demands great performances from the musicians, and might track more than 10 songs in a single day.


I split my personality in half where I’m partially writing songs, partially producing songs, and partially perform and make records on my own”

Jim Reilley

Songwriting

The words on some of the songs that really inspired me, it’s amazing that there’s only like two verses and a small chorus. Here in Nashville everyone’s like, “You got to have a bridge and the second chorus has to be different...” Not really. Some of the songs are so small and brevity is really important. I also feel like in the studio, knocking them out quick doesn’t always work. You don’t always have the luxury of having a great engineer or great players or great artist. I've always admired and studied the work of Brian Wilson (Beach Boys), George Martin and Geoff Emerick (Beatles). 

"Everyone that wants to get in this business should see this!" - Jim 

What Do You Do When You Produce A Record?

That’s a good question and a lot of artists want to know that too when it comes to money. It’s different for every artist and every production I do is different in one sense and that is that I kind of look at the artist I’m working with and decide how much influence or intervention there should be on my part. Typically an artist that I produce usually I’m a fan of, most always now. A lot of times I’ll just let things happen and then arrest something that isn’t working too well as opposed to getting too heavy handed and oppressive about it. I’ve seen where producers have been that way and it works sometimes, but I don’t like to be that guy. My whole philosophy when I produce somebody is I always say... What I’d like for you to do is have a record where you can meet a random stranger in an airport and after they ask, “Well what do you do, what are you all about?” You just hand them the cd and you don’t have to say anything else. This is the kind of music I do. I don’t have to say, ‘Eh it’s kind of folky poppy, but it’s blues and it’s cajun.. The music will speak for itself. If I did my job right, then they are proud enough to give that without having to say, “Well the producer wanted me to do this, but I didn’t want to.” I’ve had so many people give me projects that they’ve done where they’ve had to qualify virtually every song on the record. I just want to listen to it. It does me no good to produce something for someone that they aren’t happy with because ultimately I want them to be proud of it and give them what they ask me for in the first place.

What About Your Internal Process of Inspiration, How Do You Approach That?

I don’t like to script a lot of stuff so much because then I feel like I’m kind of tethered to that, but it does help when you’re trying to move fast. Sometimes you do need to hear it to know it’s wrong. I’ll be the first one to do an experiment and say, “this probably isn’t going to work, but for me can you just take two minutes and try this.” I’ll never be a guy who says, “No, absolutely not, we can’t do that.” After I hear it and it’s terrible well then I’ll say that, but until then I always like to try. 

“I’ll never be a guy who says, “No, absolutely not, we can’t do that” - Jim Reilley @BuddyCruel

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What are the Basics of Copyright?

That’s a tricky thing. So much music is so easy to get to now. That even trickles down here in Nashville to even playing the songs live. A publisher will tell a songwriter, “well don’t play that at the Bluebird because someone else will hear it and rip it off.” Half of me is like, well maybe. That does happen, it’s happened to me! But at the same time where are you going to play? What are you going to do? Just be careful. As a writer you have to have this sort of attitude that well if they want to take it and do it better, let them try. For Youtube, I would try it as long as it’s copyrighted. There’s form PA and form SR. From PA is the actual copyright of the song. So you write the words and the music, that is a copyright for that song. Form SR is the form of the sound recording. It copyrights the recording, not the song. You can do multiple songs so basically if you do a record you copyright the whole record on form SR for one price. Whereas form PA you send a recording of the words and music with a lyric sheet. Some people will mail it to themselves so they have the postmark on it, but it’s just safer to do through the copyright office (You can do all of this online) Then your song is copy written! If you have some crazy mojo on this vocal or crazy guitar sounds you came up with that's really exclusive to your song, use copyright form SR so the sound of the song is copy written. A lot of times there’s so much music going on that just getting noticed is a success story these days

What Makes a Great Song?

That really depends on a lot of factors. I don't really think anyone knows, maybe paul mccartney might know. I think everyone knows when they hear one. To me a great song can be the riff, it could be the hook, it could be the melody, it could be the drum part. When I produce artists I ask them to make me a list of songs either for spotify or on a CD of what songs they love and why. What about that song do you love? Is it the vibe, is it the mood, is it the drum pattern, is it the vocal? So it helps me do shorthand. So we go into the studio together and make a record without having to explore all those options (we do sometimes), but this way I know what you do and do not like going in.

“If I get writer's block, I’ll go back and look at the things that influenced me” - Jim Reilley @BuddyCruel

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Jam Session 

Q - What was holding you back at the start?
A - Probably my lack of knowledge or my insecurity. I was kinda like I don’t really know what’s going on. The only thing I learned was that no one knows what’s going on, so just go for it.

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

A- Musically as a songwriter. Roger Sovereign who was at the time the head of BMI. When I first got here 20 years ago, I met with him and he loved what I was doing he said, “There’s two kinds of songwriters that come to Nashville. One that comes here and looks around and says, ‘Oh Shit!’ and goes back home. And the other looks around and says, ‘Yeah, I can do this.’” After that, there’s two decisions you have to make. You either become a songwriter that writes for the market and is a co-writer and writes specific songs for a specific type of role, or you just write songs. Chances are the writer that writes for that specific need is probably going to be a lot richer and a lot better off monetarily, but not necessarily as a fulfilled artist. So you kind of have to decide are you going to be the writer that writes for the market and notices all the trends and not necessarily writing a lot from the heart, or do you just write songs and hope they get home.

“I think getting cuts in Nashville is tough and it’s getting harder and harder” -Jim Reilley @BuddyCruel

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Q- Share with us a recording tip, hack, or secret sauce.
A -  Doubled vocals, old school. I love a doubled chorus. I love little ear tricks, ear candy, so it’s not so much about you must always use this converter or this microphone. That being said an SM7 goes a long way for a vocal mic. There’s also no replacement for a well tuned drum set. There’s a lot of great records that sound like hell because the drums aren’t tuned right. You know there’s some great drummers in town that know how to tune a kit and its magic when it’s tuned right.

Q - Share a favorite hardware tool for the studio
A-
 The SM7 is one of my favorite mics. There’s so many people that do mic shoot outs. You know who didn’t do those? The Beatles, The Rolling Stones. I think its kind of silly in a way, just sing into the microphone that’s there and make it work. That being said, the SM7 is pretty rugged and a universal mic so is a U87, but you can’t really go wrong on that on vocals for almost everybody.


Q - Share a favorite software tool for the studio

A -I guess I would say Abbey Road Samples on Reason. Those are amazing and they sound great and fit into a track really well. Its funny a lot of times those fit better into a track than a real piano.

“Being a people person is really an important qualification to being a producer” - Jim Reilley @BuddyCruel

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Q - What are some tools that are part of the writing and creative process that are really useful to you?

A - It’s really hard to get away from the iphone. There’s a thing called music memos with drums and everything. It doesn’t lock in all the time, but I love it! I also use the guitar toolkit app, it’s like $10. I use a lot of open tunings and it allows me to list and catalog every open tuning I have. Basically you just write in the notes and you can hear the strum.

Q - Whats a process for you for capturing a song?

A - It’s difficult for me because I can’t read music, so I can’t write down notation and stuff like that and I don’t read number charts. I just memorize the songs. That requires a lot of mind work on my part, but it’s the only way I know how to do it.

“Sometimes that’s what makes the great song, the wrongness of it” - Jim Reilley @BuddyCruel

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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 wouldn’t probably be much different. I would have to find a studio that I could work with and camp at. I don’t really have the mind to find a rig. I guess I’m not a studio rockstar just more of a pretender. I admire it, I appreciate it, and I know enough. But I would have to find a good place that I would be comfortable in to create. If I did have to get something that I would have to have at home, I would get a good laptop and someone to show me how to use ProTools.

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

A - Listen a lot. So much time is spent on creating and that’s really important too, but make your music. Make it so you like it. Please yourself. It’s not really about anything other than pleasing yourself at this point. But at the same time I think it’s really important to listen to what has come before. So you know what not to do, or what to violate, or what to emulate, because you’re not the first one doing this. It’ll inform you in a lot of ways.

Contact:
TheNewDylans.com
New Dylans Facebook
Jim Reilley Facebook
Check Out Jim's Solo Album!!

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

RSR037 – Tommy Wiggins – Tommy’s Tracks

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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.

RSR037 - Tommy Wiggins - Tommy's Tracks

My guest today is Tommy Wiggins a singer/songwriter, producer, educator, and mastering engineer now living in Nashville TN. He began his career in Minneapolis as an award winning recording artist releasing many records through the 80s and 90s, and even establishing his own record label called Chilidog Records to focus on alternative music.


With his experience in recording music, Tommy then added teaching audio to his resume at the Minneapolis Hennepin Technical College and later as the program director for Cuyahoga Community College's department of recording arts in Ohio.


Tommy is also creator, host and artistic director of five-time Emmy® winning music interview program “Words & Music” and concert performance program “Crooked River Groove” with 400 episodes since 2001.


More recently Tommy lives here in Nashville TN and records and masters music from his own studio, Tommy’s Tracks.


Singer/Songwriter


Tommy is always writing, recording and performing his music, as a solo artist, with the Americana vocal duo “Wiggins and Haack” and with his Baja band “Los Hombres Del Norte.”

Check out his solo Album Cool Saturdays



“You record because it’s coming out of your soul”

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Mastering Engineer

I’ve been mastering records since the early 90’s. I remember buying my first 1GB, used hard drive for $1,000 and a 5 pack of CDRs for $150. If you screwed up you had the world’s most expensive coaster. Mastering really is a niche that not everybody can do. My ears have really refined and tuned so I’m thinking in half DB increments, and its not what frequency but how wide of a curve (Q) you have or how narrow. To me I want to make records that I would want to listen to, so what I do is really have the artists and the producers back. What is the intent of the record? You have to try to make a really great listening experience for the listener. You want them to put the headphones on and to defy the norm of today of being able to shuffle through your day on your phone. I want to take them away on an experience. You shouldn’t be mastering with that L2 plugin you have because you don’t know where your frequencies are. I have speakers that cost probably more than your car, and I know exactly what the frequency response should sound like. It's a thing where you really have to give up your control at a certain point in order to make a better sounding record.

“The best way to be a producer is to be prepared”

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Producer

Tommy's Tracks

Tommy's Tracks was designed for Tommy. The whole idea is to be able to record a five piece band and a vocalist at once. I’ve always wanted to put together a studio band and be able to make music whether it's mine or me producing someone else. The space is like a clubhouse with a spa. The idea is to create a nice space where people can come and hang, that sounds good, and everything is there. The keyboard part of me is well represented as well with “20 feet of keyboards,” all plugged in and ready to go.

“There’s two kinds of recording: you’re either documenting or you’re creating. Choose one”

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Jam Session 

Q - What was holding you back at the start?
A - Myself. I was holding myself back because I was insecure with the technology. There's a book called Modern Recording Techniques and I had it by my bedside for several years. I’m the kind of learner that can only read so much, but I need to get in there and do it. Knowing what my brain is like and finally coming to grips to say I’m going to make a bunch of mistakes and I’m just going to do it until I think it sounds good and then remember what I did.

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

A- To be prepared. Go in and know your song, you’ll waste less time in the studio; practice your butt off. Being in Nashville as a musician, I look at myself as the luckiest guy in the room because to be better, I can hire and work with people better than me and then I aspire to be better than what I am. So I’ll rehearse and rehearse and have that song down cold. No matter who you have in the session, you’re the cat on the date right now. They are going to play the songs because they are professionals. You have to meet the expectations of them.

“Everybody in the world wants to belong to something bigger than they are”

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

A - A secret sauce is: less is more. The less you play the more space you're going to create and the more drama you can create. Eventually, the easier it's going to be to mix. One thing I learned early on, if it's not going right, I’d try to add another instrument. Instead, get the best sound you can out of each instruments and all of a sudden you can have less instruments and each one sounds like a million bucks.

Q - Share a favorite hardware tool for the studio
A- 
1176. I bought my first one for $250, I still have it 30 years later. I have had the same vocal chain for 20 years. Which is Neumann 582 with a large capsule (its an east german Ghelffly thing) into an API preamp 512 into an API 560 EQ, into 1176 into the channel.

“We used to have to arrange our song because we only had so many tracks”

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Q - Share a favorite software tool for the studio

A - I use Wavelab for mastering and its really a great DAW, but I’ll also use ProTools. I used to be the director of the school we had 80 Protool systems and you had to deal with all the changes with computers and everything so I totally respect the modern DAW and totally respect the trouble you can get into from using it. Wavelab is designed specifically as a mastering software, but it can do other things.

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

A - No matter who you are, if you're just starting out a really good resource is someone who’s been doing it longer than you that you can play yours stuff to and ask for advice, and have it come back where it's not a criticism but a critique. You can learn from that and do better work from. Everyone needs mentors. I think you need to find mentors whether they are online or not.

“Everyone needs mentors”

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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 - In terms of recording, you need to figure out if you’re a documenter of two track, but chances are you aren't. If you’re a multitrack recorder find yourself a really good 8 channel interface that has really good converters built in, get yourself a laptop, and then use the best cable you can. Buy yourself some good cables or learn how to solder, buy as good of a mic as you can buy: condenser, ribbon, dynamic. For years and years I had a RE20 and a 57 then I bought my first 414 condenser. Then I’d get yourself a good chain and that will take you years to put together. Money doesn’t grow on trees and that stuff costs a lot of money one channel of anything costs $500 and that's buying used stuff. Really its your ears and ability to identify what something is going to sound like recorded in a certain room. So if you don’t have all these plugins, you probably have different rooms in your house that each sound different. Finding people to play music with can come from anywhere.

“If you want to be a better engineer, record better musicians”

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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 you need to surround yourself the best musicians you possibly can because by recording them you’re going to be better at being an engineer.

Contact: TommysTracks.com
Email: Tommy@Tommystracks.com
Facebook: Tommy Wiggins 
Wiggins & Haack

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

RSR032 – Slau Halatyn – BeSharp Studio

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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.

RSR031 - Slau Halatyn - BeSharp Studio

My guest today is Slau Halatyn is a recording engineer, Producer and owner of BeSharp Studio in New York City where he specializes in classical, jazz and musical theater recordings as well as rock and pop music.


Slau has credits with many Grammy, Oscar, and Tony-winning artists like Steve Houben, Ulysses Owens Jr., Vince Giordano, Dennis Diken, and Shawn Pelton to name a few. But you might be more likely to know these names for the artists and bands they represent such as Steely Dan, King Crimson, The Smitherines, James Taylor, Hall & Oates, Cassandra Wilson and Wynton Marsalis.


He is also the host of a great podcast called Sessions With Slau where he takes you behind the scenes at BeSharp studio to listen to excerpts from sessions, gear reviews, and equipment shootouts. Go check out some his past interviews with Rockstars like Ed Cherney, and MixerMan.


And I have to give a thank you for today’s interview to one of our own Rockstars, Jose Neto, who enjoyed listening to my interview with Blessing Offor so much that he reached out to connect me with Slau for this interview.


What do Jose, Blessing, and Slau have in common? They are all blind recording engineers, and make great records despite this obvious obstacle. In fact Slau works directly with AVID to help make Pro Tools accessible for blind and visually impaired audio engineers and musicians.

Engineering with Visual Impairment 

What is it like to record using only your ears?

I was trained at a time where everything was quite tactile so I was working with consoles that had dedicated EQ buttons, faders, etc, and that's why to this day I still prefer to mix using a control surface because its so much faster for me. Back in the day when I was working with tape, I still had enough residual vision to be able to see a VU meter. Over time I wouldn’t look at the needle so much as I would the peak light.

How do you address a level now? Is there a method to let you know you’re peaking other than sounding like it distorting?

In ProTools the UI elements are actually exposed to the built in screen reader in OS10 which is known as Voiceover, so I can keep track of that. I don’t worry about preamps so much. I got to the point where I use my preamps so much, I just happen to know pretty much exactly where to set those pre’s for an average singer. I usually keep them -10, -6 maximum.

“When you work with great musicians... they make you sound great”  @SlauBeSharp

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Slau on Plugins

How do you compare different plugins?

Everything with plugins, as far as the way voiceover sees it in ProTools, is just parameters. You see what the parameter is, what it’s value is and you can boost it, cut it, change the frequency, etc, but you’re not at all influenced by what it looks like.

Are there some new plugins that have new settings that are remarkable to you?

Plugins like Sound Radix drum leveler. Holy shit I am stunned by what it can do in terms of gating and stuff like that. I could never get that result or effect with any other plugin. The SPL transient designer. I used the hardware unit once in a rental situation, but I did know that was something I wanted to look into, so I got the plugin. It’s just fantastic. I usually ride things into the SPL designer.

Jam Session 

Q - What was holding you back at the start?
A - I don't think there was anything holding me back per say. When I was kid Music/Recording didn’t seem like that viable of an employment option and It did take me years to get to that point. I just didn’t think that I could do that for a living.

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

A- Two things. One relates a little bit more to music. My old piano teacher said “A musician, no matter how good they are, can only be at one gig at a time. Meaning, there a plenty of gigs out there for the taking. So it doesn’t matter if you’re the best. There’s always going to be something for you. The other piece of advice is “Talent will not get you the gig, but talent will allow you to keep the gigs you get."

“Talent will not get you the gig, but talent will allow you to keep the gigs you get” @SlauBeSharp

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

A - There’s this one thing that I started doing on drums room mics. I’ve asked a lot of engineers and I haven’t heard of anyone doing this. It is to take a blumlein pair of ribbon mics and point the nulls at the drums. So then what you’re getting from those mics, is just room. Yeah you’re getting some direct signal, but it’s a way to get a room sound that sounds even bigger than if the mics were facing a drum kit. Then it’s just getting the corners of the room. Then take that and crush the shit out of it. It’s Fantastic.

Q - Share a favorite hardware tool for the studio
A-
If I had to start all over again, The first thing I would buy would be the Microtech Gefell um70’s. They are fantastic, they are my favorite mics, and I could record anything with them.


“To me recording music is sacred. It’s something that's so deep and so moving” @SlauBeSharp

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Q - Share a favorite software tool for the studio

A - Waveburner from Apple. I still use it to this day. It runs on the latest version of OS and I love it. It’s fantastic just to make DDP files or anything like that. I use it all the time.

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

A - Use Square. The studio at one point used to just be cash or check. But since, I started using square last year, It’s fantastic. I mean, if you’re not taking credit cards there's like no excuse.


“Who cares what tool you’re using? It’s what you’re doing with it” @SlauBeSharp

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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 - I think people generally know that a laptop is the way to go with some type of either apoggee or UA basic interface. Then get a couple of mics. Then you know, get involved in the music scene. Just go out there, meet people, hang. There’s like no replacement for that. Because you can do all the science experiments you want in your studio. But if you don't get out there and meet people it's not going to lead to anything. You have to network. I would volunteer to record a few live events. I might also undertake recording things like panel discussions, conferences and not only music venues. Audio is required everywhere.


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

A - I don’t think there's a single most important thing. Because, you as a human being are a whole person. You are not a pro tools operator, you are not a person who knows what the business end of a 57 end. You a person with a personality, you are a person with opinions, a person with interesting things to say. I think that you as a person, has to try as a person to become the most knowledgeable, the most fun person to be with. People are going to come to you because they trust you, and feel good about being around you, especially if you have an 8 or 10 hour session in a day. I think you have to become the best all around person that you can be in order to become a rockstar. It doesn't matter how much you know, because if you’re an asshole no one's going to want to work with you.

Contact:
Email - slau@besharpstudio.com
Twitter - @slaubesharp

Nick Bullock

RSR030 – Nick Bullock – 52 in 52

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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.

RSR030 - Nick Bullock - 52 in 52

My guest today is Nick Bullock, a musician, teacher, producer, songwriter and music blogger. Nick has been an educator in music as well, founding a successful music school in Ithaca NY while playing and recording music with his band, The Sound Awake. And after years of running his business, playing in a band, and producing both his own records and others, he made a leap of faith and moved to Nashville TN to pursue his larger vision for songwriting and recording.


With his move to Nashville, Nick decided to focus on his own music. He built his home studio, and began to rehearse, write and record with a passion. In 2015 he launched an intense studio project with his band called 52 in 52 where he committed to writing and recording 52 songs in 52 weeks.


Nick’s intense journey has produced some stellar recordings, a blog, and also led to new productions with new artists. I am psyched to be here at Awake Studios to speak with Nick and learn more about the process of creating on such a high level.

What is 52 in 52?

52 songs written, recorded, and released in 52 weeks. Inevitably by the end I wasn’t able to release one song a week for a variety of reasons, but by the end of the 52nd week all of the songs were done and released on my SoundCloud page. Everything that I released, I’m not necessarily happy with it all, but there's at least one thing in each song that I really like. I view songwriting as a craft, so not everything that I write has to be great, not everything that I write has to be done, you just have to do it. Big thanks to Kevin Harper, Tom Elefante, Greg Herndon, Brain Cox, and Clark Singleton who supported and participated in the project. 

Check out Nick's 52 in 52 Blog!! 

“I guarantee you every single person no matter how brilliant they are has felt the fool before” 

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Nick Bullock - On Goal Setting - 

Holding yourself accountable is one of the hardest things, but also one of the most important things to do. If an idea comes to me more than once, then I have to do it. Setting and reaching goals builds confidence and self esteem. You learn from the trials and tribulations as much as the successes if not more. For me, it’s part of my everyday life. I’ve always been self-employed so goals are just part of who I am. Advice on completing goals is number one break it down to a bottom tear goal as you possibly can. If your goal is to write, record, and release a song, it’s really about breaking those goals down into a really easy digestible pattern of behavior that you know you can complete.

Jam Session 

Q - What was holding you back at the start?
A - I would say what was holding me back was confidence and lack of experience. [As far as starting 52 in 52] stress was holding me back. Just the overall overwhelmed feeling of trying to be a human being and make enough income for the family of now three and trying to finish all of this at once. I don’t know if it held me back, but I definitely have more grey hair on my head then needs to be.

Q- How did you get past that initial fear?
A - The courage part is the biggest factor. I’d be the guy that went first, just get it over with. I have no problem making myself look like a fool. Whether it was asking questions of engineers that were mixing my songs about equipment or tape hiss or whatever. I guarantee you every single person no matter how brilliant they are has felt the fool before. It’s just a universal thing that’s a part of life and the quicker you can get over that, the better you’ll be.

“Imagination is where the genius lies in all of us”

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

A- I think how to stay organized is probably the biggest ones, and my wife was really good at talking me down. Just having somebody in your corner, whether it's your mom or wife or whatever. Having a brotherhood and sisterhood out there to just give you support is a huge thing. In every creative process an idea that is born that’s new and different has the potential to be great. But if there's no support system for that idea, it's just going to wither on the vine and die. Surround yourself with people who support you and have your back. From Steve Jobs to Einstein to Mozart to John Lennon. Every kernel of new idea they had was new to the world at the time. I guarantee if they had been in a different position, there would have been somebody that said this is a terrible idea and a waste of time! Look what the world would have lost out on. Surround yourself with love, man.

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

A - One of the more fun ones for getting a good vocal sound is using clip gain (gaining down the actual wav file before it ever hits the plugins in your mix) instead of a D-esser of some kind. I’ll go through and highlight the section in protools and cut it out (apple + E) and use clip gain to really adjust the breaths or consonants. I’m pretty sure you can use that in logic too.

“I think there’s huge value to be learned from other people’s mistakes, experiences, and knowledge”

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Q - Share a favorite hardware tool for the studio
A-
Probably my 335 or my 65 Twin. I do everything in the box, but all of my investments all kind of stem from instruments first. It goes from instruments to microphone to preamp.. All that sexy stuff comes after. But it's really those first three that are most important in capturing a great sound. So the bulk of my career has been investing the those. My Wurlitzer is a beautiful piece of vintage gear. My piano, I know exactly what it does, but my 335 is probably my favorite.


“I’m more of a melody and chord guy” 

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Q - Share a favorite software tool for the studio

A - The UAD stuff is amazing. The Apollo Quad is my interface and I use ProTools. Some of the Waves stuff is decent too!

“Holding yourself accountable is one of the hardest things, but also one of the most important things to do”

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

A - I just downloaded this app called invoice2go that's very handy. One important lesson I’ve learned is when you’re cutting a record talk to who’s cutting the check.

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 - If they want to make a full time living maybe that’s a different set of parameters. For me, since I did it directly. I was lucky with the selling of my previous business to give myself some buffer. As far as something practical, I like to spend my money on the front of the chain rather than the back of the chain. Don’t spend money you don’t have to. Settle for a laptop and interface of some kind. The Apollo is really great. Then you have this library of plugins that come with that and all you need is a guitar and a mic!


“I’m just not interested in playing it safe”

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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 - Always be open to learning from anybody and everybody. Always have a mind of curiosity. Be generous with your presence. 

RSR024 – Jonathan Roye – Woodshed Audio

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.

RSR023 - Jonathan Roye - Woodshed Audio

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. 


Use code RSR15 at checkout for 15% off just for you Rockstars!

GET A FREE SAMPLE PACK FROM

WOODSHED AUDIO

Come check out Jonathan's awesome sample and loop library!! 

“Putting out music consistently is important” 

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Jam Session 

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

A - I remember in high school one of my of my lesson teachers told me, “the sooner you stop approaching music like a student and giving myself a handicap, and the sooner I started living and prioritizing like a professional, the sooner it will happen." I remember he said that and five switches went off in my head, and everything changed

Q- Share with us a recording tip, hack, or secret sauce.
A - Find a mentor. That’s the biggest game changer. It’s so easy now, there's so many podcasts, blogs, youtube videos, pensado’s places, AES conventions. The key is getting the right advice from the right people.

“You don’t need a $10,000 dollar set of speakers. You just need to know one set extremely well” 

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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.


Q - Share a favorite software tool for the studio

A - I’m a big fan of the Universal Audio stuff. Plug-ins sound so good these days. The Slate stuff is great, Fab Filter, Greg over and Kush Audio makes a lot of great stuff.

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

A - I’m a big fan of Seth Godin. He has a book called The Dip. Its an easy read, it’s a small book. There's a whole saying “winners never quit, and quitters never win.” The book explains how that’s kind of bullshit, because winners quit all the time. They’re just quitting the right things at the right time strategically.

“When Mixing, I’m always thinking, how is what we’re going to add here going to affect the mix in 15 seconds”

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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 - You know you have to have a rig, you have to have a way to record people. I’d probably save up and get a laptop. I’d get an apollo because you can pretty much build an empire with one of those things. I’d get an SM7, and your pick of a 300-500 dollar condenser mic. Then you have to start meeting people and play all the cards you have up your sleeve. Whether that be online stuff or in person stuff.

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

 A - Just work. I always tell kids to go home and put a LLC or a .Inc behind their name, then just learn from everyone, everywhere, and don’t show your cards to anyone. Maybe someone comes along and they’re better than you. It doesn’t really matter. Then you just work. Worry about your thing. Try not to compare yourself to anyone else. Every now and then, stop and see how far you’ve come. You’d be surprised how much you can make happen.

Bob Olhsson

RSR023 – Bob Olhsson – Motown Records

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.

RSR023 - Bob Ohlsson - Motown Records

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!

Motown Records

The Motown Control Room


                           BOB ON MOTOWN


"Motown was the first really successful black owned record management company in the world. The two most successful labels ever were Motown and A&M owned by Herb Alpert."

"Prior to the early 1950s, major label studios used 4 mics, a selection of RCA 44s and 77s (typically figure8) used as overall pickup and spot mics. The pick up mic typically on the floor in front of everyone, one for soloist, one for rhythm section, vocalist, etc. Glen Miller & Duke Ellington Orchestras, Andrew Sisters, all recorded this way."

"We invented 'Punching in' or 'dropping in'. On an analog machine you couldn’t punch out We were the first place that had multiple sends on the console, used them for three different kinds of echo. It was never called reverb until Lexicon came out, that was a Lexiconism."

"Motown was a photo studio before it was a recording studio. It had a soft pine floor, that turned out to sound freaking incredible."


Jam Session 

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

Q- What was some of the best advice you got early on?
A - Keep the session moving. Don’t let the musicians get bored, that came from one of my main teachers Cal Harris who came from Goldstar.

Q- Share with us a recording tip, hack, or secret sauce.
A -
Avoid headphones. If you’re overdubbing set up a speaker and a mic. That's how everything was done prior to 1965. Play the track back out in the studio and have the cardioid mic face the singer facing away from the speaker. There was really no risk (of bleed) of playing something that was going to taken out of the mix.

"We used RCA 44s and 77s for everything." - Bob Ohlsson

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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. 

Q - Share a favorite software tool for the studio

A - I use protools for recording and mixing. I use Samplitude for mastering. I use Samplitude because it lets you set up a processing chain in each song file. It's very convenient for recalls. Plugins are like a drawing of an old piece of gear, some of work fantastic on some things and awful on others.

“There's a lot of dumbed down music out there that doesn't have a lot of human interaction that communicates emotion.” - Bob Ohlsson

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

A - Couple basic things to understand, first off the only thing you have to sell is your audience, it's not about selling the music. The music is what you do for the audience but from a financial standpoint the ears are what is for sale. The relationship with the audience is everything. The other thing to understand is the artist is a brand. The artist that has it figured out the best that I’ve seen is Jimmy Buffet

“Human beings make great music” 

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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 - I have no idea. I bumbled into it when I was 16 and I kinda started at the top. It’s been just trying to figure on what the hell is going on since then.

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

 A - Always be the dumbest person in the room. That means go find people who are really talented and find a way to work with them.


RSR022 – Michael Hardesty & Stephen Turney – 24HrRecords

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.

RSR022 - Michael Hardesty and Stephen Turney

24HrRecords


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

Michael Hardesty

24 HR Records

Stephen Turney

“We bring musicians together that have never met and make them write on the spot” @24HRRecords

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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.

“There’s nothing worse than getting halfway through a project before talking about money” @24HRRecords

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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.

“Educate yourself in music. You do that by listening to good music and playing good music” @24HRRecords

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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.

“You can’t stop cool” @24HRRecords

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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