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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

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

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!!

RSR045 – Roger Alan Nichols – Recording Vocals With Steven Tyler

(Press play on the green strip above or listen on iTunes with the link below)

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.

RSR045 – Roger Alan Nichols - Recording Vocals With Steven Tyler

My guest today is Roger Alan Nichols, a producer, recording engineer, rock musician, and songwriter from Nashville TN.

He is owner of Bell Tone Recording in Berry Hill where he produces great sounding rock. In fact when I recorded my record Skadoosh which includes the track "American Winter" on the Mix Master Bundle I turned to Roger for guitar tones, borrowing the Bogner, and Bassman guitar amp heads for my sound.

Roger started out in Nashville with his band Dreaming In English as an artist and later moved to production and engineering after Pro Tools made it possible for him to create professional home studio. He has since moved to this beautiful commercial location at BelTone Recording and records with many country and rock artists.

Some of the Rockstars that Roger has written for, performed with, produced, or recorded are Paramore, Mix Master Mandy, Seal, Ryan Humbert, Robben Ford, The Mean Tambourines, The Campaign 1984, Tyler Bryant, and Steven Tyler

There's no competition for this place [Nashville], LA would like to think that they could compete, but there’s no way. I mean the musicianship in town, the ability to write, the emphasis on recording and the recording arts, the facilities that we have here, the cost of living, it just seems like in Nashville people get to work, roll their sleeves up and do it.”

Roger Alan Nichols
Why Nashville? 

Touring Professionally Early

I toured with this company out of Florida that produced bands that toured high schools. You know as a young songwriter this is probably the best thing that ever happened to me. We did three to five shows a day for ten and a half months straight and it was doing assembly shows in high schools. And one of the things that we had to do is we had to learn a song or two a week off the top 40. Depending on the area that we were in whether or not it was Louisiana, Detroit, or Alaska, wherever we were, we would have to do what was hot in that area. So as a young songwriter we were always learning how to play these songs that were hits.

There were really two things that happened on the road in those early years for me that really helped me understand a lot about songwriting and putting songs together. First being that we had to constantly learn hit songs. You start to identify things in songs as to why it is a hit. Then the second thing that happened in 1981 I had my parents cosign a loan for me for $1,300 and I got a Fostex 4 Track. It was gigantic! I would spend my free time writing songs and I would use the 4 tracks to kind of work on arrangements and guitar parts. As I started to learn how parts worked together and how tones can work together, it was a very interested period and I look back at it. Parts of that time felt like a waste, but some of the stuff that I learned as far as playing the songs and learning the songs and having the discipline to work on a 4 track every night, I learned a hell of a lot.

Musicians Relationship with Technology

With technology providing opportunities for people to record and to write and to create art, the thing that is always in the back of my head is just because you can, doesn’t mean you should. That I think is one of the biggest obstacles right now with music. The fact that technology has allowed us to create really great sounding stuff with no filter. Now from an artist's standpoint, I love that, that’s the way it should be. The way the business is now the gatekeepers are gone and everyone applaudes that. But the bad news is is the gatekeepers are gone. So there’s a lot of stuff out there that’s really mediocre. A lot of stuff that is put out that should be developed better.

“Just because you can, doesn’t mean you should” -Roger Alan Nichols @BTrecording

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The way records are made now is we send files around. I’ll get a track and record a guitar part and I’ll send it off to someone else and then they’ll add something and whenever they start to mix it, whoever mixes it you end up carving the hell out of it EQ wise to make it work in the context of the mix. The way records used to be made is the band would set up in a room, decisions were made about placement of amps and mics and so forth. Then the snapshot was taken. If you solo’d the guitar or something, it might sound really shitty by itself, but in context it would sound amazing. So it was about the complete photograph as opposed to the individual in the photograph

Being A Producer 

As a producer one of the easiest failures to make is to not listen to the artist. I think that is a common mistake especially if you have artistic visions or perspectives. It’s easy to go "Well really what you need is this." I have learned the hard way that is not a good thing to do. You want to be good at what you do, and you want to be able to contribute to the vision, and a lot of times you just stay out of the way and help facilitate the vision. It’s not about contributing to the vision from an artistic voice, but it's creating an environment for the artist to find out what their voice is.

“As a producer one of the easiest failures to make is to not listen to the artist” - Roger Alan Nichols @BTrecording

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Cutting Vocals With Steven Tyler

Steven Tyler is just this spinning top of energy. He’s everything that you would imagine him to be. But here’s the thing that's really amazing, is to first of all be in your room and hear his vocals coming out through your speakers, and to look through the glass to see him standing behind your U47. You go, “Woah that’s Steven Tyler!” it’s pretty remarkable.

The other thing that struck me is how hard he worked. Like he would say "Hold on a second!" and you could hear him practicing the first line into the song and he would be changing his vowel sounds and practicing a couple different approaches, and he’d pick a direction and say, “Alright, let’s go for it.” But he worked really hard and that was impressive to see.

For a guy at his age, really he doesn’t have to do anything, he could just sing Dream On the rest of his life and make more money than most of us could ever dream of seeing, but he works really hard. The second thing that really blew my mind is the first day he was here, his assistant was going, “Hey Steven we gotta go, come on we’re going to be late!” and Steven grabbed that guitar right there and said, “Check this out!” And he starts playing all these new songs he’s writing.

To see this guy so excited about creating music at 60+ years old, a Rock and Roll Hall of Fame member, to see him so excited about making music still was inspiring. He knows exactly what’s going on, he knows exactly how to do it, and he made everyone feel incredibly comfortable and it was really one of the funnest couple of days ever. I was blown away at how amazing it was! 

Secret For Great Vocal Sounds

Secret I got from background singer Perry Coleman. You don’t dare give this guy any instruction because he knows what to do. He’s sung with so many number ones. There’s two things that he does that are really stunning. His phrasing is immaculate. I mean he’ll listen to the lead part and he will match the phrasing to a tee. And then when he sings he does this thing where he self-compresses.

The way he sings a phrase he’ll roll the s’s off, he does all this kind of stuff. If you solo his vocal part it might sound funny, but put it with the lead and it’s brilliant. I’ve never had to tune one vocal that he has sung here. Ever. If he’s singing to a lead vocal part, I’ll tune the lead vocal first so he’s singing to a tuned vocal so I never have to touch him. The really interesting thing that he does is if there’s a lot of S’s or P’s, he’ll sing through his fingers. What that does is it splits the wind and reduces the impact of the diaphragm of the mic and it also reduces the energy that the mic is receiving. It’s brilliant.

Secrets For Great Guitar Sounds

There’s a couple things you can do. Obviously you have to have well intonated instruments. I think that's the most important thing. You don’t necessarily have to have heavy gauge strings, but I’ve found that heavier gauged strings allow you to dig in a little more and keep the intonation in line. It also pulls heavier tones out, sounds like they have more weight to them. All my guitars are at least 11’s.

Again it goes back to your ability to pull the tone out of the instrument with your hands. It’s how to attack the string and how you hold the pick, and how you pull the tone out of the instrument. The biggest misstep with a lot of guitar players is they use too much saturation and they feel like that’s going to give them a bigger, nastier sound. Depending on the part in the song it might work, but if you’re planning on stacking guitar parts, you can bigger sound if you air on the more cleaner sound and stack those parts.

“If you play more instruments it allows you to communicate ideas a little clearer” - Roger Alan Nichols @BTrecording

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Mixing Tricks For Acoustic Guitars

I always parallel compress my acoustic instruments. I blend it in where the compressed signal sits right in the center and the uncompressed signal moves to the peaks and the valleys. You get the articulation and dynamic sensibility of the acoustic instrument. For acoustic instruments there’s a chain I always use and it always sounds amazing. I use a Neumann Gefell 5802 which is a small diaphragm tube microphone, and I use a Telefunken V72 and I use a little bit of the LA2A just to kiss it a little bit. If I’m cutting the acoustic guitar part I use a really light pick and play lightly, what happens is the guitar sounds huge.

Mixing Tricks for Heavy Guitars

I use a lot of filtering, so if we’ve got an intro, verse, chorus, I’ll automate a filter to come in during the verse so that the filter reduces the size of the guitar in the verse then when it hits the chorus the filter kicks off and the guitar sounds huge. I want to make sure that the grind and attitude of the instrument doesn’t change. I love really heavy guitars. I love cutting them so that the downbeat and the step-off notes are tight.

"It all starts with the drummers right foot” - Roger Alan Nichols @BTrecording

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Jam Session 

Q - What was holding you back at the start?
A - How things were done. When I was learning how to play, I’d put the needle on the record, listen, play, needle on the record, listen, play, etc. There was no YouTube demonstration of how to play the chord voicing or how to connect these devices with this. You had to find the local hot shot at the music store and ask him how it’s done or sit and observe. There’s something to be said about being able to hear a song and go, “I know what those voicings are, I know what those chord changes are,” because your ear is developed to that point.

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

A- This is what Richard Dodd shared with me a couple of weeks ago, he’s brilliant. "Do you know how you can increase the processing speed of your computer? Learn to type better" 🙂 …. I think the best advice is to shut up and listen and observe.

“Show up prepared” - Roger Alan Nichols @BTrecording

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Q- Share with us a recording tip, hack, or secret sauce.
A -  Right now it’s all about volume and that’s not everyone’s cup of tea. I like to think instead of dynamic range, I like to think of scene changes. I think that's important because the verse has a whole different scene than the chorus. Again the phrase I always use is "the trajectory of the song."

Q - Share a favorite hardware tool for the studio
 I used to take a polaroid camera and I would take snapshots of everything: mic placements, EQ settings, etc. Then I would have a notebook and give it to the drummer to sketch out his kit and mark the size of his drums and what heads he was using and where mics were placed and keep track of lyrics. It was basically a journal of the record. For me, that was a way of keeping track of the process.

“When mixing a track it’s really easy to think about stuff you don’t need to think about” - Roger Alan Nichols @BTrecording

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Q - Share a favorite software tool for the studio

A -If I had to use one it would probably be the SSL E-channel (the waves plugin). The EQ is great, the compressor is great, it has a gate if you need it, phase switch, it has a slider on it if you need to trim something.

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

A -I think the most important thing to remember is that if you’re working on a track or writing a song or working with a band and it’s not going well, it’s not the end of the world. If you’re frustrated in the studio one day, don’t listen to music, go home and relax, have a glass of wine and watch a movie or something, and hit it again the next day. The most important thing about having output is you have to have input. If you don’t have input then you aren’t going to have any output. If you’re gonna write a song you have to be able to experience some things in life to write about. Sometimes you have to be reminded it’s okay to have a certain thought about something. If you’re working with someone and they say, “Oh, I don’t really like that,” it can shut down the whole train of thought. That can be a real detriment sometimes. That doesn’t mean the idea sucks, it just means maybe we need to rethink this.

“The most important thing about having output is you have to have input” - Roger Alan Nichols @BTrecording

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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 - To realize that you probably don’t know how a lot of it’s done. It’s really easy to be in a conversation with people and feel like you have to validate what you’re doing with false sense of knowledge. It’s okay to not know how to do something. It’s okay to ask questions. It’s okay to be curious about stuff. We’re in a business where we’re always trying to qualify something subjective, that’s a horrible thing to try to do.

Twitter - @BTrecording
Music -
Bell Tone Recording

Big Thanks to Alex Skelton & Merissa Marx for this week's episode!!