Will the noise ever stop? Jack talked about recognizing, avoiding, and managing tinnitus on stage or studio, why everything will be ok if you already have it, and lessons learned from recording with Tchad Blake at Peter Gabriel's Real World studio.

My guest today is Jack Rubinacci an Anglo - Italian Singer, songwriter, producer and author, now based in Norway. Jack started playing in bands in his hometown Birmingham UK. Was the lead singer of Honeyman, and was widely considered one of the best Birmingham bands of the late 90’s. 

He went solo and recorded his debut album with producer Tchad Blake at Peter Gabriel’s Real World Studio with Jerry Marotta on drums. He released 4 studio albums including his latest album A Thousand Winters. And Worked with producer Ian Grimble and Thomas Johansen.

Many of his songs have been covered by international artists in Italy, France, Norway and Asia. 

He has opened for Lionel Richie. Joe Cocker. Arcade Fire. Jackson Browne. The Script. The Chicks. Heather Nova and many others. And many of his songs have gotten radio play in Norway.

In his 20s he Developed Tinnitus and has had chronic tinnitus ever since. He is now a strong advocate for ear protection and offers help and advice for people suffering from Tinnitus. Jack was recently a guest for The British  Tinnitus Association, speaking to their musician’s support group. And is the author of the book Overcoming Tinnitus. 12 Tools That Helped Me Overcome Tinnitus.

Thanks to James Ivey at Studio Rats for making our introduction.

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Website Links:

www.jackrubinacci.com
Amazon Books
Facebook
Instagram
YouTube

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

There's more than one way to mic a trombone? Nick talked about choosing the right microphone for acoustic and electric guitars, bass and drums, using pro earplugs, ultraclean mic preamps, mastering in the box, and his Adam Audio A7x speakers.

My guest today is Nick Broste, an audio engineer and musician who works in a wide variety of musical situations, ranging from creative improvisation to popular, folk and new music forms. He has engineered hundreds of recordings and performed all over the world, from tiny clubs to huge festivals and live television.  

Having spent much of his youth obsessed with music but in a small midwestern town, Nick moved to Chicago in 1996, where he attended music school and began performing around the city and on the road, all the while soaking up any new sounds he could find. Touring with bands led to performing in the recording studio, where he began to get interested in the capture, manipulation and reproduction of audio. 

In 2005 Nick moved into the Shape Shoppe, an underground music, art and living space with a 16 track analog studio, where he was able to experiment and teach himself how to record, eventually re-designing and completely rebuilding the space in 2008. At the same time Nick began mixing bands live in venues, trying to give both the musicians and audiences the best experience possible. This spirit of removing the obstacles of artistic expression for artists is the driving force for Nick's work to this day, no matter which side of the microphone he is on.

Nick can currently be found working freelance in studios such as Electrical Audio, Shirk, Palisade, Narwhal and Jamdek in Chicago, around the world and wherever interesting sounds are being made. And his clients include Wilco, TV on the Radio, Broken Social Scene, The Walkmen, Cursive, Mucca Pazza, Head of Femur, Calexico/Iron & Wine, and Afghan Whigs to name just a few.

Thanks so much to Greg Norman for making our introduction.

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Website Links:

https://www.nickbroste.com
Instagram: @nbroste

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Do you really want to talk $$ when it's time to rock? Alena talked about managing clients like F Reid Shippen, why a manager is not your booking agent, how the most important thing is the project itself, and where you can improve with social media.

My guest today is Alena Moran a producer/engineer and artist manager based out of Nashville, TN. Her current roster includes Jon Randall , F. Reid Shippen , Cason Cooley, and Shani Gandhi. In addition to management, Alena handles production coordination work for artists including Seaforth , Tyler Braden, Jordan Harvey , and Warren Zeiders. 

Alena began her career in the music business as a photographer and blogger based out of Washington DC, and eventually relocated to Nashville in 2010 to attend Belmont University. She spent several years as a freelance audio engineer, studio manager, and production coordinator, before moving into management. 

In 2018, Alena joined Triple 8 Management as a full-time manager and launched their Creative Management vertical where she focuses on the roster’s producer and engineer clients. Outside of music, Alena trains in aerial acrobatics and spends her free time hanging out with her dog and cat. She also managed my Bonnaroo backstage Haybale Studio from  2015-2017 which is how we met.

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Website Links:

www.triple8mgmt.com
www.instagram.com/alenamoran
www.twitter.com/alenamoran

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Mixing is like Taekwondo! Bryan talked about finding the right balance in the studio, producing Jeff Goldblum's jazz album, how to record piano and organ, mixing U2, and how to create awesome vocal mixes, and how EDM tricks are great for folk bands.

My guest today is Bryan Cook a Los Angeles based mixer working in the studio world for the past 20 years. 

Bryan grew up just outside of Philadelphia, playing the saxophone. A book of Charlie Parker solos became the initial inspiration to pursue music on a deeper level experiencing the studio for the first time in high school and he went on to attend the Berklee College of Music in Boston to study music production and engineering, where his first studio job was interning at Blue Jay studios outside of Boston. 

Upon graduation, Bryan headed to Los Angeles, where he landed at the legendary A&M Studios, which has since been renamed Henson Recording Studios.  He worked with artists like Rod Stewart, The Wallflowers, Korn and +Live+, and producers such as Brendan O’Brien, Roy Thomas Baker, Jerry Harrison, Richard Perry, and Trevor Horn. 

He then headed out on his own in 2002. He worked for many years recording and mixing for composer/producer Michael Andrews doing music projects including Inara George and Gary Jules, alongside film projects like Walk Hard and 40 year old virgin. He now mixes on his own full time with the rare tracking or production session sprinkled in. He enjoys all kinds of music, except klezmer and polka.

Bryan is best known for his work as a mixer for artists like U2, One Republic, the tv show Songland, and Allie Sherlock produced by Ryan Tedder. He has recorded the Raconteurs, Fleet Foxes, Iggy Pop, Queens of the Stoneage, Cold War Kids, Damien Rice, The Eels, and Autolux for Nigel Godrich’s well-received “From The Basement” series. His recent work includes producing, recording, and mixing Jeff Goldblum’s latest album, “I Shouldn’t Be Telling You This.”

Thank you to Howard Willing for the introduction.

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Website Links:

www.bryancookmixer.com

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

To loop or not to loop? Jamie talked about Beck producing his record, opening for Prince and Prodigy as a solo loop-based artist, hosting his Hanging Out With Audiophiles podcast, interviewing Spike Stent, and lots of great studio tricks!

My guest today is Jamie Lidell a Grammy nominated self described Soul Scientist who has been making all manner of noise since he was a teen.

His early outpourings were purest of techno until, rather unexpectedly, his voice emerged and he discovered a live looping style that took him around the world as a solo act opening as a one-man show for Beck, Bjork and James Brown. 

He has had several bands to play later albums and opened for Prince, Elton John and more. 

There was a whole lot of touring, much opening, much headlining. Much of a muchness really. Somewhat of a rambling man, he’s jumped all over the place, from Brighton to Berlin to New York to his current castle dwelling in Nashville. 

For the hunters, there’s plenty of music to be discovered, whether it’s from his first 9 EPs with Subhead to 2 LPs as Super_collider (with badass weirdo Cristian Vogel) to the rare work he pushed out as George Lister to a slew of solo Lidellian activity and there’s now his rather entertaining podcast of course. 

The pod goes by the name Hanging out with Audiophiles (although it has nothing to do with hi-fi really). The fun began in 2017 and has already featured some of the very best artists and producers in the business such as Mark Ronson, Four tet, Susan Rogers, Imogen Heap and many more. His YouTubing is showing signs of growth also. Let’s see. Yes, in case you were wondering, the sonic adventures continue. One never knows what’s next with this one.

Thanks so much to Anders at Adam Audio for making our introduction.

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Website Links:

jamielidellmusic.com

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Is your studio haunted? Craig talked about the oldest recording studio in the world Winslow Ct Studio in Los Angeles, recording with Geoff Emerick, Dweezil Zappa, Jack Tempchin, and the secret to Eddie Van Halen's guitar sound!

My guest today is Craig Parker Adams who in 1997 was lucky enough to take over a historic recording space in Hollywood Ca which would become known as Winslow Ct. Studio. The studio's original history was said to be one of the oldest audio recording studios in the world for film dating back to the early 1900's. 

At one time it was an RCA location as well as Columbia but nonetheless by way of doing Craig would eventually become a word of mouth go-to-guy for many diverse artists and top tier session players. 

Owning & operating a historic boutique recording studio business in the heart of Hollywood for 20 plus years and working with accomplished artists from all over the world as well as a multitude of industry greats of varying styles ranging all the way from Opera to Punk, Writers & Artists, Producers, Directors  Photographers, Editors, Engineers, Thinkers, Healers, Politicians, Actors, Models,  Athletes & even Motivational Speakers has brought so much to Craig's studio skills, production & all-around artistic insights. 

Thank you to (EYE-An) Ian Brennen for the introduction.

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Website Links:

https://winslowctaudio.com
https://craigparkeradams.com 

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Wait.. you WANT feedback in the studio? Randy talked about learning the ropes at CBS Song studios in Nashville TN, how feedback can help you reach your audience as an artist, why latency is killing your vocal take and proper monitor setup for mixing.

My guest today is Randy LeRoy a musician, engineer, A&R, and mastering engineer in Nashville TN and Takoma Park Maryland. A graduate of the recording program at Middle Tennessee State University (also my alma mater) he got his first gig cutting publishing demos on Nashville’s “Music Row” in CBS Song’s basement studio, editing radio spots on ¼” tape for a company called Starliners and hanging out in small studios around town. 

Eventually, he was offered a job with CBS Records as an A&R coordinator and spent time in high-end facilities like Emerald, Stargem, The Dog House, Masterfonics, Sound Shop, Treasure Isle, Studio 19, and even legendary studios like The Record Plant in LA while working for CBS. Randy worked with a variety of the label’s many noteworthy artists such as Ray Benson, George Jones, Ricky Van Shelton, Tammy Wynette, Vern Gosdin, and Exile.

In 1988 Glenn Meadows at Masterfonics offered him a job as his mastering assistant where Randy learned how to cut reference lacquers, assemble and quality checking masters, and help out engineers during mixing, while mastering small projects on his own. 

At Masterfonics he would work alongside notable country music producers like Jimmy Bowen, Tony Brown, James Stroud, Jerry Crutchfield, and Barry Beckett. And in 1991 Randy left Masterfonics to start his own mastering studio, Final Stage Mastering located in Sound Stage Studios on Music Row in Nashville where he worked on more Grammy nominated and winning projects throughout the 1990s and 2000s such as Relient K’s Two Lefts Don’t Make A Right… but Three Do, Allison Brown’s Fair Weather, Nappy Root’s Humdinger, and Jamey Johnson’s That Lonesome Song, to name a few. 

In June of 2010, Randy left Nashville to become the Senior Mastering Engineer at Tonal Park in Takoma Park, MD where he has mastered some of the biggest names in country, bluegrass, folk, Americana, and gospel such as Jim Lauderdale, Bryan Sutton, Jamey Johnson, Dale Ann Bradley, Colin Hay, Kelsey Waldon,  Frank Solivan & Dirty Kitchen, Gold City, and John Cowan.  including the 2020 Grammy Winning, Michael Cleveland’s “Tall Fiddler” and two other Grammy nominated albums in the Best Bluegrass Album category.

Thanks so much to Justin Francis for making our introduction!

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Website Links:

https://tonalpark.com/
Facebook
Instagram

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

A duet record with Bigfoot and Elvis? Malcolm talked about recording in Memphis at House Of Blues studio, finding the best monitors for mixing, Dolby Atmos, starting an indie record label, and recording getting killer drums sounds with five mics.

My guest today is Malcolm Springer an arranger, writer, engineer, producer, and mixer living in Nashville TN working in a studio cottage at the previously named House of Blues Studios (now East Iris Studios under Universal Music Group). 

Malcolm has worked with many artists and genres in his career including Matchbox 20, Collective Soul, Isaac Hayes, Clutch, Fear Factory, Eric Clapton, Johnny Lang, Kenny Wayne Shepherd, God Street Wine, Albert King, Derek Trucks, and Nappy Roots, just to name a few. 

He has been awarded platinum and gold records for his work with Collective Soul (Disciplined Breakdown, 1997), Matchbox 20 (Yourself or Someone Like You, 1996; Exile on Mainstream, 2007), Liquid Gang (Blunt Force Trauma, 2000), Fear Factory (Digimortal, 2001), The Horse Whisperer: The Original Motion Picture Soundtrack (1998), 2 Fast 2 Furious: Original Motion Picture Soundtrack (2003), and Heavy Metal 2000: Original Motion Picture Soundtrack (2000). 

In the early '90s, Malcolm was part of the first team to install the first moving Ultimation system for Solid State Logic. He also lived for a while in Memphis working at Beale Street Studios where he recorded The Mother Station, O'Landa Draper and the Associates, Bobby Whitlock (of Derick and the Domino's), and Teeny Hodges and later recorded in Missouri as well.

At 29 years old, in 2000, Malcolm secured a label imprint as an A&R representative with the legendary Lyor Cohen, one of the founders of Def Jam/Island Records, in New York City. 

Malcolm also has been remixing music for Dolby Atmos surround sound. Some of these artists include Nirvana, White Zombie, Bon Jovi, Lynyrd Skynyrd, Kanye West, Soundgarden, Jay-Z, Steve Miller Band, Three Doors Down, and many others. 

He now runs his own production company and label, 10 Inch Wax, out of Nashville.

Thanks so much to Andy VanDette for making our introduction!

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Website Links:

malcolmspringer.com
Instagram: malcolmspringerproducer

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson

Forget the mics! What do the musicians ear hear? Frank talked about recording a full orchestra from the musician's ears, mixing in Sony 360, recording Frank Zappa, James Taylor, and Korn, his favorite modern plugins and mics, and narrowing mixes.

My guest today is Frank Filipetti a Six-time Grammy winner and world-renowned music producer, engineer and mixer. Born in Bristol, Connecticut, and based in New York since 1971, Frank was one of the first engineers to embrace digital mixing. 

His early credits include his first number one album, Foreigner’s “Agent Provocateur” which included the single “I Want to Know What Love Is”; Foreigner’s “Inside Information” which he also co-produced; KISS’s, “Lick It Up”; Carly Simon’s “Coming Around Again”, The Bangles’ “Eternal Flame”, Courtney Love’s “Celebrity Skin”, and Rod Stewart’s “The Great American Songbook” Volumes 1 and 2.

Active in film and theatre as well, Frank’s work as a producer, engineer, and mixer earned the Aida Broadway Original Cast Album a Grammy Award for Best Musical Show Album in 2001, and he has since produced Wicked, Spamalot, Disney’s Aladdin, The Book of Mormon, and Gigi. His work in film includes the soundtracks for Mike Nichols’ “Working Girl”, and “Postcards From the Edge”; “The Pirates of Penzance” with Linda Ronstadt and Kevin Kline; Julie Taymor’s “Across the Universe”; Disney’s “Enchanted”; Pixar’s “Cars”, and “August Rush” (See Spotify playlist).

In addition to his recording and producing talents, Frank has been busy since the early 1980’s designing the acoustics for all three Right Track rooms in NY, and in 1999 Frank joined with Simon Andrews to design and build New York City’s premier orchestral recording studio. 

The result, Studio A509, was one of the most highly praised sonic achievements in a city known for incredible studios. In 2005 Frank became a founding partner of METAlliance, a collaborative community of globally-recognized audio engineers and producers that works alongside technology manufacturers to ensure the highest standards of audio production.

Thanks so much to Brain Murphree at Soundporter Mastering and Joe D’Ambrosio Management for connecting us.

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Website Links:

www.frankfilipetti.com
https://vimeo.com/manage/videos/197431995
https://vimeo.com/manage/videos/385700800
https://vimeo.com/manage/videos/249323763
https://vimeo.com/manage/videos/139472732 
https://vimeo.com/manage/videos/135888240

Additional podcast editing and production by:
Brayden Stremming
Vlad Vasilcenko
Jon Richardson