Tag Archives for " studio design "

Eric talked about recording Willie Nelson, Miranda Lambert, and Rayland Baxter, how API helped his home studio sound pro, how to record fantastic drums, why time spent on a record does not equal quality, and the most common mistakes with songwriting.

My guest today is Eric Masse a Producer and engineer living in Nashville since 2006. 

Self-described as a three times Grammy losing producer originally from Grand Rapids MI, later living in Boston. Eric is a fan of great songs and focuses on producing (or co-producing), cutting, and mixing the records he makes.  He loves European Football and is a Chelsea FC supporter.  He loves giving people the thumbs up. He has a beard and almost exclusively wears plain black t-shirts.

After graduating Berklee School of Music in Boston he moved to Nashville to intern at Blackbird Studio by day and tend bar at night. Masse’s first studio was called "Cabin In the Woods" (Fairview, TN), followed by Idiot Dog (Music Row), and finally, The Casino (East Nashville), where he works today. When a record calls for a larger studio, he prefers Southern Ground.

In 2014, while playing in a golf tournament, Masse met eminent Nashville producer, Frank Liddell. That connection led to a collaboration that has born several projects, most notably Miranda Lambert’s 2016 release, The Weight of These Wings produced by Masse, Liddell, and Glenn Worf which won the Academy of Country Music's Album of the Year award.

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Michael talked about producing records remotely, how to help the artists find their why, the intersection of commerce and art, how to connect feelings to music, and traveling worldwide with his remote portable production studio.

My guest today is Michael Beinhorn who has lived his life in the pursuit of artistic expression, first as a visual artist, then as a performer, and finally as a record producer. 

Michael began in 1979 as co-founder of the seminal New York musical collective Material and has since produced and or recorded a long list of artists including Brian Eno’s “Lizard Point” from “Ambient 4: On Land.”, Herbie Hancock’s Future Shock, which included the groundbreaking cut “Rockit.”,  the Red Hot Chili Peppers’ breakthrough albums “The Uplift Mofo Party Plan” and “Mother’s Milk”.

Michael’s recordings have achieved combined worldwide sales of more than 45 million albums helping to define the careers of a diverse range of artists, including Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew. 

Over the past 20 years, Michael has become increasingly aware of the concerns facing artists and producers alike who are trying to maintain their creative ethics, personal expression and focus in the recording process. He has increasingly devoted his attention to artist development, the changing music industry and various ways to improve the quality of contemporary popular music. 

For this reason, he has been increasingly active in mentoring fellow artists and aspiring record producers. He has extensively addressed these (and other pertinent) issues in his book, “Unlocking Creativity” published by Hal Leonard. He has also started an innovative online consulting service (Beinhorn Creative) that remotely provides all the functionality of music production to artists who would otherwise, be unable to afford these services. 

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Packy talked about creating Chip Tunes 8 bit music with I Fight Dragons, producing with members of Vulfpeck, How to create cool lofi sounds in your studio, the secret to great fuzz guitar tone, and how an artist benefits from working with a producer.

My guest today is Packy Lundholm a Chicago-based multi-instrumentalist, songwriter, and producer/engineer. He plays the guitar with Nintendo rock band I Fight Dragons, who just released their third LP "Canon Eyes" and celebrated their 10th anniversary. Packy runs his recording operation out of the B-room at Sound Vault Studios in Chicago, where he records various artists, and works as a session musician at Rax Trax Recording and Gravity Studios as well. 

In recent years he has collaborated on several projects with Vulfpeck keyboardist Woody Goss, sharing credits with Vulf members Theo Katzman and Joe Dart. Outside of the studio he performs live in different contexts, from jobbing bands and bar mitzvahs to improv-heavy tributes to Traffic and the Grateful Dead.

Packy writes and records his own music from time to time, his most recent full-length release being 2016's American Soccer. His music draws heavily from early power pop influences with touches of psychedelic rock and Americana. He is slowly brewing plans to release more singles over this year, hopefully culminating in another full-length record in the nearest possible future.

Recently I saw a new video that Packy posted recording the song Don’t Leave A Thing Behind in his studio and I knew he would be great to have on the show to talk about recording yourself in the studio as well as playing with and producing other artists.

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David talked about touring with Keb' Mo', performance and improvisation vs planning in the studio, how to listen, digital vs analog instruments, the power of beat four and gravity of one, Rick Beato and perfect pitch, and much more!

My guest today is David Rodgers, a California native David Rodgers is one of the most exciting talents in Nashville’s jazz scene today. Currently an active member of Keb’ Mo’s band as a keyboardist, he has also recorded on numerous records including Keb’s Grammy-winning Oklahoma (2019). 

David has toured and performed worldwide at the Montreux Jazz Festival, North Sea Jazz Festival, and the Playboy Jazz Festival, among many others with a Bachelor of Music degree in classical and jazz piano performance from Vanderbilt University’s Blair School of Music and a Master of Music degree in commercial composition from Belmont University.

His compositions have been performed and recorded internationally, including guest appearances at the 2018 Jazz Education Network’s Young Composers Showcase where the U.S. Airmen of Note played his winning big band composition, as well as in Canada where he was invited as a guest artist to the Banff Centre’s International Workshop in Jazz & Creative Music. 

In addition to being an active Korg-endorsed artist, he was also a finalist for ROLI’s first-ever International Next Awards for which he was invited to London to perform as a soloist. He has released two albums: the 2017 genre-bending, debut project Songs For A Generation which I mixed; as well as his 2019 album, Doorways which he recorded and mixed with me right here as well.

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Ike talked about recording with Tinashe and mixing Lizzo, Ricky Reed, and Manny Marroquin, vocal production and recording powerful female vocals, cool plugins, techniques for creating wide vocal mixes, and much more!

My guest today is Ike Schultz, a Multi-Platinum award-winning mixing and tracking engineer based in Los Angeles, CA originally from Toronto Canada. He’s collaborated and worked on albums for a variety of artists including Tinåshe, Lizzo, Adele, Rihanna, Kanye West, Ariana Grande, Adam Lambert, Whethan, Calvin Harris, Dua Lipa, Charlie Puth (pooth), Phantogram, and more.

Ike worked at the legendary Larrabee Studios directly assisting nine-time Grammy award-winning mixer, Manny Marroquin, for 3 years. Then went on to mix Lizzo’s debut release ‘Coconut Oil’, under executive producer Ricky Reed at S.K.A.M. Studios. Ike worked on the majority of the album including the singles “Phone” & “Good As Hell”.   

While at S.K.A.M. Studios, Ike worked with DJ Felli Fel, Ty Dolla $ign, Lil Yachty, Whethan, DRAM, Imad Royal & Post Malone. Afterwards, he mixed & contributed as a songwriter for multiple feature films for Paramount Pictures’ music department, and began working with Grammy award-winning producer & engineer Chris Testa for the Oprah Winfrey Network, MTV, & Facebook’s content collaborations with Buzzfeed.  

In 2018, Ike became the engineer/vocal producer for Emmy Nominated & Multi-Platinum recording artist Tinashe. He recorded & mixed her fourth studio album “Songs for You” which became the first independently released #1 album on iTunes in the US since 2016.   

Thanks to Gabe White at WhisperRoom for the introduction.

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Kevin talked about the history of Theremin and Russian synthesizers, how to get huge reverb for snares and surf guitars, composing music for the Tesla documentary and becoming the music historian for NASA. Plus lots more!

My guest today is Kevin White a Nashville based musician, audio engineer, musicologist, film composer, and audio educator.  

As an audio engineer, Kevin has worked with national corporate clients, films, radio, rock bands and gained a reputation for his retro-futurist aesthetics. He has taught classes on mixing and lo-fi production techniques. Kevin is a voting member of the recording academy and works full-time for the audio production college, SAE Institute.

A notable milestone in Kevin's career has been his contributions to the NASA Apollo Flight Journal. His musicology and audio restoration work has contributed to the preservation of American/space flight history as well as expanding the frontiers of musicology.  

Kevin was part of the newly-released documentary film Teslafy Me (2019) which presents the history of renewable energy and the authentic story of Nikola Tesla from the perspective of his Balkan homeland. As the film's composer and sound supervisor Kevin specifically used sounds from Tesla's lifetime. 

He mixed the instrumentation of an old fashioned Serbian string band with early electronic instruments from the era including the: Theremin, Ondes Martenot, Hammond Novachord, and Hammond Solovox. He also used source samples of vintage equipment including electric arcs, Tesla Coils, and a Bell Labs Voder, in order to create a unique sonic signature for the film.

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Mike shared a complete list of free plugins for your DAW that will work across all platforms. He also shared the single most important thing you need to buy for your studio before mixing, and lots more!

My guest today is Mike Senior, a professional recording, mixing engineer, teacher and writer for years at Sound On Sound magazine. He is also the author of the popular books 'Mixing Secrets For The Small Studio', and its sequel 'Recording Secrets For The Small Studio'.

Mike was on the podcast back on episode RSR124 when we got the story of his start in audio and also talked about the importance of making mistakes in the studio. He shared lots of tips for recording drums, bass, guitars, and vocals, and even talked about various methods for setting up mics for stereo recording.

Today we are going to focus on mixing. Mike has some great suggestions for software that you can use to get a pro mix in your studio, and not the expensive kind either. In fact, Mike has recently put together a list of his favourite freeware that you can find and download from anywhere right now. So if you are on a budget for your studio but still want to make your mixes sound great then you’re going to want to listen to this episode.

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Collin talked about how to record great drum and bass, why you need a console, why your speakers are probably lying to you, how you can destroy your ribbon mics even with the phantom power off and tons more!

My guest today is Collin Dupuis a Nashville and Detroit based multi Grammy-nominated and two time Grammy-winning mixer, producer, and engineer. Collin has developed a sought after sound over the last fifteen years working with critically acclaimed artists and projects including Angel Olsen, Lana Del Rey,St. Vincent, Dr. John, The Black Keys, and many others.

Beginning his career playing in bands, running a DIY recording studio in Michigan, and doing tech work around the Detroit area, he quickly found himself working at FBT (The Bass Brothers) studio as an assistant engineer. From there, he cut his teeth working with artists and producers of the likes of Mr. Porter, Eminem, Pharoahe Monch, and many more. 

He soon got a call to set up a studio at Jack White's house and help out on the White Stripes’ “Get Behind Me Satan.” Shortly after that, Collin was hired over at Carl Craig’s Planet-E records. He engineered for the next five years alongside Carl on remixes, production, live sound in Europe, mastering, and mixing. 

Collin next got the call from Dan Auerbach to help him get his Akron studio up and running. This led to a move to Nashville and many critically acclaimed albums working as the lead engineer at Auerbach’s Easy Eye Sound. During his time at Easy Eye Sound he earned a Grammy win for engineering and mixing Dr. John’s “Locked Down”. Along with a Grammy win for engineering Cage The Elephants “Tell Me I Pretty”. Currently, Collin is busy working as a freelance mixer and engineer, producing, recording, and mixing albums for artists including Angel Olsen, Jeff The Brotherhood, Nikki Lane, Rayland Baxter, and many others.

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Jamie talked about how to train your mixing ears using Sonarworks Ref 4 in headphones, how to start a mix from a template, cranking your mix knobs to the max, the right way to mix in mono, and how to learn your RMS levels and much more!

My guest today is Jamie Tate a Grammy and Emmy award-winning recording engineer, mixer and producer. Jamie is the owner of The Rukkus Room studios in Nashville TN. Jamie has worked on records of all kinds, from writers publishing demos all the way up to Grammy winning, and #1 chart topping hits. We spoke with Jamie from his studio back on RSR081.

Jamie has extensive experience mixing for artists like Alan Jackson, Brooks & Dunn, Marty Stuart, Justin Moore, Thomas Rhett and Billy Currington. His clients include major labels like Big Machine and Broken Bow Records, and he regularly works with professional country & pop songwriters from publishers such as Ole, SeaGayle, Dan Hodges Music, Starstruck and many more. 

So today I thought we would focus on mixing, learn all Jamie’s secrets, and see what we can learn about creating better mixes ourselves in our own studios. 🙂

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