Mixing 808 for the iPhone speaker? Willie talked about choosing the best studio monitors, producing hip hop in Brooklyn NY, setting up templates for recording vocals and mixing, and being a distortionist when mixing!

My guest today is Paul "Willie Green" Womack a producer, engineer and sonic artist, Paul "Willie Green" Womack has built a discography boasting names such as Wiz Khalifa, The Alchemist, The Roots, Billy Woods, ELUCID and many more, and established himself as one of the top names in independent Hip-Hop & R&B.

Currently residing in Brooklyn NY, Womack is a member of the AES Board of Governors, and is an active educator and lecturer. Working from his studio The GreenHouse Recording Co., Willie Green is a leading voice in both music creation and audio education.

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

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Website Links:

williegreen.bandcamp.com
www.williegreenmusic.com
IG - @williegreen1
Twitter - @williegreen1
Facebook

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

Can you really rock with iPhones? Jaimeson talked about recording and mixing Sammy Hagar, Michael Anthony, Jason Bonham, and Vic Johnson remotely in 2020 using nothing more than the built-in iPhone mic, and making the mixes rock!

My guest today is Jaimeson Durr a San Francisco Bay Area Top Billboard charting recording engineer, mixer and producer that works on a variety of music genres from legends like, Sammy Hagar and his band The Circle, Chickenfoot, Megadeth, Joe Satriani, The Dead, Don Felder (The Eagles), The Head and the Heart, Dan the Automator as well as many other new promising artists. 

Jaimeson works out of some of the best bay area recording studios but primarily works out of his own studio, Wally’s HydeOut in the legendary Hyde Street Recording Studio complex in San Francisco since 2004. It’s a classic studio where many well-known artists have recorded like, Santana, Creedence Clearwater Revival, Jefferson Airplane, The Grateful Dead, Green Day, Train, and many, many more. 

Jaimeson has also performed on and mixed several songs for hit prime time TV shows and movie trailers for, 90210, The Mindy Project, Ugly Betty, Rango, Arthur, The Lorax, Tangled and many more. He is a Waves Audio Artist who continually develops new presets for their plugins. With over 24 years of experience as a professional engineer, Jaimeson has a passion for the craft of making great timeless records that live forever. 

Thanks so much to John Cuniberti for making our introduction!

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Website Links:

JaimesonDurr.com
WallysHydeOut.com
FB: Jaimeson Durr
IG @jaimesondurr

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

Do you want your vocals production to sound like Who Framed Roger Rabbit or Pan's Labyrinth? Damian talked about collaborating with Bjork and Arcade Fire, programming for MAX and Ableton Live, and micro editing in Pro Tools for drum and bass.

My guest today is Damian Taylor a six-time Grammy-nominated record producer, music mixer and programmer, songwriter, song doctor, sonic architect and explorer best known for his work with Bjork (in the studio and on stage), The Prodigy, The Killers, Arcade Fire, UNKLE, TR/ST, Odette, The Temper Trap, City of the Sun, and Dizzy to name a few.

Damian describes his love for creating music and art at the intersection of ideas and expression, performance and design; juxtaposing not only organic and synthetic methods of creation and manipulation but also cultural and stylistic concepts and perspectives.

He is also the founder of The Complete Producer Network, an active hub for people all over the world who are dedicated to improving their ability to create and share extraordinary music. It’s an open, inclusive, and supportive community of music creators who come together to share ideas, insights, tips, tricks, strategies and perspectives to drive themselves and others forward.

Damian also live streams over on Twitch sharing his studio experience and is active on social media writing essays on Twitter and Instagram.

Thanks so much to Colin Ramsay at GPS Management for making our introduction.

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Website Links:

https://www.damiantaylor.com
https://globalpositioningservices.net/damian-taylor
https://www.instagram.com/hereisdamian
https://twitter.com/hereisdamian
https://www.twitch.tv/hereisdamian
https://www.completeproducer.net

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

Is VR the future of recording? Justin talked about keeping his studio The Hallowed Halls fully booked through 2020 by offering video and VR production for bands, how to keep your family while making records, why your headphone mixes suck, and spoons!

My guest today is Justin Phelps chief engineer and designer of the Hallowed Halls recording studios in Portland OR. He began his career in 1996 at San Fransisco’s famed Coast Recorders where he worked as a house engineer and received considerable guidance from a chief engineer/producer John Cuniberti and studio owner/gear guru Dan Alexander as well as working at some of the Bay Areas finest studios including The Plant, Prairie Sun, Studio 880, Tiny Telephone and Studio D. 

In 2004 he acquired the lease for one of the more historic spaces in San Francisco, Hyde Street Studio C which he restored to its former glory and ran for the next 5 years as one of the busiest rooms in San Francisco when he met his wife Deanna and started his family. 

With the birth of their first daughter, they relocated to Portland Oregon where he founded Cloud City Sound a multi room facility with a busy mastering suite serving many regional and international until 2016 when he opened The Hallowed Halls located in a 5500 square foot, historic, turn of the century library where the building’s natural acoustics made for an ideal recording studio site. 

Since then, they have been cranking records out for a wide variety of American and International acts, hosting a constant stream of events benefiting the local music and arts community and dabbling in new recording directions. The most prominent of these would be music video production. 

The Covid 19 era has seen a particularly high spike in combined music and video as a result of the severe limitations placed on live performance. Necessity is the mother of invention and Justin is currently modifying The Hallowed Halls to facilitate concert performances and multi camera shoots including VR concerts in Studio A’s main hall. 

Through a partnership with a strong concert streaming distribution network, the hope is to use this to get the lifelong patrons of our studios back to work and to find new creative outlets for the music we create. So far it’s working. 

Thanks so much to John Cuniberti for making our introduction!

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

Don't be relentlessly offensive! Geoff told hilarious stories about Lou Reed's record being too raw for Clive Davis, getting kicked out of the Holiday Inn with Keith Moon, working with Tom Dowd, designing class A audio gear for Daking Audio.

My guest today is Geoff Daking who grew up playing in local bands before attending American University which he ultimately left to join the NY based Mercury artist Blues Magoos to play the drums in 1966 (I was born in 1967). 

Between ‘66 and ’69, they recorded four albums, two of which were platinum, and a top-five single, “We Ain’t Got Nothin’ Yet”. The peak of their career was in 1967 when they toured four months with Herman’s Hermits and The Who (the Hermits were the headliners). During that time he became fascinated with recording and engineered some of the Magoos last albums. In the summer of 1969, Geoff went back to Woodstock where he played in bands with Tim Harden, Dave Sanborn, Paul Butterfield and Buzzy Feiton. 

In 1970, Geoff became a staff engineer at Sound Ideas in NYC, then SoundMixers NYC, and later as an independent engineer. And In 1982. he opened his own studio, Nimbus Nine, which grew to four rooms, one API, one Neve, one Trident, and one ProTools.

Since 1970, Geoff has designed and built more than 20 recording studios for music, film and commercial production. including the all analog “BIG Blue” in Katonah NY for the recording of Joan Osborne’s premier album, “Relish” and Tuxedo Park for Cyndi Lauper’s “Sisters of Avalon”. His most recent studio is the multi-million dollar music production facility in Saint Petersburg Florida, Big3 Entertainment.

In 1993 Geoff started manufacturing his own line of audio equipment. The first product was a combination mic-pre/eq. This all-discrete Class “A” unit was based on the legendary Trident A Range circuits by Barry Porter. Next was the FET Compressor. In 2000, production began for full-size Class A recording consoles in frame sizes from 16 to 80 inputs. 

Thanks so much to William Wittman for making our introduction!

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Website Links:
https://www.daking.com

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

Make "pink" great again! Clint talked about using pink noise to lock guitar mic phase, how to edit and mix killer drums, why you should start your mixes with the vocal, and how to adjust eq without reaching for the solo button, plus lots more!

My guest today is Clint Murphy a multi-platinum, award-winning producer, engineer, mixer, songwriter, and musician. He has worked on records as diverse as Manic Street Preachers, Enter Shikari, RØMANS, and 50 Cent, racking up hits both in the UK and internationally. 

UK chart successes include recording and mixing No.2 album ‘Half Way There’, for English pop-punk band Busted, mixing No.3 album ‘Rip It Up’ for hard rock legends Thunder and producing, mixing and writing for upcoming bands such as Keir, Courts, Twin Wild and Youth Club. Most recently, Clint has been working with British rock band Enter Shikari, mixing their critically-acclaimed, UK No.2 album ‘Nothing Is True & Everything Is Possible’.

Back in his native New Zealand, Clint’s work continually tops the charts through artists such as Devilskin, Opshop, Annabel Fay, The Feelers, Kimbra, Junica (Ladyhawke), 8 Foot Sativa and Bic Runga. This has resulted in Clint being recognized as ‘Engineer Of The Year’ multiple times at the New Zealand Music Awards.

Other international successes include Chinaski’s no.1 album ‘Rockfield’, covering three no.1 singles notching up over 60 million YouTube streams, Codes’ multi-award-winning album ‘Trees Dream In Algebra’ and Melanie C’s multi-platinum album, “Beautiful Intentions”, which spent nine weeks topping the charts in Europe.

Thanks so much to Ryan Smith at (Sterling Sound) for making our introduction.

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Website Links:
https://www.clintmurphyproductions.com
Facebook
Instagram

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

How do you get the best performance from a band? Howard talked about recording choir for Leonard Cohen, mixing Arcade Fire, working with Steve Albini and Daniel Lanois, why you should limit yourself in the studio, and other great stories!

My guest today is Howard Bilerman, a GRAMMY and Juno awarded musician, sound engineer & record producer who has been recording bands for over 30 years. As co-owner & head engineer of the  hotel2tango recording studio in Montreal, Bilerman has enjoyed working with some of Canada’s most talented artists, as well as others from The USA, The UK, France, Italy, Scotland, Africa, Spain, Ireland, Switzerland, Portugal & Australia. 

Some of the artists Howard has worked with include: LEONARD COHEN, THE ARCADE FIRE, VIC CHESNUTT, A SILVER MT. ZION, NAP EYES, BRITISH SEA POWER, SAM ROBERTS, PATRICK WATSON, COEUR  DE PIRATE, ADAM COHEN, LOU DOILLON, THE WEBB SISTERS, and WOLF  PARADE to name just a few. He has been credited on over 500 records to date,  including as an engineer on LEONARD COHEN’s GRAMMY winning song “ You Want It  Darker”. 

Howard has been a regular faculty member at the BANFF CENTRE, having helped to create their groundbreaking INDIE RESIDENCY & SINGER SONGWRITER programs.  Bilerman’s recordings have received international critical praise, and the hotel2tango is seen by many as being at the center of Montreal’s independent music community.

Thanks so much to Steve Albini for the introduction.

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Website Links:
www.howardbilerman.com

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

To click or not to click? That is the question... Jay talked about playing drums and producing artists at Pentavarit Studios, how to create a Nashville numbers chart, why he uses two different monitors for mixing, and how to record vocals and guitar.

My guest today is Jay Tooke an Award-winning, Canadian born producer, songwriter, and musician who moved to Nashville back in 2012.

Having gotten his start as a working musician at the age of 17 some of his earliest memories are of plunking out melodies by ear on the family’s piano, but it was the intro to Dire Straits “Money for Nothing” that lit a fire in his soul for the drums. Not long after he started a love affair with the guitar and from then on, his sights were set on a career in music. 

During his 26 year career, he has toured all over the world with a range of artists from Canada and the US, and has produced records that have garnered critical and commercial success in Australia, New Zealand, Germany as well as Canada and the US. 

His philosophy behind making records has always been about helping the artist find their own voice in the studio. It’s never about forcing ideas or making the record he wants to make. It’s a collaboration between producer and artist to find the truest form of the song. Allowing the material to become the best version of itself through exploration and experimentation.

Thanks so much to Bobby Holland for the introduction.

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Website Links:
IG: @jimmyofthetookes
Facebook

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

Is noise really a bad thing in a recording? Jessica talked about cleaning up audio with iZotope RX, focusing bass with Low-End Focus, and even re-balancing a mono mix using amazing new plugins to restore audio from old tapes and vinyl records.

My guest today is Jessica Thompson a GRAMMY-nominated mastering and restoration engineer, audio preservation specialist, and educator. She has digitized, restored, and revived historic recordings for artists ranging from jazz pianist Erroll Garner to blues and folk revolutionary Barbara Dane, from Ethiopian keyboardist Hailu Mergia to proto punk band Jack Ruby, from anarcho-punk band Crucifix to synthesizer legend Pauline Anna Strom.  

She masters music both new and old and has worked on records for Michael Daves, Flipsyde, Matthew McNeal, International Dub Ambassadors, Teno Afrika, Occurrence, and many more. 

She sometimes writes gear reviews for Tape Op Magazine and contributed a chapter on "Mastering the Sonics of Historic Recording Media" for the book Music Preservation and Archiving Today.  

She currently serves as President of the San Francisco Chapter of the Recording Academy. In her spare time, she likes to ride steel bikes and walk her dog, Eddie.

Thanks so much to Ian Brennan for making our introduction!

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Website Links:
www.jessicathompsonaudio.com
Instagram @jathompso
Twitter @jathompso

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

When Barrack Obama asks you to play the drums... Wes talked about playing at the DNC with Beyonce, Sting, and Mariah Carey, rocking out with Chuck D, how to build a great drum room, and choosing the best drum fills and cymbals!

My guest today is Wes Little one of Nashville’s most adaptable and multi-faceted drummers, as well as a top flight arranger, producer and songwriter. 

Wes was trained in performance and composition at the Manhattan School of Music and shaped by years of studio and stage work with major acts. Currently a first call session drummer in Nashville, Wes has also performed or recorded with Chuck D, Stevie Wonder, Sting, Steven Tyler of Aerosmith,  John Legend, Melissa Etheridge, Robben Ford, Michael and Randy Brecker, Tim McGraw and Faith Hill. He works in Nashville, where he lives and records daily in the studio.  

Some of his credits for recording or touring are with Robben Ford, Christopher Cross, Tim McGraw, Faith Hill, Trey Anastasio, Little River Band, Larry Carlton, Sting, Stevie Wonder,  Alicia Keys, Beyonce, Joe Perry, Steven Tyler, John Legend, Jamie Fox, Melissa  Etheridge, Jermaine Jackson, Mariah Carey, Public Enemy, Shakira, Busta Rhymes, Emmylou Harris, Mary J. Blige Anita Baker, Paul Shaffer, Dierks Bentley, Pam Tillis, Ashley Cleveland, Bootsy Collins, MC Lyte, KRS-One, Vernon Reid, Delbert McClinton, Big Daddy Kane, The Pointer Sisters, Emmylou Harris,  Wynonna Judd, Pam Tillis, Lorrie Morgan, Luke Combs, Warren Haynes, Sonny Landreth, Little Big Town - Eric Johnson, Larry Carlton, Deena Carter, Paul Schaffer, and his own venture - The Big Greasy. 

On another note, Wes also played on Broadway. “I have made whip crack sounds for John Lithgow in "Dirty Rotten Scoundrels,” says Little. “I have played quite possibly the largest set up in the world of drums and percussion in the show BKLYN. I acted the part of a drummer that couldn't speak in the show "Once Around the Sun.” I also played in a big bang on stage for 3 months in a show of “Rat Pack, Live at  the Sands."  

Thanks so much to Smith Curry for making our introduction.

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Website Links:
weslittle.com

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