It has been a great privilege to work in some beautiful and interesting studios, including  Ocean Way Recording [LA and Nashville], Sounds Interchange, Phase One, Metalworks, Reaction [Toronto], Grant Avenue Studio [Hamilton], and recently, Audities Foundation [Calgary].  I currently have my eye on Blackbird Studios [Nashville] for a couple projects.

1986 was an amazing year to get into record production, when sound and space, tape formats, reverbs and mics were deemed exceptionally important in delivering compelling recordings.  I am so pleased that commitments to sonic integrity are still present in many of today’s recording environments.  I look forward to the projects on the slate, and working with artists to deliver records that are in essence, contributions to the art of record production.

I love the record production process. From ideas and riffs and the cultural quotes bandied about over beers, to the hand-wringing track sequencing, it’s all pure joy to me.

The culmination of months (years?) of work is the mastering process where I have the intense pleasure of watching someone else sweat for a change. It doesn’t seem to matter how good the mixes are, the mastering process makes them better. As I start out 2010 with a full slate of productions underway, I wanted to tip my hat to George Graves (Lacquer Channel, Toronto) and Hank Williams (Mastermix, Nashville) for their ongoing investment in making my record production better than I could imagine. Ongoing success to you both.

dR