I’m starting a brand new record with Cadence Grace. We’ll be tracking in Nashville at Ocean Way Recording. I’ll be mixing at Blackbird Studios and mastering with Hank Williams at Mastermix. Additional Canadian input at Fire Escape Recording, of course. Very heavy pop/country musician lineup. More on that soon!
I’ll be checking out artists this week at Canada’s biggest music conference. Hope to see some of you out there!
Creating a retro Wurlitzer part for Michelle Owen’s project… I’ve been wondering, since the 1960s electric piano continues to be a favourite on many modern albums, why do we call it ‘retro?’ With today’s fast-paced pop turnaround, a sound or a riff from last week’s top 10 radio playlist can be dated in weeks or months [ie. how long will 'Autotune' vocals continue to be of interest to the public?]. Note to self: Abandon the need to chase down someone else’ ideas [no matter how popular they are], and commit to the emotional truth of each song. Continue sonic exploration.
Just finished Joshua Colucci’s CD of Italian violin sonatas and sitting down to talk about all the fun [!] post-production details [website, graphic design, photos, promotion, distribution]. I co-produced this record with my good friend, Ray Dillard. We are extremely pleased with the results as well as blown away by the talent of this young up-coming star. I’ll put clips up on this site soon.
We’re almost ready to announce an exciting collaboration between Fire Escape Recording and Hugh’s Room in Toronto. Should have a e-blast heading your way later this week.
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.
